ABSTRACT
One of the biggest things that we can take away from a space like Shakespeare's Globe is the heightened kinesthetic sense and proprioception it encourages in the actor. In Shakespeare's Globe, the actor is acutely aware that he is a three-dimensional being in space, that the environment surrounds him, and that the world envelops him. This situates the body as an epicenter in the space, which promotes poise and primes the body-instrument for engagement. Shakespeare's Globe is unflinchingly honest—it doesn't suffer fools gladly. There is something profound in that exchange. It is stirring to listen to Shakespeare's language and to consider how it was once shared among a different community, who are long dead, and who once connected to the world around them in some way through those same words. When the actor can meet the demands of such highly attuned communication, it helps to build trust that he can also meet the demands of Shakespeare with comparable ease.
