Globe Theatre - Rebuilding The Globe - Encyclopedia Britannica

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• Introduction
• The second best playhouse
• The success of the Globe
• The design of the Globe
• Playing at the Globe
• Rebuilding the Globe

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External Websites

• University of Chicago Library - The Globe Theatre
• The Ohio State University - Origins - The Globe Theatre: Shakespeare Lost & Found
• Shakespeare Online - Shakespeare's Globe Theatre
• Map of Early Modern London - The Globe
• ABC listen - The Drawing Room - Building Shakespeare's Globe Theatre
• Humanities LibreTexts - The Globe Playhouse
• BBC News - Shakespeare's Globe: A theatrical laboratory
• Folger Shakespeare Library - Shakespeare's theater
• Official Site of the Shakespeare's Globe, London, United Kingdom
• PlayShakespeare.com - The Globe Theatre

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• Globe Theatre - Student Encyclopedia (Ages 11 and up)

Ask Anything Written by Andrew Gurr Emeritus Professor of English, University of Reading, Reading, England. Director of the Renaissance Texts Research Centre, University of Reading, 1997-2004. Andrew Gurr Fact-checked by Britannica Editors Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree.... Britannica Editors Last updated Feb. 13, 2026 •History Contents Ask Anything

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The Globe was pulled down in 1644, two years after the Puritans closed all theatres, to make way for tenement dwellings. In 1970 the American actor Sam Wanamaker, who was driven by the notion of reconstructing a replica of the Globe, established the Shakespeare Globe Playhouse Trust. Seventeen years later a groundbreaking ceremony was held on a Bankside site near that of the original Globe, and in 1989 the foundations of the original building were discovered buried beneath a historic 19th-century building. Although only a small percentage of the original theatre could be examined, the discovery of these foundations enabled scholars to make certain design adjustments. They changed the planned 24 sides to 20, for instance, and, using the angles revealed by the archaeologists, they made the whole polygon 99 feet (30 metres) in outside diameter. By referring to a number of extant Elizabethan buildings for clues to the structure, style, interior, and roofing, scholars and architects completed the design of the Globe Theatre reconstruction. Using traditional methods and materials, with only a few concessions to modern fire regulations and the like, builders completed work on the new theatre in the mid-1990s. It is now part of a larger complex of buildings known as the International Shakespeare Globe Centre.

The new theatre is not a perfect replica of the original building. It is made, for example, from new green oak, like the Fortune, not from the 23-year-old timbers of a dismantled building, like the original Globe. Its design is still speculative in key areas, such as its size, the shape of the stage, and the decorations. In addition, certain compromises had to be made to satisfy the constraints of fire-safety regulations. These entailed making the stairways and access doors wider, increasing the number of entrances to the yard, positioning sprinkler valves in the ridging of the thatched gallery roofing, and including conduits for electrical wiring. These provisos—and a restriction on the size of the audience at any performance to a maximum of 1,600, roughly half the number that attended the original Globe—have secured the right for the new Globe to be used once again as a theatre.

The basic justification for attempting to reconstruct the Globe in a faithful version of the original is that it can be used to learn more about Shakespeare’s plays. The Globe was Shakespeare’s machine, financed and built by the company that intended to use it. How it worked and what it produced have a great deal to offer to students of Shakespeare’s plays—those written pre-texts, as they have been called with some justice, which record all he thought his fellows needed to know when they staged his plays. Everything that has been wrung from these pre-texts in the last four centuries is enhanced by a better knowledge of Shakespeare’s original concept.

Andrew Gurr