This week, The Economist‘s A.C. writes about the digital reinvention of Shakespeare, and opens by describing this year’s staging of 37 plays in 37 different languages at Shakespeare’s Globe. Today we are delighted to publish a guest post by the Globe’s Ruth Frendo and Jordan Landes, who write…
Digital technology intersects Shakespeare studies in many different ways. The digitization of the Bodleian’s First Folio is a brilliant example of how digital media can enhance access to Shakespeare.
The Library and Archive at Shakespeare’s Globe are pursuing another route: the digital capture of performances. Capturing the ephemeral, preserving it and making it available for current and future audiences, has always challenged performance archives. At the Globe, where performance and research combine to explore Shakespeare’s texts in a unique and exciting way, capture and preservation are crucial.
Performances at the Globe have been recorded since the very first productions in 1997. Technology has transformed since then, and we recently installed a capture system which records at a far higher quality than previously used. Capturing more data provides the recordings with more visible data, and facilitates their preservation.
Our next step will be to upgrade our cameras and cabling to produce and transmit high definition television signals. New cameras will give us greater control of light and focus settings, providing higher tolerance of changing environmental conditions – an important consideration for recording in an outdoor theatre during a typical British summer!
Today’s information professionals are pioneers in the untamed landscape of digital preservation, a terrain whose boundaries and pitfalls shift with each new technological development. The prospect is as exhilarating as it is daunting. The more digital resources that libraries and archives can provide for researchers, the more useful we will remain.
Ruth Frendo, Archivist and Jordan Landes, former Librarian