In the Shakespeare aftermath-where all things Shakespearean are available for reassembly and reenactment-experimental transactions with Shakespeare become consequential events in their own right, informed by technologies of performance and display that defy conventional staging and filmic practices.
This study explores the structure of psychological, social and political exchanges that were negotiated between audiences and plays in Elizabethan public theatres in a period ostensibly dominated by Shakespeare, but strongly rooted in Marlowe.
This book offers an original assessment of a broad range of texts and cultural events that appropriate Shakespeare.
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