Abstract and Keywords
Audiences just a few decades ago would not have recognized much of what now passes for Shakespeare in performance. New theatrical styles and techniques, often the result of intercultural exchange, have gained an authority once accorded only to the text; new modes of adaptation and unaccustomed performance venues have fundamentally altered the relationship between actors and audience; and the concept of ‘live’ performance has been profoundly altered by the digital revolution. Shakespearean performance criticism likewise has undergone a sea change in recent years, and the essays in this volume reflect this. The first group interrogates how Shakespeare continues to achieve ‘contemporaneity’ or ‘relevance’ for Western audiences; the second tackles the burgeoning field of reception, involving memory and cognition studies; the third addresses the ways in which technology has altered our views of Shakespeare; and the final group grapples with the emergence of intercultural or ‘global’ Shakespeare.
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