Shakespeare, Theory and Performance is an exciting collection of essays, bringing a full range of contemporary critical perspectives to bear upon the practical questions of performing Shakespeare. During recent years, a new revolution in critical theory has called into question a number of assumptions about the performance of Shakespeare which had long gone unchecked.

In this volume, contributors from theater, literary and Shakespearean studies collaborate to offer a productive rnterplay, employing a variety of discourses--including feminism, post-colonialism, and semiotics--to challenge and interrogate the practice of Shakespearean performance. Issues include implications of gender, race and class for audience response; the impact of technology on the study of performance as text; and the appropriation of Shakespeare by foreign cultures.