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This essay considers the cultural work done by the role of the Shakespearean director, locates the discourses and practices of contemporary Shakespearean directing within the appropriative discourses and practices of high modernist formalism, and traces continuities between modernist and postmodernist manifestations of the direct ing of Shakespeare, focusing on Peter Brook and his 1970 production of A Midsummer Night's Dream, and on two Shakespearean productions by Quebec's Robert Lepage. It begins with a story. |
