There is a deeply held cultural assumption that the performance of Shakespeare for (or by) those who are not customarily thought of as its audience—those in rural communities, say, but also the impoverished, the marginal, the young, and the incarcerated—is necessarily a Good Thing. Those audiences (or, indeed, players) are somehow uplifted by their encounter with the hallowed text, stunned by its apparent newness and “relevance,” and transformed in ways benefiting society as whole.
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- Place and Pedagogy: Site-Specific Production, School Tours, Prison Shakespeare, and the Question of Agenda
Andrew James Hartley
- Macmillan Education UK
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