By J. Gavin Paul (auth.)
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Example text
37) A heightened awareness of the thorny interconnections of text and performance—Poem and Play—in editorial circles is inseparable from developments in Shakespeare studies generally. Just as editors have seen fit to give more prominence to performance within their editions (sometimes, as we see in the quotation from the Webster editors, by conceding their inability to account for it as meaningfully as they might like), so too have text and performance been continually reprioritized in other streams of critical practice.
Finding the means to address both the gaps that readers require to be filled for them and the gaps that they should fill (or at least confront) on their own in order to appreciate a playtext’s ambiguity is no easy task—the very gaps that are identified as substantive and the ways in which they are subsequently dealt with will vary from play to play, and from editor to editor. To her credit, in a subsequent essay, “Staging Shakespeare’s Drama in Print Editions,” Kidnie has explored what an edition that more fully acknowledges or “embrace[s] radical uncertainty” might look like.
In Worthen’s words, “theatrical choices arise at the intersection between the text and the formal strategies of its meaningful production as theater” (Authority 175); my intention with performancescape is to enhance awareness of such “intersections” and to foster alertness to the fact that editions, past and present, direct readers toward performance options—some of which are relatively obvious and grounded in the text, some decidedly less so.