Over the past decade, attribution scholars have come to a consensus
that Shakespeare wrote some of the additions printed in the 1602
quarto of Kyd's Spanish Tragedy. This new development in textual
studies has far-reaching consequences for established
theatre-historical narratives. Accounting for Shakespeare's
involvement in The Spanish Tragedy requires us to rethink the
history of two major theatre companies, the Admiral's and the
Chamberlain's Men, and to reread much of the documentary record of
late Elizabethan theatre. Modelling what a theatre-historical
response to new attributionist arguments might look like, the
author offers an in-depth reinterpretation of Philip Henslowe's
records of new plays, develops a novel account of how theatre
companies copied and adapted plays in one another's repertories
(including a reconsideration of the 'Ur-Hamlet' and the two Shrew
plays), and reconstructs an early modern cluster of Hieronimo plays
that also allows us to reimagine Ben Jonson's career as an actor.
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