In this study, the author offers new interpretations of
Shakespeare's works in the context of two major contemporary
notions of collectivity: the crowd and rumour. The plays illustrate
that rumour and crowd are mutually dependent; they also betray a
fascination with the fact that crowd and rumour make individuality
disappear. Shakespeare dramatizes these mechanisms, relating the
crowd to class conflict, to rhetoric, to the theatre and to the
organization of the state; and linking rumour to fear, to fame and
to philosophical doubt. Paying attention to all levels of
collectivity, Wiegandt emphasizes the close relationship between
the crowd onstage and the Elizabethan audience. He argues that
there was a significant - and sometimes precarious - metatheatrical
blurring between the crowd on the stage and the crowd around the
stage in performances of crowd scenes. The book's focus on crowd
and rumour provides fresh insights on the central problems of some
of Shakespeare's most contentiously debated plays, and offers an
alternative to the dominant tradition of celebrating Shakespeare as
the origin of modern individualism.
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