Shakespeare's four-hundred-year performance history is full of
anecdotes - ribald, trivial, frequently funny, sometimes
disturbing, and always but loosely allegiant to fact. Such
anecdotes are nevertheless a vital index to the ways that
Shakespeare's plays have generated meaning across varied times and
in varied places. Furthermore, particular plays have produced
particular anecdotes - stories of a real skull in Hamlet,
superstitions about the name Macbeth, toga troubles in Julius
Caesar - and therefore express something embedded in the plays they
attend. Anecdotes constitute then not just a vital component of a
play's performance history but a form of vernacular criticism by
the personnel most intimately involved in their production: actors.
These anecdotes are therefore every bit as responsive to and
expressive of a play's meanings across time as the equally rich
history of Shakespearean criticism or indeed the very performances
these anecdotes treat. Anecdotal Shakespeare provides a history of
post-Renaissance Shakespeare and performance, one not based in fact
but no less full of truth.
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