What kinds of critical insights are made possible only or especially via creative strategies? This volume examines how creative modes of writing might facilitate or inform new ways to critically engage with Shakespeare. Creative writing, demonstrated in a series of essays, reflections, stories and scenes, operates as a vehicle for exploring and articulating critical and theoretical ideas. In doing so, Shakespeare's enduring creative and critical appeal is newly understood and critiqued.

This innovative study offers a genuinely groundbreaking approach to Shakespeare in performance. Six chapters work like case studies, each highly creative in terms of visual form and structure - including puzzles, comics and pinboards - inviting the reader into playful engagement with the performative dimensions of Shakespearean production. The case studies include discussion of training and rehearsal processes; the materiality of the performance event and its various embodiments; the intertextual citations through which productions make meaning; and, in response to all of this, the multiplicity and variety of audience perspectives and interpretations. Conkie's production choices range from original practices to politicised adaptations, small-scale workshops to multimedia spectacles, offering inventive analyses of what Shakespeare might mean, or can be made to mean, at particular times and in specific places, at the start of the twenty-first century.

What kinds of critical insights are made possible only or especially via creative strategies? This volume examines how creative modes of writing might facilitate or inform new ways to critically engage with Shakespeare. Creative writing, demonstrated in a series of essays, reflections, stories and scenes, operates as a vehicle for exploring and articulating critical and theoretical ideas. In doing so, Shakespeare's enduring creative and critical appeal is newly understood and critiqued.

This innovative study offers a genuinely groundbreaking approach to Shakespeare in performance. Six chapters work like case studies, each highly creative in terms of visual form and structure - including puzzles, comics and pinboards - inviting the reader into playful engagement with the performative dimensions of Shakespearean production. The case studies include discussion of training and rehearsal processes; the materiality of the performance event and its various embodiments; the intertextual citations through which productions make meaning; and, in response to all of this, the multiplicity and variety of audience perspectives and interpretations. Conkie's production choices range from original practices to politicised adaptations, small-scale workshops to multimedia spectacles, offering inventive analyses of what Shakespeare might mean, or can be made to mean, at particular times and in specific places, at the start of the twenty-first century.