Document Type


Publication Date

Summer 2010


This essay considers the use of Shakespeare as marker of authenticity and as a therapeutic space for performers and audiences across a number of genres, from professional actors in training literature to prison inmates in radio and film documentaries. It argues that in the wake of recent academic trends—the critique of "Shakespeare" as an author figure; the privileging of the text as a source of multiple, potentially conflicting readings—Shakespeare's function as cultural capital has shifted sites, from "Shakespeare" to the playtexts themselves.


Copyright © 2010 The Johns Hopkins University Press. This article first appeared in Shakespeare Bulletin, Volume 28, Issue 2, Summer, 2010, pages 235-251.