Nonetheless, Shenandoah Shakespeare Express' productions of both plays, replete with repertorial
"ghosts," raises provocative questions that are both scholarly and performative, intrinsically linked.
The introduction of a new repertorial
programme for a group or community always implies transgression.
In an important study, "Toe-to-Toe Across Maid Lane," Knutson reveals how repertorial
competition shaped the 1599-1600 theatrical season when the two troupes performed literally across the street from one another.
Although the authors and auspices of many surviving plays from the earlier Tudor period remain mysterious, (5) Henry VIII's company appears to have employed practices that would become fully developed repertorial
strategies exploited later by the Queen's Men and other professional playing companies.
That moment was darkened even more by Trevor Nunn's use of a subtle repertorial
strategy, not so much cross-casting one actor in two roles as cross-blocking their movements.
In describing the different repertorial
layers in Add.
In the opening chapter, Massimo Privitera refers to the Farnese-Pio wedding festivities held at Sassuolo in 1587, to Vecchi's writings on the event and to his extensive library and portrait collection in order to establish various biographical, social, cultural and repertorial
contexts for the canzonettas.
When one included the cost of parchment and binding, a finished chansonnier was a very expensive object, and it is hardly likely that a patron would leave major repertorial
decisions up to a craftsman, no matter how skilled.
To give one example, Gurr's Playgoing in Shakespeare's London, which considers whether different types of playgoer frequented different theatres and the extent to which the companies' repertorial
practices reflect this phenomenon, participates in a long-running critical dialogue that takes in Ann Jennalie Cook's The Privileged Playgoers of Shakespeare's London, Alfred Harbage's Shakespeare and the Rival Traditions, and Robert Bridges' 'On the Influence of the Audience' (first printed in the ten-volume 'Stratford Town Shakespeare' of 1904).
Personal and repertorial
links can be traced with a number of other institutions in the Midlands and further afield.
Given the generic scope of the French orchestral song, the topic requires the wide repertorial
and sociological perspectives that Fauser brings to her historical account.
Provided with a repertorial
context, lost plays are less likely to retain the dismissive label of "fillers.