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Published online by Cambridge University Press: 07 May 2020
The conclusion considers how the principles currently informing the allocation of public funding to theatre are having little impact on encouraging acoustic diversity on the Shakespearean stage, especially in Shakespearean production recently staged by large National Portfolio Organizations (NPOs), such as the Royal Shakespeare Company and the National Theatre. A statistically insignificant amount of public funding is currently invested in supporting smaller companies or independent projects, which seem better placed to diversity the soundscape of Shakespeare in performance.
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