Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

1 results

  • Chapter 24 - Who Pays the Price?

  • Edited by Amy Lidster, University of Oxford, Sonia Massai, King's College London
  • Book:
    Shakespeare at War
    Published online:
    17 August 2023
    Print publication:
    17 August 2023, pp 231-238

  • Summary

    In this interview, Maria Aberg gives a detailed account of her production of Days of Significance, which premiered at the Swan Theatre, Stratford-upon-Avon, on 10 January 2007 and then toured to the Tricycle Theatre in London and to other venues across the UK. Aberg explains how her production highlighted a pervasive presence of violence connected to the kind of masculinity allowed and fostered in young men at home that then has enormous consequences when these same men are sent into armed conflict abroad. She also explains how the fact that Days of Significance was loosely inspired by Shakespeare’s Much Ado About Nothing had a significant impact on how differently her production was interpreted and reviewed in Stratford-upon-Avon and elsewhere, where most members of the audience were not aware (and were not made aware) of the Shakespearean connection. In this respect, Aberg’s interview reinforces the realization shared by most of the contributors to this collection that the significance of ‘wartime Shakespeare’ is often complex and context-dependent.