We watch Shakespeare in performance on a bewildering variety of screens, large and small, and through a range of delivery systems: streamed into movie theaters, translated into emoji via text message and Twitter, and filtered through the minds of hot-take provocateurs on blogs or vlogs. What is the significance of how and where we see the plays? What happens as they are transformed from three dimensions to the many kinds of two? Peter Holland, McMeel Family Professor in Shakespeare Studies and ...
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