Abstract
This article asks a number of questions about the nature of ‘Jacobethan’ theatrical experience. It does not pretend to offer answers, only problems. Acknowledging the intense commercial, competitive and time pressures under which companies might work, and the way in which scripts might be adapted, it nevertheless accepts the idea of the playwright as literary artist and addresses the paradox of discernible, complex and often abstract patterns built into the writing of plays designed for audiences of wide ability and little forgiving patience, and asks how these patterns were meant to be received.
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