Abstract
This essay synthesizes theories of intertextuality in order to offer a method for studying a type of performance text: the seamless intertext. Specifically, those performance texts that combine various perspectives and discourses engender variation in audience response through the interplay of extrinsic and intrinsic intertextuality. It identifies four categories of intrinsic intertexts, evident in Emily Mann's play Execution of Justice, and analyzes how the juxtaposing of the various texts feature their points of plurality and contradiction. The final section demonstrates how this juxtaposition invites the audience to question and challenge the perspectives of the intrinsic intertexts it combines.
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