Conclusion

In this book I have used a cross-comparative approach, deploying Restoration and eighteenth-century adaptations of both Shakespeare’s unaided plays and his collaborations with Fletcher, to investigate the female characters in the plays. I have “read” the original play and its adaptation using a “directorial eye.” The latter type of reading imagines the play on stage in performance, an “imagining” supported by the text itself, contemporary accounts of both the play in performance and the performers, and knowledge of the staging conventions of early modern drama. These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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