Think you know Shakespeare? Think again . . . Was a real skull used in the first performance of Hamlet? Were Shakespeare's plays Elizabethan blockbusters? How much do we really know about the playwright's life? And what of his notorious relationship with his wife? Exploring and exploding 30 popular myths about the great playwright, this illuminating new book evaluates all the evidence to show how historical material—or its absence—can be interpreted and misinterpreted, and what this reveals about our own personal investment in the stories we tell.

Original Scholarly Monograph

This collection of scholarly essays offers a new understanding of local and global myths that have been constructed around Shakespeare in theatre, cinema, and television from the nineteenth century to the present. Drawing on a definition of myth as a powerful ideological narrative, Local and Global Myths in Shakespearean Performance examines historical, political, and cultural conditions of Shakespearean performances in Europe, Asia, and North and South America. The first part of this volume offers a theoretical introduction to Shakespeare as myth from a twenty-first century perspective. The second part critically evaluates myths of linguistic transcendence, authenticity, and universality within broader European, neo-liberal, and post-colonial contexts. The study of local identities and global icons in the third part uncovers dynamic relationships between regional, national, and transnational myths of Shakespeare. The fourth part revises persistent narratives concerning a political potential of Shakespeare’s plays in communist and post-communist countries. Finally, part five explores the influence of commercial and popular culture on Shakespeare myths. Michael Dobson’s Afterword concludes the volume by locating Shakespeare within classical mythology and contemporary concerns.

M. Guizot, in his History of England, states the Shakespearean problem in a few words, when he says: "Let us finally mention the great comedian, the great tragedian, the great philosopher, the great poet, who was in his lifetime butcher's apprentice, poacher, actor, theatrical manager, and whose name is William Shakespeare. In twenty years, amid the duties of his profession, the care of mounting his pieces, of instructing his actors, he composed the thirty-two tragedies and comedies, in verse and prose, rich with an incomparable knowledge of human nature, and an unequaled power of imagination, terrible and comic by turns, profound and delicate, homely and touching, responding to every emotion of the soul, divining all that was beyond the range of his experience and for ever remaining the treasure of the age—all this being accomplished, Shakespeare left the theater and the busy world, at the age of forty-five, to return to Stratford-on-Avon, where lived peacefully in the most modest retirement, writing nothing and never returning to the stage—ignored and unknown if his works had not forever marked out his place in the world—a strange example of an imagination so powerful, suddenly ceasing to produce, and closing, once for all, the door to the efforts of genius."