The sense of an ending
in Titus Andronicus
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Many different areas of Titus Andronicus have posed problems on the stage and on the page. The densest concentration of such problems and anomalies (as perceived by today's directors, critics, and editors) comes in the final scene. This chapter looks at some features of a section of Titus Andronicus that can provide a useful conclusion to a 'Shakespeare in performance' approach to this difficult script. It also considers the segment up to the deaths of Lavinia, Tamora, Titus, and Saturninus. To present the many options presented by the script as it survives in the quarto is perhaps to frustrate the reader who prizes fixedness in interpretation and to give the impression of a Shakespeare play as a do-it-yourself kit. The chapter expands the reader's or director's sense of those options and argues on behalf of the theatricality and range of meaning in the original script.

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