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Foreign Antony and Cleopatra in Britain and abroad
Carol Chillington Rutter

Tannoy told spectators they could leave their seats, take a break – or come up on stage. (In Amsterdam, this announcement produced a thunder of feet as the balconies emptied.) After that, until the final half hour of Antonius & Cleopatra , spectators were free to make the stage space their own: to move about, put themselves inside the action on the sofas next to the actors where their faces became part of the media show, watch the action from different positions (live; screened), post comments on social media, visit the bar, take time out or, indeed, watch the whole

in Antony and Cleopatra
Kate McLuskie
Kate Rumbold

catalyst, not product; a stage in, not the destination of, cultural affairs’ 57 is a defiant challenge to the passivity of mass consumption. New technology – from retweeting companies’ messages on social media to personalising commercial products through 3D printing – has reinvigorated a discourse in which people can seize control of brands for their own ends. 58 In such spaces

in Cultural value in twenty-first-century England
Abstract only
Shakespeare meets genre film
Kinga Földváry

observation of algorithms, whether employed by social media sites, online marketplaces or digital archives, which constantly apply generic criteria when organising their big data into meaningful categories. They try to induce us to consume more based on our earlier search and purchase histories, or other measurements of our digital footprint. Looking at Amazon, the Internet Movie Database or any online marketplace – advertising their new offerings with the catchphrase: ‘if you liked this product, you may like that one as well’ – it becomes clear that the relationship

in Cowboy Hamlets and zombie Romeos