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1 results

  • Chapter 7 - Audiences

  • from Part I - Contexts
  • Edited by Katharine A. Craik, Oxford Brookes University
  • Book:
    Shakespeare and Emotion
    Published online:
    01 October 2020
    Print publication:
    22 October 2020, pp 109-121

  • Summary

    What do audience members feel when they go to playhouses, and how and why do they feel it? This essay explores responses to performances within plays as models for imagining the circulation of emotions in theatres. In Much Ado About Nothing, Claudio watches other men play-act versions of himself courting Hero, while Beatrice and Benedick fall in love by eavesdropping on staged stories of each other’s feelings. In Measure for Measure, a deputy representing Duke Vincentio responds unpredictably to watching Isabella’s commissioned performance of pleading on her brother’s behalf. Like playgoers, these characters experience emotions by participating vicariously in deliberately orchestrated dramas. In particular, identifying with surrogates who act on their behalf offers them otherwise risky forms of affective licence. In his depictions of these responses to performances, Shakespeare explores the uneasy status of the artificially induced emotions experienced in playhouses, and the thorny question of who or what is responsible for generating them.