1. Margaret Jane Kidnie, “Where Is Hamlet? Text, Performance, and Adaptation,” A Companion to Shakespeare and Performance, ed. Barbara Hodgdon and W. B. Worthen (Oxford: Blackwell, 2005), p. 115. Mark Twain, Adventures of Huckleberry Finn, ed. Victor Fischer and Lin Salamo, with Harriet Elinor Smith and Walter Blair (Berkeley: University of California Press, 2010), pp. 178–9.
2. On the "return of the author in Shakespeare studies," see Lukas Erne, Shakespeare as Literary Dramatist (Cambridge: Cambridge University Press, 2003), and Patrick Cheney, "Introduction," Shakespeare Studies, 36 (2008): 19
3. Michael Bristol, Shakespeare's America, America's Shakespeare (London: Routledge, 1990), p. 97. I have discussed this movement in "Intoxicating Rhythms
4. or, Shakespeare, Literary Drama, and Performance (Studies)," Shakespeare Quarterly, 62 (2011): 309-39.
5. Rachel Anderson-Rabern, “The Naure Theater of Oklahoma’s Aesthetics of Fun,” TDR: The Drama Review—The Journal of Performance Studies, 54.4 (Winter 2010, T-208): 94. On “de-dramatizing” and “scenic écriture,” see Hans-Thies Lehmann, Postdramatic Theatre, trans. Karen Jurs-Munby (London: Routledge, 2006), p. 74.