ABSTRACT
This conclusion presents some closing thoughts on the concepts discussed in the preceding chapters of this book. The book addresses the mechanics of artistic adaptation and exchange: the multiplicity of layers, vertiginous movement of passages from one system to another, discovery of a Shakespeare hitherto hidden, continuous network of reductions, amplifications, and interpolations. The history of successive Italian versions of Sonnets reveals the difficulties of finding another linguistic system and other prosodic rules for housing Shakespeare's poetry. The book describes the gamut from comparative literature to performance history, reception theory, translation studies, and even socio-ethnological approaches, tracing Shakespeare through a seemingly "infinite variety" of literary and dramatic negotiations. It adopts a more irreverent approach, Chiara Guidi, in conversation with Sonia Massai, unpack her production of Macbeth. Guidi seems to cannibalize even Shakespeare's weighty paper textuality, an approach to his canonicity that may recall Charles Marowitz's Hamlet —a compressed collage of the play, sparse, fractured, stylized, experimental.
