ABSTRACT
The parenthetical ‘his’ also underlines the explicitly gendered nature of this relocation of meaning. Clamorous Voices endeavours not to reclaim the
Shakespearean text for performance in general, though this is an inevitable byproduct of the work, but for female performance in particular. The patriarchal prescription of interpretation hinted at by the possessive ‘his’ is rejected in favour of a feminist reclamation of these roles for the women who have occupied them.4 The purpose of this chapter is to investigate the extent to which this project has been achieved, and to analyse the often sophisticated rhetoric used by these women to characterise their relationship with this most authoritative of male writers.
