ABSTRACT
The mobility in the billing of performances faithfully reflected the emotional mobility intrinsic to the plays themselves and the emotional mobility required of the spectators. Despite their attempt at comprehensiveness, these sources list very few of the performances staged beyond the patent houses. The Licensing Act established that before bringing a work to a patented stage, fourteen days before performance every playwright had to submit for approval a manuscript copy of his work. In the context of stage appropriations, intertheatricality brings into sharp focus the spectators' horizon of expectations and their encyclopedic knowledge, which may or may not have been mediated. Researchers are faced with an often fragmentary body of evidence that corrupts and obscures their perception of contemporary real intertheatricality – as opposed to its select transmission and construction. Infratheatricality may also attest to how contemporary theatre practitioners successfully managed to negotiate and circumvent governmental censorship.
