Why do urbanized societies need stretches of uninhabited and undeveloped land?
The uncertainty which frames this discussion usefully illustrates the textual instability accrued by the play as it moved from writer to playhouse to page. The writer’s foul copy was made into a fair copy, which was then marked up by the prompter, then subjected to further editing and censorship from the Master of Revels before being passed back to the playhouse where it would exist as a working document until an emended version of the play was provided, at which point the extant version would potentially arrive with a printer, so by the time the play was printed in Qaurto it would have changed considerably from what was originally submitted as ‘foul paper’ by Shakespeare. This journey with its addition and emendations troubles the sense of the play as solid whole. By analysing Romeo and Juliet in terms of the pieces from which it is constructed; the prologue and actors’ parts, and examining the process by which those textual pieces were assembled both in collaboration with the actor and through the processes of early modern theatre, the solidity of this play is destabilised. The words “two star crossed lovers” culturally synonymous with the play become subordinate to it, the order in which lines are spoken is rendered uncertain and the names of the characters speaking those lines are no longer fixed. By observing the play as an “assemblage of textual” pieces generated through historically specific theatre practices, as opposed to a concrete single authored cultural artefact vulnerable to vandalism, possibilities and uncertainties are made visible which deny Shakespearean drama solidity and suggests that it can be made whole only through performance.>GET ANSWER