Nudge, Nudge, Wink, Wink, Know What I Mean, Know What I Mean? A Theoretical Approach to Performance for a Post-Cinema Shakespeare

  • D. J. Hopkins
  • Catherine Ingman
  • Bryan Reynolds


The wave of success that has established William Shakespeare as the most popular and prolific screenwriter currently working in Hollywood shows no sign of abating.2 But, as evidenced by the disparity in style and quality of recent productions, there is more than one way to make a “Shakespeare movie.” In an article titled “Shooting Shakespeare,” written for the popular magazine Madison, movie columnist Graham Fuller sums up the last ten years of film versions of Shakespeare: “It has been a noble collective effort, a testament to the most inventive literature in existence—and, by extension, to the absence of invention in modern cinema” (83). Fuller notes a lack of inventiveness on the part of Hollywood writers who continue to raid Shakespeare’s collected works for their screenplays. We agree that there is an “absence of invention” in contemporary approaches to “shooting Shakespeare,” but we experience the problem less in the screenwriting than in the direction and acting.


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Copyright information

© Bryan Reynolds 2003

Authors and Affiliations

  • D. J. Hopkins
  • Catherine Ingman
  • Bryan Reynolds

There are no affiliations available

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