caa a22 4500 388058315 CHVBK 20180307125113.0 cr unu---uuuuu 161130e199805 xx s 000 0 eng 10.1017/S004055740000301X doi S004055740000301X pii (NATIONALLICENCE)cambridge-10.1017/S004055740000301X Shaughnessy Robert The Last Post: Henry V, War Culture and the Postmodern Shakespeare [Elektronische Daten] [Robert Shaughnessy] "Marketing, that mysterious part of the theatre industry, can produce surprising effects,” observes Peter Holland in his recent book on Shakespearean production in Britain during the 1990s. Discussing the material constraints on the repertory of the Royal Shakespeare Company, Holland cites the promotion of the 1994 production of Coriolanus as it transferred to the Barbican, which, knowingly addressed a "youth” market versed in the work of Oliver Stone and Quentin Tarantino. The RSC poster displayed a blood-soaked Toby Stephens in the title role, accompanied by the slogan "A natural born killer too.” For an even more surprising and mysterious example of optimistically modish marketing, consider the tactics of the newspaper advertisement announcing the 1996 season at Stratford-upon-Avon. Avoiding any direct mention of Shakespeare, his plays, or theatre, it pictured an ominously darkened cloudscape, with slogans projected onto it, almost like skywriting. These posed a question, "Virtual reality?” and a riposte: "Try the real thing.” Copyright © American Society for Theatre Research 1998 Theatre Survey Cambridge University Press 39/1(1998-05), 41-61 0040-5574 39:1<41 1998 39 TSY https://doi.org/10.1017/S004055740000301X text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.1017/S004055740000301X text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Shaughnessy Robert NATIONALLICENCE 773 0- Theatre Survey Cambridge University Press 39/1(1998-05), 41-61 0040-5574 39:1<41 1998 39 TSY CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge