ABSTRACT
The phenomenon of the director/auteur as a central interpretative figure in the twentieth-century performance of Shakespeare’s plays may be traced back to Harley Granville Barker. However, his stage realisation of Shakespeare was limited to only three productions (four if we count his engagement with Lewis Casson’s production of King Lear in 1940), leaving the mediation of his practice to be disseminated more widely through his writing on the performance of Shakespeare, which grew directly out of his creative sensibility and experience of the material business of making theatre.
