This dissertation argues that Shakespeare’s romances reflect a critical nexus where self-reflexive dramatic techniques and constructions, generic intermixtures, and the social and political contexts of early modern England all come together to highlight and explore the idea and experience of estrangement, both as it is structurally imbricated within the plays and as they affected the audiences viewing them. That is, this dissertation shows how the key concept of “estrangement” connects to the romances—Pericles, Cymbeline, The Winter’s Tale, and The Tempest—in multiple ways: thematically, generically (in terms of medieval and other sources), experientially (in connection to the concept of the “encounter” in travel writing), performatively (in terms of the “distancing” effects on audiences), and spatially (in terms of the plays being conceived for two difference playhouses). Thus, the term “estrangement,” I argue, ushers a critical language to interpret the romances in terms of their distinctive features.In these late plays, Shakespeare presents “old tales” in estranging ways that invite a critique and interrogation of established systems of power, especially patriarchal rule. The romances allow audiences to see the “righting” of wrongs that cause estrangement and possible death. Spectacular and strange moments where the wives and daughters of male rulers shift between life and death are foundational to the plays; these women haunt their husbands and fathers as well as the plays themselves. Chapter 1 uses The Winter’s Tale to show how the romances are an estranged genre; they are haunted by medieval prose romances and miracle plays, and they playfully interrupt genre expectations of the early modern period. Chapter 2 uses Pericles to show how Shakespeare’s romances reflect the traveling culture of the period, particularly early modern globalization, and an interest in cultural geography. It shows how the play stages moments of “encounter,” which function as moments of estrangement for characters within the play. Chapter 3 argues that Shakespeare incorporates elements of the masque to create scenes of spectacle, often coinciding with the deus ex machina of a deity who helps solve the problems of the characters. The chapter shows how Jupiter’s descent in Cymbeline enables the audience to question the king’s power, especially since it is Jupiter’s intervention which enables the peace at the end of the play. Finally, Chapter 4 considers space and place in The Tempest, showing how Shakespeare was adapting his plays to be able to be staged in different London theaters. The final chapter also considers the estranged space and place of global and digital adaptations of the play being performed in the twenty-first century. Overall, this dissertation demonstrates that if we pay attention to the estrangements within Shakespeare’s romances, we see how they reflect the culture of the period, create a unique affective experience for audiences, and present spaces where difference and adaptation are championed. They leave space for readers and audiences to wrestle with the complexities of life and death, to be haunted by strong female characters, and to envision “brave new worlds.”
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