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This communicative exchange does not take place in a vacuum, but within different overlapping contexts that frame the theatrical event. As a theatrical event, the meaning of the Jubilee is created thanks to the collaboration between the main performer (Garrick) and the audience (those attending the celebration). On the one hand, Garrick constantly interacts with the audience in activities such as the Ode. On the other, many activities, as the ball or the cancelled pageant, require the direct participation of the attendants. Although the interaction between performer and spectator is central to the theatrical event, Sauter goes a step further, stating that “the event itself is defined by its position in the theatrical, cultural and social world at large” (2004, 11). The theatrical position of the Jubilee is that of not being a theatre play nor a theatre festival, but a performative event including different activities with a varying degree of dramatization. Regarding its cultural and social position, the Jubilee brings together various contexts: that of Stratford, where the celebrations take place, and that of London, from where most of the audience comes. The superposition of these contexts results in an act of exclusion, as the celebrations and the retellings consciously leave aside the local inhabitants of Stratford to celebrate a Shakespeare that belongs to London’s bourgeois society. The Jubilee combines dramatized moments with others in which the commemoration of Shakespeare is transformed into a sort of quasi-religious ritual. In The Romantic Cult of Shakespeare, Peter Davidhazi analyses the event paying special attention to its quasi-religious features, half-way through the secularized ritual and religious revival. Davidhazi pays special attention to an event that is overlooked in many accounts: at one point, some of the participants drank wine from a goblet made with wood from the Mulberry tree (1998, 41). This imitation of a Christian ritual acquired a new meaning: that of commemorating a secular author. Davidhazi mentions as well some other ceremonial features of the celebrations, such as the symbolism of the Mulberry tree wood wand and medal, the inclusion of an oratorio among the concerts or the sense of communitas (with the temporal suppression of social order typical of cultic rituals) that many activities prompted (1998, 38-45). However, arguing that the Jubilee took a purely ceremonial form would be going too far. Whereas many of the activities had ceremonial features, the entertaining nature of others (for instance, the horserace on the third day) challenges the possible conception of the Jubilee as a ceremony. It is therefore more accurate to define it as a performative event combining both theatrical and ceremonial characteristics, whose activities are ritualised throughout their repetition in subsequent celebrations of the poet (e. . some of the Jubilee activities, as the pageant, are still held in Shakespeare’s anniversary in Stratford).

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