This work investigates the ontological status of the dramatic work in the context of performance, questioning how Shakespearean texts are defined and redefined through the process of adaptation. Margaret Jane Kidnie, a scholar of early modern literature and performance, challenges the traditional view of the play-text as a stable, singular entity. By examining the intersection of textual history and contemporary production, she argues that the work is not a fixed object but a dynamic process that exists only through its repeated, varied iterations in different media and cultural contexts.

Scholars frequently cite this text as a significant contribution to the field of adaptation studies, particularly for its rigorous challenge to the concept of textual fidelity. Experts highlight the book's utility for students and researchers navigating the complex relationship between performance history and literary theory.