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Positioned against academic and high cultural assumptions that they possess the ‘authentic’ Shakespeare, contemporary popular culture communicates with audiences searching for other meanings and values.

Shakespeare has become a site of contestation, instead of a simple repository of cultural wisdom; or as Dennis Kennedy once affirmed: “Shakespeare is now a machine to make theatre, to reveal other cultures, to observe their constant change” (quoted in Galery 42).

Today we can wonder if Shakespeare’s force really lies in the idea that he is the “universally relevant inventor of the human3” (Linnermann 8), or rather in the fact that he is a universally available resource, valuable, flexible, free, and allowing a vast number of reappropriations likely to generate new meanings.

“It is this universal availability which constitutes the foundation of the cultural value of Shakespeare in the twenty-first century”, Linnermann stated (8).

London in the 16th century underwent a transformation.Its population grew 400% during the 1500s, swelling to nearly 200,000 people in the city proper and outlying region by the time an immigrant from Stratford came to town.A rising merchant middle class carved out a productive livelihood, and the economy boomed.His name and image have become a sign that encompasses a variety of qualities, a tool for reshaping other cultural objects, becoming a brand most commonly recognizable as sophisticated, important, erudite, complex, artistic, universal, intellectual, a natural genius, etc.But these qualities are part of only one side of his identity.

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