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In this article I consider the multiplex audience of Pavel Kohout's Play Makbeth, staged by the dissident Prague Apartment Theater of Vlasta Chramostova in the late 1970s, in part by placing this event on the interface between Czech postwar Shakespearean and post-revolution theatrical criticism. Oppressed by the normalization following 1968, this theater remedialized its productions in order to reach audiences within and beyond the Iron Curtain, putting tension on our traditionaldoi:10.26262/gramma.v15i0.6464 fatcat:65fdm4spjjevtiitkmxunz5p44