In 2002, writing eloquently and passionately against Adrian Noble's plan to dismantle the Royal Shakespeare Company's repertorial
structure, Miriam Gilbert was particularly concerned that the loss of plays performed in repertory would seriously weaken the intensity of an audience's experience with those plays.
In the case in question, the activities of Enlightened women for the introduction of new models in Portugal in the second half of the eighteenth century can be seen as a cultural action (the adjective 'cultural' is not included in the dictionaries mentioned above but the noun was understood as 'instruction' by Moraes Silva, replacing Bluteau's concept of 'cultivation of belles-lettres', a term that better defines the repertorial
group of the time we are referring to.
From a repertorial
perspective, however, the Merchant of Venice may also be responding to a portrait of Pythagoras as a fountainhead for such adages and injunctions in a lost play by Shakespeare's rivals.
This overlap of court and public stage actors suggests possible repertorial
overlap since the players would have brought their stock of plays with them from venue to venue.
Indeed, one consequence of Dalmonte and Privitera's intentionally secluded view is that we are given little idea of exactly how Vecchi's six-voice canzonettas compare in anything other than a repertorial
sense to the more common three- or four-voice canzonetta or to other six-voice canzonettas of the period.
An especially good example of the repertorial
approach facilitating discussion of less canonical dramatists is Bly's Queer Virgins and Virgin Queans, which concerns the plays of the King's Revels company.
No direct repertorial
links can be traced between Eton and Fotheringhay Colleges.
In the case of "The Conquest of the West Indies" (1601), the idiosyncrasy of its title provides an unexpected clue to its subject matter, which thus suggests a new repertorial
Its complexities--such as four different numbering systems, repertorial
layers that blur into each other, and initial letters recycled front earlier stages of the manuscript--demand an introduction far more accurate, detailed, and convincing than just about any heretofore made.
Among the earlier recordings, made by Grayston Burgess and the Purcell Consort of Voices, David Loggan's print of Eton College emphasizes the repertorial
link with the college, even though most of the polyphony on the record was written elsewhere.
Instead, Alden's arguments in a forthcoming study in favor of Tours as the origin for the planning and copying of Nivelle are based on repertorial
considerations including local composers, and the style of Nivelle's illuminations.
First, the adaptation of the story of Guy of Warwick for the stage permits insights into the repertorial
strategies employed by dramatists and theatre companies as they strove to satisfy audience demand.