This article examines the Royal Shakespeare Company’s (RSC) recent focus on digital ‘innovation’ by analysing the relationship between their emerging digital-focused business practices and digital performance practice for The Tempest (2016). To assess this relationship, I first review the socioeconomic context of 21st century neoliberal UK economic policy that encourages arts organisations such as the RSC to participate in innovative digital production practices. I follow with a definition and deconstruction of ‘innovation’ as a key term in UK economic policy. I then demonstrate how the RSC has strategically become involved in innovation practices throughout the 2010s. I will then analyse the digital, motion-capture performance practices the RSC developed in partnership with Intel and motion-capture studio The Imaginarium for The Tempest. In doing so, I will demonstrate that The Tempest serves to legitimise the RSC’s status as a competitor and collaborator in the wider digital economy.

This editorial provides an overview of our special issue, 'Teaching Shakespeare: Digital Processes'. The editors introduce the aims, scope and methodology for the special issue overall and highlight the authors' contributions to the issue. This special issue provides a survey and analysis of global pedagogical practices in relation to teaching Shakespeare with digital technologies in high school and university settings. Through our authors' articles, individual pedagogical reports, and the editors' interviews with professionals in digital pedagogical Shakespeare resources, we aim to capture and document the current global state of digital processes for teaching Shakespeare. KEYWORDS Shakespeare; digital pedagogy; editorial; global pedagogyIt is 2017, the two co-editors (Amy Borsuk and Henry Bell) and consulting editor (Christie Carson) of this journal meet, IRL (in real life), for the first time in a pub, in Bankside, London a stone's throw away from the reconstructed Shakespeare's Globe. Appropriately for the theme of this issue, the three of us had, prior to this gathering, met for the first time through digital processes, co-authored a call for papers, formulated a series of interview questions and successfully organised and co-ordinated a multi-venue interview day with three different large-scale cultural organisations. One form of interaction could not exist without the other and, from our perspectives, both our face-to-face meetings and digital conversations enabled the scope, focus and rigour of the journal to be augmented. In this sense, the experience of putting together this journal was a microcosm of the themes and issues contained within it. I'll teach you differences (King Lear. I.iv.86-89, my emphasis)This special issue provides a survey and analysis of global pedagogical practices in relation to teaching Shakespeare with digital technologies in high school and university settings. William Shakespeare holds a unique position within education: few other cultural entities can claim to match the range of contact across ages, disciplines and countries that his work, life and cultural impact have produced. The diversity of pedagogical approaches to Shakespeare, therefore, is enormousa diversity which has become even more widespread with the quickening rate of digital proliferation in everyday life and pedagogy. More than ever, processes are quickly outmoded, updated, disseminated, requiring a constant state of critical reflection. Major publications including Broadcast Your Shakespeare

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