See the FBRT web site for information, on-going research and discoveries made re: the Shakespeare Authorship Question.
I was thrown unsuspectingly into this hotbed of debate in the early 1970's, and if you want a comfortable life it is a singularly uncomfortable place to be. Dogma abounds, both in academic and scientific institutions. They are ruled by dominant people, or groups of people, with dogmatic views and vested interests, and it is dangerous to question such 'authority'. There are many taboos. To break such a taboo is to bring the vehement and dismissive fire of authority down upon one's head, and many brave searchers after truth have suffered badly and unfairly from such attack. To question the orthodox viewpoint concerning the authorship of the Shakespeare works is a particularly powerful example of this. Yet the whole subject is entirely questionable and worthy of questioning. (See SAT and Doubt About Will and The Shakespeare Puzzle websites.)
The case for the actor of Stratford-upon-Avon being the author of the poetic and dramatic works published under the name of William Shakespeare is based entirely on evidence that was supplied only after the actor's death and which is enigmatic to say the least. Despite all the painstaking research that has been done, absolutely nothing has been found in the actor Will Shaksper's life to indicate him as the author, or indeed as having written anything at all. This in itself is extraordinary and invites many questions. Moreover, people in Shakespeare's day were already questioning the authorship and suggesting who the author might really have been.
When one looks carefully at the evidence that is supposed to indicate Will Shaksper as the author Shakespeare, then the questions come thick and fast. The evidence is contained in the 1623 Shakespeare First Folio and the Shakespeare Monument erected in Holy Trinity Church, Stratford-upon-Avon. But the evidence is blatantly enigmatic, even to the extent of the Monument suggesting that there were two Shakespeares, the actor and the author.
The Folio alerts us strongly in its opening pages to an enigma, a secret. The engraved portrait on the title page carefully depicts Shakespeare with a doublet that has two left shoulders, one seen from the front and one from the back. This is not accidental. Left-handedness was used to signify something that was cryptic, concealed. Ben Jonson's equally cryptic poem prefacing the portrait suggests the same—all is not what it seems.