Search & Browse

Investigates influence of "systemic whiteness" on interpretation of Shakespeare's plays. Examines how race has been "elided, misconstrued, or otherwise rendered invisible [in Shakespeare] by readers who have ignored the presence of race in early modern England." Considers race in Othello, Merchant of Venice, and Hamlet.

Explores performance techniques of commedia dell'arte, explaining how techniques served as basis for early modern theater throughout Europe. Considers influences of commedia dell'arte gestures in Shakespearean performance and of commedia dell'arte genre on modern-day productions of Shakespeare with Improvised Shakespeare Company in Chicago.

Offers perspective on reception of Freudian psychoanalysis in relation to Poland’s geopolitical environment in early twentieth-century. Discusses Polish intellectual Ludwik Jekels’s (1867-1954) application of psychoanalysis to study Shakespeare's texts, particularly Jekels' study of Macbeth's Macduff, which connected Macduff's guilt for abanoning his family with Shakespeare's own.  

Discusses imaginary literary community consisting of Shakespeare and Herman Melville. 

Includes one chapter on Shakespeare. 

Japanese-language translation of Henry V. Includes afterword by translator, and performance table of performances of Henry V in postwar Japan, and critical explanation by Tetyuya Yui.  

Thyrza Abrahams, assistant director. Sets by Tom Piper, costumes by Tom Piper and Natasha Ward, and lighting by Johanna Town.

Produced by the Royal Shakespeare Company (https://www.rsc.org.uk) at the Royal Shakespeare Theatre, Stratford-upon-Avon, 26 January-4 March 2023.

With Jamie Ballard (Antonio), Ishia Bennison (Gonzalo), Natalia Campbell (Iris), Tina Chiang (Ship Master), Grace Cookey-Gam (Sebastian), Peter De Jersey (Alonzo), Heledd Gwynn (Ariel), Liz Jadav (Jono), Jonny Khan (Francisco), Alex Kingston (Prospero), David Lee-Jones (Adrian), Joseph Payne (Ferdinand), Rodrigo Peñalosa Pita (Boatswain), Jessica Rhodes (Miranda), Tommy Sim'aan (Caliban), Imogen Slaughter (Ceres), Simon Startin (Stephano), and Cath Whitefield (Trinculo).

Describes seventeenth-century manuscript notebook featuring forty-eight pages of over 12,500 words and hundreds of quotations from Shakespeare's plays. Reports on how notebook will be put on display for first time as part of exhibition at Shakespeare Birthplace Trust in Stratford-upon-Avon.

Focuses on debates surrounding Anna Radlova's translation of Romeo and Juliet in the 1930s, which was criticized for oversimplifying Shakespeare, omitting or distorting key words, and altering text to pander to Soviet audiences. Russian summary, 222.

Assesses that Pascal Rambert’s The Closure of Love (or Love’s End) (2011) and Tim Crouch’s The Author (2009) are examples of self-reflective dramas that challenge “the closure of representation.” Considers Hamlet as prototype of early metadrama. English summary, 42.