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Employs examines reading as social and cultural practice and describes pedagogical strategies of "active Shakespeare" as practiced in United Kingdom, United States, and Australia. Explains difference between approach of "reading through drama" and theatrical practices promoted by arts institutions.

Martine Key Green-Rogers, dramaturg. Sets by James Noone, costumes by Mieka van der Ploeg, lighting by Ken Posner, and music by Lindsay Jones.

Produced by the Chicago Shakespeare Theater on Navy Pier (https://www.chicagoshakes.com) at the Chicago Shakespeare Theater, Chicago, IL, 9 March-16 April 2023.

With Breon Arzell (David/Angelo), Adia Bell (Fanny/Merchant), Melanie Brezill (Alice Boggs/Luciana), Lillian Castillo (Marian/Courtesan), Dan Chameroy (Phil Sullivan/Antipholus of Ephesus), William Dick (Charles Chittick/Second Merchant), Kevin Gudahl (Brian Hallifax/Dromio of Ephesus), Ora Jones (Doris/Aemilia/Abbess), Bill Larkin (Eddie Philpot/Doctor Pinch), Ross Lehman (Dudley Marsh/Dromio of Syracuse), Michael E. Martin (Tom), Steve McDonagh (Cyril/Nell), Russell Mernagh (Patch/Balthasar), Susan Moniz (Veronica Marsh/Adriana), Robert Petkoff (Emerson Furbelow/Antipholus of Syracuse), Maya Vinice Prentiss (Priscilla/First Merchant), Greg Vinkler (Admiral Philpot/Egeon), and Bruce A. Young (Monty/Solinus).

Considers biblical allusions in King Lear and how Ukrainian translation by Panteleimon Kulish foregrounds play’s biblical references, facilitated by translator’s previous translations of Pentateuch, Story of Job, and Gospels into Ukrainian. English summary, online.

Traces roots of Love's Labour's Lost dramaization of romance as a communicable disease to Neoplatonic tradition exemplified by Masrilio Ficino, which describes "lovesickness as kind of material contagion." Asserts importance of Love’s Labour’s Lost dramatization of lovesickness and its etiology, despite being overlooked by critics. English summary, online.

Considers visual represenations of Ophelia, noting lasting influence of Sir John Everett Millais' 1851-2  painting of Ophelia drowning on later visual artists. Notes the popularity and persistence of artistic renderings of Ophelia; paper focuses on several images in this genre, reading them :from both an intersemiotic translation perspective and from that of a translation which is done through an intermediary element." English summary, 51.

Analyzes kitchen setting of revenge scene in Robert Carsen’s production of Giuseppe Verdi’s Falstaff at Metropolitan Opera (2013), juxtaposing scene with corresponding scenes from Merry Wives of Windsor to account for Carsen’s stylistic choices, noting kitchen’s resonances with gender, women and domesticity.English summary, 39. 

Compares Coriolanus and Henrik Ibsen’s An Enemy of the People and plays' negotiation of individual rights versus rights of the many. English summary, 29. 

Investigates portrayal of friendship in relation to virtue, enmity, and politics in Julius Caesar. Employs "Derridean dichotomy of the friend and its inevitable bond to the enemy" to examine Shakespearean ideas of friendship. English summary, 21. 

Juxtaposes Prospero characters from Tempest and Margaret Atwood’s adaptation Hag-Seed (q.v.), considering how texts explore legitimacy of power and extent of their control over others. Argues ruler figures in both texts distort perception of reality through mirror effect, discussed in terms of Catherine Belsey’s exploration of trompe-l’oeil in Venus and Adonis (q.v.).English abstract, 9. 

Analyzes relationships between Othello and Salman Rushdie’s The Enchantress of Florence within theoretical framework of René Girard’s “mimetic desire.” Focuses on female characters and characters’ submitting to “hegemonies of language and magic.” English summary, 157.