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Investigates use of Zoom web application for theatrical productions of Shakespeare during COVID-19 pandemic. Considers specifically live Zoom productions with "pre-registered audiences" that feature staging according to webcam presentation and ability to incorporate audience engagement through microphones. English summary, online.

Investigates outcome of shifting perspective from passive observer to active participant in production of Shakespeare's plays. Considers specifically what happens when intellectual inquiry is expanded to include "kinesthetic, the physiological, the intuitive, and the emotional." English summary, online.

Employs analyses of onscreen performances of Wooster Group’s Hamlet (2007), Claude Chabrol’s Ophélia (1963), Ralph Fiennes’ Coriolanus (2011), RSC’s Dream (2021), and Michael Almereyda’s Hamlet (2000) to argue "that the screen is an interface that generates dramatic meanings and that promotes audiences’ self-reflexivity." English summary, online.

Argues interface theory can be used to understand layers of live performances just as it can be used to understand digital or typeface media. Considers "immersive theatrical experiences" of site-specific theater productions, including outdoor production of "Shakespeare's Walking Story" (2020) performed during COVID-19 pandemic, as case study to understand how interface theory can be applied to physical spaces. 

Dramaturgy by Philippa Kelly and Nakissa Etemad.

Modern verse translation. Includes series preface by Lue Douthit and foreword by Amrita Ramanan and Marcus Gardley.

Explores how storytelling and theatrical performance shapes human survival and ethical behavior in times of crisis, both representing and offering solace from trauma. Focuses primarily on Emily St. John Mandel’s Station Eleven (q.v.), novel that highlights persistence of Shakespeare’s plays in world ravaged by deadly flu pandemic.

By Lauren Gunderson. Michele Osherow, dramaturg.

Produced by Folger Theatre (https://www.folger.edu) with Cincinnati Shakespeare Company (https://cincyshakes.com) at The Reading Room, Lutheran Church of the Reformation, Washington, DC, 21 January 2023.

Reading. Play about the women of Hamlet.

Connects King Lear’s senseless ending, in which meaning is endlessly deferred, with Augustinian models of time, in which characters exist in “the old age of the world as conceptualized by Augustine, a time in which history, marked by suffering, is plunged into darkness.” English summary, online.

By Al Letson. John Proctor III, dramaturg.

Produced by Folger Theatre (https://www.folger.edu) at The Reading Room, Lutheran Church of the Reformation, Washington, DC, 21 January 2023.

Reading. Re-envisioning of Julius Caesar.

Examines “the poetics of failed festivity” Titus Andronicus, noting how play inverts early modern festival culture through its gruesome spectacle of Lavinia spouting blood, which perverts living sculpture and mechanical waterworks of early modern civic pageantry. English summary, online.