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Describes the South African tour of actresses Gwen Ffrangcon-Davies and Marda Vanne along with the company the Good Companions during the "patriarchal vacuum created by [World War II]."

Discusses Cuban female artists' adaptations of Shakespeare, including Raquel Carrió and Flora Lauten's production, Otra Tempestad (1997) and Alicia Alonso's ballet adaptation of Romeo and Juliet, Shakespeare y sus máscaras, o Romeo y Julieta (2003).

Discusses the grave as a site of interaction in Shakespeare (especially Romeo and Juliet and Midsummer Night's Dream) and John Donne, arguing that "the eschatological dimension of this interaction is inextricably linked with a poetological one and in particular with a notion of dramatic self-revelation."

"Provides a critique of the distinctive pressures experienced by female directors and performers of Shakespeare working in today's theatre industry" through discussion of their approaches to satisfying "the competing needs of politics and comedy"--especially involving the silencing of women characters--in productions of Taming of the Shrew by Gale Edwards, Phyllida Lloyd, and Lynne Parker, as well as Marianne Elliott's Much Ado about Nothing (all q.v.).

Discusses the Shakespeare productions of Greek stage director Raia Mouzenidou, including her stage adaptations of Romeo and Juliet (Speaking of Shakespeare: Call Me Juliet), Troilus and Cressida: First Shot, and Macbeth (When Mac Met Beth).

"Investigates the performance theories that inform productions of post-colonial interpretations of original Shakespearean scripts" by First Nations and Québec writers in Canada.

Discusses the work of women "who have been active in Shakespearean scholarship, translation and performance in Brazil."

Argues that The Jew of Malta and The Merchant of Venice share similar homoerotic subtexts and indirect criticisms of English mercantilism and Christian spiritual self-righteousness; ultimately suggests that Shakespeare took several cues from The Jew of Malta when writing Merchant of Venice.

Examines how the Metropolitan Opera's 2011 production The Enchanted Island, devised by Jeremy Sams and conducted by William Christie (q.v), undermines Tempest's gender politics; pays special attention to how bel canto encourages feminist approaches. English summary.

Examines Sarah Bernhardt's subversive interpretations of Ophelia in her 1880 sculpture of Ophelia drowned and in her on-stage appearance as Ophelia in 1886. Argues that Bernhardt significantly contributed to an obsession with death and sexuality in the nineteenth century. English summary.