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Discusses the ambiguity surrounding Shylock's appearance in Merchant of Venice (namely the question of whether or not the actor wore a false nose) in terms of Shakespeare's "veiled attitude toward the characters and actions in his text, which is the compositional posture that creates such persistent debates over . . . the origin of Shylock's anger, the terms of his bond, and the propriety of his forced conversion."

Performs a reading of Alexandru Dabija's 2009 Bucharest production, Pyramus and Thisbe 4 You, which "re-constructs the local cultural contexts the production plays with and against, referring to the Romanian ways of making Shakespeare this production enters into dialogue with." Argues that "Dabija's production goes beyond its local context and mores, and proposes a re-assessment of Shakespeare's cultural currency in (European) Romania and Europe at large by exposing current tyrannies in Shakespeare studies: from translation and adaptation, through directing and acting, to viewing and reviewing." English and French summaries.

Drawing on productions and films "addresses the deaths of lovers in . . . A Midsummer Night's Dream and Romeo and Juliet, through a twofold approach that seeks to bring to light the proximities between the rhetorical strategies of tragedy and comedy." Analyzes Shakespeare's adaptation of the Pyramus and Thisbe myth, demonstrating "how the myth's structuring elements travel through time, genre and artistic forms." French and English summaries.

Describes the five African Shakespeare productions staged during the 2012 Globe to Globe festival: Oluwole Oguntokun's Ìtàn Ògìnìntìn [The Winter's Tale], Joseph Abuk and Derik Uya Alfred's Cymbeline, Arne Pohlmeier's Vakomana Vaviri Ve Zimbabwe or The Two Gentlemen of Verona, Daniel Goldman and Sarah Norman's Heri Wanawake Wa Windsor [The Merry Wives of Windsor], and Mark Dornford-May's U-Venas no Adonisi [Venus and Adonis] (all q.v.). Discusses the reception of the plays and strategies to promote more African adaptations of Shakespearean works.

Discusses how early modern metaphors associated with the humoral body represent drama, politics, and travel in several of Shakespeare's plays. Examines blood metonyms and metaphor in Richard II; discusses the failure of archetypal healers in Winter's Tale, Alls Well That Ends Well, and Measure for Measure; and uses As You Like It to compare pastoral drama to travel narratives.

Analyzes Richard Appignanesi's manga Merchant of Venice, discussing word-image relationships in the adaptation and demonstrating how it takes positions on central critical debates regarding Shakespeare's text.

Studies audience response to Arne Pohlmeier's Vakomana Vaviri Ve Zimbabwe or The Two Gentlemen of Verona, (q.v.).

Explores how the 2012 Globe to Globe festival's emphasis on place over language influenced both the available meanings of Mark Dornford-May's U-Venas no Adonisi [Venus and Adonis] (q.v.) as well as "the narrative of Shakespeare's homecoming in the festival more broadly."

Provides "a contextual analysis of Yoruba culture, myths and gods, and theatre practice in Nigeria" in order to foster greater understanding of the interest and reception generated by Oluwole Oguntokun's Ìtàn Ògìnìntìn [The Winter's Tale] (q.v,)

Links the performance and reception of Joseph Abuk and Derik Uya Alfred's Cymbeline (q.v.) to South Sudan's recent emergence as a new nation, focusing on "how the South Sudanese nation was performed through Shakespeare."