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Transcribes a discussion involving Juwon Ogungbe, Arne Pohlmeier, Kate Stafford, and Dev Virahsawmy talking about African productions staged at the 2012 Globe to Globe Festival.
Discusses Dev Virahsawmy's Mauritian Creole adaptations of Shakespeare's works, focusing on the social and political commentary present in his plays. Includes discussion of his Toufann (q.v.), Sir Toby, Prezidan Otelo, Ziliet ek so Romeo, and Zeneral Makbef.
Interprets essays in New Readings of The Merchant of Venice as performances upon Shakespeare's play, and discusses ways in which the essays might inform stagings of Merchant of Venice.
"Introduce[s] four categories of crioulização examined through a textual and performance analysis of [Joâo Branco's Crioulo-language] Rei Lear--Nhô Rei já bá cabéça (King Lear--The King's Gone Mad) presented at the 2003 Mindelact International Theatre Festival." Argues that "Rei Lear offers an example of how Shakespeare engages performers, audiences and the wider public reached by the media in a cultural discourse on language at a local, national and global/lusophone level."
Yoruba-language translation.
Analyzes Measure for Measure's Mariana in order to address how her treatment indicates historical misgivings about the action of the play and to discuss how her status as "a convenient and easily-manipulated substitute . . . usefully highlights the ruthless worldly logic of exchange and delegation by which both Measure for Measure and its presiding Duke operate, a logic which may be at variance with the larger moral and spiritual claims by which the rhetoric of both play and central character may wish to launder it."
Considers the evidence that Shakespeare knew the "Isabella Rule" manuscript and consulted it for his depiction of Isabella in Measure for Measure. Discusses Isabella's dress and the nature of disguises in the play, as well as the conclusion to the play in the context of its original staging.
Discusses rape as a wound in Rape of Lucrece, analyzing its depiction as "a wound which cannot heal, a wound which corrupts the inner body of a woman, in turn threatening her soul with corruption."
Explores "the ways in which chronicle accounts [of Jack Cade's rebellion] refashioned the rebel kiss for their own historiographical ends, and, subsequently, how these accounts were transformed by Shakespeare [in 2 Henry VI] into a metatheatrical moment that addressed the problem of acting itself."
Argues that "literary history needs to account for the dynamic relationship between rhetorical and material forms," which is termed "textual formalism," and that "such a category for analysis reveals a persistent grouping of problems concerning authorship and this expanded sense of form for vernacular literature across the fifteenth, sixteenth, and seventeenth centuries." Explores continuities between Shakespeare's Troilus and Cressida, William Caxton's Histories of Troy, and John Lydgate's Troy Book.