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As part of a series "designed to explore those figures who have had the greatest influence on the interpretation, understanding and reception of Shakespeare, both nationally and internationally," surveys John Gielgud's acting of Shakespearean roles, from early productions of Romeo and Juliet, Richard II, and Macbeth, to his multiple appearances as Hamlet and Lear, to his portrayal of Benedick, Prospero, and Leontes.

Analyzes the significance of the citizenry in Richard III in light of late sixteenth-century demographic growth in London. Argues that "the relative critical neglect of the citizens and of 'citizen language' more generally in [the play] stems from the widespread perception that its freemen are ultimately complicit in Richard's tyranny." Challenges "such views and focuses attention on Richard's sustained effort to play the citizen to secure the crown." English summary, 91.

As part of a series "designed to explore those figures who have had the greatest influence on the interpretation, understanding and reception of Shakespeare, both nationally and internationally," surveys Laurence Olivier's stage career, with a focus on his portrayal of Hamlet in Tyrone Guthrie's 1937 production, and culminating in the creation of the National Theatre. Shows how Olivier's film career, notably Henry V (1944), Hamlet (1948), and Richard III (1955) "pav[ed] the way for future film-makers."

As part of a series "designed to explore those figures who have had the greatest influence on the interpretation, understanding and reception of Shakespeare, both nationally and internationally," surveys Peggy Ashcroft's career as a Shakespearean actor, with a focus on her portrayal of Juliet (1932, 1933, 1935), Cleopatra (1953), Margaret of Anjou (1 Henry VI, Edward IV, and Richard III, dir. Hall, 1963, and The Wars of the Roses television mini-series, dir. Barton and Hall, 1966, both q.v.), and Countess Roussillon (1981, dir. Nunn, q.v.).

Discusses the significance of silence in Measure for Measure, arguing that aposiopesis in the play can be interpreted as "a discursive equivalent of the beheading motif." English and French summaries.

As part of a series "designed to explore those figures who have had the greatest influence on the interpretation, understanding and reception of Shakespeare, both nationally and internationally," shows how Orson Welles's Shakespearean productions "intertwined the intimate and the epic." Focuses on Welles's films Macbeth (1948), Othello (1952), and Chimes at Midnight (1966, q.v.), as well as his radio and television adaptations of King Lear, and his unfinished King Lear and Othello films.

As part of a series "designed to explore those figures who have had the greatest influence on the interpretation, understanding and reception of Shakespeare, both nationally and internationally," surveys Akira Kurosawa's film adaptations of Shakespeare, notably Throne of Blood, a 1957 adaptation of Macbeth; The Bad Sleep Well (q.v.); and Ran (q.v.).

As part of a series "designed to explore those figures who have had the greatest influence on the interpretation, understanding and reception of Shakespeare, both nationally and internationally," considers Grigori Kozintsev's interpretations of Shakespeare, with a particular focus on his films, Gamlet (Hamlet) and Korol' Lir (King Lear) (both q.v.).

Analyzes medieval and early modern medical vocabulary contained within nine of Shakespeare's plays. Argues that the results "confut[e] the Oxfordian thesis about the impossibility for William Shakespeare the actor to master so many medical words" and demonstrate "the playwright's skill in transforming--rather than inventing--old popular terms." English summary, 63.

As part of a series "designed to explore those figures who have had the greatest influence on the interpretation, understanding and reception of Shakespeare, both nationally and internationally," considers Franco Zeffirelli's interpretations of Shakespeare, with a particular focus on his films, Hamlet, Romeo and Juliet, and Taming of the Shrew (all q.v.).