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Examines noting practices of audience members which lead to the production of Hamlet Q1. Suggests that the quarto is more likely attributed to audience reconstruction through noting rather than an actor-pirate.
Discusses Gary Taylor's scholarly recreation of Macbeth "as Middleton adapted it from Shakespeare's (supposed) 'original'." Argues that "Taylor has, knowingly or unknowingly, managed to create a text that, by its very presentation on the page, recreates the kind of collaborative environment that characterized early modern textual production and reception."
Compares stylistics of thirty plays from 1590 to 1594 to the stylistics of nearly thirty plays from 1600 to 1604 in order to determine a date of composition for Sir Thomas More. Concludes that the play was likely written in the 1600 to 1604 range.
Discusses links between King Lear and Yasujiro Ozu's films, especially Tokyo Story.
Analyzes linguistic features in Tempest, including curses, commands, and modals, and how these speech acts are performed to create and shape the identity of individual characters.
Discusses "the ethical turn" of Troilus and Cressida in relation to English Renaissance and Greek understandings of sport and the Olympics.
Traces development of Shakespeare's use in British school curriculums from 1711 until the mid-twentieth century.
Explores advice given to Shakespearean actors by two influential directors, Sir Peter Hall and John Barton. Suggests that a key difference between the two is the level of autonomy given to their actors.
Conversation with Michael Pavelka about the set design for his all-male company, Propeller.
Examines poetic influence of Shakespeare on German poetry and the question of "whose Shakespeare is at stake" in Armin Senser's novel Shakespeare (q.v.).