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Discusses a four-year study set in an English secondary school where students participated in an ongoing Person and Social Development (PSD) and Shakespeare transdisciplinary class. Notes that the "Whoosh" storytelling method was particularly effective for course delivery. English summary, 125.

Analyzes early modern theatrical spaces by considering how the stage itself is shaped and transformed by characters exiting and entering as well as spatial configurations and off-stage effects. Uses Richard III to explore stage space as a "threshold," arguing that in Act 3, the stage space is representative of an intersection rather a specific place and "the off-stage space is where [characters] go to die." Also examines staged interior spaces in Arden of Faversham, arguing that "the stage in Arden is linked with these sites not by a fixed logic of denotation but by a functional analogy." Suggests that the balcony scene in Romeo and Juliet explores gendered issues of interiority and exteriority as Juliet remains within, Romeo wanders outside, and the two meet in the transitional space in the middle.

Examines Shakespeare's use of sources in Pericles to argue that "the visual often emerges . . . as an aspect of theatre that is not only added to the poem but even in competition with it." Discusses Shakespeare and Wilkins's choice to incorporate Gower as a character as a way to fill in gaps left by the theatrical production.

Uses examples from the 1, 2, and 3 Henry IV, Henry V, and Merry Wives of Windsor, as well as references to Midsummer Night's Dream, As You Like It, and Hamlet to examine how early modern performances referenced each other through key words, names, gestures, props, and actions. Argues that this kind of intertheatricality is dynamic and not only served as a reference back to previous performances, but looked forward to new performances as well.

Examines theatrical use of optics in Tempest. Argues that early modern plays employed "theatrical technology that was deeply ambivalent about its own implication in visual deception and that tended to create illusions verbally rather than visually." Notes that Tempest "is as ambivalent about art as it is about science, questioning both the ethical implications of [Prospero's] manipulative technology and also his claims that human learning, derived from books, can control nature."

Discusses how the theater itself is used as a prop in Shakespeare's plays, arguing that "Shakespeare's complexity, his profoundest 'metatheatre' [. . .] is angled to the ways in which the physical reality of the stage met the fictions enacted upon it."

Explores ekphrasis in Hamlet and King Lear. Contends that key ekphrastic moments (Gertrude's description of Ophelia's death, Hamlet's description of his father and uncle's portraits, and Edgar's description of the cliffs of Dover) function as creations of the character's minds rather than literal descriptions. Briefly addresses how lyrical ekphrasis returns women to life in Much Ado About Nothing, Cymbeline, and Winter's Tale, suggesting that these offer "psychological release from solipsism and physical release from mortification . . . even as . . . it honours the new theatrical form fashioned for the royal Stuarts."

Discusses dumb shows, including The Murder of Gonzago in Hamlet. Notes that for many dumb shows, the reaction of the characters watching is the central focus as the acting is usually reduplication of previous dialogue and actions. Suggests that the intensity in Hamlet's dumb show comes from the surrounding sounds of movement and that its meaning becomes "inexplicable, but only through the noise of the play."

Uses the changeling Indian boy in Midsummer Night's Dream to examine the presence of desire in the absence of a physical body. Also briefly discusses Rosaline in Romeo and Juliet and Flavina in Two Noble Kinsmen as absent objects of desire. Concludes that "Shakespearean theatricality insists that desire can never be seen, recognized, or controlled, and that its contours can never be fully fleshed out . . . this non-materializable desire has the most agency of all."

Uses Leibniz's monads to explore Florizel's praise of Perdita in Winter's Tale as an example of Shakespeare's "formaction." Argues that Perdita is a combination of all the images presented by those talking about her as well as her movements, speeches, rehearsals, and surrounding metaphors.