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Analyzes performance history and staging of Richard II, from the early modern period to modern interpretations including those by John Gielgud (1929) and Fiona Shaw (q.v.). Discusses how Richard II is adapted to address political concerns of the era. English summary, 243.

Discusses the difficulties in choreographing dance for theatrical productions. Suggests that Shakespeare's narratives and characters provide good inspiration for such dances.

Explores how to adapt Richard III in order to emphasize the political climate and the title character as a serial killer.

Considers how Michael O'Brien appropriates Hamlet in his comic parody, Mad Boy Chronicle (q.v.). Argues that O'Brien's tactics aim to "destabilize the assumed superiority of the 'original' by revealing that Hamlet itself is only an adaptation." English summary, 216.

Examines George Rodosthenous's Othello's Revenge in terms of its "adaptation process." Focuses on the main characters' "different forms of sexual, homosocial and bisexual love," and "demonstrate[s] how Cassio, . . . , was in fact the main axis for the narrative." English summary, 81.

Explores the auditory and visual stage effects which would have been available to Shakespeare to represent thunder and lightning in Tempest and Julius Caesar.

Examines both material and metaphysical issues in Comedy of Errors. Argues that two realms are "continuum of sameness" yet differentiated.

Examines the reduced English queenship in Jacobean drama. Argues that Henry VIII captures "the transition from a medieval to an early modern notion of queenship," and contends that the play represents "the dismantled position of the queen consort in early sixteenth-century England." English summary, 27.

Examines "today's Shakespeare translation in Hungary." While pointing out "the abandonment of century-old classical ones," focuses on how contemporary translations fit into "the tradition of translating Shakespeare in a theoretical framework." English summary.

Examines interpretations of Ophelia's character in Lisa Klein's Ophelia, Graham Holderness's The Prince of Denmark, and Matt Haig's The Dead Father's Club (all q.v.). Argues "that these new dimensions of Ophelia's characterization should be construed not only as a response to the Shakespearean text but as a reaction to the bulk of literature which has yielded to the predominantly male-oriented readings of Ophelia." English summary, 181.