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Provides an "economic reading" of early modern performances of Henry V. Argues that the King's Men's economic fortunes of 1605 mirrored those of 1599, particularly in their acquisition of the Blackfriars and the Globe, respectively.
Considers Hamlet as "a 'seeming' world constructed with 'ghost' and words." Argues that "the eternality of life and the transmission of mission are both embodied in the words and speeches." English summary, 73.
Examines spaces for a Bangkok production and performance of Hamlet entitled When I Slept Over the Night of the Revolution (2007), and Sulaiman al-Bassam's versions of Hamlet (2002-2004), Richard III (2009), and Twelfth Night (2012) (later published as The Arab Shakespeare Trilogy, q.v.). Displays how Shakespeare is appropriated and adapted by different nations that actively engage with the "Englishness" while simultaneously pushing it to the background to reflect their own national or global concerns.
Examines Shakespearean influences on the Gothic novel by comparing Romeo and Juliet with The Castle of Otranto, Titus Andronicus with The Monk, Tempest with Frankenstein, and Macbeth with Wuthering Heights. Argues that Gothic "authors use similar imagery to surreptitiously challenge the authority figures and institutions that sought to prescribe what makes a work of fiction socially acceptable or worthy of critical acclaim."
Examines food in early modern plays by shifting "the critical focus from food-based metaphors to food-based properties and food-producing cook characters." Draws on Taming of the Shrew and Titus Andronicus to argue for Shakespeare's "site-specific responses to food-based scenes." While contending water as "a complex and quasi-mystical liquid," considers Timon of Athens as "a man of water" who "breaks up and divides his body at his last supper."
Examines the senses of touch and taste as perceived by playwrights, audience members, and anti-theatrical writers, arguing that "the effects of performance were contingent not only upon the more obvious senses of sight and hearing, but, crucially and conceptually, on touch and taste as well."
Analyzes memory in Shakespeare's second tetralogy. Argues that the analysis shows "not only how memories can lock characters into history but also how memories can be released from history in order to engender radically different futures."
Examines the motifs of sleep and dreams in Shakespearean plays. Considers "how they contribute to the structure and unity of the works, how they assist in delineating some of the individual characters, and how they shape the atmosphere of specific dramatic situations."
While examining the spatial metaphors and time in Macbeth, contends that the importance of a dramatic moment can be established only with "some specific reference to how that moment fits into the spatial sequence of the plot, and how this effects the formation and disintegration of the character who is in a certain spatio-temporal situation."
While focusing on "the spatial aspects and constituents" in Tempest, looks at how Shakespeare "deploys the combined forces of the stage's art in the new genre to legitimize the fantastic for dramatic use, to reopen the mythical dimension for the theatre through dissolving the limited topical and spatial confines of the Renaissance stage."