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Examines "the theatrical realization of a play" as well as "the ontology of the dramatic place." Explores "the process how Hamlet makes use of his private theatre and how the dramatic space is transformed as The Murder of Gonzago turns into The Mousetrap-performance."
By examining "the space constructing specificities of the Elizabethan emblematic theatre," analyzes "cinematic space, namely the significance of horizontal and vertical space division, the creation of symbolic/stylised/abstract, realistic and simultaneous spaces, the role of scenery in expressing states of mind and in conveying ideological messages in particular adaptations of Hamlet" directed by Laurence Oliver (1948), Grigori Kozintsev (1964, q.v.), Tony Richardson (1969, q.v.), Franco Zeffirelli (1990, q.v.), and Michael Almereyda (2000, q.v.).
Draws on Shakespeare to discuss the importance of sight in the early modern theater experience, citing both theater detractors and adherents to demonstrate the significance of seeing the on-stage spectacle. Argues that despite the barriers to viewers in early modern theaters, structural features were nonetheless exploited to aid sight as much as possible.
Draws on Shakespearean criticism to offer a history of new historicism and cultural materialism.
"Applies a media-ecological perspective to Shakespearean theatricality, using the example of dress and costumes." Analyzes Falstaff in 1 and 2 Henry IV and Henry V as an example of theatricality that sits at odds with representation. Concludes that addressing the "lasting universal impact of Shakespeare" requires "a combination of historical media analysis and performance/performativity studies."
Examines performances of Shakespeare in Waldorf Schools while considering their pedagogical elements in producing a play. Focuses on identifying whether Class VIII--the culmination of an eight-year pedagogical cycle including performances of Shakespeare--is a "theatrical production" or a "rite of passage." English summary, 73.
By analyzing female characters in Twelfth Night, Much Ado about Nothing, Merchant of Venice, Taming of the Shrew, Comedy of Errors and Midsummer Night's Dream, argues that the playwright reveals patriarchal perspective while depicting women as submissive and traditional. English summary, 112.
Argues that in "Hamlet's Songs" (an Estonian poem), Paul-Eerik Rummo depicts an optimistic existentialism grounded in Estonian culture. English summary, 258.
Suggests that Shakespeare's unpopularity in eighteenth- and nineteenth-century Italy was due in part to privileging of the Italian language and culture. Shows how Italian Shakespeare was absorbed through France rather than England; examines these differing performance traditions. Italian summary, 257.
Asserting that adaptation is a global process in addition to a local one, analyzes Bruno S. R. and Sam Hart's Brazilian comic book adaptation/translation of Hamlet (q.v.). Portuguese and English summaries, 287-8.