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Explores how Leo de Berardinis's parody of Hamlet, Totò, principe di Danimarca uses comic elements to ultimately return to tragedy.

Offers a director's views on staging Othello, Macbeth, and Richard III.

Offers an actor's view of Shakespearean tragedy.

Offers an actor's view of Shakespearean tragedy, with a focus on gravediggers in Hamlet.

Offers an actor's view of Shakespearean tragedy, with a focus Richard III and Macbeth.

Offers an actor's view of Shakespearean tragedy, with a focus on speaking Shakespearean dialogue and speeches.

Compares portrayals of Juliet to the author's adaptation, Rosalina.

Considers how Marcel Carné and Jacques Prévert's Les Enfants du paradis uses Othello in relation to "the history of Shakespeare on screen [and] address[es] its attitude toward Shakespeare." Argues that "Carné and Prévert's evocation of Shakespeare is designed to indicate the universality of the film's themes, even as at the same time Shakespeare is shown to be essentially French in sensibility. . . At another level, however, Shakespeare is evoked as a paragon of spoken drama, the antithesis of classist classical French theater and thus potentially a theater of the people to rival the pantomime."

Analyzes Claude Barma's television adaptation of Macbeth. Concludes that the film reflects contemporary gender and political concerns as well as promotes the use of television as an intimate medium.

Reads the statue scene (Winter's Tale, 5.3) in terms of the Art of Memory tradition, "highlighting how Shakespeare draws on commonplaces of theurgic and mythopoetic possibilities . . . [and noting] similar kinetic memory images in Pericles and The Two Noble Kinsmen."