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Works "to historicize psychoanalysis in its belated relation to the Renaissance by demonstrating why Hamlet should be understood as the starting point of psychoanalysis in ways [Sigmund] Freud both did and didn't see," relating Freud's writing on the repetition of past events in The Interpretation of Dreams shortly after the death of his father, Jacob Freud, to Hamlet's own attempts to cope with the death of the elder Hamlet.

Focuses on the depiction of Ophelia in stagings of Hamlet to "trouble critics' oft-repeated characterization of performance as a disappearing act, something so local and evanescent that it can only be handled in retrospect" and "identify some of the limitations of the idea of performance as evanescence and attempt to press beyond them."

Argues that Lennox's unnamed confidant and conspirator in Macbeth, 3.6, is Angus.

Recording the discoveries she made playing Queen Margaret in Tina Packer's Richard III (q.v.), focuses on K. S. Stanislavsky's three avenues of research: that which concerns the playtext, that which concerns the world of the play and playwright, and that which delves into the self.

Records a panel discussion about the Wooster Group's production of Hamlet, directed by E. LeCompte (q.v.).

Noting that doubt has been cast upon the authenticity of William Lambarde's famous account of his meeting with Elizabeth I in 1601, finds that an early transcript of the "Conversation" suggests that the account is not trustworthy. Discusses the implications of this for the association of Richard II with the Essex rebellion. English summary, 208. Abstracted by Grace Tiffany, Shakespeare Newsletter 63, no. 1: 24.

Using King Lear, Tempest, and Hamlet, proposes "a theoretical framework for reading prayer as a performance, as an act governed by community convention with effects in the social world" and "show how prayer can be read as an act defined by real and imagined audiences while retaining individual self expression." English summary, 496.

Reads repetition in Sonnet 1 in the form of rhyme "as a sign uncovering unconscious conflicts concerning objects' relations," which "locates banned masturbation, a major theme of the sonnet, within three resonating threads: the socio-cultural context, the psychological context of internal object relationships, and the context of poetic creativity." English summary, 119.

Discusses Yasser, Abdelkader Benali's adaptation of Shakespeare's Merchant of Venice which portrays a Palestinian actor "thinking about what it means to play the role of Shylock after growing up near the Israeli-Palestinian border in the 1980's Intifada." Argues that Yasser "gets to the heart of cross-cultural conflict by looking at questions of identity and exploring literature's power to create a common means of communication."

Compares the skeletal remains of Richard III discovered at Grey Friars in 2012 with historical and literary accounts of his appearance, including Shakespeare's Richard III and 3 Henry VI.