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Interviews John Brown about his 50 years of experience in acting at the Pendley Shakespeare Festival held every year at Pendley Manor.
Challenges secondary school teachers to adopt Common Core's strategies, which help students find themes in Shakespeare's works for themselves instead of simply asking them to regurgitate them.
Uses Hamlet and King Lear to argue that Shakespeare lets us find the true meaning of British society in his texts.
Examines how Ophelia's transformation is visually depicted through in films of Hamlet directed by Laurence Olivier (1948), G. M. Kozintsev (q.v.), Tony Richardson (q.v.), Franco Zeffirelli (q.v.), Kenneth Branagh (q.v.), Kevin Kline (q.v.), Michael Almereyda (q.v.), and Campbell Scott (q.v.).
Argues that Hyon-U Lee's production of Coriolanus (q.v.) induces the audience to feel the spontaneity of the citizens' movement by comparing the situation of Rome to that of Korea.
Examines Shakespeare's role as a historian and how he perpetuates the idea of "British antiquity" through a sort of "rhetorical historiography."
Claims that King Lear separates its characters living in Albion from its audience living in Britain not through a distance of time but through the BC/AD partition of the Gregorian calendar, arguing ultimately that the characters of AD Albion have no conception of the Christian salvation understood by early modern British audiences.
Suggests that the interaction between the actions of characters and the actions of actors in Shakespeare's plays is a response to the history of his profession, the history of "playing."
Examines the "initial circumstances in which it became clear to the book trade that Shakespearean texts might be developed into steady rent-producing properties."
Argues that blood and its connotations of torture in early modern drama are a crucial inheritance from mystery cycles and are of particular significance to Shakespeare and his plays (especially Julius Caesar and Macbeth.