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Evaluates medieval and Tudor models of scaffold staging and discovery spaces to examine the changes and continuity which exists between stage practices of the two eras.
Drawing on Richard Loncraine's Looking for Richard (q.v.), David Garrick's Macbeth, William Charles Macready's King John, Charles Kean's Richard II, Kenneth Branagh's Henry V (q.v.), Laurence Olivier's Henry V, and John Barton's Richard II and King John, examines tropes which occur when presenting history in performances of the histories in order to demonstrate how "the medieval" is reconstructed.
Evaluates how much the dramatic form of histories owes to the medieval past.
Argues that the histories reflect Shakespeare's belief in the possibilities of the common men in representative politics, although he also shows that republicanism has limitations because of the abuse of representation.
Studies the historical background of John Madden's Shakespeare in Love (q.v.).
Argues that applying "gut" to Shakespeare carries more meaning than Koreanizing Shakespeare externally because it constitutes cultural, philosophical, and religious codes connected with shamanism.
Examines the Ghost, Hamlet's madness, Claudius's hypocrisy, and the play-within-the-play as devices to denote the discrepancy between appearance and reality.
Surveys Catherine Belsey's scholarship, including that on Shakespeare.
Examines the stationer Andrew Wise's role in establishing Shakespeare as a print commodity and as a playwright rather than poet by considering Wise's promotion of Thomas Playfere's sermons and Shakespeare's plays.
Uses Yorick's skull from Richard Eyre's production of Hamlet (q.v.) in exploring the shifting status of theatrical objects.