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Discusses erotic tragedy in terms of sight and obscenity in Macbeth by "tracing all the subterranean elements" in the play and demonstrating how all these elements point to Macbeth being "a dramatic avatar of the female Gorgon."
Demonstrates how an Ovidian understanding of androgyny provides commonality between Shakespeare's portrayal of Ganymede in As You Like it, Michelangelo's masculinization of his madonna paintings, and Leonardo da Vinci's painting John the Baptist.
Examines Mark Dornford-May's U-Venas no Adonisi (q.v.), focusing on its exploration of gender and sexuality. Includes discussion of the production's South African audience and the cultural expectations about the performance of Shakespeare's canon.
Explores the pre-European world of the Maori as a production site in Rachel House and James Webster's A Toroihi raua ko Kahira (q.v.). Argues that the production "promotes te reo and Maori . . . through the form of the performance 'showcase.'"
Examines "the visual and aural intensity" of Yuri Butusov's Measure for Measure (q.v.) through its focus on physicality and violence.
Explores the way Daniel Goldman and Sarah Norman's Merry Wives of Windsor (q.v.) provokes the political questions of defiance with its engagement with issues of gender and its metatheatricality.
Examines how Yannis Houvardas's production of Pericles (q.v.) managed "the art of connection" between actor and audience in Shakespeare's Globe through its use of the actor's bodies.
Draws on Shakespeare to argue for continuity in early modern English literary culture through the persistence of the masque. Contends that spectacle evokes passions that both disrupt and reconfigure the political community.
Explores Atul Kumar's Twelfth Night (q.v.) as a festive Bollywood reworking of Shakespeare.
Explores how Wang Xiaoying's Richard III (q.v.) presents "multilayers of cultural exchange" through "an 'other' cultural and artistic approach."