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Conceived by Nataki Garrett. Paul Adolphsen and Raphael Massie, dramaturgs. Costumes by X. Hill; music by T. Carlis Roberts. Puppets by Myra Su and Jaerin Son.

Produced by Oregon Shakespeare Festival (https://www.osfashland.org), O! Digital Stage, Ashland, OR, and streamed online, beginning 3 November 2022. Available on demand, 2-31 December 2022.

Digital series with ten episodes. With Rachel Crowl (Belarius), Monique "MoMo" Holt (Queen), Cristofer Jean (Cornelius/Philario/Soothsayer), Jessica Ko (Pisanio), Shyla Lefner (Iachimo), Lauren Modica (Arviragus), Daniel T. Parker (Captain), Erika Rose (Caius Lucius/Jupiter/Gaoler), James Ryen (Posthumus), Stephen Michael Spenser (Cloten), Carolina Vargas Romero (Guiderius), Tyrone Wilson (Cymbeline), and Caro Zeller (Imogen).

Includes nine essays on Shakespeare.

Offers transcription of interview between Shakespeare scholar Karen Raber and Monika Sosnowska. Discusses Raber’s Shakespeare and Posthumanist Theory (2018, q.v.), noting its new readings of Shakespeare's plays and insights into posthumanism as “teleological historical process.”

Offers tribute to Shakespeare scholar Jan Kott from drama teacher, editor/translator and lecturer in English Literature. Surveys Kott’s career in and contribution to Shakespeare studies, noting his influence on major scholarly trends in field. Focuses on Kott’s work as embodying hybridization. English summary, online.

Considering Sonnets’ contemplation of “universal beauty” found in singular individual, applies tension to contemporary use of biometrics, which are concerned both with "'unicity,’ or that which identifies an individual as unique” and “’universality,’ confirming an individual’s membership in the species." English summary, online.

Discusses remediation of Shakespeare's plays into comic books in mid-twentieth century, demonstrating that Shakespeare's characters are reconceived as superheroes in terms of strength and power. English summary, 137. 

Starting from Richard III's rejoinder to Anne's accusation of his cruelty, namely that "No beast so fierce but knows some touch of pity" and that therefore he is no beast, uses theories of historical animal studies and posthumanism to reevaluate so-called "human" emotions (especially pity and compassion) as they relate to and manifest in non-human world. Examines Anne and Richard's conversation as evidence of the blurring of the human-animal binary in in the early modern period. Argues Shakespeare's work "unsettles the more familiar notion of compassion as a human species distinction and offers a new way to read the early modern nonhuman." English summary, 121.

Offers posthumanist reading of Tempest, focusing on Prospero as magus who attempts to control his environment. Draws on Jan Kott’s theory of “Grand Mechanism” of history, arguing this anticipates later posthumanist theories. Builds on Kott’s reading of Prospero as version of Leonardo DaVinci, “a master of mechanics and hydraulics,”  well versed in both astronomy  and anatomy. English summary, online.

Studies stark brutality in Macbeth to propose reading of instability of humanity in play and characters’ “animal” quality. Connects “butcheries” in play to early modern violence such as bear-baiting and public executions, arguing context would resonate for contemporary spectators and readers of Macbeth. English summary, online.

Offers reading of Jan Kott’s theory of “the grotesque”, focusing on its impact on causation and agency in Shakespeare’s works. Applies Kott’s theory to recent novelistic adaptation, Macbeth, Macbeth (2016) by Ewan Fernie and Simon Palfrey, which demonstrates how grotesque results in alteration or elimination of the human. Argues for continued relevance of Kott’s ideas developed during Cold War for contemporary moment. English summary, online.