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Focuses on significance of breath and “pneumatic vocabulary” in Lucrece. Argues at key moments in poem, characters present breath events such sighs and disrupted and lost speech, while moment of Lucrece’s rape is allegorized with asphyxiation. Considers dynamics of gender, space, rhetoric and physiology in relation to breath in poem. English summary, online.

Describes significance of secrecy in Pericles, demonstrating secrets’ harmful and therapeutic effects for familial and societal relationships. Studies secrets’ paradoxical nature, noting now they simultaneously conceal and reveal, separate and unite characters, and how secrets both uphold and undermine power structures, as they evade desire for control and order. English summary, 432.

Connects Danish princess Freawaru from Beowulf with Hamlet’s Gertrude. Argues Freawaru’s afterlife in subsequent Danish chronicles can be traced to sources for Shakespeare’s play. Notes that connection “depends on a slender link between two medieval traditions of Danish royal succession recorded centuries apart” in Beowulf and Gesta Danorum, the latter a source for Hamlet.

Analyzes significance of magic in Tempest. Notes that magic is distributed undemocratically in Tempest, bestowed to characters in way that reinforce racial and social hierarchies in early modern period, with white characters possessing magical powers while non-white characters are deprived of such powers. Proposes that possession or lack of magical powers in play functions as allegory for distribution of literacy, knowledge and political power in early modern period.

Identifies crux in which Mercer is named in opening stage direction of Folio text of Timon of Athens but does not have any lines or specified actions. Notes various editorial treatments of Mercer since eighteenth century, with editors usually removing him from or downgrading him in stage directions. Examines Mercer’s textual and editorial status and significance in play and considers how reader responses (including student responses) are altered by Mercer’s editorial treatment.

Adapted by Bradley Bredeweg. Jesse Vargas, musical director. Sets by Arnel Sancianco, costumes by Lena Sands, lighting by Elizabeth Harper, and music by Pat Benatar and Neil Giraldo. 

Produced by The Wallis Annenberg Center for the Performing Arts (http://www.thewallis.org) at the Bram Goldsmith Theater, Beverly Hills, CA, 2-18 December 2022.

Musical. With Khamary Rose (Romeo), Kay Sibal (Juliet), Sharon Leal (Madame Capulet), Dionne Gipson (Madame Montague), Brennan Hunt (Paris), Ari Notartomaso (Benvolio), Julia Harriman (Nura), John Patrick Walker (Friar), Aaron Alcaraz (Mercutio), and Josh Strobl (Tybalt).

By Myriam Rey.

Produced by the University College London (UCL) and the Open City Documentary Festival, 2022. 7 minutes. (https://vimeo.com/130365612)

Documentary. Explores using the Hunter Heartbeat Method and scenes from Shakespeare's plays to work with autistic children. With Kelly Hunter.

Illustrated prose adaptation for children. First published by Sweet Cherry Publishing--Macaw Books, 2013.

Includes a readers' guide with discussion questions.

Novel. A novelist directs Twelfth Night in her hometown.

By Bae Sam-sik. Pansori by Han Seung-seok; music by Jung Jae-il.

Produced by the National Changgeuk Company of Korea at the National Theater of Korea, Seoul, 22-30 March 2022.

Changgeuk adaptation. With Kim Jun-su (King Lear), Lee So-yeon (Goneril), and Wang Yun-jeong (Regan).