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Argues that characters in postwar Polish films who perform "fragments and motifs from Shakespeare plays ... are often actors deprived by fate (or History) of the chance to play a Shakespeare role on stage and forced to play it in life instead." English summary, 15.

"Juxtaposes the intimacy of the translation process with the inherently intrusive role of an editor." Argues for "need for editorial policies attuned to Shakespeare in translation." English summary, 46. First published in Polish in Przekładaniec, vol. 36 (2018): pp. 82 –97. Translated into English by Zofia Ziemann.

Considers psychological power plays in Shakespeare's drama.

Positions Taming of the Shrew as an influence on Alexander Pushkin's Eugene Onegin, drawing parallels between Tatiana and Katherina. English summary, 645.

Analyzes performance of race and racialized casting in Shakespeare's plays as articulated in Derek Walcott's A Branch of the Blue Nile (a play about rehearsing Antony and Cleopatra).

Argues that Derek Walcott's A Branch of the Blue Nile (q.v.) exemplifies Bakhtinian of heteroglossia. Suggests that Walcott's play valorizes vernacular language and hybridity. English summary, 97.

Includes A Branch of the Blue Nile (q.v.), a play about staging Antony and Cleopatra.

Play by Derek Walcott. Produced by Cynthia Wilson, with Lauretta Hackett as assistant producer; stage managed by Dorsie Boyce; box office managed by Daphne Joseph-Hackett; Lighting Design by Francis Lewis, with Andre Fields and William Straughn on lights and Colbert Goddard on sound.

With Clairmonte Taitt, Patrick Foster, Michael Gilkes, Norline Metvier Walcott, Elizabeth Clarke, Montieth Douglas, Monica Drayton, Christopher Moore, Winston Farrel, and Carson Cumberbatch in the cast. 

Compares postcolonial identity in two Shakespeare adaptations, arguing that in Not Now Sweet Desdemona (q.v.) Murray Carlin offers an "endorsement of Shakespeare's universal genius," whereas by contrast, in A Branch of the Blue Nile (q.v.), Derek Walcott "promotes the acceptance of hybridity" and "advocates for an active adaptation based on local reality." English summary, 531.

Argues that the "prophetic mermaids" of the Nibelungenlied are an "analogue to Macbeth's encounter with the weird sisters." English summary, 763.