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Explores astrological and cosmological references in three tragedies: "dog days" and the constellation of Canis major in Romeo and Juliet; the moon and eclipse in Othello; and meteors and meteoric falls in Antony and Cleopatra.
Includes one essay on Shakespeare.
Explores judgment in Shakespeare's plays, focusing on feeling in Hamlet's closet scene, objects in Julius Caesar's forum scene, vision in the final scene of Twelfth Night, making in Prospero's epilogue to Tempest, facing in Measure for Measure, and community in the conclusion of Winter's Tale.
Introduces "touching at a distance" as means to theorize "a conceptual and political potential for touch that surmounts the neat distinction of the senses." Considers "non-palpable" touch and metatheatre in Hamlet and Tempest; "the problem of speaking and acting truthfully, the nature of social bonds, the rituals of touch," and surfaces in Richard III; linguistic temptation in Much Ado about Nothing; and social bonds in Troilus and Cressida.
Considers "problem plays" in terms of Reformation ideas about "human existence as hermeneutic" and the "interpreting self." Analyzes Hamlet's responsibility; "the self as a moral agent" in Troilus and Cressida; mercy in Measure for Messure; and eschatological allusions in All's Well that Ends Well.
Traces references to Hamlet in works by J. M. Synge, James Joyce, and John Banville; draws parallels between Coriolanus and Samuel Beckett's Molloy; finds implicit intertextuality between Edna O'Brien's The Country Girls Trilogy and Taming of the Shrew, Othello, and Winter's Tale; and surfaces remembrances of As You Like It in poetry by W. B. Yeats and Seamus Heaney.
Offers concrete strategies and activities for rehearsing Shakespeare drawing on Jacques Lecoq's movement techniques, considering warm-ups, listening and awareness exercises, play, world-making, text, and character. Provides links to video examples of exercises discussed. Foreword by Toby Jones.
Considers how to read Shakespeare in a post #MeToo world, contending that "the idea of consent as a universal prerogative and neutral instrument is a lie." Links readings of Shakespeare's works with twentieth- and twenty-first century events. Focuses on Rape of Lucrece and sexual violence; incapacity in Midsummer Night's Dream; sex and love in Romeo and Juliet and John Madden's Shakespeare in Love, produced by Harvey Weinstein (q.v.); and Hamlet's depiction of "procrastination as politics."
Examines Ellen Terry's 1914 "tour of her solo Shakespeare lectures to Australia and New Zealand," focusing on "Terry’s professional agency, her creative autonomy, her skilful navigation of ageist sexism, her eager receptivity to new natural environments, and her friendship with international opera star, Nellie Melba."
Takes a psychoanalytic approach to film adaptations of Hamlet, analyzing Laurence Olivier's (1948), Franco Zeffirelli's (q.v.), and Kenneth Branagh's (q.v.) films in terms of id, ego, and super-ego; building on Lacanian theory; and in relation to the Oedipus complex.