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Suggests that "throughout the Morris dance scene" in Two Noble Kinsmen, the instructor, Gerald, "attempts to utilize Humanist embodied pedagogical practices in order to mold his students into cognitively capable adults who reflect elite, Anglicized cultural standards." English summary, online.

Rebuts critics and theater practitioners who argue for Taming of the Shrew to no longer be staged. Points out that although "plays like The Taming of the Shrew and poems like The Rape of Lucrece necessarily reflect the values of their time," both Katherina and Lucrece offer "forceful female utterance[s]." English and French summaries, online.

Includes ten essays on Shakespeare. Introduction by Yan Brailowsky.

Considers E. E. Cummings's sonnets in Shakespearean form as well as his re-writing of Shakespeare's sonnets in terms of his education about Shakespeare at Harvard University, tensions between middle- and high-brow literature, and the "early-twentieth-century 'Shakespeare industry' in the United States." English summary, 77.

Argues that urban young men in Romeo and Juliet exist in queered ages (between boyhood and manhood) and queered spaces (the city), making them "privileged adolescents."

Argues that received narrative of Sir Thomas Bodley rejection playbooks in the Oxford public library is ignores many plays that were added to the library before 1624. Points out that this narrative contributes to the first folio's outsized place in our book histories and scholarship.

Analyzes translations of Shakespeare by Shōyō (1859-1935), with an emphasis on their early twentieth-century contexts, aesthetics, language (including meter, archaisms, "phonetic glossing," and repetition), and performance traditions (thinking about kabuki, stage directions, and performance histories). Offers three important productions as case studies: Bungei Kyōkai's Hamlet (1911), Katō Chōji's Twelfth Night (1928), and Aoyama Sugisaku and Hijikata Yoshi's Midsummer Night's Dream (1928).

Written by Osamu Dazai in 1941.

With Sōta Matsui (Hamlet), Yurika Seto (Ophelia), Sayuri Kawada (Gertrude), Hiroshi Ota (Claudius), and Kenya Omachi (Horatio).

By Lauren Gunderson (q.v.). Costumes by Carla Goodman.

With Bill Ward and Niall Costigan (both Henry Condell at different times in run), Russell Richardson (John Heminges), Zach Lee (William Jaggard), Tomi Ogbaro (Russell Crane), Helen Pearson (Rebecca Heminges), Carrie Quinlan (Elizabeth Condell), Jessica Ellis (Alice Heminges), Isaac Jaggard (Callum Sim), Andrew Whitehead (Ben Jonson), and Tarek Slater (theatre barker, printer, and Boy Hamlet).

Considers attractiveness and sexual politics in the first tetralogy. Argues that "in all the Wars of the Roses plays, the seductive power of male and female characters is always dangerous in political contexts." Calls for productions to emphasize male characters' seductive powers and sexual charisma as a way to better portray the historical politics.