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Argues that Peter Brook's King Lear (q.v.) rejects cinematic techniques in favor of theatrical approaches by casting renowned stage actors Paul Scofield, Patrick Magee, and Jack MacGowran; by presenting a bare-bones mise-en-scène; using no extradiegetic music; and through purposeful framing, lighting, and editing. English summary, 207.

Describes how in her novel Cecilia (1782), Fanny Burney invokes Shakespeare's notions of the supernatural and presents theatrical moments. Shows how Burney uses allusions to Shakespeare and quotations from Shakespeare as a way to build her characters.

Argues that Shakespeare's history plays—King John, 1 & 2 Henry IV, and Henry V in particular—present monarchical sovereignty as inherently fragile based on fiscal insecurities such as geopolitical conflicts and nonpayment of subsidies and taxes.

Considers "willing and will-making" in works by Shakespeare and his contemporaries, considering wills in terms of moral order, ambition, and transgression. Touches on polysemous meaning of "will" in Shakespeare's sonnets and shows how wills were personified and used as dramatic devices on the early modern stage.

Analyzes affective geography in Tempest, arguing that it "privileg[es] white oceanic hardships" and draws on early modern ideas of circumnavigation. Points to multiple ways of mapping and charting in Tempest and situates play in terms of ongoing colonialism. English summary, 388.

Applies philosophical and psychoanalytic readings to the Mousetrap scene in order to argue that "its failure needs to be situated in the historical moment when it was created — a world characterised by the lack of transcendent values — one in which art folds back upon itself infinitely." English summary, 1537.

Considers Shakespeare's portrayal of Antony in relation to ballads, early modern depictions of freaks, and disability. Argues that "Antony's mangled body ... asks us to see suffering, humbling, and dying as other important forms of life." English summary, 20.

Considers "monetisation of strager relations" in Comedy of Errors, with a focus on "hospitality and international asylum." Argues that Comedy of Errors complicates impersonal and economic logic of diplomacy and suggests "transformative potential" of hospitality. English summary, 1670.

Suggests that Shakespeare's characters in Merchant of Venice speak in "proxy forms of expression: that allow them to say indirectly what they would otherwise feel powerless to say"; shows that these proxy languages "alienate characters from themselves" and can be unsuccessful, as with Antonio expressing his love for Bassanio, or can be successful, as with Portia's disguise as Balthazar. English summary, 1347.

Considers "Macbeth's war against unbearable life through a series of scenes of early modern and modern political terror: the Gunpowder Plot, the English Civil War, the camp." Emphasizes importance of unborn child to Macbeth and prophecy. Reprints "'Untimely Ripped'" (q.v.).