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"Explores the conjunction of secretly exchanged verses (often sonnets, or almost) and material love tokens in Shakespeare’s love tragedies Romeo and Juliet and Troilus and Cressida," as well as in Senecan tragedies including Hamlet. Shows how sonnets in these genres are often incomplete or unsuccessful and how love tokens are lost, both of which symbolize failed love. English summary, 251.

Considers protagonist's "non-action" in two Chinese film adaptations of Hamlet, Feng Xiaogang's 2006 The Banquet and Sherwood Hu's 2007 Prince of the Himalayas (both q.v.), in terms of Taoism and Buddhism, respectively. Positions protagonists' non-action in terms of Lao Tzu's Taoist idea of "wu wei" ("doing nothing") and Buddhist concept of "karuna" (a "turning inward" and "absence of self"). English summary, 508.

Introduces special issue by emphasizing "disorienting gap between Shakespeare’s assumptions about ethics and those of many of his present-day interpreters," situating renewed interest in studying Shakespeare and morality in terms of different historical-critical approaches.

Reads Jeanette Lambermont's 2001 production of Henry V at the Stratford Festival of Canada (q.v.) as a feminist and pacifist production that deployed "an archaeologically layered set, extensive live and archival video, interpolated transitional scenes, and an onstage cellist" to interrogate "relationship between war messaging and archival manipulation," particularly in light of 9/11, which occurred during this production's run. Includes appendix of intertextual video cues from stage manager Ann Stuart's promptbook. English summary, 223.

Traces provenance of scrapbooks of receipts from Drury Lane theatre gathered by managers Robert Wilks, Colley Cibber, and Barton Booth. Argues that this ephemeral evidence was preserved because of "the Shakespeare factor," that is, James Orchard Halliwell-Phillips and Henry Clay Folger's particular interest in preserving Shakespeareana. English summary, 183.

Explores influence of Carla Freccero’s essay "Romeo and Juliet Love Death" (q.v.) on José Zayas’s 2022 Romeo and Juliet at the American Shakespeare Center (q.v.), a production that emphasized the play's queerness and foregrounded its portrayal of self-harm and suicide. Describes this production's engagement with scholarly theory as an outlier for the ASC, which has traditionally based its theatrical practices on new historicist and cultural materialist scholarship. English summary, 51.

Analyzes digital performances of Shakespeare in Fallout 76 video game world by the Wasteland Theatre Company (founded by Northern Harvest), including Macbeth (2021), Romeo and Juliet (2022), Midsummer Night’s Dream (2022), Coriolanus (November 2023), and two “Sonnet Festivals” in 2022. Argues that performing Shakespeare in the digital, imagined, post-nuclear-holocaust world of Fallout 76 invites reflection both on the nature of text and on the value of culture in an imagined dystopia. English summary, 5.

Argues that "Urdu drama serial Sang-e-Mah (2022)" "relocates William Shakespeare’s Hamlet within cultural, regional, and national identities in Pakistan’s Khyber Pakhtunkhwa (KPK) province." "Illustrates that Sang-e-Mah 'localizes' Shakespeare’s play to allow it to participate in global conversations about the violation of women’s rights, the violation of law and order, and the valorization of gun cultures." English summary, 347.

"Examines Shakespeare and performance during the most restrictive years of COVID-19, when his work was, by necessity, digitally delivered." Explores privilege through a number of lenses: digital privilege (hardware, bandwidth) to access digital performances; geographic and economic privilege to attend in-person when theatres reopened; Shakespeare's privilege in comparison to other playwrights; and funding privilege for some theatres to weather economic challenges of the pandemic. Contends that scholars need to document the wealth of online performances or risk offering shallow and non-representative information for future theatre historians. English summary, 509.

Explores spectator experience and theatrical innovations in All the World’s A Screen, an Irish Sign Language production created and signed by Alvean Jones and Lianne Quigley, which adapted "passages from Macbeth, Romeo and Juliet, As You Like It, and Hamlet, as well as Sonnet 18, with Shakespeare’s text and modern English captions displayed on a big screen behind them" and invited “machine guests,” small screens with artificial intelligences to translate and interact with the audience as "co-spectators." Contends that "From a performance studies perspective, All The World’s A Screen accomplished three things: (1) the creation of multiple publics; (2) the deployment of interfaces as co-spectators who expand theatrical publics; and (3) the establishment of an imperfect spectatorial proxy." English summary, 529.