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Translated into German by Thomas Brasch. Nadja Hess, dramaturg. Bénédicte Gourrin, assistant director. Sets and costumes by Eva Humburg.

Produced by Theater Vorpommern (https://www.theater-vorpommern.de/de) at Theater Vorpommern, Greifswald, beginning 4 June 2022.

With Felix Meusel (Orsino), Amelie Kriss-Heinrich (Viola), Markus Voigt (Sir Toby), Philipp Staschull (Sir Andrew), Susanne Kreckel (Olivia), Gabriele Völsch (Maria), Hannes Rittig (Malvolio), Claudia Lüftenegger (Feste), Philipp Seidler (Sebastian), and Jan Bernhardt (Antonio).

Translated into German by Heiner Müller. Jan Stephan, dramaturg. Sets by Robert Schweer, costumes by Esther Geremus, and lighting by Thomas Bernhardt.

Produced by Schauspiel Graz (https://schauspielhaus-graz.buehnen-graz.com) at the Graz National Theatre, Graz, beginning 28 May 2022.

With Florian Köhler (Macbeth), Sarah Sophia Meyer (Lady Macbeth), Alexej Lochmann (Duncan/Macduff), Oliver Chomik (Banquo), Henriette Blumenau (Lennox), Nanette Waidmann (Malcolm), Daria von Loewenich (Fleance), and Frieder Langenberger (Ross).

Includes four essays on Shakespeare. 

Argues that there is innate "tragic vision" within history of social thought. Employs theory of "tragic social science" to examine philosophical and literary works, including plays by Shakespeare, in order to assess "questions of agency and collectivity in the social sciences." Considers especially "Shakespeare’s secular universe of the self" in plays like Hamlet.

Discusses "fair play" ("idea of right and honorable conduct both in games and in a wide variety of other situations") as central to English national identity, tracing it back to medieval England. Considers how Shakespeare wrote figures who embodied fair play (Hector in Troilus and Cressida) and those who flouted it (Autolycus from Winter’s Tale). Traces meaning of “fair” as equitable among early modern writers, including Shakespeare, and Shakespeare’s use of “fair play,” including instance when Hector mistakenly assumes Greeks will play by same rules as Trojans.

Frames discussion about editing and adapting of Maurice Tourneur's film version of Ben Jonson's Volpone with examples of Shakespearean digital editions and performance archives. Contrasts multimedia edition proposed for Volpone with digital Shakespeare editions, the latter said to often lack contextual commentary or fail to showcase diverse ways Shakespearean texts can be performed and interpreted.

Interviews Shakespeare scholar Alexa Alice Joubin about her book Shakespeare and East Asia (2021, q.v.). Discusses book’s endorsement of treating Asian performances of Shakespeare as “original epistemologies” instead of derivates of white Western canon. English summary, 115.

Argues iconic image of Hamlet contemplating Yorick's skull informed art, science, and ethical philosophy of the American frontier. Focuses on painting by William Jacob Hays (1830–75), Herd on the Move, which features bison in Hamlet-like posture gazing on bison skull. Analyzes painting "to trace the theme of the extinction of species as it is embedded in the 'translation of empire' and Manifest Destiny." English summary, 58.

Demonstrates Shakespeare’s polyglot activities through his grammar school education in Greek and Latin and his plays’ openness to other languages and cultures. Explores implications of Shakespeare’s polyglot associations in ways that counter typical view of Shakespeare as single-language author. Focuses on representations of Tribunes in Titus Andronicus, Coriolanus and Julius Caesar to explore Shakespeare’s affinity with polyglotism.

• Analyzes Goran Marković's 2008 film Turneja (The Tour), where Shakespeare references offer ironic contrasts to absurdity of war, as troupe of actors navigates war-torn areas, performing in dangerous and surreal circumstances. Discusses Tahir Mujičić's 2012 novel Budi Hamlet, pane Hamlete (Be Hamlet, Mr. Hamlet), which revolves around a fictional production of Hamlet staged at Dubrovnik Summer Festival. Demonstrates reference is homage to Jiří Menzel’s 1982 Dubrovnik Hamlet production, where late Croatian actress Mira Furlan played Ophelia. Explores how novel revisits political, cultural, and personal tensions associated with Dubrovnik production and uses Hamlet as a metaphor for navigating fractured identities of post-Yugoslav era.