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Discusses resurgence of Shakespearean adaptation in French operas through case study of operas performed at Paris Opera between 1915 and 1945. Focuses specifically on operas performed under direction of Jacques Rouché, including opera adaptations of Hamlet, Romeo and Juliet, Henry VIII, Merry Wives of Windsor, Taming of the Shrew, and Merchant of Venice. 

Explores chronology of musical adaptations of Hamlet in nineteenth-century France. Considers particularities of purely instrumental adaptations, their ambiguous relationship to Shakespeare, and differences in tragic and operatic adaptations.

Explores French composer Hughes Dufourt's beliefs about Shakespeare's literary genius, as demonstrated visionary depth, acuity of line, and accuracy of purpose. Examines evidence of Shakespeare's influence on Dufourt. 

Discusses 1850 production of Midsummer Night's Dream with compositions by French composer Ambroise Thomas. Explores Shakespeare's influence on Thomas and his evolution in style through musical appropriation of Shakespearean themes.

Compares three case studies of French operatic adaptations of Merry Wives of Windsor, by Otto Nicolai (1849), Adolphe Adam (1856), and Giuseppe Verdi (1893). Examines three operas in order to illuminate different strategies of adapting Shakespeare in French contexts. 

Explains theory of  “metaphorical swarms” and its importance for translation of Shakespeare's comedy. Focuses on Italian translation of Two Gentlemen of Verona as case study. 

Describes process of metaphor annotation that identifies different metaphor types (conflictual and consistent, creative and non-creative) and highlights their internal structure. Analyzes Shakespeare’s sonnet 18 to examine structures of conflictual metaphors. Presents Two Gentlemen of Verona to demonstrate new annotation procedure.

Advocates need to consider "contextual parameters" to unpack referential layers of metaphors. Proposes theory of "hidden reference” to analyze layers of reference in literary discourse. Considers Shakespeare’s use of metaphor to construct affinities between love and death in Romeo and Juliet and Antony and Cleopatra. 

Contrasts creative metaphor with coherent metaphor, arguing that former is based on "conceptual conflict." Considers differences between "conventional" and "living metaphors" through examination of metaphorical expression In Venus and Adonis. Analyzes passages from Richard III to demonstrate conflict as condition for metaphor. 

Jokübas Brazys, assistant director. Sets by Oskaras Koršunovas and Julija Skuratova, costumes by Julija Skuratova, lighting by Eugenijus Sabaliauskas, and music by Antanas Jasenka.

Produced by OKT (https://www.okt.lt) at Vilniaus Miesto Teatras, Vilnius, Lithuania, beginning 19 July 2021.