Cahiers Elisabethains

Article	Citations
Performance review: The Merchant of Venice 1936 by Brigid Larmour and Tracy-Ann Oberman	3
Performance review: Galatea by John Lyly	2
‘Speak of me as […]’: Refashioning geographies of monstrosity in Othello	2
Republican friendship and the fall of the Roman Republic in late Elizabethan and early Jacobean drama	1
The brightest star: The Meisei Shakespeare Collection	1
Performance review: Tomio to Yuriko (based on Romeo and Juliet) by Suemitsu Kenichi	0
Performance review: The Comedy of Errors by Phillip Breen	0
Performance review: All's Well That Ends Well by Sioned Jones	0
Performance review: King Lear by Kenneth Branagh	0
‘A Pope Shut out of Heaven Gates (Thrice)’: Erasmus’ Julius as a tool of anti-Catholic propaganda in early modern England	0
Book Review: Shakespeare, Objects and Phenomenology: Daggers of the Mind by Susan Sachon	0
Performance review: Richard III by Elle While	0
Book review: Floral Culture and the Tudor and Stuart Courts by Susannah Lyon-Whaley (ed.)	0
Play review: Roméo et Juliette	0
Before Shakespeare, during the Renaissance: John Tiptoft, Earl of Worcester (d. 1470) and the uses of Padua	0
Grammatical expressions of time in Macbeth	0
Book Review: Richard II: A Critical Reader by Michael Davies & Andrew Duxfield	0
Erratum to ‘Macbeth’	0
Book review: Shakespeare and Disability Studies by Sonya Freeman Loftis	0
Performance review: Macbeth by Yaël Farber	0
Performance review: The Taming of the Shrew by Jude Christian	0
The politics of jealousy and misogyny of Othello in Omkara	0
Performance review: Cymbeline by Esther Jun	0
Gender and foreignness in William Davenant's The Siege of Rhodes Parts One and Two (1656–1663)	0
Performance Review: Dream by Robin McNicholas	0

Book review: Shakespeare on the Ecological Surface by Liz Oakley-Brown	0
Becoming Lear: Shakespearean adaptation and the memory of performance	0
Performance review: Henry VI: Wars of the Roses by Owen Horsley	0
The liminality of the garden: A comparative study of Shakespeare's Romeo and Juliet and Tang Xianzu's The Peony Pavilion	0
Performance Review: Romeo and Juliet by Natasha Rickman	0
Book review: Studying Shakespeare Adaptation: From Restoration Theatre to YouTube by Pamela Bickley and Jenny Stevens	0
Bring yourself back online, Old Bill: Westworld’s media histories, or six degrees of separation from Shakespeare	0
Performance review: Richard III by Elle While	0
The Japanese preoccupation with Osamu Dazai in the twenty-first century	0
Performance review: Henry VIII by Kazuko Matsuoka	0
Shakespearean playscripts as literary works: A performance edition of King Lear published by the Budapest National Theatre	0
Performance review: Hamlet by Selina Cadell	0
Performance review: Much Ado about Nothing by Sean Holmes	0
Rome's space of plurality	0
Book review: How to Think Like Shakespeare: Lessons from a Renaissance Education	0
Performance review: Macbeth by Stephen Maler	0
Performance review: Hamnet by Lolita Chakrabarti	0
Performance review: The Duchess of Malfi by Marc Erlhöfer	0
Performance review: Kiss Me, Kate by Bartlett Sher	0
Book review: The Oxford Handbook of Shakespeare and Dance by Lynsey McCulloch and Brandon Shaw	0
‘Moving grove’: Dionysian rites of passage in Shakespeare's A Midsummer Night's Dream and Macbeth	0
Book review: Richard III’s Bodies From Medieval England to Modernity: Shakespeare and Disability History by Jeffrey R. Wilson	0
Performance review: Macbeth by Wils Wilson	0
Shylock’s ghosts	0
Interview with Stephan Wolfert on Shakespeare, trauma, and mapping affective theatre communities	0
Performance review: The Taming of the Shrew by Christopher V. Edwards	0
Performance review: The Tempest by Tom Littler	0
Shakespeare emerging from global lockdown: ‘What Country (Friends) is this?’	0
Performance review: As You Like It by Laurie Sansom	0
Shakespeare on screen in the digital era: an annotated bibliography	0
Performance review: Macbeth by Max Webster	0
Performance review: All's Well That Ends Well by Sioned Jones	0
Shakespeare and the new discourses of television: quality, aesthetics, and The Hollow Crown	0
Editorial introduction: ‘The art itself is nature’: Shakespeare’s nature | art | politics	0
The background of The Shrew : Texts and intertexts	0
Book review: Both From the Ears & Mind: Thinking about Music in Early Modern England	0
Performance review: Twelfth Night by Sioned Jones	0
From zones to Zoom: Shakespeare on screen in the digital era	0
The Stratford Festival: Emerging from global lockdown	0
‘When Shakespeare was quarantined because of the plague, he wrote King Lear’: Theatre and Shakespeare in Spain during the Covid-19 crisis	0
Performing The Maid's Metamorphosis, then and now	0
Performance review: Much Ado about Nothing by Roy Alexander Weise	0
Performance review: Coriolanus by A. Nora Long	0
Following Puck virtually in the Royal Shakespeare Company's Dream experiment: Live theatre and high-tech innovations	0
Shakespearean bodies in movement: Central and Eastern European and American echoes on dance stages	0
Performance review: Richard III by Gregory Doran	0
Nature's artfulness in Dryden and Davenant’s The Tempest, or The Enchanted Island (1667)	0
Book review: ‘An Ocean Untouched and Untried’: The Tudor Translations of Livy	0
Book Review: The Genres of Renaissance Tragedy by Daniel Cadman, Andrew Duxfield and Lisa Hopkins	0
Utopian corporeality and movement in William Shakespeare's The Rape of Lucrece	0

Shakespearean comedy and Japanese (wo)men's Shakespeare: A refraction for the twenty-first century	0
Failing, to find the maid: Staging The Maid's Metamorphosis	0
Shakespeare's wavering geography: Religious topographia in Cymbeline	0
Book exchange and Anglo-Italian relations in the Padua circle of Reginald Pole and Niccolò Leonico Tomeo	0
Performance review: Hamlet by Sean Mathias	0
Mapping violence onto the body of the ‘other’ in Julie Taymor's Titus (1999)	0
Book review: Serial Shakespeare: An Infinite Variety of Appropriations in American TV Drama by Elisabeth Bronfen	0
Book review: Spenserian Moments by Gordon Teskey	0
Book review: The Shakespearean Death Arts: Hamlet Among the Tombs by William E. Engel and Grant Williams (eds)	0
Foreword: The Maid's Metamorphosis: A revival on page and stage	0
The Taming of the Shrew , or, on not knowing Italian (and Latin, and Spanish, and French)	0
Celebrating Cahiers Élisabéthains’ 50th anniversary	0
Book review: King Lear ‘after’ Auschwitz: Shakespeare, Appropriation and Theatres of Catastrophe in Post-War British Drama by Richard Ashby	0
Editorial introduction: From Paradise to Padua	0
Book review: Cowboy Hamlets and Zombie Romeos: Shakespeare in Genre Film by Kinga Földváry	0
Performance review: Bosworth Field by John Beaumont	0
As You Like It or As You Don’t: Shakespeare's Arden, Thomas More's Utopia, and their discontents	0
The ‘(De)territorialising’ power of Cleopatra's barge: Plutarch, Shakespeare, and Mankiewicz	0
Performance review: Trust Me, I’m a Doctor! Or, Faites-moi Confiance, Je Suis Médecin ! by Perry Mills	0
Shakespeare, national memory, and tourist place: Gyula's Várszínház Festival	0
Performance review: Henry VI: Rebellion by Owen Horsley	0
Mohamed Iffat's Arabic translation of Macbeth (1911)	0
Performance review: King Lear by Helena Kaut-Howson	0
The theatre of the confused: Tokyo	0
Performance review: Henry V by Max Webster	0
‘Fairest show’: Dramatic entrapment in Macbeth and Measure for Measure	0
Book review: Shakespeare and Commemoration by Clara Calvo and Ton Hoenselaars	0
Play review: Teenage Dick	0
Titus Andronicus and the wicked streets of Rome	0
The late- and post-Soviet trials of Hamlet in song, ballet, and opera	0
Shakespeare's Italian place-myths: The Padua–Verona–Mantua nexus	0
Performance review: The Fawn; or Parasitaster by John Marston	0
Performance review: The Tempest by Elizabeth Freestone	0
The Mariangela Tempera award for Shakespeare on screen (European Shakespeare Research Association / Cahiers Élisabéthains)	0
Performance review: Amlet by Guy Cimino	0
Book Review: Performing Early Modern Drama Beyond Shakespeare: Edward's Boys by Harry R. McCarthy	0
Edmund Spenser as Promethean poet: critical issues and the role of magic and Platonism in The Faerie Queene	0
Book review: Viral Shakespeare: Performance in the Time of Pandemic by Pascale Aebischer	0
Precarious life: cinema, ontology and the digital turn in Julie Taymor’s Shakespeare films	0
Book review: Arden of Faversham by Catherine Richardson (ed.)	0
Book review: Hamlet’s Choice: Religion and Resistance in Shakespeare’s Revenge Tragedies	0
Performance review: Twelfth Night by Owen Horsley	0
New perspectives on Anglo-Spanish diplomacy in the early modern era	0
The influence of the Noh play Tamura on Akira Kurosawa's Throne of Blood	0
Performance review: King Lear by Kimberley Rampersad	0
Roman walls in English Renaissance writing	0
Book review: Index, A History of the: A Bookish Adventure from Medieval Manuscripts to the Digital Age by Dennis Duncan	0
Performance review: Mariam by Elizabeth Cary	0
Performance review: All's Well That Ends Well by Blanche McIntyre, Todd MacDonald, Hayley Pepler, and John Wyver	0
Book review: II Teatro e la Nazione by Cristiano Ragni	0
Book review: Milton’s Poetical Thought by Maggie Kilgour	0
Book Review: Shakespeare and Crisis: One Hundred Years of Italian Narratives by Silvia Bigliazzi	0
Performance review: Henry V by Elf Lyons	0
Book review: John Hall, Master of Physicke: A Casebook from Shakespeare’ Stratford by Greg Wells and Paul Edmondson (eds)	0
Performance review: Much Ado about Nothing by Robert Hastie	0
Performance review: The Merchant of Venice 1936 by Brigid Larmour and Tracy-Ann	0
How can we make Shakespeare more accessible in Japan?	0
Performance review: Macbeth by Simon Godwin	0
On being contemporary: Shakespeare, inclusion and states of emergency	0
Performance Review: Romeo and Juliet by Simon Godwin	0
Book review: Reading English Verse in Manuscript c. 1350–1500	0
Timon and Melancholia	0
Performance Review: Romeo and Juliet by John Cranko	0
Book review: Shakespeare, Tragedy and Menopause: The Anxious Womb by Victoria L. McMahon	0
Performance review: Cymbeline by Gregory Doran	0
Book review: From the Domesday Book to Shakespeare’s Globe: The Legal and Political Heritage of Elizabethan Drama by Dominique Goy-Blanquet Goy-BlanquetDominique, From t	0
An introduction to the Padua First Folio	0
The Lord Mayor's Show for 1621 and 2021: Reconstructing a Triumph	0
‘More like a tavern than a school house’: Family strife, religious change, and the founding of Oundle Grammar School, 1556–1578	0
Book Review: The Merchant of Venice: A Critical Reader by Sarah Hatchuel and Nathalie Vienne-Guerrin	0
Book review: The Works of John Webster: An Old-Spelling Critical Edition, vol. 4, ‘Sir Thomas Wyatt’, ‘Westward Ho, Northward Ho’, ‘The Fair Maid of the Inn’ by David Gunby, David Carnegie, and	0
Padua and Venice: The first complete translations of Shakespeare's plays	0
Book review: Shakespeare's Military Spouses and Twenty-First-Century Warfare by Kelsey Ridge	0
Performance review: Much Ado about Nothing by Megan Sandberg-Zakian	0
Miracles of contingency: Pericles as a drama of possibility	0
Foreword: Japan and Shakespeare: Acceptance and transformations in the twenty-first century	0
Men's lovesickness in Iberian chivalric romances in English: Anthony Munday's Palmendos (1589) and Primaleon of Greece, Book 1 (1595)	0
‘Tried and tutord in the world’: Shakespeare, Padua, and the figure of the traveller	0
Performance review: The Duchess of Malfi by Rachel Bagshaw	0
Book review: Cultures of Diplomacy and Literary Writing in the Early Modern World	0

Performance review: A Midsummer Night’s Dream by Shoichiro Kawai	0
Performance review: The Merry Wives of Windsor by Blanche McIntyre	0
Artifice and animality in The Tempest: Imagining Caliban	0
Performance reviews The Comedy of Errors, directed by Simon Godwin for Shakespeare Theatre Company, Washington, DC, USA, 15 September 2024, orchestra centre.	0
Digital Asian Shakespeare Festival, 11th World Shakespeare Congress, Singapore, 18–24 July 2021	0
Performance review: As You Like It by Brendan O’Hea	0
The ‘strange and dangerous Poynado’ of Georges Villiers, Duke of Buckingham: Weaponry, propaganda, and political identity	0
‘Why I should welcome such a guest as grief [?]’: Lodging and dislodging in Shakespeare's Richard II	0
Performance review: A Midsummer Night's Dream by Yevhen Reznichenko	0
Performance review: Fat Ham by James Ijames	0
Performance review: The Merchant of Venice by Abigail Graham	0
Book review: England’s Insular Imagining: The Elizabethan Erasure of Scotland by Lorna Hutson	0
Book review: Still Shakespeare and the Photography of Performance	0
Jean Aicard, ‘Molière à Shakespeare’, 1879: Introduction	0
In Memoriam Jean-Marie Maguin (1943–2022)	0
Performance review: A Midsummer Night's Dream by Michelle Terry	0
Performance Review: Gallathea by John Lyly	0
Performance review: A Midsummer Night's Dream by Elle While	0
Performance review: I, Malvolio by Tim Crouch	0
Shakespeare and sonnet form	0
Performance Review: The Winter's Tale by Erica Whyman	0
Hot Shakespeare, Cool Japan: Editorial introduction	0
The Acidale test: Spenser’s jettisoning of Sidney as poetic authoriser	0
Performance review: The Changeling by Ricky Dukes	0
Performance review: Othello by Clint Dyer	0
‘Of counsel with [m]y mistress’: The mistress–servant alliance in Thomas Middleton and William Rowley's The Changeling (1622)	0
Shakespeare and Keraliyatha: Romeo and Juliet, adaptation, and South Indian cinemas	0
Book review: Shakespeare on European Festival Stages by Nicoleta Cinpoeş, Florence March and Paul Prescott (eds)	0
Performance review: Roméo et Juliette Suite by Benjamin Millepied	0
Performance review: Richard III by Antoni Cimolino	0
Book review: Thomas Heywood and the Classical Tradition by Tania Demetriou and Janice Valls-Russell	0
Book Review: Fulke Greville and the Culture of the English Renaissance by Russ Leo, Katrin Röder and Freya Sierhuis	0
Performance review: The Duchess of Malfi by John Webster	0
Rival monarchs: The two versions of 2 Henry VI and 3 Henry VI	0
Book review: Fool: In Search of Henry VIII’s Closest Man by Peter K. Andersson	0
Text, performance, screen: Shakespeare and critical media literacy	0
The ‘pre-Shakespearean’ balcony and outdoor spaces from the European sources to Romeo and Juliet	0
Performance Review: The Duchess of Malfi by John Webster	0
Performance review: Antony and Cleopatra (BSL performance) by Blanche McIntyre	0
Shakespeare and European geographies: Borders and power	0
Erratum to ‘The theatre of the confused: Tokyo’	0
The Maid's Metamorphosis, Directed by Perry Mills for Edward's Boys, Stratford-upon-Avon, UK	0
Fissured legacies in Roysten Abel's In Othello	0
Book review: John Heywood: Comedy and Survival in Tudor England by Greg Walker	0
‘The finny subject of the sea’: Thaisa's pregnant embodiment and (non)maternal identity in Pericles	0
Book review: The Book Makers: A History of the Book in 18 Remarkable Lives, The Bodley Head by Adam Smyth	0
‘I have aym’d my black shafts at white markes’: Colours in The Queen of Corinth	0
The First Folio and the merchants of Venice: A collection of books from the natio Anglica in Padua	0
Performance review: Love's Labour's Lost by Emily Burns	0
Becoming Cleopatra	0
Book review: Milton, Longinus and the Sublime in The Seventeenth Century, Classical Presences Series by Thomas Matthew Vozar	0
Performance review: The Witch of Edmonton by Thomas Dekker, William Rowley, and John Ford	0
Performance review: The Tempest by Sioned Jones	0
Book Review: The Cambridge Companion to Shakespeare on Screen by Russell Jackson	0
Performance review: Hamlet by John Haidar	0
Performance review: The Winter's Tale by Bryn Boice	0
Performance review: Michaelmas Term by Thomas Middleton	0
Misanthropos in the Anthropocene	0
Book review: Household Servants in Early Modern Domestic Tragedy by Iman Sheeha	0
Performance review: A Midsummer Night’s Dream by Shoichiro Kawai	0
Book review: Early Modern Women Writers Engendering Descent: Mary Sidney Herbert, Mary Sidney Wroth, and Their Genealogical Cultures, Routledge Studies in Renaissance Literature and Culture by	0
‘Something rich and strange’: Translating Shakespeare's poetry into Japanese	0
Macbeth apropos to Rupert Goold's and Gregory Doran's stagecraft: Equivocation, violence, and vulnerability	0
Performance review: Hamlet by Greg Hersov	0
Green plots, hawthorn brakes, and an ass’s nole: Imaginative translation in A Midsummer Night's Dream	0
Book Review: Revived with Care: John Fletcher's Plays on the British Stage by Peter Malin	0
Performance review: As You Like It by Omar Elerian	0
Prisoners of the womb: Pregnant prisoners in William Shakespeare's The Winter's Tale and Measure for Measure	0
Shylock as Jew-voice: Rhetorical listening and identifications in The Merchant of Venice	0
Performance review: Play On!	0
Performance review: A Midsummer Night's Dream by Eleanor Rhode	0
Performance review: Hamlet by Kenny Leon	0
Book review: Arden of Faversham: A Critical Reader, Arden Early Modern Drama Guides by Peter Kirwan and Duncan Salkeld (eds)	0
Performance review: Sophonisba by John Marston	0
Shakespeare in the spotlight of Montpellier's National Dramatic Centre	0
Survival strategies: Shakespeare and Renaissance truth-telling	0
Book Review: Shakespeare's Accents: Voicing Identity in Performance by Sonia Massai	0
Book review: Sir Kenelm Digby (1603–1665) by Anne-Laure de Meyer	0
Becoming a good wife: Nature and habits in Paduan medical culture in the age of Shakespeare	0
Of imaginings, mobility and mapping	0
The artfulness of historical playwriting in Richard III: Shakespeare and English Tacitism	0
The Mariangela Tempera Award for Shakespeare on Screen (European Shakespeare Research Association / Cahiers Élisabéthains)	0
Performance review: Pericles by Tamara Harvey	0
Book review: Shakespeare’s Others in 21st-century European Performance: The Merchant of Venice and Othello by Boika Sokolova and Janice Valls-Russell (eds)	0
Book review: Thinking Through Place on the Early Modern English Stage	0
Whose tragedy is this? Translating Arden of Faversham	0