OOIR: Observatory of International Research

Papers

(The median citation count of Cahiers Elisabethains is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2022-05-01 to 2026-05-01.)

Article	Citations
Gender and foreignness in William Davenant's The Siege of Rhodes Parts One and Two (1656–1663)	1
Performance review: All's Well That Ends Well by Blanche McIntyre, Todd MacDonald, Hayley Pepler, and John Wyver	1
Performance review: The Winter’s Tale by Yaël Farber The Winter’s Tale, directed by Yaël Farber for theRoyal Shakespeare Company, Royal Shakespeare Theat	1
Book review: Searching for Juliet: The Lives and Deaths of Shakespeare’s First Tragic Heroine by Sophie Duncan DuncanSophie, Searching for Juliet: The Li	1
Book review: Shakespeare, Tragedy and Menopause: The Anxious Womb by Victoria L. McMahon	1
Performance review: Macbeth by Sioned Jones Macbeth, directed by Sioned Jones for Shakespeare in the Squares, St Giles Cripplegate Church, London, UK, 27	1
Performance review: All's Well That Ends Well by Sioned Jones All's Well That Ends Well , directed by Sion	1
‘When Shakespeare was quarantined because of the plague, he wrote King Lear ’: Theatre and Shakespeare in Spain during the Covid-19 crisis	1
Titus Andronicus and the wicked streets of Rome	1
Book review: Middleton and Time: Clocks, Calendars, and Temporality by Eric Dunnum Eric Dunnum, Middleton and Time: Clocks, Calendars, and Temporality (B	1
Performance review: Much Ado about Nothing by Megan Sandberg-Zakian	0
Misanthropos in the Anthropocene	0
Performance review: Lady Macbeth by Helen Pickett Lady Macbeth, by Helen Pickett, Dutch National Ballet, premiere 5 April 2025, Nationale Opera & Bal	0
‘Moving grove’: Dionysian rites of passage in Shakespeare's A Midsummer Night's Dream and Macbeth	0
Performance review: King Lear by Kenneth Branagh	0
Book review: Bess of Hardwick, Mary Queen of Scots, and the Cavendishes: Cultural Legacies of Captivity by Lisa Hopkins Lisa Hopkins, Bess of Hardwick, M	0
Performance review: As You Like It by Omar Elerian	0
The influence of the Noh play Tamura on Akira Kurosawa's Throne of Blood	0
Book review: The Complete Works of John Milton: Volume VII Latin Defences by Joad Raymond Wren (ed.) Joad Raymond Wren (ed.), The Complete Works of John	0
Performance review: The Merry Wives of Windsor by Blanche McIntyre The Merry Wives of Windsor , directed b	0
Performance review: Othello by Tom Morris Othello , directed by Tom Morris for Chris Harper Productions at	0
Book review: Three Sixteenth-Century Dietaries by Joan Fitzpatrick Joan Fitzpatrick, Three Sixteenth-Century Dietaries (Manchester: University of Manches	0
Performance review: The Duchess of Malfi by Marc Erlhöfer John Webster, The Duchess of Malfi , directed by	0
Book review: The Book Makers: A History of the Book in 18 Remarkable Lives , The Bodley Head by Adam Smyth AdamSmyth, The Book Makers: A History of the B	0
The Mariangela Tempera Award for Shakespeare on Screen (European Shakespeare Research Association / Cahiers Élisabéthains )	0

The ‘strange and dangerous Poynado ’ of Georges Villiers, Duke of Buckingham: Weaponry, propaganda, and political identity	0
Performance review: Titus Andronicus by Max Webster Titus Andronicus, directed by Max Webster for theRoyal Shakespeare Company, The Swan Theatre, Stratfo	0
‘Something rich and strange’: Translating Shakespeare's poetry into Japanese	0
‘ Enter several strange shapes ’ ( The Tempest 3.3.18SD): Puppets in Footsbarn Travelling Theatre’s produc	0
Performance review: The Winter's Tale by Bryn Boice The Winter's Tale , directed by Bryn Boice for Commonw	0
Making theatre from the debris of The Tempest : La Tempête de Caliban , a monologue for an actor-puppeteer	0
Ford's stagecraft, ’Tis Pity She's a Whore , and Mason's The Turk	0
Performance review: Cymbeline by Esther Jun The 2024 Stratford, Ontario, Festival Shakespeare Plays: Cymbeline	0
Book review: Historicizing the Embodied Imagination in Early Modern English Literature by Mark Kaethler and Grant Williams (eds) Mark Kaethler and Grant	0
Performance review: Richard III by Antoni Cimolino	0
Book review: Shakespeare and Stanislavsky. A Practical Guide for Actors, Directors, Students and Teachers by Annie Tyson Annie Tyson, Shakespeare and Sta	0
Book review: The First English ‘Pastor Fido’, Tudor and Stuart Translations by Massimiliano Morini (ed.) Massimiliano Morini (ed.), The First English ‘Pa	0
Shakespeare's wavering geography: Religious topographia in Cymbeline	0
Book review: Sir Kenelm Digby (1603–1665) by Anne-Laure de Meyer	0
Performance review: Hamnet by Lolita Chakrabarti	0
A gender-fluid Midsummer Night's Dream : Interview with Jean-Michel d’Hoop, stage director and founder of Cie Point Zéro, Brussels	0
The brightest star: The Meisei Shakespeare Collection	0
Performance review: Twelfth Night by Sioned Jones	0
Performance review: Hamlet Hail to the Thief by Christine Jones and Steven Hoggett Hamlet Hail to the Thief	0
Book review: Shakespeare’s Others in 21st-century European Performance: The Merchant of Venice and Othello by Boika Sokolova and Janice Valls-Russell (ed	0
Performance review: Macbeth by Max Webster	0
‘Why I should welcome such a guest as grief [?]’: Lodging and dislodging in Shakespeare's Richard II	0
Shakespeare's Italian place-myths: The Padua–Verona–Mantua nexus	0
Stone and speech in The Winter's Tale : Patronage, oral transmission, and ecology	0
Shakespearean bodies in movement: Central and Eastern European and American echoes on dance stages	0
Performance review: Much Ado about Nothing by Roy Alexander Weise	0
Performance review: Amlet by Guy Cimino	0
Performance review: The Comedy of Errors by Simon Godwin The Comedy of Errors, directed by Simon Godwin for Shakespeare Theatre Company, Washington, DC,	0
Book review: John Heywood: Comedy and Survival in Tudor England by Greg Walker	0
Shakespeare emerging from global lockdown: ‘What Country (Friends) is this?’	0
Book review: Arden of Faversham by Catherine Richardson (ed.)	0
Book review: Fool: In Search of Henry VIII’s Closest Man by Peter K. Andersson Peter K.Andersson, Fool: In Search of Henry VIII’s Closest Man (Princeton:	0
Intermedial Queen Lear on the Madrid stage: Remediating gender and power	0
Performance review: The Merry Wives of Windsor by Sean Holmes The Merry Wives of Windsor , directed by Sea	0
Shakespeare and European geographies: Borders and power	0
Performance review: Hamlet by Justin Audibert Hamlet, directed by Justin Audibert, Chichester Festival Theatre, The Minerva Studio Theatre, Chichester, U	0
The theatre of the confused: Tokyo	0
Book review: Shakespeare on the Ecological Surface by Liz Oakley-Brown LizOakley-Brown, Shakespeare on the Ecological Surface (London: Routledge, 2024),	0
Performance review: Hamnet by Chloé Zhao Hamnet , directed by Chloé Zhao, Gate Cinema, Notting Hill, Londo	0
Book review: Early Modern Women Writers Engendering Descent: Mary Sidney Herbert, Mary Sidney Wroth, and Their Genealogical Cultures, Routledge Studies in Renaissance Literature	0
Performance review: Player Kings by Robert Icke Player Kings , directed by Robert Icke for the New Wimbled	0
Book review: Index, A History of the: A Bookish Adventure from Medieval Manuscripts to the Digital Age by Dennis Duncan	0
Figure.S. performing	0
Following Puck virtually in the Royal Shakespeare Company's Dream experiment: Live theatre and high-tech innovations	0
Book review: II Teatro e la Nazione by Cristiano Ragni	0
Performance review: Richard III by Gregory Doran	0
Book review: Shakespeare’s Liminal Spaces: Contesting Authority on the Early Modern Stage by Ben Haworth HaworthBen, Shakespeare’s Liminal Spaces: Contes	0
A widow printer makes Dido	0
Book review: Volpone, or the Fox by Ben Jonson Ben Jonson, Volpone, or the Fox, edited by John Jowett, Arden Early Modern Drama (London: Bloomsbury, 2024	0
Book review: Anthony Munday: The First Book of Primaleon of Greece by María Beatriz Hernández Pérez (ed.) María Beatriz Hernández Pérez (ed.), Anthony Mu	0

Performance review: Macbeth by Stephen Maler	0
An introduction to the Padua First Folio	0
Shakespeare, national memory, and tourist place: Gyula's Várszínház Festival	0
The Mariangela Tempera award for Shakespeare on screen (European Shakespeare Research Association / Cahiers Élisabéthains )	0
The Japanese preoccupation with Osamu Dazai in the twenty-first century	0
Book review: The Shakespearean Death Arts: Hamlet Among the Tombs by William E. Engel and Grant Williams (eds)	0
Editorial introduction: From Paradise to Padua	0
Teaching Shakespearean comic book adaptations	0
Nature's artfulness in Dryden and Davenant’s The Tempest, or The Enchanted Island (1667)	0
On Pulchi Shake and Spear : An interview with Bruno Leone	0
Performance review: Baby Macbeth by Agnès Limbos Baby Macbeth , directed by Agnès Limbos for the Compagnie	0
Performance review: As You Like It by Laurie Sansom	0
Performance review: Hamlet by Robert Hastie Hamlet , directed by Robert Hastie for the National Theatre, L	0
Shakespearean comedy and Japanese (wo)men's Shakespeare: A refraction for the twenty-first century	0
Book review: John Hall, Master of Physicke: A Casebook from Shakespeare’ Stratford by Greg Wells and Paul Edmondson (eds)	0
Book review: Shakespeare, Violence and Early Modern Europe by Andrew Hiscock HiscockAndrew, Shakespeare, Violence and Early Modern Europe (Cambridge: Cam	0
Shakespeare and sonnet form	0
Afterword: Shakespeare's attitude to puppets	0
Macbeth : ‘A tale … full of sound and fury’	0
Performance review: Edward II by Daniel Raggett Edward II, directed by Daniel Raggett for theRoyal Shakespeare Company, Swan Theatre, Stratford-Upon-Avon	0
Editorial introduction: ‘The art itself is nature’: Shakespeare’s nature \| art \| politics	0
Erratum to ‘The theatre of the confused: Tokyo’	0
Performance review: The Merchant of Venice 1936 by Brigid Larmour and Tracy-Ann	0
Performance review: Richard III by Elle While Richard III , directed by Elle While for Shakespeare's Globe	0
Performance review: The Two Gentlemen of Verona by Joanna Bowman The Two Gentlemen of Verona, directed by Joanna Bowman for theRoyal Shakespeare Company,	0
Performance review: A Midsummer Night’s Dream by Holly Race Roughan A Midsummer Night’s Dream , directed b	0
‘Taking the car engine apart and show[ing] all the bits’: Adapting Shakespeare for the contemporary British puppet stage	0
‘As a stranger give it welcome’: Hamlets	0
‘The finny subject of the sea’: Thaisa's pregnant embodiment and (non)maternal identity in Pericles	0
Performance review: I, Malvolio by Tim Crouch	0
Book review: From Tudor to Stuart: The Regime Change from Elizabeth I to James I by Susan Doran DoranSusan, From Tudor to Stuart: The Regime Change from	0
Performance review: Cymbeline by Jennifer Tang Cymbeline, directed by Jennifer Tang forShakespeare’s Globe, Sam Wanamaker Playhouse, London, UK, 23 Febru	0
Book review: Viral Shakespeare: Performance in the Time of Pandemic by Pascale Aebischer Pascale Aebischer, Viral Shakespeare: Performance in the Time of	0
Performance review: As You Like It by Brendan O’Hea As You Like It , directed by Brendan O’Hea for the Roy	0
As You Like It or As You Don’t: Shakespeare's Arden, Thomas More's Utopia , and their discontents	0
The Stratford Festival: Emerging from global lockdown	0
Miracles of contingency: Pericles as a drama of possibility	0
Performance review: The Tempest by Jamie Lloyd The Tempest, directed by Jamie Lloyd for the Theatre Royal Drury Lane, London, UK, 21 January 2025, royal	0
Book review: Textile Shakespeare by Hester Lees-Jeffries Hester Lees-Jeffries, Textile Shakespeare (Oxford: Oxford University Press, 2025), 395+xv pp., I	0
‘Tried and tutord in the world’: Shakespeare, Padua, and the figure of the traveller	0
Survival strategies: Shakespeare and Renaissance truth-telling	0
Visualising Shakespeare: The impact of puppetry on dramaturgy and interpretation	0
Introduction: Festivalling with Shakespeare in Craiova 2024	0
Guignol parodies Shakespeare: A case study of Guignol et Juliette and Hamlet by Pierre Rousset	0
Performance review: Othello by Kenny Leon Othello, directed by Kenny Leon, Ethel Barrymore Theatre, New York, USA, 9 April 2025, rear mezzanine, left.	0
On the staging of Macbeth	0
Grammatical expressions of time in Macbeth	0
Performance review: The Merchant of Venice 1936 by Brigid Larmour and Tracy-Ann Oberman	0
Performance review: Fat Ham by James Ijames	0
Performance review: King Lear by Helena Kaut-Howson	0
Performance review: Macbeth by Simon Godwin Macbeth , directed by Simon Godwin for Dock X, London, UK, 16	0
The politics of jealousy and misogyny of Othello in Omkara	0
Introduction: Performing Shakespeare with puppets	0
Reinventing Shakespeare in the puppet booth: dramaturgical experiments with glove puppets in Northern Italy	0
Time, context, and sublimity in Shakespeare and Proust	0
Performance review: Henry VIII by Kazuko Matsuoka Henry VIII, translated into Japanese by Kazuko Matsuoka, directed by Kotaro Yoshida for the Saitama Art	0
Performance review: The Tempest by Sioned Jones	0
The background of The Shrew : Texts and intertexts	0
‘I have aym’d my black shafts at white markes’: Colours in The Queen of Corinth	0
Book review: Arden of Faversham: A Critical Reader , Arden Early Modern Drama Guides by Peter Kirwan and Duncan Salkeld (eds) Peter Kirwan and Duncan Sal	0
Book review: 'Tis Pity She’s a Whore by John Ford John Ford, 'Tis Pity She’s a Whore , edited by Martin Wh	0
Performance review: Macbeth by Wils Wilson	0
‘Speak of me as […]’: Refashioning geographies of monstrosity in Othello	0
Performance review: Romeo & Juliet by Diane Paulus Romeo & Juliet, directed by Diane Paulus for American Repertory Theater, Cambridge, MA, USA, 2	0
Hot Shakespeare, Cool Japan: Editorial introduction	0
Performance review: The Tempest by Elizabeth Freestone	0
Performance review: Richard III by Elle While Richard III, directed by Elle While for Shakespeare's Globe,	0
Performance review: Love's Labour's Lost by Emily Burns Love's Labour's Lost , directed by Emily Burns for	0
Book review: Milton’s Poetical Thought by Maggie Kilgour	0
Performance review: All’s Well That Ends Well by Chelsea Walker All’s Well That Ends Well, directed by Chelsea Walker for the Sam Wanamaker Playhouse, Sh	0
Performance review: Tomio to Yuriko (based on Romeo and Juliet ) by Suemitsu Kenichi	0
The First Folio and the merchants of Venice: A collection of books from the natio Anglica in Padua	0
Mohamed Iffat's Arabic translation of Macbeth (1911)	0
Performance review: The Enterlude of the Godly Queene Hester by Perry Mills The Enterlude of the Godly Queene Hester	0
Prisoners of the womb: Pregnant prisoners in William Shakespeare's The Winter's Tale and Measure for Measure	0
Rome's space of plurality	0
Fissured legacies in Roysten Abel's In Othello	0
‘A Pope Shut out of Heaven Gates (Thrice)’: Erasmus’ Julius as a tool of anti-Catholic propaganda in early modern England	0
Performance review: The Taming of the Shrew by Christopher V. Edwards	0
The Maid's Metamorphosis , Directed by Perry Mills for Edward's Boys, Stratford-upon-Avon, UK The Maid's Metamorphosis , direc	0

Book review: Spenserian Moments by Gordon Teskey	0
Book review: From the Domesday Book to Shakespeare’s Globe: The Legal and Political Heritage of Elizabethan Drama by Dominique Goy-Blanquet Goy-BlanquetD	0
Performance review: Hamlet by John Haidar	0
Performance review: Michaelmas Term by Thomas Middleton	0
Book review: The Alchemist by Ben Jonson Ben Jonson, The Alchemist, edited by Tanya Pollard, Arden Early Modern Drama (London: Bloomsbury, 2023), 416 pp.	0
Performance review: The Changeling by Ricky Dukes	0
Performance review: Henry VI: Rebellion by Owen Horsley	0
Performance review: All's Well That Ends Well by Sioned Jones All's Well That Ends Well, directed by Sione	0
Before Shakespeare, during the Renaissance: John Tiptoft, Earl of Worcester (d. 1470) and the uses of Padua	0
Performance review: Twelfth Night by Owen Horsley Twelfth Night , directed by Owen Horsley for the Open Ai	0
Interview with Mervyn Millar, director and puppet designer	0
Padua and Venice: The first complete translations of Shakespeare's plays	0
Foreword: Japan and Shakespeare: Acceptance and transformations in the twenty-first century	0
Performance review: A Midsummer Night’s Dream by Shoichiro Kawai A Midsummer Night’s Dream, translated into Japanese by Shoichiro Kawai, directed by Inou	0
Performance review: Hamlet by Selina Cadell Hamlet , directed by Selina Cadell for Mick Perrin Worldwide,	0
Timon and Melancholia	0
Twelfth Night : ‘What country, friends, is this?’	0
The Taming of the Shrew , or, on not knowing Italian (and Latin, and Spanish, and French)	0
Rival monarchs: The two versions of 2 Henry VI and 3 Henry VI	0
The ‘pre-Shakespearean’ balcony and outdoor spaces from the European sources to Romeo and Juliet	0
Performance review: Hamlet Hail to the Thief by Christine Jones and Steven Hoggett Hamlet Hail to the Thief, directed by Christine Jones and Steven Hogge	0
In Memoriam Jean-Marie Maguin (1943–2022)	0
Performance review: Ne pas finir comme Roméo et Juliette [Not to end up like Romeo and Juliet] by Métilde Weyergans and Samuel Hercule	0
Performance review: Antony and Cleopatra (BSL performance) by Blanche McIntyre Antony and Cleopatra (BSL p	0
Performance review: The Merchant of Venice by Abigail Graham	0
Shakespeare at the Edinburgh Fringe Festival 2024 Shakespeare at the Edinburgh Fringe Festival 2024: Henry V , Ghost Light Players, Space @ Niddrey Stree	0
Book review: What in Me is Dark: The Revolutionary Life of ‘Paradise Lost’ by Orlando Reade Orlando Reade, What in Me is Dark: The Revolutionary Life of	0
Performance review: Pericles by Tamara Harvey Pericles , directed by Tamara Harvey for the Royal Shakespea	0
Performance review: Much Ado about Nothing by Michael Longhurst Much Ado about Nothing, directed by Michael Longhurst for theRoyal Shakespeare Company, R	0
Performance review: Hamlet by Kenny Leon	0
Performance review: A Midsummer Night's Dream by Yevhen Reznichenko	0
Performance review: A Midsummer Night's Dream by Michelle Terry	0
Tempests – ‘Rich and strange’	0
In the peep box of satire: Johann Friedrich Schink's Prinz Hamlet von Dännemark	0
Fairies, marionettes, and Shakespeare: The making of Colla's A Midsummer Night's Dream	0
Performance review: A Midsummer Night’s Dream by Shoichiro Kawai A Midsummer Night’s Dream, translated into Japanese by Shoichiro Kawai, directed by Inou	0
Performance review: Roméo et Juliette Suite by Benjamin Millepied	0
Utopian corporeality and movement in William Shakespeare's The Rape of Lucrece	0
Performance review: Hamlet by Rupert Goold Hamlet, directed by Rupert Goold for theRoyal Shakespeare Company, Royal Shakespeare Theatre, Stratford-upon-A	0
Failing, to find the maid: Staging The Maid's Metamorphosis	0
Book review: Engaging with Troy: Early Modern and Contemporary Scenes by Francesca Rayner and Janice Valls-Russell (eds) Francesca Rayner and Janice Vall	0
Interview with Kimberley Sykes, director of As You Like It (2019) for the Royal Shakespeare Company	0
King Lear: ‘Who is that can tell me who I am?’	0
Performance review: Henry VI: Wars of the Roses by Owen Horsley	0
Performance review: Measure for Measure by Emily Burns Measure for Measure , directed by Emily Burns for t	0
‘Sad stories of the death of kings’: Richard II	0
Performance review: Macbeth by Daniel Raggett Macbeth , directed by Daniel Raggett for the Royal Shakespea	0
Performance review: Much Ado about Nothing by Robert Hastie	0
Artifice and animality in The Tempest : Imagining Caliban	0
Erratum to ‘ Macbeth ’	0
The liminality of the garden: A comparative study of Shakespeare's Romeo and Juliet and Tang Xianzu's The Peony Pavilion	0
‘For never was a story of more woe / Than this of Juliet and her Romeo’	0
Book review: Richard Burbage and the Shakespearean Stage: A ‘Delightful Proteus’ by Siobhan Keenan Siobhan Keenan, Richard Burbage and the Shakespearean	0
Performance review: The Duchess of Malfi by Rachel Bagshaw John Webster, The Duchess of Malfi , directed b	0
A critic's note: Shakespeare in Central Europe	0
Foreword: The Maid's Metamorphosis : A revival on page and stage	0
Performance review: Edward II by Christopher Marlowe Edward II, by Christopher Marlowe, directed by Daniel Raggett for theRoyal Shakespeare Company, Swan	0
Shylock as Jew-voice: Rhetorical listening and identifications in The Merchant of Venice	0
Green plots, hawthorn brakes, and an ass’s nole: Imaginative translation in A Midsummer Night's Dream	0
Jean Aicard, ‘Molière à Shakespeare’, 1879: Introduction	0
Becoming a good wife: Nature and habits in Paduan medical culture in the age of Shakespeare	0
Becoming Lear: Shakespearean adaptation and the memory of performance	0
Book review: King Lear ‘after’ Auschwitz: Shakespeare, Appropriation and Theatres of Catastrophe in Post-War British Drama by Richard Ashby	0
Performance review: A Midsummer Night's Dream by Eleanor Rhode A Midsummer Night's Dream , directed by Ele	0
‘No more yielding but a dream’	0
The artfulness of historical playwriting in Richard III : Shakespeare and English Tacitism	0
Performance review: Much Ado about Nothing by Sean Holmes Much Ado about Nothing , directed by Sean Holmes	0
Book review: Shakespeare on European Festival Stages by Nicoleta Cinpoeş, Florence March and Paul Prescott (eds)	0
Book review: Floral Culture and the Tudor and Stuart Courts by Susannah Lyon-Whaley (ed.) SusannahLyon-Whaley (ed.), Floral Culture and the Tudor and Stu	0
Performance review: The Taming of the Shrew by Jude Christian The Taming of the Shrew , directed by Jude C	0
Performance review: The Witch of Edmonton by Thomas Dekker, William Rowley, and John Ford	0
Performance review: King Lear by Kimberley Rampersad	0
Performance review: Othello by Clint Dyer	0
Performance review: Le Roi Lear [King Lear] by Georges Lavaudant Le Roi Lear [ King	0
Performance review: Kiss Me, Kate by Bartlett Sher Kiss Me, Kate , directed by Bartlett Sher for the Barbi	0
Performance review: The Tragedy of Richard III by Oisín Kearney The Tragedy of Richard III, directed by Oisín Kearney for The Lyric Theatre, Belfast, UK,	0
Book review: Milton, Longinus and the Sublime in The Seventeenth Century , Classical Presences Series by Thomas Matthew Vozar ThomasMatthew Vozar, Milton	0
Roman walls in English Renaissance writing	0
‘Fairest show’: Dramatic entrapment in Macbeth and Measure for Measure	0
On being contemporary: Shakespeare, inclusion and states of emergency	0
Performance review: The 2025 Stratford, Ontario, Festival Shakespeare Plays: The Winter’s Tale by Antoni Cimolino The 2025 Stratford, Ontario, Festival S	0
Interview with Stephan Wolfert on Shakespeare, trauma, and mapping affective theatre communities	0
Book exchange and Anglo-Italian relations in the Padua circle of Reginald Pole and Niccolò Leonico Tomeo	0
Men's lovesickness in Iberian chivalric romances in English: Anthony Munday's Palmendos (1589) and Primaleon of Greece, Book 1	0
Performance review: Mariam by Elizabeth Cary	0
‘Ne’er was there King of France so yoked as I’: Henry III of Valois, Christopher Marlowe, and Giordano Bruno	0
Performance review: Cymbeline by Gregory Doran	0
Performance review: A Midsummer Night’s Dream by Nicholas Hytner A Midsummer Night’s Dream, directed by Nicholas Hytner, Bridge Theatre, London, UK, 9 Ju	0
Performance review: A Midsummer Night's Dream by Elle While	0
Performance review: Henry V by Max Webster	0
Performance review: Galatea by John Lyly	0
Performance review: Coriolanus by A. Nora Long	0
Book review: Richard III’s Bodies From Medieval England to Modernity: Shakespeare and Disability History by Jeffrey R. Wilson	0
How can we make Shakespeare more accessible in Japan?	0
The Stratford Festival: Emerging from global lockdown	0