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| List of figures and tables | |
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| Preface | |
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| Character | |
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| Juliet's balcony, Verona | |
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| Shakespeare's realism? | |
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| Shakespeare's 'unreal' characters | |
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| Reading Shakespeare's characters on the page | |
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| Embodying Shakespeare's characters on stage | |
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| Doubling on the early modern stage | |
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| Writing for particular actors | |
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| Falstaff: character as individual or type? | |
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| Naming and individuality | |
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| Characters as individuals or as inter-relationships | |
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| Character: interior or exterior? | |
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| Character: where next? | |
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| Performance | |
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| Measure for Measure: staging silence | |
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| 'Going back to the text': the challenge of performance | |
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| Performance interpretations: The Taming of the Shrew | |
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| Topical performance: the plays in different theatrical contexts | |
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| Citing performances | |
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| Using film | |
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| Using film comparatively: Macbeth | |
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| Hamlet: 'To be or not to be' | |
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| Adaptations: Shakespearean enough? | |
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| Performance: where next? | |
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| Texts | |
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| Shakespeare's hand | |
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| So what did Shakespeare write? | |
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| Stage to page | |
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| Quartos and Folio | |
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| Editing as interpretation | |
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| The job of the editor: the example of Richard II | |
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| Stage directions | |
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| Speech prefixes | |
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| The job of the editor: the example of King Lear | |
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| Texts: where next? | |
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| Language | |
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| 'In a double sense'(Macbeth 5.7.50) | |
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| Did anyone really talk like that? | |
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| Playing with language | |
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| Language of the play / language of the person | |
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| Prose and verse | |
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| Linguistic shifts: 1 Henry IV | |
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| Shakespeare's verse | |
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| Linguistic variation: A Midsummer Night's Dream | |
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| Language: where next? | |
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| Structure | |
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| Finding the heart of the play | |
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| Shakespeare's genres: dynamic, not static | |
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| Tragedy and comedy | |
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| Tragedy - expanding the genre | |
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| Comedy - expanding the genre | |
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| History: is this a fixed genre? | |
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| Structuring scenes: Much Ado About Nothing | |
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| Juxtaposing scenes, activating ironies: Henry V | |
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| Showing v. telling | |
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| Structure: where next? | |
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| Sources | |
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| Antony and Cleopatra and Plutarch | |
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| Originality: was Shakespeare a plagiarist? | |
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| Shakespeare at work: the intentional fallacy? | |
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| The source bites back: Romeo and Juliet and The Winter's Tale | |
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| The strong poet? King Lear | |
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| Sources: where next? | |
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| History | |
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| Politic picklocks: interpreting topically | |
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| History plays: political Shakespeare? | |
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| History plays: Shakespeare as propagandist? | |
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| Hamlet as history play? | |
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| Jacobean patronage: King Lear and Macbeth | |
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| Historical specificity: gender roles | |
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| Race and Othello | |
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| History: where next? | |
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| Bibliography | |
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| Index | |