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| Preface | |
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| Introduction To Shakespeare And His Interpreters? | |
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| Color Plates: Shakespeare and His Times? | |
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| Prologue: Discovering Shakespeare, The World's Playwright | |
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| Shakespeare's Life? | |
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| The Early Years | |
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| The "Lost" Years | |
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| London | |
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| Return to Stratford | |
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| Shakespeare: Practical Man of the Theater? | |
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| Shakespeare: Actor, Poet and Playwright | |
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| Shakespeare and Elizabethan Thought | |
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| Shakespeare's Theaters | |
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| The Globe (and Before) | |
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| The Blackfriars | |
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| Public v. Private Playhouses | |
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| Shakespeare's Actors | |
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| The Lord Chamberlain's Men | |
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| The King's Men | |
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| Shakespeare: The Writer? | |
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| When and Why Playwriting? | |
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| Narrative poems | |
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| The Sonnets | |
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| The Printed Sequence | |
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| In Romeo and Juliet | |
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| Reading and Speaking the Lines | |
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| Varieties of Verse and Prose | |
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| Rhetoric and Vocabulary | |
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| Shakespeare and Modern English | |
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| Shakespeare and His Interpreters? | |
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| The Spectrum of Interpretive Possibilities | |
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| Elizabethan and Jacobean Interpretations: The Actors | |
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| Restoration Interpetations: Shakespeare "made fit" | |
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| Eighteenth Century: Neoclassical Rules and Taste | |
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| Nineteenth Century: Character Criticism and Spectacle | |
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| Early Twentieth Century? | |
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| Restoring the Texts; Simplifying the Stage | |
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| Psychological Criticism and the Emerging Director | |
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| Mid-Twentieth Century: New Criticism, Historicism, Mythological Criticism | |
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| Post-World War II: Marxism, Existential Concepts: Orson Welles, Bertolt Brecht, Jan Kott and Peter Brook | |
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| Contemporary Issues: Postmodernism, Deconstruction, Feminism | |
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| Setting, Updating or Recontextualizing the Plays | |
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| Modern Dress | |
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| Michael Almeyerda's Hamlet (2000) | |
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| 'Other' Periods | |
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| Kenneth Branagh's Love's Labour's Lost (2001) | |
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| "Universal Timeless" | |
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| Julie Taymor's Titus (2000) | |
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| Adaptations | |
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| Spinoffs, Satires, Parodies | |
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| Shakespeare: From the Page to Stage; Screenplay to Screen? | |
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| The Verbal and the Visual | |
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| Close-Up: Shakespeare on the Silent Screen | |
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| Stage Artists at Work? | |
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| Actors | |
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| Director | |
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| Designers | |
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| Film and Television Artists at Work? | |
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| Director | |
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| Screenwriter | |
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| Actors | |
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| Cinematographer | |
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| Designers | |
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| Film Editor | |
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| Conclusion | |
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| Close- Up: Peter Brook | |
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| A Word on Genres | |
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| The plays | |
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| The Comedies? | |
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| Defining Comedy | |
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| The Types of Shakespearean Comedy | |
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| Color Plates: Shakespeare and Comedy | |
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| The Taming of the Shrew | |
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| Context and dating: Misogynist Tradition in Elizabethan England | |
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| Character | |
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| Inspirations and Sources for the Play | |
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| Roman comedy and the Commedia dell'arte | |
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| Popular Ballads: "A Wife Lapped in Mare's Skinhellip;" | |
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| The Bible | |
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| The 'Other' Shrew: The Taming of A Shrew (c. 1591-4?) | |
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| Language and Silence | |
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| Themes and Issues | |
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| Women's Roles and Rights: Then and Now | |
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| Fathers and daughters; Men and Marriage | |
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| Role-Playing: Supposes | |
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| Staging Challenges in The Shrew | |
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| The Induction Scenes | |
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| Boys Playing Kate and Bianca | |
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| Locales, Interiors, Exteriors, Roadway | |
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| The Text of the Taming of the Shrew | |
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| The Taming of the Shrew on Stage | |
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| Elizabethan England | |
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| Restoration Shrews: A Different Tamer | |
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| Eighteenth Century: Garrick's Catherine and Petruchio | |
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| Nineteenth Century: Shrew Restored | |
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| Twentieth Century: Rethinking The Shrew | |
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| The Taming of the Shrew on Film and Video | |
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| Fairban | |