Here are some books in which I have a chapter.
On the paradox of the actor’s job in Coriolanus: “Putting Tongues in Wounds: The Search for an Honest Body in Coriolanus” in Coriolanus: A Critical Reader.
On the casting of central female roles in Australasian Shakespeare, and instances when ethnically and racially marginalised actresses have taken centre stage, in the Palgrave Handbook of the History of Women on Stage. This includes interviews with several of the actresses.
On innovative methods for teaching Shakespeare to students and novice actors, “Teaching with Cue Scripts: Making the Most of Fear in the Student Actor”, in this book:
On a feminist way to look at the presentation and reception of Shakespeare’s female characters (with a focus on Measure for Measure and Troilus and Cressida).
On the usefulness of guided play in children’s development, with reference to some of my testing out of working on Shakespeare with primary school age children (co-written with Marilyn Fleer):
On some women who are currently directing Shakespeare in a variety of different theatrical situations:
On the imperative towards happy endings in children’s narrative (co-written with Georgina Ledvinka):
See ‘My Books’ for my edition of Much Ado About Nothing for Arden Shakespeare Performance Editions.
Anna Kamaralli 