Approaching Shakespeare

Emma Smith continues her Approaching Shakespeare series with a lecture on the play Love's Labour's Lost.

Professor Emma Smith gives the last of her 2017 Shakespeare lectures on his early comedy, Two Gentlemen of Verona.

Professor Emma Smith continues her Approaching Shakespeare series with a 2017 lecture on the early history play, Henry VI, Part 2.

Professor Emma Smith lectures on Shakespeare’s The Merry Wives of Windsor.

Professor Emma Smith lectures on Shakespeare’s comedy All's Well That Ends Well.

Professor Emma Smith continues her Approaching Shakespeare series with a lecture on one of Shakespeare’s later plays, Cymbeline.

Emma Smith finishes her Approaching Shakespeare series with a lecture on the play Timon of Athens.

This lecture on Julius Caesar discusses structure, tone, and politics by focusing on the cameo scene with Cinna the Poet.

This lecture on Romeo and Juliet tackles the issue of the spoiler-chorus, in an already-too-familiar play. This podcast is suitable for school and college students.

This lecture takes up a detail from Shakespeare’s late Roman tragedy Coriolanus to ask about the representation of character, the use of sources and the genre of tragedy. This podcast is suitable for school and college...

This lecture on The Merchant of Venice discusses the ways the play's personal relationships are shaped by models of financial transaction, using the casket scenes as a central example.

Emma Smith uses evidence of early reception and from more recent productions to discuss the question of whether Katherine is tamed at the end of the play.

This lecture on A Midsummer Night's Dream uses modern and early modern understandings of dreams to uncover a play less concerned with marriage and more with sexual desire.

Emma Smith asks why the characters are so quick to believe the self-proclaimed villain Don John, drawing on gender and performance criticism to think about male bonding, the genre of comedy, and the impulses of modern...

The fact that father and son share the same name in Hamlet is used to investigate the play's nostalgia, drawing on biographical criticism and the religious and political history of early modern England.

Asking 'what happens in As You Like It', this lecture considers the play's dramatic structure and its ambiguous use of pastoral, drawing on performance history, genre theory, and eco-critical approaches.

Showing how generations of critics - and Shakespeare himself - have rewritten the ending of King Lear, this sixteenth Approaching Shakespeare lecture engages with the question of tragedy and why it gives pleasure.

At the heart of King John is the death of his rival Arthur: this fifteenth lecture in the Approaching Shakespeare series looks at the ways history and legitimacy are complicated in this plotline.

Pericles has been on the margins of the Shakespearean canon: this fourteenth lecture in the Approaching Shakespeare series shows some of its self-conscious artistry and contemporary popularity. This podcast has been...

In this thirteenth lecture in the Approaching Shakespeare series the focus is on the inevitability of the ending of Richard III: does the play endorse Richmond's final victory?

Lecture 12 in the Approaching Shakespeare series asks how seriously we can take the farcical exploits of Comedy of Errors, drawing out the play's serious concerns with identity and selfhood.

Like generations of theatre-goers, this lecture concentrates on the (large) figure of Sir John Falstaff and investigates his role in Henry IV part 1. Lecture 11 in the Approaching Shakespeare series.

That the character of Prospero is a Shakespearean self-portrait is a common reading of The Tempest: this tenth Approaching Shakespeare lecture asks whether that is a useful reading of the play.

What kind of tragedy is this play, with its two central figures rather than a singular hero? The ninth lecture in the Approaching Shakespeare series tries to find out.

Lecture eight in the Approaching Shakespeare series asks the question that structures Richard II: does the play suggest Henry Bolingbroke's overthrow of the king was justified?