Marina Gerzic works for the ARC Centre for Excellence for the History of Emotions, the Australian and New Zealand Association for Medieval and Early Modern Studies Inc., and Medieval and Early Modern Studies at The University of Western Australia in both research and administration roles, and is the editorial assistant for the academic journals Parergon and Shakespeare Bulletin. She is the editor, with Aidan Norrie, of From Medievalism to Early-Modernism: Adapting the English Past (Routledge), and has published articles on film and adaptation theory, Shakespeare, pedagogy, cinematic music, cultural studies, science fiction, comics and graphic novels, and children’s literature.Aidan Norrie is a historian of monarchy, and a Chancellor’s International Scholar in the Centre for the Study of the Renaissance at The University of Warwick. Aidan is the editor, with Marina Gerzic, of From Medievalism to Early-Modernism: Adapting the English Past (Routledge); with Lisa Hopkins, of Women on the Edge in Early Modern Europe (Amsterdam University Press); and, with Mark Houlahan, of New Directions in Early Modern English Drama: Edges, Spaces, Intersections (Medieval Institute Publications). Aidan is currently working on a monograph, Elizabeth I and the Old Testament: Biblical Analogies and Providential Rule, which is forthcoming from Arc Humanities Press.

• 1. "Did Shakespeare really write this racy stuff?": Playfulness in Shakespearean Adaptations Section 1: Page to Stage / Stage to Page Page to Stage / Stage to Page 2. "This great stage of fools": Anachronisms and Mockery in Three Victorian Burlesques of King Lear 3. "Covering the main points": Playing with The Tempest in Margaret Atwood’s Hag-Seed 4. "I wish the bastards dead": Adapting Richard III in Children’s Literature 5. Playing with Genre and Form: The "Magic Art" of Graphic Novel Adaptation in Shakespeare 6. When Fictions Collide: Shakespearean Inspiration and Adaptation in Terry Pratchett’s Wyrd Sisters Section 2: Practising Shakespeare On Stage and Screen Practising Shakespeare On Stage and Screen 7. Byte-Size Shakespeare: The Irreverent Play of Shakespeare Republic 8. An Irreverent richard III redux: [Re]cripping the Crip Section 3: Adapting the Man Adapting the Man 9. Bill Begins: The Rise of the Contemporary Shakespeare ‘Origin Story’ 10. William Shakespeare and Elizabeth I: The Special Relationship? Section 4: Adapting the Plays Adapting the Plays 11. Hamlet 2, Shakespeare, and Cruel Optimism 12. Sport, Meritocracy, and Shakespeare 13. "What’s in a gnome?": Gender, Intertextuality, and Irreverence in Gnomeo and Juliet

"From Victorian burlesque to contemporary graphic novels, this collection provides a range of material for the reader interested in Shakespearean adaptation of drama…the range covered in this collection is extensive. Overall, the collection offers thoughtful and wide-ranging new insights into the concepts of play and irreverence in Shakespearean adaptations for readers old and new."-- Jennifer E. Nicholson, The University of Sydney, Parergon 38.2 (2021)Playfulness in Shakespearean Adaptations introduces a range of both mediums and methods of adaptation, many of which have received relatively little critical attention… Overall, the book successfully provides a wide-ranging overview of the role of play and playfulness in adaptations of Shakespeare, giving examples that vary in scope, period, and medium. -- Anna Quercia-Thomas, The University of Western Australia, Limina: a Journal of Historical and Cultural Studies 27.2 (2022)

Marina Gerzic works for the ARC Centre for Excellence for the History of Emotions, the Australian and New Zealand Association for Medieval and Early Modern Studies Inc., and Medieval and Early Modern Studies at The University of Western Australia in both research and administration roles, and is the editorial assistant for the academic journals Parergon and Shakespeare Bulletin. She is the editor, with Aidan Norrie, of From Medievalism to Early-Modernism: Adapting the English Past (Routledge), and has published articles on film and adaptation theory, Shakespeare, pedagogy, cinematic music, cultural studies, science fiction, comics and graphic novels, and children’s literature.Aidan Norrie is a historian of monarchy, and a Chancellor’s International Scholar in the Centre for the Study of the Renaissance at The University of Warwick. Aidan is the editor, with Marina Gerzic, of From Medievalism to Early-Modernism: Adapting the English Past (Routledge); with Lisa Hopkins, of Women on the Edge in Early Modern Europe (Amsterdam University Press); and, with Mark Houlahan, of New Directions in Early Modern English Drama: Edges, Spaces, Intersections (Medieval Institute Publications). Aidan is currently working on a monograph, Elizabeth I and the Old Testament: Biblical Analogies and Providential Rule, which is forthcoming from Arc Humanities Press.

• 1. "Did Shakespeare really write this racy stuff?": Playfulness in Shakespearean Adaptations Section 1: Page to Stage / Stage to Page Page to Stage / Stage to Page 2. "This great stage of fools": Anachronisms and Mockery in Three Victorian Burlesques of King Lear 3. "Covering the main points": Playing with The Tempest in Margaret Atwood’s Hag-Seed 4. "I wish the bastards dead": Adapting Richard III in Children’s Literature 5. Playing with Genre and Form: The "Magic Art" of Graphic Novel Adaptation in Shakespeare 6. When Fictions Collide: Shakespearean Inspiration and Adaptation in Terry Pratchett’s Wyrd Sisters Section 2: Practising Shakespeare On Stage and Screen Practising Shakespeare On Stage and Screen 7. Byte-Size Shakespeare: The Irreverent Play of Shakespeare Republic 8. An Irreverent richard III redux: [Re]cripping the Crip Section 3: Adapting the Man Adapting the Man 9. Bill Begins: The Rise of the Contemporary Shakespeare ‘Origin Story’ 10. William Shakespeare and Elizabeth I: The Special Relationship? Section 4: Adapting the Plays Adapting the Plays 11. Hamlet 2, Shakespeare, and Cruel Optimism 12. Sport, Meritocracy, and Shakespeare 13. "What’s in a gnome?": Gender, Intertextuality, and Irreverence in Gnomeo and Juliet

"From Victorian burlesque to contemporary graphic novels, this collection provides a range of material for the reader interested in Shakespearean adaptation of drama…the range covered in this collection is extensive. Overall, the collection offers thoughtful and wide-ranging new insights into the concepts of play and irreverence in Shakespearean adaptations for readers old and new."-- Jennifer E. Nicholson, The University of Sydney, Parergon 38.2 (2021)Playfulness in Shakespearean Adaptations introduces a range of both mediums and methods of adaptation, many of which have received relatively little critical attention… Overall, the book successfully provides a wide-ranging overview of the role of play and playfulness in adaptations of Shakespeare, giving examples that vary in scope, period, and medium. -- Anna Quercia-Thomas, The University of Western Australia, Limina: a Journal of Historical and Cultural Studies 27.2 (2022)

Marina Gerzic works for the ARC Centre for Excellence for the History of Emotions, the Australian and New Zealand Association for Medieval and Early Modern Studies Inc., and Medieval and Early Modern Studies at The University of Western Australia in both research and administration roles, and is the editorial assistant for the academic journals Parergon and Shakespeare Bulletin. She is the editor, with Aidan Norrie, of From Medievalism to Early-Modernism: Adapting the English Past (Routledge), and has published articles on film and adaptation theory, Shakespeare, pedagogy, cinematic music, cultural studies, science fiction, comics and graphic novels, and children’s literature.Aidan Norrie is a historian of monarchy, and a Chancellor’s International Scholar in the Centre for the Study of the Renaissance at The University of Warwick. Aidan is the editor, with Marina Gerzic, of From Medievalism to Early-Modernism: Adapting the English Past (Routledge); with Lisa Hopkins, of Women on the Edge in Early Modern Europe (Amsterdam University Press); and, with Mark Houlahan, of New Directions in Early Modern English Drama: Edges, Spaces, Intersections (Medieval Institute Publications). Aidan is currently working on a monograph, Elizabeth I and the Old Testament: Biblical Analogies and Providential Rule, which is forthcoming from Arc Humanities Press.

• 1. "Did Shakespeare really write this racy stuff?": Playfulness in Shakespearean Adaptations Section 1: Page to Stage / Stage to Page Page to Stage / Stage to Page 2. "This great stage of fools": Anachronisms and Mockery in Three Victorian Burlesques of King Lear 3. "Covering the main points": Playing with The Tempest in Margaret Atwood’s Hag-Seed 4. "I wish the bastards dead": Adapting Richard III in Children’s Literature 5. Playing with Genre and Form: The "Magic Art" of Graphic Novel Adaptation in Shakespeare 6. When Fictions Collide: Shakespearean Inspiration and Adaptation in Terry Pratchett’s Wyrd Sisters Section 2: Practising Shakespeare On Stage and Screen Practising Shakespeare On Stage and Screen 7. Byte-Size Shakespeare: The Irreverent Play of Shakespeare Republic 8. An Irreverent richard III redux: [Re]cripping the Crip Section 3: Adapting the Man Adapting the Man 9. Bill Begins: The Rise of the Contemporary Shakespeare ‘Origin Story’ 10. William Shakespeare and Elizabeth I: The Special Relationship? Section 4: Adapting the Plays Adapting the Plays 11. Hamlet 2, Shakespeare, and Cruel Optimism 12. Sport, Meritocracy, and Shakespeare 13. "What’s in a gnome?": Gender, Intertextuality, and Irreverence in Gnomeo and Juliet

"From Victorian burlesque to contemporary graphic novels, this collection provides a range of material for the reader interested in Shakespearean adaptation of drama…the range covered in this collection is extensive. Overall, the collection offers thoughtful and wide-ranging new insights into the concepts of play and irreverence in Shakespearean adaptations for readers old and new."-- Jennifer E. Nicholson, The University of Sydney, Parergon 38.2 (2021)Playfulness in Shakespearean Adaptations introduces a range of both mediums and methods of adaptation, many of which have received relatively little critical attention… Overall, the book successfully provides a wide-ranging overview of the role of play and playfulness in adaptations of Shakespeare, giving examples that vary in scope, period, and medium. -- Anna Quercia-Thomas, The University of Western Australia, Limina: a Journal of Historical and Cultural Studies 27.2 (2022)