Studies of Shakespeare and Dance

Atwood, Emma. “Scotch Jig or Rope Dance? Choreographic Dramaturgy and Much Ado About Nothing.” Borrowers and Lenders 10, no. 2 (2017).

Baskervill, Charles Read. The Elizabethan Jig and Related Song Drama. New York: Dover Publications, 1929, 1965.

Bennett, Karen. “Star-cross’d lovers: Shakespeare and Prokofiev’s ‘pas-de-deux’ in Romeo and Juliet.” Cambridge Quarterly 32, no. 4 (2003): 311-347.

Berger, Harry, Jr., “Against the Sink-a-Pace: Sexual and Family Politics in Much Ado About Nothing,” Shakespeare Quarterly 33, no. 3 (1982): 302-313.

Biswas, Madhavi. “‘Light Your Cigarette with My Heart’s Fire, My Love’: Raunchy Dances and a Golden-hearted Prostitute in Bhardwaj’s Omkara.”  Borrowers and Lenders 10, no. 2 (2017).

Borys, P. A. M. “The Morris Dance and the Elizabethan Stage.” American Morris Newsletter 15, no. 1 (1991): 18-24.

Brissenden, Alan. Shakespeare and the Dance. Atlantic Highlands, NJ: Humanities Press, 1981, 2001.

_____. “Shakespeare and the Morris.” The Review of English Studies 30, no. 117 (1979): 1-11. [Editor’s note: See John Forrest’s The History of Morris Dancing (1999) for updates and corrections.)

Bryson, John. “Shakespeare and the Dance.” Ballet 2, no. 6 (1946): 28-36. 

Buckley, Thea. “Performing Macbeth in India’s Endangered Sanskrit Theatre Art of Kutiyattam.” Shakespeare Jahrbuch 157 (2021): 124-140.

Bührle, Iris Julia. “Generic Transformations: Dancing Shakespeare from the 18th to the 21st Century.” In Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, edited by Laura Gianvittorio-Ungar and Karin Schlapbach, pp. 237-256. Leiden: Brill, 2021. 

_____. “Romeo und Julia: die Tragödie als Ballett.” Shakespeare Jahrbuch 157 (2021): 65-84.

_____. “Three Hamlet ballets from World War II to the Ukrainian crisis.” Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (2020): 69-86.

Cavanagh, Sheila T. “A “Merry War”: Synetic’s Much Ado About Nothing and American Post-war  Iconography.” Borrowers and Lenders 10, no. 2 (2017).

Chevrier-Bosseau, Adeline. “Dancing Shakespeare in Europe: Silent eloquence, the body and the space(s) of play within and beyond language.” Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (2020): 3-17.

Ciambella, Fabio. “Dalla parola al dumb dance show: Twelfth Night del Synetic Theater.” In Twelfth Night. Dal testo alla scena, edited by Mariangela Tempera and Keir Elam, pp. 205-20. Bologna: ELIM, 2017.

_____. “Danza, lingua e potere: (s)cortesia ne La dodicesima notte di Shakespeare. Linguae & 19, no. 2 (2021): 13-33.

_____. Dance Lexicon in Shakespeare and His Contemporary: A Corpus-based Approach. London and New York: Routledge, 2021.

_____. “Italian Dance Tradition and Translation in Romeo and Juliet: From Narrative Sources to Shakespeare.” In Shakespeare and the Mediterranean: Romeo and Juliet, ed. Silvia Bigliazzi and Emanuel Stelzer, pp. 137-161. Verona: Skenè Theatre and Drama Studies, 2022. 

_____. “There was a star danced”: Danza e rivoluzione copernicana in Shakespeare. Roma: Carocci, 2017.

Çikigil, Necla. “Renaissance dance patterns in Shakespeare’s Italian plays: An analysis of dialogues,” Studies in Theatre and Performance 26, no. 3 (2006) 263-272.

_____. “Verbal Painting by means of Dance and Portraits.” In Shakespeare and the Visual Arts: The Italian Influence, ed. Michele Marrapodi, pp. 228-240. New York: Routledge, 2017.

Clegg, Roger, and Lucie Skeaping. Singing Simpkin and Other Bawdy Jigs: Musical Comedy on the Shakespearean Stage, Scripts, Music, and Context. Exeter: Exeter University Press, 2013.

Cohen, Selma Jeanne, ed. International Encyclopedia of Dance: A Project of Dance Perspectives Foundation, Inc. 6 vols. New York: Oxford University Press, 1998.

  • “Great Britain: English Traditional Dance” by Theresa Jill Buckland, vol. 3, pp. 238-243.
  • “Great Britain: Theatrical Dance, 1460-1660” by Alan Brisssenden, vol. 3, pp. 251-253.
  • “Jig” by James E. Morrison, vol. 3, pp. 607-608.
  • “Morris Dance” by John Forrest, vol. 4, pp. 473-475.
  • “Renaissance Dance Technique” by Ingrid Brainard, vol. 5, pp. 336-340.
  • Romeo and Juliet” by Rita Felciano, vol. 5, pp. 392-399.

Crunelle-Vanrigh, Anny. “Much Ado about Dancing.” Studies in English Literature 57, no. 2 (2017): 275-301.

Daye, Anne, comp. A Lively Shape of Dauncing: Dances of Shakespeare’s Time. Salisbury, Wiltshire: Dolmetsch Historical Dance Society, 1994.

Dessen, Alan, and Leslie Thomson. A Dictionary of Stage Directions in English Drama, 1580-1642. Cambridge: Cambridge University Press, 1999.

Dickson, Lisa, and Andrea Downie. “Hermione Sessions: Dancing, The Winter’s Tale, and the Kinaesthetic Imagination.” Borrowers and Lenders 10, no. 2 (2017).

Edgecombe, Rodney Stenning. “Shakespeare, Ballet and Dance.” In Edinburgh Companion to Shakespeare and the Arts, edited by Mark Thornton Burnett, Adrian Streete, and Ramona Wray, pp. 200-218. Edinburgh: Edinburgh University Press, 2011.

Fiorato, Sidia. “Mise en Scène and Subversion of Political Power through Dance: Sir Kenneth MacMillan’s Romeo and Juliet.” In Visualizing Law and Authority: Essays on Legal Aesthetics, edited by L. Dahlberg, pp. 74-91. Berlin, De Gruyter, 2012.

_____. “Rilettura del potere tramite la danza: Der Sturm – La Tempesta di Jörg Mannes”, in  Iconologia del Potere. Rappresentazioni della sovranità nel Rinascimento, edited by D. Carpi and Sidia Fiorato, pp. 172-194. Ombre Corte: Verona, 2011.

______. “La danza e l’immaginario shakespeariano: Oberon e Titania in The Dream di Sir Frederick Ashton.” In L’immagine e la parola,  edited by C. Battisti, pp. 37-50. Verona: Ombre Corte, 2010.

Fultz, Benjamin. “Romeo and Juliet: the ballets.” Dance Chronicle 16, no. 3 (1993): 401-404.

Glassman, Kimberly. “The Bifocality of Dance in Shakespeare’s Twelfth Night: An Analysis of Shakespearean Dance Adaptations.” Litinfinite 3, no. 1 (2021): 22-30. DOI:

Gough, Melinda. “‘Her filthy feature open showne’ in Ariosto, Spenser, and Much Ado About Nothing.” Studies in English Literature, 1500-1900 39, no. 1 (Winter 1999): 41-67.

Hansen, Claire Gwendoline. “The complexity of dance in Shakespeare’s A Midsummer Night’s Dream.” Early Modern Literary Studies 18, no. 1-2 (2015): 1-26.

Hiscock, Andrew. “‘Come, now a roundel and a fairy song’: Shakespeare’s A Midsummer Night’s Dream and the early modern invitation to the dance.” Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 2 (2018): 1-30.

_____. “Moving Shakespeare: La danse narrative and adapting to the Bard.” Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (2020): 18-37.

Hoskins, Jim. The Dances of Shakespeare. New York: Routledge, 2005. [Ed. note: The suggested dance types and choreographies are usually dramatically appropriate but not necessarily historically accurate.]

Howard, Camille Cole. The Staging of Shakespeare’s Romeo and Juliet as a Ballet. San Francisco: Mellen Research UP, 1992.

Howard, Skiles. “Hands, Feet and Bottoms: Decentering the Cosmic Dance in A Midsummer Night’s Dream.” Shakespeare Quarterly 44, no. 3 (1993): 325-342.

_____. The Politics of Courtly Dancing in Early Modern England. Amherst: Amherst University of Massachusetts Press, 1998.

Hudler, Melissa. “The Rhetoric of Statis, Gesture, and Dance in Renaissance Literature.” PhD diss., Anglia Ruskin University, 2014.

_____. “‘She dances featly’: Dance as Rhetoric in Act 4, Scene 4 of The Winter’s Tale.The Ben Jonson Journal 27, no. 1 (2020): 61-83.

Isenberg, Nancy. “Ballet.” In The Cambridge Guide to the Worlds of Shakespeare, vol. II. General editor, Bruce Smith, pp. 1819-1827. New York and Cambridge: Cambridge University Press, 2016.

_____. “Dramatic leaps and political falls: Russian Hamlet ballet in 1991.” In The Hamlet Zone: Reworking Hamlet in European Cultures, edited by Ruth Owen, pp. 17-30. Cambridge, Eng.: Cambridge Scholars Publishing, 2012.

_____. “Dancing with the Stars in Antony and Cleopatra.” In Shakespeare and Rome: Questioning bodies, geographies, cosmographies, edited by Nancy Isenberg, Maria Del Sapio and Maddalena Pennacchia, pp. 341-353. Göttingen: Vandenhoeck & Ruprecht Unipress, 2010.

_____. “Latino Spider Bites: Shifting vocabularies of otherness for Bianca in a recent Othello ballet.” In Forms of Migration/ Migration of Forms, edited by V. Intonti, F. Troisi, M. Vitale, pp. 113-121. Bari, Progeit, 2009.

_____. “Beyond the Black and White Paradigm: The casting of Othello and Desdemona on the ballet stage.” In Postcolonial Shakespeare, edited by Masolino D’Amico and Simona Corso, pp. 157-169. Rome: Edizioni di Storia e Letteratura, 2009.

_____. “Feminist Movement and the Balance of Power in John Cranko’s ballet, The Taming of the Shrew (Stuttgart, 1969).” In Shakespeare and European Politics, edited by Dirk Delabastita, Jozef De Vos and Paul Franssen, pp. 169-178. Newark, DE: Delaware University Press, 2008.

_____. “Accommodating Shakespeare to Ballet: John Cranko’s Romeo and Juliet” (Venice, 1958).” In Shifting the Scene: Shakespeare in European Culture, edited by Balz Engler and Ladina Bezzola, pp. 129-139. Newark, DE: University of Delaware Press, 2004.

Iyengar, Sujata. “Moorish dancing in The Two Noble Kinsmen.” Medieval and Renaissance Drama in England: An Annual Gathering of Research, Criticism and reviews (MRDE) 20 (2007): 85-107.

Javanian, Mohammadreza Hassanzadeh. “Macbeth Dances in the Zār Ritual: The Significance of Dancing in an Iranian Adaptation of Macbeth.” Shakespeare Jahrbuch 157 (2021): 110-123.

Kellermann, Jonas. “A breach of silence: affective soundscapes in Sasha Waltz’s Roméo et Juliette.” Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (2020): 38-53.

_____. Dramaturgies of Love in Romeo and Juliet: Word, Music, and Dance. New York: Routledge, 2021.

_____. “‘Like an old tale’: The Winter’s Tale on the Balletic Stage.” 162-179.

Kendall, G. Yvonne. “Translating Shakespearean Plays: Dance as Rhetorical Device.”  Tennessee Philological Bulletin Vol LIII (2016): 42-62.

Klett, Elizabeth. Choreographing Shakespeare: Dance Adaptations of the Plays and Poems. New York, Routledge, 2019. [pre-order from Routledge]

_____. “The Concord of This Discord: Adapting the Late Romances for the Ballet Stage.” Borrowers and Lenders 10, no. 2 (2017).

_____. “Dancing tragedy: José Limón’s adaptations of Shakespeare.” Shakespeare 11, no. 1 (2015): 58-81.

_____. “Introduction: Dancing (With) Shakespeare.” Borrowers and Lenders 10, no. 2 (2017).

_____. “Or Not to Be: Dancing Beyond Hamlet in Christopher Wheeldon’s Misericordes/Elsinore.” In Shakespeare’s Hamlet in an Era of Textual Exhaustion, edited by Sonya Freeman Loftis, Allison Kellar, and Lisa Ulevich, pp. 46-58. New York: Routledge, 2017.

_____. “‘Who Gets to Tell the Story?’: Adaptation and Juxtaposition in Two Dance Versions of Othello.” Shakespeare Bulletin 34, no. 4 (2016): 601-626.

Kolkovich, Elizabeth Zeman. “Women Dancing the Morris in Fletcher and Shakespeare’s The Two Noble Kinsmen, 1613–2015.” Shakespeare 13, no. 2(2017): 164-179.

Lin, Erika T. Shakespeare and the Materiality of Performance (New York: Palgrave Macmillan, 2012). Chapter 4: “Dancing and Other Delights: Spectacle and Participation in Doctor Faustus and Macbeth.”

Mantellato, Mattia. “(Re)Playing Shakespeare through modern dance: Youri Vámos’s Romeo and Juliet.” Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (2020): 54-68.

Marcsek-Fuchs, Maria. “Von Shakespeare zum Ballett und zurück – Der intermediale Blick auf eine polydirektionale Shakespeare-Adaption: Christopher Wheeldon’s The Winter’s Tale.” Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (2020): 180-197.

McCulloch, Lynsey. ‘“Here’s that shall make you dance”: movement and meaning in Bern: Ballett’s Julia und Romeo.” Reinventing the Renaissance: Shakespeare and his Contemporaries in Adaptation and Performance, edited by Sarah Annes Brown, Robert I. Lublin, and Lynsey McCulloch, pp. 255-268. Basingstoke: Palgrave Macmillan, 2013.

_____. “Shakespeare and Dance.” Literature Compass 13, no. 2 (2016): 69-78.

_____, and Brandon Shaw, eds. The Oxford Handbook of Shakespeare and Dance. Oxford: Oxford UP, 2019.

McJannet, Linda. “A hall, a hall! Give room, and foot it, girls”: Realizing the Dance Scene in Romeo and Juliet on Film.” Borrowers and Lenders 10, no. 2 (2017).

_____. “Embodying the Sea: Shakespeare and Physical Theatre.” In Shakespeare On Stage and Off. Edited by Kenneth Graham and Alysia Kolentsis, pp. 76-89. Montreal & Kingston, London, and Chicago: McGill-Queen’s University Press, 2019.

_____. “Movement, Music and Silence in Cheek by Jowl’s Measure for Measure, The Winter’s Tale and Périclès, Prince de Tyr.” Shakespeare Jahrbuch 157 (2021): 141-161.

_____, and Emily F. Winerock. “Dancing on Her Grave: Shakespeare’s Tragic Heroines on Film.” Dance Chronicle 39, no. 2 (2016): 56-76.

Monahin, Nona. “Prokofiev’s Romeo and Juliet: Some Consequences of the ‘Happy Ending’.” Borrowers and Lenders 10, no. 2 (2017).

_____, and Christian Rogowski. “Text, Music, Dance: Conflicting Allegiances in Angelin Preljocaj’s Roméo et Juliette.” In Dance Studies Association Conference Proceedings (5-8 July 2018), compiled by Courtney Harris, pp. 66-77. Dance Studies Association, 2018.

Parolin, Peter. “‘If I had begun to dance’: Women’s Performance in Kemps Nine Daies Wonder.” Early Theatre 15, no. 1 (2012): 45-63.

Parsons, Elinor. “An Inexplicable Dumbshow? Narrative Innovation in Robert Helpmann’s Hamlet (1942).” Australian Studies 4 (2012). Web archive copy.

_____. “‘Struts and frets’: Physical eloquence in Vladimir Vasiliev’s Macbeth.” In Shakespeare on Screen: Macbeth, edited by Sarah Hatchuel, Nathalie Vienne-Guerrin, and Victoria Bladen, pp. 365-378. Rouen: Publications de l’Université de Rouen et du Havre, 2013.

_____. “‘Therefore ha’ done with words’: Shakespeare and Innovative British Ballets. In The Oxford Handbook of Shakespeare and Dance, edited by Lynsey McCulloch and Brandon Shaw, pp. 387-404. Oxford University Press, 2019.

Prange, Gerda. “Shakespeares Äußerungen über die Tänze seiner Zeit.” Shakespeare Jahrbuch 89 (1953): 132-161.

Pyron, Mary Virginia. “‘Sundry Measures’: Dance in Renaissance Comedy.” PhD diss., Vanderbilt University, 1987.

Ravelhofer, Barbara. “Dance.” Ben Jonson in Context, edited by Julie Sanders, pp. 171-180. Cambridge: Cambridge University Press, 2010.

_____. “Dancing at the Court of Queen Elizabeth.” In Queen Elizabeth I: Past and Present, edited by Christa Jansohn, pp. 101-115. Münster: Lit Verlag, 2004.

_____. “Middleton and dance.” The Oxford Handbook of Thomas Middleton, edited by G. Taylor and T. Henley, pp. 130-147. Oxford: Oxford University Press, 2012.

_____. “Shakespeare and Dance.” Shakespeare Jahrbuch 157 (2021): 13-30.

Rodgers, Amy. “Creation Myths: Inspiration, Collaboration, and the Genesis of Romeo and Juliet.” Borrowers and Lenders 10, no. 2 (2017).

Shaw, Brandon. “Effacing Rebellion and Righting the Slanted: Declassifying the Archive of MacMillan’s (1965) and Shakespeare’s (1597) Romeo and Juliets.” Dance Research Journal 49, no. 2 (2017).

Sorell, Walter. “Shakespeare and the Dance.” Shakespeare Quarterly 8, no. 3 (1957): 367-384.

Steele, M. S. Plays & Masques at Court during the Reigns of Elizabeth, James and Charles. New York: Russell & Russell, 1926, 1968.

Thomas, Max W. “Kemps Nine Daies Wonder: Dancing Carnival into Market.” PMLA 107, no. 3 (1992): 511-523.

Thomson, Peter, and Roger Clegg. “He’s for a jig or a tale of bawdry—’: Notes on the English Dramatic Jig.” Studies in Theatre and Performance 29, no. 1 (2009): 67-83.

Weddle-Mulholland, Katona Dail. “A study of the metaphorical language of Renaissance dance in four of Shakespeare’s comedies: Love’s Labor’s Lost, A Midsummer Night’s Dream, Much Ado About Nothing, and The Tempest.” PhD diss., Central Missouri State University, 1999.

West, William. “When is the Jig Up—and What is it Up To?” In Locating the Queen’s Men, 1583-1603: Material Practices and Conditions of Playing. Edited by Helen Ostovich, Holger Schott Syme, Andrew Griffin. Farnham, Surrey: Ashgate, 2009.

Wharton, Robin. “‘There Are No Mothers-in-Law in Ballet’: ‘Doing’ Shakespeare in dance.” Shakespeare Bulletin 23 (2005): 7-22.

Williams, Deanne. “Shakespeare and the Girl Masquer.” Shakespeare Studies 44 (2016): 203-229.

Williams, Seth Stewart. “[They dance]: Collaborative Authorship and Dance in Macbeth.” In The Oxford Handbook of Shakespeare and Dance, edited by Lynsey McCulloch and Brandon Shaw, pp. 237-260. Oxford University Press, 2019.

Wilson, Richard. “Dance of Death: Hitler and the Morris Men.” Shakespeare Jahrbuch 157 (2021): 85-109.

Winerock, Emily F. “Discourteous Courtesies and Irreverent Reverences: Rethinking the Renaissance Bow.” In Proceedings of the 2018 Dance Studies Association Annual Conference (July 5-8, 2018). Dance Studies Association, 2019.

_____. “Licence to Speak: Gender and Masking in Shakespearean Dance Scenes.” Shakespeare Jahrbuch 157 (2021): 46-64.

_____. “Staging Dance in English Renaissance Drama.” In Proceedings of the 34th Society of Dance History Scholars Annual Conference (23-26 June 2011), compiled by Ken Pierce. Riverside, CA: Society of Dance History Scholars, 2011.

_____. “‘We’ll measure them a measure, and be gone’: Renaissance Dance Practices and Shakespeare’s Romeo and Juliet.” Borrowers and Lenders 10, no. 2 (2017).

_____. “‘What dances shall we have?’ Assembling the Evidence of Non-Courtly Dancing in Shakespearean England.” In Dance Studies Association Conference Proceedings (19-22 October 2017), compiled by Jens Giersdorf and Kayla White, pp. 103-113. Dance Studies Association, 2017.

Updated August 26, 2022.

 2013-2023. All rights reserved. The Shakespeare and Dance Project.