English, Italian, French, Spanish (fluent)
Renaissance Drama and Culture
Theory of Adaptation
Performance and appropriations of Shakespeare (stage, page and screen)
Performance studies and theatre theory
1. Intermedial Shakespeares on European Stages. Palgrave Macmillan, 2014.
2. Biedny Hamlet! Dekonstrukcje “Hamleta” i Hamleta w dramacie współczesnym [Poor Hamlet! Deconstructions of “Hamlet” and Hamlet in Contemporary Drama]. Księgarnia Akademicka, 2010. (In Polish)
3. “Looking Back at the Audience: The RSC & The Wooster Group Troilus and Cressida (2012).” Multicultural Shakespeare: Translation, Appropriation and Performance. Special Issue: Global Shakespeare Performance Festivals. Volume 11, Issue 26 (Dec 2014). 65-79.
4. “The Stage as a Page and the Stage as a Screen: Intermediality in Stefan Pucher’ The Tempest (Munich 2007).” Forum Modernes Theater. Eds. Peter W. Marx, and Christopher Balme, 2014. 7-19.
5. “Hamlet in Italy.” in Hamlet Handbuch. Ed. Peter W. Marx, Stuttgart / Weimar: J. B. Metzler, 2014. 296-300.
6. “The State of the Bard: A Review of Books and Digital Databases on Shakespeare 2010-2011.” The Shakespearean International Yearbook, 2013. 133-151.
7. “2008: Macbeth Directed by Grzegorz Jarzyna (TR Warszawa) for the Edinburgh International Festival.” A Year of Shakespeare: Re-Living the World Shakespeare Festival. Eds. Erin Sullivan, Paul Edmondson, and Paul Prescott. Arden, 2013. 118-121.
8. “Rehearsal Review: Mercuzio non vuole morire [Mercutio does not want to die].” Shakespeare Bulletin, Vol. 30, Number 4, Winter Issue 2012: 548-554.
9. “To what base uses we may return”: Deconstruction of Hamlet in Contemporary Drama.” The Shakespearean International Yearbook. Vol. 12. (2012): 133-152.
10. “Shakespeare in Europe: An Introduction.” Global Shakespeares Video & Performance Archive, MIT. http://globalshakespeares.mit.edu/europe/#
11. “The Truth of the Trash: Video Aesthetics in the Performance of The Screech (2010) by Videotheatre.” Slavic and East European Performance. 31.1 (2011): 29-39.
12. “Adaptacja jako synergia” [Adaptation as Synergy]. Córki Leara i inne parafrazy [Lear’s Daughters and Other Paraphrases]. Ed. Mateusz Borowski. Panga Pang, 2011. 8-33.
13. “The Mask of Electronics”: Videotheatre of Piotr Lachmann and Jolanta Lothe.” Theatrical Blends: Art in the Theatre / Theatre in the Arts. Eds. Jerzy Limon, and Agnieszka Żukowska. Słowo/obraz terytoria, 2010. 195-208.
Contributor of performance reviews to Blogging Shakespeare website, curated by Shakespeare Birthplace Trust and University of Warwick, and Polish theatre journals, Didaskalia and Teatr.