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Structuring her argument around six of the Shakespearean roles she has played since 2005 - Desdemona in Othello, Regan in King Lear, Lady Macbeth in Macbeth, Gertrude in Hamlet, Lady Anne in Richard III and Lady Capulet in Romeo and Juliet - Reynolds analyses how her attempts to create a three-dimensional character in performance would frequently come up against attitudes and approaches that limit and diminish Shakespeare's women. Locating her experience within the wider context of Shakespearean Studies, drawing on examples from the plays' performance histories, literary criticism, interviews with practitioners, and education packs accompanying productions, Reynolds demonstrates the manifold ways in which sexist attitudes shape how Shakespeare's women are understood in the twenty-first century. Performing Shakespeare's Women does important work in bridging the divide between scholarship and practice, providing scholars with an insight into the material conditions of performance and offering practitioners a theoretically informed approach to re-evaluating Shakespeare's female characters.