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Kujawińska Courtney, Krystyna, ed. Polska Bibliografia Szekspirowska, 1980–2000 [Polish Shakespeare Bibliography]. Wrocław: Zakład Narodowy im. Ossolińskich and Uniwersytet Łódzki, 2005.Google Scholar

Kujawińska Courtney, Krystyna, and Williams, Katarzyna Kwapisz. “‘The Polish Prince’: Studies in Cultural Appropriation of Shakespeare’s ‘Hamlet’ in Poland.” 2009. http://hamletworks.org.Google Scholar

Łubieniewska, Ewa, et al., eds. Szekspir wśród znaków kultury polskiej [Shakespeare among the Signs of Polish Culture]. Kraków: Wydawnictwo Naukowe Uniwersytetu Pedagogicznego, 2012.Google Scholar

Mościcki, Tomasz. “Burzliwy sezon” [Stormy Season]. Odra 7/8 (2003). e-teatr.pl. Accessed December 2011.Google Scholar

Niziołek, Krzysztof. Warlikowski Extra Ecclesiam. Kraków: Wydawnictwo Homini SC, 2008.Google Scholar

Sakowska, Aleksandra. “No ‘Happy Wrecks’ – Pessimism and Suffering in Krzysztof Warlikowski’s Adaptation of The Tempest by William Shakespeare.” Shakespeare Bulletin 29 (2011): 327–38.Google Scholar

Węgrzyniak, Rafał. “Gruba kreska Prospera” [Prospero’s Justice]. Odra 4 (2003). e-teatr.pl. Accessed December 2011.Google Scholar

In addition to the works just listed, Notatnik teatralny 62/63 (2011) is thematically devoted to Krzysztof Warlikowski. There are interviews with Warlikowski, interviews with his colleagues and with members of his ensemble, and critical essays devoted to his theatrical productions. These include, among others, his Merchant of Venice, 1994; The Winter’s Tale, 1999; Hamlet, 1997 and 1999; The Taming of the Shrew, 1997; Pericles, 1998; The Tempest, 2000 and 2003; A Midsummer Night’s Dream, 2003; Macbeth, 2004; and African Stories, based on Shakespeare’s King Lear, The Merchant of Venice, and Othello, with fragments of Sound of Ice by Cleaver, Eldridge and Summer by Coetzee, John Maxwell, 2011.Google Scholar