Revenge tragedy (less commonly referred to as revenge drama, revenge play, or tragedy of blood) defines a genre of plays made popular in early modern England.
 Ashley H. Thorndike formally established this genre in his seminal 1902 article "The Relations of Hamlet to Contemporary Revenge Plays," which characterizes revenge tragedy "as a tragedy whose leading motive is revenge and whose main action deals with the progress of this revenge, leading to the death of the murderers and often the death of the avenger himself."
 Thomas Kyd's "The Spanish Tragedy" (c.1580s) is often considered the inaugural revenge tragedy on the early modern stage.
 However, more recent research extends early modern revenge tragedy to the 1560s with poet and classicist Jasper Heywood's translations of Seneca at Oxford University, including "Troas" (1559), "Thyestes" (1560), and "Hercules Furens" (1561).
 Additionally, Thomases Norton and Sackville's play "Gorbuduc" (1561) is considered an early revenge tragedy (almost twenty years prior to "The Spanish Tragedy").
 Other well-known revenge tragedies include William Shakespeare's "Hamlet" (c.1599-1602) and "Titus Andronicus" (c.1588-1593) and Thomas Middleton's "The Revenger's Tragedy" (c.1606).
Coriolanus ( or ) is a tragedy by William Shakespeare, believed to have been written between 1605 and 1608.
 The play is based on the life of the legendary Roman leader Caius Marcius Coriolanus.
 The tragedy is numbered as one of the last two tragedies written by Shakespeare, along with "Antony and Cleopatra".
Ran (乱, Japanese for "chaos") is a 1985 period tragedy directed, edited and co-written by Akira Kurosawa as an adaptation of Shakespeare's tragedy "King Lear".
 It is a Japanese-French venture produced by Herald Ace, Nippon Herald Films and Greenwich Film Productions.
 The film stars Tatsuya Nakadai as Hidetora Ichimonji, an aging "Sengoku"-era warlord who decides to abdicate as ruler in favor of his three sons.
 The film is an adaptation of the Shakespearean tragedy "King Lear", and includes segments based on legends of the "daimyō" Mōri Motonari.
Shakespearean tragedy is the designation given to most tragedies written by playwright William Shakespeare.
 Many of his history plays share the qualifiers of a Shakespearean tragedy, but because they are based on real figures throughout the History of England, they were classified as "histories" in the First Folio.
 The Roman tragedies—"Julius Caesar", "Antony and Cleopatra" and "Coriolanus"—are also based on historical figures, but because their source stories were foreign and ancient they are almost always classified as tragedies rather than histories.
 Shakespeare's romances (tragicomic plays) were written late in his career and published originally as either tragedy or comedy.
 They share some elements of tragedy featuring a high status central character but end happily like Shakespearean comedies.
 Several hundred years after Shakespeare's death, scholar F.S. Boas also coined a fifth category, the "problem play," for plays that don't fit neatly into a single classification because of their subject matter, setting, or ending.
 The classifications of certain Shakespeare plays are still debated among scholars.
Troilus and Cressida ( ) is a tragedy by William Shakespeare, believed to have been written in 1602.
 It was described by Frederick S. Boas as one of Shakespeare's problem plays.
 The play ends on a very bleak note with the death of the noble Trojan Hector and destruction of the love between Troilus and Cressida.
 The work has in recent years "stimulated exceptionally lively critical debate".
 Throughout the play, the tone lurches wildly between bawdy comedy and tragic gloom, and readers and theatre-goers have frequently found it difficult to understand how one is meant to respond to the characters.
 However, several characteristic elements of the play (the most notable being its constant questioning of intrinsic values such as hierarchy, honour and love) have often been viewed as distinctly "modern," as in the following remarks on the play by author and literary scholar Joyce Carol Oates:
According to Dr. Naseeb Shaheen, Shakespeare, in writing his plays, "seldom borrows biblical references from his sources, even when those sources contain many references."
 Roy Battenhouse notes that the Shakespearean tragedy "frequently echoes Bible language or paradigm, even when the play's setting is pagan."
 Similarly, Peter Milward notes that despite their secular appearance, Shakespeare's plays "conceal an undercurrent of religious meaning which belongs to their deepest essence."
 Further, Milward maintains that although Shakespeare "may have felt obliged by the circumstances of the Elizabethan stage to avoid Biblical or other religious subjects for his plays," such obligation "did not prevent him from making full use of the Bible in dramatizing his secular sources and thus infusing into them a Biblical meaning."
 Milward continues that, in writing his plays (in particular, the tragedies), Shakespeare "shows the universal relevance of the Bible both to the reality of human life 'in this harsh world' and to its ideal in the heart of God."
 Steven Marx suggests "a thorough familiarity with the Scriptures" is a prerequisite to understanding the Biblical references in the plays, and that the plays' references to the Bible "illuminate fresh and surprising meanings in the biblical text."
 Marx further notes that "it is possible that Shakespeare sometimes regarded his own role of playwright and performer as godlike, his own book as potent and capacious as 'The Book'."
 It is important to note, as a recent study points out “The diversity of versions reflected in Shakespeare’s writing indicates that ‘Shakespeare’s Bible’ cannot be taken for granted as unitary, since it consists of a network of different translations”
"The Taming of the Shrew" in performance has had an uneven history.
 Popular in Shakespeare's day, the play fell out of favour during the seventeenth century, when it was replaced on the stage by John Lacy's "Sauny the Scott".
 The original Shakespearean text was not performed at all during the eighteenth century, with David Garrick's adaptation "Catharine and Petruchio" dominating the stage.
 After over two hundred years without a performance, the play returned to the British stage in 1844, the last Shakespeare play restored to the repertory.
 However, it was only in the 1890s that the dominance of "Catharine and Petruchio" began to wain, and productions of "The Shrew" become more regular.
 Moving into the twentieth century, the play's popularity increased considerably, and it became one of Shakespeare's most frequently staged plays, with productions taking place all over the world.
 This trend has continued into the twenty-first century, with the play as popular now as it was when first written.
Cressida ( , Greek: Χρησίδα ) is an inner satellite of Uranus.
 It was discovered from the images taken by "Voyager 2" on 9 January 1986, and was given the temporary designation S/1986 U 3.
 It was named after Cressida, the Trojan daughter of Calchas, a tragic heroine who appears in William Shakespeare's play "Troilus and Cressida" (as well as in tales by Geoffrey Chaucer and others).
 It is also designated Uranus IX.
In Shakespeare studies, the problem plays are three plays that William Shakespeare wrote between the late 1590s and the first years of the seventeenth century: "All's Well That Ends Well", "Measure for Measure" and "Troilus and Cressida".
 Shakespeare's problem-plays are characterised by their complex and ambiguous tone, which shifts violently between dark, psychological drama and more straightforward comic material; compare tragicomedy.
The Wild Goose Chase is a late Jacobean stage play, a comedy written by John Fletcher, first performed in 1621.
 It is often classed among Fletcher's most effective and best-constructed plays; Edmund Gosse called it "one of the brightest and most coherent of Fletcher's comedies, a play which it is impossible to read and not be in a good humour."
 The drama's wit, sparkle, and urbanity anticipated and influenced the Restoration comedy of the later decades of the seventeenth century.
 The term "wild-goose chase" is first documented when used by Shakespeare in the early 1590s, but appears as a term with which his audience would be familiar, as there is no attempt to define its meaning.

Question: Shakespearean tragedy is the designation given to most tragedies written by which playwright, several hundred years after Shakespeare's death, scholar F.S. Boas also coined a fifth category, in Shakespeare studies, the problem plays are three plays, wrote between the late 1590s and the first years of the seventeenth century: "All's Well That Ends Well", "Measure for Measure" and "Troilus and Cressida"?
Answer: William Shakespeare