Sonia Massai is a Lecturer at King’s College London. She has published articles on Shakespearean appropriations and edited Titus Andronicus (New Penguin) and The Wise Woman of Hoxton (Globe Quartos). Her current projects include a book on Shakespeare and the Rise of English Drama in Print.

'A very significant contribution to the growing body of critical literature on Shakespeare appropriations within specific theatrical and critical traditions around the globe.' - Jill Levenson, University of Toronto, Canada'Massai's definition and focus on the importance of "locality" in worldwide Shakespeare appropriations challenges, even as it extends, other recent scholarship tracing Shakespeare's "afterlife".' - Robert Sawyer, East Tennessee State University, USA'World-Wide Shakespeares is undoubtedly a valuable and timely addition to our understanding of what artists are doing to and with Shakespeare across the globe and how their work signifies both locally and internationally.' - Robert Ormsby, Review of Literature

• 1. Defining Local Shakespeares Part One: Local Shakespeares for Local Audiences 2. A Branch of the Blue Nile: Derek Walcott and the Tropic of Shakespeare 3. Political Pericles 4. ‘Shylock as Crypto-Jew: A New Mexican Adaptation of The Merchant of Venice’ 5. Negotiating Intercultural Spaces: Much Ado About Nothing and Romeo and Juliet on the Chinese Stage 6. ‘It is the bloody business which informs thus … ’ Local Politics and Performative Praxis: Macbeth in India Part Two: Local Shakespeares for National Audiences 7. Relocating and Dislocating Shakespeare in Robert Sturua’s Twelfth Night and Alexander Morfov’s The Tempest 8. 'I am not bound to please thee with my answers': The Merchant of Venice on the German Stage 9. Abusing the Shrew on the Prague stage 10. ‘Shooting the Hero: The Cinematic Career of Henry V from Laurence Olivier to Philip Purser’ 11. Lamentable Tragedy or Black Comedy: Friedrich Dürrenmatt’s Adaptation of Titus Andronicus 12. Subjection and Redemption in Pasolini’s Othello 13. 'Meaning by Shakespeare' South of the Border 14. Dreams of England 15. The Cultural Logic of 'Correcting' The Merchant of Venice Part Three: Local Shakespeare for International Audiences 16. Dancing with Art: Robert Lepage’s Hamlet 17. Hekepia? The Mana of the Maori Merchant 18. The Haiku Macbeth: Shakespearean Antithetical Minimalism in Kurosawa’s Kumonosu-jo

Sonia Massai is a Lecturer at King’s College London. She has published articles on Shakespearean appropriations and edited Titus Andronicus (New Penguin) and The Wise Woman of Hoxton (Globe Quartos). Her current projects include a book on Shakespeare and the Rise of English Drama in Print.

'A very significant contribution to the growing body of critical literature on Shakespeare appropriations within specific theatrical and critical traditions around the globe.' - Jill Levenson, University of Toronto, Canada'Massai's definition and focus on the importance of "locality" in worldwide Shakespeare appropriations challenges, even as it extends, other recent scholarship tracing Shakespeare's "afterlife".' - Robert Sawyer, East Tennessee State University, USA'World-Wide Shakespeares is undoubtedly a valuable and timely addition to our understanding of what artists are doing to and with Shakespeare across the globe and how their work signifies both locally and internationally.' - Robert Ormsby, Review of Literature

• 1. Defining Local Shakespeares Part One: Local Shakespeares for Local Audiences 2. A Branch of the Blue Nile: Derek Walcott and the Tropic of Shakespeare 3. Political Pericles 4. ‘Shylock as Crypto-Jew: A New Mexican Adaptation of The Merchant of Venice’ 5. Negotiating Intercultural Spaces: Much Ado About Nothing and Romeo and Juliet on the Chinese Stage 6. ‘It is the bloody business which informs thus … ’ Local Politics and Performative Praxis: Macbeth in India Part Two: Local Shakespeares for National Audiences 7. Relocating and Dislocating Shakespeare in Robert Sturua’s Twelfth Night and Alexander Morfov’s The Tempest 8. 'I am not bound to please thee with my answers': The Merchant of Venice on the German Stage 9. Abusing the Shrew on the Prague stage 10. ‘Shooting the Hero: The Cinematic Career of Henry V from Laurence Olivier to Philip Purser’ 11. Lamentable Tragedy or Black Comedy: Friedrich Dürrenmatt’s Adaptation of Titus Andronicus 12. Subjection and Redemption in Pasolini’s Othello 13. 'Meaning by Shakespeare' South of the Border 14. Dreams of England 15. The Cultural Logic of 'Correcting' The Merchant of Venice Part Three: Local Shakespeare for International Audiences 16. Dancing with Art: Robert Lepage’s Hamlet 17. Hekepia? The Mana of the Maori Merchant 18. The Haiku Macbeth: Shakespearean Antithetical Minimalism in Kurosawa’s Kumonosu-jo

Sonia Massai is a Lecturer at King’s College London. She has published articles on Shakespearean appropriations and edited Titus Andronicus (New Penguin) and The Wise Woman of Hoxton (Globe Quartos). Her current projects include a book on Shakespeare and the Rise of English Drama in Print.

'A very significant contribution to the growing body of critical literature on Shakespeare appropriations within specific theatrical and critical traditions around the globe.' - Jill Levenson, University of Toronto, Canada'Massai's definition and focus on the importance of "locality" in worldwide Shakespeare appropriations challenges, even as it extends, other recent scholarship tracing Shakespeare's "afterlife".' - Robert Sawyer, East Tennessee State University, USA'World-Wide Shakespeares is undoubtedly a valuable and timely addition to our understanding of what artists are doing to and with Shakespeare across the globe and how their work signifies both locally and internationally.' - Robert Ormsby, Review of Literature

• 1. Defining Local Shakespeares Part One: Local Shakespeares for Local Audiences 2. A Branch of the Blue Nile: Derek Walcott and the Tropic of Shakespeare 3. Political Pericles 4. ‘Shylock as Crypto-Jew: A New Mexican Adaptation of The Merchant of Venice’ 5. Negotiating Intercultural Spaces: Much Ado About Nothing and Romeo and Juliet on the Chinese Stage 6. ‘It is the bloody business which informs thus … ’ Local Politics and Performative Praxis: Macbeth in India Part Two: Local Shakespeares for National Audiences 7. Relocating and Dislocating Shakespeare in Robert Sturua’s Twelfth Night and Alexander Morfov’s The Tempest 8. 'I am not bound to please thee with my answers': The Merchant of Venice on the German Stage 9. Abusing the Shrew on the Prague stage 10. ‘Shooting the Hero: The Cinematic Career of Henry V from Laurence Olivier to Philip Purser’ 11. Lamentable Tragedy or Black Comedy: Friedrich Dürrenmatt’s Adaptation of Titus Andronicus 12. Subjection and Redemption in Pasolini’s Othello 13. 'Meaning by Shakespeare' South of the Border 14. Dreams of England 15. The Cultural Logic of 'Correcting' The Merchant of Venice Part Three: Local Shakespeare for International Audiences 16. Dancing with Art: Robert Lepage’s Hamlet 17. Hekepia? The Mana of the Maori Merchant 18. The Haiku Macbeth: Shakespearean Antithetical Minimalism in Kurosawa’s Kumonosu-jo