Diana E. Henderson is the Arthur J. Conner Professor of Literature at MIT, USA. She teaches, publishes and edits widely in the fields of Shakespeare, media studies and early modern studies, and is a dramaturg, designer of online educational modules and documentary producer. Stephen O’Neill is Associate Professor in English and Shakespeare Studies at Maynooth University, Ireland. He has published widely on adapted Shakespeare, especially in digital cultures.

A treasure trove for those interested in the re-tellings of Shakespeare’s work.

• Notes on ContributorsList of Illustrations 1. Introduction Diana E. Henderson and Stephen O’Neill2. Research Methods and Problems2.1 Shakespeare as Adaptor Emma Smith (University of Oxford, UK)2.2 Shakespeare and Adaptation Theory: Unfinished Business Douglas M. Lanier (University of New Hampshire, USA)2.3 What is Shakespeare Adaptation? Why Pericles? Why Cloud? Why Now? Julie Sanders (Royal Holloway, University of London, UK) 3. Current Research and Issues Histories and Politics of Adaptation 3.1 Politics, Adaptation, Macbeth William C. Carroll (Boston University, USA)3.2 Animating an Archive of Black Performance: Swing, William Alexander Brown, and The African Company Presents ‘Richard III’ Joyce Green MacDonald (University of Kentucky, USA)3.3 ‘Does anyone know another text?’ Post-Migratory Othello Adaptations on the German-Speaking Stage Sabine Schülting (Freie Universität Berlin, Germany)3.4 Japanese Novelizations of Shakespeare’s Hamlet and Macbeth: the culture of hon’an as adaptational practice Yukari Yoshihara (University of Tsukuba, Japan)Shakespeare in Parts3.5 Shakespeare Live! and the Commemorative Gala Revue: Rhetoric, Festivity and Fragmented Adaptation Ailsa Grant Ferguson (University of Brighton, UK)3.6 ‘What burgeons in the memory…’: Transgression, Culture and Canon in Postmodern Adaptations of the Sonnets Rui Carvalho Homem (University of Porto, Portugal)3.7 ‘Play On’, or the Memeing of Shakespeare: Adaptation and Internet Culture Anna Blackwell (University of Nottingham, UK)3.8 Bollywood Gertrudes and Global Shakespeares Varsha Panjwani (NYU, London, UK)Media Lenses and Digital Cultures 3.9 Screening Dreamy LA: Reading Genre in Casey Wilder Mott’s HollywoodA Midsummer Night’s Dream (2018) Melissa Croteau (California Baptist University, USA)3.10 Televisual Adaptation of Shakespeare in a Multi-Platform Age Susanne Greenhalgh (University of Roehampton, UK)3.11 On Location in Asian Shakespeare Stage Adaptations Yong Li Lan (National University of Singapore, Singapore)3.12 “And We Will Ship Him Hence”: The Case for Shakespeare Fan Studies Valerie M. Fazel (Arizona State University, USA) and Louise Geddes (Adelphi University, USA)4. New Directions4.1 Reduce, Rewrite, Recycle: Adapting A Midsummer Night’s Dream for Yosemite Katherine Steele Brokaw and Paul Prescott (University of California, USA)4.2 Hamlet in the Age of Algorithmic Production Annie Dorsen (Independent Scholarinterviewed by Miriam Felton-Dansky (Bard College, USA)4.3 A King Lear Sutra Preti Taneja (Newcastle University, USA)5. Resources Vanessa I. Corredera (Andrews University, USA)6. Annotated Bibliography Kavita Mudan Finn (George Washington University, USA)7. Index

Diana E. Henderson is the Arthur J. Conner Professor of Literature at MIT, USA. She teaches, publishes and edits widely in the fields of Shakespeare, media studies and early modern studies, and is a dramaturg, designer of online educational modules and documentary producer. Stephen O’Neill is Associate Professor in English and Shakespeare Studies at Maynooth University, Ireland. He has published widely on adapted Shakespeare, especially in digital cultures.

A treasure trove for those interested in the re-tellings of Shakespeare’s work.

• Notes on ContributorsList of Illustrations 1. Introduction Diana E. Henderson and Stephen O’Neill2. Research Methods and Problems2.1 Shakespeare as Adaptor Emma Smith (University of Oxford, UK)2.2 Shakespeare and Adaptation Theory: Unfinished Business Douglas M. Lanier (University of New Hampshire, USA)2.3 What is Shakespeare Adaptation? Why Pericles? Why Cloud? Why Now? Julie Sanders (Royal Holloway, University of London, UK) 3. Current Research and Issues Histories and Politics of Adaptation 3.1 Politics, Adaptation, Macbeth William C. Carroll (Boston University, USA)3.2 Animating an Archive of Black Performance: Swing, William Alexander Brown, and The African Company Presents ‘Richard III’ Joyce Green MacDonald (University of Kentucky, USA)3.3 ‘Does anyone know another text?’ Post-Migratory Othello Adaptations on the German-Speaking Stage Sabine Schülting (Freie Universität Berlin, Germany)3.4 Japanese Novelizations of Shakespeare’s Hamlet and Macbeth: the culture of hon’an as adaptational practice Yukari Yoshihara (University of Tsukuba, Japan)Shakespeare in Parts3.5 Shakespeare Live! and the Commemorative Gala Revue: Rhetoric, Festivity and Fragmented Adaptation Ailsa Grant Ferguson (University of Brighton, UK)3.6 ‘What burgeons in the memory…’: Transgression, Culture and Canon in Postmodern Adaptations of the Sonnets Rui Carvalho Homem (University of Porto, Portugal)3.7 ‘Play On’, or the Memeing of Shakespeare: Adaptation and Internet Culture Anna Blackwell (University of Nottingham, UK)3.8 Bollywood Gertrudes and Global Shakespeares Varsha Panjwani (NYU, London, UK)Media Lenses and Digital Cultures 3.9 Screening Dreamy LA: Reading Genre in Casey Wilder Mott’s HollywoodA Midsummer Night’s Dream (2018) Melissa Croteau (California Baptist University, USA)3.10 Televisual Adaptation of Shakespeare in a Multi-Platform Age Susanne Greenhalgh (University of Roehampton, UK)3.11 On Location in Asian Shakespeare Stage Adaptations Yong Li Lan (National University of Singapore, Singapore)3.12 “And We Will Ship Him Hence”: The Case for Shakespeare Fan Studies Valerie M. Fazel (Arizona State University, USA) and Louise Geddes (Adelphi University, USA)4. New Directions4.1 Reduce, Rewrite, Recycle: Adapting A Midsummer Night’s Dream for Yosemite Katherine Steele Brokaw and Paul Prescott (University of California, USA)4.2 Hamlet in the Age of Algorithmic Production Annie Dorsen (Independent Scholarinterviewed by Miriam Felton-Dansky (Bard College, USA)4.3 A King Lear Sutra Preti Taneja (Newcastle University, USA)5. Resources Vanessa I. Corredera (Andrews University, USA)6. Annotated Bibliography Kavita Mudan Finn (George Washington University, USA)7. Index