Yu Jin Ko is Professor of English at Wellesley College, USA. His research centers on Shakespeare, with a focus on performance, and a more recent emphasis on Shakespeare in production across the globe, especially in the East. Previous publications include Mutability and Division on Shakespeare’s Stage (2004), and the co-edited collection Shakespeare’s Sense of Character: On the Page and From the Stage (2012).

• Introduction. -Chapter 1: .-A Little Touch of Harry in the Light: Henry V at the New Globe. -Chapter 2:. -Consent and Animation in A Midsummer Night’s Dream: The Korean Madang as a New Green World. -Chapter 3:.- From the Wooden O to Tim Blake Nelson’s O: The Boy Actor’s voice and the Performance of Gender and Race. -Chapter 4:.- Dance and Deception in Othello: Desdemona’s ‘Turn’ in Omkara and Huapango. -Chapter 5: .-Observing Shakespeare's Lighting Effects in Romeo and Juliet. -Chapter 6: .-The Winter's Tale and Privileged Spectatorship: At the Globe and in Tokyo. -Chapter 7: .-Authenticity through Intermedial Liveness: Throne of Blood and The King and the Clown. -Chapter 8: .-Youth and Authenticity in Hamlet: Burbage in his 30s and a Sexagenarian Hamlet in Seoul.

Yu Jin Ko is Professor of English at Wellesley College, USA. His research centers on Shakespeare, with a focus on performance, and a more recent emphasis on Shakespeare in production across the globe, especially in the East. Previous publications include Mutability and Division on Shakespeare’s Stage (2004), and the co-edited collection Shakespeare’s Sense of Character: On the Page and From the Stage (2012).

• Introduction. -Chapter 1: .-A Little Touch of Harry in the Light: Henry V at the New Globe. -Chapter 2:. -Consent and Animation in A Midsummer Night’s Dream: The Korean Madang as a New Green World. -Chapter 3:.- From the Wooden O to Tim Blake Nelson’s O: The Boy Actor’s voice and the Performance of Gender and Race. -Chapter 4:.- Dance and Deception in Othello: Desdemona’s ‘Turn’ in Omkara and Huapango. -Chapter 5: .-Observing Shakespeare's Lighting Effects in Romeo and Juliet. -Chapter 6: .-The Winter's Tale and Privileged Spectatorship: At the Globe and in Tokyo. -Chapter 7: .-Authenticity through Intermedial Liveness: Throne of Blood and The King and the Clown. -Chapter 8: .-Youth and Authenticity in Hamlet: Burbage in his 30s and a Sexagenarian Hamlet in Seoul.

Yu Jin Ko is Professor of English at Wellesley College, USA. His research centers on Shakespeare, with a focus on performance, and a more recent emphasis on Shakespeare in production across the globe, especially in the East. Previous publications include Mutability and Division on Shakespeare’s Stage (2004), and the co-edited collection Shakespeare’s Sense of Character: On the Page and From the Stage (2012).

• Introduction. -Chapter 1: .-A Little Touch of Harry in the Light: Henry V at the New Globe. -Chapter 2:. -Consent and Animation in A Midsummer Night’s Dream: The Korean Madang as a New Green World. -Chapter 3:.- From the Wooden O to Tim Blake Nelson’s O: The Boy Actor’s voice and the Performance of Gender and Race. -Chapter 4:.- Dance and Deception in Othello: Desdemona’s ‘Turn’ in Omkara and Huapango. -Chapter 5: .-Observing Shakespeare's Lighting Effects in Romeo and Juliet. -Chapter 6: .-The Winter's Tale and Privileged Spectatorship: At the Globe and in Tokyo. -Chapter 7: .-Authenticity through Intermedial Liveness: Throne of Blood and The King and the Clown. -Chapter 8: .-Youth and Authenticity in Hamlet: Burbage in his 30s and a Sexagenarian Hamlet in Seoul.