Global Shakespeare Inverted – serie

Eating Shakespeare provides a constructive critical analysis of the issue of Shakespeare and globalization and revisits understandings of interculturalism, otherness, hybridity and cultural (in)authenticity. Featuring scholarly essays as well as interviews and conversation pieces with creatives – including Geraldo Carneiro, Fernando Yamamoto, Diana Henderson, Mark Thornton Burnett, Samir Bhamra, Tajpal Rathore, Samran Rathore and Paul Heritage – it offers a timely and fruitful discourse between global Shakespearean theory and practice. The volume uniquely establishes and implements a conceptual model inspired by non-European thought, thereby confronting a central concern in the field of Global Shakespeare: the issue of Europe operating as a geographical and cultural ‘centre’ that still dominates the study of Shakespearean translations and adaptations from a ‘periphery’ of world-wide localities. With its origins in 20th-century Brazilian modernism, the concept of ‘Cultural Anthropophagy’ is advanced by the authors as an original methodology within the field currently understood as ‘Global Shakespeare’. Through a broad range of examples drawn from theatre, film and education, and from both within Brazil and beyond, the volume offers illuminating perspectives on what Global Shakespeare may mean today.

Contemporary adaptations of Shakespeare’s plays have brought into sharp focus the legacies of slavery, racism and colonial dispossession that still haunt the global South. Looking sideways across the Atlantic and Indian Oceans to nontraditional centres of Shakespeare practice, Shakespeare in the Global South explores the solidarities generated by contemporary adaptations and their stories of displacement and survival. The book takes its lead from innovative theatre practice in Mauritius, North India, Brazil, post-apartheid South Africa and the diasporic urban spaces of the global North, to assess the lessons for cultural theory emerging from the new works.Using the ‘global South’ as a critical frame, Sandra Young reflects on the vocabulary scholars have found productive in grappling with the impact of the new iterations of Shakespeare’s work, through terms such as ‘creolization’, ‘indigenization’, ‘localization’, ‘Africanization’ and ‘diaspora’. Shakespeare’s presence in the global South invites us to go beyond familiar orthodoxies and to recognize the surprising affinities felt across oceans of difference in time and space that allow Shakespeare’s inventiveness to be a part of the enchanting subversions at play in contemporary theatre’s global currents.

Migrating Shakespeare offers the first study of the earliest waves of Shakespeare’s migration into Europe. Charting the spread of the reception and production of his plays across the continent, it examines how Shakespeare contributed to national cultures and – in some cases – nation building. The chapters explore the routes and cultural networks through which Shakespeare entered European consciousness, from first translations to stage adaptations and critical response. The role of strolling players and actors, translators and printers, poets and dramatists, is chronicled alongside the larger political and cultural movements shaping nations. Each individual case discloses the national, literary and theatrical issues Shakespeare encountered, revealing not only how cultures have accommodated and adapted Shakespeare on their own terms but their interpretative contribution to the texts. Taken collectively the volume addresses key questions about Shakespeare’s naturalization or reluctant accommodation within other cultures, inaugurating his present global reach.

The Merchant of Venice and Othello are the two Shakespeare plays which serve as touchstones for contemporary understandings and responses to notions of 'the stranger' and 'the other'. This groundbreaking collection explores the dissemination of the two plays through Europe in the first two decades of the 21st-century, tracing how productions and interpretations have reflected the changing conditions and attitudes locally and nationally.Packed with case studies of productions of each play in different countries, the volume opens vistas on the continent's turbulent history marked by the instability of allegiances and boundaries, and shifting senses of identity in a context of war, decolonization and migration. Chapters examine productions in Bulgaria, Hungary, Poland, Romania, Serbia, Italy, France, Portugal and Germany to shed light on wide-scale European developments for the first time in English.In a final section, performance insights are offered by interviews with three directors: Karin Coonrod on directing The Merchant in Venice at the Venetian Ghetto in 2016, Plamen Markov on his 2020 Othello for the Varna Theatre (Bulgaria) and Arnaud Churin, whose Othello toured France in 2019.In drawing attention to the ways in which historical circumstances and collective memory shape and refashion performance, Shakespeare's Others in 21st-century European Performance offers a rich review of European theatrical engagements with Otherness in the productions of these two plays.

Featuring case studies, essays, and conversation pieces by scholars and practitioners, this volume explores how Indian cinematic adaptations outside the geopolitical and cultural boundaries of India are revitalizing the broader landscape of Shakespeare research, performance, and pedagogy. Chapters in this volume address practical and thematic concerns and opportunities that are specific to studying Indian cinematic Shakespeares in the West. For instance, how have intercultural encounters between Indian Shakespeare films and American students inspired new pedagogic methodologies? How has the presence and popularity of Indian Shakespeare films affected policy change at British cultural institutions? How can disagreement between eastern and western perspectives on the politics of a Shakespeare film become the site for productive cross-cultural dialogue? This is the first book to explore such complex interactions between Indian Shakespeare films and Western audiences to contribute to the assessment of the new networks that have emerged as a result of Global Shakespeare studies and practices. The volume argues that by tracking critical currents from India towards the West new insights are afforded on the wider field of Shakespeare Studies - including feminist Shakespeares, translation in Shakespeare, or the study of music in Shakespeare - and are shaping debates on the ownership and meaning of Shakespeare itself. Contributing to the current studies in Global Shakespeare, this book marks a discursive shift in the way Shakespeare on Indian screen is predominantly theorised and offers an alternative methodology for examining non-Anglophone cinematic Shakespeares as a whole.

Contemporary adaptations of Shakespeare’s plays have brought into sharp focus the legacies of slavery, racism and colonial dispossession that still haunt the global South. Looking sideways across the Atlantic and Indian Oceans to nontraditional centres of Shakespeare practice, Shakespeare in the Global South explores the solidarities generated by contemporary adaptations and their stories of displacement and survival. The book takes its lead from innovative theatre practice in Mauritius, North India, Brazil, post-apartheid South Africa and the diasporic urban spaces of the global North, to assess the lessons for cultural theory emerging from the new works.Using the ‘global South’ as a critical frame, Sandra Young reflects on the vocabulary scholars have found productive in grappling with the impact of the new iterations of Shakespeare’s work, through terms such as ‘creolization’, ‘indigenization’, ‘localization’, ‘Africanization’ and ‘diaspora’. Shakespeare’s presence in the global South invites us to go beyond familiar orthodoxies and to recognize the surprising affinities felt across oceans of difference in time and space that allow Shakespeare’s inventiveness to be a part of the enchanting subversions at play in contemporary theatre’s global currents.

Eating Shakespeare provides a constructive critical analysis of the issue of Shakespeare and globalization and revisits understandings of interculturalism, otherness, hybridity and cultural (in)authenticity. Featuring scholarly essays as well as interviews and conversation pieces with creatives – including Geraldo Carneiro, Fernando Yamamoto, Diana Henderson, Mark Thornton Burnett, Samir Bhamra, Tajpal Rathore, Samran Rathore and Paul Heritage – it offers a timely and fruitful discourse between global Shakespearean theory and practice. The volume uniquely establishes and implements a conceptual model inspired by non-European thought, thereby confronting a central concern in the field of Global Shakespeare: the issue of Europe operating as a geographical and cultural ‘centre’ that still dominates the study of Shakespearean translations and adaptations from a ‘periphery’ of world-wide localities. With its origins in 20th-century Brazilian modernism, the concept of ‘Cultural Anthropophagy’ is advanced by the authors as an original methodology within the field currently understood as ‘Global Shakespeare’. Through a broad range of examples drawn from theatre, film and education, and from both within Brazil and beyond, the volume offers illuminating perspectives on what Global Shakespeare may mean today.

Charting the early dissemination of Shakespeare in the Nordic countries in the 19th century, this opens up an area of global Shakespeare studies that has received little attention to date. With case studies exploring the earliest translations of Hamlet into Danish; the first translation of Macbeth and the differing translations of Hamlet into Swedish; adaptations into Finnish; Kierkegaard’s re-working of King Lear, and the reception of the African-American actor Ira Aldridge’s performances in Stockholm as Othello and Shylock, it will appeal to all those interested in the reception of Shakespeare and its relationship to the political and social conditions.The volume intervenes in the current discussion of global Shakespeare and more recent concepts like ‘rhizome’, which challenge the notion of an Anglocentric model of ‘centre’ versus ‘periphery’. It offers a new assessment of these notions, revealing how the dissemination of Shakespeare is determined by a series of local and frequently interlocking centres and peripheries, such as the Finnish relation to Russia or the Norwegian relation with Sweden, rather than a matter of influence from the English Cultural Sphere.

Charting the early dissemination of Shakespeare in the Nordic countries in the 19th century, this opens up an area of global Shakespeare studies that has received little attention to date. With case studies exploring the earliest translations of Hamlet into Danish; the first translation of Macbeth and the differing translations of Hamlet into Swedish; adaptations into Finnish; Kierkegaard’s re-working of King Lear, and the reception of the African-American actor Ira Aldridge’s performances in Stockholm as Othello and Shylock, it will appeal to all those interested in the reception of Shakespeare and its relationship to the political and social conditions.The volume intervenes in the current discussion of global Shakespeare and more recent concepts like ‘rhizome’, which challenge the notion of an Anglocentric model of ‘centre’ versus ‘periphery’. It offers a new assessment of these notions, revealing how the dissemination of Shakespeare is determined by a series of local and frequently interlocking centres and peripheries, such as the Finnish relation to Russia or the Norwegian relation with Sweden, rather than a matter of influence from the English Cultural Sphere.

Migrating Shakespeare offers the first study of the earliest waves of Shakespeare’s migration into Europe. Charting the spread of the reception and production of his plays across the continent, it examines how Shakespeare contributed to national cultures and – in some cases – nation building. The chapters explore the routes and cultural networks through which Shakespeare entered European consciousness, from first translations to stage adaptations and critical response. The role of strolling players and actors, translators and printers, poets and dramatists, is chronicled alongside the larger political and cultural movements shaping nations. Each individual case discloses the national, literary and theatrical issues Shakespeare encountered, revealing not only how cultures have accommodated and adapted Shakespeare on their own terms but their interpretative contribution to the texts. Taken collectively the volume addresses key questions about Shakespeare’s naturalization or reluctant accommodation within other cultures, inaugurating his present global reach.

Examining the changing reception of Shakespeare in the Nordic countries between 1870 and 1940, this follow-up volume to Disseminating Shakespeare in the Nordic Countries focuses on the broad movements of national revivalism that took place around the turn of the century as Finland and Norway, and later Iceland, were gaining their independence. The first part of the book demonstrates how translations and productions of Shakespeare were key in such movements, as Shakespeare was appropriated for national and political purposes. The second part explores how the role of Shakespeare in the Nordic countries was partly transformed in the 1920s and 1930s as a new social system emerged, and then as the rise of fascism meant that European politics cast a long shadow on the Nordic countries and substantially affected the reception of Shakespeare.Contributors trace the impact of early translations of Shakespeare's works into Icelandic, the role of women in the early transmission of Shakespeare in Finland and the first Shakespeare production at the Finnish Theatre, and the productions of Shakespeare's plays at the Norwegian National Theatre between 1899 and the outbreak of the Great War. In Part Two, they examine the political overtones of the 1916 Shakespeare celebrations in Hamlet’s ‘hometown’ of Elsinore, Henrik Rytter’s translations of 23 Shakespeare plays into Norwegian to assess their role in his poetics and in Scandinavian literature, the importance of the 1937 production of Hamlet in Kronborg Castle starring Laurence Olivier, and the role of Shakespeare in general and Hamlet in particular in Swedish Nobel laureate Eyvind Johnson's early work where it became a symbol of post-war passivity and rootlessness.

Examining the changing reception of Shakespeare in the Nordic countries between 1870 and 1940, this follow-up volume to Disseminating Shakespeare in the Nordic Countries focuses on the broad movements of national revivalism that took place around the turn of the century as Finland and Norway, and later Iceland, were gaining their independence. The first part of the book demonstrates how translations and productions of Shakespeare were key in such movements, as Shakespeare was appropriated for national and political purposes. The second part explores how the role of Shakespeare in the Nordic countries was partly transformed in the 1920s and 1930s as a new social system emerged, and then as the rise of fascism meant that European politics cast a long shadow on the Nordic countries and substantially affected the reception of Shakespeare.Contributors trace the impact of early translations of Shakespeare's works into Icelandic, the role of women in the early transmission of Shakespeare in Finland and the first Shakespeare production at the Finnish Theatre, and the productions of Shakespeare's plays at the Norwegian National Theatre between 1899 and the outbreak of the Great War. In Part Two, they examine the political overtones of the 1916 Shakespeare celebrations in Hamlet’s ‘hometown’ of Elsinore, Henrik Rytter’s translations of 23 Shakespeare plays into Norwegian to assess their role in his poetics and in Scandinavian literature, the importance of the 1937 production of Hamlet in Kronborg Castle starring Laurence Olivier, and the role of Shakespeare in general and Hamlet in particular in Swedish Nobel laureate Eyvind Johnson's early work where it became a symbol of post-war passivity and rootlessness.

The Merchant of Venice and Othello are the two Shakespeare plays which serve as touchstones for contemporary understandings and responses to notions of 'the stranger' and 'the other'. This groundbreaking collection explores the dissemination of the two plays through Europe in the first two decades of the 21st-century, tracing how productions and interpretations have reflected the changing conditions and attitudes locally and nationally.Packed with case studies of productions of each play in different countries, the volume opens vistas on the continent's turbulent history marked by the instability of allegiances and boundaries, and shifting senses of identity in a context of war, decolonization and migration. Chapters examine productions in Bulgaria, Hungary, Poland, Romania, Serbia, Italy, France, Portugal and Germany to shed light on wide-scale European developments for the first time in English.In a final section, performance insights are offered by interviews with three directors: Karin Coonrod on directing The Merchant in Venice at the Venetian Ghetto in 2016, Plamen Markov on his 2020 Othello for the Varna Theatre (Bulgaria) and Arnaud Churin, whose Othello toured France in 2019.In drawing attention to the ways in which historical circumstances and collective memory shape and refashion performance, Shakespeare's Others in 21st-century European Performance offers a rich review of European theatrical engagements with Otherness in the productions of these two plays.

The chapters in this book constitute a timely response to an important moment for early modern cultural studies: the academy has been called to attend to questions of social justice. It requires a revision of the critical lexicon to be able to probe the relationship between Shakespeare studies and the intractable forms of social injustice that infuse cultural, political and economic life. This volume helps us to imagine what radical and transformative pedagogy, theatre-making and scholarship might look like. The contributors both invoke and invert the paradigm of Global Shakespeare, building on the vital contributions of this scholarly field over the past few decades but also suggesting ways in which it cannot quite accommodate the various ‘global Shakespeares’ presented in these pages. A focus on social justice, and on the many forms of social injustice that demand our attention, leads to a consideration of the North/South constructions that have tended to shape Global Shakespeare conceptually, in the same way the material histories of ‘North’ and ‘South’ have shaped global injustice as we recognise it today. Such a focus invites us to consider the creative ways in which Shakespeare’s imagination has been taken up by theatre-makers and scholars alike, and marshalled in pursuit of a more just world.

The chapters in this book constitute a timely response to an important moment for early modern cultural studies: the academy has been called to attend to questions of social justice. It requires a revision of the critical lexicon to be able to probe the relationship between Shakespeare studies and the intractable forms of social injustice that infuse cultural, political and economic life. This volume helps us to imagine what radical and transformative pedagogy, theatre-making and scholarship might look like. The contributors both invoke and invert the paradigm of Global Shakespeare, building on the vital contributions of this scholarly field over the past few decades but also suggesting ways in which it cannot quite accommodate the various ‘global Shakespeares’ presented in these pages. A focus on social justice, and on the many forms of social injustice that demand our attention, leads to a consideration of the North/South constructions that have tended to shape Global Shakespeare conceptually, in the same way the material histories of ‘North’ and ‘South’ have shaped global injustice as we recognise it today. Such a focus invites us to consider the creative ways in which Shakespeare’s imagination has been taken up by theatre-makers and scholars alike, and marshalled in pursuit of a more just world.

Shakespeare in the 'Post'Colonies provides a wide-ranging examination of engagements with and adaptations of Shakespeare in regions that were once under European colonial rule. Arguing for the 'Post'Colonies as a distinct category within Global Shakespeares, this volume explores the reality of 21st-century Shakespeares in geographies of post-colonial and postcolonial inheritance, such as continental Africa, Australasia, the Arab world, the Indian subcontinent, East Asia and the Americas. As former colonies in Asia and Africa cross fifty and even seventy years of political independence, contributors re-examine the presence of Shakespeare in marginalised or politically disenfranchised communities, interrogating how Shakespeare intersects with the internal and global power dynamics of post-independence nations.The essays cover a rich array of genres ranging from theatrical performances, translations, and cinematic adaptations to classroom strategies. They turn to texts that have often gone ignored and give voice to Shakespeare appropriations by subaltern groups. Essays address questions of race, gender, nationality, indigeneity, caste and class, shedding new light on the diverse range of contemporary Shakespeare engagements across the global ‘Post’Colonies.

Shakespeare in the 'Post'Colonies provides a wide-ranging examination of engagements with and adaptations of Shakespeare in regions that were once under European colonial rule. Arguing for the 'Post'Colonies as a distinct category within Global Shakespeares, this volume explores the reality of 21st-century Shakespeares in geographies of post-colonial and postcolonial inheritance, such as continental Africa, Australasia, the Arab world, the Indian subcontinent, East Asia and the Americas. As former colonies in Asia and Africa cross fifty and even seventy years of political independence, contributors re-examine the presence of Shakespeare in marginalised or politically disenfranchised communities, interrogating how Shakespeare intersects with the internal and global power dynamics of post-independence nations.The essays cover a rich array of genres ranging from theatrical performances, translations, and cinematic adaptations to classroom strategies. They turn to texts that have often gone ignored and give voice to Shakespeare appropriations by subaltern groups. Essays address questions of race, gender, nationality, indigeneity, caste and class, shedding new light on the diverse range of contemporary Shakespeare engagements across the global ‘Post’Colonies.

Featuring case studies, essays, and conversation pieces by scholars and practitioners, this volume explores how Indian cinematic adaptations outside the geopolitical and cultural boundaries of India are revitalizing the broader landscape of Shakespeare research, performance, and pedagogy. Chapters in this volume address practical and thematic concerns and opportunities that are specific to studying Indian cinematic Shakespeares in the West. For instance, how have intercultural encounters between Indian Shakespeare films and American students inspired new pedagogic methodologies? How has the presence and popularity of Indian Shakespeare films affected policy change at British cultural institutions? How can disagreement between eastern and western perspectives on the politics of a Shakespeare film become the site for productive cross-cultural dialogue? This is the first book to explore such complex interactions between Indian Shakespeare films and Western audiences to contribute to the assessment of the new networks that have emerged as a result of Global Shakespeare studies and practices. The volume argues that by tracking critical currents from India towards the West new insights are afforded on the wider field of Shakespeare Studies - including feminist Shakespeares, translation in Shakespeare, or the study of music in Shakespeare - and are shaping debates on the ownership and meaning of Shakespeare itself. Contributing to the current studies in Global Shakespeare, this book marks a discursive shift in the way Shakespeare on Indian screen is predominantly theorised and offers an alternative methodology for examining non-Anglophone cinematic Shakespeares as a whole.

Global King Lear provides a kaleidoscopic view of multinational adaptations of King Lear with a focus on productions across Asia and Eastern Europe. By approaching Shakespeare’s great tragedy as a global phenomenon its signature themes become context-dependent and culture-specific whilst avoiding simplistic appeals to the play’s universality. International scholars of literature and theatre explore those culturally specific interpretations as new plays, films, and critical contributions on their own terms. As a film in Japan, King Lear becomes a meditation on contemporary eldercare and the question of celebrity; on a stage in Hungary the play emerges as a ferocious invective against domestic abuse; in another performance in Hungary the play considers childhood trauma and a crisis in maternal care; and a pan-Asian Lear emerges out of multiple adaptations on stage and screen in India, Japan, and China. Taken together these readings are dismantled as merely derivative interpretations and cast instead as theatrical and cinematic engines of transformation. Despite the play’s focus on the cultural context of England, this volume highlights King Lear’s position as one of the most popular texts for international directors and playwrights to explore their own nations’ troubles and challenges. This collection focuses on the potential for King Lear to be performed, adapted, and understood anew by multiple audiences in a range of mediums and contexts.

Global King Lear provides a kaleidoscopic view of multinational adaptations of King Lear with a focus on productions across Asia and Eastern Europe. By approaching Shakespeare’s great tragedy as a global phenomenon its signature themes become context-dependent and culture-specific whilst avoiding simplistic appeals to the play’s universality. International scholars of literature and theatre explore those culturally specific interpretations as new plays, films, and critical contributions on their own terms. As a film in Japan, King Lear becomes a meditation on contemporary eldercare and the question of celebrity; on a stage in Hungary the play emerges as a ferocious invective against domestic abuse; in another performance in Hungary the play considers childhood trauma and a crisis in maternal care; and a pan-Asian Lear emerges out of multiple adaptations on stage and screen in India, Japan, and China. Taken together these readings are dismantled as merely derivative interpretations and cast instead as theatrical and cinematic engines of transformation. Despite the play’s focus on the cultural context of England, this volume highlights King Lear’s position as one of the most popular texts for international directors and playwrights to explore their own nations’ troubles and challenges. This collection focuses on the potential for King Lear to be performed, adapted, and understood anew by multiple audiences in a range of mediums and contexts.

Dostoevsky uses Hamlet to address some of the most important problems in Russian culture in the second half of the 19th century. Approaching Dostoevsky’s engagement with Shakespeare through a focus on his novel, Demons, Petra Bjelica considers the figure of Hamlet as it connects to Russian national identity, spirituality and cultural migration.Bjelica argues that Russian Hamletism is a perfect example of how a literary phenomenon forms through a specific culture. She reads Dostoevsky’s use of Hamlet through the Tsarist government, the wide gap between the aristocratic, working and peasant class, and the educated intelligentsia of the period. Russian Hamletism is shown to reflect the hegemony of power as well as the intricate debates that arise via political, ideological and philosophical differences between Slavophiles and Westerners. The book touches on the translatability and universality of Shakespeare, his cultural hegemony and the ethics of appropriating the ‘other’ by exploring Dostoevsky’s highly original interpretation of Hamlet. Rather than just referencing the play, Dostoevsky’s engagement with opposing and contradictory elements of Russian Hamletism dramatize the Hamletian dilemma anew. By re-thinking literary transmission and the concept of source, the intertextuality of Shakespeare and Russian Hamletism in Dostoevsky finds new ground.