Shakespeare beyond English
A Global Experiment

Table of Contents

Foreword
Introduction: Shakespeare beyond English
The Globe to Globe Festival: an introduction
Performance calendar
Week One
1. U Venas no Adonisi: grassroots theatre or market branding in the rainbow nation?
2. Festival showcasing and cultural regeneration: Aotearoa New Zealand, Shakespeare's Globe and Ngākau Toa's A Toroihi rāua ko Kāhiri (Troilus and Cressida) in Te Reo Māori
3. 'What's mine is yours, and what is yours is mine': Measure for Measure, Vakhtangov Theatre, Moscow
4. 'The girl defies': a Kenyan Merry Wives of Windsor
5. Pericles and the Globe: celebrating the body and 'embodied spectatorship'
6. Technicolour Twelfth Night
Week Two
7. Performing cultural exchange in Richard III: inter-cultural display and personal reflections
8. 'A girdle round about the earth': Yohangza's A Midsummer Night's Dream
9. Intercultural rhythm in Yohangza's Dream
10. Art of darkness: staging Giulio Cesare at the Globe Theatre
11. Neoliberal pleasure, global responsibility, and the South Sudan Cymbeline
12. Titus in no man's land: the Tang Shu-wing Theatre Studio's production
13. Tang Shu-wing's Titus and the acting of violence
14. 'A strange brooch in this all-hating world': Ashtar Theatre's Richard II
15. 'We want Bolingbroke': Ashtar's Palestinian Richard II
16. O-thell-O: styling syllables, donning wigs, late-capitalist, national 'scariotypes'
Week Three
17. Power play: Dhaka Theatre's Bangla Tempest
18. Locating Makbet/locating the spectator
19. 'Who dares receive it other': conversation with Harriet Walter (9 May 2012) following a performance of Makbet
20. Two Gentlemen of Verona for/by Zimbabwean diasporic communities
21. Inter-theatrical reading: theatrical and multicultural appropriations of 1-3 Henry VI as a Balkan trilogy
22. 'This is our modern history': the Balkans Henry VI
Week Four
23. Shakespeare 2012/Duchamp 1913: the global motion of Henry IV
24. Foreign Shakespeare and the uninformed theatregoer: Part 1 an Armenian King John
25. The right to the theatre: Belarus Free Theatre's King Lear
26. 'Playing' Shakespeare: Marjanishvili, Georgia's As You Like It
27. Romeu e Julieta (reprise): Grupo Galpão at the Globe, again
Week Five
28. Bread and circuses: Chiten, Japan and Coriolanus
29. 'No words!': Love's Labour's Lost in British Sign Language
30. Ending well: reconciliation and remembrance in Arpana's All's Well That Ends Well
31. Creative exploitation and talking back: Renegade Theatre's The Winter's Tale or Ìtàn Ògìnìntìn ('Winter's Tales')
32. A Shrew full of laughter
33. Foreign Shakespeare and the uninformed theatregoer: Part 2 a Turkish Antony and Cleopatra
34. 'Didst hear her speak? Is she shrill-tongued or low?': Conversation with Janet Suzman following a performance of Antony and Cleopatra 26 May 2012
Week Six
35. Habima Merchant of Venice
performances inside and outside the Globe
36. Patriotism, presentism and the Spanish Henry VIII: The Tragedy of the Migrant Queen
37. Touch and taboo in Rah-e-Sabz' The Comedy of Errors
38. Shakespeare and the Euro-crisis: The Bremer Shakespeare Company's Timon aus Athen
39. Restaging reception: translating the Mélange des Genres in Beaucoup de bruit pour rien
40. Reviving Hamlet? Nekrosius' Lithuanian 'classic'
Afterwords
'From thence to England' (1HVI): Henry V at Shakespeare's Globe
De-centering Shakespeare: a hope for future connections.

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• Front Matter (204 KB)
• Index (66 KB)
• Table of Contents (60 KB)
• Copyright Information Page (49 KB)
• Marketing Excerpt (110 KB)