The Shakespeare Conference: SHK 24.04518  Friday, 27 September 2013


From:        Alexander Huang <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         September 26, 2013 2:43:50 PM EDT

Subject:     Special Issue of Shakespeare on Global Shakespeares


If interested in reading an article from the issue, please contact Alex Huang (This email address is being protected from spambots. You need JavaScript enabled to view it.)


Shakespeare (The British Shakespeare Association) Volume 9, Issue 3, September 2013


Special Issue on Global Shakespeares, edited by Alexander Huang

Available online: http://www.tandfonline.com/toc/rshk20/current#.UkR-NSR57rg


Video clips that accompany the articles are available on: http://globalshakespeares.mit.edu/




Global Shakespeares as Methodology

Alexander C. Y. Huang
pages 273-290


Having reached a critical mass of participants, performances and the study of Shakespeare in different cultural contexts are changing how we think about globalization. The idea of global Shakespeares has caught on because of site-specific imaginations involving early modern and modern Globe theatres that aspired to perform the globe. Seeing global Shakespeares as a methodology rather than as appendages of colonialism, as political rhetorics, or as centerpieces in a display of exotic cultures situates us in a postnational space that is defined by fluid cultural locations rather than by nation-states. This framework helps us confront archival silences in the record of globalization, understand the spectral quality of citations of Shakespeare and mobile artworks, and reframe the debate about cultural exchange. Global Shakespeares as a field registers the shifting locus of anxiety between cultural particularity and universality. The special issue explores the promise and perils of political articulations of cultural difference and suggests new approaches to performances in marginalized or polyglot spaces.



Hamlet, the Heike and the Fall of Troy

Peter S. Donaldson
pages 291-303


Postcolonial hybridity: The making of a Bollywood Lear in London

Kinga Földváry
pages 304-312


Caribbean tricksters at crossroads: Davlin Thomas’s Lear Ananci and Hamlet: The Eshu Experience

Giselle Rampaul
pages 313-321


European touring stars and the Shakespearean distinction of the Spanish actor-manager in Madrid and Latin America (1898–1936)

Juan F. Cerdá
pages 322-329


What's global about global Shakespeare? The case of Perttu Leppä's 8 päivää ensi-iltaan (8 Days to the Premiere)

Nely Keinänen
pages 330-338





Review of Sua Incelença, Ricardo III (directed by Gabriel Villela for Clowns de Shakespeare) at Largo da Ordem, Curitiba, Brazil, 29 March 2011

Anna S. Camati & Liana C. Leão
pages 339-341


Review of Shakespeare’s Titus Andronicus (directed by Silviu Purcarete), the National Theater in Craiova, Romania, 14 March 1992

Lucian Ghita
pages 342-346


Review of Shakespeare’s The Winter’s Tale (Directed by Anirudh Nair and Neel Chaudhuri for The Tadpole Repertory and Wide Aisle Productions), Zorba the Buddha Performance Space, Ghitorni, New Delhi, India, 3 March 2013

Jyotsna Singh
pages 347-349


Review of The Speaker’s Progress (directed by Sulayman Al-Bassam), Paramount Theatre, Boston, USA, October 12-16, 2011

Margaret Litvin
pages 350-352


Review of La Tempestad (directed by John Mowat for the Companhia do Chapitô) at the Corral de Comedias, Almagro, Spain, 23 July 2011

Carla Della Gatta
pages 353-355


Review of Hamlet or Three Boys and One Girl (adapted and directed by Nikolay Georgiev and the @lma @lter Student Theatre-Laboratory) at the Theatre Hall of Sofia University, Bulgaria, 12 March 2013

Georgi Niagolov
pages 356-358


Review of Shakespeare and APA’s Macbeth: Leila and Ben – A Bloody History (directed by Lotfi Achour) and the company's talkback at Re-making Shakespeare for the World Shakespeare Festival at the Northern Stage, Newcastle, UK, 14 July 2012

Saffron J. Walkling & Raphael Cormack
pages 359-361


Review of Robert Lewis’ Red Hamlet (directed by Robert Lewis) for the Group Theatre, New York, October 1933

Jeffrey Butcher
pages 362-364


Review of Shakespeare’s Othello (directed by Nikos Charalambous for the Cyprus Theatre Organization) at Latsia Municipal Theatre, Nicosia, Cyprus, 27 November 2010

Eleni Pilla
pages 365-366





Giving a “Local Habitation” to “Airy Nothing”: Review of the Global Shakespeares Video and Performance Archive

Haylie Brooke Swenson
pages 367-372


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