Bücher der Reihe Global Shakespeares

Since the turn of the millennium, the Arabian Peninsula has produced a remarkable series of adaptations of Shakespeare. These include a 2007 production of Much Ado About Nothing, set in Kuwait in 1898; a 2011 performance in Sharjah of Macbeth, set in 9th-century Arabia; a 2013 Yemeni adaptation of The Merchant of Venice, in which the Shylock figure is not Jewish; and Hamlet, Get Out of My Head, a one-man show about an actor's fraught response to the Danish prince, which has been touring the cities of Saudi Arabia since 2014.This groundbreaking study surveys the surprising history of Shakespeare on the Arabian Peninsula, situating the current flourishing of Shakespearean performance and adaptation within the region's complex, cosmopolitan, and rapidly changing socio-political contexts. Through first-hand performance reviews, interviews, and analysis of resources in Arabic and English, this volume brings to light the ways in which local theatremakers, students, and scholars use Shakespeare to address urgent regional issues like authoritarianism, censorship, racial discrimination and gender inequality.

Global ShaAny reader interested in Shakespeare Studies, global Shakespeare, Shakespeare in performance, Shakespeare and appropriation, Shakespeare and language, Literacy Studies, race, and South African cultural history will be drawn to this book.

Global ShaAny reader interested in Shakespeare Studies, global Shakespeare, Shakespeare in performance, Shakespeare and appropriation, Shakespeare and language, Literacy Studies, race, and South African cultural history will be drawn to this book.

It contributes to the underrepresented field of Latin American Shakespeares by applying the lens of cultural anthropophagy, a theory with Latin American roots, to explore how Cuban artists ingest and transform Shakespeare's plays.

They have been re-imagined as political theatre, comedic parody, Chinese opera, avant-garde theatre, and experimental theatre in Hong Kong, China, and Taiwan. This anthology is an indispensable tool for the teaching and research of Sinophone theatre's engagement with Western classics in the late twentieth and early twenty-first centuries.

Allusions to Shakespeare haunt our contemporary culture in a myriad of ways, whether through brief references or sustained intertextual engagements. Shakespeare's plays and motifs have been appropriated in fragmentary forms onstage and onscreen since motion pictures were invented in 1893. This collection of essays extends beyond a US-UK axis to bring together an international group of scholars to explore Shakespearean appropriations in unexpected contexts in lesser-known films and television shows in India, Brazil, Russia, France, Australia, South Africa, East-Central Europe and Italy, with reference to some filmed stage works.