dc.contributor.author | Desmet, Christy | en |
dc.date.accessioned | 2018-04-03T10:50:07Z | |
dc.date.available | 2018-04-03T10:50:07Z | |
dc.date.issued | 2017-10-07 | en |
dc.identifier.issn | 2083-8530 | en |
dc.identifier.uri | http://hdl.handle.net/11089/24342 | |
dc.description.abstract | This essay examines the phenomenon of cross-cultural Shakespearean “traffic” as an import/export “business” by analyzing the usefulness of the concept cross-cultural through a series of theoretical binaries: Global vs. Local Shakespeares, Glocal and Intercultural Shakespeare; and the very definition of space and place within the Shakespearean lexicon. The essay argues that theoretically, the opposition of global and local Shakespeares has a tendency to collapse, and both glocal and intercultural Shakespeares are the object of serious critique. However, the project of cross-cultural Shakespeare is sustained by the dialectic between memorialization and forgetting that attends all attempts to record these cross-cultural experiences. The meaning of cross-cultural Shakespeare lies in the interpreter’s agency. | en |
dc.publisher | Lodz University Press | en |
dc.relation.ispartofseries | Multicultural Shakespeare;15 | en |
dc.rights | This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. | en |
dc.rights.uri | http://creativecommons.org/licenses/by-nc-nd/3.0 | en |
dc.subject | Global Shakespeare | en |
dc.subject | Local Shakespeare | en |
dc.subject | Intercultural Shakespeare | en |
dc.subject | Glocal Shakespeare | en |
dc.subject | Dobson | en |
dc.subject | Michael | en |
dc.subject | Wilson | en |
dc.subject | Robert Kennedy | en |
dc.subject | Barucha | en |
dc.subject | Rustom | en |
dc.subject | Massai | en |
dc.subject | Sonia | en |
dc.subject | Isango Ensemble | en |
dc.subject | Venas No Adonisi | en |
dc.subject | Globe to Globe Hamlet | en |
dc.subject | Laura Bohannon | en |
dc.subject | “Shakespeare in the Bush” | en |
dc.subject | Orkin | en |
dc.subject | Martin | en |
dc.subject | Al-Bassam | en |
dc.subject | Suleyman | en |
dc.subject | The Al-Hamlet Summit | en |
dc.subject | Children of the Sea | en |
dc.title | Import/Export: Trafficking in Cross-Cultural Shakespearean Spaces | en |
dc.page.number | 15-26 | en |
dc.contributor.authorAffiliation | University of Georgia. | en |
dc.identifier.eissn | 2300-7605 | |
dc.references | “All the World’s a Stage: The Globe report back as they bring Hamlet to every nation on Earth.” Independent, 12 December 2014. http://www.independent.co.uk/artsentertainment/theatre-dance/features/all-the-world-s-a-stage-the-globe-reportback-as-they-bring-hamlet-to-every-nation-on-earth-9920998.html. | en |
dc.references | Bharucha, Rustom. “Foreign Asia/Foreign Shakespeare: Dissenting Notes on New Asian Interculturality, Postcoloniality, and Recolonization.” Theatre Journal 56.1 (2004): 1-28. | en |
dc.references | Bohannon, Laura. “Shakespeare in the Bush.” Natural History, August-September 1966. http://www.naturalhistorymag.com/editors_pick/1966_08-09_pick.html. | en |
dc.references | Burt, Richard. “Shakespeare, ‘Glo-cal-ization,’ Race, and the Small Screens of Post-Popular Culture.” Shakespeare, the Movie II: Popularizing the Plays on Film, TV, and DVD. Ed. Richard Burt and Lynda E. Boose. London and New York: Routledge, 2003. 14-36. | en |
dc.references | Cocks, Malcolm. “U Venas no Adonisi: Grassroots Theatre or Market Branding in the Rainbow Nation?” Shakespeare Beyond English: A Global Experiment. Ed. Susan Bennett and Christie Carson. Cambridge: Cambridge University Press, 2013. 31-34. | en |
dc.references | Daugherty, Diane. “The Pendulum of Intercultural Performance: Kathakali King Lear at Shakespeare’s Globe.” Asian Theatre Journal 22.1 (Spring 2005): 52-72. doi: 10.1353/atj.2005.0004 | en |
dc.references | Dobson, Michael. “Foreign Shakespeare and the Uninformed Theatre-goer: Part 1, an Armenian King John.” Shakespeare Beyond English: A Global Experiment. Ed. Susan Bennett and Christie Carson. Cambridge and New York: Cambridge University Press, 2013. 190-94. | en |
dc.references | “Excerpt: How Robert Wilson Once Staged a Play in Iran That Lasted 168 Hours.” Asia Society, 2 October 2013. http://asiasociety.org/blog/asia/excerpt-how-robert-wilson-once-staged-play-iran-lasted-168-hours. | en |
dc.references | Fisher, Mark. 2005. “Hands Across the Sea.” Scotland on Sunday, 31 July. | en |
dc.references | Gardner, Lyn. “As Emma Rice departs, the Globe has egg on its face – and no vision.” The Guardian, 25 October 2016. | en |
dc.references | “Globe Theatre defends its world tour including North Korea.” CNN, 12 March 2014. http://www.cnn.com/2014/03/12/world/asia/hamlet-north-korea/. | en |
dc.references | Gordon, Colette. “Shakespeare’s African Nostos: Township Nostalgia and South African Performance at Sea.” Shakespeare in and out of Africa. Ed. Jane Plastow. Woodbridge: James Currey, 2013. 28-47. | en |
dc.references | Harris, Sarah Ann. “Hamlet to be Performed in the Calais Jungle by Theatre Company from Shakespeare’s Globe.” Huffington Post, 30 January 2016. http://www.huffingtonpost.co.uk/2016/01/30/hamlet-performed-calais-jungle-shakespearesglobe_n_9119232.html. | en |
dc.references | Holderness, Graham, and Bryan Loughrey. “Arabesque: Shakespeare and Globalisation.” Globalisation and Its Discontents. Ed. Stan Smith. Woodbridge, England: Brewer, for The English Association, 2006. 24-46. | en |
dc.references | Huang, Alexa. “‘What Country, Friends, Is This?’: Multilingual Shakespeare on Festive Occasions.” MIT Global Shakespeares, 13 January 2013. http://globalshakespeares.mit.edu/blog/2013/01/30/what-country-friends-is-this-multilingual-shakespeareon-festive-occasions/. | en |
dc.references | Im, Yeeyon. “The Lure of Intercultural Shakespeare.” Medieval and Early Modern English Studies (MES) 15.1 (2007): 233-53. | en |
dc.references | “Ka Mountain.” 20 July 2012. Vimeo. https://vimeo.com/46089267. | en |
dc.references | Kennedy, Dennis. “Shakespeare and the Global Spectator.” Shakespeare Jahrbuch 131 (1995): 50-64. | en |
dc.references | Loomba, Ania. “‘Local-Manufacture Made-in-India Othello Fellows’: Issues of Race, Hybridity, and Location in Post-colonial Shakespeares.” Post-Colonial Shakespeares. Ed. Ania Loomba and Martin Orkin. London: Routledge, 1998. 143-63. | en |
dc.references | Love, Genevieve. “Tsunami in the Royal Botanic Garden: Pericles and Children of the Sea on the Edinburgh Festival Fringe.” Borrowers and Lenders: The Journal of Shakespeare and Appropriation 2.2 (Fall/Winter 2006). http://www.borrowers.uga.edu. | en |
dc.references | Massai, Sonia. “Defining Local Shakespeares.” World-Wide Shakespeares: Local Appropriations in Film and Performance. London: Routledge, 2005. 3-11. | en |
dc.references | Modenessi, Alfredo Michel. “‘Meaning by Shakespeare’: South of the Border.” World-Wide Shakespeares: Local Appropriations in Film and Performance. Ed. Sonia Massai. London: Routledge, 2005. 104-111. | en |
dc.references | Orkin, Martin. “Intersecting Knowledges: Shakespeare in Timbuktu.” Local Shakespeares: Proximations and Power. London: Routledge, 2005. 17-28. | en |
dc.references | Pavis, Patrice. Theatre at the Crossroads of Culture. Trans. Loren Kruger. London: Routledge, 1992. | en |
dc.references | Singleton, Brian. “Interculturalism.” The Oxford Encyclopedia of Theatre & Performance. Ed. Dennis Kennedy. Oxford: Oxford University Press, 2003. 628-30. | en |
dc.references | Sullivan, Erin. “Global Shakespeare and the Idea of Legacy: Culture, Capital, and the Global Future.” Shakespeare on the Global Stage: Performance and Festivity in the Olympic Year. Ed. Paul Prescott and Erin Sullivan. London: Bloomsbury, 2015. 283-321. | en |
dc.references | Tomkins, Calvin. The Scene: Reports on Postmodern Art. New York: Viking, 1976. | en |
dc.references | Venning, Dan. “Cultural Imperialism and Intercultural Encounter in Merchant Ivory’s Shakespeare Wallah.” Asian Theatre Journal 28.1 (2011): 149-67. doi: 10.1353/atj.2011.0000 | en |
dc.references | Yong, Li Lan. “Ong Sen’s Desdemona, Ugliness, and the Intercultural Performative.” Theatre Journal 56.2 (2004): 251-73. | en |
dc.identifier.doi | 10.1515/mstap-2017-0002 | en |