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Tackling vital issues of politics, identity and experience in performance, this book asks what Shakespeare's plays mean when extended beyond the English language. From April to June 2012 the Globe to Globe Festival offered the unprecedented opportunity to see all of Shakespeare's plays performed in many different world languages. Thirty-eight productions from around the globe were presented in six weeks as part of the World Shakespeare Festival, which formed a cornerstone of the Cultural Olympics. This book provides the only complete critical record of that event, drawing together an…mehr
Tackling vital issues of politics, identity and experience in performance, this book asks what Shakespeare's plays mean when extended beyond the English language. From April to June 2012 the Globe to Globe Festival offered the unprecedented opportunity to see all of Shakespeare's plays performed in many different world languages. Thirty-eight productions from around the globe were presented in six weeks as part of the World Shakespeare Festival, which formed a cornerstone of the Cultural Olympics. This book provides the only complete critical record of that event, drawing together an internationally renowned group of scholars of Shakespeare and world theatre with a selection of the UK's most celebrated Shakespearean actors. Featuring a foreword by Artistic Director Dominic Dromgoole and an interview with the Festival Director Tom Bird, this volume highlights the energy and dedication that was necessary to mount this extraordinary cultural experiment.
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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 Ng kau Toa's A Toroihi r ua ko K hiri (Troilus and Cressida) in Te Reo M ori; 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.
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 Ng kau Toa's A Toroihi r ua ko K hiri (Troilus and Cressida) in Te Reo M ori; 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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