| “What Country, Friends, Is This?”: Multilingual Shakespeare on Festive Occasions |
Alexander Huang |
| Nós do Morro: Voice, Art, and Empowerment |
Cristiane Busato Smith |
| The Impermanence of Son and Stone: Transience as Personal Narrative in Wu Hsing-Kuo’s Lear is Here, Wu Hsing-Kuo Meets Shakespeare |
Alexander Huang |
| What Multilingual Shakespeare Can Teach Us |
Alexander Huang |
| Shakespeare in Borrowed Robes |
Alexander Huang |
| The Paradox of Female Agency: Ophelia and East Asian Sensibilities: Excerpt |
Alexander Huang |
| Shakespeare and Translation: Excerpt |
Alexander Huang |
| Shakespeare in Europe: Introduction |
Aneta Mancewicz |
| Tang Shu-wing’s Titus Andronicus 2.0 and a Poetic Minimalism of Violence |
Howard Choy |
| Interview of Oh Tae-suk, Korean Director |
Alexander Huang |
| Shakespeare in Brazil: Introduction |
Liana de Camargo Leão |
| Shakespeare in the Arab World: Introduction |
Margaret Litvin |
| Shakespeare in India: Modes of Performance |
Poonam Trivedi |
| Shakespeare in India: Chronology of King Lear Productions in India |
Poonam Trivedi |
| Shakespeare in India: History of King Lear in India |
Poonam Trivedi |
| Shakespeare in Asia: Introduction |
Peter S. Donaldson |
| Ma Yong’an: Excerpt from an Interview |
Alexander Huang |
| Wu Hsing-kuo: Excerpt from an Interview |
Alexander Huang |
| Hamlet in China: Translation, Interpretation and Performance |
Ruru Li |
| Shakespeare, Performance, and Autobiographical Interventions |
Alexander Huang |
| Shakespeare, Asian Actors and Intercultural Spectatorship |
Li Lan Yong |
| Shakespeare in India: Introduction |
Poonam Trivedi |
| Shakespeare in Korea: Introduction |
Hyon-u Lee |
| United Kingdom & North America – Introduction |
Peter S. Donaldson |
