Review of Richard III from the 2013 Bitola Shakespeare Festival

By | March 09, 2016

The expectant audience for the Bitola Festival’s Richard III had been brought up to speed by Henry VI Parts One and Three earlier in the week (the scheduled production of Part Two from Tirana was unable to come at the last moment). But even if they hadn’t seen these shows, spectators needn’t have worried. The National Theatre of China’s dazzling production made clear the narrative of Richard’s bloody rise and fall within the pivotal end of the War of the Roses and beginning of the new Tudor dynasty through superb visual story-telling. Read More

Review of Poor Poor Lear from the 2013 Bitola Shakespeare Festival

By | March 09, 2016

The audience was waiting to get into the basement playing space of the National Theatre. Behind the door an old woman’s voice screamed “Go away!” The door opened. “Oh, welcome my friends!” The 90-year Nina Sallinen appeared in faded white shoes and stockings, a long 1960s coat, yellowed lace collars, stained white leather gloves, and wild hair. Excitedly she escorted us into “the unfair, cruel, sad, story of poor King Lear!”, as it said on the hand-scrawled programme notes she handed out. Read More

Review of Henry VI Part Three from the 2013 Bitola Shakespeare Festival

By | March 09, 2016

What does it feel like to watch Shakespeare’s darkest story of civil war in a region whose past and recent history has been written by endemic conflict? Bitola’s Henry VI Part Three gave an affective answer. When I saw this show at year’s Globe to Globe, I was thrilled by its kinetic dynamism and visual translation of Shakespeare’s poetic imagery. All those elements impressed me again last night. Read More

Shakespeare’s Shadow: The Belarus Free Theatre’s King Lear at the Globe Theatre

By | August 17, 2015

In 2012, the Belarus Free Theatre participated in the Globe to Globe festival, staging King Lear in Belarusian, radically edited and modernized. The choice to use Belarusian as the primary language of this performance was a daring one, for it is a language that does not exist in a single accepted version and, even within Belarus, is frequently superseded by Russian. An online comment posted under a 2012 review in The Guardian offers a vivid example of indifferent dismissal that such a choice might have produced: “I can imagine few things worse than being subject to Shakespeare in Belarusian. Honestly who’s interested?” Read More

Shamlet: Shakespeare as Palimpsest by Alexa Huang

By | July 20, 2014

This article investigates one of the most traditional yet uncanny literary recursions in recent practices of cultural translation—the turn to Shakespeare. It explores a range of questions regarding the mediated nature of transnational experiences. How, for example, does this mediation articulate a diverse range of ethnic and cultural identities in the visible, palpable and audible world of theatre? Why Shakespeare? How do stage translations of Shakespeare evince very specific ways of adapting culture in the postmodern Taiwanese context? What is the relationship between cultural translation and national imperatives? Read More

Arab Shakespeare

By | July 25, 2013

There’s still something of novelty about that concatenation “Arab Shakespeare”. Compared to many topics under discussion in this conference programme, “Arab Shakespeare” is a relatively new and unfamiliar concept. Read More

Shakespeare in Borrowed Robes

By | July 29, 2012

an Shakespeare’s plays give a “local habitation” to the “airy nothing” of globalization? Shakespeare is proclaimed, once again, the bearer of universal currency and Britain’s national poet as the London Olympics draw nearer. Read More

Shakespeare, Asian Actors and Intercultural Spectatorship

By | April 05, 2010 | One Comment

by Li Lan Yong (National University of Singapore)

This essay reflects upon the interculturality of spectatorship: How do we relate to what we watch, when a performance foregrounds and implicates the particular cultural position from which we are watching, with its values, habits, and limitations, all of which define what we are able to see? What part does the spectator play in the staging of an encounter between Shakespeare and Asian forms and worldviews?