Performing Shakespeare in modern times is an act of mediation between characters and actors, creating channels between geocultural spaces and time periods. The multiplicity of the plural term global Shakespeares helps us push back against deceivingly harmonious images of Shakespeare’s ubiquitous presence. Adaptations accrue nuanced meanings as t…[Read more]

Four themes distinguish post-1950s East Asian cinemas and theaters from works in other parts of the world: Japanese innovations in sound and spectacle; Sinophone uses of Shakespeare for social reparation; the reception of South Korean presentations of gender identities in film and touring productions; and multilingual, disability, and racial…[Read more]

The idea that Shakespeare is a global author has taken many forms since the building of the Globe playhouse in London in 1599. Performances of Shakespeare not only create channels between geographic spaces but also connect different time periods. Divided into two major sections, Shakespeare and World Cultures and Shakespeare and Genres, the…[Read more]