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"The aim of this collection is to expand theoretical and functional discussion about the condition and significance of Shakespeare performance in contemporary Asia. As we explain in the introduction, we do not pretend to a comprehensive view of the topic, or allot an equivalent number of essays to competing regions, or suggest that our examples are necessarily representative of national or international trends. Any such approaches would distort the topic, given the size of Asia and the diversity of approaches to Shakespeare and performance found there. Instead we have tried to focus attention on why Shakespeare has been of use in an area of the world that has no inherent reason to call on him, investigating some of the ways his work has been reinvented and deployed"--Provided by publisher.
List of contents
1. Introduction: why Shakespeare? Dennis Kennedy and Li Lan Yong; Part I. Voice and Body: 2. Shakespeare and the Natyasastra John Russell Brown; 3. Speaking Shakespeare in Japanese: voicing the foreign Daniel Gallimore; 4. Shakespeare and Beijing opera: two cases of appropriation Fei Chunfang and Sun Huizhu; Part II. Shakespeare in Asian Popular Cultures: 5. All that remains of Shakespeare in Indian film Richard Burt; 6. Shakespeare for Japanese popular culture Minami Ryuta; 7. Shakespeare's villains in Japan Kumiko Hilberdink-Sakamoto; Part III. Transacting Cultures: 8. Import/export: Japanizing Shakespeare Suematsu Michiko; 9. Millennium Shashibiya: Shakespeare in the Chinese-speaking worlds Li Ruru; 10. Ong Keng Sen's intercultural Shakespeare Yong Li Lan; Part IV. Intercultural Politics: 11. What use Shakespeare? China and globalization Shen Lin; 12. Shakespeare and the question of intercultural performance John Phillips; 13. Foreign Asia/foreign Shakespeare: dissenting notes on New Asian interculturality, postcoloniality and re-colonization Rustom Bharucha.
About the author
Dennis Kennedy's books include The Spectator and the Spectacle: Audiences in Modernity and Postmodernity, The Oxford Encyclopedia of Theatre and Performance, Looking at Shakespeare: A Visual History of Twentieth-Century Performance, Foreign Shakespeare, and Granville Barker and the Dream of Theatre. He has twice been a fellow of the National Endowment for the Humanities in the USA, twice won the Freedley Award for theatre history, received the Chancellor's Distinguished Research Award at the University of Pittsburgh, the Berkeley Fellowship at Trinity College Dublin, and was elected to the Royal Irish Academy and Academia Europaea. His own plays have been performed in New York, London, and many other places, and he has frequently worked as a dramaturg and director in professional theatres.Li Lan Yong is Associate Professor in the Department of English Language and Literature at the National University of Singapore.
