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The first full-length study of gender performance in East and Southeast Asian Shakespeare productions, this book re-situates gender theory within new performance contexts, forms and communities, exploring the performativity of gender in East and Southeast Asian Shakespeare performances. It explores the ways in which performances of gender produce the terms through which intercultural engagements with Shakespeare take place, as theatre practitioners negotiate gender representations and relations as the means through which to negotiate the legacy of westernisation in their theatre practices. Ultimately, this book proposes new ways for thinking about feminist theories in performances and contexts based outside the West even as it remains informed and influenced by feminist theories originating from within the West and envisions future opportunities for feminist theorising through negotiations with intercultural theatre performances of Shakespeare in Asia.
List of contents
Chapter 01: Introduction.- Chapter 02: Witnessing the Performance of Memory and Female Subjectivities in Othello in Noh Style and Lady Macbeth.- Chapter 03: Reading Cross-Gender Performances: A Case Study of Two Shrews.- Chapter 04: Intercultural Relationships between Femininity and Korean Shaman Practice in Uruwang and Yohangza s Hamlet.- Chapter 05: Gender Ambiguity and the Weird Sisters.- Chapter 06: Intercultural Partnership and the Performance of Gender Relations in Romeo at Julieta.- Chapter 07: Conclusion.
About the author
Roweena Yip is a Lecturer at the National University of Singapore (NUS). She received her PhD in Theatre Studies from NUS, having completed her Masters and undergraduate degrees at the University of Edinburgh, UK. Her research has been published in Asian Theatre Journal, The Routledge Companion to Theatre-Fiction and The Asian Family in Literature and Film . She is also Assistant Director of the Asian Shakespeare Intercultural Archive (A|S|I|A)
Summary
The first full-length study of gender performance in East and Southeast Asian Shakespeare productions, this book re-situates gender theory within new performance contexts, forms and communities, exploring the performativity of gender in East and Southeast Asian Shakespeare performances. It explores the ways in which performances of gender produce the terms through which intercultural engagements with Shakespeare take place, as theatre practitioners negotiate gender representations and relations as the means through which to negotiate the legacy of westernisation in their theatre practices. Ultimately, this book proposes new ways for thinking about feminist theories in performances and contexts based outside the West—even as it remains informed and influenced by feminist theories originating from within the West—and envisions future opportunities for feminist theorising through negotiations with intercultural theatre performances of Shakespeare in Asia.
