-
"Shakespeare Theatre Company' s Macbeth and the Limits of Multiculturalism." Early Modern Culture 13 (2018): 240-246
- Author(s):
- Alexa Joubin (see profile)
- Date:
- 2018
- Group(s):
- CLCS 20th- and 21st-Century, Global Shakespeares, GS Drama and Performance, Interdisciplinary Approaches to Culture and Society, LLC Shakespeare
- Subject(s):
- Shakespeare, William, 1564-1616, Critical race theory, Literature--Adaptations, Multiculturalism
- Item Type:
- Article
- Tag(s):
- Africanism, political theatre, Shakespeare, Race critical theory, Performance and politics, Global Shakespeare, Adaptation, Critical race studies
- Permanent URL:
- http://dx.doi.org/10.17613/M6R20RW0D
- Abstract:
- The STC Macbeth’s setting and predominantly multiethnic cast brought to mind Orson Welles’s landmark 1936 Macbeth which was set in Haiti and featured an all-black cast. In both cases, the ethnicity and race of the cast matched that of the characters and cultures in the adaptation’s respective universe. Tommy’s production engaged in two models of nontraditional casting, namely conceptual casting, a model “in which actors of color are [self-consciously] cast in roles to enhance the play’s social resonance,” and cross-cultural casting, an approach that translates the universe of the play to a different culture and location. In some instances, multicultural theater, whether made locally or imported as touring theater, can receive mixed reception due to audience’s investment in some form of cultural authenticity. Iqbal Khan’s Much Ado About Nothing (RSC, Stratford-upon-Avon, August, 2012), for example, was set in contemporary Delhi and performed by a cast of second-generation Indian British actors. The production appropriated Bollywood-inspired music.
- Notes:
- https://tigerprints.clemson.edu/emc/
- Metadata:
- xml
- Published as:
- Journal article
- Status:
- Published
- Last Updated:
- 5 years ago
- License:
- Attribution-NonCommercial-NoDerivatives
- Share this:
An online community for MLA members
emc-132018-joubin.pdf