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…[Read more]

In a time when the anxiety about Elizabeth I’s heir to the throne was ripe, and illegal to discuss, Shakespeare focuses on the issue of succession in King John, and shows the parallels to his own age, while using Hubert as a metaphor for the difficult position of Shakespeare’s contemporary citizens of England as they anticipate the naming of…[Read more]

The late Elizabethan Period was marked by socio-economic discontent. Amid this,
Shakespeare’s Julius Caesar (1599) featured a prominent debate: whether or not
tyrannicide could solve problems. Around 1599, Essex formulated a like-minded
political revolution only to dismiss it until 1601. Yet, as providentialist and
republican debates failed t…[Read more]

This essay argues that humanist reading practices, methods of analysis, and aesthetics transformed traditional morality drama in the 1560s and 1570s in a way that accounts for the form’s resurgence. The essay looks closely at Ulpian Fulwell’s “Like Will to Like” (1568), William Wager’s “The Longer Thou Livest the More Fool Thou Art” (1569) and…[Read more]

To move global Shakespeare studies beyond the more limiting scope of nation-state and cultural profiling, I would like to propose we consider a number of critical concepts as methodology. These concepts critique the limitations of cartographic imagination, and connect the performance site to spaces of knowledge production: (1) the site of…[Read more]

The article focuses on the adaptation strategies used by Lope de Vega in his play El Gran Duque de Moscovia y emperador perseguido (1617). This tragedy, built on material acquired from travelogues, represents the first depiction of the Russian Time of Troubles in fiction. In it, one can follow Lope de Vega’s shift from preserving the factual d…[Read more]

In this essay I argue that the portrait of Arruntius as a passive Stoic is injudicious, and then I develop a new reading of Jonson’s depiction of Arruntius based on the textual evidence from both the quarto and folio editions of the play. The essay proceeds in three sections. In the first section, I question the commonly held view regarding A…[Read more]

This essay explores how the early American stage functioned as an incubator for ideas about national identity, artistic expression, and masculinity. Reading four plays from the early years of the Republic – Royall Tyler’s The Contrast, William Dunlap’s Andre´, John Augustus Stone’s Metamora, and Robert Montgomery Bird’s The Gladiator, I demonstrat…[Read more]

Can we entertain the idea that The Taming of the Shrew can be performed and received as comedy in the post-Women’s March US? If so, would the laughter be empathetic and solidary rather than callous? The answer lies in physical theater which is uniquely poised to activate elements of farce in the play. Shrew is one of the Shakespearean comedies t…[Read more]

Early works of dramatic criticism seeking to draw parallels between ritual and drama in Africa concentrated on examining the dramatic characteristics of ritual to see how drama evolved from ritual. However, a closer application of the theories of Girard, Schechner, Smith, Hubert Mauss and Turner reveal new perspectives on the interaction between…[Read more]

This paper addresses the performance of Lope de Vega’s Fuenteovejuna undertaken by TNT-El Vacie (Territorio de Nuevos Tiempos), a theater company from Seville, Spain. I Consider how Antonio Álamo’s adaptation, Pepa Gamboa’s direction, and the staging of El Vacie, a company comprised exclusively of non-professional Roma women, constitutes a site o…[Read more]

Shakespeare is a local force to be reckoned with in the global marketplace and in digital and analog archives of collective memory. With the 450th anniversary of Shakespeare’s birth in 2014 and quatercentenary in 2016, there are several high-profile instances of global Shakespeare being tapped for its market value. The exchange value of…[Read more]

Early Modern English historiography had a multi-layered bipolar constitution. Providentialism, which had dominated Medieval English thought, maintained that historical events processed according to God’s divine plan. However, with the revival and reinterpretation of Classical texts, a new and quite opposite way of thinking emerged, which was d…[Read more]

Building on Elizabethan dramatic conventions and religious debates about ghosts, Hamlet employs linguistic and dramatic means to chill its audience. Audio-visual means, along with the manner of entrances and exits, are used in order to horrify the audience. These create a fluctuation between belief and disbelief towards the macabre elements in the…[Read more]

Readings of literary texts are always shaped by a reader’s particular location and knowledge, but those locations are themselves defined by their histories. Romeo and Juliet has inspired new sets of allegorical vocabularies of history in locations without confrontations with the English heritage in colonial contexts. Why is the reading of a c…[Read more]

At a time when Shakespeare is becoming increasingly globalized and diversified it is urgent more than ever to ask how this appropriated ‘Shakespeare’ constructs ethical value across cultural and other fault lines. Shakespeare and the Ethics of Appropriation is the first book to address the intersection of ethics, aesthetics, authority, and authenticity.

Using REED London as a case study of how we, as pre-modern performance and theatre historians, are using digital methods to aggregate its materials, access and analyze a remarkably broad array of archival documents, and amplify their importance to a broader spectrum of humanities scholars and potential collaborators than we cannot have been able…[Read more]

Coloniality is a complex heritage encapsulating complex cultural challenges confronting the performance artist. Nigerian musical production appears to have been operating in a world without borders since the advent of colonialism. There have been non-indigenous forms brought into the cultural landscape which have challenged the performers. The…[Read more]