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Books on the topic 'Asian Shakespeare'

Author: Grafiati

Published: 11 December 2022

Last updated: 26 January 2023

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1

Olive, Sarah, Uchimaru Kohei, Adele Lee, and Rosalind Fielding. Shakespeare in East Asian Education. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-64796-4.

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2

Bi-cultural critical essays on Shakespeare. Woodbridge, England: D.S. Brewer, 1994.

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3

Late Shakespeare: A new world of words. Oxford [England]: Clarendon Press, 1997.

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4

Brooks, Douglas A. Shakespeare and Asia. Lewiston: Edwin Mellen Press, 2009.

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5

Brooks, Douglas A. Shakespeare and Asia. Lewiston: Edwin Mellen Press, 2009.

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6

Stephen, Landrigan, ed. Shakespeare in Kabul. London: Haus Publishing, 2012.

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7

Russell, Brown John. New Sites For Shakespeare. London: Taylor & Francis Group Plc, 2004.

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8

Russell, Brown John. New Sites For Shakespeare. London: Taylor & Francis Inc, 2004.

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9

Shakespeare, Brecht, and the intercultural sign. Durham, [N.C.]: Duke University Press, 2001.

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10

Russell, Brown John. New sites for Shakespeare: Theatre, the audience, and Asia. London: Routledge, 1999.

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11

Partridge, Eric. Shakespeare's bawdy. 3rd ed. London: Routledge, 1996.

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12

Shakespeare's bawdy. London: Routledge, 2001.

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13

Shakespeare's bawdy. 3rd ed. London: Routledge, 1993.

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14

Old worlds: Egypt, Southwest Asia, India, and Russia in early modern English writing. Stanford, Calif: Stanford University Press, 2001.

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15

Trivedi, Poonam, Paromita Chakravarti, and Ted Motohashi. Asian Interventions in Global Shakespeare. Taylor & Francis Group, 2020.

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16

Uchimaru, Kohei, Adele Lee, Sarah Olive, and Rosalind Fielding. Shakespeare in East Asian Education. Springer International Publishing AG, 2022.

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17

Jun, Li, Adele Lee, Sarah Olive, Rosalind Fielding, and Uchimaru Kohei. Shakespeare in East Asian Education. Springer International Publishing AG, 2021.

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18

Trivedi, Poonam, Paromita Chakravarti, and Ted Motohashi, eds. Asian Interventions in Global Shakespeare. Routledge, 2020. http://dx.doi.org/10.4324/9781003105329.

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19

Trivedi, Poonam, Paromita Chakravarti, and Ted Motohashi. Asian Interventions in Global Shakespeare. Taylor & Francis Group, 2020.

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20

Rogers, Jami. British Black and Asian Shakespeareans: Integrating Shakespeare, 1966-2018. Bloomsbury Publishing Plc, 2022.

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21

Rogers, Jami. British Black and Asian Shakespeareans: Integrating Shakespeare, 1966–2018. The Arden Shakespeare, 2022.

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22

Trivedi, Poonam, Paromita Chakravarti, and Ted Motohashi. Asian Interventions in Global Shakespeare: 'All the World's His Stage'. Taylor & Francis Group, 2020.

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23

Trivedi, Poonam, Paromita Chakravarti, and Ted Motohashi. Asian Interventions in Global Shakespeare: 'All the World's His Stage'. Taylor & Francis Group, 2020.

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24

Trivedi, Poonam, Paromita Chakravarti, and Ted Motohashi. Asian Interventions in Global Shakespeare: 'All the World's His Stage'. Taylor & Francis Group, 2020.

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25

Asian Interventions in Global Shakespeare: 'All the World's His Stage'. Taylor & Francis Group, 2020.

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26

Shakespeare's Asian Journeys: Critical Encounters, Cultural Geographies, and the Politics of Travel. Taylor & Francis Group, 2016.

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27

Bulman, James C., ed. The Oxford Handbook of Shakespeare and Performance. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.001.0001.

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Shakespearean performance criticism has undergone a sea change in recent years, and strong tides of discovery are continuing to shift the contours of the discipline. The essays in this volume, written by scholars from around the world, reveal how these critical cross-currents are influencing the ways we now view Shakespeare in performance. Essays are divided into four groups. The first group interrogates how Shakespeare continues to achieve contemporaneity for Western audiences by exploring modes of performance, acting styles, and aesthetic choices that are regarded as experimental. The second group tackles the burgeoning field of reception: how and why audiences respond to performances, or actors to the conditions in which they perform; how immersive productions turn spectators into actors; how memory and cognition shape and reshape the performances we think we saw. The third group addresses the ways in which technology has altered our views of Shakespeare, both through the mediums of film and sound recording, and through digitalizing processes which have caused a profound reconsideration of what performance is and how it is accessed. The final group grapples with intercultural Shakespeare, considering not only matters of cultural hegemony and appropriation in a ‘global’ importation of non-Western productions to Europe and North America, but also how Shakespeare has been made ‘local’ in performances staged or filmed in African, Asian, and Latin American countries. Together, these groundbreaking essays attest to the richness and diversity of Shakespearean performance criticism as practised today, and point the way to critical continents not yet explored.

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28

Suematsu, Michiko. Verbal and Visual Representations in Modern Japanese Shakespeare Productions. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.32.

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Despite growing interest in Asian Shakespeare performances, the intercultural strategy of Asian Shakespeare has largely been discussed from a scenographic perspective due to its powerful visual representations that transcend cultural boundaries. This chapter aims to correct the overemphasis on visual representation in critical assessment of Japanese Shakespeare performances by discussing, first, the presence of language in Yukio Ninagawa’s Shakespeare productions, and, second, the characteristic use of dramatic texts in productions by the Ku Na’uka Theatre Company, Mansai Nomura, and the Shakespeare for Children Company, which each demonstrate bold and unique modes of engagement with the text. The chapter finally discusses whether or not there is a uniquely Japanese theatrical response to the text and, if so, what cultural factors lie behind it.

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29

Trivedi, Poonam, Bi-qi Beatrice Lei, and Judy Celine Ick. Shakespeare�s Asian Journeys: Critical Encounters, Cultural Geographies, and the Politics of Travel. Taylor & Francis Group, 2019.

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30

Li Lan, Yong. Translating Performance. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.37.

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This chapter reflects on the doubleness of translation as the condition of existence of Asian performances of Shakespeare. It begins with the experience of hearing echoes of the original English lines when listening to Shakespeare’s texts translated into a language one does not speak. To address the interculturality of reception of Asian Shakespeare performances, the Asian Shakespeare Intercultural Archive (A|S|I|A, http://a-s-i-a-web.org), a collaborative project by scholars, translators, and practitioners, developed an approach to archiving production videos, scripts, and data in four parallel languages: English, Chinese, Japanese and Korean. The chapter examines the A|S|I|A archival process in relation to the position of the English scripts in multidirectional translations, and to the detailed data created by the project team. It concludes by positing comparative research into the use of the ‘traditional’ by tracing the varying occurrences of the term in the data.

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31

1616: Shakespeare and Tang Xianzu's China. 2016.

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32

Palfrey, Simon. Late Shakespeare: A New World of Words (Oxford English Monographs). Oxford University Press, USA, 2000.

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33

Kennedy, Dennis. Global Shakespeare and Globalized Performance. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.18.

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One of the most significant Shakespearian developments in the past twenty years is the great expansion of productions in languages other than English, especially from Asia. Some of these productions have been seen internationally. Unlike the film industry, globalized theatre cannot rely on an existing method of distribution; rather, it is dependent on spectator travel, the willingness of festivals to sponsor visiting productions, and a general cultural interest in the foreign, all of which involve larger issues of globalization, tourism, language, and interculturalism. The pinnacle of globalized Shakespeare was reached in 2012 with the Globe to Globe Festival at Shakespeare’s Globe in London, when thirty-seven plays were performed by companies from around the world. Drawing on productions from Europe and Asia, this chapter treats the major complications of globalized Shakespeare performance, with some attention to Kennedy’s own production of As You Like It in Beijing in 2005 in Chinese.

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34

Huang, Alexa. ‘It is the East’. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.54.

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Shakespearean tragedies have played an important part in modern and contemporary East Asian engagements with Western cultures. Japanese, Korean, Chinese, and Singaporean translations, rewritings, films, and theatre productions have three important shared characteristics, namely hybridization of genres, intra-regional and trans-historical allusions, and spirituality. These adaptations tend to present the plays in hybrid performative genres, sometimes turning tragedy into comedy or parody. These adaptations are also informed by intra-regional borrowing and allusions that matter to each separate cultural location and to East Asia as a whole. They tend to interpret Shakespearean tragedies through issues of spirituality and through the artists’ personal, rather than national, identities, giving primacy to personal life stories and to the interaction with the audience, rather than attempting ‘authentic’ representations either of Shakespearean tragedy or indeed of ‘Asia’.

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35

A, Brooks Douglas, Yang Lingui, and Brinkman Ashley, eds. Shakespeare and Asia. Lewiston: Edwin Mellen Press, 2009.

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36

Shakespeare in Singapore. Taylor & Francis Group, 2020.

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37

Shakespeare in Kabul. Haus Publishing, 2012.

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38

Omar, Qais Akbar, and Stephen Landrigan. Shakespeare in Kabul. Haus Publishing, 2012.

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39

Replaying Shakespeare In Asia. Routledge, 2012.

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40

Trivedi, Poonam, and Minami Ryuta. Re-Playing Shakespeare in Asia. Taylor & Francis Group, 2010.

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41

Trivedi, Poonam, and Minami Ryuta. Re-Playing Shakespeare in Asia. Taylor & Francis Group, 2010.

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42

Trivedi, Poonam, and Minami Ryuta. Re-Playing Shakespeare in Asia. Taylor & Francis Group, 2010.

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43

Philip, Smith. Shakespeare in Singapore: Performance, Education, and Culture. Taylor & Francis Group, 2020.

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44

Philip, Smith. Shakespeare in Singapore: Performance, Education, and Culture. Taylor & Francis Group, 2020.

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45

Smith, Philip. Shakespeare in Singapore: Performance, Education, and Culture. Taylor & Francis Group, 2020.

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46

Philip, Smith. Shakespeare in Singapore: Performance, Education, and Culture. Taylor & Francis Group, 2020.

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47

Russell, Brown John. New Sites for Shakespeare: Theatre, the Audience, and Asia. Taylor & Francis Group, 2013.

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48

Russell, Brown John. New Sites for Shakespeare: Theatre, the Audience, and Asia. Taylor & Francis Group, 2013.

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49

Russell, Brown John. New Sites for Shakespeare: Theatre, the Audience, and Asia. Taylor & Francis Group, 2013.

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50

Russell, Brown John. New Sites for Shakespeare: Theatre, the Audience, and Asia. Taylor & Francis Group, 2013.

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