This book reviews the "playing" of Shakespeare in which there is
a re-staging and a re-writing -- through adaptation, appropriation,
or acculturation -- of the Western Shakespeare into the gestural,
symbolic, stylized, or ritualized worlds of Asian theatre
languages. It examines this interface in aesthetic, theatrical,
cultural and political terms, looking at key issues in
intercultural performance, how it re-configures the text, genre and
gender and how it can intervene in the shaping of ethnicity,
identity and postcoloniality. Contributors examine how differing
cultures negotiate such encounters, and the implications of this
worldwide re-playing for Shakespeare's theatre. Focusing
specifically on the work of major directors in the central and
emerging areas of Asia -- Japan, China, India, Korea, Taiwan,
Singapore, Indonesia and the Philippines -- the chapters show how
performing Shakespeare in Asia not only revitalizes indigenous
theatre forms, but generates an alternate cultural capital which is
exploited in the global market.
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