Books in the Global Shakespeares series

Many people today first encounter staged Shakespeare in an open-air setting. This book traces the history of open-air Shakespeares in Australia to investigate why the anomaly of adapting 400-year old plays under Australian skies exerts such a strong appeal.

This essay collection examines the Shakespearian culture of Cold War Europe - Germany, France, UK, USSR, Poland, Spain and Hungary - from 1947/8 to the end of the 1970s.

Since the turn of the millennium, the Arabian Peninsula has produced a remarkable series of adaptations of Shakespeare. These include a 2007 production of Much Ado About Nothing, set in Kuwait in 1898; a 2011 performance in Sharjah of Macbeth, set in 9th-century Arabia; a 2013 Yemeni adaptation of The Merchant of Venice, in which the Shylock figure is not Jewish; and Hamlet, Get Out of My Head, a one-man show about an actor's fraught response to the Danish prince, which has been touring the cities of Saudi Arabia since 2014.This groundbreaking study surveys the surprising history of Shakespeare on the Arabian Peninsula, situating the current flourishing of Shakespearean performance and adaptation within the region's complex, cosmopolitan, and rapidly changing socio-political contexts. Through first-hand performance reviews, interviews, and analysis of resources in Arabic and English, this volume brings to light the ways in which local theatremakers, students, and scholars use Shakespeare to address urgent regional issues like authoritarianism, censorship, racial discrimination and gender inequality.

Global ShaAny reader interested in Shakespeare Studies, global Shakespeare, Shakespeare in performance, Shakespeare and appropriation, Shakespeare and language, Literacy Studies, race, and South African cultural history will be drawn to this book.

Global ShaAny reader interested in Shakespeare Studies, global Shakespeare, Shakespeare in performance, Shakespeare and appropriation, Shakespeare and language, Literacy Studies, race, and South African cultural history will be drawn to this book.

They have been re-imagined as political theatre, comedic parody, Chinese opera, avant-garde theatre, and experimental theatre in Hong Kong, China, and Taiwan. This anthology is an indispensable tool for the teaching and research of Sinophone theatre's engagement with Western classics in the late twentieth and early twenty-first centuries.