This book brings together two separate fields by combining a study of Shakespeare's original stage conditions with an exploration of his plays in performance across the globe. The book contributes new insights into how early-modern stage conditions shaped the writing, production, and reception of Shakespeare's plays, but takes the further step of examining how original stage conditions re-emerge, not only in Globe replicas like the London Globe, but in unexpected and sometimes unconscious reconfigurations in adaptations and productions from around the world: film versions of Othello from Mexico to India that take dancing cues and anxieties about dance from the play and centralize dance; Korean adaptations for the madang (or yard) that reimagine Shakespeare's theatrical spaces and their relationships to audiences; Noh re-imaginings on film and onstage that foreground the theatrical; a teen film remake of Othello that raises questions about how blackness is figured today and on Shakespeare's stage, among others. By studying original stage conditions and their global afterlives, the book illuminates how global productions negotiate historical and cultural differences and thereby, paradoxically, engage with the cultural specificities of the present.
Introduction. -Chapter 1: .-A Little Touch of Harry in the Light: Henry
V at the New Globe. -Chapter 2:. -Consent and Animation in A Midsummer
Nights Dream: The Korean Madang as a New Green World. -Chapter 3:.- From the
Wooden O to Tim Blake Nelsons O: The Boy Actors voice and the Performance
of Gender and Race. -Chapter 4:.- Dance and Deception in Othello: Desdemonas
Turn in Omkara and Huapango. -Chapter 5: .-Observing Shakespeare's Lighting
Effects in Romeo and Juliet. -Chapter 6: .-The Winter's Tale and Privileged
Spectatorship: At the Globe and in Tokyo. -Chapter 7: .-Authenticity through
Intermedial Liveness: Throne of Blood and The King and the Clown. -Chapter 8:
.-Youth and Authenticity in Hamlet: Burbage in his 30s and a Sexagenarian
Hamlet in Seoul.
Yu Jin Ko is Professor of English at Wellesley College, USA. His research centers on Shakespeare, with a focus on performance, and a more recent emphasis on Shakespeare in production across the globe, especially in the East. Previous publications include Mutability and Division on Shakespeares Stage (2004), and the co-edited collection Shakespeares Sense of Character: On the Page and From the Stage (2012).
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