This volume considers the linguistic complexities associated with
Shakespeare's presence in South Africa from 1801 to early
twentieth-first century televisual updatings of the texts as a
means of exploring individual and collective forms of identity. A
case study approach demonstrates how Shakespeare's texts are
available for ideologically driven linguistic programs. Seeff
introduces the African Theatre, Cape Town, in 1801, multilingual
site of the first recorded performance of a Shakespeare play in
Southern Africa where rival, amateur theatrical groups performed in
turn, in English, Dutch, German, and French. Chapter 3 offers three
vectors of a broadening Shakespeare diaspora in English, Afrikaans,
and Setswana in the second half of the nineteenth century. Chapter
4 analyses Andre Brink's Kinkels innie Kabel, a transposition of
Shakespeare's The Comedy of Errors into Kaaps, as a radical
critique of apartheid's obsession with linguistic and ethnic
purity. Chapter 5 investigates John Kani's performance of Othello
as a Xhosa warrior chief with access to the ancient tradition of
Xhosa storytellers. Shakespeare in Mzansi, a televisual miniseries
uses black actors, vernacular languages, and local settings to
Africanize Macbeth and reclaim a cross-cultural, multilingualism.
An Afterword assesses the future of Shakespeare in a post-rainbow,
decolonizing South Africa. Global Sha Any 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.
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