The systematic practice of non-traditional or "colorblind" casting
began with Joseph Papp's New York Shakespeare Festival in the
1950s. Although colorblind casting has been practiced for half a
century now, it still inspires vehement controversy and
debate.
This collection of fourteen original essays explores both the
production history of colorblind casting in cultural terms and the
theoretical implications of this practice for reading Shakespeare
in a contemporary context.
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