What does it mean to teach Shakespeare with purpose? It means freeing teachers from the notion that teaching Shakespeare means teaching everything, or teaching "Western Civilisation" and universal themes. Instead, this invigorating new book equips teachers to enable student-centred discovery of these complex texts. Because Shakespeare's plays are excellent vehicles for many topics -history, socio-cultural norms and mores, vocabulary, rhetoric, literary tropes and terminology, performance history, performance strategies - it is tempting to teach his plays as though they are good for teaching everything. This lens-free approach, however, often centres the classroom on the teacher as the expert and renders Shakespeare's plays as fixed, determined, and dead. Teaching Shakespeare with Purpose shows teachers how to approach Shakespeare's works as vehicles for collaborative exploration, to develop intentional frames for discovery, and to release the texts from over-determined interpretations. In other words, this book presents how to teach Shakespeare's plays as living, breathing, and evolving texts.

Weyward Macbeth, a volume of entirely new essays, provides innovative, interdisciplinary approaches to the various ways Shakespeare's 'Macbeth' has been adapted and appropriated within the context of American racial constructions. Comprehensive in its scope, this collection addresses the enduringly fraught history of 'Macbeth' in the United States, from its appearance as the first Shakespearean play documented in the American colonies to a proposed Hollywood film version with a black diasporic cast. Over two dozen contributions explore 'Macbeth's' haunting presence in American drama, poetry, film, music, history, politics, acting, and directing - all through the intersections of race and performance.

This second edition of Othello has a new, illustrated introduction by leading American scholar Ayanna Thompson, which addresses such key issues as race, religion and gender, as well as looking at ways in which the play has been adapted in more recent times. Othello is one of Shakespeare's great tragedies-written in the same five-year period as Hamlet, King Lear, and Macbeth. The new introduction attends to the play's different meanings throughout history, while articulating the historical context in which Othello was created, paying particular attention to Shakespeare's source materials and the evidence about early modern constructions of racial and religious difference. It also explores the life of the play in different historical moments, demonstrating how meanings and performances develop, accrue, and metamorphose over time. The volume provides a rich and current resource, making this best-selling play edition ideal for today's students at advanced school and undergraduate level.

Notions, constructions, and performances of race continue to define the contemporary American experience, including America's relationship to Shakespeare. In Passing Strange, Ayanna Thompson explores the myriad ways U.S. culture draws on the works and the mythology of the Bard to redefine the boundaries of the color line.
Drawing on an extensive--frequently unconventional--range of examples, Thompson examines the contact zones between constructions of Shakespeare and constructions of race. Among the questions she addresses are: Do Shakespeare's plays need to be edited, appropriated, updated, or rewritten to affirm racial equality and retain relevance? Can discussions of Shakespeare's universalism tell us anything beneficial about race? What advantages, if any, can a knowledge of Shakespeare provide to disadvantaged people of color, including those in prison? Do the answers to these questions impact our understandings of authorship, authority, and authenticity? In investigating this under-explored territory, Passing Strange examines a wide variety of contemporary texts, including films, novels, theatrical productions, YouTube videos, performances, and arts education programs.
Scholars, teachers, and performers will find a wealth of insights into the staging and performance of familiar plays, but they will also encounter new ways of viewing Shakespeare and American racial identity, enriching their understanding of each.

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.

Scripts of Blackness shows how the early modern mass media of theatre and performance culture at-large helped turn blackness into a racial category, that is, into a type of difference justifying emerging social hierarchies and power relations in a new world order driven by colonialism and capitalism. In this book, Noemie Ndiaye explores the techniques of impersonation used by white performers to represent Afro-diasporic people in England, France, and Spain in the sixteenth and seventeenth centuries, using a comparative and transnational framework. She reconstructs three specific performance techniques-black-up (cosmetic blackness), blackspeak (acoustic blackness), and black dances (kinetic blackness)-in order to map out the poetics of those techniques, and track a number of metaphorical strains that early modern playtexts regularly associated with them. Those metaphorical strains, the titular scripts of blackness of this book, operated across national borders and constituted resources, as they provided spectators and participants with new ways of thinking about the Afro-diasporic people who lived or could/would ultimately live in their midst. Those scripts were often gendered and hinged on notions of demonization, exclusion, exploitation, animalization, commodification, sexualization, consensual enslavement, misogynoir, infantilization, and evocative association with other racialized minorities. Scripts of Blackness attempts to grasp the stories that Western Europeans told themselves through performative blackness, and the effects of those fictions on early modern Afro-diasporic subjects.

The Cambridge Companion to Shakespeare and Race shows teachers and students how and why Shakespeare and race are inseparable. Moving well beyond Othello, the collection invites the reader to understand racialized discourses, rhetoric, and performances in all of Shakespeare's plays, including the comedies and histories. Race is presented through an intersectional approach with chapters that focus on the concepts of sexuality, lineage, nationality, and globalization. The collection helps students to grapple with the unique role performance plays in constructions of race by Shakespeare (and in Shakespearean performances), considering both historical and contemporary actors and directors. The Cambridge Companion to Shakespeare and Race will be the first book that truly frames Shakespeare studies and early modern race studies for a non-specialist, student audience.

Performing Race and Torture on the Early Modern Stage provides the first sustained reading of Restoration plays through a performance theory lens. This approach shows that an analysis of the conjoined performances of torture and race not only reveals the early modern interest in the nature of racial identity, but also how race was initially coded in a paradoxical fashion as both essentially fixed and socially constructed. An examination of scenes of torture provides the most effective way to unearth these seemingly contradictory representations of race because depictions of torture often interrogate the incongruous desire to substitute the visible and manipulable materiality of the body for the more illusive performative nature of identity. In turn, Performing Race and Torture on the Early Modern Stage challenges the long-standing assumption that early modern conceptions of race were radically different in their fluidity from post-Enlightenment ones by demonstrating how many of the debates we continue to have about the nature of racial identity were engendered by these seventeenth-century performances.

Performing Race and Torture on the Early Modern Stage provides the first sustained reading of Restoration plays through a performance theory lens. This approach shows that an analysis of the conjoined performances of torture and race not only reveals the early modern interest in the nature of racial identity, but also how race was initially coded in a paradoxical fashion as both essentially fixed and socially constructed. An examination of scenes of torture provides the most effective way to unearth these seemingly contradictory representations of race because depictions of torture often interrogate the incongruous desire to substitute the visible and manipulable materiality of the body for the more illusive performative nature of identity. In turn, Performing Race and Torture on the Early Modern Stage challenges the long-standing assumption that early modern conceptions of race were radically different in their fluidity from post-Enlightenment ones by demonstrating how many of the debates we continue to have about the nature of racial identity were engendered by these seventeenth-century performances.

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.

The first in-depth look at Peter Sellars, the avant-garde director whose Shakespeare productions have polarized communities and critics. Through extensive interviews and archival work, leading Shakespearean Ayanna Thompson takes readers on a journey through experimental theatre and the tensions that arise between innovation and accessibility. An iconoclastic figure who inspires strong reactions both personally and professionally, Peter Sellars continues to amaze and confound. This book takes readers inside his world for the first time.

The Cambridge Companion to Shakespeare and Race shows teachers and students how and why Shakespeare and race are inseparable. Moving well beyond Othello, the collection invites the reader to understand racialized discourses, rhetoric, and performances in all of Shakespeare's plays, including the comedies and histories. Race is presented through an intersectional approach with chapters that focus on the concepts of sexuality, lineage, nationality, and globalization. The collection helps students to grapple with the unique role performance plays in constructions of race by Shakespeare (and in Shakespearean performances), considering both historical and contemporary actors and directors. The Cambridge Companion to Shakespeare and Race will be the first book that truly frames Shakespeare studies and early modern race studies for a non-specialist, student audience.

What does it mean to teach Shakespeare with purpose? It means freeing teachers from the notion that teaching Shakespeare means teaching everything, or teaching "Western Civilisation" and universal themes. Instead, this invigorating new book equips teachers to enable student-centred discovery of these complex texts. Because Shakespeare's plays are excellent vehicles for many topics -history, socio-cultural norms and mores, vocabulary, rhetoric, literary tropes and terminology, performance history, performance strategies - it is tempting to teach his plays as though they are good for teaching everything. This lens-free approach, however, often centres the classroom on the teacher as the expert and renders Shakespeare's plays as fixed, determined, and dead. Teaching Shakespeare with Purpose shows teachers how to approach Shakespeare's works as vehicles for collaborative exploration, to develop intentional frames for discovery, and to release the texts from over-determined interpretations. In other words, this book presents how to teach Shakespeare's plays as living, breathing, and evolving texts.

Weyward Macbeth, a volume of entirely new essays, provides innovative, interdisciplinary approaches to the various ways Shakespeare's 'Macbeth' has been adapted and appropriated within the context of American racial constructions. Comprehensive in its scope, this collection addresses the enduringly fraught history of 'Macbeth' in the United States, from its appearance as the first Shakespearean play documented in the American colonies to a proposed Hollywood film version with a black diasporic cast. Over two dozen contributions explore 'Macbeth's' haunting presence in American drama, poetry, film, music, history, politics, acting, and directing - all through the intersections of race and performance.

A New Statesman essential non-fiction book of 2021 Featured in Book Riot's 12 best nonfiction books about Black identity and history A Times Higher Education Book of the Week 2022 Finalist for the Prose Awards (Media and Cultural Studies category) Why are there so many examples of public figures, entertainers, and normal, everyday people in blackface? And why aren't there as many examples of people of color in whiteface? This book explains what blackface is, why it occurred, and what its legacies are in the 21st century. There is a filthy and vile thread-sometimes it's tied into a noose-that connects the first performances of Blackness on English stages, the birth of blackface minstrelsy, contemporary performances of Blackness, and anti-Black racism. Blackface examines that history and provides hope for a future with new performance paradigms. Object Lessons is published in partnership with an essay series in The Atlantic.

Notions, constructions, and performances of race continue to define the contemporary American experience, including our conceptions, performances, and employments of Shakespeare. Passing Strange examines the contact zones between American constructions of Shakespeare and American constructions of race by asking: How is Shakespeare's universalism constructed within explicit discussions and debates about racial identity? Of what benefit is the promotion of Shakespeare and Shakespearean programs to incarcerated and/or at-risk persons of color? Are they aesthetic, moral, or linguistic? Do Shakespeare's plays need to be edited, appropriated, revised, updated, or rewritten to affirm racial equality and relevance? Do the answers to these questions impact our understanding of authorship, authority, and authenticity? A book that does not shy away from controversial topics or unconventional approaches, Passing Strange examines a wide range of contemporary texts and performances, including contemporary films, novels, theatrical productions, YouTube videos, and arts education programs. In addition, Passing Strange is written for a broad readership, including Shakespeare scholars, secondary school teachers, theatre practitioners, racial activists, and arts education organizers. Uniquely, this book challenges its readers to see American constructions of race and Shakespeare in glorious Technicolor.

The first in-depth look at Peter Sellars, the avant-garde director whose Shakespeare productions have polarized communities and critics. Through extensive interviews and archival work, leading Shakespearean Ayanna Thompson takes readers on a journey through experimental theatre and the tensions that arise between innovation and accessibility. An iconoclastic figure who inspires strong reactions both personally and professionally, Peter Sellars continues to amaze and confound. This book takes readers inside his world for the first time.