Addressing both theoretical and practical questions surrounding Shakespeare in contemporary Asia, this book asks why Shakespeare has been of use in these vast regions of the world that have no need to call on him. By investigating some of the ways Shakespeare has been reinvented and deployed, the study notes the differences between standard western approaches and those that can be seen in Japan, China, India, and South East Asia. The contributors come from a wide variety of backgrounds and traditions, West and East, and present distinctive, and sometimes conflicting, views on topics as diverse as speaking Shakespeare in Japanese, the importation and exportation of Shakespeare in Asia, and the uses of the English national poet in Indian film and Japanese popular culture. The debates which occur within the book highlight the diversity of production and reception for the world's most popular playwright, whose work is now global cultural capital.

The experience of one region over 25 years within the European Union forms the basis of an examination of how the EU impacts on a region's economy, on its society and on its own particular problems. In the case of Northern Ireland, inclusion in the European Union has coincided with the most sustained campaign of political terrorism in western Europe. Specialist contributors to this book consider what difference the European dimension has made to the region over the quarter century since 1973.

This 2004 volume, with a foreword by Dennis Kennedy, addresses a range of attitudes to Shakespeare's English history plays in Britain and abroad from the early seventeenth century to the present day. It concentrates on the play texts as well as productions, translations and adaptations of them. The essays explore the multiple points of intersection between the English history they recount and the experience of British and other national cultures, establishing the plays as genres not only relevant to the political and cultural history of Britain but also to the history of nearly every nation worldwide. The plays have had a rich international reception tradition but critics and theatre historians abroad, those practising 'foreign' Shakespeare, have tended to ignore these plays in favour of the comedies and tragedies. By presenting the British and foreign Shakespeare traditions side by side, this volume seeks to promote a more finely integrated world Shakespeare.

The Oxford Companion to Theatre and Performance is based on the celebrated Oxford Encyclopedia of Theatre and Performance, and covers styles and movements, buildings, organizations, regions and traditions; it has a particularly strong focus on biographies of actors, playwrights, directors, and designers. New entries cover the people and companies who have come into prominence since the publication of the Encyclopedia. The Companion includes all the most popular and accessible information from the Encyclopedia, concentrating primarily on the personalities involved in producing threatre, as well as overviews of the genres within which they work. It has 2,400 entries presented in a far more compact and portable format. The timeline of historical and cultural events in the world of theatre and performance has been significantly updated, along with the extensive bibliography, and an appendix of useful weblinks has been added, which is supported and accessible through a companion website. The Companion provides an informative and accessible package aimed at both the theatre-going public as at specialists and professionals in the field.

The experience of one region over 25 years within the European Union forms the basis of an examination of how the EU impacts on a region's economy, on its society and on its particular problems. In the case of Northern Ireland, inclusion in the European Union has coincided with the most sustained campaign of political terrorism in western Europe.

Addressing both theoretical and practical questions surrounding Shakespeare in contemporary Asia, this book asks why Shakespeare has been of use in these vast regions of the world that have no need to call on him. By investigating some of the ways Shakespeare has been reinvented and deployed, the study notes the differences between standard western approaches and those that can be seen in Japan, China, India, and South East Asia. The contributors come from a wide variety of backgrounds and traditions, West and East, and present distinctive, and sometimes conflicting, views on topics as diverse as speaking Shakespeare in Japanese, the importation and exportation of Shakespeare in Asia, and the uses of the English national poet in Indian film and Japanese popular culture. The debates which occur within the book highlight the diversity of production and reception for the world's most popular playwright, whose work is now global cultural capital.

Spectators and audiences are everywhere in contemporary culture. However, even in conventional performance, whether in the theatre, in film or television, or at a sporting event, it is difficult to discuss spectators with any authority, since each of us experiences and understands the display in different ways and all methods of analyzing spectators are flawed or unreliable. This book provides instead a series of investigations into specific types of performance activity, and how they relate to their audiences. Specific topics discussed include the relationship of audiences to the rise of the director, the avant-garde, tourism, gambling, the effect of cinema on live performance and sport, including crowd violence. Spectatorship is an area of increasing importance in the field of theatre and performance studies, and this engaging study is a valuable contribution to the development of thinking about audiences and spectators.

Spectators and audiences are everywhere in contemporary culture. However, even in conventional performance, whether in the theatre, in film or television, or at a sporting event, it is difficult to discuss spectators with any authority, since each of us experiences and understands the display in different ways and all methods of analyzing spectators are flawed or unreliable. This book provides instead a series of investigations into specific types of performance activity, and how they relate to their audiences. Specific topics discussed include the relationship of audiences to the rise of the director, the avant-garde, tourism, gambling, the effect of cinema on live performance and sport, including crowd violence. Spectatorship is an area of increasing importance in the field of theatre and performance studies, and this engaging study is a valuable contribution to the development of thinking about audiences and spectators.

This 2004 volume, with a foreword by Dennis Kennedy, addresses a range of attitudes to Shakespeare's English history plays in Britain and abroad from the early seventeenth century to the present day. It concentrates on the play texts as well as productions, translations and adaptations of them. The essays explore the multiple points of intersection between the English history they recount and the experience of British and other national cultures, establishing the plays as genres not only relevant to the political and cultural history of Britain but also to the history of nearly every nation worldwide. The plays have had a rich international reception tradition but critics and theatre historians abroad, those practising 'foreign' Shakespeare, have tended to ignore these plays in favour of the comedies and tragedies. By presenting the British and foreign Shakespeare traditions side by side, this volume seeks to promote a more finely integrated world Shakespeare.

This is the first full treatment of Harley Granville Barker's active work in the theatre. It sheds new light on the actor, director, manager, playwright and critic who was one of the most fascinating and versatile men of the twentieth-century stage, and provides vivid accounts of the crucial productions of the time. Granville Barker was the chief force in establishing a place in Edwardian London for the 'New Drama' of Shaw and the European playwrights, and he also became known for his revolutionary productions of Shakespeare and Euripides. By 1915 he was generally regarded as the most important theatre artist in England. Using original documents and contemporary press reports, Dennis Kennedy recreates the excitement of Granville Barker's accomplishment in the context of an era that proved a turning-point for the arts in general. The book is supported by more than forty photographs from his theatre productions, most of them published here for the first time since the Edwardian years.

Harley Granville Barker, one of the most versatile figures in twentieth-century theatre, was the leader of the campaign to reform the English stage in the Edwardian period. His work as an actor, director, playwright, and manager set new standards of production and gave Shaw his first successful showings; his later career as a critic, after he abandoned the stage, opened new interpretations of Shakespeare and led the way to the establishment of a national theatre. This volume presents three of Granville Barker's best plays: The Marrying of Ann Leete (about a young woman rebelling against convention), The Voysey Inheritance (digging at middle-class hypocrisy), and Waste (banned by the Lord Chamberlain, the tragedy of a politician caught in a sexual trap). Written between 1899 and 1907, and collected here for the first time in a scholarly edition, they reveal Barker as an exciting, subtle and innovative dramatist.

Shakespeare has long been considered the pre-eminent poet and dramatist of the English-speaking world. But although he is the most frequently performed playwright in the world, little attention has been paid to theatrical production of his plays outside the English language. This is the first collection to offer a considered account of contemporary Shakespeare performance in non-English-speaking theatres. Most of the essays focus on Europe, some on Asia. They investigate text and translation theory, the significance of the visual, acting, directing and audience culture, intercultural performance, political appropriation and dissent. Dennis Kennedy introduces the topic within the context of postwar performance, and his Afterword challenges Anglocentric standards of Shakespeare interpretation.