Abstract
Throughout the 2012 Globe-to-Globe Festival in London, I was fortunate to receive regular electronic reports from American radio and film producer Steve Rowland. Rowland attended the 37 Shakespeare plays being presented in 37 different languages at Shakespeare’s Globe Theatre as part of the Cultural Olympiad.1 In conjunction with this undertaking, he interviewed many of the participating artists and directors for a radio series about the Festival, which aired in the United States on National Public Radio.2 These rich audio narratives provide glimpses into the individual cultural valences each international company brought to its specialized Shakespearean contribution. From segments on the South Sudanese Cymbeline to the Greek Pericles, and the Balkan Trilogy of Henry VI, parts one, two, and three, Rowland’s ambitious radio project presents some of the diverse cultural, political, and historical perspectives each theatrical company offered as they interwove Shakespearean drama with their own heritage in order to present audience members with a dramatic introduction to their culture and arts traditions.
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Notes
Alexander C. Y. (Alexa) Huang, “‘What Country, Friends, Is This?’: Touring Shakespeares, Agency, and Efficacy in Theatre Historiography,” Theatre Survey 54.1 (2013): 55.
Rita Wilson and Brigid Maher, introduction to Words, Images, and Performances in Translation, ed. Rita Wilson and Brigid Maher (London: Continuum, 2012), 3.
Emily Apter, “Translation with No Original: Scandals of Textual Reproduction,” in Nation, Language, and the Ethics of Translation, ed. Sandra Bermann and Michael Wood (Princeton, NJ: Princeton University Press), 159.
Stephen Purcell, Popular Shakespeare: Simulation and Subversion on the Modern Stage (London: Palgrave, 2009), 125.
Pascale Aebisher and Nigel Wheale, introduction to Remaking Shakespeare: Performance across Media, Genres, and Culture, ed. Pascale Aebisher, Nigel Wheale, and Ed Esche (London: Palgrave Macmillan, 2003), 3.
Gretchen E. Minton, “A Polynesian Shakespeare Film. The Maori Merchant of Venice,” Upstart Crow 24 (2004): 4.
Valerie Wayne, “Te Tangata Whai Rawa o Weniti, The Maori Merchant of Venice,” review of Te Tangata Whai Rawa o Weniti, The Maori Merchant of Venice, The Contemporary Pacific 16.2 (2004): 426.
Martha C. Nussbaum, Cultivating Humanity: A Classical Defense of Reform in Liberal Education (London: Harvard University Press, 1997), 175.
Peter Novak, “‘Where Lies Your Text?’: Twelfth Night in American Sign Language Translation,” Shakespeare Survey 61 (2008): 74.
Maria Tymoczko, “Translation, Resistance, Activism: An Overview,” in Translation, Resistance, Activism, ed. Maria Tymoczko (Amherst: University of Massachusetts Press, 2010), 1–2.
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© 2014 Alexa Huang and Elizabeth Rivlin
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Cavanagh, S.T. (2014). In Other Words: Global Shakespearean Transformations. In: Huang, A., Rivlin, E. (eds) Shakespeare and the Ethics of Appropriation. Reproducing Shakespeare: New Studies in Adaptation and Appropriation. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137375773_12
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DOI: https://doi.org/10.1057/9781137375773_12
Publisher Name: Palgrave Macmillan, New York
Print ISBN: 978-1-349-47744-9
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