The International Shakespeare Association meeting, held in Tokyo in August of 1991, was regarded by many of the participating academics as a milestone in terms of the quality of the papers given and extent to which the intercultural and cross-cultural study of Shakespeare had been developed. This volume contains the principal contributions (10) to the panel on Acting and Language in Shakespeare and Eastern Drama, specially edited for publication by Minoru Fujita who teaches at the Graduate School of Culture, University of Osaka, and Leonard Pronko, Professor of Theatre at Pomona College, Claremont, California. The papers are presented in three sections: Playhouses and Performances, Literary History, and Interpretation and Theoretical Issues.

The International Shakespeare Association meeting, held in Tokyo in August of 1991, was regarded by many of the participating academics as a milestone in terms of the quality of the papers given and extent to which the intercultural and cross-cultural study of Shakespeare had been developed. This volume contains the principal contributions (10) to the panel on Acting and Language in Shakespeare and Eastern Drama, specially edited for publication by Minoru Fujita who teaches at the Graduate School of Culture, University of Osaka, and Leonard Pronko, Professor of Theatre at Pomona College, Claremont, California. The papers are presented in three sections: Playhouses and Performances, Literary History, and Interpretation and Theoretical Issues.

The International Shakespeare Association meeting, held in Tokyo in August 1991, was regarded by many of the participating academics as a milestone in terms of the quality of the papers given and the extent to which the intercultural and cross-cultural study of Shakespeare had been developed. This volume contains most of the principal contributions to the panel on Acting and Language in Shakespeare and Eastern Drama, specially edited for publication and presented in three sections: Playhouses and Performances, Literary History and Interpretation and Theoretical Issues.

Buddha & Shakespeare recounts, in one of the more dramatic narratives that you will likely ever come across, the epic nature of both Love and War. Each of which befalls us, most often unexpectedly. It is the story, then, of our being-human, as told through the lives of two princes who come to find themselves caught up in the throes of battles that seem to have found them, as much or more than they have found those battles. One prince from the East: Siddhartha, Guatama, the Buddha-to-be. The other prince from the West: Hamlet, the Prince of Denmark, heir to Elsinore. Both of these young men--children of royalty--find themselves transformed at the hands of a breath-stealing revelation. Siddhartha encounters suffering for the first time. Hamlet's world is devastated by a King's passing--and the news from his father's ghost that he has been the victim of a murderous conspiracy. Something is afoul. Something is not quite right in each of their worlds any longer. We know that this one thing holds for both princes: that the worlds these young men had once inhabited will be home for them no more. That everything they had ever known up to the moment of revelation has just been radically transformed in relation to a knowledge of things that neither of them has ever had before. How this all plays out unfolds in the pages of Buddha & Shakespeare. That nothing will be the same again. That everything has changed. That this is the exact same moment of revelation that confronts each and every one of us at some point in our lives: the impossibility of our ever going back; or pretending that we don't know what we know, and haven't seen what we have in moments of excruciating clarity.

This collection offers 29 essays by many of the world's major scholars of the extraordinary diversity and richness of Shakespeare studies today. It ranges from examinations of the society Shakespeare himself lived in, to recent films, plays, novels and operatic adaptations in Europe, Africa, Asia, Australia and the Middle East.

Structured around modes in which one might encounter Asian-themed performances and adaptations, Shakespeare and East Asia identifies four themes that distinguish post-1950s East Asian cinemas and theatres from works in other parts of the world: Japanese formalistic innovations in sound and spectacle; reparative adaptations from China, Taiwan, and Hong Kong; the politics of gender and reception of films and touring productions in South Korea and the UK; and multilingual, diaspora works in Singapore and the UK. These adaptations break new ground in sound and spectacle; they serve as a vehicle for artistic and political remediation or, in some cases, the critique of the myth of reparative interpretations of literature; they provide a forum where diasporic artists and audiences can grapple with contemporary issues; and, through international circulation, they are reshaping debates about the relationship between East Asia and Europe. Bringing film and theatre studies together, this book sheds new light on the two major genres in a comparative context and reveals deep structural and narratological connections among Asian and Anglophone performances. These adaptations are products of metacinematic and metatheatrical operations, contestations among genres for primacy, or experimentations with features of both film and theatre.

This is an entertaining account of Shakespeare's afterlives in fiction. Paul Franssen offers the first sustained analysis of stories and films that involve the character of Shakespeare. Taking a broad international and historical perspective, he shows how fictions about Shakespeare help us understand what he meant to a certain age, nation, or author, and how they have become a vital aspect of the Shakespeare industry. Appearing sometimes as a ghost or time-traveller, fictional Shakespeares have been made to speak to many issues, such as the French Revolution, the Irish conflict, colonialism, the Anglo-American relationship, sexual orientation, race and class. Written in an accessible style, this book will appeal to advanced students as well as academic researchers in Shakespeare studies, film and cultural studies, literary reception and creative writing.