Lal, Ananda and Sukanta Chaudhuri (eds), Shakespeare on the Calcutta Stage: A Checklist (Calcutta, 2001).
Loomba, Ania, ‘Shakespearian Transformations’, in John J. Joughin (ed.), Shakespeare and National Culture (Manchester, 1997), 109–41.
Menon, Madhavi, Unhistorical Shakespeare: Queer Theory in Shakespearean Literature and Film (London, 2008).
Miola, Robert S., Shakespeare’s Reading (Oxford, 2000).
Pande, Mrinal, “‘Moving beyond themselves”: Women in Hindustani Parsi Theatre and Early Hindi Films’, Economic and Political Weekly 41/17 (April, 2006), 1646–53.
Shah, C. R., ‘Shakespearean Plays in Indian Languages’, 2 parts, The Aryan Path (November and December 1955), 483–88, 541–44.
Singh, Jyotsna, ‘Different Shakespeares: The Bard in Colonial/Postcolonial India’, Theatre Journal 41 (1989), 445–58.
*Sisson, C. J., Shakespeare in India: Popular Adaptations on the Bombay Stage (London, 1926).
Tejaswini, Ganti, Bollywood: A Guidebook to Popular Hindi Cinema, 2nd edn (London, 2012).
Trivedi, Poonam, ‘“Filmi” Shakespeare’, Literature/Film Quarterly 35 (2007), 148–58.
*Trivedi, Poonam and Dennis Bartholomeusz (eds), India’s Shakespeare: Translation, Interpretation and Performance (Newark, DE, 2005).
Venning, Dan, ‘Cultural Imperialism and Intercultural Encounter in Merchant Ivory’s Shakespeare Wallah’, Asian Theatre Journal 28 (2011), 149–67.
Verma, Rajiva, ‘Hamlet on the Hindi screen’, Hamlet Studies 24 (2002), 81–93. Viswanathan, Gauri, Masks of Conquest: Literary Study and British Rule in India (New York, 1989).
Wells, Henry W. and H. H. Anniah Gowda, Shakespeare Turned East: A Study in Comparison of Shakespeare’s Last Plays with some Classical Plays of India (Mysore, 1976).
*Yajnik, R. K., The Indian Theatre (London, 1933).
FILMS
10 ml Love, dir. Sharat Katariya (India, 2010).
36 Chowringhee Lane, dir. Aparna Sen (India, 1981).
Angoor, dir. Gulzar (India, 1982).
Bhranti Bilas, dir. Manu Sen (India, 1963).
Bobby, dir. Raj Kapoor (India, 1973).
Bodyguard, dir Siddique (India, 2011).
Dil Chahta Hai, dir. Farhan Akhtar (India, 2001).
Do Dooni Char, dir. Debu Sen (India, 1968).
Haider, dir. Vishal Bhardwaj (India, 2014).
Hamlet: A Free Adaptation, dir. Kishore Sahu (India, 1954).
Ishaqzaade, dir. Habib Faisal (India, 2012).
Kaliyattam, dir. Jayaraaj Rajasekharan Nair (India, 1997).
Kannaki, dir. Jayaraaj Rajasekharan Nair (India, 2002).
The Last Lear, dir. Rituparno Ghosh (India, 2007).
Life Goes On, dir. Sangeeta Datta (India, 2009).
Main Nashe Mein Hoon, dir. Naresh Saigal (India, 1959).
Maqbool, dir. Vishal Bhardwaj (India, 2003).
Omkara, dir. Vishal Bhardwaj (India, 2006).
Shakespeare Wallah, dir. James Ivory (USA, 1965).
South Africa
PRIMARY SOURCES
Donne, John, The Complete English Poems, ed. C. A. Patrides (London, 1985).
Goldblatt, David, Photographs (Rome, 2006).
Gollancz, Israel (ed.), A Book of Homage to Shakespeare (Oxford, 1916).
Mandela, Nelson, Long Walk to Freedom (Boston, 1994).
Okri, Ben, A Way of Being Free (London, 1997).
Plaatje, Solomon, Dintshontsho tsa bo-Juliuse Kesara [Julius Caesar] (Johannesburg, 1937).
——, Diphosho-phosho [The Comedy of Errors] (Morija, 1930).
——, Mhudi, ed. Stephen Gray (London, 1978).
——, Native Life in South Africa, ed. Brian Willan (Harlow, 1987).
——, Selected Writings, ed. Brian Willan (Johannesburg, 1997).
Quarshie, Hugh, Second Thoughts about Othello (Chipping Campden, 1999).
SECONDARY SOURCES
Bartels, Emily, ‘Making More of the Moor: Aaron, Othello, and Renaissance Refashionings of Race’, Shakespeare Quarterly 41 (1990), 433–54.
——, ‘Too many Blackamoors: Deportation, Discrimination, and Elizabeth I’, Studies in English Literature 1500–1900 46 (2006), 305–22.
*Bohannan, Laura, ‘Shakespeare in the Bush’, Natural History 75/7 (1966), 28–33.
Brockbank, Philip, ‘Shakespeare’s Stratford and South Africa’, Shakespeare Quarterly 38 (1987), 479–81.
Buntman, Fran Lisa, Robben Island and Prisoner Resistance to Apartheid (Cambridge, 2003).
Couzens, Tim, ‘A Moment in the Past: William Tsikinya-Chaka’, Shakespeare in Southern Africa 2 (1988), 60–66.
Couzens, Tim and Brian Willan, ‘Solomon T. Plaatje, 1876–1932’ [Plaatje centenary issue], English in Africa, 4 (1977).
Desai, Ashwin, Reading Revolution: Shakespeare on Robben Island (Pretoria, 2012).
*Distiller, Natasha, ‘Authentic Protest, Authentic Shakespeare, Authentic Africans: Performing Othello in South Africa’, Comparative Drama 46 (2012), 339–54.
——, Shakespeare and the Coconuts (Johannesburg, 2012).
——, South Africa, Shakespeare, and Post-Colonial Culture (Lewinston, NY, 2005).
Gray, Stephen, Sources of the First Black South African Novel in English: Solomon Plaatje’s Use of Shakespeare and Bunyan in ‘Mhudi’ (Pasadena, CA, 1976).
*Holmes, Jonathan, “‘A world elsewhere”: Shakespeare in South Africa’, Shakespeare Survey 55 (2002), 271–84.
Hutton, Barbara, Robben Island: Symbol of Resistance (Johannesburg, 1994).
Johnson, David, Shakespeare and South Africa (Oxford, 1996).
Johnson, Lemuel A., Shakespeare in Africa (and other venues): Import and the Appropriation of Culture (Trenton, NJ, 1998).
Kahn, Coppélia, ‘Remembering Shakespeare Imperially: the 1916 Tercentenary’, Shakespeare Quarterly 52 (2001), 456–78.
Lindfors, Bernth, Ira Aldridge, 2 vols (Rochester, NY, 2011).
Marshall, Herbert and Mildred Stock, Ira Aldridge: The Negro Tragedian (Carbondale, IL, 1958).
Molema, Seetsele Modiri, Lover of his People: A Biography of Sol Plaatje, trans. and ed. D. S. Matjila and Karen Haire (Johannesburg, 2012).
Orkin, Martin, Shakespeare Against Apartheid (Craighall, 1987).
Peterson, Bhekizizwe, ‘Apartheid and the Political Imagination in Black South African Theatre’, Journal of Southern African Studies 16 (1990) 229–45.
*Quince, Rohan, Shakespeare in South Africa: Stage Productions During the Apartheid Era (New York, 2000).
Rosenthal, Eric, ‘Early Shakespearean Productions in South Africa’, English Studies in Africa 7 (1964), 202–16.
Roux, Daniel, ‘Hybridity, Othello and the Postcolonial Critics’, Shakespeare in Southern Africa 21 (2009), 23–31.
*Schalkwyk, David, Hamlet’s Dreams: The Robben Island Shakespeare (London, 2013).
——, ‘Portrait and Proxy: Representing Plaatje and Plaatje Represented’, Scrutiny2 4 (1999), 14–29.
——, ‘Shakespeare’s Untranslatability’, Shakespeare in Southern Africa 18 (2006), 37–48.
Schalkwyk, David and Lerothodi Lapula, ‘Solomon Plaatje, William Shakespeare, and the Translations of Culture’, Pretexts: Literary and Cultural Studies 9 (2000), 9–26.
Seddon, Deborah, ‘Shakespeare’s Orality: Solomon Plaatje’s Setswana Translations’, English Studies in Africa 47 (2004), 77–95.
Seeff, Adele, ‘Othello at the Market Theatre’, Shakespeare Bulletin 27 (2009), 377–98.
Shole, Shole J., ‘Shakespeare in Setswana: An Evaluation of Raditladi’s Macbeth and Plaatje’s Diphosophoso’, Shakespeare in Southern Africa 4 (1990), 51–64.
Suzman, Janet, ‘Othello: A Belated Reply’, Shakespeare in Southern Africa 2 (1988), 90–6.
——, ‘South Africa in Othello’, in Jonathan Bate et al. (eds), Shakespeare and the Twentieth Century (Newark, DE, 1998,) 23–40.
*Thurman, Chris (ed.), South African Essays on ‘Universal’ Shakespeare (Farnham, 2014).
*Willan, Brian, Sol Plaatje: South African Nationalist, 1876–1932 (Berkeley, CA, 1984).
Willan, Brian, ‘Whose Shakespeare? Early Black Engagements with Shakespeare’, Shakespeare in Southern Africa 24 (2012), 3–24.
Wright, Laurence, ‘Cultivating Grahamstown: Nathaniel Merriman, Shakespeare and Books’, Shakespeare in Southern Africa 20 (2008), 25–38.
——, ‘Shakespeare in South Africa: Alpha and “Omega”’, Postcolonial Studies 7 (2006), 63–81.
*—— (ed.), The Shakespearean International Yearbook, Volume 9: Special Section, South African Shakespeare in the Twentieth Century (Ashgate, 2009).
China
PRIMARY SOURCES
Lamb, Charles and Mary Lamb, Tales from Shakespeare, ed. Marina Warner (London, 2007).
Li, Zhisui, The Private Life of Chairman Mao: The Memoirs of Mao’s Personal Physician, ed. Anne F. Thurston (London, 1994).
SECONDARY SOURCES
Barber, C. L., Shakespeare’s Festive Comedy (Princeton, NJ, 1959).
Berry, Edward, ‘Teaching Shakespeare in China’, Shakespeare Quarterly 39 (1988), 212–16.
Boorman, Howard L., ‘The Literary World of Mao Tse-tung’, The China Quarterly 13 (1963), 15–38.
Brockbank, Philip, ‘Shakespeare Renaissance in China’, Shakespeare Quarterly 39 (1988), 195–204.
Brooks, Douglas A. and Lingui Yang(eds), Shakespeare and Asia (Lewiston, NY, 2010).
Dusinberre, Juliet, Shakespeare and the Nature of Women (London, 1975).
Empson, William, The Structure of Complex Words, 3rd edn (London, 1995).
Fan, Shen, ‘Shakespeare in China: The Merchant of Venice’, Asian Theatre Journal 5 (1988), 23–37.
He, Qixin, ‘China’s Shakespeare’, Shakespeare Quarterly 37 (1986), 149–59.
Howard, Jean E. and Scott Cutler Shershow (eds), Marxist Shakespeares (London, 2000).
Hsu, Tao-Ching, The Chinese Conception of the Theatre (Seattle, 1985).
*Huang, Alexander C. Y., Chinese Shakespeares: Two Centuries of Cultural Exchange (New York, 2009).
Huang, Alexander C. Y. and Charles S. Ross (eds), Shakespeare in Hollywood, Asia and Cyberspace (West Lafayette, IN, 2009).
Irish, Tracy, Shakespeare: A Worldwide Classroom (London: RSC Education/British Council report, 2012).
Jardine, Lisa, Still Harping on Daughters: Women and Drama in the Age of Shakespeare (London, 1983).
Kennedy, Dennis and Yong Li Lan (eds), Shakespeare in Asia: Contemporary Performance (Cambridge, 2010).
*Lanier, Douglas M., ‘Shakespearean Rhizomatics: Adaptation, Ethics, Value’, in Alexander C. Y. Huang and Elizabeth Rivlin (eds), Shakespeare and the Ethics of Appropriation (New York, 2014), 21–40.
Lee, Adele, “‘Chop-socky Shakespeare”?!: The Bard Onscreen in Hong Kong’, Shakespeare Bulletin 28 (2010), 459–80.
*Levith, Murray J., Shakespeare in China (London, 2004).
Li, Jun, ‘Popular Shakespeare in China: 1993–2008’, unpublished PhD thesis, Chinese University of Hong Kong (2013).
Li, Ruru, ‘The Bard in the Middle Kingdom’, Asian Theatre Journal 12 (1995), 50–84.
*——, Shashibiya: Staging Shakespeare in China (Hong Kong, 2003).
Lu, Tonglin, ‘Zhu Shenghao: Shakespeare Translator and a Shakespearean Tragic Hero in Wartime China’, Comparative Literature Studies 49 (2012), 521–36.
Makaryk, Irena R. and Joseph G. Price (eds), Shakespeare in the Worlds of Communism and Socialism (Toronto, 2006).
Ng, Yong-sang, ‘The Poetry of Mao Tse-tung’, The China Quarterly 13 (1963), 60–73.
Spurgeon, Caroline F. E., Shakespeare’s Imagery, and What it Tells Us (Cambridge, 1935).
Sun, Yanna, ‘General Problems in Chinese Translations of Shakespeare’, Asian Culture and History 2 (2010), 232–35.
——, ‘Shakespeare Reception in China’, Theory and Practice in Language Studies 2 (2012), 1931–38.
Tam, Kwok-kan, Andrew Parkin and Terry Siu-han Yip (eds), Shakespeare Global/Local: The Hong Kong Imaginary in Transcultural Production (New York, 2002).
Terrill, Ross, Madame Mao: The White-Boned Demon, a Biography, 3rd edn (Stanford, CA, 1999).
Wong, Dorothy, “‘Domination by consent”: A study of Shakespeare in Hong Kong’ in Theo D’haen and Patricia Krüs (eds), Colonizer and Colonized (Amsterdam, 2000), 43–56.
Yu, Weijie, ‘Topicality and Typicality: The Acceptance of Shakespeare in China’, in Erika Fischer-Lichte (ed.), The Dramatic Touch of Difference: Theatre, Own and Foreign (Tübingen, 1990).
Zha, Peide and Tian Jia, ‘Shakespeare in Traditional Chinese Operas’, Shakespeare Quarterly 39 (1988), 204–11.
Zhang, Xiao Yang, Shakespeare in China: A Comparative Study of Two Traditions and Cultures (Newark, DE, 1996).
Zhang, Chong, ‘Translating Shakespeare across Language and Culture: a Chinese Perspective’, in Douglas A. Brooks and Lingui Yang (eds), Shakespeare and Asia (Lewiston, NY, 2010), 281–96.
FILMS
The Bad Sleep Well [Warui Yatsu Hodo Yoku Nemuru], dir. Akira Kurosawa (Japan, 1960).
Censor Must Die, dir. Ing Kanjanavanit (Thailand, 2014).
Shakespeare Must Die, dir. Ing Kanjanavanit (Thailand, 2012).
Throne of Blood [Kumonosu-Jō], dir. Akira Kurosawa (Japan, 1957).
Yi jian mei [A Spray of Plum Blossom], dir. Bu Wancang (China, 1931).
General reference
Boose, Lynda E. and Richard Burt (eds), Shakespeare, the Movie: Popularising the plays on Film, TV and Video (London, 1997).
——, Shakespeare, the Movie II: Popularising the Plays on Film, TV, Video and DVD (London, 2003).
Bullough, Geoffrey, Narrative and Dramatic Sources of Shakespeare, 8 vols (London, 1957–75).
De Grazia, Margreta and Stanley Wells (eds), The New Cambridge Companion to Shakespeare (2010).
Dickson, Andrew, The Rough Guide to Shakespeare, 2nd edn (London, 2009).
Dobson, Michael and Stanley Wells (eds), The Oxford Companion to Shakespeare (Oxford, 2003).
Honan, Park, Shakespeare: A Life (Oxford, 1998).
Nicholl, Charles, The Lodger: Shakespeare in Silver Street (London, 2008).
Rothwell, Kenneth S. and Annabelle H. Melzer, Shakespeare on Screen: An International Filmography and Videography (New York, 1990).
Shakespeare, William, The Complete Works, ed. Stanley Wells and Gary Taylor, 2nd edn (Oxford, 2005).
Wells, Stanley and Sarah Stanton (eds), The Cambridge Companion to Shakespeare on Stage (Cambridge, 2002).
Wells, Stanley, Russell Jackson and Jonathan Bate (eds), The Oxford Illustrated History of Shakespeare on Stage (Oxford, 2001).
Acknowledgements
Five years of travelling, reading, watching and interviewing have left me with countless debts scattered across the world. Many of the people who helped me plot a route, or assisted me along the way, appear in these pages. Many more do not. To all, my thanks.
To the folk at the Wylie Agency, particularly Alba Ziegler-Bailey; and most of all to my agent, Sarah Chalfant, who believed in this book when many people – including its author – did not.
To the superb team at Bodley Head: Will Hammond for imaginative and thoughtful editing; Stuart Williams for commissioning the book and cheering me on; and Mary Chamberlain for gimlet-eyed copy-editing; and John Garrett for meticulous proofing. Thanks also to everyone at Holt in New York: especially Gillian Blake, for taking on the project with such enthusiasm; and to Caroline Zancan, for wise editorial counsel.
I owe a huge debt of gratitude to Jonathan Buckley, Paul Prescott and Stanley Wells, who valiantly read the entire manuscript and contributed numerous thoughts and pointers. Thanks also to Laura Barnett and Emma Draper, both of whom read specific sections. My specialist readers, Alexa Huang, Emily Oliver, Kim C. Sturgess, Preti Taneja and Chris Thurman, generously set aside large amounts of time to read and comment on individual chapters, and have spared me multiple blushes. (Any errors and blushes that remain are my o
wn.)
Thanks to the Society of Authors, for their generous gift of a Michael Meyer award, which helped considerably with research expenses. To Anna Cochemé, Matthew Fox, Varsha Panjwani, Robin Powell and Ashley Shen, who offered expertise with translation and transliteration from a great feast of languages. To Shonali Gajwani, who cheerfully (and accurately) transcribed many hours of tape. To Bob Dylan, who generously allowed use of lines from ‘Stuck Inside of Mobile with the Memphis Blues Again’.
Aoife Monks and Louise Owen invited me to join the Centre for Contemporary Theatre at Birkbeck as an honorary fellow, which made the research process several million times easier and infinitely more enjoyable. Paul Prescott and Paul Edmondson kindly asked me to join them on a visiting fellowship at the University of Warwick, which provided valuable thinking time and enabled me to deliver some early material in lecture form.
Scholars and Shakespearians have let me bother them with damn-fool questions, or shared work in progress: Thea Buckley, Christie Carson, Koel Chatterjee, Natasha Distiller, Michael Dobson, Rachel Dwyer, Peter Holland, Tony Howard, Christa Jansohn, Adele Lee, Sonia Massai, David Schalkwyk, Ben Schofield, Emma Smith, Poonam Trivedi, René Weis and Stanley Wells.
Guardian colleagues have indulged my Shakespearian obsessions, or fed the addiction, by commissioning me to write about them: notably Lisa Allardice, Michael Billington, Melissa Denes, Lyn Gardner, Charlotte Higgins, Paul Laity, Caspar Llewellyn-Smith, Alex Needham, Alan Rusbridger, Catherine Shoard, Liese Spencer and Chris Wiegand.
Tom Bird at Shakespeare’s Globe courteously allowed me to rummage through his contacts book and offered assistance at numerous points. Brian Willan responded to a fusillade of queries about Solomon Plaatje, and kindly sent me unpublished chapters of his updated biography. Matthew Hahn generously shared his play about the Robben Island Bible and transcripts of his interviews with surviving prisoners. Ruru Li went far beyond the call of duty and put me in touch with an army of Chinese Shakespearians. David Smith did similar in Johannesburg.
For kindnesses large and small: Jamie Andrews, Margaret Makepiece and Zoë Wilcox at the British Library; Rachel Aspden; Jenny Carpenter; Alisan Cole at the Shakespeare Birthplace Trust; Christopher Cook; Yaël Farber; Ben Fowler; Cathy Gomez, Rebecca Simor and Paul Smith at the British Council; Roger Granville and Corinne Jaber; Donald Howarth; Tracy Irish; Patrick Spottiswoode; Janet Suzman; Becky Vincent at the BBC.
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