Shakespeare S Local

This book is the first to explore the rich archive of Shakespeare in Indian cinemas, including less familiar, Indian language cinemas to contribute to the assessment of the expanding repertoire of Shakespeare films worldwide. Essays cover mainstream and regional Indian cinemas such as the better known Tamil and Kannada, as well as the less familiar regions of the North Eastern states. The volume visits diverse filmic genres, starting from the earliest silent cinema, to diasporic films made for global audiences, television films, independent films, and documentaries, thus expanding the very notion of ‘Indian cinema’ while also looking at the different modalities of deploying Shakespeare specific to these genres. Shakespeareans and film scholars provide an alternative history of the development of Indian cinemas through its negotiations with Shakespeare focusing on the inter-textualities between Shakespearean theatre, regional cinema, performative traditions, and literary histories in India. The purpose is not to catalog examples of Shakespearean influence but to analyze the interplay of the aesthetic, historical, socio-political, and theoretical contexts in which Indian language films have turned to Shakespeare and to what purpose. The discussion extends from the content of the plays to the modes of their cinematic and intermedial translations. It thus tracks the intra–Indian flows and cross-currents between the various film industries, and intervenes in the politics of multiculturalism and inter/intraculturalism built up around Shakespearean appropriations. Contributing to current studies in global Shakespeare, this book marks a discursive shift in the way Shakespeare on screen is predominantly theorized, as well as how Indian cinema, particularly ‘Shakespeare in Indian cinema’ is understood.

Drawing on debates around the global/local dimensions of cultural production, an international team of contributors explore the appropriation of Shakespeare’s plays in film and performance around the world. In particular, the book examines the ways in which adapters and directors have put Shakespeare into dialogue with local traditions and contexts. The contributors look in turn at ‘local’ Shakespeares for local, national and international audiences, covering a range of English and foreign appropriations that challenge geographical and cultural oppositions between ‘centre’ and ‘periphery’, and ‘big-time’ and ‘small-time’ Shakespeares. Responding to a surge of critical interest in the poetics and politics of appropriation, World-Wide Shakespeares is a valuable resource for those interested in the afterlife of Shakespeare in film and performance globally.

Welcome to the George Inn near London Bridge; a cosy, wood-pannelled, galleried coaching house a few minutes walk from the Thames. Grab yourself a pint, listen to the chatter of the locals and lean back, resting your head against the wall. And then consider this: who else has rested their head against that wall, over the last 600 years? Chaucer and his fellow pilgrims almost certainly drank in the George on their way out of London to Canterbury. It's fair to say that Shakespeare will have popped in from the nearby Globe for a pint, and we know that Dickens certainly did. Mail carriers changed their horses here, before heading to all four corners of Britain - while sailors drank here before visiting all four corners of the world... The pub, as Pete Brown points out, is the "primordial cell of British life" and in the George he has found the perfect case study. All life is here, from murderers, highwaymen and ladies of the night to gossiping pedlars and hard-working clerks. So sit back and watch as buildings rise and fall over the centuries, and "the beer drinker's Bill Bryson" (TLS) takes us on an entertaining tour through six centuries of history, through the stories of everyone that ever drank in one pub.

This collection of scholarly essays offers a new understanding of local and global myths that have been constructed around Shakespeare in theatre, cinema, and television from the nineteenth century to the present. Drawing on a definition of myth as a powerful ideological narrative, Local and Global Myths in Shakespearean Performance examines historical, political, and cultural conditions of Shakespearean performances in Europe, Asia, and North and South America. The first part of this volume offers a theoretical introduction to Shakespeare as myth from a twenty-first century perspective. The second part critically evaluates myths of linguistic transcendence, authenticity, and universality within broader European, neo-liberal, and post-colonial contexts. The study of local identities and global icons in the third part uncovers dynamic relationships between regional, national, and transnational myths of Shakespeare. The fourth part revises persistent narratives concerning a political potential of Shakespeare’s plays in communist and post-communist countries. Finally, part five explores the influence of commercial and popular culture on Shakespeare myths. Michael Dobson’s Afterword concludes the volume by locating Shakespeare within classical mythology and contemporary concerns.

This remarkable volume challenges scholars and students to look beyond a dominant European and North American 'metropolitan bank' of Shakespeare knowledge. As well as revealing the potential for a new understanding of Shakespeare's plays, Martin Orkin adopts a fresh approach to issues of power, where 'proximations' emerge from a process of dialogue and challenge traditional notions of authority. Divided into two parts this book: encourages us to recognise the way in which 'local' or 'non-metropolitan' knowledges and experiences might extend understanding of Shakespeare's texts and their locations demonstrates the use of local as well as metropolitan knowledges in exploring the presentation of masculinity in Shakespeare's late plays. These plays themselves dramatise encounters with different cultures and, crucially, challenges to established authority.

Local/ Global Shakespeare and Advertising examines the local/ global and rhizomatic phenomenon of Shakespeare as advertised and Shakespeare as advertising. Starting from the importance and the awareness of advertising practices in the early modern period, the volume follows the evolution of the use of Shakespeare as a promotional catalyst up to the twenty-first century. The volume considers the pervasiveness of Shakespeare’s marketability in Anglophone and non-Anglophone cultures and its special engagement with creative and commercial industries. With its inter-and transdisciplinary perspective and its international scope, this book brings new insights into Shakespeare’s selling power, Shakespeare as the object of advertising and Shakespeare as part of the advertising vehicle, in relation to a range of crucial cultural, ideological and political issues.

Explored in this essay collection is how Shakespeare is rewritten, reinscribed and translated to fit within the local tradition, values, and languages of the world's various communities and cultures. Contributors show that Shakespeare, regardless of the medium - theater, pedagogy, or literary studies - is commonly 'rooted' in the local customs of a people in ways that challenge the notion that his drama promotes a Western idealism. Native Shakespeares examines how the persistent indigenization of Shakespeare complicates the traditional vision of his work as a voice of Western culture and colonial hegemony. The international range of the collection and the focus on indigenous practices distinguishes Native Shakespeares from other available texts.