Worlds Elsewhere (81 page)

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).

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).

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).

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 own.)

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.

As well as the subjects interviewed in these pages, a sizeable cast of people helped behind the scenes during my travels, either making time to speak to me or pinning down people who would.

In Poland and Germany: Jerzy Limon, Robert Florczak and everyone at the Teatr Szekspirowski, Gdańsk; Tobias Döring, Werner Habicht, Dieter Mehl and Sabine Schülting at the Deutsche Shakespeare-Gesellschaft; Manfred Koltes, Susann Leine and Ulrike Müller-Harang in Weimar; Anke Hoffsten at the NS-Dokumentationszentrum in Munich; Lars Eidinger, Annika Frahm, Thomas Ostermeier, Volker Lösch and Marius von Mayenburg at the Schaubühne, Berlin; Stephan Dörschel and Maren Horn at the Heiner Müller archive, Akademie der Künste, Berlin; Mark Espiner, Maik Hamburger, Norbert Kentrup, Ramona Mosse and Philip Oltermann in Berlin.

In the US: Juliette Swenson at Anne Hathaway's Cottage, Staunton; Ralph Cohen and Sarah Enloe at the American Shakespeare Center; Garland Scott and Georgianna Ziegler at the Folger; Michael Kahn at the Shakespeare Theatre Company, Washington DC; Marilyn Langbehn at Cal Shakes; Bill Eddelman in San Francisco; Daniel Ketcham at the Nevada County Historical Society; Pat Chesnut at the Searls Historical Library, Nevada City; Mike Hausberg and Darlene Gould Davies at the Old Globe; Mairi McLaughlin and Stewart Maclennan in LA.