List of contributors; Acknowledgements; Introduction; 1. Defining Local Shakespeares; Sonia Massai; Part One: Local Shakespeares for Local Audiences; 2. A Branch of the Blue Nile: Derek Walcott and the Tropic of Shakespeare; Tobias Doring; 3. Political Pericles; Suzanne Gossett; 4. 'Shylock as Crypto-Jew: A New Mexican Adaptation of The Merchant of Venice'; Elizabeth Klein and Michael Shapiro; 5. Negotiating Intercultural Spaces: Much Ado About Nothing and Romeo and Juliet on the Chinese Stage; Ruru Li; 6. 'It is the bloody business which informs thus ' Local Politics and Performative Praxis: Macbeth in India; Poonam Trivedi; Part Two: Local Shakespeares for National Audiences; 7. Relocating and Dislocating Shakespeare in Robert Sturua's Twelfth Night and Alexander Morfov's The Tempest; Boika Sokolova; 8. I am not bound to please thee with my answers: The Merchant of Venice on the German Stage; Sabine Schulting; 9. Abusing the Shrew on the Prague stage; Marcela Kostihova; 10. 'Shooting the Hero: The Cinematic Career of Henry V from Laurence Olivier to Philip Purser'; Ton Hoensellars; 11. Lamentable Tragedy or Black Comedy: Friedrich Durrenmatt's Adaptation of Titus Andronicus; Lukas Erne; 12. Subjection and Redemption in Pasolini's Othello; Sonia Massai; 13. Meaning by Shakespeare South of the Border; Alfredo Modenessi; 14. Dreams of England; Robert Shaughnessy; 15. The Cultural Logic of Correcting The Merchant of Venice; Maria Jones; Part Three: Local Shakespeare for International Audiences; 16. Dancing with Art: Robert Lepage's Hamlet; Margaret Jane Kidnie; 17. Hekepia? The Mana of the Maori Merchant; Mark Houlahan; 18. The Haiku Macbeth: Shakespearean Antithetical Minimalism in Kurosawa's Kumonosu-jo; Saviour Catania; Afterword; Adaptation/Appropriation; Barbara Hodgdon

An international team of leading scholars 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. Their specialist knowledges of local cultures and traditions make the range of appropriations newly accessible--and newly fascinating--for world-wide readers. Drawing upon debates around the global/local dimensions of cultural production and on Pierre Bourdieu's notion of the 'cultural field', the contributors together demonstrate a significant new approach to intercultural appropriations of Shakespeare. Responding to a surge of critical interest in the poetics and politics of appropriation, World-Wide Shakespeares represents a valuable resource for those interested in the afterlife of Shakespeare in film and performance, within and beyond Anglophone cultural centres.