Shakespearean Journeys
The Inaugural Conference of the Asian Shakespeare Association
National Taiwan University
National Taiwan Normal University
15-18 May 2014
ORGANIZERS
Asian Shakespeare Association
National Taiwan University
Taiwan Shakespeare Association
National Taiwan Normal University
PARTNERS
British Council Taiwan
Fu Jen Catholic University
National Tsing Hua University
National Chi Nan University
National Chiao Tung University
National Cheng Kung University
National Hsinchu University of Education
National Taitung University
National Museum of Taiwan Literature
National Chengchi University
SPONSORS
Ministry of Science and Technology
Ministry of Culture
Ministry of Foreign Affairs
Hakka Affairs Council
Department of Information and Tourism, Taipei City Government
ORGANIZING COMMITTEE
CHAIR
Bi-qi Beatrice LEI, National Taiwan
University
SCHOLARLY SUBCOMMITTEE
CHIU Chin-jung (Coordinator), Deputy
Dean, College of Liberal Arts, National
Taiwan University
Yanwing LEUNG, Chair, Department of
Foreign Languages and Literatures,
National Taiwan University
HO I-fan, National Hsinchu University
of Education
YANG Cheng-shu, Director, Graduate
Institute of Comparative Cultural
Studies, Fu Jen Catholic University
Xavier Wei-cheng LIN, Chair,
Department of Foreign Languages and
Literature, National Chi Nan University
Alan Ying-Nan LIN, National Taiwan
Normal University
CHANG Shu-li, Chair, Department of
Foreign Languages and Literature,
National Cheng Kung University
T. J. SELLARI, National Chengchi
Univerity
CHEN Shu-fen, National Taitung
University
JIANG Tsui-fen, National Chengchi
University
PERFORMANCE SUBCOMMITTEE
Cecilia H. C. LIU, Fu Jen Catholic
University
PERNG Ching-Hsi (Coordinator),
National Taiwan University and Fu Jen
Catholic University
CHOU Shu-hua, National Taiwan
University
INTERNATIONAL SUBCOMMITTEE
HO Kang Ko, Director, Graduate
Institute of Performing Arts, National
Taiwan Normal University
SU Tsu-Chung (Coordinator), National
Taiwan Normal University
CHEN Fang, National Taiwan Normal
University
CHEN Jo-shui, Dean, College of Liberal
Arts, National Taiwan University
Susan Shu-cheng LIN, Director,
Performing Arts Center, National
Taiwan Normal University
Luisa Shu-Ying CHANG, Dean, Office
of International Affairs, National
Taiwan University
2 Iris Hsin-Chun TUAN, National Chiao
Tung University
LIN Ho-yi, Chair, Department of
Drama and Theatre, National Taiwan
University
Joan Chiung-huei CHANG, Chair,
Department of English, National
Taiwan Normal University
Vivian Ching-Mei CHU, National Taiwan
University
LAI Hsin-Yuan, Director Taiwan, British
Council
SHEN Tung, Director, Center for the
Arts, National Taiwan University
Lia Wen-Ching LIANG, National Tsing
Hua University
Theresa Der-Lan YEH, Director, Foreign
Language Teaching and Resource Center,
National Taiwan University
ABOUT ASIAN SHAKESPEARE ASSOCIATION
Asia has affected the study and performance of Shakespeare, in Asia and around the
world. This calls for a collective effort—increasing exchanges and collaborations
among Asian Shakespeareans, and between Asia and the rest of the world. But given
the vastness and diversity of Asia, the richness of its scholarship and theatres, we can,
should, and must do more. Responding to the call by Bi-qi Beatrice Lei to establish a
formal association, scholars, artists, and students across the globe signed up to help
found the Asian Shakespeare Association (ASA), a non-profit, non-government
organization dedicated to researching, producing, teaching, translating, and
promoting Shakespeare from an Asian perspective.
Ratified by the generally elected Executive Committee, our Constitution details the
ASA’s mission, governance, and membership. Registered in Manila as a non-profit,
non-government organization, the ASA currently has nearly 350 members,
representing Australia, Canada, China, Germany, Hong Kong, India, Iran, Ireland,
Israel, Italy, Japan, Korea, Macau, Malaysia, New Zealand, Norway, Oman, the
Philippines, Poland, Qatar, Singapore, Taiwan, Turkey, the United Arab Emirates, the
United Kingdom, and the United States.
The ASA holds biannual conferences at Asian locations, and plans to publish a
peer-reviewed journal annually through an international publisher. Registered
members also receive the quarterly Asian Shakespeare Newsletter, where one finds the
latest events, calls for papers, and publications in the field.
THE ASA EXECUTIVE COMMITTEE
Chair
Treasurer
Bi-qi Beatrice LEI (National Taiwan
University, Taiwan)
Alexa HUANG (George Washington
University, USA)
Vice Chairs
Members
Judy Celine ICK (University of the
Philippines Diliman, Philippines)
KIM Kang (Honam University, Korea)
Poonam TRIVEDI (University of Delhi,
India)
Secretary
YOSHIHARA Yukari (University of
Tsukuba, Japan)
LUO Yimin (Southwest University, China)
MINAMI Ryuta (Shirayuri College, Japan)
PERNG Ching-Hsi (National Taiwan
University and Fu Jen Catholic
University, Taiwan)
http://AsianShakespeare.org
Department of English and Comparative Literature
College of Arts and Letters
University of the Philippines Diliman
1101 Quezon City, Philippines
E-Mail: [email protected]
3 CONFERENCE CO-ORGANIZERS
TAIWAN SHAKESPEARE ASSOCIATION
Shakespeare thrives in Taiwan’s theatres, classrooms, and academies. To provide a
platform for communication and exchange, “Taiwan ShakeScene,” a scholarly
community founded by National Taiwan University’s Perng Ching-Hsi in 2008, was
transformed into the Taiwan Shakespeare Association, officially registered with the
Ministry of the Interior in 2013. The Taiwan Shakespeare Association is committed
to promoting the study, teaching, and performance of Shakespeare; fostering
exchanges and joint programs; participating in international conferences and other
related events; and holding, collaborating in or effectuating Shakespearean activities,
in cooperation with other local organizations.
President
Bi-qi Beatrice LEI (National Taiwan University)
Governing Board Members
CHEN Fang (National Taiwan Normal University)
Vivian Ching-Mei CHU (National Taiwan University)
Yanwing LEUNG (National Taiwan University)
Lia Wen-Ching LIANG (National Tsing Hua University)
PERNG Ching-Hsi (National Taiwan University and Fu Jen Catholic University)
SU Tsu-Chung (National Taiwan Normal University)
WANG I-chun (Kaohsiung Medical University)
WANG Shu-hua (National Ilan University)
Supervising Board Members
WANG Hui-chuan (Chief Supervisor, Tamkang University)
PERNG Hui-zung, WANG Yi-Meei (National Taiwan University)
Secretary-General
CHIU Chin-jung (National Taiwan University)
NATIONAL TAIWAN UNIVERSITY
Founded in 1928 as Taihoku Imperial University by the Japanese, National Taiwan
University (NTU) was reorganized in 1945 and acquired its current name. In the
following years, NTU expanded and progressed in step with growing budgets and
rising social expectations. Now, NTU is a comprehensive university with 11 colleges,
54 departments and 103 graduate institutes, plus 4 university-level research centers. It
has campuses across Taiwan, and its land holding of 84,710 acres amounts to nearly
1% of the total area of the Taiwan island. The total number of students exceeds
33,000, of which approximately 48% are graduate students. Not only the largest,
NTU is also generally considered to be one of the best universities in Taiwan. It is
internationally recognized for scholarly excellence, and has been ranked as one of the
top 100 universities worldwide, and one of the top 20 in Asia. NTU’s Department of
Foreign Languages and Literatures, home of the ASA’s Preparatory Office and
Headquarters of the TSA, is widely considered to be East Asia’s best English
Department, where Shakespeare is still at the core of the curriculum.
4 NATIONAL TAIWAN NORMAL UNIVERSITY
National Taiwan Normal University (NTNU) is a vibrant learning community that
has long been recognized as one of Taiwan’s elite institutions of higher education.
Founded in 1946, NTNU was formerly an institute for teachers’ education, that later
emerged as a comprehensive university. Bearing tradition and innovation as the
hallmarks, today, NTNU consists of 10 colleges that include 32 departments and 22
graduate institutes, offering a wide variety of courses and degrees. NTNU not only
bears an active academic climate but also embraces cultural diversity, of which
NTNU is internationally known for its distinguished language program, the Mandarin
Training Center, that draws more than a thousand students from over 60 countries
each year to undertake Chinese Mandarin studies.
CONFERENCE STAFF
General Manager
WANG Chunling
Project Manager (NTNU)
Gary Chi-Tsung CHEN
Assistant Manager (NTU)
Connie Yueh-Tung LIN
Graphic Design
Bi-qi Beatrice LEI
Technical Directors
LIN Chen-yu (Betrayal)
Abner LU (Nomad Lear)
Gina LEE (Sintang Dalisay)
Photographers
Michelle HSU
Vanessa CHEN
Annie LIN
Receptionists
Maggie HSU
Frank WANG
Andrea LEE
Jessie LIN
Mary LIN
Kate CHANG
Clara LAI
Ellen Yu-Hui SUN
Summer YIN
Korean Translators
PARK Minjung
YUN Hyeji
5 CONFERENCE OVERVIEW
By land or sea, across city and country, journeys comprise an important motif in
Shakespeare’s works, be they smooth or perilous, round trip or to an undiscovered
country from whose bourne no travelers return. The journeys undertaken can be
physical, emotional, spiritual, or a combination. Though not in person, Shakespeare also
journeys extensively, crossing not only time and space but also language, culture, and
media. A most versatile and protean voyager, Shakespeare sometimes travels light and
does as the locals do, yet sometimes carries heavy baggage and remains a stranger in a
foreign land. “Shakespearean Journeys” aims to explore all aspects of this theme.
KEYNOTE SPEAKERS
*
*
*
*
*
*
Peter HOLBROOK (University of Queensland, Australia)
KAWACHI Yoshiko (Kyorin University, Japan)
Dennis KENNEDY (Trinity College Dublin, Ireland)
Lena Cowen ORLIN (Georgetown University, USA)
PERNG Ching-Hsi (National Taiwan University and Fu Jen Catholic University, Taiwan)
SHEN Lin (Central Academy of Drama, China)
SPECIAL GUESTS
* Rustom BHARUCHA (Jawaharlal Nehru University, India)
* Ing K (Thailand)
LIVE PERFORMANCES
* Betrayal (Rom Shing Hakka Opera Troupe, Taiwan)
* Nomad Lear (Nomad Theater, Korea)
* Sintang Dalisay (Tanghalang Ateneo, Philippines)
FILM SCREENING
* Censor Must Die (Thailand)
* Shakespeare Must Die (Thailand)
WORKSHOPS
* Hakka Opera (Rom Shing Hakka Opera Troupe, Taiwan)
* Igal: Dance from the Southern Seas (Matthew SANTAMARIA, University of the
Philippines Diliman, Philippines)
* Workshop in the Sonnets (Dennis KENNEDY, Trinity College Dublin, Ireland)
DIGITAL EXHIBIT
* Taiwan Shakespeare Database (National Taiwan University, Taiwan)
* MIT Global Shakespeares Video and Performance Archive (Massachusetts
Institute of Technology, USA)
* Asian Shakespeare Intercultural Archive (A|S|I|A, National University of
Singapore, Singapore)
INTERLUDE
* Selections from Campfire (Chinese Culture University, Taiwan)
7 PROGRAM AT A GLANCE
An asterisk (*) next to the event time indicates parallel events in session
12:20~13:20*
12:30~14:00*
13:30~15:00*
14:10~15:40*
15:20~17:20*
15:50~17:20*
18:30~21:30
09:10~09:30
09:30~10:20
10:20~10:40
10:40~12:00
12:20~12:50
12:50~13:50
14:00~14:10
14:10~15:00
15:10~16:30*
16:40~18:00*
18:10~19:40
19:00~22:00*
20:00~20:10*
20:10~21:30*
21:30~22:00*
THURSDAY 15 MAY
TSA Executive Committee Meeting
Hakka Opera Workshop
ASA Executive Committee Meeting
Igal Workshop
Pre-Conference Session
Workshop in the Sonnets
Film Shakespeare Must Die
FRIDAY 16 MAY
Opening Ceremony
Keynote “Shakespeare and the Idea of Motion” (Peter
Holbrook)
Coffee Break
Plenary Session “Shakespeare and Asia”
Press Conference
Lunch
Welcoming Remarks
Keynote “Shakespeare on the Move: Travel, Tourism and
the Globe” (Dennis Kennedy)
Seminar 1 “Translating the ‘Untranslatable’: TransCultural and Trans-Media Migration of Shakespeare”
(Minami Ryuta)
Seminar 2 “Shakespeare across Media” (Yoshihara Yukari)
Seminar 3 “Crossing Gender and Cultural Boundaries in
Shakespeare: Cross-dressing in Plays, Adaptations, and
Popular Culture” (Chen Yilin and Ian Maclennan)
Seminar 4 “Travel and Identity: Renegotiating the Self in
and through Shakespeare” (Paromita Chakravarti)
Seminar 5 “Cross-Cultural Performativity of
Shakespearean Plays” (Katrine K Wong)
Seminar 6 “Shakespeare Performance and Contemporary
Asian Politics” (Yong Li Lan)
Seminar 7 “The Journey: Scene of and Metaphor for
Transformation” (T. J. Sellari)
Seminar 8 “Nature, Human Nature, the Supernatural”
(Lim Kien Ket)
Welcome Reception
Interlude “Selections from Campfire”
Film Shakespeare Must Die
Welcoming Remarks
Live Performance Nomad Lear
Post-Performance Discussion
8 National
Taiwan
University
National
Taiwan
University
National
Taiwan
Normal
University
17:30~18:00
18:30~20:30
SATURDAY 17 MAY
Paper Session 1 “Traveling Tales”
Paper Session 2 “Moral and Spiritual Journeys”
Paper Session 3 “Journeys back Home”
Paper Session 4 “Journey to Asia”
Coffee Break
Paper Session 5 “Influence, Translation, and
Transformation”
Paper Session 6 “Early Modern Journeys”
Paper Session 7 “Foreign Shakespeare?”
Paper Session 8 “Relocating Shakespeare”
Lunch
TSA General Meeting
Live Performance Nomad Lear
Post-Performance Discussion (in Chinese)
Film Censor Must Die
Plenary Session “Must Shakespeare Die?”
Coffee Break
Live Performance Sintang Dalisay
Post-Performance Discussion
Hot Pot Banquet
SUNDAY 18 MAY
Keynote “Shakespeare’s Journey from Stratford to
London” (Lena Cowen Orlin)
Coffee Break
Keynote “Shakespeare’s Long Journey to Japan and His
Presence in Asia” (Kawachi Yoshiko)
Keynote “Rise of White Guards and Demise of Red
Songs: Coriolanus in Beijing and Edinburgh 2007-2013”
(Shen Lin)
Lunch
Live Performance Betrayal
Post-Performance Discussion
Coffee Break
ASA General Meeting
Keynote “Counterfeiting Shakespeare” (Perng
Ching-Hsi)
Closing Remarks
Farewell Banquet
21:00~24:00
Farewell Party
09:00~10:20*
10:20~10:40
10:40~12:00*
12:00~13:00*
12:10~13:30*
13:00~14:20*
14:20~14:50*
13:40~15:10*
15:20~16:20
16:40~17:00
17:00~18:30
18:30~19:00
20:00~22:00
09:00~09:50
09:50~10:10
10:10~11:00
11:00~11:50
12:00~13:00
13:30~15:10
15:10~15:40
15:50~16:10
16:10~17:00
17:00~17:30
National
Taiwan
University
NTNU
National
Taiwan
University
Hakkayi
National
Taiwan
University
Garden
Cafeteria
Club Space
9 12 13 IMPORTANT INFORMATION FOR ALL DELEGATES
BADGE
Your conference badge serves not only as pass to the conference rooms but also as
vouchers to the lecture halls, banquets, and performances, so please have it with you at all
time. The name and address of your hotel is printed in Chinese on the back, and can be
shown to taxi drives when needed.
FREE WI-FI SERVICE
Free Wi-Fi access is offered by NTU (NTU) and Taipei City (Taipei Free) to conference
delegates. Your usernames and passwords are printed on the back of your badge.
PAYMENT
The Registration Desk can only accept payment made in cash in TWD—no foreign
currency, credit cards or checks. ATMs are located behind the College of Liberal Arts on
NTU campus.
TRANSPORTATION
Charter service will be provided for
* May 16 Noon, NTU to NTNU (all conference delegates): Board the coach at the NTU
main gate between 12:10 and 12:40.
* May 17 Noon, NTU to NTNU (for the 2nd performance of Nomad Lear only): Board
the taxis at NTU main gate at 12:30.
* May 17 Evening, NTU to Hakkai Shabu Shabu (all conference delegates): Board the
coach at NTU back entrance (near the Language Training and Testing Center) between
19:00 and 19:15.
* May 18 Evening, Garden Cafeteria to Club Space (party participants only): Board in
front of Howard Civil Service International House at 20:40.
Onsite directions to public transportation will be provided for
* May 16 Night, NTNU (Guting Station) to hotels (Gongguan Station)
* May 17 Night, Hakkai Shabu Shabu (Ximen Station) to hotels (Gongguan Station)
Assistance with taxis will be provided at the party.
EXHIBITS
The Book and Digital Exhibits are located at Room 18 and Room 19 of the College of
Liberal Arts building, NTU. The Book Exhibit will close at 16:30 on May 18. Please pick
up your display copy by then. If you fail to do so, the copy will be donated to the ASA.
PARTY
Tickets to the farewell party can be purchased for 600 TWD at the Registration Desk.
14 EMERGENCY NUMBERS
Foreigners Hotline 0800-024-111 (in Mandarin, English, and Japanese)
NTU Medical Hotline 3366-9595
Police 110
Fire 119
GUIDELINES FOR SPEAKERS
PRESENTATION TIME
To facilitate discussion, a keynote address should not exceed 35 minutes, and
presentation at a paper session should not exceed 20 minutes.
MULTIMEDIA
All conference rooms are equipped with a Windows computer, a projector, and live
Internet. You are advised to test your multimedia materials before your scheduled
presentation. If you have special requests, please inform conference organizers in
advance.
SEMINARS
Seminar should be dedicated exclusively to discussion and not to the reading of
papers. Auditing is welcome when space allows.
HONORARIA AND TRAVEL REIMBURSEMENT
Presenters at a paper session, seminar leaders, and session chairs will receive a small
honorarium for your contribution. In addition to a signed receipt, we need a Xerox
copy of your photo ID (ROC ID for locals, and passport photo page for other
nationals). Those who are granted travel subsidy should bring a signed receipt, a
Xerox copy of your passport, an e-ticket with fare specified, and the original copy
of boarding pass stub(s) to the treasurer’s desk. Please mail the boarding pass
stub(s) of your return trip back to us in the enclosed envelope.
15 PROGRAM
Events are listed in the order of starting time.
An asterisk (*) next to the event time indicates parallel events in session.
Thursday 15 May | NATIONAL TAIWAN UNIVERSITY
Registration 12:00-17:00
12:20~ TAIWAN SHAKESPEARE ASSOCIATION EXECUTIVE COMMITTEE
13:20* MEETING
Conference Room, College of Liberal Arts
12:30~ WORKSHOP 1 | Hakka Opera Singing and Movement
14:00* Room 106, Department of Drama and Theatre
CHIANG Yenli (Rom Shing Hakka Opera Troupe, Taiwan)
CHEN Le (Rom Shing Hakka Opera Troupe, Taiwan)
WANG Hsuehlan (Rom Shing Hakka Opera Troupe, Taiwan)
13:30~ ASIAN SHAKESPEARE ASSOCIATION EXECUTIVE COMMITTEE
15:00* MEETING
Conference Room, College of Liberal Arts
14:10~
15:40*
WORKSHOP 2 | Igal: Dance of the Southern Seas
Room 106, Department of Drama and Theatre
Matthew SANTAMARIA (University of the Philippines Diliman,
Philippines)
15:20~ PRE-CONFERENCE SESSION
17:20* Conference Room, College of Liberal Arts
Chair: Cecilia H. C. LIU (Fu Jen Catholic University, Taiwan)
15:50~ WORKSHOP 3 | Workshop in the Sonnets
17:20* Room 106, Department of Drama and Theatre
Dennis KENNEDY (Trinity College Dublin, Ireland)
18:30~ FILM SCREENING 1A | Shakespeare Must Die (first screening)
21:30
Auditorium, College of Liberal Arts
16 Friday 16 May | NATIONAL TAIWAN UNIVERSITY
Registration 08:30-12:30
09:10~ OPENING CEREMONY
Auditorium, College of Liberal Arts
09:30
CHIU Ching-jung (Deputy Dean, College of Liberal Arts, National
Taiwan University, Taiwan)
Bi-qi Beatrice LEI (Chair, Asian Shakespeare Association)
09:30~ KEYNOTE SPEECH 1 | Shakespeare and the Idea of Motion
Auditorium, College of Liberal Arts
10:20
Peter HOLBROOK (University of Queensland, Australia)
Moderator: PERNG Ching-Hsi (National Taiwan University and Fu Jen
Catholic University, Taiwan)
10:20~ COFFEE BREAK
College of Liberal Arts
10:40
10:40~ PLENARY SESSION 1 | Shakespeare and Asia
Auditorium, College of Liberal Arts
12:00
Bi-qi Beatrice LEI (National Taiwan University, Taiwan)
“Asia’s Shakespearean Journey”
Judy Celine ICK (University of the Philippines Diliman, Philippines)
“The Augmentation of the Indies: An Archipelagic Approach to
Asian/Global Shakespeare”
Ted MOTOHASHI (Tokyo University of Economics, Japan)
“‘Two households, both alike in dignity’: Omar Porras’s Romeo and Juliet
and Translation Theory”
Moderator: Rustom BHARUCHA (Jawaharlal Nehru University, India)
17 Friday 16 May | NATIONAL TAIWAN NORMAL UNIVERSITY
Registration 13:00-17:00
12:20~ PRESS CONFERENCE
12:50 Wen-Hui Hall
LAI Hsin-Yuan (Director Taiwan, British Council)
Bi-qi Beatrice LEI (Chair, Asian Shakespeare Association)
Peter HOLBROOK (Chair, International Shakespeare Association)
PERNG Ching-Hsi (Founder, National Taiwan University Shakespeare Forum
and Taiwan Shakespeare Association)
Lena Cowen ORLIN (Executive Director, Shakespeare Association of
America)
Mark HOULAHAN (President, Australian and New Zealand Shakespeare
Association)
12:50~ LUNCH
13:50 Wen-Hui Hall
14:00~ WELCOMING REMARKS
Room 101, Cheng Building
14:10
Joan Chiung-huei CHANG (Chair, Department of English, National
Taiwan Normal University, Taiwan)
14:10~ KEYNOTE SPEECH 2 | Shakespeare on the Move: Travel, Tourism and
15:00 the Globe
Room 101, Cheng Building
Dennis KENNEDY (Trinity College Dublin, Ireland)
Moderator: SU Tsu-Chung (National Taiwan Normal University, Taiwan)
15:10~ SEMINAR 1 | Translating the “Untranslatable”: Trans-Cultural and
16:30* Trans-Media Migration of Shakespeare
Room 103, Zheng Building
MINAMI Ryuta (Shirayuri College, Japan)
SEMINAR 2 | Shakespeare across Media
Room 104, Zheng Building
YOSHIHARA Yukari (University of Tsukuba, Japan)
SEMINAR 3 | Crossing Gender and Cultural Boundaries in Shakespea
Cross-dressing in Plays, Adaptations, and Popular Culture
Room 105, Zheng Building
CHEN Yilin (Providence University, Taiwan)
18 Ian MACLENNAN (Laurentian University, Canada)
SEMINAR 4 | Travel and Identity: Renegotiating the Self in and
through Shakespeare
Room 106, Zheng Building
Paromita CHAKRAVARTI (Jadavpur University, India)
16:40~ SEMINAR 5 | Cross-Cultural Performativity of Shakespearean Plays
18:00* Room 103, Zheng Building
Katrine K WONG (University of Macau, Macau)
SEMINAR 6 | Shakespeare Performance and Contemporary Asian
Politics
Room 104, Zheng Building
YONG Li Lan (National University of Singapore, Singapore)
SEMINAR 7 | The Journey: Scene of and Metaphor for Transformation
Room 105, Zheng Building
T. J. SELLARI (National Chengchi University, Taiwan)
SEMINAR 8 | Nature, Human Nature, the Supernatural
Room 106, Zheng Building
LIM Kien Ket (National Chiao Tung University, Taiwan)
18:10~ WELCOME RECEPTION
19:40 Wen-Hui Hall
LAI Hsin-Yuan (Director Taiwan, British Council)
Interlude: Selections from Campfire (Chinese Culture University, Taiwan)
19:00~ FILM SCREENING 1B | Shakespeare Must Die (second screening)
22:00* Room 101, Cheng Building
20:00 WELCOMING REMARKS
~20:10 Zhi-Yin Theater
*
HO Kang Ko (Director, Graduate Institute of Performing Arts, National
Taiwan Normal University, Taiwan)
20:10~ PERFORMANCE 1A | Nomad Lear (first performance)
21:30* Zhi-Yin Theater
Nomad Theater (Korea)
21:30~ POST-PERFORMANCE DISCUSSION 1A | Nomad Lear
22:00* Zhi-Yin Theater
SON Jeung Woo (Director, Nomad Theater, Korea)
Moderator: KIM Kang (Honam University, Korea)
19 Saturday 17 May | NATIONAL TAIWAN UNIVERSITY
Registration 08:30-15:00 | Book and Digital Exhibits 09:00-15:00
09:00~ PAPER SESSION 1 | Traveling Tales
10:20* Conference Room, College of Liberal Arts
David MCINNIS (University of Melbourne, Australia)
“Travelling by the Book in Dekker’s Old Fortunatus”
Helen M. OSTOVICH (McMaster University, Canada)
“The Travelling Rape Fantasy in Cymbeline”
Mark HOULAHAN (University of Waikato, New Zealand)
“How Chances It That They Travel? Shakespeare’s Book Goes South”
Chair: Julie SANDERS (University of Nottingham Ningbo, China)
PAPER SESSION 2 | Moral and Spiritual Journeys
Room 20, College of Liberal Arts
Laurie WOLF (College of William and Mary, USA)
“Natural Law and Unnatural Women: Isabella’s Journey to Morality through
Rhetorical Transgression”
KIM Kang (Honam University, Korea)
“Hamlet as a Morality Play to Korean Politics in the 1980s”
Richard BURT (University of Florida, USA)
“Shakespeare’s Unread ‘Letters’”
Chair: T. J. SELLARI (National Chengchi University, Taiwan)
PAPER SESSION 3 | Journey back Home
Room 16, College of Liberal Arts
Adele LEE (University of Greenwich, UK)
“Beyond Orientalism?: ‘Chinese Shakespeare’ at the Globe-to-Globe Festival”
Walter S. H. LIM (National University of Singapore, Singapore)
“The Journeys of The Tempest and The Winter’s Tale”
Chair: Ted MOTOHASHI (Tokyo University of Economics, Japan)
PAPER SESSION 4 | Journey to Asia
Room 17, College of Liberal Arts
KOBAYASHI Kaori (Nagoya City University, Japan)
“’The actors come hither’: Shakespearean Productions by Travelling
Companies in Asia”
Poonam TRIVEDI (University of Delhi, India)
“‘The very form and body’ of His Thought: Hamletian Journeys via India”
HSIEH Hsiao-Mei (National Taiwan University, Taiwan)
“Strategies of Adapting Shakespeare in Traditional Theatre in Taiwan”
20 Chair: Lia Wen-Ching LIANG (National Tsing Hua University, Taiwan)
10:20~ COFFEE BREAK
10:40
College of Liberal Arts
10:40~ PAPER SESSION 5 | Influence, Translation, and Transformation
12:00* Conference Room, College of Liberal Arts
Chris BERCHILD (Indiana State University of Honolulu, USA)
“From London to Tokyo: Transforming Shakespearean Space and Place in
a Japanese Context”
Sarbani CHAUDHURY (University of Kalyani, India)
“Cannibalising Shakespeare, Enriching Saksyapīr: Translation and
Performance in Indian Academia”
YANG Lingui (Donghua University, China)
“How Influence Works in Shakespeare’s Creation and Re-Creation”
Chair: MINAMI Ryuta (Shirayuri College, Japan)
PAPER SESSION 6 | Early Modern Journeys
Room 20, College of Liberal Arts
Jason GLECKMAN (Chinese University of Hong Kong, Hong Kong)
“Journeying with Falstaff in Henry IV, Part One”
Rupendra GUHA-MAJUMDAR (University of Delhi, India)
“Shakespeare’s Peripatetic Homecoming: From Roman back to English
Paradigms in Julius Caesar, Antony and Cleopatra and Cymbeline”
CHEANG Wai Fong (Chang Gung University, Taiwan)
“Sea Travel and Medicine in Pericles, Prince of Tyre”
Chair: Kim STURGESS (Qatar University, Qatar)
PAPER SESSION 7 | Foreign Shakespeare?
Room 16, College of Liberal Arts
Brooke CARLSON (Chaminade University of Honolulu, USA)
“A Journeying Shakespeare, or Adjourning Shakespeare: Making (Foreign)
Shakespeare in Seoul”
SUEMATSU Michiko (Gunma University, Japan)
“‘From Bourn to Bourn’: Journeys of Ninagawa Shakespeare”
Kiara PIPINO (Grand Valley State University, USA)
“An International Approach to The Tempest”
Chair: Paromita CHAKRAVARTI (Jadavpur University, India)
PAPER SESSION 8 | Relocating Shakespeare
Room 17, College of Liberal Arts
LI Jun (University of International Business and Economics, China)
“The Bard’s Journey to the ‘Small Time’ in Mainland China”
21 OSHIMA Hisao (Kyushu University, Japan)
“Japanese Stage Representations of Travels in Shakespeare’s Plays in the
Romance Tradition”
Chair: Rita BANERJEE (University of Delhi, India)
12:00~ LUNCH
13:00* College of Liberal Arts
TAIWAN SHAKESPEARE ASSOCIATION GENERAL MEETING
Conference Room, College of Liberal Arts
12:10~
13:30*
12:30~ COACH TRANSPORTATION TO NATIONAL TAIWAN NORMAL
13:00* UNIVERSITY (for ticket holders to Nomad Lear only)
13:00~ PERFORMANCE 1B | Nomad Lear (second performance)
14:20* Zhi Yin Theater, National Taiwan Normal University
Nomad Theater (Korea)
13:40~ FILM SCREENING 2 | Censor Must Die
15:10* Auditorium, College of Liberal Arts
14:20~ POST-PERFORMANCE DISCUSSION 1B | Nomad Lear
Zhi Yin Theater, National Taiwan Normal University
14:50
SON Jeung Woo (Nomad Theater, Korea)
15:20~ PLENARY SESSION 2 | Must Shakespeare Die?
16:20
Auditorium, College of Liberal Arts
Rustom BHARUCHA (Jawaharlal Nehru University, India)
Ing K (Thailand)
Moderator: HSIEH Hsiao-Mei (National Taiwan University, Taiwan)
16:40~ COFFEE BREAK
17:00
Foreign Language Teaching & Resource Center
17:00~ PERFORMANCE 2 | Sintang Dalisay
Audio-Visual Theatre, Foreign Language Teaching & Resource Center
18:30
Tanghalang Ateneo (Philippines)
18:30~ POST-PERFORMANCE DISCUSSION 2 | Sintang Dalisay
Audio-Visual Theatre, Foreign Language Teaching & Resource Center
19:00
Ricardo ABAD (Ateneo de Manila University, Philippines)
Matthew SANTAMARIA (University of the Philippines Diliman, Philippines)
Moderator: Judy Celine ICK (University of the Philippines Diliman,
Philippines)
22 20:00~ HOT POT BANQUET
Hakkayi Shabu Shabu
22:00
Sunday 18 May | NATIONAL TAIWAN UNIVERSITY
Registration 08:30-16:30 | Book and Digital Exhibits 09:00-16:30
09:00~ KEYNOTE SPEECH 3 | Shakespeare’s Journey from Stratford to
London
09:50
Auditorium, College of Liberal Arts
Lena Cowen ORLIN (Georgetown University, USA)
Moderator: WANG I-chun (Kaohsiung Medical University)
09:50~ COFFEE BREAK
10:10
College of Liberal Arts
10:10~
11:00
KEYNOTE SPEECH 4 | Shakespeare’s Long Journey to Japan and
His Presence in Asia
Auditorium, College of Liberal Arts
KAWACHI Yoshiko (Kyorin University, Japan)
Moderator: YOSHIHARA Yukari (University of Tsukuba, Japan)
11:00~
11:50
KEYNOTE SPEECH 5 | Rise of White Guards and Demise of Red
Songs: Coriolanus in Beijing and Edinburgh 2007-2013
Auditorium, College of Liberal Arts
SHEN Lin (Central Academy of Drama, China)
Moderator: YONG Li Lan (National University of Singapore, Singapore)
12:00~ LUNCH
13:00
College of Liberal Arts
13:30~ PERFORMANCE 3 | Betrayal
University Theatre
15:10
Rom Shing Hakka Opera Troupe (Taiwan)
15:10~
15:40
POST-PERFORMANCE DISCUSSION 3 | Betrayal
University Theatre
CHENG Rom-Shing (Artistic Director, Rom-Shing Hakka Opera Troupe,
Taiwan)
CHEN Le (Director, China)
PERNG Ching-Hsi (Playwright, National Taiwan University and Fu Jen
Catholic University, Taiwan)
CHEN Fang (Playwright, National Taiwan Normal University, Taiwan)
Moderator: Lia Wen-Ching LIANG (National Tsing Hua University,
Taiwan)
23 15:50~ COFFEE BREAK
16:10
College of Liberal Arts
ASIAN SHAKESPEARE ASSOCIATION GENERAL MEETING
Auditorium, College of Liberal Arts
16:10~
17:00
17:00~ KEYNOTE SPEECH 6 | Counterfeiting Shakespeare
Auditorium, College of Liberal Arts
17:30
PERNG Ching-Hsi (National Taiwan University and Fu Jen Catholic
University, Taiwan)
Moderator: CHIU Chin-jung (National Taiwan University, Taiwan)
17:30~ CLOSING REMARKS
18:00
Auditorium, College of Liberal Arts
Bi-qi Beatrice LEI (Chair, Asian Shakespeare Association)
18:30~ FAREWELL BANQUET
20:30
Garden Cafeteria
21:00~ FAREWELL PARTY
Club Space
24:00
24 INVITED SPEAKERS
Rustom BHARUCHA
Rustom Bharucha is Professor of Theatre and Performance Studies in the
School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi, India.
Theatre director, dramaturg, cultural critic, and activist, he is the author of
several influential books including Another Asia: Rabindranath Tagore and Okakura
Tenshin (Oxford University Press, 2006), The Politics of Cultural Practice: Thinking
through Theatre in an Age of Globalization (Wesleyan University Press, 2000), and
Theatre and the World: Performance and the Politics of Culture (Routledge, 1993).
Peter HOLBROOK
Peter Holbrook is Professor of Shakespeare and English Renaissance Literature,
University of Queensland, Australia, and Director, UQ Node of the Australian
Research Council Centre of Excellence for the History of Emotions (Europe
1100-1800). He is President of the International Shakespeare Association and is
on the Editorial Board of The Shakespearean International Yearbook. He is author of
Shakespeare’s Individualism (Cambridge University Press, 2010) and Literature and
Degree in Renaissance England: Nashe, Bourgeois Tragedy Shakespeare (University of
Delaware Press, 1994).
Shakespeare and the Idea of Motion
“What he thought, he uttered with that easiness, that we have scarce a received
from him a blot in his papers”: so Heminge and Condell, editors of the First
Folio, on their old colleague and friend William Shakespeare. The image is one
of enormous speed and fluency (“easiness”) of composition. In this paper I
suggest that the notion of fluidity—of change, movement, and dynamism—
goes down very deep in Shakespeare’s work and imagination: thus for example
he has a peculiarly mobile and unstable conception of emotional states, such that
they are not really “states” at all so much as processes. Montaigne, whom
Shakespeare read, at least in part, wrote of his own essays: “I do not portray
being; I portray passing.” Something similar can be said of Shakespeare’s
portrayal of inner life.
KAWACHI Yoshiko
Kawachi Yoshiko obtained her PhD from Keio University and taught at the
Graduate School of Kyorin University, Tokyo. She has been a member of the
International Shakespeare Association since 1974 and an invited member of the
International Shakespeare Conference since 1981. Her scholarly contributions
include Shakespeare Worldwide: Translation and Adaptation (editor- in-chief),
International Studies in Shakespeare and His Contemporaries (editorial board), Japanese
Studies in Shakespeare and His Contemporaries (editor), Multicultural Shakespeare:
Translation, Appropriation and Performance (coeditor), Calendar of English Renaissance
Drama 1558-1642 (author, Garland, 1986), and many translations.
25 Shakespeare’s Long Journey to Japan and His Presence in Asia
Shakespeare is a great traveler like Puck who “puts a girdle round about the earth”
(A Midsummer Night’s Dream, 2.1.175), though he is not as swift-footed as Puck.
Shakespeare arrived in Japan situated in the Far East in the mid-nineteenth
century. Since then, the Japanese have appropriated him as a cultural icon, calling
him “Sao” affectionately. It is worthy of attention that Japan’s acceptance of
Shakespeare was closely connected with her modernization. I will discuss what
cultural work Shakespeare did and does in Japan, focusing on the problems of
translation, adaptation, and performance.
Today Shakespeare is not only the possession of the West but also that of the
East. As Japan has her own Shakespeare, Korea, Taiwan, China, the Philippines,
Thailand, India, and other countries possess their own Shakespeare. In each
country, translators try hard to convey his essential message to readers, and
directors put forth considerable effort to remake his plays while cherishing their
own cultural tradition. Consequently, audiences discover that Shakespeare is
theirs, and moreover, rediscover the value of their traditional drama.
As a globe-trotter, Shakespeare now enjoys exciting adventures without fearing
that his plays will be magically transformed. I wish to debate the merits of
“Intercultural Shakespeare” and the possibility of making Shakespeare, a national
hero of England, keep alive as a cultural hero of Asia. We must realize again that
Shakespeare is a universal and timeless playwright.
Dennis KENNEDY
Dennis Kennedy is Beckett Professor of Drama Emeritus in Trinity College
Dublin. He is the author or editor of many award-winning books, notably
Looking at Shakespeare, Foreign Shakespeare, Shakespeare in Asia, The Spectator and the
Spectacle, The Oxford Encyclopedia of Theatre and Performance, and The Oxford
Companion to Theatre and Performance. He lectures and gives acting workshops
around the world, and has held distinguished visiting professorships at
universities from Berlin to Beijing. A member of the Royal Irish Academy and
Academia Europaea, he has frequently worked as a playwright and dramaturg in
professional theatres internationally. He also writes fiction; in the past year eight
of his short stories have appeared in American and Australian literary magazines.
Shakespeare on the Move: Travel, Tourism and the Globe
Tourism, the world’s largest business, is promoted by governments by advertising
idealized versions of the nation, especially when a country bids for the Olympics.
For the 2012 London Olympics, the UK organized a massive Cultural Olympiad
centred on Shakespeare. Its most remarkable feature was the Globe to Globe
Festival at the Globe Theatre in London, which presented 37 plays in 37
different languages from 37 international companies. The festival was probably
the largest gathering of foreign-language Shakespeare ever seen in a single
country, but its relationship to its audiences, and the reasons for the
magnanimous exhibition, were conflicted and confused. The companies who
26 accepted an invitation did so for significantly different reasons and presented
versions of the plays that, far from representing global Shakespeare, seemed
designed to please local spectators, often in an exoticized mode. Yet a large
majority of most audiences consisted of native speakers of the language spoken
on stage, emphasizing nationalism rather than the cosmopolitanism the
organizers claimed. This lecture analyzes the Globe to Globe festival in order to
uncover some of the reasons why Shakespeare is so readily called upon to do
international service.
Lena Cowen ORLIN
Lena Cowen Orlin is Professor of English at Georgetown University and
Executive Director of the Shakespeare Association of America. Her major
awards include the Andrew W. Mellon Foundation Fellowship at the Folger
Shakespeare Library, the John Simon Guggenheim Memorial Foundation
Fellowship, and the National Endowment for the Humanities Senior Fellowship.
Her publications include Locating Privacy in Tudor London (Oxford University Press,
2007), Private Matters and Public Culture in Post-Reformation England (Cornell
University Press, 1994), A Sourcebook for English Studies: The Renaissance (Palgrave
Macmillan, 2009), and The Bedford Shakespeare (co-edited with Russ McDonald).
Shakespeare’s Journey from Stratford to London
In his 1842 Britannica entry on William Shakespeare, Thomas De Quincey
consolidated a growing tradition that the Stratford-upon-Avon teenager had
been trapped in a miserable marriage by an older woman. Nonetheless, there was
“reason to rejoice” in Shakespeare’s domestic “disappointments,” said De
Quincey, “for to them, past all doubt, we are indebted for Shakespeare’s
subsequent migration to London.” De Quincey’s reading, that Shakespeare
needed to escape an unfortunate marriage in order to achieve his literary
greatness, has now stood for 170 years. It is constitutive to “how Shakespeare
became Shakespeare,” according to Stephen Greenblatt. This paper will suggest
a new way of understanding how it was that Shakespeare was able to leave
Stratford and his father’s way of life for the new opportunities of London’s
commercial theater.
PERNG Ching-Hsi
Perng Ching-Hsi is Distinguished Professor Emeritus of English and Drama at
National Taiwan University and Visiting Professor of Fu Jen Catholic University,
and President of Taipei International PEN. He is author of some thirty books,
including Dialogue with Soliloquy: A Study in Shakespearean Soliloquies (2009), In
Search of the Historical Scene: Perspectives on Theater Historiography (2008), Perusing
Shakespeare: A Collection of Essays (2004), and the Chinese translations of Hamlet,
The Merchant of Venice, Measure for Measure, and Cardenio. He is also co-playwright
of Bond, Measure, Measure!, and Betrayal.
27 Counterfeiting Shakespeare
Counterfeit? I lie, I am no counterfeit. (Henry IV, 5.4)
Shakespeare, Shakespeare, everywhere. There is no need to look far: just witness
his many guises in this conference. But what is it that lies hidden under the guise?
How “Shakespearean” are the adaptations? Now that the mystery of a
“true-to-the Bard’s original” production has been debunked, it is well to
remember what’s obvious—that Shakespeare himself, too, uses and misuses and
abuses his source materials for his own purposes; the great playwright most
often counterfeited is himself the greatest counterfeiter of all. As long as an
adaptation contains “the true and perfect image of life,” as Falstaff would say,
the counterfeiter can make it current. In this paper I propose to talk about the
“counterfeits” I’ve had the (guilty) pleasure to get involved in and point out
some of the new life we tried to instill in them while following the general
structure of the “original.”
SHEN Lin
Shen Lin is Professor and Head of the Research Institute in the Central
Academy of Drama, China, and Executive Editor-in-Chief of The Drama Journal.
He obtained his PhD from the Shakespeare Institute, University of Birmingham,
UK, and has held visiting teaching and research positions in Austria, USA,
Canada, Denmark, Germany, Czech, Georgia, and Spain. His publications
include essays in English and Chinese on intercultural theatre, drama translation,
Shakespeare and contemporary Chinese theatre. Among the honors and awards
he received are the State Council Special Grant for Contribution to Culture and
Art, the Ministry of Education’s Millennium Endowments for Leading Scholars,
and the All China Drama Award (Theory and Criticism).
Rise of White Guards and Demise of Red Songs: Coriolanus in Beijing
2007
Lin Zhaohua’s Coriolanus with Beijing People’s Art Theatre, premiered in 2006
and revived in 2013 for the Edinburgh Festival, caught attention for its attempts
to draw parallels between Shakespeare’s Rome and contemporary China, the
most provocative one being the employment of real migrant workers en mass to
play the plebeians and the invocation of the ghosts of Cultural Revolution
radicals in the figures of the tribunes.
Critics’ and audiences’ praises of Lin’s production, culminating in the adulation
of Lin and a controversial tycoon as the lifelikeness of Coriolanus, were often
made at the expense of the Brechtian interpretation, deemed as “misled” by a
“twisted Weltanschauung.” If Engel, Ihering, and Wekwerth see Coriolanus the
symbol of the ancien regime as destructive, a predecessor to the white guard,
and the plebeians the ur-proletarians as capable of running the state once
mobilized by their red tribunes, Lin seems to rehabilitate what Brecht tries to
relegate to the dustbin of history.
28 While inside the theatre many audiences evinced an anachronistic derision of
“the plebs” brainwashed by rabble-rousers to the extent of being capable of
“collective madness,” neither princelings nor tycoons in real life they were
doomed to be part of “the people.” A cursory comparison between the
ascension of Shakespeare to the gentry and the rise of China’s new capitalists to
social prominence may account for the worship of the “enemy of the people”
and fear of democracy, giving an indication to the power a contemporary class
biased response can lend to an old classic.
29 PAPER SESSIONS
PLENARY SESSION SHAKESPEARE AND ASIA
Bi-qi Beatrice LEI is associate professor of English at National Taiwan University,
where she coordinates the NTU Shakespeare Forum. She received her PhD from
New York University, and has published on Sidney, Shakespeare, intercultural
theatre, television drama, and early modern medicine. She is co-editor of
Shakespeare in Culture (National Taiwan University Press, 2012) and director of the
Taiwan Shakespeare Database. She is the founding chair of the Asian Shakespeare
Association and the Taiwan Shakespeare Association, and also serves the Executive
Committee of the International Shakespeare Association.
Asia’s Shakespearean Journey
Asia is the world’s largest and most populous continent. Ironically, Asia is no less a
most elusive concept. To define or describe Asia is to engage oneself in ideology as
well as geography and history.
Though not in person, Shakespeare travels to Asia—he is heavily translated, studied,
performed, adapted, and appropriated. But Asia also travels by the Shakespearean
vessel, transporting its values and perspectives, ethics and politics, as well as
aesthetics, to other parts of the world. Some selective items of this cargo prove to
be popular on the global market, among them music, visuals, and spectacles. Other
inventory, however, can move slow, or even suffer shipwreck on the way.
This paper examines how Asia is perceived, received, and constructed in “Asian
Shakespeare,” exposing its discontents and envisioning its future.
Judy Celine ICK is a professor at the Department of English and Comparative
Literature at the University of the Philippines and a part-time faculty member of
the Interdisciplinary Studies Department of the Ateneo de Manila University. She
is the author of Unsex Me Here: Female Power and Shakespearean Tragedy; co-editor
(with Mary Racelis) of Bearers of Benevolence: The Thomasites and Public Education in the
Philippines (National Book Award for History 2002); and several articles on
Shakespeare, performance, and colonial education in the Philippines and Southeast
Asia. Currently a founding member and Vice-Chairperson of the Asian
Shakespeare Association, she is also an actor and dramaturg noted for her
performances of Shakespearean roles with several professional theater companies
in the Philippines.
The Augmentation of the Indies: An Archipelagic Approach to Asian/
Global Shakespeare
In the early modern imagination, the Indies were everywhere, surrounding the
known world both to the east and west. So malleable were the East Indies, in fact,
that they stretched from the Indian subcontinent to the Malay peninsula, the
Indonesian archipelago, the Philippine Islands and beyond—almost meeting up
with its Western counterpart were it not for the inconvenient fact of the Pacific
30 Ocean. This could very well be, but almost certainly is not, the augmentation
referred to by Shakespeare in Twelfth Night.* When Maria likens the facial lines
produced by Malvolio’s overwrought smiling to the lines that decorate Edward
Wright’s Hydrographiae Descriptio, she also calls attention to the numerous seemingly
arbitrary connections that overlaid the known world. Imaginary lines over oceans
and seas were regularly traversed between the islands of the “Indies” and were very
real even before their representation on European maps, of course. This essay
explores some of those traversals, specifically Shakespearean, not so much to
recreate or express them in vivid historical detail as to explore the questions raised
by the historical traffic in Shakespeare in one particular place in the Indies—the
archipelagoes of SE Asia—on the conceptual practices and discourse of Asian,
and by extension, Global Shakespeare. How can the simultaneous boundedness and
connectivities of these archipelagic spaces expand current notions of Asian and
Global Shakespeare more commonly articulated in the grammars of national
boundaries and essentialist cultural origins? What happens when we shift the focus
from the limits of the land to the connections of the seas? How can the fluidities
and porousness of archipelagic cultures evinced in their Shakespearean productions
help us think with and through some of the seemingly incommensurable categories
of (post)colonialism, cosmopolitanism, and globalization?
This essay attempts to use the archipelago, an assemblage of both land and sea,
both as historical material reality and conceptual paradigm to potentially generate a
more inclusive, and nuanced charting of Shakespearean meanderings in the region
and their implications for the field of Global Shakespeare studies. It represents a
preliminary effort to redraw, however tentatively, the practical and mental maps of
Asian and Global Shakespeare—with the augmentation of these Indies.
*
Maria: He does smile his face into more lines than is in the new map with the
augmentation of the Indies. (Twelfth Night 3.2.83-85)
Ted MOTOHASHI is Professor of Cultural Studies at the Tokyo University of
Economics. He received his D.Phil. in literature from the University of York, U.K.
in 1995. His publications include several books on drama studies, cultural and
postcolonial studies, and recently an essay on the reception of Western critical
theories and cultural studies within the contemporary Japanese academia in Cultural
Typhoon 2009: Collection of Critical Essays (2011). He is a leading translator into
Japanese of the works by Homi Bhabha, Gayatri Spivak, Rey Chow, Judith Butler,
David Harvey, Noam Chomsky and Arundhati Roy amongst others.
“Two households, both alike in dignity”: Omar Porras’s Romeo and Juliet
and Translation Theory
This paper attempts to uncover some of the key elements in a successful
performance of Shakespeare in translation by focusing on Omar Porras’s bilingual
presentation of Romeo and Juliet first performed in Shizuoka, Japan for SPAC
(Shizuoka Performance Arts Centre) in 2012. This particular version of Romeo and
Juliet used Japanese and French languages both of which were competently spoken
31 by actors whose native language were either Japanese or French. The actors fairly
freely changed their languages from one scene to another, so in some occasions
they communicate in the same language, and in others they spoke to each other in
different languages.
The Columbia-born director Omar Porras also used a lot of techniques borrowed
from Japanese theatre traditions particularly in presenting his scenery, making use
of shadowgraphs and Noh stage properties. However, this was markedly different
from an “Oriental” version of Shakespeare such as Ninagawa Yukio’s famous
“Kabuki Macbeth” or “Noh Tempest”, in that there was nothing exotically Japanese in
this production. This Romeo and Juliet was neither “Oriental” nor “Occidental”: this
is not to say that the performance was an amalgam of “Western” and “Eastern”
style of acting and presentation. Rather, this paper indicates that this Romeo and
Juliet approached a critical edge of presenting Shakespeare in translation: by
analyzing several scenes in this production in detail, it would argue that translation
on stage rather than on page could only become successful and ground-breaking by
tackling not contents of a particular speech-act but its forms.
1 TRAVELING TALES
David MCINNIS (University of Melbourne) is co-editor of the Lost Plays
Database and the Marlowe Bibliography Online. In addition to his monograph,
Mind-Travelling and Voyage Drama in Early Modern England (Palgrave, 2013), his work
has been published in such journals as Review of English Studies; Medieval and
Renaissance Drama in England; SEL: Studies in English Literature, 1500-1900; and Notes
& Queries. He serves on the executive committees/councils for ANZSA, the
Marlowe Society of America, the Malone Society, and the World Shakespeare
Bibliography. He is currently editing Dekker’s Old Fortunatus for the Revels Plays
series.
Travelling by the Book in Dekker’s Old Fortunatus
When the eponymous hero of Dekker’s Old Fortunatus dies at the end of Act 2, he
bequeaths to his sons the inexhaustible purse given to him by Lady Fortune and the
magical wishing cap that he stole from an Eastern Soldan. These fantastical items
have facilitated extraordinary travel throughout the first two Acts of the play, but
they are not the only travel-related objects that Fortunatus’s sons inherit. Their
father’s dying words are the injunction, “Peruse this book; farewell!” (2.2.292). This
is the first hint that the old man had been keeping a diary: but what information
did it contain, and why did he want his sons to read it? The ars apodemica or “art of
travel” manuals of the early modern period insisted on the necessity of the traveller
documenting their journey in a notebook, for the benefit of their kinsmen at home
and so as to keep the traveller’s attention firmly focused on the profitable,
utilitarian aspects of their voyage to foreign climes. However, readers in England
were sometimes prone to becoming sedentary travellers, deriving a vicarious
pleasure from travellers’ reports instead of learning practical information from
them. The early modern theatre encouraged such imaginary travel, providing a
32 vicarious experience of exotic climes for mind-travelling playwrights and playgoers
in London. Dekker’s play is noteworthy for its exploration of the tension between
travelling usefully and travelling pleasurably. In this paper I argue that such fantasies
of whimsical voyaging are underappreciated by critics of early modern drama, but
are shown (in Dekker’s play) to be a deliberate and informed desire that knowingly
runs counter to the prescriptions for profitable travel advocated by the ars
apodemica treatises of the period.
Helen M. OSTOVICH is Professor Emerita, English and Cultural Studies,
McMaster University, Hamilton ON Canada. She is editor of the journal Early
Theatre, and general editor for The Revels Plays and Queen's Men Editions, as well
as series editor for Ashgate’s Studies in Performance and Early Modern Drama. She has
edited 6 plays by Jonson, 2 by Brome, 2 by Shakespeare, and 1 by Shirley, and plans
to edit Marston’s The Dutch Courtesan for the Oxford Complete Works of John
Marston. She has published several collections of essays, and numerous essays in
journals and books on Shakespeare and Jonson.
The Travelling Rape Fantasy in Cymbeline
Travel in Cymbeline is the primary condition of the play, contributing to the chaos
of sovereignty, international relations, family life, and personal identity. The
constant movement demonstrates not only physical and emotional journeys, but
also psychic quests that seem to track answers through sleeping, dreams, and
waking, answers which clash in interpretations of evidence. Although travellers’
tales conventionally appear to be entertaining distortions, especially since Chaucer,
listeners/readers have to evaluate the sources and the tellers. The repetitions are so
densely interlocked with myth that the play’s end cannot satisfactorily resolve the
bedlam they have jointly created. This paper is concerned with one such journey of
reading the impact of Rome (via Ovid and Livy) on Britain in the nexus of sleeping,
dreaming, and waking as it repeats and reinterprets the play’s turmoil as a rape
analogy.
Innogen’s bedtime reading in 2.2 is the rape of Philomel, a story she leaves
unfinished when she falls asleep—just as the audience’s identification of Innogen
with Philomel/Lucrece is also incomplete when Iachimo, as Tereus/Tarquin, “reads”
the sleeping body and its chamber. This rape scenario is echoed during Cloten’s
serenade beneath Innogen’s window in 2.3; repeated in Iachimo’s retelling of the
“book” to Postumus in Rome; and repeated yet again in the role-switches that
extend and reverse the story in Innogen's waking (mis)interpretation of Cloten's
body in 4.2 on the way to Milford Haven, and in Iachimo's testimony in 5.3, back in
Cymbeline's court, in which the rape fantasy seems finally erased. Or is it? Like a
book, the story remains for re-reading.
Mark HOULAHAN is President of the Australian and New Zealand Shakespeare
Association, and sits on the editorial boards of the Palgrave Macmillan Global
Shakespeare Series and The Journal of New Zealand Literature. He has edited Twelfth
Night (with David Carnegie) for the Internet Shakespeare, and forthcoming also
33 from Broadview Press. He is currently editing Selimus for the Queen’s Men Editions
and preparing two co-edited collections: Shakespeare and Emotions: Inheritances,
Enactments, Legacies (with R. S. White and Katrina O’Loughlin) and Steam Punks and
Times Transshifters: Genres and Histories (with Kirstine Moffat). He has published
numerous essays, articles and book chapters on Shakespeare and cultural
adaptations; and has chapters forthcoming on “Hamlet in Australasia” and
“Katherine Mansfield, William Shakespeare and the Unanxiety of Influence.”
How Chances It That They Travel? Shakespeare’s Book Goes South
On April 22, 2013, a group of Shakespeare Scholars at a Sydney Shakespeare
symposium gathered reverently around a display of all four of the Shakespeare
Folios, from the collection of the State Library of New South Wales. Each folio
was allotted its own plinth; under the watchful eyes of security guard and the Chief
Librarian pages from each could be reverently opened. The collective power of
these four objects was truly impressive, together possessing a resonance well
beyond their power to assist in resolving specific textual cruces, a formidable
witnessing to Shakespeare’s power in global cultures. Thanks to the generosity of
the State Library, these can all be accessed digitally through the Internet
Shakespeare site (ise.uvic.ca). Thanks further to the foresight of Governor Sir
George Grey Libraries in Adelaide, S.A. and Auckland New Zealand allow
antipodeans direct access to these foundational Shakespearean texts.
The Complete Works first traversed the Pacific in 1769, as part of the luggage on
Cook’s Endeavour voyage, and ever since have read their way in to the imaginations
and cultures of Australasians, part of the formative matrix of matrix of travelling
books and reading travellers that is one legacy of being a successor culture to the
European worlds from which the texts in the Folio were shaped. For New Zealand
and Australian writers those texts are a necessary inheritance, for good or ill. For
many of them too possessing the material talisman of a Shakespearean book has
been important, even in the humble form of the millions of copies that flooded
the colonial world in the nineteenth century.
In this paper I will then examine the preoccupation with the Shakespeare book and
its texts in Katherine Mansfield and in particular the New Zealand writer Janet
Frame. She records in fictions, fantasies, autobiography and other archives the
power of the book, allotted its own small pink cretonne carry bag, a powerful
comfort when Frame and her fictionalised avatars are imprisoned in mental asylums,
and stand on the verge of life-crippling lobotomy. In the cases Frame describes, it
is partly Shakespeare book that sets her free.
2 MORAL AND SPIRITUAL JOURNEYS
Laurie J WOLF is an Associate Professor and Director of Theatre at the College
of William and Mary, where she teaches courses in theatre, Renaissance studies,
film and feminist theory. She holds a Ph.D. from UCLA, and taught at Goldsmiths
College, University of London, where she convened the MA degree in Playwriting
and Dramaturgy. Included among her directing credits are Candida and Othello (for
34 the Virginia Shakespeare Festival), 8: The Play, The Prime of Miss Jean Brodie, Pippin,
Unidentified Human Remains, Marat/Sade, Amadeus and Rhinoceros. She authored
several books on theatre, including Performance Analysis: an Introductory Coursebook,
co-edited with Colin Counsell (Routledge), and Introduction to Theatre: A Direct
Approach (XLibris).
Natural Law and Unnatural Women: Isabella’s Journey to Morality through
Rhetorical Transgression
Measure for Measure was written at a time of rapid linguistic and cultural change in
England, and exhibits many of the cultural anxieties associated with a new ruler, in
this case, the accession of James I to the English throne. That Measure for Measure is
read as a “problem play” seems inevitable, and is perhaps a classification that
Shakespeare would have appreciated. Its argument is self-referentially built upon
the ambiguities of its own language. The central problem in Measure for Measure is
one of language use and abuse, both in the commission of crimes, in interpreting
the Viennese legal code and in using rhetoric to exonerate the guilty. The character
of Isabella demonstrates an eloquence and rhetorical skill in her language, an
expertise and proficiency that is lacking in many of her female dramatic
contemporaries. She becomes the moral center of the play through her questioning
of the nature of human laws and the authority of those who uphold them. Her
language challenges the greater Jacobean world view and the masculine role that
exists within.
At the same time, critics have traditionally found it problematic that, when the
Duke reappears in Act V to resolve the many open issues that he himself helped to
engineer, he decrees that Isabella shall become his wife, with no regard to her
feelings or faith; she was about to take the veil to become a holy sister when she
was summoned and thrust into the world of the play. The conundrum has always
been that Isabella, so eloquent throughout the play, from this point forward, is
silent.
This paper will take a critical approach towards addressing this play, in order to
interpret the language in terms of larger contemporary cultural problems, including
the solidification and codification of the English vernacular as a legitimate language
to be used in poetry and public discourse. Engaging in interpretation is the initial
transgression of the play; that Isabella spends much of the play following the same
path means that she risks losing her bearings within the moral ground of the text.
Is her silence in response to the Duke in Act V her punishment, or has her journey,
in fact, come full circle?
KIM Kang is Professor of English at Honam University in Korea. He studied
Shakespeare and Cultural Materialism at State University of New York at Buffalo.
He worked as visiting fellow at the Center for Asia-Pacific Exchange in Hawaii and
research professor at University of California-Berkeley. He has widely presented
and published on Renaissance theatre, Shakespeare/and Korea, film and literature,
and cultural theories. Recent publications included a Korean translation of
35 Shakespeare’s Macbeth (Penguin USA), Master Plots: Renaissance Drama, Prometheus
Unbound: Critical Essays on Korean Society, Contemporary American Plays with Pulitzer Prize
Awards.
Hamlet as a Morality Play to Korean Politics in the 1980s
Political circumstances of Korea in the 1980s were quite unfavorable to its
theatrical world. To the eyes of the Western world, Korea seemed to seek diverse
diplomatic endeavors to carry out the improvised goal of internationalization or, to
put more ideological term, globalization. But such moves by the Korean
government were a political design to disguise the social unrest caused by the
military regime and to shun away any international attention toward it. Although
Korean government's vehement bid for international consent ended up with the
Seoul Olympic Games in 1988, domestic political atmosphere was far more
authoritarian and undemocratic. Pro-military political ideologies put the voices of
different social discourses to long silence until the inauguration of the civilian
government in 1992.
Such sensitive ideas as ideological conflict, student movement, protesters and riot
control forces, torturers and tortured were forced to represent in an oblique,
uncomfortable, and even ambiguous manners of expression. It was a psychological
impossibility for those who were working for the Korean stage to express what
they really saw and heard. They had to unavoidably accept and follow the dictatorial
political interests of the time. For example, of Shakespeare's plays that had
frequently been put on Korean stage, Macbeth unexpectedly became a new taboo
because of its explicit politics about the coup d’état obviously seen as a source of
the regime's hold on power.
It was the new Hamlet plays that triggered the opening of the theatre of political
implication in a Korean context. Ambitious young director Kuk-seo Ki’s daring
theatrical techniques recreated Hamlet as a moral political drama in the face of
tough state oppression and censorship. Between 1981 and 1990 he directed and
staged “a series of Hamlet plays” from Hamlet 1 to Hamlet 5, drawing huge critical
attention. These productions were truly hailed as the superb political and
experimental plays in that Shakespeare’s Hamlet was morally translated and
politically adapted in such a way as to daringly reflect Korea’s miserable social
realities under the dictatorial rule.
My presentation will be of a close look at the stage history of Ki’s Hamlet series
and their theatrical function as a morality play to Korean politics in the 1980s at the
time of military dictatorship.
Richard BURT received his BA and PhD from UC Berkeley. Burt is the co-author,
with Julian Yates, of What’s the Worst Thing You Can Do to Shakespeare? (Palgrave
Macmillan, 2013) and the author of Medieval and Early Modern Film and Media
(Palgrave Macmillan, 2008; rev. paperback 2010); Unspeakable ShaXXXspeares: Queer
Theory and American Kiddie Culture (St. Martin’s, 1998; rev. paperback, 1999); and
Licensed by Authority: Ben Jonson and the Discourses of Censorship (Cornell UP 1993). He
36 is also the editor of Shakespeares after Shakespeare (Greenwood, 2006); Shakespeare
After Mass Media (Palgrave Macmillan, 2002); and The Administration of Aesthetics
(UMinn, 1994), and the co-editor of several books.
Shakespeare’s Unread “Letters”
“Thou whoreson Zed, though unnecessary letter.”
In this paper, I ask what it means to disorient thinking about Shakespeare’s archive,
and I raise this broad question by examining specific instances of the audiovisual
“anarchivity” of the Folio archive as it plays out in these unread letters, on the what
Derrida calls the infinite divisibility of the letter, divisibility accounting for the fact
that the letter does not always arrive at its destination, that it is not always returned
to its sender, that it can remain in a dead letter office and eventually—who knows
when?—be returned to cinder, burned. My concern is with the “anarchivity” of the
Folio archive, with the way postal letters that are never read in certain plays are only
reported or letters destined or destinerred or destinaired to be read aloud on stage,
effects that only become readable through various kinds of contagious, compulsive
delusions. I examine the play of alphabetic letters in four “postal” letters in the
Folio that involve media and linguistic translation, letters that are sometimes never
read but only reported on, a letter that is abridged, letters that are sometimes to be
read aloud on stage that only become readable through various kinds of
compulsive delusions. The first letter is from the last scene of Twelfth Night.
Olivia refuses to allow Feste to “read madness,” that is, read Malvolio’s letter aloud
to Olivia (she tells Fabian to read it instead)—“you must allow vox—and Feste’s
whirligig of time quotation machine; My second example is from Act (5.1.) of
Macbeth. Lady Macbeth is writing machine (her unwitnessed, unread letter we hear
about second hand from her nurse before we see Lady Macbeth turn television
broadcaster when sleepwalking). My third example is the English lesson in Henry V.
To be sure, there is no postal letter in this scene. I do not think a rigorous
distinction can rightly be drawn between alphabetic letters and postal letters,
however. The Princess activates a series of bi-lingual bawdy puns by repeating
(“recitation” is her word) English words she has (mis)translated: she (mis)hears the
English word “foot” as the French word “foutre,” sometimes glossed as ejaculate,
more often glossed as “fuck”; and editors of the play tend help the Princess out,
translating “la robe” as “gown” when Alice (mis)pronounces it as “coun”
(phonetically, “cown”) so that it may also heard as French for “con,” and glossed by
editors as “cunt”); my fourth example is Hamlet’s letter to Ophelia. Polonius’s or
Hamlet’s, depending on how you read it, Polonius’s or Hamlet’s, use of “etc” in the
letter Hamlet “machine” wrote to Ophelia but that Polonius reads aloud to
Gertrude and Claudius: Reads “In her excellent white bosom, these, & c. . . Thine
evermore, most dear lady, Whilst this machine is to him, HAMLET.” Polonius
twice stops reading this letter and does not read it in its entirety (in some
productions, Polonius does not show Gertrude the letter when she tries to read it
for herself). “Reading” or “auditing” these letters requires one to semantic
hallucinate seemingly coherent and comprehensible performances; conversely, the
37 performance of letters sometimes depends on the audience’s to hear/see or
“audition” or “a(u)ddiction” differences, if you will, between letters. All but one of
the moments I discuss bear on madness. All of them bear, in the lexicon of
Jacques Derrida, on the divisibility of the letter as it concerns the quasi-machine of
writing, the cut and the sur-vival of the text or oeuvre, its capacity to live on; the
cut and sexual division; the cut and; the cut and the pharmacy of writing; the cut as
wound, a wound that may spill blood, vaginal fluids, ejaculate, or ink, even invisible
ink in excess of any material support; and the cut and repetition, as traumatic
repetition compulsion, and as p/repetition, already caught up in a drive or
remaining on threshold of installing reproduction. At stake, to recycle a phrase
once a la mode, in the reading and recitation of these letters archived in the Folio is
whether that archive installs a kind of repetition that is as compulsive as it is
contagious, letter carriers carrying a kind of airy reading virus, an auto-immune
reading drive already destined for madness, for self-destruction; or, whether that
archive initiates a less radically “anarchivic” and “destinerrant” reading, to use
Derrida’s words, recitations of letters that go missing in action, that are aleatory as
well as fateful a no future to come.
3 JOURNEY BACK HOME
Adele LEE is a lecturer in English Literature at the University of Greenwich,
London. Her research interests focus on Renaissance travel writing, cross-cultural
encounters and Shakespearean appropriation. She has published articles in the
journals Shakespeare Bulletin, Early Modern Literary Studies and Quidditas, and
contributed to a number of edited collections, including Shakespeare in Hollywood,
Asia and Cyberspace (Purdue UP, 2009), Richard III: A Critical Reader (Arden, 2013)
and Shakespeare Beyond English (Cambridge UP, 2013).
Beyond Orientalism?: “Chinese Shakespeare” at the Globe-to-Globe Festival
In the summer of 2012 and in the most significant Shakespeare festival the world
has ever seen, 37 plays were performed in 37 different languages as part of the
Globe to Globe Festival, which formed the cornerstone of the Cultural Olympiad.
An extraordinary event which served to highlight the importance of Shakespeare to
world culture, the Festival also raised a number of important issues regarding
national identity, cultural imperialism, and the history, nature and politics of
intercultural performance. Focusing on two Chinese productions—the
Mandarin-language Richard III (dir. Wang Xiaoying) and the Cantonese-language
Titus Andronicus (dir. Tang Shu-wing)—this paper will assess what impact (if any)
the Festival has had on the West’s understanding and appreciation of “Foreign
Shakespeare” and, in particular, “Chinese Shakespeare.” More specifically, has the
Festival effectively challenged perceptions of “Chinese Shakespeare” as a
marginalized cultural phenomenon? Has it contributed in any way to the
reconfiguration of East/West power relations or served to bridge the cultural gap?
Do scholars and journalists continue to respond to such productions in Orientalist
terms and offer reductive and hegemonic interpretations of them? And could the
Festival be accused of further perpetuating views of Chinese versions of
38 Shakespeare as “instant Asia titbit[s] for the festival market” (Bharucha 2004, 14)?
These are just some of the questions this paper, through detailed analysis of the
productions themselves as well as of their reception in the press, seeks to address.
Walter S. H. LIM teaches English Renaissance Literature and Asian American
Literature at the National University of Singapore. He is the author of two books:
The Arts of Empire: The Poetics of Colonialism from Ralegh to Milton (1998) and John
Milton, Radical Politics, and Biblical Republicanism (2006). He also coedited The English
Renaissance, Orientalism, and the Idea of Asia (2010) and has a new book Narratives of
Diaspora: Representations of Asia in Chinese American Literature (Palgrave Macmillan,
December 2013).
The Journeys of The Tempest and The Winter’s Tale
Shakespeare’s great romances The Tempest and The Winter’s Tale are characterized by
the importance they place on the motif of the journey in its existential, political,
and sociocultural manifestations. We have the political exile, the self-imposed exile,
the trajectory of self discovery, the penitential process, and the desire for a home
return from a distant land. In this paper I wish to consider the journeys of three
characters in particular—Prospero, Camillo, and Leontes—analyzing how they
grapple with the experience of journeying either as exilic dislocation, growth of
self-knowledge, spiritual renewal, or homecoming. For all three characters, the
progression toward old age coincides with the experience of reconciliation:
Prospero with his treacherous brother and the King of Naples; King Leontes with
Queen Hermione; and Camillo with the homeland he left sixteen years ago to
escape Leontes’s tyrannical court. However, in both The Tempest and The Winter’s
Tale, the reconciliation that thematically coincides with homecoming and with the
end of the play is unstable. Joyful anticipations of dynastic union and generational
continuity are compromised by the experience of difference ensured by time’s
passing and by the sense that old wounds might have healed but scars remain.
When the journeys embarked on by different characters finally bring them home, it
is to a world associated not only with new beginnings but also with fatigue, old age,
and intimations of mortality. In The Tempest and The Winter’s Tale, the politics of
ambition and tyrannical rule that forces characters into the condition of exile also
makes space for engagement with the impulse for revenge, the spirit of forgiveness,
and penitence for sin, engagement that emphasizes the importance of the spiritual
journey distinctive to these two plays of Shakespeare’s later years.
4 JOURNEY TO ASIA
KOBAYASHI Kaori, Professor of English at Nagoya City University, has published
books and essays on Shakespeare performance history in the UK and Asia, and has
been deeply interested in western travelling companies in 19th and 20th century Asia.
Her publications on travelling companies include “Shakespeare and the National
Identity—Tsubouchi Shoyo and his ‘authentic’ Shakespearean Productions in
Japan,” Shakespeare (2006). She is the author of The Cultural History of The Taming of
the Shrew (Nanundo, 2007), winner of the Japanese Society for Theatre Research
39 Award, and the editor of Shakespeare Performance Studies in Japan (Fubaisha, 2010).
She is Co-Director of the digital online database “Asian Shakespeare Intercultural
Archive” (http://a-s-i-a-web.org).
“The actors come hither”: Shakespearean Productions by Travelling
Companies in Asia
From the late nineteenth century, a number of western acting companies began to
tour the British Empire and Asia. They toured around colonial posts and foreign
settlements in South Africa, India, Australia, Rangoon, Penang, Singapore,
Shanghai, Hong Kong and Japan. On the one hand, these Shakespearean
productions by traveling companies were entertainment for the British in the
settlements and often promoted “Englishness” or British nationalism among them.
On the other, they provided “native” intellectuals with opportunities to encounter
“authentic” Shakespearean representations on stage, and eventually, in several
countries, exerted a deep influence on the later development of indigenous theatres.
This paper inquires into the impact these Western travelling companies brought to
the Shakespearean productions in the East around the turn of the twentieth
century.
Poonam TRIVEDI is Associate Professor in English at Indraprastha College,
University of Delhi. She received her doctorate from the Shakespeare Institute,
University of Birmingham, U.K. and has co-edited Re-playing Shakespeare in Asia
(Routledge: New York and Delhi, 2010) and India’s Shakespeare: Translation,
Interpretation and Performance (Delaware: 2005 and Pearson: Delhi, 2006). She has
authored a CD-ROM “King Lear in India” (2006) and has published articles in The
Shakespearean International Yearbook, Shakespeare Survey, Cambridge Companion to
Shakespeare on Stage, Borrowers and Lenders, Literature and Film Quarterly, Hamlet Studies
and other journals. She was the secretary of the Shakespeare Society of India
(1993-99) and is currently the vice-chair of the ASA.
“The very form and body” of His Thought: Hamletian Journeys via India
Inaction is not the only problem with Hamlet; sexual revulsion is another equally
dislocating response which affects him adversely. Hundreds of interpretations
continue to be ventured for his state of being but few connect these two issues.
This paper will take a detour via Indian redactions and rewritings, perspectives and
philosophies in an attempt to elucidate Hamlet’s dilemmas. It will particularly focus
on Gandhi’s views on “desireless action,” ahimsa (nonviolence), satyagraha (truth)
and sexuality to throw a fresh perspective on the same.
HSIEH Hsiao-Mei is an Assistant Professor in the Theatre Department at
National Taiwan University. She received her PhD in Performance Studies at
Northwestern University in the US. Her research interests include the
transformation of traditional Chinese theatre, intercultural performance, and Asian
American Theatre.
40 Strategies of Adapting Shakespeare in Traditional Theatre in Taiwan
This paper examines an adaptation of Shakespeare in 2012 in Taiwan: Cleopatra and
Her Fools, adapted from Antony and Cleopatra, by Guoguang (Beijing) Opera Company.
The production featured award-winning Beijing opera diva Wei Haimin and
established spoken drama playwright Ji Weiran, both are famous in the
Chinese-speaking states. Ji’s works show great influence of contemporary western
dramatists and this play is in fact Ji’s first foray into writing for traditional theatre. Ji’s
adaptation is about a contemporary Beijing opera company staging the play Antony
and Cleopatra. With lines such as “history can be rewritten” and “we lost the original
script,” he does not attempt to stick to Shakespeare’s play and even makes it clear
that this play is his intervention of Antony and Cleopatra, as the characters such as
Story-teller and Prompter refer to the playwright Ji and comment on Shakespeare
and this adaptation from time to time. This paper looks at how this adaptation
rewrites Shakespeare’s play, and then discusses if or in what way the use of a western
text has changed the performance of traditional opera.
5 INFLUENCE, TRANSLATION, AND TRANSFORMATION
Chris BERCHILD is an associate professor in the Department of Theater of Indiana
State University. Berchild received his PhD from UC San Diego, and has published
on world theatre traditions, scenography and technology for the theatre, and Irish
theatre. Berchild is also the director of the Interdisciplinary Center for Media
Technology in the Arts (ICMTA). Berchild has served as associate artistic director,
interim artistic director, literary manager, and dramaturg for Crossroads Repertory
Theatre, and has most recently directed The Woman in Black (2013), A Midsummer
Night’s Dream (2012), and Titus Andronicus (2011). He is currently working on two
book projects on projection design and international digital Shakespeares.
From London to Tokyo: Transforming Shakespearean Space and Place in a
Japanese Context
When Shakespeare was originally penning his plays, the associated concepts of space
and place in dramatic performance existed largely for practical dramaturgical
purposes. Whether the action of the play was set in Romeo and Juliet’s Verona, Hamlet’s
Elsinore, or Midsummer’s woods outside of Athens, many of these locations simply
served as a vehicle for plot and character development for a period audience, as
Shakespeare clearly set the action of his plays within an unmistakably Elizabethan
context.
However, throughout the twentieth century both Eastern and Western directors and
designers have appropriated Shakespeare’s concepts of space and place to serve new
social, cultural, and popular contexts by transforming these Elizabethan sites into
decidedly Asian locations. This was especially true in a post-Brechtian era where the
multiple aspects of performance—from the dramatic text to the many facets of
scenography—became a canvas for engaging social commentary.
In this paper, I intend to focus on modern and contemporary interpretations of
Shakespeare that reimagine Shakespeare’s spaces within a specifically Japanese
41 context, engaging in a historical and semiotic analysis of these works. Through a
case study of specific productions—whether developed by Japanese directors and
designers or by their Western counterparts (seeking to exchange the historically
exotic tropes of Shakespeare for another sense of cultural exoticism)—I intend to
investigate the relationship between Shakespeare’s unique dramaturgy and both
traditional and modern Japanese constructions of space. Within this analysis, I
would like to focus specifically on the inventive scenographic approaches to these
productions and within the productions’ specific cultural, social, and artistic contexts.
This manipulation and appropriation of Shakespearean space and place to examine
and comment upon Japanese (and global) society was exceptional and became a
model for political theatre internationally.
Sarbani CHAUDHURY is Professor of English in the University of Kalyani, India.
She is a contributor to Multicultural Shakespeare (edited by K. Kuzawinska Courtney
and Yoshiko Kawashi). The research projects she completed include “Shakespeare
Criticism in Pre-independence Bengal” and others. She authored Shakespeare and the
Discourse of Protest; Re-presenting Shakespeare Vols. 1 & 2, The Undergraduate Syllabus,
Pearson Longman and edited Shakespeare’s The Tempest, Study Material on The Tempest,
The Merchant of Venice, Metaphysical Poets. Her forthcoming work is the Worldview
edition of Shakespeare’s Julius Caesar.
Cannibalising Shakespeare, Enriching Saksyapīr: Translation and
Performance in Indian Academia
This paper investigates the drastically truncated and audaciously bowdlerized
translations and performances of A Midsummer Night’s Dream, Merry Wives of
Windsor, The Tempest, Twelfth Night and Macbeth, between 2008 and 2013 during
Radix, the annual reunion of the Department of English, University of Kalyani.
Apart from the anticipated cultural relocation through interjections of
controversial contemporary references and the carnivalesque spirit permeating the
page-to-stage process expected in the build up to annual festivities like a
departmental reunion, three aspects draw our attention, all of which contribute to
reconfiguring a home-grown Shakespeare for one-time local consumption.
1. de-privatisation of authorial ownership by transforming the end product into the
collective property of the Department through collaborative enterprise at every
level;
2. discontinuous and gendered translation effected through bilingual and theatrical
juxtaposition of original Shakespearean scenes/passages with indigenised
counterparts that “violate” and outdo Shakespeare with current Bengali slang,
innuendos and puns; and
3. definitive periodisation, which entails invoking the Elizabethan-Jacobean era as
closely as possible in the “original” scenes’ while locating the “indigenized”
portions in a twenty-first century Bengali suburban milieu and setting.
42 Assisted by video clippings and stills, my presentation proposes to establish that
together, the attributes mentioned above, move beyond the postcolonial desire to
re-write/right the “asymmetrical relations of power” (Niranjana 2) endemic to
much of colonial/postcolonial translations, through their deliberate polarisation
and juxtaposition of the “original” and the “cannibalized” to create our very own
Saksyapīr—the “friendly sage” next door who bears little resemblance to the
harbinger of British colonialism.
Works Cited
Niranjana, Tejaswini. Siting Translation: History, History, Post-Structuralism and the
Colonial Context. Los Angeles: University of California Press, 1992.
YANG Lingui is Professor of English and Director of the Shakespeare Institute at
Donghua University, Shanghai. He has taught Shakespeare courses at various levels
in his current and former positions at Donghua University, Texas A&M University
and Skidmore College, and has published essays in Theatre Research International, The
Shakespeare Yearbook, Foreign Literature Studies and other scholarly journals, in addition
to several book-length publications including Shakespeare and Asia (Co-ed. with
Douglas Brooks and Ashley Brinkman), Evaluating Scholarly Research on Shakespeare
(Edwin Mellen Press, 2010), and the most recent Shakespeare in China: Essays in
Memory of Meng Xianqiang (2012) and Shakespeare in New and Old Asias in the
Multicultural Shakespeare series (University of Lodz Press, 2013).
How Influence Works in Shakespeare’s Creation and Re-Creation
This paper rethinks of the theoretical question of influence and its implications in
Shakespeare studies, especially in postmodern adaptations. The publication of
Harold Bloom’s new book Anatomy of Influence has re-triggered a recent interest in
the topic, which seems to be out of date several decades after his Anxiety of Influence.
This study reviews theoretical claims about influence and intertextuality and their
applications in studies of Shakespeare’s influences and of his texts as influence in
adaptations. The Bard’s own intertextual practices in adapting his classical and
contemporary sources have informed how influence works in various postmodern
modes of intertextuality—particularly how contemporary adaptations handle the
specter of the dead author.
6 EARLY MODERN JOURNEYS
Jason GLECKMAN is an Associate Professor in the English Department at the
Chinese University of Hong Kong. He has published several essays on Shakespeare,
as well as on other Renaissance writers including Edmund Spenser, Thomas Wyatt,
and Thomas More.
Journeying with Falstaff in Henry IV, Part One
Many journeys in Shakespearean drama are those taken back in time, when the
plays imagine the thought patterns of men and women in past ages such as ancient
43 Romeand ancient England. These explorations allow Shakespeare to construct
imaginative continuities between his own time and earlier periods, reminding his
audiences of the influence of the past upon the present.
One of Shakespeare’s most controversial engagements with earlier English history
involves his creation of the memorable character Sir John Falstaff—based on the
historical figure Sir John Oldcastle (d. 1417). Oldcastle was admired by many in
Shakespeare’s England both as a patriotic Englishman and as a “Lollard,” a
member of a religious group that some say paved the way for the English
Reformation.
Yet, Shakespeare’s treatment of John Oldcastle is notoriously subversive and
insulting, mocking both the man’s patriotism and his religion, and suggesting that
this merry drunkard simply used patriotic and religious language to further his
shallow goals of increased personal wealth and social power.
In terms of the Reformation context within which Oldcastle/Falstaff is created by
Shakespeare, this paper will show how Falstaff ’s “Puritan” mannerisms function
not only to degrade the behavior and motives of Puritans, but how they reflect on
the Puritan approach to history itself—the Puritan movement’s efforts to craft an
English history that would validate its particular type of Protestant thinking as
having deep roots in the English character. In contrast, Shakespeare suggests, via
Falstaff, that Puritanism originates not in an increased awareness of the nature of
true divinity but instead in a self-mockery and humor that Shakespeare’s Puritan
contemporaries would do well to imitate.
Rupendra GUHA-MAJUMDAR is Associate Professor, Department of English,
University of Delhi, India. A Visiting Fulbright Fellow in the English Department
at Yale University in 1981 and 1992, his book Central Man: The Paradox of Heroism in
Modern American Drama, was published by P. I. E. Peter Lang (Brussels) in 2003. He
has published four books of poetry in English between 1971 and 1990 (Blunderbuss,
Apu’s Initiation, Tomcat, The Hiroshima Clock) and his poems have featured in several
anthologies. He has translated Rabindranath Tagore’s Bengali play, Roktokorobi (Red
Oleander) into English for The Essential Tagore (Harvard University Press, 2011).
Shakespeare’s Peripatetic Homecoming: From Roman back to English
Paradigms in Julius Caesar, Antony and Cleopatra and Cymbeline
My basic argument is: Shakespeare’s imaginative journey to Rome, as seen in his
“Roman” plays, also anticipates and demonstrates his return to “England.”
The degree of Shakespeare’s influence by the concept of classical Rome and its
values of pietas, virtus, humanitas, fatum, labor, stoicism, are evident in his “Roman”
plays as well across his entire canon. It is an influence that flourishes in the context
of the influx of translated, classical texts in England in the Elizabethan Age.
Plutarch’s Lives, Ovid’s Metamorphoses, Virgil’s Aeneid, Seneca’s Ten Tragedies provided
Shakespeare the resources for his speculations on and the poetical exorcism of
English, political and cultural forces in Classical, as well as, in Stuart terms. In these
44 plays, Rome features as a “palpable though ever-changing presence,” a setting for
action but also “a central protagonist” (Miola).
Shakespeare’s critical examination of classical, humanist values is examined through
stages of conflict, ambition, conquest, loyalty, betrayal and expiation in Julius Caesar,
Antony and Cleopatra and Cymbeline, constituting a framework of paradigms of tragic
myth and reality to operate within. But in the final stage of his journey of
self-discovery, his idealism points to a symbolical return, via comedy, from “Rome”
to his “English” shores in Cymbeline (“a valediction to the Eternal City”), a
homecoming also reflected in The Tempest.
This paper proposes to examine, mainly in the “trilogy” of Roman plays mentioned
above, the itinerary of his circular journey between the two worlds of political and
artistic consciousness during the Renaissance, the “English” and the “Roman,” the
classical and modern dimensions of being and becoming in tandem.
CHEANG Wai Fong is Professor of English at Chang Gung University, Taiwan.
She received her doctoral degree in English from National Taiwan University,
Taiwan. She has published on Shakespeare, Chinese American literature, English
teaching and cultural studies.
Sea Travel and Medicine in Pericles, Prince of Tyre
The opportunities sea travel offers and the dangers it involves comprise an
important theme in Shakespeare’s Pericles, Prince of Tyre. Sea travel is a challenge to
young Pericles as it brings him into contact with different lands and people,
widening his knowledge and visions. Yet the risks it involves are immense. For
travelers in delicate medical condition, such as a pregnant woman like Pericles’s wife,
Thaisa, and his new born daughter, Marina, sea travel can be extremely dangerous.
An unabating storm, the lack of medical assistance onboard ships, and the
superstitious belief of sailors eventually force Pericles to have his supposedly dead
wife thrown overboard. He also leaves his daughter, who he thinks might not
survive the storm, in a foreign land. After learning that his daughter has died,
Pericles goes on an aimless sea travel. This tragic trajectory of the play is reversed
by two elements, the first of which is a doctor, who saves Thaisa, and the second is
the aimless sea travel that brings him to meet Marina. It is interesting to note that
while Shakespeare mocks doctors in many other plays, he honors the doctor in
Pericles. This paper discusses the role medicine plays in relation to the sea travels in
Pericles.
7 FOREIGN SHAKESPEARE?
Brooke A. CARLSON, a Ph.D. from the University of Southern California in 2010,
has taught at Hansung University in Seongbuk-gu, Hankuk University of Foreign
Studies in Dongdaemun-gu, and Chaminade University of Honolulu. His research
centers on art, capitalism, class, and the human subject in early modern literature,
the stage in particular. He is currently finalizing an article on Jonson, sprezzatura,
45 and early modern notions of class. His most recent article, “Sounding
Shakespeare’s S(e)oul,” appears as a podcast in Sounding Out!, a blog in conjunction
with the Journal of Popular Music Studies, and he hopes to do more with sound and
the sounds of paradise.
A Journeying Shakespeare, or Adjourning Shakespeare: Making (Foreign)
Shakespeare in Seoul
Kim Dong-Wook, in his Preface 2 to the groundbreaking Glocalizing Shakespeare in
Korea and Beyond, defines “glocalizing” Shakespeare as “global + localizing.” Lee
Hyon-u, in the same collection, links Shakespeare directly to politics and
democratization, even as he posits the Koreanization of Shakespeare along
translation, incorporation, and adaptation. And finally, Brian Singleton argues against
the notion of cultural incorporation and ownership, championing instead the
Korean use of Shakespeare to signify a “glocalising” of an international brand
(Shakespeare), as a phenomenon that emphasizes the “intracultural.” Korean
scholars and theater professionals continue to stress the “global” world of
Shakespeare production, even at the same time that they are committed to making
Shakespeare “local,” or Korean. My experience of Shakespeare performance in
Seoul– including Yang Jung-Woong’s A Midsummer Night’s Dream; Yang’s W.
Shakespeare The Twelfth Night; and Park Jung-E’s one-man show: Macbeth—leads me to
challenge the notion that Shakespeare supersedes foreign culture, or that
Shakespeare comes first. There are still productions in Korea working along the lines
of Kim’s translation, and “intracultural” suggests a sort of blending, but I am wary
of Singleton’s international “branding.” In Seoul, I see Shakespeare—in Korean,
incorporating traditional Korean art, blending Shakespeare’s themes with
contemporary Korean issues—producing what I argue to be a distinctly Korean
Shakespeare.
SUEMATSU Michiko is Professor of English at Gunma University, Japan. She is the
author of “Import/export: Japanizing Shakespeare” in Shakespeare in Asia:
Contemporary Performance (Cambridge: Cambridge University Press, 2010), “The Tokyo
Globe Years: 1988-2002” in Shakespeare in Hollywood, Asia, and Cyberspace (Indiana:
Purdue University Press, 2009), and “Innovation and Continuity: Two Decades of
Deguchi Norio’s Shakespeare Theatre Company” in Performing Shakespeare in Japan
(Cambridge UP, 2001). She is Co-Director of A|S|I|A (Asian Shakespeare
Intercultural Archive), a web archive of Asian Shakespeare productions
(http://a-s-i-a-web.org).
“From Bourn to Bourn”: Journeys of Ninagawa Shakespeare
Since his first international debut with Ninagawa Macbeth in 1985, Yukio Ninagawa
has toured overseas regularly with Shakespeare productions such as The Tempest
(1988), A Midsummer Night’s Dream (1994-96), Hamlet (1998), Pericles (2003), Coriolanus
(2007), and Cymbeline (2013). These productions are invariably renowned for the
definitive Ninagawa style, which is marked by bold localisation, visual splendours,
46 excessive lyricism and downright eclecticism. However, not all of them are similar in
their appropriation and exploitation of the aesthetics of Japanese theatre
conventions. In exporting his Shakespeare, Ninagawa varied his strategies to exploit
Japanese styles as “foreign” because some of them were intended for international
tours from the beginning while others were not, and the latter underwent subtle
transformations during their journeys to the West. By discussing these two types of
touring productions and juxtaposing them with the third group of his Shakespeare
productions that have only been staged domestically, this paper clarifies impact of
“journeys” abroad on Ninagawa Shakespeare, and assesses his intercultural strategy
to accommodate international audience’s appreciation of the exotic. It also discusses
how initial criticism for his proneness to orientalist spectacles eventually died down
in Japan as a result of successful “journeys.”
Kiara PIPINO teaches acting, directing, and other classes at Grand Valley State
University in Michigan. She also directs for the Grand Valley Shakespeare Festival.
She is Italian and earned a graduate degree in Architecture for Performance at the
University of Genoa, where she also taught Classic Theatre for several years. In 2003
she started the Festival Internazionale Valle Christi, a summer theatre festival in
Rapallo (Genova) in the remains of a medieval monastery. She still serves as the
Artistic Director and directs for the Festival. In 2008 Kiara moved to the U.S. where
she obtained an MFA in Directing. Kiara has directed over 22 plays including
musicals, straight and new plays.
An International Approach to The Tempest
Shakespeare’s plays have been translated and performed all over the world with
tremendous success, thus demonstrating how the strength of the language is equaled
by the power of the story telling.
There are several examples of productions where the story is set in different time
frames, environments and situations. One famous example is Peter Brooke’s
wonderful production of Hamlet (2002) featuring actors of different ethnicities.
This paper explores an Italian production of The Tempest (Festival Internazionale
Valle Christi, 2010) where American and Italian actors formed the cast. The
characters of Prospero, Caliban, Miranda and Ariel were played by American actors,
while the rest of the characters were played by Italians.
The production was in Italian, but the American actors did not speak a word of it.
The challenge was to provide the actors with the required confidence that would
allow them to act in a language different from their own and which they didn’t even
know without losing truthfulness and consistency.
The directorial approach and rationale will be explained.
The paper then will focus on the complex rehearsal process that led the Americans
to familiarize with the script and their characters to the point of being able to create
a behavioral plot and structure for themselves that they could finally apply to the
rehearsals with the Italian actors.
47 Similarly, an exploration of the process from the Italian actors’ perspective will be
pursued.
Finally, the paper will discuss if and how the overall objective of the production was
achieved both from the pedagogical and artistic standpoints.
8 RELOCATING SHAKESPEARE
LI Jun received his PhD in English Literary Studies from the Chinese University of
Hong Kong, with his dissertation entitled “Popular Shakespeare in China:
1993-2008,” completed in 2013. He is a lecturer of English at the University of
International Business and Economics in Beijing.
The Bard’s Journey to the “Small Time” in Mainland China
Borrowing the term “Small-time Shakespeare” coined by Christy Desmet (1999), this
paper is concerned with “Small-time” Shakespeares in the sense of being “individual,”
“local,” and “pointed,” in contrast to “Big-time Shakespeare” which is defined as
“institutionalized,” “corporate,” and “conservative,” in mainland China in the 21st
century. Two types of “small-time” Shakespeare are examined in this paper: 1. the
“autobiographical” that is “adapter-centered” stressing “local and even personal
interpretations” according to Alexander Huang (2004 & 2009); 2. the
“anthropological” that is “plural,” “inclusive,” and “encompassing” as interpreted by
Stephen Purcell (2009). The first type is represented by Lin Zhaohua’s three
productions: Richard III (2001), Coriolanus (2007), and Hamlet (2008), while the second
is represented by Romeo and Juliet, a square performance tailor-made for migrant
workers in Beijing in 2006 and A Midsummer Night’s Dream by the National Theatre
of China in 2007. Through a close examination of these five productions, the author
argues that the new century witnesses a conspicuous and expedited journey of the
Bard from “Big-time” to “small-time” in mainland China and within the category of
“small-time,” the “anthropological” type better fits into the contemporary context
and meets the expectations of ordinary audiences in China than the
“autobiographical” type.
OSHIMA Hisao graduated from Seinan Gakuin University, and received his MA
and PhD in English Literature from the same university. He taught at Fukui
University and Kyushu Institute of Design. He is currently Associate Professor of
Drama, at the Faculty of Design of Kyushu University. He is a member of the
Shakespeare Association of Japan, the Drama Association of Japan, and the
Japanese Association of English Literature.
Japanese Stage Representations of Travels in Shakespeare’s Plays in the
Romance Tradition
Heroes and heroines in romance travel much. Since the age of medieval romance,
journeys, often nautical, in romance have been symbols of unstable life governed
by Change and Fortune, and full of vicissitudes and perils. The romance was a very
popular genre among Elizabethan readers including Shakespeare, though they
48 began enjoying a new documentary genre of adventures to the new world, such as
Richard Hakluyt’s Divers Voyages Touching on the Discouerie of America (1582) and
William Strachey, A True Reportory (1610). Both seem to have been Shakespeare’s
favorite genres and became his dramatic sources. Some of Shakespeare’s plays are
set in the romance world where difficult journeys are important processes or
turning points in their plots, and he also used documentary travelogues about the
new world in The Tempest, which is unique in containing the elements of the old and
new genres. In staging these plays, some Japanese directors, especially Mansai
Nomura, Yukio Ninagawa, and Yoshihiro Kurita, have employed Japanese stage
traditions with great success. Japanese people also have enjoyed a literary tradition
of travel with which these stage traditions are inseparably related. This paper
examines how Nomura, Ninagawa, and Kurita use Japanese traditional stage
conventions, those of Noh, Kyogen, and Kabuki, in representing the travels in
their Comedy of Errors, Twelfth Night, Pericles, and Tempest, which intertextually mix
the Western romance tradition and documentary travelogue with the Japanese stage
conventions of journey through their intercultural stage representations.
49 SEMINARS
1 TRANSLATING THE “UNTRANSLATABLE”:
TRANS-CULTURAL AND TRANS-MEDIA MIGRATION OF SHAKESPEARE
Seminar Leader: MINAMI Ryuta
Shakespeare has travelled worldwide, crossing geopolitical, cultural and temporal
borders and taking root in non-Anglophone countries and regions. Such
transferences of Shakespearean texts, which are often treated as literary or
theatrical translation/adaptation of the texts into a non-Anglophone language/
culture, almost always coincide with their transpositions from one media platform
to another. While something is always lost in the verbal translation of Shakespeare’s
texts from English to the target language, the target media platforms such as stage,
screen, manga, animation or YouTube, along with socio-cultural differences,
encourage artists and creators to add something new (and unexpected) to the
source text in attempts at replacing or compensating for the “untranslatable” or
simply updating the source texts. This seminar discusses variegated forms of
translation/adaptation of Shakespearean texts so as to expound and consider what
happens to the “untranslatable” when Shakespeare migrates or is migrated to any
media platform of non-Anglophone and/or unconventional contexts.
MINAMI Ryuta is Professor of English at Shirayuri College, Japan. He co-edited
Re-playing Shakespeare in Asia (Routledge) with Poonam Trivedi and Performing
Shakespeare in Japan (Cambridge Univ. Press) with Ian Carruthers and John Gillies.
He also contributed to Irena R. Makaryk’s Shakespeare and the Second World War (Univ.
of Toronto Press), Bi-qi Beatrice Lei’s Shakespeare in Culture (National Taiwan Univ.
Press), Dennis Kennedy and Yong Li Lan’s Shakespeare in Asia (Cambridge Univ.
Press), Richard Burt’s Shakespeares after Shakespeare (Greenwood) and Ronnie
Mulryne’s Shakespeare and the Japanese Stage (Cambridge Univ. Press). He has also
co-authored four Japanese books on English Restoration and Eighteenth-Century
drama.
Susan BENNETT (University of Calgary, Canada) and Julie SANDERS (University
of Nottingham Ningbo, China), “Performance Mobilities: Coriolanus in South Wales,
2012”
KO Yu Jin (Wellesley College, USA), “Translating Romeo and Juliet for the Madang”
Thomas David CHAVES (University of the Philippines Diliman, Philippines),
“The Translation of Politeness: A Case Study of Rolando S. Tinio’s Filipino
Hamlet”
Michael SKUPIN (Chinese Culture University, Taiwan), “Birnam Wood Comes to
Indonesia; Romeo and Juliet Comes to the Philippines”
MINAMI Ryuta (Shirayuri College, Japan), “De-Stylizing Shakespeare: Questioning
the Imagined/Established Cultural Status of Shakespeare on Today’s Japanese
Stage”
50 2 SHAKESPEARE ACROSS MEDIA
Seminar Leader: YOSHIHARA Yukari
Film, TV, comics, the Internet— Shakespeare is everywhere across media. Through
their inter-medial, cultural, historical and geographical journeys, Shakespeare’s
works “never remains stable, but constantly evolves, travels, procreates, blends, and
mutates” (Lei 2012, 1). Some renderings attempt to faithfully reproduce
Shakespeare’s originals, while others dare to be vastly different from them. This
seminar explores multiple forms and shapes Shakespeare’s works have assumed
through their journeys by examining such instances as: Bollywood Shakespeare
where sacred Hindu cultural heritage is juxtaposed with secular Bollywood media; a
Korean film Hamlet for whom life is “a bigger prison”; zombie Romeo and human
Juliet; Richard III’s strawberries transformed and consumed in various media;
Shakespeare for the “digital natives”; Shakespeare in manga (Japanese comics); a
sci-fi cyborg Shakespeare; Shakespeare for working-class bad boys/girls. By
examining Shakespeare’s works in various shapes and colors across media, this
seminar attempts to locate their intertextualities within the larger cultural frames of
vernacular literary adaptation, pop appropriation, use/abuse of Shakespeare.
YOSHIHARA Yukari is Associate Professor at the University of Tsukuba, Japan.
Some of her publications include “Is This Shakespeare? Inoue Hidenori’s
Adaptations of Shakespeare” in Poonam Trivedi and Minami Ryuta (eds.),
Re-Playing Shakespeare in Asia (Routledge, 2009), “The First Japanese Adaptation of
Othello (1903) and Japanese Colonialism” in Bi-qi Beatrice Lei and Ching-Hsi
Perng (eds.), Shakespeare in Culture (National Taiwan University, 2012), and “Tacky
Shakespeares in Japan,” Multicultural Shakespeare 10 (25) (2013).
Thea BUCKLEY (Shakespeare Institute, University of Birmingham, UK), “‘Like fire
and powder, which, as they kiss, consume’: The Play of Bullets: Ram-Leela,
Bollywood’s Explosive New Romeo and Juliet”
Rana CHOI (University of Chicago, USA), “Fixing Time: Park Chan-Wook’s Oldboy
as an Adaptation of Hamlet”
KO Hua-Te (National Chi Nan University, Taiwan), “The Shakespearean Living
Dead: Assemblages of Romeo and Juliet and Warm Bodies”
MORI Yukiko (Tokyo University of Agriculture and Technology, Japan), “History,
Drama, Film: The Long Journey of Strawberries in Al Pacino’s Looking for Richard”
Anne Nichole ARELLANO (University of the Philippines Diliman, Philippines),
“ShakesGAG & 4Speare: Shakespeare Reaches the Net Generation through
Internet Memes”
MATSUYAMA Kyoko (Komazawa Women’s University, Japan), “Different
Shakespeare Portrayals in Manga: Girl Manga and Boy Manga”
IWATA Miki (Tohoku University, Japan), “A Sci-Fi Manga Meets the Bard:
Shakespearean Moments in Cyborg 009 and Its Adaptations”
51 MATSUDA Yoshiko (Takasaki University of Health and Welfare, Japan),
“Postmodern Shakespeare in TV Show: Future Century Shakespeare (2009) and
Recent Japan”
3 CROSSING GENDER AND CULTURAL BOUNDARIES IN SHAKESPEARE:
CROSS-DRESSING IN PLAYS, ADAPTATIONS, AND POPULAR CULTURE
Seminar Leaders: CHEN Yilin, Ian MACLENNAN
The theme of cross-dressing occurs frequently in Shakespeare’s plays. In his
romance and comedy, heroines disguise themselves as young men. The most
frequently discussed plays in relation to the object of such transformation are
probably The Merchant of Venice, As You Like It, Twelfth Night, Two Gentlemen of
Verona and Cymbeline. His earliest history plays also feature female characters, who
probably appear in masculine battle-dress, such as Joan in Part I of Henry VI,
Margaret in Part III, and Eleanor in King John. On some occasions, male characters
are dressed in female clothes, like Petruchio in The Taming of the Shrew and Falstaff
in The Merry Wives of Windsor. This seminar welcomes new ideas about these plays,
and aims to explore the cross-dressing journeys that Shakespeare’s characters have
been through, with a consideration of how their journeys are adapted and
appropriated in performance and popular culture. Shakespeare travels across
borders. Thus, the seminar invites discussion about the inquiry into the variety of
Shakespearean cross-dressing journeys in single-sex performance or adaptations.
Furthermore, a close examination of the ways in which sexual pleasure is described
and translated into specific cultural settings will be highly appreciated.
CHEN Yilin (Seminar Leader) received her Ph.D from Royal Holloway, University
of London. She is an associate professor at the Department of English Language,
Literature and Linguistics, Providence University in Taiwan. She studies
Shakespeare and theatre history from 1600 to the present. Her most recent
publication is “Staging Sexuality in an All-male Adaptation of Romeo and Juliet” in
Studies in Theatre and Performance (Routledge 2014), which investigates the audience’s
reception and diverse erotic tensions generated in the contemporary cross-gender
Taiwanese Shakespearean production. Her current research interests are the global
dissemination of Japanese manga Shakespeare and the representation of gender
and sexuality in manga adaptations of Shakespeare.
Ian MACLENNAN (Seminar Leader) is a director, actor, scholar teaching theatre
history at Laurentian University in Canada. He has acted and directed in Canada,
the United States, Great Britain, Australia and Taiwan. His research interests
include single-sex performance of Shakespeare and LGBT theatre. Representative
publications include articles and chapters in Theatre Studies, Shakespeare’s Local
Habitations, and Shakespeare Matters. His most recent directing gig was The Comedy of
Errors at Providence University (Taichung City, Taiwan), Providence’s entry for this
year’s Chinese Universities Shakespeare Festival.
Ian MACLENNAN (Laurentian University, Canada), “Single-Sexing Shakespeare:
Then and Now”
52 CHEN Yilin (Providence University, Taiwan), “Viola’s Journey to the Man’s Estate
in Manga Twelfth Night”
SEO Dong-ha (Korea Military Academy, Korea), “How Fair Desdemona Looks?”
Rita BANERJEE (University of Delhi, India), “Ideologies of Cross-dressing in
Cymbeline and Philaster”
Ronan PATERSON (Teesside University, UK), “The Emperor’s New Clothes:
Gender in a filmed adaptation of As You Like It”
Bo-ram CHOI (Goldsmiths College University of London, UK), “(Dis)Playing
Gender Crossing Borders: The Yohangza Theatre Company’s Twelfth Night”
SHIN Hiewon (North Greenville University, USA), “Female Travelers in
Shakespeare’s Twelfth Night and Merchant of Venice”
4 TRAVEL AND IDENTITY:
RENEGOTIATING THE SELF IN AND THROUGH SHAKESPEARE
Seminar Leader: Paromita CHAKRAVARTI
This seminar focuses on how Shakespearean characters who travel from familiar
locations to unknown destinations are compelled to challenge and renegotiate their
identities. Their moorings in gender, class and nationality are rendered slippery as
their encounters with ‘others’ require them to reinvent themselves. While this
creates a sense of disorientation, it also makes for a renewal of the self. By
extension, the seminar will also examine how Shakespeare’s plays, as they travel
from their original sites of composition and performance to “foreign climes” and
unfamiliar contexts, stage a “rehearsal of cultures.” These relocations throw up
profound challenges to notions of racial, cultural and national identities as well as
to the idea of an integrated and “original” text and calls for new conceptions of
hybridity. While examining these processes of renegotiating selfhood through
experiences of travel, the seminar will question whether these disorientating
encounters actually transform identities or in fact serve to recuperate and reinforce
them?
Paromita CHAKRAVARTI has completed her D.Phil on the history of madness and
Shakespearean drama from the University of Oxford. She is currently an Associate
Professor at the Department of English and Director, School of Women’s Studies,
Jadavpur University, Kolkata. She teaches and writes on the history of madness,
Renaissance drama and Shakespearean performance on stage and screen. She has
published several articles on Shakespearean screen, stage and dance adaptations in
anthologies. Her work on different aspects of Renaissance culture has appeared in
the Shakespeare Year Book and Renaissance Studies. Her book, Women Contesting Culture,
co-edited with Kavita Panjabi, was published in 2012.
Daniel GALLIMORE (Kwansei Gakuin University, Japan), “Ninagawa’s Ancient
Journies”
Eleine NG Hui Ru (Shakespeare Institute, University of Birmingham, UK),
“Staging Hamlet: The Performance of Identity and Intercultural Performativity in a
Shakespearean Text”
53 WANG Yu-Ching (National Taiwan University, Taiwan), “Multiple Pleats:
(Un)settling British National Identity in Shakespeare’s Cymbeline”
Paromita CHAKRAVARTI (Jadavpur University, Kolkata, India), “From Epidamnum
to Ephesus to India: Travels in and Travels of The Comedy of Errors”
5 CROSS-CULTURAL PERFORMATIVITY OF SHAKESPEAREAN PLAYS
Seminar Leader: Katrine K WONG
“[T]he purpose of playing, whose end, both at the first and now, was and is to hold,
as 'twere, the mirror up to nature” (Hamlet 3.2.20-22). Hamlet lectures the players
on principles of acting and explains the quintessence of acting, a concept prevalent
since classical times. What is reflected in the mirror is “the very age and body of
the time his form and pressure” (3.2.23-24). In terms of dramaturgy, this “nature”
can be interpreted as an embodiment of the fundamental characteristics of the
place and people which such playing features and, perhaps, upon which such
playing is modeled. This seminar includes papers about cross-cultural interpretation
of Shakespearean plays, including issues of performativity, translation and
adaptation. Perspectives of discussion include ethnicity, nationality, historical period,
style and genre of production. It is hoped that this panel, through looking at
cross-cultural renditions of Shakespearean plays that transcend temporal,
geographical and cultural locales, will explore various elaborative and/or reductive
treatment and representation of Shakespeare’s narrative and mise-en-scène.
Katrine K WONG (Seminar Leader) is currently Assistant Professor of English
Literature at the University of Macau. She received in 2008 her PhD from the
University of Leeds. Wong has published on music in theatre, including Music and
Gender in English Renaissance Drama (New York: Routledge, 2012). She is co-editor of
Macao – Cultural Interactions and Literary Representations (Oxford: Routledge, 2013), to
which she has written the Introduction. Wong is also a classically trained pianist
and operatic soprano, holding professional qualifications of FTCL (Solo Piano)
and LTCL (Voice) from Trinity College London. She is Assistant Conductor of
Coro Perosi, Macao.
CHEN Lin (Freie Universität Berlin, Germany), “Ostermeier’s Bloody, Muddy
Hamlet: Staging Performativity and Mediality”
CHEN Liru (Fu Jen Catholic University, Taiwan), “Intercultural Lady Macbeth:
Two Examples of Experimental Performances from Tainaner Ensemble”
FENG Wei (Trinity College Dublin, Ireland), “Deprived King Lear: Causes of
Simplification in Chinese Opera Adaptations of Shakespeare”
Julian LAMB (Chinese University of Hong Kong, Hong Kong), “Words as Music:
Verdi’s Shakespeare”
Louis Wai-chun LO (National Taipei University of Technology, Taiwan), “The
Performativity of Revenge: Acting, Being, and Performing in Hamlet”
Sanju THOMAS (Ambedkar University Dehli, India), “The Moor for the Malayali
Masses: A Study of Othello in Kathaprasangam”
54 Julia ZHU (Macao Polytechnic Institute, Macau), “Translating Shakespeare: The
Literary Translator as Performer”
6 SHAKESPEARE PERFORMANCE AND CONTEMPORARY ASIAN POLITICS
Seminar Leader: YONG Li Lan
Any performance of Shakespeare by Asians has a political resonance, if not always
a definable agenda. In quite different socio-political and theatrical situations,
distinctive histories that have connected Shakespeare with Asian performers
underpin why Shakespeare is a viable, even a necessary, choice; and that history
forms an environment that defines a production’s choices of how his play is to be
adapted and staged, and in which those choices are received by audiences. Whereas
the political roles played by Shakespeare in Europe and North America have been
the subject of collective research in recent years, the utilization of his plays as a
means of staging and negotiating power formations in contemporary Asian
contexts is currently understood in terms of unique, discrete examples. This
seminar aims to bring together accounts of the political usage of Shakespeare in
Asian performance contexts, whether as a deliberate strategy or as an implication
of the performance. Paper topics include the position created by using
Shakespeare’s work to represent local political issues and agendas, instead of an
indigenous play; the performativity of theatrical genre, music, translation, race
and/or gender in presenting ideological relations; re-formulations of the
positionalities in Shakespeare’s play with respect to local hierarchies; production
and rehearsal processes, mechanisms and infrastructures in relation to the cultural
position that Shakespeare occupies; censorship; the political significance and
influence of a production; the political “neutrality” of Shakespeare; or, his
“universality.”
YONG Li Lan is Associate Professor at the National University of Singapore. Her
research focusses on Shakespeare and intercultural performativity in the theatre,
film and the internet and has appeared in numerous collections as well as such
journals as Theatre Journal, Shakespeare Survey, and Theatre Research International. She
co-edited Shakespeare in Asia: Contemporary Performance (CUP 2010), with Dennis
Kennedy. Since 2009, she has been Director of the Asian Shakespeare Intercultural
Archive (A|S|I|A), a collaborative project in parallel languages aimed at sharing
Asian Shakespeare performances. A|S|I|A provides script translations alongside
full-length video-recordings, and searchable data, in English, Chinese, Japanese and
Korean. She is currently working on an expansion of A|S|I|A and the creation of
two new archives in contemporary Wayang Kulit and Asian theatre.
Paris Shun-hsiang SHIH (National Chengchi University, Taiwan), “Measure for
Measure as a Traveling Text: The Politics of Staging Shakespeare’s Measure for
Measure in Jacobean London and in Contemporary Taipei”
Mika EGLINTON (Kobe City University of Foreign Studies, Japan), “Adapting to
Post-March 2011 Japan: Mikuni Yanaihara’s Radical Adaptation of Timon of Athens”
Shreyosi MUKHERJEE (National University of Singapore, Singapore), “Spectacular
Travel(s): The Tempest’s Tryst with Globalized Circus”
55 LEE Chee Keng (National Institute of Education, Singapore), “The IconoclastIcon: Dissonance in the Main Melody”
Gary LINDEBURG (Weber State University, USA), “Takarazuka’s Roméo & Juliette
(2010)”
Yan Jenny WONG (University of Glasgow, UK), “Translating the Untranslatable:
the Adaptation of the Christian Dimension in The Merchant of Venice in China”
Nurul Farhana LOW BT. ABDULLAH and AS Hardy SHAFII (Universiti Sains
Malaysia, Malaysia), “Politics of Culture and Shakespeare in Malaysia: a Critical
Survey of Selected Adaptations”
7 THE JOURNEY: SCENE OF AND METAPHOR FOR TRANSFORMATION
Seminar Leader: T. J. SELLARI
This seminar will approach various forms of transformation in Shakespeare’s works,
where change can take the form of a literal or metaphorical journey. Papers for this
seminar will cover transformations and shifts in time and space, as well as the
effects on character and consciousness that result from the recognition of change.
They also explore the representation of immaterial transformations, and question
the ways in which such claims of transformation are, like the drama and poetry
which bear them, both representational and wholly presentational, supposing
referents while making none available for appeals to accuracy or verisimilitude. The
variety of the transformations addressed in these papers will illustrate the diverse
forms journeys take in the different genres in which Shakespeare worked, and test
the limits of the usefulness of the journey as a metaphor for change.
T. J. SELLARI holds a Ph.D. in English from the University of Leeds, as well as an
M.F.A. in poetry writing from the University of Virginia. He teaches in the
Department of English at National Chengchi University in Taipei, where he has
also held administrative positions in the Office of International Cooperation and
the Center for Public and Business Administration Education. His research
interests include issues of identity and race, especially as they pertain to the study
of Shakespeare, as well as the difficulties of university administration in an age of
bogus professionalism and blind stupidity.
Bruce CARROLL (University of New Mexico, USA), “Poetic Preservation in the
Shakespearean Sonnets and the Problem of Technological Augmentation”
CHIU Chin-jung (National Taiwan University, Taiwan), “Passage from Late
Adolescence to Adulthood—Bertram’s Psychological Journey in All’s Well That
Ends Well”
FAN Ruoen (Fudan University, China), “Mob, Onlookers and the People:
Reflections on Lu Xun’s Interpretations of the Mob Scene in Julius Caesar”
Lia Wen-Ching LIANG (National Tsing Hua University, Taiwan), “ʻMarch on, join
bravelyʼ: Wang Chia-ming’s Journey with Richard III”
56 LIN Wan-yu (National Taiwan University, Taiwan), “An End of a Journey:
Nostalgia and Self-Consciousness as Recognition of Transformation”
Joseph LINZMEIER (Ming Chuan University, Taiwan), “Lords of Misrule?”
Roger Wei-Chen LIU (National Taiwan University, Taiwan), “Treasures Buried
Deep Within: Antonio’s Conversion in The Merchant of Venice”
James TINK (Tohoku University, Japan), “Ariel’s Journey: The Tempest, Labour and
Transformation”
T. J. SELLARI (National Chengchi University, Taiwan), “Tragic Journeys, Seen and
Unseen”
Beate NEUMEIER (University of Cologne, Germany), “Shakespeare’s Gothic
Journeys and the Transformation of Genre”
8 NATURE, HUMAN NATURE, THE SUPERNATURAL
Seminar Leader: LIM Kien Ket
Nature, human nature, and the supernatural in Shakespeare are tied to an ethical
issue of its own that must be resolved together in one fell swoop: they all involve
how humans should act accordingly in Nature, and how, in the setting of the plays,
the aristocrats should assume a proper, if not better, identity in a pastoral land as
the forest of Arden, or on a far-flung island of The Tempest, where Nature is replete
with supernatural beings that stake out what humans should and should not do.
Nature is ethical: it is full of an ethical insight of its own that holds the human
vision in awe.
LIM Kien Ket earned his Ph.D. in comparative literature at the University of
Rochester, New York, in 2000. He is Associate Professor at the Department of
Foreign Languages and Literatures, National Chiao Tung University, Taiwan. Until
recently, he was the Chief Editor of Film Appreciation Academic Journal (FaAj), the
official journal of Chinese Taipei Film Archive. Currently, he serves on the editorial
board of Journal of Chinese Cinemas, published in the UK. His essays in English have
appeared in Cultural Critique (University of Minnesota) and Tamkang Review
(Tamkang Review). His latest essay “Becoming Noir” appears as a chapter in the
collection Lust/Caution: From Aileen Chang to Ang Lee (Routledge, 2014).
KANG Fang (Southwest University, China) “The Duet of Ethical Identity and
Pastoral Ideal in Shakespeare’s As You Like It”
Iris RALPH (Tamkang University, Taiwan), “Ecocritical Shakespeare in Taiwan”
Iris Hsin-Chun TUAN (National Chiao Tung University, Taiwan), “Locals in
Shakespeare’s Cardenio”
Lekan BALOGUN (Victoria University of Wellington, New Zealand), “‘New’
Shakespeare and the Yoruba Sacred Tradition”
57 PERFORMANCES
BETRAYAL
Derived from the romantic comedy
Cardenio
co-authored
by
Stephen
Greenblatt and Charles Mee, itself inspired
by a lost play of Shakespeare’s, Betrayal is
written by Ching-Hsi Perng and Chen
Fang, who have collaborated on adapting
Shakespeare’s The Merchant of Venice as
Bond, and Measure for Measure as Measure,
Measure! Set in pre-modern China, Betrayal
mixes in many elements from Chinese
culture, including astrology, medicine,
martial arts, and classical music. The love
story is set to the exquisite music and
dance of Hakka opera.
Rom Shing Hakka Opera Troupe was founded by Cheng Rom-Shing. The
Troupe is devoted to passing down and promoting traditional Hakka opera art and
has been awarded by the Ministry of Education the Living Heritage Award, as well
as awards for promoting social education. The Troupe has become one of the
preserved groups for the intangible cultural assets of Miaoli County, and is often
invited to perform at home and abroad.
CHENG Rom-Shing (Artistic Director)
CHEN Zhi-hou (Actor)
CHENG Yueh-ching (Producer)
SU Guo-qing (Actor)
HUANG Yueh-yun (Executive
Producer)
CHEN Si-peng (Actor)
PERNG Ching-Hsi (Playwright)
CHEN Fang (Playwright)
CHEN Le (Director)
HUANG Jun-lang (Associate Director)
WU Yan-ran (Production Manager)
TSAO Fang Jung (Actor)
HU Chen-yu (Actor)
LIU Li-zhu (Actor)
CAI Yan-rong (Percussion Leader)
WU Yue-ting (String Leader)
XIE Jian-min (Stage Manager)
GAO Ming-long (Set Design)
YUAN Wen (Lighting Design)
CHIANG Yenli (Actor)
58 NOMAD LEAR
Nomad Lear is an experimental piece
employing only two actors, playing Lear
and the Fool respectively. The play unfolds
King Lear’s several “journeys” as he falls
from the summit of worldly power. As
freedom incarnate, the Fool unreservedly
exposes darkness under disguise. Lear, by
contrast, is a natural person, and is helpless
bemired in social network. The two
characters of polarized statuses are
however inseparable from each other, one
being the other’s shadow. The Fool also
freely adopts many other roles, vividly
enacting human folly and cruelty in the
pursuit of power. To enliven this extremely
heavy theme, live music, in addition to
rhythmical
and
poetic
language,
contributes to the overall audiovisual
effect.
Nomad Theater, formerly the Representation and Imagination Theater, was
founded in 1997 by college theater majors from Korea. They avoid following
conventional theatrical forms and try to create new forms to provoke the audiences’
imagination using audio-visual stage languages by actors’ movement and sound.
Nomad Theater creates its stages by deconstructing and reorganizing the existing
play-texts, or by stage-texts of collaborating works of actors’ creative associations
without texts. Nomad actors continue to train their bodies so as to make any
movements showing formative and suggestive metaphors on stage. Past productions
include A Doll’s House, The Chair, Baal, Camel Grass (2012 Seoul Theater Festival
Excellent Work Award), and Never Ending Drama (2013 Seoul Theater Festival Grand
Prize).
SON Jeung Woo (Director) is Professor of Acting and Director at Kyonggi
University, and the founder of Nomad Theater. He graduated from the English
Department at Keimyung University in Daegu and studied Directing at the graduate
schools of Dongkuk University and Syracuse University in U.S.A. He was twice
winner of the Seoul Theatre Festival Best Director Award (2012 and 2013).
HUR Yun Jung (Artistic Director)
SIM Hyunwoo (Sound Operator)
YONG Kwoun (Set Design)
LEE Yongkyung (Music Design)
MUN Geonwoo (Lighting Operator)
BAEK Ji Young (Makeup)
KIM Hye Min (Production
Manager/Stage Manager)
SHIN Hyun Jong (Actor)
KIM Kiyeoul (Actor)
LIM Haeweon
(Lighting Design)
CHOI Jongchan (Stage Manager)
59 SINTANG DALISAY
Sintang Dalisay (Pure Love) is based on G. D
Roke’s early 20th-century Ang Sintang Dalisay
ni Julieta at Romeo, a Filipino metrical
romance. Though with some variations, the
story largely follows Shakespeare’s, of tragic
love across two feuding families. But the
manner of telling is the production’s
centerpiece. Set in an imaginary Muslim
community, and conceptualized as a slice of
community theater, the play is beautifully
told using dance, song, and live music, all of
which stem from indigenous performance
traditions, both from the Philippines and
other Asian countries and improvised for
this production. The production won Best
Production and Best Director of the 2012
Aliw Awards and has toured the country
extensively.
Ricardo ABAD (Director) is a theater artist and professor of sociology, and the fusion
of these two fields informs his artistic life and academic practice. He received his
doctoral degree in sociology from Fordham University, New York, and returned to
the Philippines to teach at the Ateneo de Manila University. In 1984, he was appointed
Artistic Director of Tanghalang Ateneo. He has directed over 130 productions, many
entailing a fusion of Filipino/Asian and Western forms linked by a sociological view
of people and place. He is the winner of two Aliw Awards for Best Director (2008
and 2012), a Lifetime Achievement Award from the Ateneo de Manila for his
contribution to the Humanities (2009), and an Asian Public Intellectual award from
the Nippon Foundation (2013).
Pedro ABRAHAM, Jr. (Music and
Sounds Designer)
Rebecca ABRAHAM (Musician/Actress)
Kalil ALMONTE (Actor)
Natasha TAÑADA (Actor)
60 Charles YEE (Actor)
Angelique BASA (Actor)
Jayson GILDORE (Musician)
Meliton ROXAS Jr. (Technical Director)
Brian Matthew SY (Actor)
Matthew SANTAMARIA (Co-Director
and Choreographer)
Jacinda LOPEZ (Actor)
John Mark YAP (Stage Manager)
Joe-Nel GARCIA (Actor)
Vivian Ching-Mei CHU (Consultant)
FILMS
SHAKESPEARE MUST DIE
Shakespeare Must Die presents the story of a
dictator who suppresses a local staging of
Macbeth. A politically charged film, with real
footage taken from a military crackdown on
antigovernment protests, it was banned by
the Thai Ministry of Culture because it “has
content that causes divisiveness among the
people of the nation.” This “Shakespearean
horror movie” takes place in two parallel
worlds: inside the theatre, and the outside
world. Events in the twin worlds mirror and
soon bleed into each other until they
catastrophically collide. Shakespeare must
die because art cannot be allowed to fulfill
its mission to challenge fear and reveal the
truth, thereby undermining the foundations
of tyrannical power. The film has won Best
Picture and NETPAC Best Asian Feature at
the Tripoli International Film Festival.
CENSOR MUST DIE
When Shakespeare Must Die is banned by the
Thai government, the film’s producer Manit
Sriwanichpoom treks through the corridors
of power to unban his Shakespearean horror
movie; from the Cultural Ministry, that had
funded and then banned his film, to the
Senate and the Human Rights Commission,
all the way to the Administrative Court
where he is suing the government for abuse
of power. Wherever he went, amidst
political upheaval in a land of fear, a camera
followed him, into secret places long hidden
from the sun, where witnesses are not
welcome. The resulting cinema verite is the
living story of a struggle for justice and
human dignity, for the fundamental right to
freedom of expression. This is cinematic
democracy in action, in all its obscene and
heartbreaking details; a dark record of events farcical enough to be enjoyed as a
comedy.
61 Ing K (Director) was educated in Thailand where she was born and in England,
where as a 15 year old she first met Macbeth. In 1980 she dropped out of an English
art school to volunteer in a UN refugee camp on the Thai-Cambodian border,
eventually becoming a journalist and writer. As a filmmaker she has made five
documentaries: Thailand for Sale; Green Menace: The Untold Story of Golf; Casino Cambodia;
Citizen Juling; Censor Must Die, and two narrative features: My Teacher Eats Biscuits and
Shakespeare Must Die, both of which are banned by the Thai government censors.
WORKSHOPS
HAKKA OPERA
Hakka opera originated as a simple folk entertainment for tea farmers, featuring fixed
stories with one clown and two female roles, performed on outdoor stages.
Absorbing elements from other theatrical forms, Hakka opera gradually developed
into a grand opera. Aside from the traditional “nine tones and eighteen tunes,”
modern Hakka opera offers a variety of folk tunes and performance styles. The
workshop includes demonstration and instruction of Hakka opera singing and
movement.
CHEN Le and CHIANG Yenli are core members of Rom Shing Hakka Opera Troupe
and serve as the director and leading actor of Betrayal.
IGAL: DANCE OF THE SOUTHERN SEAS
Igal is the traditional dance genre of the Sama peoples of maritime Southeast Asia. It
is characterized by distinct postures and fluid transitional gestures that are said to
resemble that of Classical Thai, Khmer and Balinese dances. In this 90-minute dance
workshop, Dr. MCM Santamaria will: a) introduce the basic movement vocabulary of
the genre to the participants, b) demonstrate a series of exercises for using this
vocabulary; and, c) teach a most basic form of igal choreography that the participants
may use in presentations.
Matthew SANTAMARIA is professor of Asian and Philippine studies at the Asian
Center, University of the Philippines Diliman, and choreographer and co-director of
Sintang Dalisay.
WORKSHOP IN THE SONNETS
This workshop, appropriate for both actors and non-actors, will investigate using the
Shakespeare sonnets as a practical method of understanding the speaking of verse.
Each participant should prepare one of the following sonnets; the poem should be
memorized, but we will always have someone on book to prompt, just in case. The
sonnet should be delivered as if it were a soliloquy, choosing a character point of
view and performing it in order to make sense of the poem. It may be spoken to
another (imagined) character, or directly to the audience, or as an interior monologue.
The sonnets include 19, 29, 30, 55, 65, 87, 97, and 130.
Dennis KENNEDY is Beckett Professor of Drama Emeritus in Trinity College
Dublin.
62 INTERLUDE
Selections from Campfire
Chinese Culture University music students perform excerpts from an opera, entitled
Campfire, where the characters sit around a campfire and “read” to each other from a
Kindle. This performance includes Sonnets 130 and 30.
Michael SKUPIN (Composer)
WANG Chia Chia (Soprano)
Baiian SOQLUMAN (Piano)
PRE-CONFERENCE SESSION
Peter GIORDANO (Taipei American School, Taiwan)
CHEN Yun (National Chi Nan University, Taiwan)
GAO Zimin (Northwest University, China)
Hasting CHEN (L’Atelier Culture and Publishing Co., Ltd., Taiwan)
Paris Pin-Yü CHEN (National Taiwan University, Taiwan)
63 ACKNOWLEDGMENTS
SCHOLARLY ORGANIZATIONS AND COMMUNITIES
International Shakespeare Association
Peter HOLBROOK, Chair of the Executive Committee
Nick WALTON, Executive Secretary & Treasurer
Lisa PETER, Administrative Assistant
Shakespeare Association of America
Diana HENDERSON, President
Lena Cowen ORLIN, Executive Director
Australian and New Zealand Shakespeare Association
Mark HOULAHAN, President
European Shakespeare Research Association
Shakespeare Association of Korea
PARK Jeongkeun, President
HWANG Hyosik, Vice President & Foreign Relations
Shakespeare Society of Japan
Société Française Shakespeare
Taiwan Association of Classical, Medieval, and Renaissance Studies
Francis K. H. SO, President
Chi-fang Sophia LI, Secretary
British Shakespeare Association
English and American Literature Association of the Republic of China
FENG Pin-chia, President
CHANG Shu-li, Former President
Comparative Literature Association of the Republic of China
Chinese-Taipei Theatre Association
Asian Public Intellectuals, Program Offices, Japan, Thailand and Malaysia
Shakespeare Birthplace Trust
Diana OWEN, Director
Delia GARRATT, Head of Collections and Interpretation
Anjna CHOUHAN, Lecturer in Shakespeare Studies
Ficino
Shaksper
66 GOVERNMENT ORGANIZATIONS
Ministry of Science and Technology, Taiwan
Dept. of Humanities and Social Sciences
Dept. of International Cooperation
LIN Yu-chen, Convener of Foreign Languages
FENG Pin-chia, Former Convener of Foreign Languages
WEI Nian-yi, Staff, Division of Foreign Languages
CHEN Yu-fen, Staff, Division of the Arts
Hakka Affairs Council, Taiwan
Ministry of Culture, Taiwan
National Museum of Taiwan Literature, Taiwan
WENG Chih-Tsung, Director
CHIEN Hung-yi, Research Assistant
National Museum of History, Taiwan
CHANG Yui-Tan, Director
Taipei City Government, Taiwan
HAO Lung-Bin, Mayor
SUN Tien-long, Director, Department of Information and Tourism
YU Hsin-Yi, Department of Information and Tourism
ACADEMIC PROGRAMS AND INSTITUTES
National Taiwan University, Taiwan
CHEN Jo-shui, Dean, College of Liberal Arts
Luisa Shu-Ying CHANG, Dean, Office of International Affairs
CHIU Chin-jung, Deputy Dean, College of Liberal Arts
Yanwing LEUNG, Chair, Dept. of Foreign Languages & Literatures
LIN Ho-yi, Chair, Dept. of Drama & Theatre
SHEN Tung, Director, NTU Center for the Arts
LAU Siu-hung, Former Director, NTU Center for the Arts
Theresa Der-Lan YEH, Director, Foreign Language Teaching & Resource Center
HSIANG Chieh, Director, Research Center for Digital Humanities
Vivian Ching-Mei CHU, Professor, Dept. of Drama & Theatre
LIU Dar-lurn, Lecturer, Dept. of Drama & Theatre
WANG Pao-Hsiang, Professor, Dept. of Foreign Languages & Literatures
LEE Jen-der, Professor, Dept. of History
TSAI Chung-min, Researcher, Research Center for Digital Humanities
TSAI Li-fen, Secretary, College of Liberal Arts
CHEN Chao, Executive Officer, College of Liberal Arts
CHEN Yi-po, Staff, College of Liberal Arts
HUANG Shun-cheng, Staff, College of Liberal Arts
LIEN Ching Wen, Staff, Dept. of Drama & Theatre
CHANG Sin-Chung, Staff, Dept. of Foreign Languages & Literatures
68 HSU Hu-mei, Staff, Foreign Language Teaching & Resource Center
CHEN Shu-zhen, Staff, Dept. of Foreign Languages & Literatures
HSUEH Wen-lin, Staff, Dept. of Foreign Languages & Literatures
FU Li-wen, Staff, Research Center for Digital Humanities
WU Shu-Rong, Staff, NTU Center for the Arts
National Taiwan Normal University, Taiwan
CHEN Kuo-Chuan, Dean, College of Liberal Arts
Joan Chiung-huei CHANG, Chair, Dept. of English
HO Kang Ko, Director, Graduate Institute of Performing Arts
SU Tsu-Chung, Professor, Dept. of English
CHUNG Chung Hsien, Chair, Dept. of Chinese
CHEN Fang, Professor, Dept. of Chinese
Susan Shu-cheng LIN, Director, Performing Arts Center
Alan Ying-Nan LIN, Professor, Dept. of English
James Chi-Ming LIANG, Professor, Graduate Institute of Performing Arts
LI Hui-Ming, Professor, Dept. of Adult & Continuing Education
PU Hsiao-Tieh, Professor, Graduate Institute of Library & Information Studies
KE Hao-Ren, Director, NTNU Library
LIN Yi-Ching, Staff, Department of Chinese
HO Yue-Ying, Staff, Dept. of English
CHEN Li-Ching, Staff, College of Liberal Arts
WANG Muhan, Staff, Dept. of English
CHEN Ching-Yi, Staff, NTNU Press
CHUNG Chih-Ping, Staff, Center of Public Affairs
Gary Chi-Tsung CHEN, Research Assistant
Office of Research and Development
NTNU Library and Press
Center of Public Affairs
National Tsing Hua University, Taiwan
Dept. of Foreign Languages & Literature
Research Center for Humanities & Social Sciences
College of Humanities & Social Sciences
SU Yi-Ru, Chair, Dept. of Foreign Languages & Literature
Lia Wen-Ching LIANG, Professor, Dept. of Foreign Languages & Literature
HSU Hsin-yi, Staff, Research Center for Humanities & Social Sciences
CHU Mei-cheh, Staff, Research Center for Humanities & Social Sciences
SONG Hai-Hua, Staff, College of Humanities & Social Sciences
WANG Jie, Student Helper
Cindy YU, Student Helper
National Chiao Tung University, Taiwan
Iris Hsin-Chun TUAN, Professor, Dept. of Humanities & Social Sciences
CHEN Kuan-Hsing, Professor, Graduate Institute of Social Research &
Cultural Studies
LIM Kien Ket, Professor, Dept. of Foreign Languages and Literatures
70 National Hsinchu University of Education, Taiwan
HO I-fan, Professor, Dept. of English Instruction
Fu Jen Catholic University, Taiwan
YANG Cheng-shu, Director, Graduate Institute of Cross-Cultural Studies
PERNG Ching-Hsi, Visiting Professor, Graduate Institute of Cross-Cultural Studies
Cecilia H. C. LIU, Professor, Dept. of English Language and Literature
LEE Huiling, Staff, Graduate Institute of Cross-Cultural Studies
National Chi Nan University, Taiwan
Xavier Wei-cheng LIN, Chair, Dept. of Foreign Languages & Literature
National Cheng Kung University, Taiwan
CHANG Shu-li, Chair, Dept. of Foreign Languages & Literature
YANG Che-ming, Former Chair, Dept. of Foreign Languages & Literature
Michael LONCAR, Ph.D. Candidate
National Taitung University, Taiwan
Daniel Hung-Yueh WEN, Chair, Dept. of English
CHEN Shu-fen, Professor, Dept. of English
National Chengchi University, Taiwan
JIANG Tsui-fen, Professor, Dept. of English
T. J. SELLARI, Professor, Dept. of English
Ateneo de Manila University, Philippines
Fine Arts Program
Tanghalang Ateneo
Office of Student Activities
University of the Philippines Diliman, Philippines
Elena MIRANO, Dean, College of Arts and Letters
Lily Rose TOPE, Chair, Dept. of English and Comparative Literature
Judy Celine ICK, Professor, Dept. of English and Comparative Literature
The Asian Center
Kontra GAPI, Office of the President
Shirayuri College, Japan
MINAMI Ryuta, Professor, Dept. of English Language and Literature
University of Ferrara, Italy
Mariangela TEMPERA, Professor, Dept. of English
University of Malaya, Kuala Lumpur, Malaysia
Cultural Centre
Massachusetts Institute of Technology, USA
Peter DONALDSON, Director, MIT Global Shakespeares Video & Performance
Archive
Belinda YUNG, Project Manager, MIT Global Shakespeares Video & Performance
Archive
72 Suzana LISANTI, Web Communications Strategist, MIT Global Shakespeares Video
& Performance Archive
National University of Singapore, Singapore
YONG Li Lan, Director, Asian Shakespeare Intercultural Archive
OTHER COLLABORATORS AND SPONSORS
British Council Taiwan
LAI Hsin-Yuan, Director
Dawn TSAI, Head of Corporate Relations and Arts
Sandy CHI, Projects Officer
Amy CHUNG, Projects Manager
Jean KUO, Projects Officer
Jessamine LIU, Marketing and Communications Manager
King of Travel, Manila, Philippines
INDIVIDUALS
Thea BUCKLEY, Doctoral Student, Shakespeare Institute, University of Birmingham, UK
Richard BURT, Professor, University of Florida, USA
CHEN Ling-ling, CPA, Proservace & Co., CPAs, Taiwan
CHOU Shu-hua, Retired Professor, National Taiwan University, Taiwan
Steve FOLLMER, CEO,Chillr Inc., USA
FU Yuhui, Lecturer, National Taiwan University, Taiwan
Abdul Said HAILAYA, Master Teacher in Igal, Tawi-Tawi, Philippines
HSIEH Ya-jen, Taiwan
Bashir JALAIDE, Master Teacher in Kulintangan, Tawi-Tawi, Philippines
Munir JAWADIL, Master Teacher in Silat, Tawi-Tawi, Philippines
Dalino KAMAMIH, Master Teacher in Kulintangan, Tawi-Tawi, Philippines
Ann Tyrrell KENNEDY, UK
KIM Kang, Professor, Honam University, Korea
Adele LEE, Lecturer, University of Greenwich, UK
LEE Hyon-u, Professor, Soon Chun Hyang University, Korea
LIM Chee Seng, Late Professor, University of Malaya, Malaysia
Margaret LITVIN, Professor, Boston College, USA
Sonia MA, Lecturer, Alliance Française in Taiwan, Taiwan
Sonia MASSAI, Reader, King’s College London, UK
Sha-al MUHAMMAD, Master Teacher in Igal, Tawi-Tawi, Philippines
Eleine NG Hui Ru, Shakespeare Institute, Birmingham University, UK
Ronan PATERSON, Professor, Teesside University, UK
Nur PERONG, Master Teacher in Igal, Tawi-Tawi, Philippines
Nehad SELAIHA, Professor, Academy of Arts, Egypt
Calsum TELSO, Master Teacher in Igal, Tawi-Tawi, Philippines
YANG Lingui, Professor, Donghua University, China
YONG Li Lan, Professor, National University of Singapore, Singapore
YOSHIHARA Yukari, Professor, University of Tsukuba, Japan
74 PARTICIPANTS
Abad, Ricardo (Ateneo de Manila Univ.,
Philippines)
Abraham, Pedro, Jr. (Tanghalang
Ateneo, Philippines)
Abraham, Rebecca (Tanghalang Ateneo,
Philippines)
Almonte, Kalil (Tanghalang Ateneo,
Philippines)
Alston, Claire (USA)
Arellano, Anne Nichole (Univ. of the
Philippines Diliman, Philippines)
Baek, Ji Young (Nomad Theater, Korea)
Balogun, Lekan (Victoria University of
Wellington, New Zealand/Nigeria)
Banerjee, Rita (Univ. of Delhi, India)
Basa, Angelique (Tanghalang Ateneo,
Philippines)
Bennett, Susan (Univ. of Calgary,
Canada)
Berchild, Chris (Indiana State Univ.,
USA)
Bharucha, Rustom (Jawaharlal Nehru
Univ., India)
Buckley, Thea (Shakespeare Institute,
Univ. of Birmingham, UK/USA)
Burt, Richard (Univ. of Florida, USA)
Cai, Yan-rong (Rom Shing Hakka Opera
Troupe, Taiwan)
Carlson, Brooke (Chaminade Univ. of
Honolulu, USA)
Carroll, Bruce (Univ. of New Mexico,
USA)
Chakravarti, Paromita (Jadavpur Univ.,
India)
Chang, Joan Chiung-huei (Natl. Taiwan
Normal Univ., Taiwan)
Chaudhury, Sarbani (Univ. of Kalyani,
India)
Chaves, Thomas David (Univ. of the
Philippines Diliman, Philippines)
Cheang, Wai Fong (Chang Gung Univ.,
Taiwan)
76 Chen, Fang (Natl. Taiwan Normal Univ.,
Taiwan)
Chen, Hasting (L’Atelier Culture and
Publishing, Taiwan)
Chen, Hui-cen (Rom Shing Hakka
Opera Troupe, Taiwan)
Chen, Jo-shui (Natl. Taiwan Univ.,
Taiwan)
Chen, Le (Rom Shing Hakka Opera
Troupe, Taiwan/China)
Chen, Lin (Freie Universität Berlin,
Germany/China)
Chen, Liru (Fu Jen Catholic Univ.,
Taiwan)
Chen, Mei-xiu (Rom Shing Hakka
Opera Troupe, Taiwan)
Chen, Ming-fang (Rom Shing Hakka
Opera Troupe, Taiwan)
Chen, Paris Pin-Yü (Natl. Taiwan Univ.,
Taiwan)
Chen, Rui-an (Rom Shing Hakka Opera
Troupe, Taiwan)
Chen, Si-peng (Rom Shing Hakka Opera
Troupe, Taiwan)
Chen, Ting-yu (Rom Shing Hakka
Opera Troupe, Taiwan)
Chen, Yilin (Providence Univ., Taiwan)
Chen, Yi-ru (Rom Shing Hakka Opera
Troupe, Taiwan)
Chen, Yi-ting (Rom Shing Hakka Opera
Troupe, Taiwan)
Chen, Yun (Natl. Chi Nan Univ.,
Taiwan)
Chen, Zhi-hou (Rom Shing Hakka
Opera Troupe, Taiwan)
Cheng, Rom-Shing (Rom Shing Hakka
Opera Troupe, Taiwan)
Cheng, Yueh-ching (Rom Shing Hakka
Opera Troupe, Taiwan)
Chiang, Yenli (Rom Shing Hakka Opera
Troupe, Taiwan)
Chiu, Chin-jung (Natl. Taiwan Univ.,
Taiwan)
Routledge Literature
We are pleased to offer all delegates a 20% discount on all our books!
Visit our stand or browse our website at www.routledge.com and enter the
code ICASA14 when prompted at the checkout.*
Coming Soon…
Shakespearean Adaptations in East Asia - 5 volume set
A Critical Anthology of Shakespearean Plays in China, Japan, Korea, and Taiwan
Edited by Ryuta Minami
This collection showcases the variety and multiplicity of Shakespeares reinvented in the region. It provides the first substantial and
essential resource of Shakespearean adaptations in East Asia for scholars and critics, as well as graduate students interested in
investigating Shakespearean re-creations in the region.
To find out more, visit our stand or http://www.routledge.com/u/SAEA/
*Offer valid until 18th June 2014.
Choi, Bo-ram (Goldsmiths College
University of London, UK)
Choi, Jongchan (Nomad Theater,
Korea)
Choi, Rana (Univ. of Chicago, USA)
Chu, Vivian Ching-Mei (Natl. Taiwan
Univ., Taiwan)
Chu, Vivian Ching-Mei (Natl. Taiwan
Univ., Taiwan)
Deng, Yin-ke (Rom Shing Hakka Opera
Troupe, Taiwan)
Dickson, Andrew Jonathan (Univ. of
Warwick, UK)
Du, Yi-long (Rom Shing Hakka Opera
Troupe, Taiwan)
Eglinton, Mika (Kobe City Univ. of
Foreign Studies, Japan)
Fan, Ruoen (Fudan Univ., China)
Fang, Peng-yu (Rom Shing Hakka
Opera Troupe, Taiwan)
Feng, Wei (Trinity College Dublin,
Ireland/China)
Fu, Wei-Hsuan (Natl. Dong Hwa Univ.,
Taiwan)
Gallimore, Daniel (Kwansei Gakuin
Univ., Japan/UK)
Gao, Ming-long (Rom Shing Hakka
Opera Troupe, Taiwan)
Gao, Zimin (Northwest Univ., China)
Garcia, Joe-Nel (Tanghalang Ateneo,
Philippines)
Gildore, Jayson (Tanghalang Ateneo,
Philippines)
Giordano, Peter (Taipei American
School, Taiwan/USA)
Gleckman, Jason (Chinese Univ. of
Hong Kong, Hong Kong/USA)
Gu, Yu-xuan (Rom Shing Hakka Opera
Troupe, Taiwan)
Guha-Majumdar, Rupendra (Univ. of
Delhi, India)
78 Hanna, George (Grande Prairie Regional
College, Canada)
He, Hong-yi (Rom Shing Hakka Opera
Troupe, Taiwan)
Ho, Kang Ko (Natl. Taiwan Normal
Univ., Taiwan)
Holbrook, Peter (Univ. of Queensland,
Australia)
Houlahan, Mark (Univ. of Waikato,
New Zealand)
Hsieh, Hsiao-Mei (Natl. Taiwan Univ.,
Taiwan)
Hsu, Louise (Aletheia Univ., Taiwan)
Hu, Chen-yu (Rom Shing Hakka Opera
Troupe, Taiwan)
Hu, Yu-sheng (Rom Shing Hakka Opera
Troupe, Taiwan)
Huang, Jun-lang (Rom Shing Hakka
Opera Troupe, Taiwan)
Huang, Xin-qi (Rom Shing Hakka
Opera Troupe, Taiwan)
Huang, Yao-hsin Anita (Fu Jen Catholic
Univ., Taiwan)
Huang, Yi-hui (Rom Shing Hakka
Opera Troupe, Taiwan)
Huang, Yueh-yun (Rom Shing Hakka
Opera Troupe, Taiwan)
Huang, Zhao-feng (Rom Shing Hakka
Opera Troupe, Taiwan)
Hur, Yun Jung (Nomad Theater, Korea)
Ick, Judy Celine (Univ. of the
Philippines, Philippines)
Iwata, Miki (Tohoku Univ., Japan)
K, Ing (Thailand)
Kang, Fang (Southwest Univ., China)
Kawachi, Yoshiko (Kyorin Univ., Japan)
Kennedy, Dennis (Trinity College
Dublin, Ireland)
Kim, Hye Min (Nomad Theater, Korea)
Kim, Kang (Honam Univ., Korea)
Kim, Kiyeoul (Nomad Theater, Korea)
Ko, Hua-Te (Natl. Chi Nan Univ.,
Taiwan)
Titles of Interest 書展精選書目
Shakespeare Beyond
English
Shakespeare and the
Digital World
Moving Shakespeare
Indoors
Susan Bennett
Christie Carson
Andrew Gurr
Hardback
9781107040557
Hardback
9781107064362
Hardback
9781107040632
Shakespeare in Asia
Shakespeare's
Individualism
The Spectator and the
Spectacle
Peter Holbrook
Dennis Kennedy
Paperback
9781107630673
Hardback
9780521899765
Shakespeare's
History Plays
The Politics of the Stuart
Court Masque
Foreign Shakespeare
Ton Hoenselaars,
Foreword by Dennis Kennedy
David Bevington,
Peter Holbrook
Hardback
9780521829021
Hardback
9780521594363
Dennis Kennedy
Hardback
9780521515528
Dennis Kennedy
Paperback
9780521617086
Shakespeare Survey Online
...the best of the Bard
最權威莎士比亞作品研究評論資料庫
Shakespeare Survey
Volume 66
Hardback
9781107041738
Taiwan office
台灣辦事處
★ 享譽60年專業研究暨年鑑出版經驗
★ 大規模收錄全球研究莎士比亞學者專家精心著作
★ 廣泛包含評論書籍表演回顧文獻...等
www.universitypublishingonline.org/cambridge/shakespeare
TEL: (02) 2570-0508
Email: [email protected]
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Ko, Yu Jin (Wellesley College, USA)
Kobayashi, Kaori (Nagoya City Univ.,
Japan)
Lai, Hsin-Yuan (British Council Taiwan,
Taiwan)
Lai, Yin-li (Rom Shing Hakka Opera
Troupe, Taiwan)
Lamb, Julian (Chinese Univ. of Hong
Kong, Hong Kong/Australia)
Lau, Miriam (Shakespeare Institute,
Univ. of Birmingham, UK/ Hong
Kong)
Lavilles, Cecilia (Ateneo de Manila Univ.,
Philippines)
Lee, Adele (Univ. of Greenwich, UK)
Lee, Chee Keng (Natl. Institute of
Education, Singapore)
Lee, Yongkyung (Nomad Theater,
Korea)
Lei, Bi-qi Beatrice (Natl. Taiwan Univ.,
Taiwan)
Leung, Yanwing (Natl. Taiwan Univ.,
Taiwan)
Li, Jia-xuan (Rom Shing Hakka Opera
Troupe, Taiwan)
Li, Jun (Univ. of International Business
and Economics, China)
Li, Zhi-xuan (Rom Shing Hakka Opera
Troupe, Taiwan)
Liang, Chao-an (Rom Shing Hakka
Opera Troupe, Taiwan)
Liang, Lia Wen-Ching (Natl. Tsing Hua
Univ., Taiwan)
Lim, Haeweon (Nomad Theater, Korea)
Lim, Kien Ket (Natl. Chiao Tung Univ.,
Taiwan)
Lim, Walter S. H. (Natl. Univ. of
Singapore, Singapore)
Lin, Alan Ying-Nan (Natl. Taiwan
Normal Univ., Taiwan)
Lin, Susan Shu-cheng (Natl. Taiwan
Normal Univ., Taiwan)
Lin, Wan-yu (Natl. Taiwan Univ.,
Taiwan)
80 Lindeburg, Gary (Weber State Univ.,
USA)
Linzmeier, Joseph (Ming Chuan Univ.,
Taiwan/USA)
Liu, Cecilia H. C. (Fu Jen Catholic Univ.,
Taiwan)
Liu, Jessamine (British Council Taiwan,
Taiwan)
Liu, Li-zhu (Rom Shing Hakka Opera
Toupe, Taiwan)
Liu, Roger Wei-Chen (Natl. Taiwan
Univ., Taiwan)
Liu, Zi-yin (Rom Shing Hakka Opera
Troupe, Taiwan)
Lo, Louis (Natl. Taipei Univ. of
Technology, Taiwan)
Lopez, Jacinda (Tanghalang Ateneo,
Philippines)
Low bt. Abdullah, Nurul Farhana
(Universiti Sains Malaysia, Malaysia)
Lu, Hui-ling (Rom Shing Hakka Opera
Troupe, Taiwan)
Lu, Yi-wei (Rom Shing Hakka Opera
Troupe, Taiwan)
Maclennan, Ian (Laurentian Univ.,
Canada)
Martin, Zora (Pomona College, USA)
Matsuda, Yoshiko (Takasaki Univ. of
Health and Welfare, Japan)
Matsuyama, Kyoko (Komazawa
Women’s Univ., Japan)
McInnis, David (Univ. of Melbourne,
Australia)
Minami, Ryuta (Shirayuri College, Japan)
Mori, Yukiko (Tokyo Univ. of
Agriculture and Technology, Japan)
Motohashi, Ted (Tokyo Univ. of
Economics, Japan)
Mukherjee, Shreyosi (Natl. Univ. of
Singapore, Singapore)
Mun, Geonwoo (Nomad Theater,
Korea)
Neumeier, Beate (Univ. of Cologne,
Germany)
Ng, Eleine Hui Ru (Shakespeare
Institute, Univ. of Birmingham,
UK/Singapore)
Orlin, Lena Cowen (Georgetown Univ.,
USA)
Oshima, Hisao (Kyushu Univ., Japan)
Ostovich, Helen M. (McMaster Univ.,
Canada)
Pan, Shou-he (Rom Shing Hakka Opera
Troupe, Taiwan)
Pan, Xing-yi (Rom Shing Hakka Opera
Troupe, Taiwan)
Paterson, Ronan (Teesside Univ., UK)
Perng, Ching-Hsi (Fu Jen Catholic Univ.
& Natl. Taiwan Univ., Taiwan)
Pipino, Kiara (Grand Valley State Univ.,
USA/Italy)
Ralph, Iris (Tamkang University,
Taiwan/USA)
Roxas, Meliton, Jr. (Univ. of the
Philippines Diliman, Philippines)
Salamat, Ronison Kristofer (University
of the Philippines Diliman,
Philippines)
Sanders, Julie (University of Nottingham
Ningbo, China/UK)
Santamaria, Matthew (Univ. of the
Philippines Diliman, Philippines)
Sellari, T. J. (Natl. Chengchi Univ.,
Taiwan/USA)
Seo, Dong-ha (Korea Military Academy,
Korea)
Shen, Lin (Central Academy of Drama,
China)
Shih, Paris Shun-hsiang (Natl. Chengchi
Univ., Taiwan)
Shin, Hiewon (North Greenville Univ.,
USA/Korea)
82 Shin, Hyun Jong (Nomad Theater,
Korea)
Sim, Hyunwoo (Nomad Theater, Korea)
Skupin, Michael (Chinese Culture Univ.,
Taiwan/USA)
Son, Jeung Woo (Nomad Theater,
Korea)
Soqluman, Baiian (Chinese Culture
Univ., Taiwan)
Sturgess, Kim (Qatar Univ., Qatar/UK)
Su, Guo-qing (Rom Shing Hakka Opera
Troupe, Taiwan)
Su, Jun-hong (Rom Shing Hakka Opera
Troupe, Taiwan)
Su, Tsu-Chung (Natl. Taiwan Normal
Univ., Taiwan)
Su, Ying-en (Rom Shing Hakka Opera
Troupe, Taiwan)
Suematsu, Michiko (Gunma Univ.,
Japan)
Sy, Brian Matthew (Tanghalang Ateneo,
Philippines)
Tañada, Natasha (Tanghalang Ateneo,
Philippines)
Thomas, Sanju (Ambedkar Univ. Dehli,
India)
Tink, James (Tohoku Univ., Japan)
Trivedi, Poonam (Univ. of Delhi, India)
Tsai, Dawn (British Council Taiwan,
Taiwan)
Tsao, Fang Jung (Rom Shing Hakka
Opera Troupe, Taiwan)
Tuan, Iris Hsin-Chun (Natl. Chiao Tung
Univ., Taiwan)
Wang, Chia Chia (Chinese Culture Univ.,
Taiwan)
Wang, Fang-min (Rom Shing Hakka
Opera Troupe, Taiwan)
Wang, Hsuehlan (Rom Shing Hakka
Opera Troupe, Taiwan)
Wang, Hui-hua (Natl. Taiwan Normal
Univ., Taiwan)
Wang, Hui-min (Rom Shing Hakka
Opera Troupe, Taiwan)
Wang, I-chun (Kaohsiung Medical Univ.,
Taiwan)
Wang, Ming-hui (Rom Shing Hakka
Opera Troupe, Taiwan)
Wang, Ming-yang (Rom Shing Hakka
Opera Troupe, Taiwan)
Wang, Xuan-huai (Rom Shing Hakka
Opera Troupe, Taiwan)
Wang, Yu-Ching (Natl. Taiwan Univ.,
Taiwan)
Wang, Zhen-hua (Rom Shing Hakka
Opera Troupe, Taiwan)
Wen, Meng-hua (Rom Shing Hakka
Opera Troupe, Taiwan)
Wolf, Laurie J (College of William &
Mary, USA)
Wong, Katrine K (Univ. of Macau,
Macau)
Wong, Yan Jenny (Univ. of Glasgow,
UK)
Wu, Cong-jiao (Rom Shing Hakka
Opera Troupe, Taiwan)
Wu, Dai-zhen (Rom Shing Hakka Opera
Troupe, Taiwan)
Wu, Yan-ran (Rom Shing Hakka Opera
Troupe, Taiwan)
Wu, Yue-ting (Rom Shing Hakka Opera
Troupe, Taiwan)
Yong, Kwoun (Nomad Theater, Korea)
Yong, Li Lan (Natl. Univ. of Singapore,
Singapore)
Yoshihara, Yukari (Univ. of Tsukuba,
Japan)
Yuan, Wen (Rom Shing Hakka Opera
Troupe, Taiwan)
Zhang, Yi-jia (Rom Shing Hakka Opera
Troupe, Taiwan)
Zheng, Rui-yun (Rom Shing Hakka
Opera Troupe, Taiwan)
Zheng, Yi-pei (Rom Shing Hakka Opera
Troupe, Taiwan)
Zheng, Yue-qin (Rom Shing Hakka
Opera Troupe, Taiwan)
Zhong, Ji-yi (Rom Shing Hakka Opera
Troupe, Taiwan)
Zhu, Julia (Macau Polytechnic Institute,
Macau)
Zhu, Yun-fang (Rom Shing Hakka
Opera Troupe, Taiwan)
Zhuang, Ya-ran (Rom Shing Hakka
Opera Troupe, Taiwan)
Xiao, Rong-zhen (Rom Shing Hakka
Opera Troupe, Taiwan)
Xie, Jian-min (Rom Shing Hakka Opera
Troupe, Taiwan)
Yang, Lingui (Donghua Univ., China)
Yao, Tai-An (Natl. Dong Hwa Univ,m
Taiwan)
Yap, John Mark (Tanghalang Ateneo,
Philippines)
Ye, Wei-hua (Rom Shing Hakka Opera
Troupe, Taiwan)
Yee, Charles (Tanghalang Ateneo,
Philippines)
83 84