This essay examines the phenomenon of cross-cultural Shakespearean “traffic” as an import/export “business” by analyzing the usefulness of the concept crosscultural through a series of theoretical binaries: Global vs. Local Shakespeares, Glocal and Intercultural Shakespeare; and the very definition of space and place within the Shakespearean lexicon. The essay argues that theoretically, the opposition of global and local Shakespeares has a tendency to collapse, and both glocal and intercultural Shakespeares are the object of serious critique. However, the project of cross-cultural Shakespeare is sustained by the dialectic between memorialization and forgetting that attends all attempts to record these cross-cultural experiences. The meaning of crosscultural Shakespeare lies in the interpreter’s agency.
Global Shakespeare, Local Shakespeare, Intercultural Shakespeare, Glocal Shakespeare, Dobson, Michael, Wilson, Robert Kennedy, Barucha, Rustom, Massai, Sonia, Isango Ensemble, Globe to Globe Hamlet, Laura Bohannon, “Shakespeare in the Bush”, Orkin, Martin
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