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Table of Contents
Intro; Preface; Acknowledgments; Contents; Notes on Contributors; List of Figures; Chapter 1: Introduction; Global Shakespeare as Myth; Myth in Performance; Structure of the Book; References; Part I: Myths of Linguistic Transcendence, Authenticity, Universality; Chapter 2: "Europe Speaks Shakespeare": Karin Beier's 1996 A Midsummer Night's Dream, Multilingual Performance and the Myth of Shakespeare's Linguistic Transcendence; References; Chapter 3: The Myth of Shakespearean Authenticity: Neoliberalism and Humanistic Shakespeare; The Macbeth Myth: Eradicating World Evil.
The Romeo Cameo: Curing the Gays, Academics, and (Shakespeare) HereticsReinscribing (Authentic) Normative Templates; References; Chapter 4: Shamanistic Shakespeare: Korea's Colonization of Hamlet; Yohangza's Hamlet: A Mythic Case Study; Korean Shamanism as Theatrical Entertainment; Hamlet, Han, and Anti-Japanese Sentiment; Korean Nationalism and Shamanic Reanimation; References; Part II: Myths of Local Identities and Global Icons; Chapter 5: Ludwig Tieck and the Development of the Romantic Myth of a "German Shakespeare"; Tieck's Romanticism: Passion and Bardolatry.
Developing the Myth of Shakespeare as "Inventor of the Human": Tieck as Romantic Author, Translator, and CriticMythmaking on the German Stage: Tieck as Shakespearean Director and Dramaturg; Conclusion: Tieck's Shakespeare: Romanticism, Myth, and Nation; References; Chapter 6: Shakespeare Beyond the Trenches: The German Myth of unser Shakespeare in Transnational Perspective; "Take Up Our Quarrel with the Foe": Locating the German Shakespeare Myth; Transgressive Shakespeares: From Fidelity to Verfremdung; Germany Going Global: The Bremer Shakespeare Company.
Transgression Transnationalized: Thomas Ostermeier and the SchaubühneRe-assembling the Myth: Shakespeare and the German Tradition; References; Chapter 7: "Tupi or Not Tupi, That Is the Question": Brazilian Mythical Afterlives of Shakespeare's Hamlet; Creative Cannibalism, Hybridity, and the "Space In-Between"; Mythic Perspectives in Shakespeare's Hamlet; Ham-let (1993), Directed by Zé Celso; Caixa-Preta's Syncretic Hamlet (2005), Directed by Jessé de Oliveira; Conclusion; References; Part III: Myths of Political Shakespeare.
Chapter 8: Hamlet and the Fall of the Berlin Wall: The Myth of Interventionist Shakespeare PerformanceGlobal Myths: Theater as Subversive Medium; Local Applications: "Undercover Shakespeare" in East Germany; Hamlet/Maschine and the Revolution; References; Chapter 9: Denmark's a Prison: Appropriating Modern Myths of Hamlet After 1989 in Lin Zhaohua's Hamulaite and Jan Klata's H.; Lin Zhaohua's Hamulaite1 (Hamlet); Jan Klata's H.6; Conclusion; References; Chapter 10: Hamlet in Times of War: Two Appropriations of Shakespeare's Tragedy in Former Yugoslavia in the 1990s.
The Romeo Cameo: Curing the Gays, Academics, and (Shakespeare) HereticsReinscribing (Authentic) Normative Templates; References; Chapter 4: Shamanistic Shakespeare: Korea's Colonization of Hamlet; Yohangza's Hamlet: A Mythic Case Study; Korean Shamanism as Theatrical Entertainment; Hamlet, Han, and Anti-Japanese Sentiment; Korean Nationalism and Shamanic Reanimation; References; Part II: Myths of Local Identities and Global Icons; Chapter 5: Ludwig Tieck and the Development of the Romantic Myth of a "German Shakespeare"; Tieck's Romanticism: Passion and Bardolatry.
Developing the Myth of Shakespeare as "Inventor of the Human": Tieck as Romantic Author, Translator, and CriticMythmaking on the German Stage: Tieck as Shakespearean Director and Dramaturg; Conclusion: Tieck's Shakespeare: Romanticism, Myth, and Nation; References; Chapter 6: Shakespeare Beyond the Trenches: The German Myth of unser Shakespeare in Transnational Perspective; "Take Up Our Quarrel with the Foe": Locating the German Shakespeare Myth; Transgressive Shakespeares: From Fidelity to Verfremdung; Germany Going Global: The Bremer Shakespeare Company.
Transgression Transnationalized: Thomas Ostermeier and the SchaubühneRe-assembling the Myth: Shakespeare and the German Tradition; References; Chapter 7: "Tupi or Not Tupi, That Is the Question": Brazilian Mythical Afterlives of Shakespeare's Hamlet; Creative Cannibalism, Hybridity, and the "Space In-Between"; Mythic Perspectives in Shakespeare's Hamlet; Ham-let (1993), Directed by Zé Celso; Caixa-Preta's Syncretic Hamlet (2005), Directed by Jessé de Oliveira; Conclusion; References; Part III: Myths of Political Shakespeare.
Chapter 8: Hamlet and the Fall of the Berlin Wall: The Myth of Interventionist Shakespeare PerformanceGlobal Myths: Theater as Subversive Medium; Local Applications: "Undercover Shakespeare" in East Germany; Hamlet/Maschine and the Revolution; References; Chapter 9: Denmark's a Prison: Appropriating Modern Myths of Hamlet After 1989 in Lin Zhaohua's Hamulaite and Jan Klata's H.; Lin Zhaohua's Hamulaite1 (Hamlet); Jan Klata's H.6; Conclusion; References; Chapter 10: Hamlet in Times of War: Two Appropriations of Shakespeare's Tragedy in Former Yugoslavia in the 1990s.