Introduction: Global Shakespeare for Anglophone Audiences

Multicultural Shakespeare: Translation, Appropriation and Performance vol. 11 (26), 2014; DOI: 10.2478/mopa-2014-0002 Reflecting on the 2012 Globe to Globe Festival, Bridget Escolme hopes that this unique project might paradoxically be the beginning of a decentring of Shakespeare in global knowledge production. What questions, she asks, might this Festival continue to provoke that arent about Shakespeare? And how might theatres and universities start to explore and answer them (309)? Escolme joins other scholars left asking questions, about Shakespeare, non-Shakespeare and performance, in reaction to an unprecedented few years of foreign productions staged for Anglophone audiences. Many of those excellent responses are collated in Shakespeare Beyond English (2013), edited by Susan Bennett and Christie Carson, and A Year of Shakespeare (2013), edited by Paul Edmondson, Paul Prescott and Erin Sullivan. This special edition of Multicultural Shakespeare is part of that response and seeks to engage with and develop the debate started by these two important books. We do this not least with a review of both books which productively places them in dialogue with one another, but also with a rich, eclectic set of articles that considers the genesis of the Globe to Globe Festival, foreign Shakespeare performance practices, the politics of translation and the ethics of reviewing such productions, amongst other things. A Year of Shakespeare offers an archive of accounts of an exceptionally wide range of theatrical experiences made available within a short space of time and originating in many different cultures (Wells xxiii). Similarly, Shakespeare Beyond English serves, according to its editors, as a scholarly archive of the Globe to Globe Festival; albeit one they hope challenge[s] the business of Shakespeare and so is a great deal more (Bennett and Carson 3). Rather than emulate these comprehensive works, this journal is not an archive but rather a diverse snapshot of scholars analysis of foreign Shakespeare in 2014, focussing on a range of performances from Globe to Globe, to the Edinburgh International Festival, to the Royal Shakespeare Complete Works Festival. Escolme wonders Lecturer in Early Modern English, University of Kent. London Shakespeare Centre, Kings College London. Sarah Dustagheer, Aleksandra Sakowska Introduction: Global Shakespeare for Anglophone Audiences 10 Sarah Dustagheer, Aleksandra Sakowska how theatres and universities might begin to explore the questions raised by foreign Shakespeare and we hope that this journal begins some of that exploratory work. Shakespeare remains a focus but, again picking up on Escolmes thoughts about questions that are not about the early modern playwright, articles here offer thoughts on contemporary Chinese, Indian and Polish theatre practices from practitioners and researchers working in these areas. The next few pages introduce the articles that follow, but also seek to identify three of the reoccurring themes that they examine: performance spaces, languages and reception. Performance Spaces For David Wiles, the play-as-event belongs to the space, and makes the space perform as much as it makes actors perform (1); the importance of space, as asserted by Wiles, is confirmed by the discussion of many foreign Shakespeare productions. The way a space performs in the sense of working both with or even against a production is pertinent for shows which are transferred across not only different theatre spaces but different countries too. For the Globe to Globe Festival, the specific performance conditions of Londons reconstructed theatre challenged many companies performing during 2012. Reviewing Andrea Baracco and Vincenzo Mannas Giulio Cesare (Julius Caesar) for Shakespeare Beyond English, Sonia Massai points out that the performance space offered by the Globe is not neutral and often clashes with the aesthetic and more generally artistic principles that inform the theatrical language and approach shared by some directors, including Baracco (97). …