are actively negotiated by participants. As Peter Holland indicates, exploring Shakespearean proliferation on websites such as YouTube and Second Life, the frontier of adaptation will only continue to expand, rendering this collection all the more timely. Part 4 provides reference materials to aid further study. First, a chart draws parallels between historical events and productions of Shakespeare in Asia, Hollywood, and worldwide from the sixteenth century onward. While its selection criteria are not quite clear, the time line highlights events that most Western scholarship has not privileged--such as, in 1925, the "First Korean production of Shakespeare ( Julius Caesar, by Kyungsong vocational school)" (p. 267)--and implies the need to consider the transnational relationships that enable them. Also included here is a valuable thirteen-page bibliography of studies from 1970 to the present on the uses of Shakespeare across cultures and media. As with many such collections, the writing of the contributors is of varying quality, while the brevity of the essays (averaging about ten pages) limits the depth of their analysis. Also, given the mélange of topics, it would have been helpful to see connections drawn more explicitly among the essays by the writers themselves, or at least to
Asian Theatre Journal – University of Hawai'I Press
Published: May 28, 2011
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