NATIVE SHAKESPEARES This page intentionally left blank Native Shakespeares Indigenous Appropriations on a Global Stage Edited by CRAIG DIONNE Eastern Michigan University, USA and PARMITA KAPADIA Northern Kentucky University, USA © Craig Dionne and Parmita Kapadia 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Craig Dionne and Parmita Kapadia have asserted their moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the editors of this work. Published by Ashgate Publishing Limited Ashgate Publishing Company Gower House Suite 420 Croft Road 101 Cherry Street Aldershot Burlington, VT 05401-4405 Hampshire GU11 3HR USA England Ashgate website: http://www.ashgate.com British Library Cataloguing in Publication Data Native Shakespeares 1. Shakespeare, William, 1564–1616 – Adaptations – History and criticism 2. Shakespeare, William, 1564–1616 – Translations – History and criticism 3. Shakespeare, William, 1564–1616 – Appreciation – Foreign countries I. Dionne, Craig II. Kapadia, Parmita 822.3’3 Library of Congress Cataloging-in-Publication Data Native Shakespeares: indigenous appropriations on a global stage / edited by Craig Dionne and Parmita Kapadia. p. cm. ISBN 978-0-7546-6296-9 (alk. paper) 1. Shakespeare, William, 1564–1616—Adaptations—History and criticism. 2. Shakespeare, William, 1564–1616—Translations—History and criticism. 3. Shakespeare, William, 1564– 1616—Appreciation—Foreign countries. I. Dionne, Craig. II. Kapadia, Parmita. PR2880.A1.N38 2008 822.3’3—dc22 2007052206 ISBN: 978-0-7546-6296-9 Printed and bound in Great Britain by MPG Books Ltd, Bodmin, Cornwall. Contents List of Illustrations vii Notes on Contributors viii Introduction: Native Shakespeares: Indigenous Appropriations on a Global Stage Craig Dionne and Parmita Kapadia 1 Part 1 Lowly Subjects: Transposing Tradition 1 The Face in the Mirror: Joyce’s Ulysses and the Lookingglass Shakespeare Thomas Cartelli 19 2 Commonplace Literacy and the Colonial Scene: The Case of Carriacou’s Shakespeare Mas Craig Dionne 37 3 “The Forms of Things Unknown”: Richard Wright and Stephen Henderson’s Quiet Appropriation John Carpenter 57 4 The Fooler Fooled: Salman Rushdie’s Hybrid Revision of William Shakespeare’s Hamlet Through “Yorick” Santiago Rodríguez Guerrero-Strachan and Ana Sáez Hidalgo 73 Part 2 Local Productions: Nationalism and Hegemony From the Third Space 5 Jatra Shakespeare: Indigenous Indian Theater and the Postcolonial Stage Parmita Kapadia 91 6 Nationalizing the Bard: Québécois Adaptations of Shakespeare Since the Quiet Revolution Jennifer Drouin 105 7 An Aboriginal As You Like It: Staging Reconciliation in a Drama of Desire Maureen McDonnell 123 8 Movers and Losers: Shakespeare in Charge and Shakespeare Behind Bars Niels Herold 153 vi Native Shakespeares Part 3 Translating Across: Between the National and the Cultural 9 Shakespeare and Transculturation: Aimé Céésssaaaiiirrreee’’’sss A Tempest Pier PaoloFrassinelli 173 10 Twin Obligations in Solomon Plaatje’s Diphosho-phosho Ameer Sohrawardy 187 11 In Fair Havana, Where We Lay Our Scene: Romeo and Juliet in Cuba Donna Woodford-Gormley 201 12 “I am no Othello. I am a lie”: Shakespeare’s Moor and the Post-Exotic in Tayeb Salih’s Season of Migration to the North Atef Laouyene 213 Afterword: The Location of Shakespeare Jyotsna G. Singh 233 Index 241 List of Illustrations 1 “Are You Challenging Me?” from Finding Forrester. Prof. Robert Crawford played by F. Murray Abraham. Directed by Gus Van Sant. Courtesy of Sony Pictures, 2000. 54 2 LL’’OOfffificciieerr dduu RRhhiinn---PPPiiieeerrrrrreee BBBooouuurrrgggaaauuulllttt (((llleeeaaadddeeerrr ooofff ttthhheee RRRRaaaasssssssseeeemmmmbbbblllleeeemmmmeeeennnntttt pour l’indépendance nationale [[RRIINN]])),, HHoorraattiioo--RReennéé LLéévveessqquuee (founder of the MMoouuvveemmeenntt SSoouuvveerraaiinneettéé--AAssssoocciiaattiioonn [[[MMMSSSAAA]]] aaannnddd lllaaattteeerrr the PPaarrttii QQuuéébbééccooiiss [[PPQQ]]))),,, aaannnddd HHHaaammmllleeettt---QQQuuuééébbbeeeccc,,, ttthhheee ppprrriiinnnccciiipppaaalll nnnaaatttiiiooonnnaaallliiisssttt figures in Robert Gurik’s Hamlet, prince du Québec. Courtesy of Robert Gurik. 113 3 DDuurriinngg tthhee ssttoorrmm sscceennee,, tthhee ttwwoo SShhaakkeessppeeaarreess hhuuddddllee uunnddeerr ““a typically British umbrella”and then “jump into, with eloquence and historical attention, […] the long narration of Clarence’s dream (authentically excerpted from the great William’sRICHARD III),” oblivious that they are being drowned, like Clarence, by “cat pee” that the Fool rains down on them. (Ronfard, Lear 46–8, 50; my translation, italics in original). 111144 4 Publicity photograph of Deborah Mailman in Company B’s As You Like It. Directed by Neil Armfield (1999). Photograher: Julian Watt. Courtesy of Christine Bradburn and Company B, Sydney, Australia. 124 5 Celebration scene of Company B’s As You Like It. Directed by Neil Armfield (1999). Photographer: Heidrun Löhr. Courtesy of Company B, Sydney, Australia. 127 6 Kristine Hutton and Deborah Mailman in Company B’s As You Like It. Directed by Neil Armfield (1999). Photographer: Heidrun Löhr. Courtesy of Company B, Sydney, Australia. 127 7 Kristine Hutton and Deborah Mailman in Company B’s As You Like It. Directed by Neil Armfield (1999). Photographer: Heidrun Löhr. Courtesy of Company B, Sydney, Australia. 139 8 Cabaret-style head shot of Deborah Mailman in Company B’s As You Like It. Directed by Neil Armfield (1999). Photograher: Julian Watt. Courtesy of Company B, Sydney, Australia. 144 Notes on Contributors John Carpenter is an Assistant Professor of English at Indian River College. His recent scholarship focuses upon cultural interpretations of music in early modern drama, and his current publications include “Placing Thomas Deloney,” in JNT: The Journal of Narrative Theory, and “Fulfilling the Book: Shakespeare, Music, Identity, and Kwame Dawes’ ‘Requiem’” in The Humanities Review. Thomas Cartelli is author of Repositioning Shakespeare: National Formations, Postcolonial Appropriations (1999), Marlowe, Shakespeare, and the Economy of Theatrical Experience (1991), and most recently co-author, with Katherine Rowe, of New Wave Shakespeare on Screen (2007). He teaches at Muhlenberg College where he is NEH Professor of Humanities. Craig Dionne has published on Shakespeare in popular culture, history of the early modern underworld, rogues and class history. He has co-edited two books that showcase inter and cross-disciplinary perspectives. Disciplining English: Alternative Histories and Critical Perspectives (SUNY 2002), and Rogues and Early Modern English Culture (University of Michigan Press, 2004). He is editor of JNT: Journal of Narrative Theory. Jennifer Drouin is a postdoctoral fellow with the SSHRC Major Collaborative Research Initiatives “Making Publics” project at McGill University. Her research focuses on Shakespeare, Québécois adaptations, and early modern gender and sexuality. Her articles on these topics appear or are forthcoming in Theatre Research in Canada, Borrowers and Lenders, and the volume Shakespeare Re-Dressed: Cross-Gender Casting in Contemporary Performance. Niels Herold’s essays on Shakespeare pedagogy and historicism have appeared in JNT: Journal of Narrative Theory, Shakespeare Yearbook, Shakespeare and the Classroom, CEA, and Shakespeare Quarterly. He is an Associate Professor of English at Oakland University, where he teaches Shakespeare and Renaissance Literature. He is currently at work on an essay about Shakespeare Behind Bars and the early modern performance of repentence. Pier Paolo Frassinelli is a Research Fellow at the University of the Witwatersrand in Johannesburg, South Africa. He has published several articles in the areas of Early Modern and Postcolonial Studies and has recently written the Introduction to a new edition of C.L.R. James’s Notes on Dialectic. His current projects include a co-edited volume entitled Traversing Transnationalism (with David Watson and Ronit Fainman-Frenkel) and an anthology of writings on Shakespeare by Caribbean authors, which he is co-editing with Shane Graham. Notes on Contributors ix Santiago Rodríguez Guerrero-Strachan teaches Postcolonial Literature at the University of Valladolid (Spain). He is interested in Comparative Literature, African and Caribbean authors, Exile and Rushdie. Ana Sáez Hidalgo teaches Medieval and Renaissance English Literature at the University of Valladolid (Spain). Her main research interests are Comparative Literature, Translation and Rewriting and other forms of Cultural exchange. Parmita Kapadia has done extensive work on postcolonial Shakespeare in India. She is Associate Professor of English at Northern Kentucky University where she specializes in Shakespeare studies and postcolonial literatures. Her current projects include a co-edited volume entitled Transforming Diaspora (with Robin Field) and a writing handbook for the Shakespeare classroom. Atef Laouyene is a Ph.D. candidate at the University of Ottawa, Canada. He is currently finalizing his dissertation entitled “The Post-Exotic Arab: Orientalist Dystopias in Contemporary Postcolonial Fiction.” He has a forthcoming article, “Canadian Gothic and the Work of Ghosting in Ann-Marie MacDonald’s Fall on Your Knees.” Maureen McDonnell is an Assistant Professor at Eastern Connecticut State University, where she teaches courses in early modern literature, women’s studies, and women’s literature. She received her joint Ph.D. in English and Women’s Studies at the University of Michigan; her dissertation explored the cultural dimensions of global Shakespearean drama and performance. Presently, she is engaged in research on performance studies and early modern drama. Jyotsna G. Singh is Professor of English as Michigan State University. She is the author of Colonial Narratives/Cultural Dialogues: “Discoveries of India in the Language of Colonialism,” and The Weyward Sisters: Shakespeare and Feminist Politics. She has also co-edited Travel Knowledge: European “Discoveries” in the Early Modern Period. Ameer Sohrawardy is a doctoral candidate in the English department at Rutgers University. His interests include literatures of the early modern period and postcolonial theory. His dissertation examines the role of the intermediary in facilitating Anglo- Ottoman interactions in 16th and 17th century drama and travel writing. Donna Woodford-Gormley is Assistant Professor and Coordinator of the English program at New Mexico Highlands University. She earned her B.A. in English and Spanish literature at California State University, Northridge and her M.A. and Ph.D. in English at Washington University in St. Louis. Her publications include a book, Understanding King Lear, and several articles on Shakespeare, early modern women writers, and other topics in British literature.