How to study world-wide performances of Shakespeare that combine more than one cultural influence.

What is it about?

To move global Shakespeare studies beyond the more limiting scope of nation-state and cultural profiling, I would like to propose we consider a number of critical concepts as methodology. These concepts critique the limitations of cartographic imagination, and connect the performance site to spaces of knowledge production: (1) the site of performance and the myth of global Shakespeare; (2) diaspora and racial tensions; (3) art in post-national space; (4) the ethics of quoting Shakespeare and world cultures; and (5) the production and dissemination of knowledge through archives.

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