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“What Country, Friends, Is This?”: Touring Shakespeares, Agency, and Efficacy in Theatre Historiography

Published online by Cambridge University Press:  03 January 2013

Alexander C. Y. Huang
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The curtain rose at the King's Theatre, Edinburgh, on 14 August 2011 to reveal a richly textured production of The Tempest on a bare stage with minimal props. As the lights came up, a group of white-robed sailors were caught in a meticulously choreographed storm, dancing to the mesmerizing beats of the master drummer upstage. The performers’ costumes echoed traditional Korean hanbok attire and their acting style incorporated t'alch'um mask-dance drama techniques. Their long white sleeves flapped and swayed in sync with their movements. Engulfed in stagewide sapphire and then crimson lighting, their sleeves were transformed from symbols of violent wind and waves to raging fire on board a ship approaching a world where, as Gonzalo aptly summarized, “no man was his own” (5.1.211). With Prospero (King Zilzi) as the drummer upstage and Ariel dancing in the midst of the unfortunate sailors, the storm scene—one of the longest renditions of the “direful spectacle” (1.2.26) in the performance history of The Tempest—served as an anchor to the tragicomic narrative about the self and the other. For a fleeting moment, Prospero gave the impression of being a drillmaster at the helm.

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Articles
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Theatre Survey , Volume 54 , Issue 1 , January 2013 , pp. 51 - 85
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Copyright © American Society for Theatre Research 2013

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References

Endnotes

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20. The conversation took place during the event entitled “Continental Shifts: All the World's a Stage,” with Oh Tae-suk, Michael Billington, and Alexander Huang, at The Hub on Castlehill, Edinburgh, 15 August 2011.

21. Craig Singer, “The Tempest (EIF),” 15 August 2011, WhatsOnStage.com, 15 August 2011, www.whatsonstage.com/reviews/theatre/london/E8831313399539/The+Tempest+%28EIF%29.html (accessed 20 September 2012).

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25. Gent.

26. Ibid.

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32. Love's Labour's Lost, 5.1.32.

33. Dromgoole and Bird, “O for a Muse of Fire,” Globe-to-Globe website homepage, http://globetoglobe.shakespearesglobe.com/, accessed September 1, 2012

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37. Tom Bird, speaking on “The Globe to Globe Festival” at the International Shakespeare Conference, Stratford-upon-Avon, 9 August 2012 (author's notes).

38. Ibid.

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40. Figures for summer 2012 are not yet available as of this writing, but the number of visitors to the South Bank and the Bankside Cultural Quarter (where the Tate Modern and the Globe are located) jumped from an annual average in the tens of thousands in the 1990s to 13 million in 2011. Serota, Nicholas and Hyslop, Donald, “Art and Culture in Regeneration: Tate Modern, Bankside and London,” Journal of Urban Regeneration and Renewal 4.4 (2011), 328–36Google Scholar; see esp. 332–3. I wish to thank Susan Bennett for drawing my attention to this study and for sharing her draft. Her research has shown why humanities scholars have to pay attention to “new economic profiles of how Shakespeare circulates in the world”; Bennett, “Shakespeare at Work in the Global Leisure Market,” at the International Shakespeare Conference, Stratford-upon-Avon, 10 August 2012 (quoted with Bennett's permission). See also Bennett, , “Shakespeare on Vacation,” A Companion to Shakespeare and Performance, ed. Hodgdon, Barbara and Worthen, W.B. (Oxford, Blackwell, 2005), pp. 494–508Google Scholar; Bennett, , “Theatre/Tourism,” Theatre Journal 57.3 (2005): 407–428CrossRefGoogle Scholar.

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43. Richard Schechner regards the Olympics as “globalism's signature performance”; Schechner, , Performance Studies: An Introduction, 2d ed. (New York: Routledge, 2006), 292Google Scholar. Versions of the Cultural Olympiad called the LA Festival (1987 and 1990) were held after the 1984 Los Angeles Olympics. While no conclusive studies of the cultural impact of the 2012 London Olympics are available at press time, studies of the Asian Olympic discourse surrounding the Tokyo and Seoul Olympics and the impact of the 2008 Olympics on Beijing provide useful contexts. See Xu, Guoqi, Olympic Dreams: China and Sports, 1895–2008 (Cambridge: Harvard University Press, 2008)CrossRefGoogle Scholar; Close, Paul, Askew, David, and Xin, Xu, The Beijing Olympiad: The Political Economy of a Sporting Mega-Event (New York: Routledge, 2007)Google Scholar; and Price, Monroe E. and Dayan, Daniel, eds., Owning the Olympics: Narratives of the New China (Ann Arbor: University of Michigan Press, 2008)CrossRefGoogle Scholar.

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46. “What Country Friends Is This?” World Shakespeare Festival 2012, www.worldshakespearefestival.org.uk/themes/what-country-friends-is-this.aspx (accessed 20 September 2012),

47. Shakespearean scholar Andrew Griffin who attended the performance in Beijing with his Chinese-Canadian partner was deeply impressed by the intercultural design, but found it ironic that, despite his lack of knowledge of Chinese, he was able to explain the intricate details of the performance to his partner who spoke Chinese. Alexander Huang, Interview with Andrew Griffin, Victoria, Canada, October 12, 2012.

48. Erin Sullivan observes that “as opposed to the other ‘foreign’ offerings in the Globe to Globe Festival,” the hip hop Othello had a “noticeably youthful audience” that thoroughly enjoyed the experience, because the production familiarized Shakespeare through a contemporary genre. Review of Othello, in Year of Shakespeare, May 6, 2012; http://bloggingshakespeare.com/year-of-shakespeare-othello, accessed September 30, 2012.

49. Saffron Walkling of York St. John University and Jacqueline Smith of BBC in London shared their views with me. I am grateful to Smith for inviting me to appear on two BBC World Service programs; those experiences served as catalysts to this article.

50. Tom Bird, speaking on “The Globe to Globe Festival” (author's notes).

51. London Globe, press release, 20 August 2010; available online at www.shakespearesglobe.com/uploads/ffiles/2011/02/295900.pdf (accessed 20 September 2012).

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54. Dong Youdao, “Wushi shengfei de wutai diaodu—Liepukefusikaya de daoyan shoufa [The Mise-en-Scène of Much Ado about Nothing: Lipkovskaya's Directing Method],” Xinmin wanbao [The New Citizen Evening News], 30 November 1957 (translation mine).

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72. On the conflicted Asian identities in diaspora, see Huang, Alexander C. Y., ““Asian American Theatre Re-imagined: Shogun Macbeth in New York.” Weyward Macbeth: Intersections of Race and Performance, ed. Newstok, Scott and Thompson, Ayanna (New York: Palgrave, 2009), pp. 121–125Google Scholar; on colorblind casting in Shakespearean theatre, see Colorblind Shakespeare: New Perspectives on Race and Performance, ed. Thompson, Ayanna (New York: Routledge, 2006)CrossRefGoogle Scholar.

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76. Kate Rumbold, for example, writes that “the combination of the distinctive space of the Globe, the otherness of its foreign visitors, the absence of English language, and even the Globe's seeming proximity to Shakespeare, has evidently ascribed to participants in the ‘Globe to Globe’ festival in particular a new degree of ‘authenticity’.” Kate Rumbold, Review of Much Ado About Nothing, Year of Shakespeare blog, August 10, 2012; http://bloggingshakespeare.com/year-of-shakespeare-much-ado-about-nothing-at-the-rsc, accessed October 21, 2012.

77. Rumbold, Review of Much Ado About Nothing.

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