Abstract

This essay explores historical and cultural features that have contributed to increases in use of Shakespeare by both Asian performers and Western artists who have been deeply affected by Asian theatre models, using the examples of Ninart Boonphothong's Bangkok-based Naked Masks Group, Larry Reed's San Francisco-based, Shadowlight Company, and Nomura Mansai's Tokyo-based Setagaya Pubic Theatre.

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Additional Information

ISSN
1527-2109
Print ISSN
0742-5457
Pages
pp. 7-43
Launched on MUSE
2011-05-28
Open Access
No
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