11th World Shakespeare Congress, Singapore:
Shakespeare Circuits
18 – 24 July 2021

Held in

Supported byMembers of the Local Organising Committee for theWorld Shakespeare
Congress 2021
Local Committee
Co-Chair: YONG Li Lan (National University of Singapore, Singapore)
Co-Chair: Bi-qi Beatrice LEI (National Taiwan University, Taiwan)
Executive Director: Eleine NG-GAGNEUX (National University of Singapore, Singapore)
Festival Director: LEE Hyon-u (Soonchunhyang University, South Korea)
Deputy Festival Director: Alvin Eng Hui LIM (National University of Singapore, Singapore)
Michael DOBSON (Shakespeare Institute, UK)
Mika EGLINTON (Kobe City University of Foreign Studies, Japan)
Emily SOON (Singapore Management University, Singapore)

Programme Committee
Chair: Lena Cowen ORLIN (Georgetown University, USA)Tom BISHOP (University of Auckland, New Zealand)
Ton HOENSELAARS (Universiteit Utrecht, Netherlands)
Bi-qi Beatrice LEI (National Taiwan University, Taiwan)
YONG Li Lan (National University of Singapore, Singapore)

Secretariat
Roweena YIP (National University of Singapore, Singapore)
Jennifer HO Hui Lin (National University of Singapore, Singapore)
Karen LAM Xue Ling (National University of Singapore, Singapore)

DesignJIANG Liheng (FreeWave Media Pte Ltd, Singapore)11th World Shakespeare Congress, Singapore: Shakespeare

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Welcome
When I think back over the previous WSCs I have attended,
I recall great experiences and wonderful programmes– but never a Congress quite as ambitious as this one.
Thanks to the extraordinary work of our Local Organising
Committee, Singapore is bringing the Congress to theworld, ensuring that this is a global event for scholarshipand theatre on an unprecedented scale in its entirely
virtual format, not least in the extraordinary riches of theDigital Asian Shakespeare Festival.
Across the many sessions of the 2021 WSC we will share
our thoughts and discoveries, our research and creativity,
our achievements past and our future plans. We do soalways discovering yet again that Shakespeare, even as
we so profoundly seek to rethink his place in the historyof cultures of oppression across the world, can still be asource of joy in our research, of the pleasures of our work
– for what is our gathering if not a time of sharing what
drives us and delights us?
Of course, we cannot but be aware of the shadow of
the pandemic. In the early days of its emergence, thenewspapers were full of pieces by Shakespeareans
about his having written King Lear while plague kept thetheatres closed and similar attempts to parallel plagueand pandemic. The parallels were never quite convincing
enough. If it has done nothing else, the pandemic has
made us differently conscious of our world. When I turnto the news, as I do many times a day, and I see what
is happening elsewhere, I think of Shakespeare scholars
across the world who live in countries where the daily death
toll is still horrifically high, where the precious vaccines are
virtually unobtainable, where the stress and distress ofliving in these times are taking their own uncounted toll.
And I think of Shakespeare scholars we have lost to thevirus.

11th Shakespeare Congress, Singapore: Shakespeare Circuits

Our times have made us newly aware of the world andnewly aware of Shakespeare’s place within it. And it has
spawned new Shakespeare industries. I enjoyed wearing
Shakespeare facemasks I found online. No, they weren’tof the highest protective quality but I was cheered by one
that read ‘A plague on neither of your houses!’ or anotherthat encouraged my interlocutors to ‘Prithee, stand further
off’ or one that reminded those who looked at me that
‘False heart doth hide what the false heart doth know’ –and it pleased the scholar in me that each identified theplay from which the quotation or misquotation came.
Perhaps those facemasks will prove to be another of the
myriad Shakespeare circuits that WSC 2021 is devoted
to exploring, another channel through which his works
move across times and place, across cultures and nations,
across media and differing presences.
So welcome to WSC 2021. And, as we begin to enjoy thefeast of the Congress program, my profound thanks to all
those who made this possible, especially the core group of
the Local Organising Committee without whom none of this
could ever have been possible.

- Peter HOLLAND
Chair,
International Shakespeare Association

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World Shakespeare, Online from Singapore
We are excited and proud to welcome you to the first online World Shakespeare Congress. Thisis the first Congress where communities of Shakespeare scholars, teachers and practitioners inover 40 countries will gather and interact while remaining each in our own locations, time zones,
climates, and cultures for Shakespeare. Even as it appears that the global technology of videoconferencing and recordings flatten our differences, we are in fact even more situated, diverseand ‘local’ than we would be on site together as visitors in one city. By meeting online, we bring
together all the places where we are. It is therefore with a remarkable effort of imagination,faith and joint purpose that we gather our ideas and interests in Shakespeare to record andlisten to papers in our own homes, and share online presence. Making time out of our normalschedules for a few hours, will, we hope, bring our lives more closely into the circuits by which
Shakespeare still travels around the world.
The Congress Programme Committee of Lena ORLIN, Ton HOENSELAARS and Tom
BISHOP have worked with us on an outstanding programme that explores the questions,new directions and fresh connections that are growing in Shakespeare studies. The Digital
Asian Shakespeare Festival directors LEE Hyon-u and Alvin Eng Hui LIM have curated ten
performances by renowned and emerging directors across East, South and Southeast Asia,(subtitled) performance recordings of which will be online from 5 – 27 July 2021. Watch parties
and In-Conversation sessions with the directors provide a special opportunity to understandhow and why Asian practitioners bring Shakespeare onto their own stages.
Instead of cramming as much as we can into a week, we have re-drawn the timeframe of
the Congress for the online medium across time-zones. There is a pre-Congress period (1 –17 July) where video-recordings of panel papers and performances will be online for viewing,
and where we will also host watch parties with the directors of the performances. The main
Congress period (18 – 24 July) will bring us together live for the plenary sessions of keynotes,
roundtables and conversations with directors, as well as Q&A sessions for the panels. The postCongress period (25 July – June 2022) will continue to provide access to the paper and session
recordings.
While of course we regret not being able to welcome everyone into Singapore, we are able topresent many more performances than we could stage live, and delegates who would not havebeen able to make the trip here can now join our community. We send you tea from Singapore,commissioned for WSC 2021 with the theme of the Clipper Route’s global passage, and invite
you to share a cup of tea together as we meet online.

- YONG Li Lan and Bi-qi Beatrice LEI
Co-Chairs,
Local Organising Committee of the 2021 WSC

11th Shakespeare Congress, Singapore: Shakespeare Circuits

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Welcome to the Digital Asian Shakespeare Festival!
This virtual Festival celebrates the setting of this year’s World Shakespeare Congress in
Singapore by bringing together screenings of Asian performances, curated watch parties,
dialogue sessions with practitioners, and a digital tour, Shakespeare & Singapore, 1840-2000.
The performances will encompass a wide range of representative Asian Shakespeare works
from the traditional to the most innovative. Selected as windows into Asian aesthetics, theperformances will illustrate how diverse, creative, and unique Shakespearean interpretations
can emerge from aesthetic practices that remain deeply rooted in Asian religious rituals,
traditional culture, and philosophy. The directors of the performances, including WU Hsing-kuo(Taiwan), TANG Shu-wing (Hong Kong), Annette LEDAY (France), Nelson CHIA (Singapore),and YANG Jung-Ung (South Korea) will also meet with delegates in interactive online sessions.
The Digital Asian Shakespeare Festival will offer rare opportunities for delegates to enjoy thediversity and the depth of Asian Shakespeare while breaking through the barrier of the COVID
pandemic.

- LEE Hyon-u
Festival Director,
Local Organising Committee of the 2021 WSC

5About the ISA
The International Shakespeare Association (ISA) was created in 1974 as an umbrella organisation
to connect Shakespearians and Shakespeare societies across the globe. With its headquarters
at the Shakespeare Birthplace Trust, a small committee of prominent Shakespearians, including
John Russell BROWN, O. B. HARRISON, George HIBBARD, and Levi FOX, helped shape
the association’s original objectives, including advising on the initiation and planning of World
Shakespeare Congresses. The original executive committee, like all committees since, wasmade up of representatives from around the world.
The first ISA World Shakespeare Congress took place in Washington in 1976 as part of theAmerican bicentennial celebrations. Since the Washington meeting, the ISA has continued tostage World Congresses at five-year intervals: ‘Shakespeare, Man of the Theatre’ (Stratfordupon-Avon, 1981); ‘Images of Shakespeare’ (Berlin, 1986); ‘Shakespeare and Cultural
Traditions’ (Tokyo, 1991); ‘Shakespeare and the Twentieth Century’ (Los Angeles, 1996);‘Shakespeare and the Mediterranean’(Valencia,
2001);‘Shakespeare’s
World/World Shakespeares’ (Brisbane,2006); ‘Renaissance Shakespeare:
Shakespeare Renaissances’ (Prague,2011); and ‘Creating and Recreating
Shakespeare’(Stratford-upon-Avon/
London, 2016).
The ISA offers an opportunity for individuals and institutions to join together to further the knowledgeof Shakespeare throughout the world. In 2015, the Association was formally registered as aCharitable Incorporated Organisation in Great Britain. The ISA’s central commitments are to advancethe education of the public by furthering the study of Shakespeare’s life and work, including by:• Organising, holding and promoting participation in the World Shakespeare Congressand disseminating the learning from the event;• Offering advice and assisting in the establishment of national or regional
Shakespeare associations.

11th Shakespeare Congress, Singapore: Shakespeare Circuits

Officers of the International Shakespeare Association
President: Dame Judi DENCH
Chair: Peter HOLLAND (University of Notre Dame, USA)
Vice Chair: Martin PROCHÁZKA (Charles University, Czech Republic)
Executive Secretary & Treasurer: Nick WALTON (Shakespeare Birthplace Trust, UK)
Membership Administrator: Paula WILKINSON (Shakespeare Birthplace Trust, UK)
ISA Executive Committee
Tom BISHOP (University of Auckland, New Zealand)
Clara CALVO (University of Murcia, Spain)
Sukanta CHAUDURI (Jadavpur University, India)
Rafik DARRAGI (University of Tunis, Tunisia)
Carla DENTE (University of Pisa, Italy)
Dominique GOY-BLANQUET (University of Picardie, France)
HIROTA Atsuhiko (University of Kyoto, Japan)
Ton HOENSELAARS (University of Utrecht, Netherlands)Peter HOLBROOK (University of Queensland, Australia)
Bi-qi Beatrice LEI (National Taiwan University, Taiwan)
Gordon MCMULLAN (King’s College London, UK)
Alfredo Michel MODENESSI (National Autonomous University of Mexico, Mexico)
Claudia OLK (Free University of Berlin, Germany)
Lena Cowen ORLIN (Georgetown University, USA)
Gary YANG (Donghua University, Shanghai)
YONG Li Lan (National University of Singapore, Singapore)
Honorary Members
Werner HABICHT (University of Wuerzburg, Germany)
KISHI Tetsuo (Kyoto University, Japan)
Jill LEVENSON (University of Toronto, Canada)
Sir Stanley WELLS CBE (Shakespeare Birthplace Trust, UK)

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About the HostA leading global university centred in Asia, the National University of Singapore (NUS) is
Singapore's flagship university which offers a global approach to education and research witha focus on Asian perspectives and expertise. NUS enrols 38,000 students from more than
100 countries across 17 faculties and three campuses, and forges partnerships aroundthe world. The National University of Singapore aspires to be a vital community of academics,
researchers, staff, students and alumni working together in a spirit of innovation and enterprisefor a better world.

11th Shakespeare Congress, Singapore: Shakespeare Circuits

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Sponsors
Singapore Tourism Board
The Singapore Exhibition & Convention Bureau (SECB) is a group of the Singapore Tourism
Board that champions the business events industry in Singapore. As the lead government
agency for this industry, SECB aims to establish Singapore as a dynamic business events
destination where an ecosystem of ideas, people, and technology draws on vibrant knowledge
and an extensive network.

Held in

Supported by9Sponsors
Pek Sin Choon
Pek Sin Choon Pte Ltd was founded and established by Mrs BaiZhuang Dan Niang (白-庄旦娘) and her son Mr Pek Kim Aw (白金讴)in 1925, the year of the Buffalo according to the Chinese Horoscope.
During his time, Mr Pek Kim Aw was also known as ‘Buffalo Head’
for his just and upright character. As such, the Buffalo became themascot of the company, as symbolised in the ‘Cowherd Boy on Buffalo’
trademark.
Today, Pek Sin Choon Pte Ltd has positioned itself as a supplier of premium Chinese Tea that isblended and torrefied locally; in other words, teas that are unique to Singapore. Pek Sin Choon’s
products are instantly recognisable by the traditional triangular and oblong shapes of the tea
packaging, deftly hand-wrapped in the pink paper used by Chinese medicinal halls. Signature
tea blends include ‘Charm Of Buddha’s Palm’ (佛手神) and ‘Royal Daffodil’ (水仙王), both ofwhich have received the Merlion Logo, a mark of accreditation by the Singapore Tourism Board.

11th Shakespeare Congress, Singapore: Shakespeare Circuits

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ProgrammeThursday 1 July - Saturday 17 July 2021
Pre-Congress with On-Demand Videos

11th Shakespeare Congress, Singapore: Shakespeare Circuits

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Circuits of Transmission: Networks of Intercultural
Practices and Dramatic Relations in Jacobean England
Organiser: José Manuel GONZÁLEZ (University of Alicante, Spain)
Chair: Monica MATEI-CHESNOIU (Ovidius University of Constanta, Romania)
Presenters:
José Manuel GONZÁLEZ (University of Alicante, Spain)
Munday, Shakespeare and Cervantes: Networks of Dramatic Relations
Eric J. GRIFFIN (Millsaps College, USA)
After Cardenio: John Fletcher’s Cervantine Spaniards

Circulating Hamlet / Hamletian Performances
Organiser: Mark Thornton BURNETT (Queen’s University Belfast, UK)
Chair: Kinga FÖLDVÁRY (Pázmány Péter Catholic University, Hungary)Presenters:
Mark Thornton BURNETT (Queen’s University Belfast, UK)
Hamlet: Cinematic Circuits
Adele LEE (Emerson College, USA)‘One China, Two Hamlets’: Shakespeare and the Duality of the People’s Republic of China
Sandra YOUNG (University of Cape Town, South Africa)
The Transformative Impact of Hamlet’s Travels

Circulating Shakespeare Performances
within the Digital Realm
Organiser: SUEMATSU Michiko (Gunma University, Japan)
Chair: Erin SULLIVAN (Shakespeare Institute, UK)
Presenters:
HAMANA Emi (University of Tsukuba, Japan)
Live Shakespeare Performance Online during the Pandemic with a Focus on British Theatre
Groups and a Japanese Born-Digital-Theatre Company
Eleine NG-GAGNEUX (National University of Singapore, Singapore)
Digital Performance Archives: Rerouting the Global Shakespeares Circuit in the Classroom
SUEMATSU Michiko (Gunma University, Japan)
Shifting Landscape of Global Shakespeare Audience in the Age of Digital Circulation
Greg WATKINS (Stanford University, USA)
What a Digital Shakespeare Content Creator Has Learned about Performance, Literature, andGlobal Shakespeare

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Ecologies of Media and History
Organiser: Sophie CHIARI (Clermont Auvergne University, France)
Chair: Tobias DÖRING (Ludwig Maximilian University, Germany)
Presenters:
Dympna CALLAGHAN (Syracuse University, USA)
Shakespeare, Media Ecology, and the American Civil War
Sophie CHIARI (Clermont Auvergne University, France)
Early Modern Sandscapes: Poetics of Materiality in Shakespeare and his Contemporaries
Ewan FERNIE (Shakespeare Institute, UK)
Shakespeare’s Flowers

Global Shakespeare Publics
Organiser: Elizabeth RIVLIN (Clemson University, USA)
Chair: Alexa Alice JOUBIN (George Washington University, USA)
Presenters:
Zoltán MÁRKUS (Vassar College, USA)
Shakespeare Sent Him Abroad: John Dover Wilson on the Lecture Circuit in the Third Reich
Shormishtha PANJA (University of Delhi, India)
A New Audience for Shakespeare in India: Vishal Bhardwaj's Trilogy
Elizabeth RIVLIN (Clemson University, USA)
‘To Thine Own Self Be True': A Women’s Shakespearean Public at Chautauqua

Let Hands Do What Lips Do:
Creating Sign Language Adaptations and Translationsof Shakespeare's Works
Organiser: K. Crom SAUNDERS (Columbia College Chicago, USA)
Chair: Jill BRADBURY (Rochester Institute of Technology, USA)
Presenters:
Monique HOLT (Towson University, USA)
Translating from Shakespearean Text into ASL Using Cognitive Approach
K. Crom SAUNDERS (Columbia College Chicago, USA)The Dogberry Conundrum: Expressing Malapropisms in Sign Language
Olivier SCHETRIT (School for Advanced Studies in the Social Sciences, France)
Transladapation: Translating Shakespeare's Work into French Sign Language

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Media Circulations of Shakespeare’s Works
Organiser: Aneta MANCEWICZ (Royal Holloway, University of London, UK)
Chair: Hannes RALL (Nanyang Technological University, Singapore)
Presenters:
Daniel Keith JERNIGAN (Nanyang Technological University, Singapore) and Tissina GEORGE(Nanyang Technological University, Singapore)
Experiential Storytelling: Adapting Shakespeare for Virtual Reality
Andy LAVENDER (Guildhall School of Music & Drama, UK)
Remediating Shakespeare’s Sonnets: Structures of Desire and Realisation
Aneta MANCEWICZ (Royal Holloway, University of London, UK)
Shakespeare in Mixed Reality: Challenges and Creative Choices
Hannes RALL (Nanyang Technological University, Singapore)
Visualizing Shakespeare's Worlds for Virtual Reality

Reading the Indian Shakespeare Film: A New Genre?
Organiser: Poonam TRIVEDI (University of Delhi, India)
Chair: Mark Thornton BURNETT (Queen’s University Belfast, UK)
Presenters:
Kinga FÖLDVÁRY (Pázmány Péter Catholic University, Hungary)
Eastern Shakespearean Melodrama – A New Genre, or a Local Variation?
Diana E. HENDERSON (Massachusetts Institute of Technology, USA)
Performance Transformed in Digital SpaceTime: Cross-Cultural Possibilities and Pedagogies
Poonam TRIVEDI (University of Delhi, India)
Criticae Ficus Indica, or a Banyan Tree View of Shakespeare Film and Indian Cinematic Adaptation

Shakespeare and the Political Circuits of Asia
Organiser: KOK Su Mei (University of Malaya, Malaysia)
Chair: MINAMI Ryuta (Tokyo Keizai University, Japan)
Presenters:
Diana ANSAREY (University of Malaya, Malaysia)
The Evolution of Political Shakespeare in Bangladesh, 1980-2020
CHOI Young-joo (Korean National University of Arts, South Korea)
Political Hamlets in Korea
KOK Su Mei (University of Malaya, Malaysia)
Shakespeare in Malaysia’s 2018 General Election

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Sonnet Circuits: Desire, Memory, Translations
Organiser and Chair: Paul EDMONDSON (Shakespeare Birthplace Trust, UK)
Presenters:
Paul EDMONDSON (Shakespeare Birthplace Trust, UK)
Sonnet-Circuits of Sexuality
John S. GARRISON (Grinnell College, USA)The Sonnet as a Body of Memory
Zorica Bečanović NIKOLIĆ (University of Belgrade, Serbia)
Serbian Sonnet Circuits

Stratford in Asia, Asia in Stratford
Organiser and Chair: Michael DOBSON (Shakespeare Institute, UK)
Presenters:
CONG Cong (Nanjing University, China)
The Shakespeare Centre, China: Towards a Better Shakespeare and a Better China?
FUYUKI Hiromi (Waseda University, Japan)
Ninagawa in Stratford: Reconsidering His Productions of King Lear and Titus Andronicus
Nicola WATSON (Open University, UK)
Stratford in China, China in Stratford
WENG Shihui (Royal Shakespeare Company, UK)
The RSC Goes Mandarin: Re-uniting Translation and Performance

To Southeast Asia and Back: Trade, War, andEarly Modern Drama
Organiser: NG Su Fang (Virginia Tech, USA)
Chair: Amrita SEN (University of Calcutta, India)
Presenters:
Walter Swee Huat LIM (National University of Singapore, Singapore)
English Colonial Desire in John Fletcher's The Island Princess (1621) and John Dryden's Amboyna(1673)NG Su Fang (Virginia Tech, USA)The Restoration Tempest and Anglo-Bantanese Diplomatic Exchange
Carmen NOCENTELLI (University of New Mexico, USA)
England and the Portuguese Black Legend
Daniel VITKUS (University of California, San Diego, USA)News from the Moluccas: The Amboyna Massacre, Jonson’s Staple of News, and Dryden’s Amboyna

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Transformative Circuits from Graeco-RomanHistoriography and Poetry to Shakespeare: Gender,
Festivity, and Politics in the Roman Plays
Organiser: Silvia BIGLIAZZI (Verona University, Italy)
Chair: Eric NICHOLSON (New York and Syracuse Universities, Italy)
Presenters:
Silvia BIGLIAZZI (Verona University, Italy)
Social Confusion in Shakespeare’s Republican Rome: the People’s Case in Graeco-Roman and
Vernacular Translative Circuits
Susanne WOFFORD (New York University, USA)‘This Holy Chase’ in Shakespeare’s Julius Caesar: the Circuits of Festivity and the Ritual Politics of
the Lupercalia

Travelling Knowledge and Trans*textuality:
African Re*Sources in Shakespearean Drama
Organiser: Susan ARNDT (University of Bayreuth, Germany)
Chair: Susan ARNDT (University of Bayreuth, Germany)
Presenters:
Ifeoluwa ABOLUWADE (University of Bayreuth, Germany)
Transcultural Encounters: West African Pre-texts and Epistemes in Shakespeare’s Hamlet andMacbethSusan ARNDT (University of Bayreuth, Germany)
Trans*textuality in William Shakespeare’s Othello: Italian, West African, and English Encounters
Taghrid ELHANAFY (University of Bayreuth, Germany)
The Trans*textuality of the Book of Alf Layla wa Layla and Shakespeare’s Drama
Michael STEPPAT (Shanghai International Studies University, China)
Transformative Cultural Transfer and African Presences

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Performances

Monday 5 July - Tuesday 27 July 2021
Digital Asian Shakespeare Festival with Performance Videos andCurated Watch Parties

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TheatreHenry V (2019)
Royal Shakespeare Company (UK) and the Shanghai Dramatic Arts Center (China)
Dir. Owen HORSLEY (UK)

*Courtesy of the Royal Shakespeare Company

This was the first Chinese language
Shakespeare play performed from theRoyal
Shakespeare
Company’s(RSC)
Folio Translation Project. Produced by the
Shanghai Dramatic Arts Centre, this was thefirst time that Henry V had ever been staged
professionally in China. It played in Shanghai
from 11–27 November 2016, and moved the
traditional 15th-century setting in England tocontemporary China. Eight male and eight female actors performed in the play, with LAN
Haimeng taking on the title role.

During the development of the translation, Nick YU Rongjun, who edited the translated script,
spent time in the RSC rehearsal room to see how actors, directors and voice practitioners
approach Shakespeare’s text. After the first draft was completed, we tested the new translation
through a series of workshops with the actors before going into rehearsals.The featured video
is a recording of the 2019 re-staging.

Watch Party
Saturday 10 July 2021
9:00 - 10:00 p.m.
Singapore Time (UTC+08)

Director:
Owen HORSLEY

Host:Michael DOBSON(Shakespeare Institute, UK)
Director Owen HORSLEY trained at Drama Centre London
and is an Associate Director of Cheek By Jowl. In 2016
he created Bard City, which offers Shakespeare training
in New York and London as well as presenting innovative
versions of his work. Directing credits include Maydays byDavid Edgar (RSC), Salome by Oscar Wilde (RSC) The
Famous Victories of Henry V (RSC), A Midsummer Night’s
Dream (Garsington Opera), Henry V (Shanghai Dramatic
Arts Centre) and The Picture of Dorian Gray (Watermill
Theatre).

19

Kathakali-King Lear (2019)
The Annette Leday/Keli Company (France)
Dir. Annette LEDAY (France) and David McRUVIE (Australia)*Courtesy of AxeSud

French dancer and choreographer Annette LEDAY andAustralian playwright David McRUVIE transposed King
Lear into Kathakali, an Indian dance and theatre tradition.
The central themes of kinship, love, renunciation of theworld and war are magnified by the colourful storytelling,
the makeup and the huge headdresses of the dancers
who move the stage through the harmony of their gestures
and the intensity of their emotions. The play has becomea reference in the field of intercultural performance since
its premiere in 1989. This film is of the 2019 performance.

Watch Party
Tuesday 13 July 2021
9:00 - 10:00 p.m.
Singapore Time (UTC+08)
For Annette LEDAY’s bio, see p. 35.

Director:
Annette LEDAY (The Annette Leday/KeliCompany, France)
Host:
Emily SOON (Singapore Management
University, Singapore)

Lear Is Dead (2018)
Nine Years Theatre (Singapore)
Dir. Nelson CHIA (Singapore)*Courtesy of Nine Years Theatre

Watch Party

Lear is dead, the entire country mourns.
The Fools Society presents Lear Is Dead—a performancethat tells the story of Lear. Based on Shakespeare’s play,
Nine Years Theatre presents a re-imagined reality throughthe play-within-a-play, Lear Is Dead. When power isgained, wisdom is lost. When history is learnt, the present
becomes clear. Why should the jesters replay their national
memory, and how will the citizens move on without Lear?

Thursday 15 July 2021
9:00 - 10:00 p.m.
Singapore Time (UTC+08)
For Nelson CHIA’s bio, see p. 32.

Director:
Nelson CHIA (Nine Years Theatre, Singapore)
Host:
Alvin Eng Hui LIM(National University of Singapore, Singapore)11th Shakespeare Congress, Singapore: Shakespeare Circuits

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Mak Yong Titis Sakti (2009)
The Actors Studio (Malaysia)
Dir. Norzizi ZULKIFLI (Malaysia)*Courtesy of Kelab Shashin Fotographi KL

Mak Yong Titis Sakti was presented in 2009as part of the Seni Teater Rakyat programmeby The Actors Studio, produced by Dato
Faridah MERICAN and performed at theKuala Lumpur Performing Arts Centre (klpac),
Pentas 2. Norzizi ZULKIFLI and Nan MEGAT
created Titis Sakti (Drops of Magic) based on
Shakespeare’s A Midsummer Night’s Dream,around the love stories of three couples—
perfect love (Pak Yong & Mak Yong), forbidden
love (Hermia & Lysander) and unrequited love

(Helena & Demetrius). The love stories have been adapted to the structure of the ancient Mak
Yong form, with songs, live music and the central role of two Peran (Clowns). The characters
were given Mak Yong names and the new text uses the dialect of Kelantan (where the Mak Yongform originated) while retaining some of Shakespeare’s dialogue in translation. The re-stagingof this production in 2018 featured the addition of English lines spoken by two characters, while
the others performed in Malay.

Watch Party

Director:
Norzizi ZULKIFLI (Universiti Teknologi Mara, Malaysia)

Friday 9 July 2021

Host:
Roweena YIP (National University of Singapore,

9:00 - 10:00 p.m.
Singapore Time (UTC+08)

Singapore)

Norzizi ZULKIFLI began her career as an actor in theatre, film andradio dramas. Her directorial work includes The Glass Menagerie,
Di Bawah Lindungan Kaabah, Mak Yong Anak Raja Gondang,
Mak Yong Raja Tangkai Hati and Aladdin: A Children’s Musical in
Istana Budaya (National Theatre), Mak Yong Titis Sakti, Medea,
Throne of Thorns (an adaptation of The Tempest), Oedipus andUsikan Rebab. She was awarded Best Director in the Cameronian
10th BOH Arts Award (2013) and Best Actor in a Supporting Rolein the 15th BOH Arts Award (2018). Oedipus was awarded BestGroup Performance in the 17th BOH Arts Award (2020). Norzizi iscurrently Head of the Theatre Program, Universiti Teknologi MARA.

21

Miyagi Noh Othello ~Phantom Love~ (2018)
Shizuoka Performing Arts Centre (Japan)
Dir. MIYAGI Satoshi (Japan)*Courtesy of Japan Digital Theatre Archives

MIYAGI Satoshi depicts Shakespeare’s
tragedy in the form of ‘Mugen-Noh’ and fromthe perspective of Desdemona, sublimating
it as a painful love story. The method ofseparating words and actions, thus having a‘mover’ and ’speaker’ together play one role,
has been in development since the beginningof the Ku Na’uka Theatre Company in 1990.
The play premiered at the Japanese Garden
in the Tokyo National Museum in 2005. The
live performance of percussive instruments by

the actors will powerfully produce the festive atmosphere unique to Miyagi. We invite you towatch the moment when ‘Mugen-Noh’ is reborn as ‘Miyagi-Noh’ on an unorthodox Noh stage at
the Shizuoka Performing Arts Center.

Watch Party
Sunday 11 July 2021
9:00 - 10:00 p.m.
Singapore Time (UTC+08)*Photograph © Takashi Kato

Director:
MIYAGI Satoshi (Shizuoka Performing Arts Centre, Japan)
Host:
Mika EGLINTON (Kobe City University of Foreign
Studies, Japan)

MIYAGI Satoshi is the Artistic Director of Shizuoka Performing
Arts Center (SPAC) Japan, prior to which he founded and led the
Ku Na’uka Theatre Company in 1990. His work is internationallyrecognised for striking interpretations of classic plays fusedwith physical techniques and patterns of Asian theatre. His
SPAC works presented abroad include Medea, Peer Gynt, andMahabharata, which was staged in the Carrière de Boulbon at
the Avignon Festival 2014 to great acclaim. His Antigone was
the first Asian play to inaugurate the festival in 2017. As partof his vision of making theatre ‘a window to the world’, Miyagi
has presented overseas performances at SPAC, and started a
SPAC-based project for youth in Shizuoka. Among the many
awards Miyagi’s work has received, in 2018, he received the Art
Encouragement Prize of Drama by Japan’s Ministry of Education,
Culture, Sports, Science and Technology. In the same year, he
received the ‘Chevalier de l’Ordre des Arts et des Lettres’ from
the Ministry of Culture in France.

11th Shakespeare Congress, Singapore: Shakespeare Circuits

22

Ophelia (2016)
Cake Theatrical Productions in collaboration with Esplanade–Theatres on the Bay (Singapore)
Dir. Natalie HENNEDIGE (Singapore)*Courtesy of Cake Theatrical, © Tucky’s Photography

She captures the imagination with hermadness, her drowning. A tragic character
set eternally in a pool of water, eyes dead,and full of secrets. So little is known about
Ophelia. What does she tell us beyond thelimits she faced in her short life? Inspired by
Shakespeare’s character, this work delves
into the workings of a mind, intricate andcomplex, encompassing the landscape of asoul inextricably linked to that of a prominent
other, Hamlet. Beyond the politics of sex andgender and the cycles of oppression that pervade history, Ophelia reflects too on the grey areasof our humanity; the deep-seated desires, motives and actions that account for the tragedies
that keep the human race in a constant state of drowning.

Watch Party
Monday 12 July 2021
9:00 - 10:00 p.m.
Singapore Time (UTC+08)

Director:
Natalie HENNEDIGE (Cake Theatrical Productions,Singapore)
Host:
Emily SOON (Singapore Management
University, Singapore)

Natalie HENNEDIGE is the founder and Artistic
Director of Cake, a performance company now in its
fifteenth year of presenting progressive new works at
the intersection of performance and a variety of otherdisciplines. Her direction and writing are known for a
singular artistic language and creative vision exploring
contemporary issues through highly constructed,
heightened worlds with collaborators from diverse
artistic disciplines and cultural backgrounds. At Cake,she created the Decimal Points series and Runningwith Strippers platform, an exploratory space driven
by engagement and dialogue with other artists. Her
work has been presented in national and international
venues. She is a recipient of the National Arts Council
Young Artist Award (2007) and JCCI Singapore
Foundation Culture Award (2010).

23

Pericles (2016)
The Yohangza Theatre Company (South Korea)
Dir. YANG Jung-Ung (South Korea)*Courtesy of Yohangza Theatre Company

Director YANG Jung-Ung of the Yohangza
Theatre Company chooses to emphasise
contemporaneity in his take on Pericles, lastpresented in 2016. Cosmopolitan costumes,
music, and dance are set atop a sandcovered stage, meant to create the image ofsea and island. The presence of the goddess
Diana is represented by a gigantic statue ofher head, laid on its side to express a senseof precariousness. The huge images of acompass and a moon, which are alternately

projected on the back screen of the stage, give a proper background to Pericles, who wanders
from place to place. Gower, who leads the whole play as a narrator, is transformed into old
Pericles. It is the old tale of Pericles, told as it has never been told before.

Watch Party
Saturday 17 July 2021
9:00 - 10:00 p.m.
Singapore Time (UTC+08)
For YANG Jung-Ung’s bio, see p. 36.

Director:
YANG Jung-Ung
Host:
LEE Hyon-u (Soonchunhyang
University, South Korea)
KO Yu Jin (Wellesley College, USA)The Tempest (2004)
Contemporary Legend Theatre (Taiwan)
Dir. WU Hsing-kuo (Taiwan) and TSUI Hark (Hong Kong)

The Tempest is the brainchild of WU Hsing-kuo, a pioneer
in intercultural theatre, and TSUI Hark, a renowned film
director, with costume and scene design by Oscar-winning
Tim YIP. The play incorporates traditional Chinese
theatre jingju (Beijing Opera) and kunqu (Kun Opera)
and Taiwan’s aboriginal music and dance. Beneath themarvelous spectacle and enchanting music, the play also

*Courtesy of the Taiwan Shakespeare
Database

explores the issues of identity, patriarchy, colonisation,and strong man politics, topics acutely relevant to modern
Taiwan and Asia.

11th Shakespeare Congress, Singapore: Shakespeare Circuits

24

The Tragedy of Macbeth (2019)
Tang Shu-wing Theatre Studio (Hong Kong)
Dir. TANG Shu-wing (Hong Kong)*Courtesy of Tang Shu-wing Theatre Studio

A modern couple makes a dream in which they
enter into the universe of Macbeth in a buried
past of ancient China, assuming the roles ofMacbeth and Lady Macbeth and encountering
the different characters in the play. Awaking
from the dream in which the dark side ofhumanity was experienced, the couple begins
to contemplate their possible place in thiscontemporary realm of turbulence. Inspiredby the tradition of Asian physical theatre, thisversion of Macbeth transmits the spirit of theplay through a succession of stylised images, where body expression, physical movements andlive accompaniment expose the characters' relationship as well as the director's vision of timeand space.

Watch Party
Friday 16 July 2021
9:00 - 10:00 p.m.
Singapore Time (UTC+08)
For TANG Shu-wing’s bio, see p. 40.

Director:
TANG Shu-wing (Tang Shu-wing
Theatre Studio, Hong Kong)
Host:
YONG Li Lan (National Universityof Singapore, Singapore)25

Animation
As You Like It (2020)
Dir. Hannes RALL (Nanyang Technological University, Singapore)Anaward-winning
animated
adaptation of the famous playby William Shakespeare, thisanimation of As You Like Ittransposes the play’s setting to a
Southeast-Asian environment. The
style combines influences fromlocal shadow puppet play traditions
with inspiration by the Germananimation pioneer Lotte Reiniger.
Created in close collaboration
with the Shakespeare Institute in
Stratford-upon-Avon.
Hannes RALL is Associate Chair (Research) and a tenured Associate
Professor at the School of Art, Design and Media at the Nanyang
Technological University, Singapore. He is also a successful director ofindependent animated short films; his works have been selected for 642
international festivals and won 70 awards. His books Animation: From
Concept to Production (2017) and Adaptation for Animation: Transforming
Literature Frame by Frame (2019) were published by CRC Press.

Digital Tour
Shakespeare & Singapore, 1840-2000
Alvin Eng Hui LIM (National University of Singapore, Singapore)
Emily SOON (Singapore Management University, Singapore)
How has Shakespeare featured in Singapore’s history? Who brought Shakespeare’s works to thisport-city, and how did Singapore’s diverse ethnic communities rework these plays? This digital tour
traces how people in Singapore engaged with Shakespeare as this island transitioned from being a
British colony to an independent Southeast Asian state.

11th Shakespeare Congress, Singapore: Shakespeare Circuits

Congress

Sunday 18 July - Saturday 24 July 2021

26

27

11th Shakespeare Congress, Singapore: Shakespeare Circuits

All times in the Congress Programme are in Singapore Time (SGT), UTC+08

28

29

11th Shakespeare Congress, Singapore: Shakespeare Circuits

30

31

Exhibits and Tearooms

Daily 18-24 July 2021
8:00 p.m. - 12:00 a.m.
Singapore Time (UTC+08)

Opening Ceremony

Sunday 18 July 2021
8:45 - 9:15 p.m.
Singapore Time (UTC+08)

Keynote Speech

Sunday 18 July 2021
9:20 - 10:20 p.m.
Singapore Time (UTC+08)

SH AK E SPEARE’S REFUG EES
More than half of Shakespeare’s plays involve the exile of a major character, through expulsion,
abduction, shipwreck, or self-expatriation. Most examples raise questions about the nature of home,the meaning of nation, and the relationship of memory to identity – issues that resonate with themass migrations and displacements that have occurred in the world in the twentieth and twenty-first
centuries. This talk investigates the idea of exile in Shakespeare using two extraordinary productions,
Stein’s As You Like It and Ninagawa’s The Tempest. By looking at how the sense of banishment wasconveyed to spectators, I suggest that there are productive gaps in Shakespeare’s treatment of exile,
especially over the predicament of the exile’s return.

Host:
Michael DOBSON (Shakespeare Institute, UK)

DENNI S KE N N E D Y
Dennis KENNEDY is Emeritus Professor andFellow at Trinity College Dublin, where heheld the Samuel Beckett Chair of Drama and
Theatre. He authored and edited many awardwinning books, including The Spectator and theSpectacle, Looking at Shakespeare, Foreign
Shakespeare, Shakespeare in Asia (with YONG
Li Lan), The Oxford Encyclopedia of Theatre
and Performance, and The Oxford Companion
to Theatre and Performance. A member of theRoyal Irish Academy and Academia Europaea,
he teaches around the world and has frequently
worked as a playwright, director and dramaturginternationally. His short stories have appeared
in a number of literary magazines.

11th Shakespeare Congress, Singapore: Shakespeare Circuits

Director in
Conversation

32

Sunday 18 July 2021
10:25 - 11:10 p.m.
Singapore Time (UTC+08)

Interlocutor:
Bi-qi Beatrice LEI (National
Taiwan University, Taiwan)

ReceptionW U HSI NG - KUO
WU Hsing-kuo is Founding Artistic Director of the Contemporary
Legend Theatre (CLT), and a multi-talented artist across traditional
Chinese theatre, modern theatre, dance, film, and television. Wu
reinvigorates xiqu (traditional Chinese opera) with thematic andaesthetic innovation, and is keen to explore new theatrical forms.
Ranging from traditional xiqu titles, original plays, and adaptationsof Western classics, his theatre works have frequented international
festivals and toured in more than 20 countries. In Shakespeare
circles, Wu is best known for his re-imaginings of Macbeth, Lear,and Prospero, and he is currently working on Julius Caesar. Amongthe honours he has received are Taiwan’s National Award for Arts
(2010), the French Ordre des Arts et des Lettres-Chevalier (2011),
and the Hong Kong Film Award (1996).

Sunday 18 July 2021
11:10 p.m. - 12:00 a.m.
Singapore Time (UTC+08)

Director in
Conversation

Monday 19 July 2021
8:45 - 9:30 p.m.
Singapore Time (UTC+08)

NELSO N CHI A
Nelson CHIA is an actor, director, writer and theatre educator.
He is the co-founder and artistic director of Nine Years Theatre(NYT). He was the first local artist to be commissioned for aconsecutive three years to present works at the Esplanade’s
Huayi Festival, twice received Best Actor Awards (2011 and2013) and four times Best Director Awards (2014, 2015, 2018and 2019) at the ST Life! Theatre Awards. In 2017, he wascommissioned by the Singapore International Festival of Arts
Interlocutor:
to open the festival with Art Studio, a stage adaptation of the
Alvin Eng Hui LIM (National University novel by local award-winning author YENG Pway Ngon.
of Singapore, SIngapore)33

Roundtable

Monday 19 July 2021
9:35 - 11:05 p.m.
Singapore Time (UTC+08)

G E N DE R AND SEXUAL I TY:
T HE S TATE OF THE FIELDSThis roundtable highlights some of
the approaches currently animating
studies of gender and sexuality
in Shakespeare: theatre and film
performance, new philologies, transtheory, and queer theory. Traversing
their manifestation in India, Japan, thePhilippines, Britain, and the U.S., wewill examine both the possibilities andlimits of these approaches.

Organiser and Chair:
Valerie TRAUB (University of Michigan, USA)

Presenters:
Kumiko HILBERDINK-SAKAMOTO (Nihon University,
Japan)
Judy Celine ICK (University of the Philippines Diliman,
Philippines)
Alexa Alice JOUBIN (George Washington University,
USA)
Madhavi MENON (Ashoka University, India)
Marjorie RUBRIGHT (University of Massachusetts
Amherst, USA)

Panel Q&A

Monday 19 July 2021
11:10 - 11:40 p.m.
Singapore Time (UTC+08)

Circuits of Transmission: Networks of Intercultural Practices andDramatic Relations in Jacobean England
José Manuel GONZÁLEZ (University of Alicante, Spain)
Eric J. GRIFFIN (Millsaps College, USA)
Monica MATEI-CHESNOIU (Ovidius University of Constanta, Romania)
Circulating Hamlet / Hamletian
PerformancesMark Thornton BURNETT (Queen’s University
Belfast, UK)
Kinga FÖLDVÁRY (Pázmány Péter Catholic
University, Hungary)
Adele LEE (Emerson College, USA)
Sandra YOUNG (University of Cape Town,
South Africa)

Circulating Shakespeare Performances
within the Digital Realm
HAMANA Emi (University of Tsukuba, Japan)
Eleine NG-GAGNEUX (National University ofSingapore, Singapore)
SUEMATSU Michiko (Gunma University, Japan)
Erin SULLIVAN (Shakespeare Institute, UK)
Greg WATKINS (Stanford University, USA)11th Shakespeare Congress, Singapore: Shakespeare Circuits

Panel Q&A

34

Tuesday 20 July 2021
8:45 - 9:15 p.m.
Singapore Time (UTC+08)

Media Circulations of Shakespeare’s Works
Tissina GEORGE (Nanyang Technological University, Singapore)
Daniel Keith JERNIGAN (Nanyang Technological University, Singapore)
Andy LAVENDER (Guildhall School of Music & Drama, UK)
Aneta MANCEWICZ (Royal Holloway, University of London, UK)
Hannes RALL (Nanyang Technological University, Singapore)
Shakespeare and the Political Circuits of
Asia
Diana ANSAREY (University of Malaya,
Malaysia)
CHOI Young-joo (Korean National University ofArts, South Korea)
KOK Su Mei (University of Malaya, Malaysia)
MINAMI Ryuta (Tokyo Keizai University, Japan)

Keynote Speech

Stratford in Asia, Asia in Stratford
CONG Cong (Nanjing University, China)
Michael DOBSON (Shakespeare Institute, UK)
FUYUKI Hiromi (Waseda University, Japan)
Nicola WATSON (Open University, UK)
WENG Shihui (Royal Shakespeare Company,
UK)

Tuesday 20 July 2021
9:20 - 10:20 p.m
Singapore Time (UTC+08)

Host:
YONG Li Lan (National Universityof Singapore, Singapore)

O NG KENG SEN
ONG Keng Sen holds a PhD in Performance Studies fromNew York University, and is Artistic Director of TheatreWorks.
His productions have been presented at major internationalarts festivals around the world. Ong founded the Arts Network
Asia, a peer organization, and the Curators Academy. His
seminal work was the nomadic Flying Circus Project withtraveling international artists through Asia sharing theircontexts amongst themselves and young people in the local
sites. Ong is Founding Festival Director of the Singapore
International Festival of Arts (SIFA) and was awarded the
Fukuoka Asian Arts and Culture Prize in 2010.

35

Director in
Conversation

Tuesday 20 July 2021
10:25 - 11:10 p.m.
Singapore Time (UTC+08)

Interlocutor:
Ananda LAL (Jadavpur University,
India)ANNETTE LEDAY
Dancer and choreographer Annette LEDAY has developed
a unique approach to intercultural contemporary creation,
focusing on the dance and theatre traditions of India andFrance. A graduate of the Institut des Langues Orientales in
Paris, Leday discovered the dance theatre Kathakali in the
mid-1970s. It was love at first sight as her three passions weremelted in this form: India, theatre and dance! She decided to
study there. In 1978 she settled in a village in Kerala andstudied at the Sadanam and Kalamandalam institutions witha scholarship from the Indian government. After about ten
years she created the Annette Leday/Keli company. In 1988
the company produced Kathakali-King Lear, an adaptationof Shakespeare’s play into Kathakali. Since then Leday
has directed many productions involving French and Indian
performers.

Panel Q&A

Tuesday 20 July 2021
11:15 - 11:45 p.m.
Singapore Time (UTC+08)

Ecologies of Media and History
Dympna CALLAGHAN (Syracuse University,
USA)
Sophie CHIARI (Clermont Auvergne University,
France)Tobias DÖRING (Ludwig Maximilian University,
Germany)
Ewan FERNIE (Shakespeare Institute, UK)

Global Shakespeare Publics
Alexa Alice JOUBIN (George Washington
University, USA)
Zoltán MÁRKUS (Vassar College, USA)
Shormishtha PANJA (University of Delhi, India)
Elizabeth RIVLIN (Clemson University, USA)Let Hands Do What Lips Do: Creating Sign Language Adaptations andTranslations of Shakespeare's Works
Jill BRADBURY (Rochester Institute of Technology, USA)
Monique HOLT (Towson University, USA)
K. Crom SAUNDERS (Columbia College Chicago, USA)
Olivier SCHETRIT (School for Advanced Studies in the Social Sciences, France)11th Shakespeare Congress, Singapore: Shakespeare Circuits

Director in
Conversation

36

Wednesday 21 July 2021
8:45 - 9:30 p.m.
Singapore Time (UTC+08)

Interlocutors:
LEE Hyon-u (Soonchunhyang
University, South Korea)
KO Yu Jin (Wellesley College, USA)

Roundtable

YANG JUNG - UNG
YANG Jung-Ung founded the Yohangza Theatre Company
in 1997. His aesthetic philosophy has been the creationof images that are produced through harmony among thelighting, sound and bodily movements. He has expanded
the horizon of dramatic language with his direction that relies
on harmonizing Eastern philosophy with the aesthetics ofimages and space. He received the Grand Prix for Karma(2003) at the 15th Cairo International Experimental Drama
Festival. The company was the first Korean company toperform at the Barbican (2006) and Shakespeare’s Globe(2012) in London. A Midsummer Night’s Dream went on
to receive the Grand Prix and Audience Award at the 10th
Gdansk Shakespeare Festival. In 2018, he was appointed
the director of the PyeongChang 2018 Winter Olympics
ceremony.

Wednesday 21 July 2021
9:35 - 11:05 p.m.
Singapore Time (UTC+08)

GLOBALIZATION AND ECOLOGY:
THE STATE OF THE FIELDSThis plenary considers problemsof scale posed by the return ofmacrocosmic categories—world,
globe, planet—in the age of
Shakespeare. Can early modern
thought clarify or even resolve recent
tensions between globalizationand ecology, between local anduniversal, between the inclusivity ofthe planetary and the aggrandizing
ambitions of empire?

Organisers and Chairs:
Joseph CAMPANA (Rice University, USA) and Ayesha
RAMACHANDRAN (Yale University, USA)
Presenters:
Jane Hwang DEGENHARDT (University of
Massachusetts Amherst, USA)
Beth HARPER (University of Hong Kong, Hong Kong)
Jonathan Gil HARRIS (Ashoka University, India)
Andrew HUI (Yale-NUS College, Singapore)
Henry TURNER (Rutgers University, USA)

37

Panel Q&A

Wednesday 21 July 2021
11:10 - 11:40 p.m.
Singapore Time (UTC+08)

Reading the Indian Shakespeare Film: A New Genre?
Mark Thornton BURNETT (Queen’s University Belfast, UK)
Kinga FÖLDVÁRY (Pázmány Péter Catholic University, Hungary)
Diana E. HENDERSON (Massachusetts Institute of Technology, USA)
Poonam TRIVEDI (University of Delhi, India)
Sonnet Circuits: Desire,
Memory, Translations
Paul EDMONDSON (Shakespeare
Birthplace Trust, UK)
John S. GARRISON (Grinnell
College, USA)
Zorica Bečanović NIKOLIĆ
(University of Belgrade, Serbia)

Panel Q&A

To Southeast Asia and Back: Trade, War, and Early
Modern Drama
Walter Swee Huat LIM (National University of Singapore,
Singapore)
NG Su Fang (Virginia Tech, USA)
Carmen NOCENTELLI (University of New Mexico, USA)
Amrita SEN (University of Calcutta, India)
Daniel VITKUS (University of California, San Diego, USA)

Thursday 22 July 2021
8:45 - 9:15 p.m.
Singapore Time (UTC+08)

Transformative Circuits from Graeco-Roman Historiography and Poetry to Shakespeare:
Gender, Festivity, and Politics in the Roman Plays
Silvia BIGLIAZZI (Verona University, Italy)
Eric NICHOLSON (New York and Syracuse Universities, Italy)
Susanne WOFFORD (New York University, USA)
Travelling Knowledge and Trans*textuality: African Re*Sources in Shakespearean Drama
Ifeoluwa ABOLUWADE (University of Bayreuth, Germany)
Susan ARNDT (University of Bayreuth, Germany)
Taghrid ELHANAFY (University of Bayreuth, Germany)
Michael STEPPAT (Shanghai International Studies University, China)

RoundtableThursday 22 July 2021
9:20 - 10:50 p.m.
Singapore Time (UTC+08)

11th Shakespeare Congress, Singapore: Shakespeare Circuits

RACE AND POSTCOLONIALITY: THE STATE OF THE
FIELDS‘Global Shakespeares’ are no longer considered a part ofa parochial, monolingual sub-discipline. In fact, this global‘turn’ in Shakespeare studies has led many scholars to reexamine colonial and postcolonial contexts, while deploying‘race’ as a critical lens through which to reappraise thosehistories. Our roundtable will explore how the vocabularies
of pre-modern critical race and postcolonial theories can
productively intersect, while expanding our understanding of
the productions of hierarchy and difference within Europe andin the Global South.

Meetings

38

Organiser and Chair:Jyotsna SINGH (Michigan State
University, USA)
Presenters:
Jessica CHIBA (Shakespeare
Institute, UK)
Amrita DHAR (Ohio State
University, USA)
Ato QUAYSON (Stanford
University, USA)
Christopher THURMAN(University of the Witwatersrand,
Johannesburg, South Africa)

Thursday 22 July 2021
10:55 - 11:40 p.m..
Singapore Time (UTC+08)

The Arden Shakespeare Book Series Launch
Join us for a launch event for the Arden Shakespeare Intersections series, hosted by series editors
Gordon McMullan and Sonia Massai (London Shakespeare Centre, King's College London, UK)and featuring presentations about the new research being published in the series. All are welcome.
The New Variorum Shakespeare at Texas A&M University
The Modern Language Association awarded Texas A&M’s Center of Digital Humanities Research(CoDHR) a grant to publish The New Variorum Shakespeare (NVS) as an open access, interactive
web application which will be demonstrated live at the 11th World Shakespeare Congress.

Roundtable

Friday 23 July 2021
8:45 - 10:15 p.m.
Singapore Time (UTC+08)

TRANSLATION: THE STATE OF THE FIELD
Translators of Shakespeare must be editorswith the expertise of textual studies, in order toconstrue the text faithfully. Translators must also
be creators, who can adroitly render the original
meanings in their own languages. Translators
thus must be both precise and creative, faithful
and adaptive, firm and flexible.

Organiser and Chair:
KAWAI Shoichiro (University of Tokyo, Japan)
Presenters:
Timothy BILLINGS (Middlebury College, USA)
Jean-Michel DÉPRATS (University of ParisNanterre, France)
KIM Tai-Won (Sogang University, South Korea)
SHEN Lin (Central Academy of Drama, China)

39

Keynote Speech

Friday 23 July 2021
10:20 - 11:20 p.m.
Singapore Time (UTC+08)

THE T HING ITSELF, AND THE I M AG E O F THAT HO R R O R : F I C T I O N S ,FAS CIS M S AND WE TH AT ARE YO UNG
We That Are Young, my novel which translates Shakespeare’s King Lear to contemporary
India to examine its linked crises of patriarchy, religious fascism, neo-liberal capitalism andsettler colonialism in Kashmir, was published in 2018 into a climate of relative disbelief thatits worst imaginings could only be considered non-realist. As times are tragically proving
far otherwise, and the question of how we take care of the most vulnerable in our global
society made ever more pressing by the Covid pandemic, I consider the dilemma that haunts
Shakespeare’s play, my novel and our political moment: who is Edgar, as our contemporary?
I want to think through this about the purpose and potential, if any, of reading Shakespeare
against certain particular moments that have marked the hardening of fascist politics andeconomics – or carceral capitalism – in the USA, UK and India, where the use of performanceand rhetoric sets out to appropriate and so corrupt the revolutionary ideal of equality embraced
by movements for gender and racial justice. As the next generation come of age in the world
writers and artists might imagine for them, I move away from a traditional academic essay toa more hybrid form of writing to wonder what the function of political fiction is now, and what,
if anything, it can offer when it draws on a Shakespeare that might either now be redundant,
or indeed more important to ‘see better’ with than ever.
PRETI TANEJA
Preti TANEJA teaches creative writing in prisons andat Newcastle University. Her novel We That Are Youngtranslates Shakespeare's King Lear to contemporary
India. It won the 2018 Desmond Elliot Prize for the
UK's best debut of the year, and was listed for awards
including the Folio Prize and the Prix Jan Michalski. It
was a book of the year in The Guardian, The Sunday
Times and The Spectator, achieved starred reviews in
Kirkus and Publisher's Weekly, and was a top 10 Bookof the Decade in India's The Hindu newspaper. It has
been translated around the world.
Host:
Margo HENDRICKS (University of California, Santa Cruz, USA)11th Shakespeare Congress, Singapore: Shakespeare Circuits

Meeting

40

Saturday 24 July 2021
8:45 - 9:30 p.m.
Singapore Time (UTC+08)

AN NUAL GENERAL M EETI NG O F THE I NTERNAT I O N A L S H A K E S P E A R E
AS S OCIATIONThis session is open to all members of the Association, whether delegates at the 11th WSC or not.
Its agenda will include, among other items, a report from the Local Organising Committee of the 11th
Congress, discussion of the process for nominating new ISA Trustees, and procedures for proposing
locations for the 12th World Shakespeare Congress in 2026. All members are very welcome!

Keynote Speech

Saturday 24 July 2021
9:35 - 10:35 p.m.
Singapore Time (UTC+08)

S HA KESPEARE AS A SO URCE O F DRAM ATURG IC A L R E C O N S T R U C T I O N
Shakespeare’s works are a vast source of inspiration for theatre makers to inject their personal ideas
and methods of story-telling for their own purposes. His texts can be seen as meditative platforms,
constantly driving people to reflect on themselves and the society in which they live. Each adaptation
represents the encounter of the individual souls of the artists and the text of the Bard in question. The
more intense the encounter is, the more profound the creativity may become. Using Titus Andronicus
and Macbeth as examples, this speech tends to expose the thoughts and the creative process of
TANG Shu-wing in directing Shakespeare.
TANG SHU- W I NG
Hailed as ‘one of the most talented theater directors in Hong Kong,’ TANG
Shu-wing studied theatre at the University of New Sorbonne in Paris. Hisinterest in physical theatre, dance, visual arts and spiritual practice have led
him to a minimalist aesthetics driven by the body. Tang has created morethan 60 works, including Titus Andronicus, Titus Andronicus 2.0, Macbeth,
Detention and Thunderstorm which have been staged in many internationalarts festivals. He taught at The Hong Kong Academy for Performing Arts
(2004 – 2011), and established the Professional Physical Theatre Youth
Training Programme in 2014. Tang has won numerous awards for his
direction and contribution to the arts in Hong Kong.
Host:
Julia R. LUPTON (University of California, Irvine, USA)

Closing Ceremony and
Farewell Party

Saturday 24 July 2021
10:35 p.m. - 12:00 a.m.
Singapore Time (UTC+08)

41

Seminars andWorkshops
Titles are in alphabetical order11th Shakespeare Congress, Singapore: Shakespeare Circuits

42

SeminarBook History: New Discoveries, New Directions
Convenors:
Helen SMITH (University of York, UK) and Valerie WAYNE (University of Hawaii, USA)
Participants:
Brandi K. ADAMS (Massachusetts Institute of Technology, USA)
Douglas ARRELL (University of Winnipeg, Canada)
Clara K. BIESEL (University of Minnesota, USA)Charles CATHCART (Open University, UK)
Peter GIORDANO (Berkshire School, USA)
Miles P. GRIER (Queens College, City University of New York, USA)
IGARASHI Hirohisa (Toyo University, Japan)
Sujata IYENGAR (University of Georgia, USA)
Janelle JENSTAD (University of Victoria, Canada)
Lori NEWCOMB (University of Illinois, USA)
Subham PATAR (University of Burdwan, India)
Nathaniel Amos ROTHSCHILD (St. Thomas Aquinas College, USA)
Anna Melinda TESTA-DE OCAMPO (University of the Philippines Diliman, Philippines)
Christina WOLF (University of Leicester, UK)

SeminarCarnival in Shakespeare
Convenors:
Márton BÁRSONY (Károli Gáspár University of the Reformed Church, Hungary) and Halyna
PASTUSHUK (Ukrainian Catholic University, Ukraine)
Participants:
James BARONE (College of Staten Island, CUNY, USA)
András Gábor BERNÁTH (University of Szeged, Hungary)
Russell J. BODI (Owens Community College, USA)
Lajos HORVÁTH (Independent, Hungary)John MAUNE (Hokusei Gakuen University, Japan)
John M. MUCCIOLO (Independent Scholar, USA)

43

SeminarCircuits of Disease and Caregiving in Shakespeare’s
Changing World
Convenors:
Darryl CHALK (University of Southern Queensland, Australia) and Rebecca TOTARO (Florida Gulf
Coast University, USA)
Participants:
Katarzyna BURZYŃSKA (Adam Mickiewicz University, Poland)
Jennifer FORSYTH (Kutztown University of Pennsylvania, USA)
Scott OLDENBURG (Tulane University, USA)
Brid Mary PHILLIPS (University of Western Australia, Australia)
Eileen SPERRY (Independent Scholar, USA)
Molly ZIEGLER (Open University, UK)

SeminarCircuits of Female Performance
Convenors:
Sophie TOMLINSON (University of Auckland, New Zealand) and Deanne WILLIAMS (York University,
Canada)Participants:
Ariane Marie BALIZET (Texas Christian University, USA)Tom Geoffrey BISHOP (University of Auckland, New Zealand)
Eleanor BLOOMFIELD (Independent, UK)
Karen BRITLAND (University of Wisconsin-Madison, USA)
Jennifer P. FLAHERTY (Georgia College, USA)
Beth FLANAGAN (Shakespeare Institute, University of Birmingham, UK)
Elizabeth Zeman KOLKOVICH (Ohio State University, USA)
Lori LEIGH (Victoria University of Wellington, New Zealand)
Bernice M. NEAL (York University, Canada)
Eric NICHOLSON (New York and Syracuse Universities, Italy)
Stephen ORGEL (Stanford University, USA)
Elena PELLONE (Shakespeare Institute, UK)
Artemis PREESHL (Ripe Figs, LLC, USA)
Sarah ROSS (Victoria University of Wellington, New Zealand)
Katherine SCHEIL (University of Minnesota, USA)
Christina WALD (University of Konstanz, Germany)
Amanda Eubanks WINKLER (Syracuse University, USA)11th Shakespeare Congress, Singapore: Shakespeare Circuits

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WorkshopCreating Shakespearean Connections for Specialized
Communities
Convenors:
Sheila T. CAVANAGH (Emory University, USA), Scott JACKSON (Shakespeare at Notre Dame,
USA), and Rowan MACKENZIE (Shakespeare Institute, UK)
Participants:
Jean HOWARD (Columbia University, USA)
HWANG Ha Young (Korea National University of Arts, South Korea)
Victoria Sophie JACKSON (Shakespeare Institute, UK)
Kate RUMBOLD (University of Birmingham, UK)

Workshop
Digital Humanities and Shakespeare Adaptations
Convenors:
HWANG Ha Young (Korea National University of Arts, South Korea) and Miguel Escobar VARELA(National University of Singapore, Singapore)
Participants:
Anne Nichole B. ARELLANO (Ateneo de Manila University, Philippines)
Shahnaz PARVIN (Premier University, Chittagong, Bangladesh)
Niyanta SANGAL (GGDSD College, Panjab University, India)
Jesús TRONCH PÉREZ (University of Valencia, Spain)
Renee Andrea Beduya VILLEGAS (Ateneo de Manila University, Philippines)
Emily YATES (Michigan State University, USA)

Seminar
Does Shakespeare Matter in Today’s World?
Convenors:
Coen HEIJES (University of Groningen, Netherlands) and David RUITER (University of California,
San Diego, USA)
Participants:
Amy L. BOLIS (St. Olaf College, USA)
Cristiane BUSATO SMITH (Osher Institute, USA)
Marc JUBERG (University of Minnesota, USA)KAWACHI Yoshiko (Kyorin University, Japan)

45
Rowan MACKENZIE (Shakespeare Institute, UK)
Sarah OLIVE (University of York, UK)Charles C. WHITNEY (University of Nevada, Las Vegas, USA)

SeminarGlobal Shakespeare and Cultural Diplomacy
Convenors:
Nathalie Rivere DE CARLES (University of Toulouse-Jean Jaurès, France), Anne Sophie REFSKOU(University of Surrey, UK), and SHIMAZU Naoko (Yale-NUS College, Singapore)
Participants:
Shubham DUTTA (Gokhale Memorial Girls' College, India)
Marinela GOLEMI (Arizona State University, USA)
Helen Alexandra HOPKINS (Birmingham City University, UK)
Donna C. WOODFORD-GORMLEY (New Mexico Highlands University, USA)

Seminar
Hamlet’s Wiring
Convenors:
Paromita CHAKRAVARTI (Jadavpur University, India) andJohn Joseph JOUGHIN (Independent Scholar, UK)
Participants:
Zorica Lola JELIC (Faculty of Contemporary Arts, University of Belgrade, Serbia)
Marianne KIMURA (Kyoto Women's University, Japan)
Patrick LONERGAN (National University of Ireland, Galway, Ireland)
Ramji YADAV (B. M. University, Rohtak, India)

Seminar
New Developments in Psychoanalytic Shakespeare
StudiesConvenors:
Christian SMITH (Independent Scholar, Germany) and James W. STONE (American University,
USA)
Participants:
Janine Ilona BRACHT (University of Cologne, Germany)
John FLETCHER (University of Warwick, UK)11th Shakespeare Congress, Singapore: Shakespeare Circuits

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Hatice GÜR (Karabuk University, Turkey)
KWON Hyukhee (St. John's College, USA)PARK Unyoung (Seoul National University of Science and Technology, South Korea)
Jessica TOOKER (Indiana University, Bloomington, USA)

SeminarNon-English-Language Shakespeares
Convenors:
Jim CASEY (Arcadia University, USA) and Amrita SEN (University of Calcutta, India)
Participants:
Durba BASU (Swarnamoyee Jogendranath Mahavidyalaya, India)
Paulo DA SILVA GREGÓRIO (Universidade Federal do ABC, Brazil)
Asijit DATTA (The Heritage College, India)
Amrita DHAR (Ohio State University, USA)
Alexa Alice JOUBIN (George Washington University, USA)
Maya MATHUR (University of Mary Washington, USA)
Alfredo Michel MODENESSI (Universidad Nacional Autónoma de México, Mexico)
Nishi PULUGURTHA (Brahmananda Keshab Chandra College, India)
Jan RYBICKI (Uniwersytet Jagielloński, Poland)
Suddhaseel SEN (IIT Bombay, India)

SeminarThe Origins of Shakespeare Studies
Convenors:
Mark BAYER (University of Texas at San Antonio, USA) and Jeanne MATHIEU (University of
Toulouse, France)
Participants:
Sukanta CHAUDHURI (Jadavpur University, India)
Raj DAS (Maheshtala College, India)
Carla DELLA GATTA (Florida State University, USA)
Yvette KHOURY (Blackfriars Hall, University of Oxford, UK)
Maggie NERIO (UTSA, USA)

47

Workshop
Performing and Opening Circuits of Self and the Otherin Antony and Cleopatra
Convenors:
Eric NICHOLSON (New York and Syracuse Universities, Italy) and Elena PELLONE (Shakespeare
Institute, UK)
Participants:
Silvia BIGLIAZZI (Verona University, Italy)
Karen HARKER (Shakespeare Institute, UK)
Ivan RYBKO (Russian State University for the Humanities, Russia)

SeminarPosthuman Identity Circuits
Convenors:
Todd BORLIK (University of Huddersfield, UK), Ari FRIEDLANDER (University of Mississippi, USA),and Karen RABER (University of Mississippi, USA)
Participants:
Sarah Annes BROWN (Anglia Ruskin University, UK)
Arnab CHAKRABORTY (Independent Researcher, India)
CHOI Boram (Kwang Woon University, South Korea)
Magdalena CIEŚLAK (University of Lodz, Poland)
Julia HOYDIS (University of Graz, Austria)
Erika HUGHES (University of Portsmouth, UK)
Shannon KELLEY (Fairfield University, USA)
Catherine Irene LISAK (University Bordeaux Montaigne, France)
Victoria Louise MCMAHON (University of Birmingham, UK)
Steven SWARBRICK (Baruch College, City University of New York, USA)
Reto WINCKLER (South China Normal University, China)

Seminar
Religion and Shakespeare’s Afterlives
Convenors:
Olivia COULOMB (Aix-Marseille University, France) and Marta Cerezo MORENO (National Distance
Education University, Spain)

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Participants:
Marta BERNABEU (University of Salamanca, Spain)
Luis Javier CONEJERO-MAGRO (Universidad de Extremadura, Spain)
Paul S. FIDDES (University of Oxford, UK)
Graham HOLDERNESS (University of Hertfordshire, UK)
HWANG Seunghyun (Incheon National University, South Korea)
Mary Jo KIETZMAN (University of Michigan-Flint, USA)Per SIVEFORS (Linnaeus University, Sweden)
Lisa S. STARKS (University of South Florida, USA)
Marguerite TASSI (University of Nebraska-Kearney, USA)
Jenny WONG (University of Birmingham, UK)

Seminar
Remembering War through Shakespeare
Convenors:
SEO Dong Ha (Korea Military Academy, South Korea) and UCHIMARU Kohei (Osaka City University,
Japan)
Participants:
Ananya DUTTA GUPTA (Department of English, Visva-Bharati, Santiniketan, India)
Katharine GOODLAND (College of Staten Island, CUNY, USA)
OSHIMA Hisao (Kyushu University, Japan)
Kay STANTON (California State University, Fullerton, USA)

Seminar
Revisiting South Asian Adaptations
Convenors:
Thea BUCKLEY (Queen’s University Belfast, UK) and Rosa Garcia PERIAGO (University of Murcia,
Spain)
Participants:
Paromita CHAKRAVARTI (Jadavpur University, India)
KIM Mikyong (Baeksok University, South Korea)
Ishrat LINDBLAD (Stockholm University, Sweden)
Mehreen ODHO (Queen's University Belfast, UK)
Rup K. SHRESTHA (Shakespeare Institute, UK)
Gregory THOMPSON (University College London, UK)49

Seminar-Workshop
Shakespeare and Dance: From the Globe to the Global
Convenors:
Workshop: Nona MONAHIN (Mount Holyoke College, USA) and Emily WINEROCK (Shakespeareand Dance Project / University of Pittsburgh, USA)
Seminar: KO Yu Jin (Wellesley College, USA), KUWAYAMA Tomonari (Kyoto University, Japan), andLinda MCJANNET (Bentley University, USA)
Participants:
Terri BOURUS (Florida State University, USA)
Alexa ERBACH (American Conservatory Theater, USA)
Marcus HÖHNE (University of Kansas, USA)
Anh P. LE (College of Staten Island, CUNY, USA)
Chloé MANZ (University of Bern, Institute for Theatre and Dance Studies, Switzerland)
Maria MARCSEK-FUCHS (Technische Universität Braunschweig, Germany)
Lynsey MCCULLOCH (Coventry University, UK)

SeminarShakespeare and Disability
Convenors:
Susan ANDERSON (Sheffield Hallam University, UK) and Sonya Freeman LOFTIS (Morehouse
College, USA)
Participants:
Jill BRADBURY (Rochester Institute of Technology, USA)CHUN Yoojung (University of Cambridge, UK)
Rachel EVANS (Shakespeare Institute, UK)
John GULLEDGE (Emory University, USA)
Lenora Bellee JONES-PIERCE (Middle Tennessee State University, USA)
Mardy PHILIPPIAN (Lewis University, USA)
Kelsey RIDGE (Independent Scholar, USA)
Lindsey ROW-HEYVELD (Luther College, USA)

SeminarShakespeare and Ideology on Page and Stage
Convenors:
Krystyna Kujawinska COURTNEY (University of Lodz, Poland) and Bryan REYNOLDS (Universityof California Irvine, USA)11th Shakespeare Congress, Singapore: Shakespeare Circuits

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Participants:
Ziad ABUSHALHA (University of Szeged, Hungary)
Vikram CHOPRA (University of Delhi, India)
Paul INNES (United Arab Emirates University, UAE)
KIM Eunhye (Ewha Womans University, South Korea)
Anna KOWALCZE-PAWLIK (University of Lodz, Poland)David LIVINGSTONE (Palacky University, Czech Republic)
Pablo Rodríguez MANGAS (UNED, Spain)
Monica Letitia MATEI-CHESNOIU (Ovidius University of Constanta, Romania)
Lauren B. MCCONNELL (American University of Central Asia, Kyrgyzstan)
MINAMI Hikaru (Sophia University, Japan)
Stan Reiner VAN ZON (Utrecht University, Netherlands)
William WORTHEN (Barnard College, Columbia University, USA)
Laurence WRIGHT (North-West University, South Africa)

SeminarShakespeare and/as Value
Convenors:
Simon HAINES (Ramsay Centre, Australia) and Julian LAMB (Chinese University of Hong Kong,
Hong Kong)
Participants:
David MACARTHUR (University of Sydney, Australia)
Talia MORAG (University of Wollongong, Australia)
P. Kishore SAVAL (Australian Catholic University, Australia)
James Michael TINK (Tohoku University, Japan)
WANG Chutong (Tsinghua University, China)

SeminarShakespeare Cometh to Asia (1816 to 1964)
Convenors:
HSU Yi-Hsin (National Taiwan University, Taiwan), LEE Hyon-u (Soonchunhyang University, South
Korea), and YOSHIHARA Yukari (University of Tsukuba, Japan)
Participants:
Mika EGLINTON (Kobe City University of Foreign Studies, Japan)
Marie HONDA (Meijigakuin University, Japan)
MA Yujing (Soka University, Japan)
MORI Yukiko (Tokyo University of Agriculture and Technology, Japan)
YOSHIDA Kimiko (Kyoritsu Women's University, Japan)

51

SeminarShakespeare, Eastern Europe, and Cultural Influence
Convenors:
Natalia KHOMENKO (York University, Canada) and Vladimir MAKAROV (St. Tikhon’s Orthodox
University, Russia)
Participants:
Zsolt ALMÁSI (Pázmány Péter Catholic University, Hungary)
Sabina Zhomartovna AMANBAYEVA (Oklahoma City University, USA)
Lyudmila ARTEMJEVA (Kozma Minin Nizhny Novgorod State Pedagogical University, Russia)
Michelle ASSAY (University of Huddersfield, UK)
Boris N. GAYDIN (Moscow University for the Humanities, St. Tikhon’s Orthodox University, Russia)
Katherine HENNESSEY (American University of Kuwait, Kuwait)
Bohdan KORNELIUK (Khortytsia National Academy, Ukraine)
Ivona MISTEROVA (University of West Bohemia, Czech Republic)
Daria MOSKVITINA (Zaporizhzhia State Medical University, Ukraine)
Victoria MUSVIK (University of Oxford, European Humanities University Vilnius, Lithuania)
Madalina NICOLAESCU (University of Bucharest, Romania)
Przemysław POŻAR (University of Warsaw, Poland)
Mikhail SAVCHENKO (Independent Researcher, France)
Asmik Jasmine SEYMOUR (Armenian Shakespeare Association, Armenia)
Oana Alis ZAHARIA (University of Bucharest, Romania)
Guna ZELTINA (Free-lance Researcher, Latvia)

SeminarShakespeare in-between Translation and Adaptation
Convenors:
Roberta ZANONI (University of Verona, Italy) and ZHANG Chong (Fudan University, China)
Participants:
Monica ALCANTAR (Shizuoka Bunka Geijutsu Daigaku, Mexico)
Guillaume FOULQUIÉ (University of Worcester, UK)
Graham Keith GREGOR (University of Murcia, Spain)
Michael Anthony INGHAM (Chinese University of Hong Kong, Hong Kong)KITAMURA Sae (Musashi University, Japan)
Valentina ROSSI (eCampus University of Novedrate, Italy)
Adele SEEFF (University of Maryland, College Park, USA)
WANG Huimin (University of Southampton, China)

11th Shakespeare Congress, Singapore: Shakespeare Circuits

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SeminarShakespeare on Television
Convenors:
Victor Huertas MARTIN (University of Valencia, Spain) and Reto WINCKLER (South China Normal
University, China)
Participants:
Elena BANDÍN (University of León, Spain)
Sylvaine BATAILLE (University of Rouen Normandy, France)
Elisabeth Eve BRONFEN (University of Zurich, Switzerland)
Laura CAMPILLO ARNAIZ (University of Murcia, Spain)
Austin CARPENTIERI (SUNY New Paltz, USA)
Kinga FÖLDVÁRY (Pázmány Péter Catholic University, Hungary)
Maria Consuelo FORÉS ROSSELL (National Distance Education University - EIDUNED, Spain)
Katherine HIPKISS (Bath Spa University, UK)
Ana-Maria IFTIMIE (Alexandru Ioan Cuza University of Iasi and Dunărea de Jos University of Galati,
Romania)
Charlene C. KELLOGG (Bath Spa University, UK)
MATSUYAMA Kyoko (Komazawa Women's University, Japan)
Freia M. TITLAND (SUNY Rockland College, USA)
Jeffrey R. WILSON (Harvard University, USA)

SeminarShakespeare Translation as Mediation
Convenors:
Daniel GALLIMORE (Kwansei Gakuin University, Japan) and Vasso GIANNAKOPOULOU (University
of Cyprus, Cyprus)
Participants:
Anna CETERA-WŁODARCZYK (University of Warsaw, Poland)
Lipika DAS (IIIT Bhubaneswar, India)
Dirk DELABASTITA (University of Namur, Belgium)
Stephanie Louisa MERCIER (Independent Scholar, France)
Elizabeth Santos RAMOS (Universidade Federal da Bahia, Brazil)
Nidhi VERMA (Lingaya's Vidyapeeth, India)

53

SeminarShakespearean Drama, Religious Identity, and theReformation
Convenors:
Peter GROVES (Monash University, Australia) and Lieke STELLING(Utrecht University, Netherlands)
Participants:
Kerri ALLEN (Dalton State College, USA)
Margie BURNS (University of Maryland, Baltimore County, USA)
Giacomo FERRARI (University of Florence, Italy)
Leah R. INGRAM (Monash University, Australia)
Roberta KWAN (Macquarie University, Australia)
Mark LARUBIO (Arizona State University, USA)
Caroline LION (Rogue Community College, USA)
Andrew D. MCCARTHY (UT-Chattanooga, USA)
Holly PICKETT (Washington and Lee University, USA)Angela SCHUMANN (Monash University, Australia)
Emily SOON (Singapore Management University, Singapore)

SeminarShakespearean Traces
Convenors:
Supriya CHAUDHURI (Jadavpur University, India) and Subha MUKHERJI(University of Cambridge, UK)
Participants:
Susan ARNDT (University of Bayreuth, Germany)
Reut BARZILAI (University of Haifa, Israel)
Anupam BASU (Washington University at St Louis, USA)
Subhankar BHATTACHARYA (Techno Main College, West Bengal Universityof Technology, Kolkata, India)
Koel CHATTERJEE (Trinity Laban Conservatoire, UK)Charles CONAWAY (University of Southern Indiana, USA)
Natalya DIN-KARIUKI (Warwick University, UK)
Swati GANGULY (Visva Bharati University, Santiniketan, India)
Vighnesh Jayanth HAMPAPURA (Ashoka University, India, India)
Charlotte SCOTT (Goldsmiths, University of London, UK)
Stephen SPIESS (Babson College, USA)11th Shakespeare Congress, Singapore: Shakespeare Circuits

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Jitka STOLLOVA (Trinity College, University of Cambridge, UK)
Scott WARREN (University of Cambridge, UK)
Ana WEINBERG (De Montfort University, UK)Paul YACHNIN (McGill University, Canada)
Adam ZUCKER (University of Massachusetts Amherst, USA)Workshop
Short Circuits: New Digital Pedagogies
Convenors:
Liam SEMLER (University of Sydney, Australia) and Laura TURCHI (University of Houston, USA)
Participants:
Kristen BENNETT (Framingham State University, USA)
Gina BLOOM (University of California, Davis, USA)
Brooke Allan CARLSON (Colorado Mesa University, USA)
Fiona Miranda HALLENAN-BARKER (University of New England, Australia)
Claire HANSEN (James Cook University, Townsville, Australia)
Douglas J. KING (Gannon University, USA)
Jason Eng Hun LEE (Hong Kong Baptist University, Hong Kong)

Seminar
Trust and Risk in Shakespeare and His Contemporaries
Convenors:
Joseph STERRETT (Aarhus University, Denmark) and Helen WILCOX (Bangor University, UK)
Participants:
Ari J. ADIPURWAWIDJANA (Universitas Padjadjaran, Indonesia)
Rita BANERJEE (Jawaharlal Nehru University, India)
Ellen C. CALDWELL (Clarkson University, USA)
Vicki KAY PRICE (Bangor University, UK)
Joseph M. SULLIVAN (Marietta College, USA)

55

SeminarTwelfth Night Revisited
Convenors:
Mark HOULAHAN (University of Waikato, New Zealand) and Elizabeth PENTLAND (York University,
Canada)Participants:
Stephen M. BUHLER (University of Nebraska-Lincoln, USA)
Kathy FARRIS (Independent Scholar, USA)
Constantina GEORGIADI (Institute for Mediterranean Studies of the Foundation for Research andTechnology, Greece)
JEON Ja Young (Graduate Center, CUNY, USA)
Sarah Medea WELLS (University of Southern Queensland, Australia)

SeminarWiring the Circuits of Global Shakespeares
Convenors:
Heidi CRAIG (Texas A&M University, USA), Eric JOHNSON (Folger Shakespeare Library, USA), andJesús TRONCH PÉREZ (University of Valencia, Spain)
Participants:
Hannah AUGUST (Massey University, New Zealand)
CHO Seong-Kwan (Kyung Hee University, South Korea)
Varsha PANJWANI (NYU London, UK)
Moé SAKAI (University of the Sacred Heart, Japan)
Erin SULLIVAN (University of Birmingham, UK)
Katayoun TORABI (Texas A&M University, USA)11th Shakespeare Congress, Singapore: Shakespeare Circuits

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Seminar
Women and the ‘Feminine’ in Shakespearean Screen
and Visual Media
Convenors:
Victoria BLADEN (University of Queensland, Australia), Melissa CROTEAU (California Baptist
University, USA), and Remedios PERNI (University of Alicante, Spain)
Participants:
Hanita Hanim ISMAIL (Faculty of Education, Universiti Kebangsaan Malaysia, Malaysia)
Allison KELLAR (Wingate University, USA)
Sabina Żyta LASKOWSKA-HINZ (University of Warsaw, Poland)
Lestari MANGGONG (Universitas Padjadjaran, Indonesia)
PI Yuqing (University of Tsukuba, Japan)
Amy SCOTT-DOUGLASS (Marymount University, USA)
Alexandra STEIN (CUNY, USA)
Iris H. TUAN (National Yang Ming Chiao Tung University, Taiwan)
Kajol VERMA (Indira Gandhi National Open University IGNOU, India)

57

Virtual Exhibits
Digital Exhibits
G RA P H IC SHAKESPEARE
The exhibit is the occasion to see how–now globalised–manga/anime (Japanese comics/
animation) are giving new afterlife to Shakespeare. It shows principal works of the Graphic
Shakespeare Competition by artists from all over the world and feminist adaptations of Shakespeare’s
works by a leading manga artist, SANAZAKI Harumo, in manga and puppet play.
Exhibitor:
YOSHIHARA Yukari (University of Tsukuba, Japan)

T HE NE W VARIORUM SHAKESPEARE AT TEXAS A& M U N I V E R S I T Y
The Modern Language Association awarded Texas A&M’s Center of Digital Humanities Research(CoDHR) a grant to publish The New Variorum Shakespeare (NVS) as an open access, interactive
web application which will be demonstrated live at the 11th World Shakespeare Congress.
Exhibitors:
Laura MANDELL (Texas A&M University, USA)
Katayoun TORABI (Texas A&M University, USA)
Bryan TARPLEY (Texas A&M University, USA)11th Shakespeare Congress, Singapore: Shakespeare Circuits

Book Exhibits

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59

Practical
information
PAR T I C I PAT E I N T H E W S C 2 0 2 1
Access the full World Shakespeare Congress 2021 programme, both live and recorded sessions, on
the Virtual Event Platform: http://wsc2021.eventengage.app
Please email eventsecretariat@wsc2021.org if you face any problems accessing the platform
during the pre-Congress and main Congress period, 1-24 July 2021.
The Virtual Event Platform with all academic content will remain accessible till June 2022 with yourCongress ID and password.

THINGS TO DO
Tearooms: Join a tearoom for video-chat conversations with other delegates, and invite them to joinyou (up to 12 people).
Meetings: Zoom meetings for formal discussion and larger groups can be reserved through thesecretariat email: secretariat@wsc2021.org
My Profile: Add or update your personal profile information and create your own business card,
which you can send to other delegates. You can leave messages for other delegates and receive
messages using the Chat function.
My Saved Items: Save and view documents and videos here. You will be able to download saved
document files using this feature.
Congress Desk: Access the Delegate User Guide (PDF) here. Live chat support will be available
during the main Congress period, 18-24 July 2021.
Website: http://wsc2021.org/
Facebook: https://www.facebook.com/WSCSG2021
Twitter: https://twitter.com/WSC_2021

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