
Contents
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Tragedy, place, and language Tragedy, place, and language
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Translation: The Case of Sol T. Plaatje Translation: The Case of Sol T. Plaatje
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Shakespeare in the Academy Shakespeare in the Academy
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Why Shakespeare? The Robben Island Shakespeare and beyond Why Shakespeare? The Robben Island Shakespeare and beyond
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Coriolanus for President Coriolanus for President
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Three Tragedies: Othello, Titus Andronicus, Macbeth/Umabatha Three Tragedies: Othello, Titus Andronicus, Macbeth/Umabatha
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Suzman and Kani’s Othello Suzman and Kani’s Othello
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Doran and Sher’s Titus Andronicus Doran and Sher’s Titus Andronicus
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Umabatha or ‘The Zulu Macbeth’ Umabatha or ‘The Zulu Macbeth’
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Globe-to-Globe 2012—African tragedy? Globe-to-Globe 2012—African tragedy?
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Shakespeare’s Words Shakespeare’s Words
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Conclusion Conclusion
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Further Reading Further Reading
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49 Shakespeare’s Tragedies in Southern Africa
Get accessColette Gordon, University of the Witwatersrand
Daniel Roux, Stellenbosch University
David Schalkwyk is Director of Research at the Folger Shakespeare Library in Washington D.C. and editor of the Shakespeare Quarterly. He is also Professor of English at the University of Cape Town. His monographs include Speech and Performance in Shakespeare’s Sonnets and Plays (Cambridge 2002), Literature and the Touch of the Real (Delaware UP, 2004), Shakespeare, Love and Service (Cambridge, 2008) and Hamlet’s Dreams: The Robben Island Shakespeare (Arden, 2013). He is currently working on love in Shakespeare.
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Published:02 November 2016
Cite
Abstract
This chapter discusses the place of Shakespeare’s tragedies in apartheid and post-apartheid South Africa. It begins with the imposition of apartheid in 1948 and Afrikaans Shakespeare; it goes on to look at Sol Plaatje’s Setswana translations of Shakespeare; and then considers rhetorical and allegorical treatments of Shakespearean tragedy in relation to Robben Island, Nelson Mandela, and Thabo Mbeki. This is followed by an account of the reception, in South Africa and abroad, of three landmark South African productions in the twentieth century: Janet Suzman’s Othello, Gregory Doran’s Titus Andronicus, and Welcome Msomi’s Umabatha. It concludes with a brief discussion of the representation of Africa in the Globe-to-Globe 2012 festival at Shakespeare’s Globe in London.
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