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<p>Chapter 1. Sinophone Shakespeares: A Critical Introduction, Alexa Alice Joubin.- Part 1. Existentialist Questions in Post-socialist China and Post-Martial-Law Taiwan.-&nbsp;Chapter 2.&nbsp;<i>Hamlet</i>&nbsp;as Political Theatre in Beijing: 哈姆雷特by Lin Zhaohua 林兆華 (1990), translated by Steven L. Riep and Ronald Kimmons and introduced by Steven Riep.-&nbsp;Chapter 3.&nbsp;<i>Hamlet&nbsp;</i>as Parody in Taipei:&nbsp;<i>Shamlet</i>&nbsp;莎姆雷特 (<i>Hamlet</i>) by Lee Kuo-hsiu 李國修 (1992 / 2008), translated by Christopher Rea and introduced by Alexa Alice Joubin.-&nbsp;Part 2. Bewitched by&nbsp;<i>Kunqu&nbsp;</i>Opera and Avant-Garde Theatre.-&nbsp;Chapter 4. An Operatic&nbsp;<i>Macbeth&nbsp;</i>in Shanghai:&nbsp;<i>Story of Bloody Hands</i>&nbsp;血手記 by Huang Zuolin 黃佐臨&nbsp; (1987 / 2008), translated by Siyuan Liu and introduced by Alexa Alice Joubin.-&nbsp;Chapter 5. A Feminist&nbsp;<i>Macbeth&nbsp;</i>in Tainan:&nbsp;<i>The&nbsp;</i><i>Witches’ Sonata&nbsp;</i>女巫奏鳴曲．馬克白詩篇by Lü Po-shen呂柏伸(2007), translated and introduced by Yilin Chen.-&nbsp;Part 3. Self-Identities in Traditional and Experimental&nbsp;<i>Jingju&nbsp;</i>Opera.-&nbsp;Chapter 6. A Confucian&nbsp;<i>King Lear&nbsp;</i>in Shanghai:&nbsp;<i>King Qi’s Dream</i>&nbsp;岐王夢 (<i>King Lear</i>) by Shanghai Jingju Theatre Company (1995), translated by Dongshin Chang and introduced by Alexa Alice Joubin.-&nbsp;Chapter 7. A Buddhist&nbsp;<i>King Lear&nbsp;</i>in Taipei:&nbsp;<i>Lear Is Here</i>李爾在此by Wu Hsing-kuo 吳興國, Contemporary Legend Theatre (2001), translated and introduced by Alexa Alice Joubin.-&nbsp;Coda: Chapter 8.&nbsp;<i>Coda: Theatrical Bricolage of Hamlet, King Lear, Macbeth,</i><i>and Othello in Beijing, 1986</i>&nbsp;</p>

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<p><b>Alexa Alice Joubin</b> is Professor of English, Women’s, Gender and Sexuality Studies, Theatre, International Affairs, and East Asian Languages and Literatures at George Washington University in Washington, D.C., where she co-founded and co-directs the Digital Humanities Institute. Her books include <i>Shakespeare and East Asia</i> (2021), <i>Race </i>(2019), and the co-edited volumes <i>Cinematic Allusions to Shakespeare: International Appropriation</i> (2022), <i>Local and Global Myths in Shakespearean Performance</i> (2018), and <i>Shakespeare and the Ethics of Appropriation</i> (2014).<br></p>

Shakespeare’s tragedies have been performed in the Sinophone world for over two centuries.&nbsp;<i>Hamlet, Macbeth,&nbsp;</i>and&nbsp;<i>King Lear</i>&nbsp;are three of the most frequently adapted plays. They have been re-imagined as political theatre, comedic parody, Chinese opera, avant-garde theatre, and experimental theatre in Hong Kong, China, and Taiwan. This ground-breaking anthology features the first English translations of seven influential adaptations from 1987 to 2007 across a number of traditional and modern performance genres in Beijing, Shanghai, Hong Kong, and Taipei. Each of the book's three sections offers a pair of two contrasting versions of each tragedy - in two distinct genres - for comparative analysis. This anthology is an indispensable tool for the teaching and research of Sinophone theatre's engagement with Western classics in the late twentieth and early twenty-first centuries.&nbsp;&nbsp;

English translation of seven Sinophone adaptations of “Hamlet”, “Macbeth”, and “King Lear” Plays produced between 1987 and 2007 in post-socialist China, post-martial law Taiwan, and Hong Kong Performances are available in re-playable media through the MIT Global Shakespeares open-access archive

“Shakespeare, the playwright Ben Jonson intoned, “was not of an age, but for all time.” It turns out he was for all places too. This innovative volume&nbsp;personifies the vast impact that Shakespeare has had on East Asian culture and letters even as it exemplifies how Sinophone dramatists speak back to the great English bard, offering both new readings and translations from Chinese. It is relevant to all who are interested in gauging the impact of Shakespeare in East Asia and the world in general. Equally, it will be of use to those who wish to teach Shakespeare in a global context. Offering translations of an array of Shakespeare’s Chinese-language interpreters, this book is the first of its kind and sui generis in Shakespeare studies.” (Christopher Lupke, recipient of the MLA Aldo and Jeanne Scaglione Prize for translation and Professor, East Asian Studies Department, University of Alberta, Canada)<div><br></div><div>“This new English-language anthology of contemporary adaptations of Shakespearean tragedies testifies to the long history of intercultural circulation of Shakespeare across a variety of literary modes and performance styles within the Sinophone region. Seven historic yet hitherto hardly accessible texts are introduced and translated by Joubin and a team of top scholars, and finally made available to a wide readership. Meticulously researched and annotated, yet highly readable, the plays and related media (accessible through the MIT Global Shakespeares archive) will provide essential research and teaching resources for years to come. Unique in its genre, this important collection confirms Joubin's status as a leading voice on Global Shakespeares.” (Rossella Ferrari, Professor of Chinese Studies, University of Vienna, Austria)</div><div><br></div><div>“This first-of-its-kind anthology of translated classics of Sinophone Shakespeare addresses the lack of primary research material available on Asian Shakespeares and makes productions previously availableonly as video clips, often without subtitles, accessible to English-speaking students and scholars. It is an indispensable tool for researching Sinophone Shakespeares that supplements performance reviews and other textual penumbra and reinforces the extent to which these productions, once dismissed as exotic spectacles, are worthy of serious scholarly attention. By adopting a thematic and (intra)regional methodology, the collection also successfully moves the discipline beyond narrowly-defined national perspectives and deconstructs the hegemonic idea of the West as method. The complex and dynamic range of productions rendered into English, including feminist <i>xiqu</i> drama, Confucian meditations and political theatre from China, Hong Kong and Taiwan, challenges not only what constitutes Asian Shakespeare but also what we tend to think of as Chinese itself. What emerges from this collection is a pluralistic picture of the Sinophone world, its cultural heritage and theatre practices,which world English speakers are granted access to through both Shakespeare and the leading Asian experts behind this invaluable anthology.” (Adele Lee, Associate Professor, Emerson College, Boston, USA, and author of The English Renaissance and the Far East<i> </i>(2017))</div><div><br></div><div>“This anthology is an important publication that introduces English speakers to the richness and variety of theatrical styles and experimentations used in the adaptations of Shakespeare by Sinophone theatre-makers. The selected period between 1987 and 2007 is in itself poignant as these years saw important political, cultural and artistic changes in Asia. This anthology, comprising of significant examples of cross-cultural encounters in theatre, is meticulous in framing and contextualizing the different translations, which are as rigorous as they are accessible. The comparative and intersectional methodology of pairing two adaptations of the same play with a focus on <i>Hamlet</i>, <i>Macbeth</i> and <i>King Lear</i> encourages a comparative approach, which will be a useful tool for teaching and will inspire scholarly debate. Most importantly, responding to a lack of primary sources of Sinophone plays in English, this anthology aims to deconstruct the ideas of Asia and the Sinophone as subaltern others and succeeds in depicting a cultural and artistic global landscape which is truly sans frontiers.” (Mary Mazzilli, Department of Literature, Film and Theatre Studies, University of Essex, UK)<div><div><br></div></div></div>