Introduction

‘My native English now I must forgo’: Global Shakespeare at the Edinburgh International Festival

“…people's familiarity with Shakespeare around the globe comes via translations of his plays and poems into languages other than the playwright's own Early Modern English'. 56 The circulation of Shakespeare productions between the EIF and other festivals, such as the Avignon or the Almagro Festivals, is linked to the existence of a festival circuit, an international theatre market in which the packaging of Shakespeare in theatrical formats that break with a British tradition of playing the Bard's plays has proved successful in box-office terms. Nevertheless, the predominance of Shakespeare's plays -and of a handful of those -has led to a certain standardisation: Shakespeare is the playwright most often performed in many international festivals, these productions frequently tour intensively and, as in the case of The Revenge of Prince Zi Dan, many are specifically designed for international touring and give rise to similar responses independently of the context of performance.…”

‘Something rich and strange’: Translating Shakespeare's poetry into Japanese

“…49 At a fundamental level, there can be no domestication of Shakespeare that Since it is almost always rendered in the modern speech of the target language, Hoenselaars argues that 'given its purpose of communication, the translation may have the edge over the original Shakespearean text'. 53 Perhaps, since there is an inescapable distance from the original text in all translations as palpable as the gap between early modern English and modern English, the more significant issue is not to question whether translation 'does Shakespeare better' but to acknowledge a kind of parity between modern English and translation.…”

Translation and analogical reasoning

“…Jahrhundert in Frank et al (2011, 2453–2538). See also Hoenselaars (2012). On translation and theatre performance in particular, see in the same volume Bassnett (2012, 53–67).…”