The 4th Asian Shakespeare Association Conference will be held at the Gwanggaeto Building of the Sejong Convention Centre (B1) and via online meetings (Zoom). The details of plenary and parallel sessions will be announced on 4 November 2020.
Time 5 Nov (Thurs) 6 Nov (Fri) 7 Nov (Sat)
8:00 On-site Registration    
9:00 Opening Ceremony Plenary Session C Plenary Session D
  Plenary Session A
10:00 Coffee Break Coffee Break
  Coffee Break Roundtable Discussion
(The Korean Shakespeare
Boom and its Pathways)
Panel 7
Panel 8
Panel 9
11:00 Plenary Session B
12:00 Lunch Break Lunch Break Lunch Break
  Panel 1
Panel 2
Panel 3
Panel 4
Panel 5
Panel 6
Panel 10 (Cancelled)
Panel 11
Panel 12
Workshop 4
15:00 Coffee Break Coffee Break Coffee Break
  Seminar 1
Seminar 2
Seminar 3
Seminar 4-1
Seminar 5
Seminar 6
Seminar 4-2
Panel 13
Panel 14
17:00 Workshop 1
Workshop 2
Workshop 3 General Assembly
18:00 Closing Ceremony
  Committee Meeting Fun with Shakespeare
Awards Ceremony
19:00 Performance 1
  Conference Dinner
All-Day The 3rd Graphic Shakespeare Competition
Performance 2
Performance 3
Performance 4
Performance 5
Performance 6
Participants can attend each panel and/or seminar by clicking on the session number while the conference is proceeding.

  During the General Assembly, there will be a brief online launch for the book, Asian Interventions in Global Shakespeare: 'All the world's his stage', which has emerged from the 2016 ASA Delhi Conference. Asian Interventions in Global Shakespeare: 'All the world's his stage', a collection of essays from ASA Delhi 2016 Conference, edited Poonam Trivedi, Paromita Chakravarti and Ted Motohashi, published by Routledge New York, 2020, will be available for release during the conference.

Panel List
Panel 1: Intersections of Colonialism and Nationalism in Shakespeare in East Asia
Yukari Yoshihara Shakespeare in Japanese Cultural Diplomacy in the 1930s
Yi-Hsin Hsu Shakespearean Films in Colonial Taiwan
Ko Yu Jin Shakespeare among Refugees during the Korean War
Philip Smith Asian Shakespeare Performance in Colonial Singapore

Panel 2: Shakespearean Cultural Translations I
Daniel Gallimore 'Strange' and 'Wonderful': The Politics of Mystery (Fushigi) in the Shakespeare Translations of Tsubouchi Shoyo (1859-1935)
Maria Lorena Santos Orag at Pagkamoot: Violent Delights in a Bikolano Shakespeare
James Tink Grotesque Shakespeare: - Macbeth, Appropriation, and Criticism
Rupendra Guha Majumdar The Deepest Shades of Erebus: Shakespeare's Intersections with Greco-Roman Iconography, with a Focus on The Virgilian ‘Catabasis’, the Descent of the Hero into the Underworld

Panel 3: Renewing Tradition with Shakespeare
Seon Young Jang Singer-narrator, Seolbi Dan as a Performing Self in Pansori Othello
Jan Creutzenberg Renewing Korean Tradition with Shakespeare: Taroo's “Pansori Hamlet Project” at the Intersection of Music and Theatre, East and West
Jungman Park Shakespeare on the Kabuki Stage: Dilemma of Japanese Theatre under the ‘Modern’ Paradigm in the Meiji Period as (Re)presented in Kanadeon Hamlet
Yu Min Claire Chen Shakespeare in Opera

Panel 4: Gender Fluidity and Cross-gendered Casting in Global Shakespearean Productions
Alexa Alice Joubin Staging Transgender Shakespeare from Stage Beauty to The King and the Clown
Ronan Paterson Gender Fluidity within Shakespeare's Comedies
Miseong Woo “Born as Hamlet, Desiring to Be Juliet”: Staging a Female Hamlet for the Twenty-First-Century Korean Audience
Ryuta Minami Female Bodies in Japanese Shakespearean Performance

Panel 5: Reimagining Geography with Shakespeare
Yeung-Ah Kim Reading Jaisou Choe's Shakespeare's Art as Order of Life (1965) in the Korean Literary Field after Liberation
Lisa Hopkins Indian Boys and Woods Outside Athens: -Shakespeare's Half-Asian Greece
Vivian Ching-Mei Chu Shakespeare and the New Geographical Cosmology

Panel 6: Shakespearean Cultural Translations II
Dao Le-Na From William Shakespeare to Akira Kurosawa: a Cross-Cultural and Transnational Communication
Ari Adipurwawidjana The Shakespearean in Indonesian Cultural Sensibilities
Yukiko Mori The Acceptance of Shakespeare through Silent Films: - How Antony and Cleopatra (1913) was Received in Japan

Panel 7: Interdisciplinary Shakespeares
Alan Ying-nan Lin A Buddhist Re-reading of Shakespeare's Macbeth
Jason Gleckman Historical Intersections in Shakespeare's Antony and Cleopatra
Yehrim Han Redeeming Prodigals in Shakespeare's Measure for Measure
Julian Lamb Being Counted: Lear and Numbers

Panel 8: Shakespeare on the Intercultural Stage
Hisao Oshima Ophelia and Japanese Actresses the Roles Formative Influence on the Joyu in the Japanese Tradition of New Drama
Bo Ram Choi A Study of the Gender Paradigm in Contemporary Korean Shakespeare Performances: Focusing on The Yohangza Theatre Company
Suematsu Michiko Shakespeare Performance as an Intersection of Generations
Su Mei Kok Butoh and the Bard: Butoh Shakespeare under the wings of Southeast Asian directors

Panel 9: Political Shakespeares in Asia
Poonam Trivedi ‘What ish my nation? Who talks of my nation?’: Intersecting Performance and Protest in Indian Democracy
Katherine Hennessey Body Armour Against the Censor's Whip in West Asia: Shakespeare and Socio-Political Critique on the Arabian Peninsula
Paromita Chakravarti Islamising Shakespeare: Critiquing Majoritarian Politics in Recent Film and Theatre Adaptations in India
Rafik Darragi Updating Shakespeare in Arab Countries

Panel 10: Japanese Shakespeares in the 21st Century
Ted Motohashi Deconstructing the Dichotomies of ‘Strong Theater’ and ‘Weak Theater’: Satoshi Miyagi's Mimetic Dramaturgy in his Retrospective Construction of The Winter's Tale and Othello
Mika Eglinton Gendering Shakespeare in 21st Century Japan: The Case of Kaki Kuu Kyaku's Nyotai Shakespeare Series
Manabu Noda ‘Shakespeare, naturally’: Shakespeare Performances in Japan before, by, and after Yukio Ninagawa

Panel 11: Shakespeare across Media
Kim Kang The Uses of Shakespeare on American TV dramas Rebroadcast in Korea
Kyoko Matsuyama Authority and Flamboyance of Shakespeare's Titus Andronicus in the Japanese Animation PSYCHO-PASS
Luisa Moore John Austen's Hamlet: The Dark Prince

Panel 12: Political Shakespeares in East Asian Education
Miriam Leung-che Lau Remains of post-colonialism in Shakespeare4All
Anna Tso Censoring Children's Shakespeare: Taiwanese Abridgements of Othello as Examples
Sarah Olive The West and the Resistance: Teaching Shakespeare in Japanese and South Korean Higher Education

Panel 13: Re-imaging agency, the status of women, and (dis)ability in Shakespeare's plays
Jitka Štollová Shakespeare's Richard III between Texts and Memory
Artemis Preeshl ‘I Do, Don't I?’: Consent in Shakespeare's Comedies on the Mediterranean
Rani Drew Shakespeare Re-Formed: Cleopatra, a Monologue Re-done from Shakespeare's Antony & Cleopatra

Panel 14: Shakespearean Language and Intercultural Practice
Alan Thompson Adapting Shakespearian Prose and Verse for Practising English Prosody
Tom Gorman Shakespeare and Immersive Telepresence
Adele Lee “Rackers of Orthography”?: Speaking Shakespeare in “Engrish”

Seminar List
Seminar 1: Shakespeare in Films
Seminar Leaders:
Iris H. Tuan (National Chiao Tung University:
Dong-Ha Seo (Korea Military Academy:
The Bard's plays are adapted to be cinematically represented in popular culture. The translation-adaptation-representation of Shakespeare in Asia, which engages Shakespeare's plays with its own unique visual, kinesthetic, and aural theatrical traditions, has fostered cross-cultural encounters, and has become foci of academic interest as well as popular interest. Of the translation-adaptation-representation practices, Shakespeare in visual media, which includes, but is not limited to, film, television, Internet, comic books, and visual arts, has been crucial for understanding contemporary Asia, especially its own cultural aesthetics and contemporary politics. This seminar explores how Shakespeare has been translated, adapted, and represented in contemporary visual media that construct, deconstruct, and reconstruct Asia and the world.
In “Post-modern Bizarre & Post-human Zombie in Shakespeare Contemporary Film Adaptations” Iris H. Tuan applies Postmodernist, Post- human, Adaptation, and (Post) Feminist theories to interpret three film adaptations of Romeo & Juliet, Titus, and The Taming of the Shrew. Of specific concern will be: images of post-human zombies in Warm Bodies (2013); brutal images of the body, bloody hatred, revenge, rape, mutilation, killing, cooking men, eating men, and foul masculinity in Titus (1999); men-hater and sexual politics in 10 Things I Hate About You (1999), along with inter-textual references to Macbeth and Shakespeare's Sonnets.
Unyoung Park in “Romantic Author and Media Film: Shakespeare in Love (1998)” analyzes the triangular relationship among the author, the spectator and the film Shakespeare in Love by Lacanian “Imaginary,” “Mise en abyme” along with the auteur theory.
Pang Lanjing in “Madness in Post-2000 Asian Film Adaptation of Hamlet” examines the filmic languages of three post-2000 film adaptations from China and India, trying to point out how madness is presented differently from Anglophone film adaptations, and how these Asian films reflect their cultural understanding of madness.
Ana Weinberg in “Shakespeare without: Vishal Bhardwaj's Adaptation Strategies” explores what Director Bhardwaj has removed: ambition and politics, otherness, and existential diatribes. Weinberg's presentation will explore how these extractions have served not to detract from the films, but to enrich them, and has led to the generation of an altogether new text that brings oft-ignored characters and motifs to the forefront.
Kong Xinyu in “Gender Differences Between Different Adaptation Works of Shakespeare----An analysis of The Tempest and Two Film Adaptation Works from Gender Perspective” uses gender theory and adaptation theory to analyze the transition of female characters in Shakespeare's tragicomedy The Tempest and two films of the play, one directed by George Schaefer (1960) and the other by Julie Taymor (2010). The paper explores how male and female characters change in the two films compared with the original text.
Dong-Ha Seo* Dead Shakespeare Undead in contemporary Korean films
Iris H Tuan* Post-modern Bizarre and Post-human Zombie
Kong Xinyu Gender Differences Between Different Adaptation Works of Shakespeare: - An Analysis of The Tempest and Two Film Adaptations from Gender Perspective
Windy Pang Madness in Post-2000 Asian Film Adaptation of Hamlet
Ana Weinberg Shakespeare Without: - Vishal Bhardwaj's Adaptation Strategies
Unyoung Park Rebirth of the Author through New Media: The Author- Reader Relationship in Shakespeare in Love (1998)

Seminar 2: Is Shakespeare Our Contemporary?
Seminar Leaders:
Lipika Das (IIIT Bhubaneswar:
The seminar titled ‘Is Shakespeare our contemporary’ locates the Bard in different Asian contexts in different time periods. Any response to Shakespeare is characterised by the concerned historical, political and cultural factors and the response changes when the context of its reception changes. The decision to appropriate Shakespeare is not left to the operation of chance. Instead these decisions are conditioned by several factors in different contexts. This seminar will present selected contexts of reception where the responses not only project a monumental English playwright, but also holds a serious purpose to intervene in the literary, cultural and political contexts of contemporary times. The seminar will investigate interesting cases in two groups.
Group 1 includes 4 papers on the reception of Shakespeare in a historical and political context, and Group 2 makes an inclusion of 5 papers based on universal themes like dilemma, revenge, honour, penalty and immigration, each contextualized in complex cultural milieu of contemporary times.
Lipika Das* The Reception of Shakespeare in Odisha
Okuyama Atsuko Finances and Morality in The Merchant of Venice
Yun Chen Geopolitical Relations: -Shakespeare in Religious, Historical, Geographical Contexts
Kakali Adhikary Haider: - The Identical Crisis in Hamlet's Adaptations in India
Ernesto Pang Jr. Shakespeare in Filipiniana
Mohammad Muazzam Sharif Shakespeare's Shrew in Convenance with Ilaaj-e-Zid
Ning Ping Characteristics of Shakespeare's Histories Studies
Mark LaRubio Jewish Immigration and Queerness in Shakespeare's The Merchant of Venice

Seminar 3: Cultural Relocation and Transcultural Negotiation of Shakespeare in Asia: Adaptation, Translation, and Appropriation
Seminar Leaders:
Tai-Won Kim (Sogang University:
Arbaayah Ali Termizi (Universiti Putra Malaysia:
With special attention paid to the intersections of text, theater, translation, and adaptation at the local and global levels, this seminar is designed to examine the dialectical relation between Shakespeare and his relocated, translated, adapted versions in Asia and thereby to elucidate the latter's new cultural functions in the changed environments. We would particularly like to take up the issues of how Shakespeare's texts and words have been translated, adapted and relocated in the Asian context, and what kind of negotiation is necessitated and activated in the interlinguistic, intercultural, intermedial as well as inter- regional afterlife of Shakespeare in Asia. Within the purview of Shakespeare studies, we welcome papers that explore any rewritings and appropriations of the playwright's works in new cultural/medial contexts as well as any regional processes and products that cross national/linguistic borders.
Arbaayah Ali Termizi* Cultural transpositions in translating Shakespeare's comedies: A case study on Charles and Mary Lamb's Tales from Shakespeare
Shoichiro Kawai The Merging of Shakespeare with Traditional Japanese theatre
Beth Harper Shakespearean Romance and Yuan Zaju: Towards a Cross-Cultural Reading
Abhijit Sen Relocating Shakespeare in Bengal: Experiments in the 19th Century
Huimin Wang The Ethics and Politics of Chinese Kun Opera Adaptation of Shakespeare's Romeo and Juliet
Ja Young Jeon “But Romeo is a girl”: Playing Iban Culture through Romeo and Juliet

Seminar 4: Shakespeare and Identity
Seminar Leaders:
Natasha Sofranac (Belgrade University:
The papers in this seminar focus on a wide variety of issues of identity in the works of Shakespeare, including gender aspects of ethics, the rhetorical techniques of silencing female characters and the systematic negotiations involved in their silencing, female homoerotic bonds, Manichean perceptions of women, the political legitimacy conferred by mother-son relationships, the gendered nature of good counsel, the connection between commercial law and conceptions of modern society, the multidirectional mapping of the concept of class through conceptual metaphor theory, cross-cultural comparisons of subversive gender-crossing, and the agentic capacity of material objects. This seminar will also offer an assay in queer, critical (fictional) form that explores the character of Antonio in The Merchant of Venice. Other works discussed include Othello, Macbeth, All's Well That Ends Well, Coriolanus, 1 Henry IV, As You Like It, King Lear, and Hamlet, as well as Marlowe's Edward II and the classic Korean tale Jachungbi.
Natasha Sofranac* Cruelty as a Necessity: - Code of Ethics and Gender in Shakespeare's War Times
Cheryl L Beedle Dead Space: Paratactics of Stifling Desdemona
Sonakshi Srivastava Death is the Fairest Cover for Her Shame: Attempting an Understanding of Honour in Shakespeare in Contemporary Times
Feryal Cubukcu Manichean Perceptions of Women in Othello and Macbeth
Sraddha Nag The Good Witch or The Wicked Fool: Gendered Nature of Psychotherapy in King Lear and Macbeth
Nizar A Zouidi The Royal Mother/Widow and the Succession to the Throne in Shakespeare and Marlowe
Anthony Guy Patricia The Tale of The Merchant of Venice
Zhou Zilun A Study on the Legal Writing of The Merchant of Venice
Liu Fande Shakespeare in Pioneer Marxists' Works: A New Exploration of ‘Class’ from the Perspective of Conceptual Metaphor
Marianne Kimura New Materialism and Othello
Kim Eun-Hye The Journey for the Marriage of Subjective Women: Focusing on All's Well That Ends Well and The Story of Jachungbi

Seminar 5: Intermediality in Shakespeare: Transmedial and Transcultural Transpositions, Adaptations & Appropriations
Seminar Leader:
Mike Ingham (Lingnan University:
During periodic closures of London’s performance venues for his plays on account of the plague outbreaks, Shakespeare—apocryphally at least—spent his time working on major new dramatic works. There were no live-streamings or encore digital screenings of his back catalogue for the edification of his eager fanbase, of course, merely a patient wait for theatres to re-open after what passed for lockdown in the Early Modern era. This year’s closure of theatres worldwide due to COVID-19 has focused, as never before perhaps, on Shakespeare in other media, formats and styles: event theatre, as a substitute for live performances, has included free digital screenings of the 2012 Globe-to-Globe international celebration of Shakespeare in diverse languages and theatrical modes and conventions. These on-screen theatrical events have in turn highlighted the dizzying proliferation of Shakespearean transpositions, adaptations, appropriations and remediations available to audiences of all descriptions in the digital age, and widely disseminated through social media platforms.
Remote access to alternative Shakespeare cultural products has also promoted intersections between various aesthetic practices and media that are normally considered unconnected, including music, dance, cinema, television and video, via digital technologies. Such adaptive strategies, frequently involving inter-semiotic and transmedial content transfer, can also extend to other applications of Shakespeare texts, for pedagogic and therapeutic purposes, for example, as well as to many popular-culture contexts such as spoof comedies and whimsical consumer- or tourist-oriented commercial ventures. Indeed, when we consider Michael Bristol’s formulation of this hydra-headed, celebrity-like presence of ‘Big-time Shakespeare’, the epithet seems even more appropriate now than when Bristol first came up with it in 1996.
The essential reciprocity of world theatre forms and media, as well as the speed and convenience of cultural exchange and consumption, has still not eclipsed the attractions of the stage production, whether live or electronically broadcast. Ultimately, though, all of the Shakespeare experienced today is filtered in such a way that the respective representations, no matter how seemingly ‘authentic’, must be positioned at some point along a continuum of adaptations and appropriations. Do these ‘viral’ developments in Shakespeare practices offer us merely another exemplar of global monoculture, or rather an opportunity for creative pluralism and for a radical break with hegemonic traditional discourses? Our seminar will respond to this multiplicity of Shakespeare adaptation initiatives in whatever form, medium, language or style the contributors wish to propose. An emphasis on Asian interventions in global Shakespeare—to cite the title of a forthcoming study—is welcome for this seminar, but by no means exclusive to its scope.
Mike Ingham* ‘A Great Appropriation to His Own Good Parts’? Intermediality, Adaptation and ‘Authenticity’: Comparing Vishal Bhardwaj's Shakespeare Films with RSC and NT Live Productions in Asias
Reto Winckler From Theatre to TV and back: - Upstart Crow as Shakespearean Sitcom
Lestari Manggong & Mohamad Noor Rizal Indonesian Shakespeare Memes of Hamlet in Digital Culture
Mostafa Yarmahmoudi Shakespeare's New Technologies
Jason Eng Hun Lee Shakespeare's Digital Afterlives in Postcolonial Hong Kong
Amir Hossain Teaching-cum-Practicing Shakespeare through Multimedia Projector in Bangladeshi Universities
Nicholas Pang Shakespeare as a Vehicle for Empathy in Medical Students Studying Psychiatry

Seminar 6: Intersections in Performance: Shakespeare on Stage
Seminar Leaders:
Seunghyun Hwang (Incheon National University:
Scott Shepherd (Chongshin University:
The current pandemic we are living through serves as a reminder of what an interconnected, international world we live in. This seminar celebrates and examines the production and performance of Shakespeare in Asia in terms of the diversity of cultural and theoretical approaches of Asian theatre professionals and Shakespeare scholars. Academic papers will provide analyses of a variety of productions in relation to a range of philosophical, cultural, historical, and practical applications in performance. Attempting to recapture aspects of Shakespearean working methods, some practitioners stage his works from intersectional and intercultural perspectives. Discussion topics will range broadly from the comparison of Eastern and Western cultural interpretations of Shakespeare to the consideration of text and performance within an Asian context, as well as encompassing cultural issues regarding Shakespeare in the classroom and in the rehearsal studio.
Seunghyun Hwang*
Ivy I-chu Chang The Alterity in Shakespearean Scenes of Madness on Taiwanese Stage
Gary Lindeburg Agency and Motherhood in Harumo Sanazaki's Romeo and Juliet
Yujing Ma A Mandarin-language Richard III on the International Stages
Sachini K. Seneviratne Ariel's Bodies in the RSC Tempest (2016)
Shasha Li Alienating Shakespeare: A Study of Chinese Shakespeare's Philosophical Pursuit
Robyn Dudic Orientalism Revisited: A Tempest vs. The Tempest
Yuriko Kumagai Shakespeare's Plays Are Not Only for Adults in Japan and Their 2017 King Lear Production
Masae Suzuki The Transformation of Othello in Noh and Kumiodori: The Intersection of Shakespeare and Classical Japanese and Okinawan Theatre
Jiyoung Choi Shakespeare on Stage: Studies Hamlet's Impulsive Action Effects on Acting
Sangwoo Lee Shakespeare as Liberal Arts (Culturalism) in Colonial Korea
Robert Richmond Theatre, Empathy, and Negative Capability

Workshops & Performances
There will be workshop programmes and performances. These are open only to those who registered. You can also register on-site at the reception.

Workshop 1
Kissing Romeo and Juliet: SCHakespeare VR Project
by Hyon-u Lee, Jung-ki Kim, Mi-sun Yun, Dong-min Kim, Young-soo Lee

“SCHakespeare VR Project,” which is supported by Soon Chun Hyang University in South Korea, aims to produce Shakespeare VR interactive content that is directed towards educating the user in Shakespearean language and acting. The first in the series is Romeo and Juliet. At the Asian Shakespeare Conference workshop, the audience will be able to experience the pilot version of this “SCH Romeo and Juliet VR” and, in addition, “SCH Romeo and Juliet MR,” which adapts the characters and graphic assets of the VR content to an AR performance of the play.
In the pilot version of “SCH Romeo and Juliet VR,” the first encounter between Romeo and Juliet is set as the goal to be achieved through the participant's interactive play with VR media. In the single-participant option, the player can play either Romeo or Juliet with the partner character as an NPC (non-player character). In the duo-participant option, the player can play either Romeo or Juliet with the other participant playing the partner character. There are missions the players must complete step by step in order to reach the stage where the two characters exchange their words, touch, and, finally, kiss.

Workshop 2
Speaking Shakespeare Bright and Beautiful
by Ben Crystal

What did Shakespeare's accent-- - and that of his actors and audience-- - sound like? What can we learn from hearing and speaking his works in that accent? And with no recordings or transcriptions available to us, how do we know?
Actor and author Ben Crystal (Shakespeare's Words, Shakespeare on Toast) explores the fascinating 400-year-old sound of Shakespeare's plays and sonnets, Original Pronunciation, showing a world hidden beneath our modern accent readings full of rhyme, rhythm, and a very subtle humour.
And a not-so-subtle one too.

Workshop 3
Shakespeare in Pansori
by Seong-Hwan Park

This workshop introduces the characteristics of Pansori (traditional Korean musical storytelling) with reference to an adaptation of Romeo and Juliet, which achieved great success in Korea in 2009, and which drew upon the theatrical aesthetic of Pansori, particularly in the acting style and form. The director of the production (Seong-Hwan Park), along with actors from it, will run the workshop, and include scenes from the production. The workshop will also compare musical expression in Pansori with Shakespearean poetic expression and explore the possibilities of Shakespearean performance in relation to traditional Korean theatre forms.

Workshop 4
Cross-cultural Collaboration in the Gender and Shakespeare Edition
by Yong Li Lan, Dympna Callaghan, Eleine Ng, Roweena Yip

This workshop discusses the collaborative creation of the Gender and Shakespeare in Asian Theatres scholarly performance edition, one of five multimedia critical editions being produced in the research project, Digital Performance Scholarship: Multimedia Critical Editions on Asian Theatre. The multimedia Gender and Shakespeare edition is the first sustained engagement with the intersections between gender performativity and intercultural theatre through comparative perspectives and collaborative research in contemporary Asian Shakespeares. The edition seeks to place Anglophone discourses on gender representation in dialogue with Shakespeare performances in Asia to explore the extent to which discourses on gender are always informed by positionalities and (inter-)cultural contexts. The development of the edition's content at the same time examines how interaction with audiovisual materials in the digital interface may transfigure discursive relationships with performance, and correlatively, the gendering of archival processes. A workshop consisting of members of the editorial team enacts the very process of interactive collaboration and cross-cultural discussion that defines the creation of performance annotations in the edition, and is a format more capable of demonstrating a polyvocal conversation about a work-in-progress, than presenting a sequence of panel papers. The diversity of the editorial team's academic training, disciplinary affiliations and cultural perspectives represents the wide range of positionalities involved in the cross-cultural, cross-platform reception and theorisation of gender in contemporary performances of Shakespeare in Asia. In this workshop, we will also reflect upon the selection criteria of productions and materials for the edition, as well as the questions, concerns and (mis-)understandings that arise from the annotation process, considering their implications upon cross-cultural scholarly exchanges.

Performance 1
Othello (1 hour 30 min.)
by The Flow Theatre

The colour white expresses innocence in this performance, which utilizes white cloth to stage the theme of Othello: how a man who was admired as a hero becomes a fragile man who suffers from his own conflict between faith and doubt toward his wife.
Othello asks Desdemona to keep the white handkerchief carefully since he believes that the white cloth signifies purity and chastity. White cloth on the stage symbolises the white handkerchief, which causes the conflicts between Desdemona and Othello. When Othello realises that he has been fooled by Iago, the cloth remains as a dark shadow lingering around Othello, who now has to pay for what he has done. In this adaptation, there is a performance of salpurichum (traditional Korean exorcism dance), and the cloth is used to express the emotional flow of the main character.

Performance 2
The Merry Wives of Seoul (1 hour)
by EDP Theatre Company

“Soon Chun Hyang University English Drama Club's joyful and never too serious The Merry Wives of Seoul is a new adaptation of The Merry Wives of Windsor, Shakespeare's comedy of love and marriage, told through a confection of beautiful costumes and stunning physicality. The juxtaposition of effortlessly impressive K-Pop dance and traditional dress is great fun, as are the unexpected song choices. The best surprise appears right at the start and continues to please throughout: a Falstaff with the physical features and idiosyncrasies of a certain world leader, enough to be unmistakable but not so overt as to be a caricature. The commitment to every role and love for drama is clear from beginning to end, as is the attention to detail in every aspect.” (Caitlin A. Kearney)

Performance 3
Pericles (2 hours 35 min.)
by The Yohangza Theatre Company

“Director Yang Jung-Ung emphasized the contemporaneity of the play with modern and cosmopolitan costumes, music and dances. The imagistic stage was very impressive, too. The 30m depth stage covered with 50t of sand created the image of sea and island. The gigantic statue of Diana's head, which was laid down sideway on the stage left, expressed the precarious deity. The huge images of a compass and a moon, which were alternatively projected on the back screen of the stage, gave a proper background to Pericles, who wanders from place to place. Gower, who led the whole play as a narrator, was transformed into old Pericles.” (Performance Shakespeare 2016)

Performance 4
Pansori Hamlet, Monologue (1 hour 25 min.)
By Sun-Hee Park

Pansori (Korean traditional narrative music) performer Song Bo-ra performs Hamlet, Ophelia, Claudius, Polonius, Laertes and Gertrude in a revised version of Pansori Hamlet directed by Park Sun-hee and produced by the Korean Traditional Musical Company Taroo.
Pansori Hamlet, premiered in 2012, was originally created for four actors taking turns playing roles in Hamlet. In 2020, it was reborn as Pansori Hamlet, Monologue, returning to the original format of pansori, in which a singer conveys the story playing all the roles, accompanied by a drummer.

Performance 5
Pansori Othello (1 hour 20 min.)
By Yeong-Wook Lim

Shakespeare's Othello is a work that talks about the catastrophe caused by suspicion and jealousy of human beings. If you listen to a well-known masterpiece, how would it feel if the method is pansori? Pansori Othello, created by Jeongdong Theater, is a story of high-ranking strangers told by a low-ranking storyteller in Joseon, the country of the East.
Filled with vanity, mistrust, and desire, the story of Othello, Iago, and Desdemona, who eventually falls into hell, is grieving. In Pansori's unique performance style, which freely goes back and forth between story and song, meets Shakespeare's play, and invites the audience to a world with the exquisiteness of emptying and filling.

Performance 6
King Rear (2 hours and 40 min.)
By Sun-Woong Koh

Korean playwright and director Sun-Woong Koh's King Rear is an interpretation of Shakespeare's King Lear. Koh's King Rear takes place in the modern world, though it is unclear whether the characters are living the UK or in Korea. Koh captivates the audiences with witty dialogue borrowed from Shakespeare and the dynamic movement of 21 actors and a choir. In Koh’s play, the king is much younger than the one in original. The king's youngest daughter Cordelia is also portrayed as a bubbly and cheeky young woman, though she keeps quiet when asked to profess her love for her father ― just like the one in the original. The play is filled with humorous moments, though its plot eventually ends in tragedy as Koh defines this play as an "entertaining tragedy”. Also, in Koh’s version, the king ends up in a shelter for the homeless elderly, after living on the streets while carrying his belongings in a handcart. Koh’s ending, which pivots around the king’s revenge, is also significantly different from the original, though equally if not more tragic.

Fun with Shakespeare!
All conference participants can join this event on-site or via Zoom. The event consists of five different sections.
1) Pansori Hamlet: There will be short performances by actors who speak some of Hamlet’s lines in the style of Pansori*.
2) Samulnori*
3) A Musical Celebration with Professor Jeong-Keun Park
     G. Verdi's Pietà, rispetto, amore
     Hoon Byun's Pollack
4) Shakespeare Quiz: There will be questions related to Shakespeare’s plays. Everyone who gives a right answer will receive an unforgettable gift.
5) Graphic Shakespeare Awards Ceremony
  Pansori is a traditional Korean musical storytelling.
  Samulnori is a genre of percussion music performed with four traditional Korean musical instruments: Kkwaeggwari (small gong), Jing (larger gong), Janggu (hourglass-shaped drum), and Buk (drum). Samulonri has its roots in Pungmulnori (literarlly ‘Korean traditional percussion instruments playing’), a Korean folk genre comprising music, acrobatics, folk dance, and rituals, which was traditionally performed in rice farming villages in order to ensure and to celebrate good harvests.

The 3rd Graphic Shakespeare Competition
There will be an exhibition and award ceremony for the 3rd Graphic Shakespeare Competition on 6 November.
Collected Works of Graphic Shakespeare Competition 3

The winner of the 2nd GSC, Kathryn Martin's adaptation of the opening monologue from Richard III.
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