Shakespeare in Tehran is a personal history of Iran through the eyes of an award-winning Iranian American artist. Drawing on parallels between life and the stage, it uses A Midsummer Night’s Dream as a roadmap to explore social, political, economic, and cultural aspects of Iran before and after the revolution of 1979. Through first-person accounts, interspersed with emotional reflections of the universal human experience, it delves into the historical and sociological context of a divided country. Storytelling, flashbacks, and flashforwards paint an intimate picture of public life in Iran in a time of uncertainty. Accessible, engaging, and nuanced, this volume will be of interest to scholars and researchers of politics, history, theater and performance studies, and West Asian studies.

"A Pulitzer Prize finalist presents the rare and intimate narrative of a daring national security sting designed to protect US soldiers, sailors, and pilots from the greatest danger they face on the battlefield--an enemy equipped with American-made weapons and technology. In Operation Shakespeare, investigative journalist John Shiffman traces an audacious and high-risk undercover operation--from Philadelphia to Shiraz to London to Beverly Hills to Tbilisi and Dubai. The sting is launched by an elite undercover Homeland Security unit created to stop the Iranians, Russians, Chinese, Pakistanis, and North Koreans from acquiring sophisticated American-made electronics capable of guiding missiles, jamming radar, and triggering countless weapons--from wireless IEDs to nuclear bombs. The US agents must outwit not only enemy brokers, but American manufacturers and global bankers too willing to put profit over national security. The three-year sting in Operation Shakespeare climaxes when the US agents lure the Iranian broker to a former Soviet republic with the promise of American-made radar, fighter-jet and missile components, then secretly drag him back to the United States, where he is held in secret for two years. The laptop the Iranian carries into the sting provides the CIA with a treasure trove, a virtual roadmap to Tehran's clandestine effort to obtain US military technology. Tenacious, richly detailed, broad in scope, and emotionally powerful--and boasting unprecedented access to the government agents fighting this shadow war, as well as the captured Iranian arms broker--Operation Shakespeare is a fast-paced and masterful account of the covert effort to preserve American military supremacy, and to protect US troops"--

No writer's work has been studied more closely or more often than the plays of William Shakespeare, that master of language and peerless explorer of the human heart. Books about him number in the thousands, yet "Shakespeare, Persia, and the East" brings a truly fresh perspective to his genius. In the three dozen plays he composed between 1590 and 1612, Shakespeare ranged far and wide in his imagination, setting some of his tales in places as varied as Denmark, Venice and Athens - while drawing on a rich array of imagery and lore from lands further east. This remarkable book by a lifelong student of Shakespeare, Cyrus Ghani, reveals how rich a source of inspiration those exotic Eastern realms were for the playwright. Elizabethan England was especially fascinated by Persia, whose deep-rooted culture was then flourishing under the Safavid dynasty. An Englishman first visited there in 1562, two years before Shakespeare's birth. More contacts between England and Persia followed, prompted by hopes of a lucrative trading relationship and a possible military alliance against the Ottoman Turks. A pair of English adventurers, Anthony and Robert Sherley, spent years attempting to establish these ties, not always scrupulously, and their story was well known to England's greatest dramatist. To illuminate the creative uses Shakespeare made of the East, this book first looks at the life of the playwright himself, then at the dynasties that did so much to shape England and Persia in that tumultuous age. Other sections in the book profile key figures in the efforts to forge a connection between the two lands, with particular focus on the colourful Sherleys and their fatally ambitious sponsor, the Earl of Essex -- a great admirer of Shakespeare. The final section of the book briefly describes the plays and cites their many allusions to the East -- testimony that this literary giant was very much a man of his time.

This volume marks the 400th anniversary of Shakespeare's death by reflecting on the unrivalled work of the Shakespeare Association of America and offering a unique collection of leading Shakespeare scholars outlining key developments in Shakespeare studies over the last two decades. These essays are complemented by younger scholars who respond and look forward to new fields of study and debate. As such the book offers a "state of the nation" look at Shakespeare criticism, covering all the key areas of research and study including gender, text, performance, the body, history, religion and biography. This is a must-read, comprehensive introduction to the key critical ideas surrounding Shakespeare's work and a stimulating exploration of where Shakespeare studies will go next.

The Shakespearean World takes a global view of Shakespeare and his works, especially their afterlives. Constantly changing, the Shakespeare central to this volume has acquired an array of meanings over the past four centuries. "Shakespeare" signifies the historical person, as well as the plays and verse attributed to him. It also signifies the attitudes towards both author and works determined by their receptions. Throughout the book, specialists aim to situate Shakespeare’s world and what the world is because of him. In adopting a global perspective, the volume arranges thirty-six chapters in five parts: Shakespeare on stage internationally since the late seventeenth century; Shakespeare on film throughout the world; Shakespeare in the arts beyond drama and performance; Shakespeare in everyday life; Shakespeare and critical practice. Through its coverage, The Shakespearean World offers a comprehensive transhistorical and international view of the ways this Shakespeare has not only influenced but has also been influenced by diverse cultures during 400 years of performance, adaptation, criticism, and citation. While each chapter is a freshly conceived introduction to a significant topic, all of the chapters move beyond the level of survey, suggesting new directions in Shakespeare studies – such as ecology, tourism, and new media – and making substantial contributions to the field. This volume is an essential resource for all those studying Shakespeare, from beginners to advanced specialists.

Since the turn of the millennium, the Arabian Peninsula has produced a remarkable series of adaptations of Shakespeare. These include a 2007 production of Much Ado About Nothing, set in Kuwait in 1898; a 2011 performance in Sharjah of Macbeth, set in 9th-century Arabia; a 2013 Yemeni adaptation of The Merchant of Venice, in which the Shylock figure is not Jewish; and Hamlet, Get Out of My Head, a one-man show about an actor’s fraught response to the Danish prince, which has been touring the cities of Saudi Arabia since 2014. This groundbreaking study surveys the surprising history of Shakespeare on the Arabian Peninsula, situating the current flourishing of Shakespearean performance and adaptation within the region’s complex, cosmopolitan, and rapidly changing socio-political contexts. Through first-hand performance reviews, interviews, and analysis of resources in Arabic and English, this volume brings to light the ways in which local theatremakers, students, and scholars use Shakespeare to address urgent regional issues like authoritarianism, censorship, racial discrimination and gender inequality.

This collection of essays offers a panoramic plethora of responses to Shakespeare by both Western and Eastern critics, indicating that the Bard crosses all nationalities and deserves to be defined as a global writer, which is why he is easily appreciated, manipulated, translated, adapted, and interpreted by everyone everywhere. Divided into three parts, this volume deals with a wide range of issues on culture and multiculturalism, and hammers home the idea that the works of Shakespeare can be not only universally understood, but also fully integrated into other cultures.

A concise guide to global performances of Shakespeare, this volume combines methodologies of dramaturgy, film and performance studies, critical race and gender studies and anthropological thick description. This companion guides students from critical methodologies through big pictures of global Shakespeare to case studies that employ these methodologies. It uses a site-specific lens to examine global performances of Shakespeare on stage, on radio and on screen. As well as featuring methodological chapters on modernist adaptations, global cinema, multilingual productions and Shakespeare in translation, the volume includes short histories of adaptations of Shakespeare in Southeast Asia, Latin America, the Arab world, India, the Slavic world, Iran, Afghanistan and the Farsi-speaking diaspora. It uses these micro-historical narratives to demonstrate the value of local knowledge by analysing the relationships between Shakespeare and his modern interlocutors. Finally, thematically organized case studies apply the methodologies to analyse key productions in Brazil, Korea, Yemen, Kuwait, China and elsewhere. The final chapter considers pedagogical strategies in a global setting. These chapters showcase the how of global Shakespeare studies: how do minoritized artists and audiences engage with Shakespeare? And how do we analyse the diverse and polyphonic performances with an eye towards equity and social justice?

The contributions to this book examine various facets of the work of Shakespeare from an Eastern perspective. As such, Fundamental Shakespeare sheds fresh light on, and offers new insights to, a wide range of topics including politics, psychology and discourse. Divided into three separate categories, this volume brings to the fore long-standing, but under-explored areas of Shakespeare studies.

Contemporary adaptations of Shakespeare's plays have brought into sharp focus the legacies of slavery, racism and colonial dispossession that still haunt the global South. Looking sideways across the Atlantic and Indian Oceans to nontraditional centres of Shakespeare practice, Shakespeare in the Global South explores the solidarities generated by contemporary adaptations and their stories of displacement and survival. The book takes its lead from innovative theatre practice in Mauritius, North India, Brazil, post-apartheid South Africa and the diasporic urban spaces of the global North, to assess the lessons for cultural theory emerging from the new works. Using the 'global South' as a critical frame, Sandra Young reflects on the vocabulary scholars have found productive in grappling with the impact of the new iterations of Shakespeare's work, through terms such as 'creolization', 'indigenization', 'localization', 'Africanization' and 'diaspora'. Shakespeare's presence in the global South invites us to go beyond familiar orthodoxies and to recognize the surprising affinities felt across oceans of difference in time and space that allow Shakespeare's inventiveness to be a part of the enchanting subversions at play in contemporary theatre's global currents.