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DepositThe Past is a Foreign Country: World Musics Signifying History in/and Elizabethan Drama

Research on global Shakespeare has focused on the ways in which the plays have been adapted for indigenous languages and customs. Less attention has been paid to the ways in which non-British directors have treated the Elizabethan drama. Yet there are a number of works that create direct musical dialogues between Elizabethan drama, history, and the cultures of England’s colonies. In Tim Supple’s 2003 Twelfth Night, Indian music signifies the divide between Viola and Sebastian’s origins and a British Illyria; a 2006 Danish Ur-Hamlet uses music from former British colonies and a faux-medieval score that serve as “an exchange of cultural manifestations.” And both the BBC’s Virgin Queen (2005) and Kapur’s 2007 Elizabeth: the Golden Age use Indian music to represent the empire’s colonial enterprises. I examine how these musics function in the context of screen works, and what their use might signify in Elizabethan drama and historical pieces overall.

MemberAnderson Araujo

I’m a tenure-track Assistant Professor in the Department of Critical Studies at the University of British Columbia’s Okanagan campus. I earned a Ph.D. in English Literature from Western University, following my M.A. and H.B.A. from the University of Toronto.My fields of interest include Transatlantic Modernism, 20th-Century British & Irish literature, Interdisciplinary Studies, and the art, politics and history of the years between the world wars. In particular, my research considers how several major modernists took part in a widespread conversation about how to reinvent culture in Europe and North America in the early twentieth century. I’ve designed and taught a range of undergraduate and graduate courses in modern literature, poetics, literary theory, drama, composition, and popular culture.