• Hamlet (RSC, 2016) and representations of diasporic blackness

    Author(s):
    Lesley Feracho, Sujata Iyengar (see profile)
    Date:
    2019
    Group(s):
    CLCS Renaissance and Early Modern, LLC Shakespeare
    Subject(s):
    Performance studies, Theories of race and ethnicity, African diaspora, Shakespeare, Afrofuturism
    Item Type:
    Article
    Tag(s):
    Hamlet, RSC, Basquiat, postcoloniality, transnationalism
    Permanent URL:
    http://dx.doi.org/10.17613/7wp9-h353
    Abstract:
    In 2016 Paapa Essiedu, a British actor of Ghanaian ancestry, starred as Hamlet in Simon Godwin’s lauded Royal Shakespeare Company (RSC) production, set in a post-colonial African state whose non-specificity nonetheless irritated some reviewers. We contend, however, that the production mixed multiple referents of blackness (Eastern African, West African, Caribbean, South African, 1970s African American) in order deliberately to create an imaginary post-colonial domain where these different kinds of diasporic blackness engaged with each other through the figure of Hamlet and his art. We therefore examine how the concept of race changes with the transatlantic or transnational movement among spaces in this production.
    Notes:
    Published "Online First," 17 April 2019; this is the accepted version in Microsoft Word, prior to the journal's copy-editing and typesetting, uploaded to this repository as permitted by the author agreement by SAGE Journals.
    Metadata:
    Published as:
    Journal article    
    Status:
    Published
    Last Updated:
    11 months ago
    License:
    Attribution-NonCommercial-NoDerivatives
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