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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 art--Study and teaching, Race--Philosophy, Ethnicity--Philosophy, African diaspora, Shakespeare, William, 1564-1616, Afrofuturism
- Item Type:
- Article
- Tag(s):
- Hamlet, RSC, Basquiat, postcoloniality, transnationalism, Performance studies, Theories of race and ethnicity, Shakespeare
- 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:
- xml
- Published as:
- Journal article
- Status:
- Published
- Last Updated:
- 4 years ago
- License:
- Attribution-NonCommercial-NoDerivatives
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