South Africa's Shakespeare and the Drama of Language and Identity

1. Front Matter

   Pages i-xiii

   PDF

2. Introduction

   • Adele Seeff

   Pages 1-13

3. The African Theatre, Cape Town, 1801

   • Adele Seeff

   Pages 15-50

4. The Shakespeare Diaspora

   • Adele Seeff

   Pages 51-104

5. André Brink’s Kinkels innie Kabel: Political Vision and Linguistic Virtuosity

   • Adele Seeff

   Pages 105-146

6. John Kani as Othello at the Market Theatre, Johannesburg

   • Adele Seeff

   Pages 147-180

7. Shakespeare in Mzansi

   • Adele Seeff

   Pages 181-226

8. Afterword

   • Adele Seeff

   Pages 227-234

9. Back Matter

   Pages 235-241

   PDF

This volume considers the linguistic complexities associated with Shakespeare’s presence in South Africa from 1801 to early twentieth-first century televisual updatings of the texts as a means of exploring individual and collective forms of identity. A case study approach demonstrates how Shakespeare’s texts are available for ideologically driven linguistic programs. Seeff introduces the African Theatre, Cape Town, in 1801, multilingual site of the first recorded performance of a Shakespeare play in Southern Africa where rival, amateur theatrical groups performed in turn, in English, Dutch, German, and French. Chapter 3 offers three vectors of a broadening Shakespeare diaspora in English, Afrikaans, and Setswana in the second half of the nineteenth century. Chapter 4 analyses André Brink’s Kinkels innie Kabel, a transposition of Shakespeare’s The Comedy of Errors into Kaaps, as a radical critique of apartheid’s obsession with linguistic and ethnic purity. Chapter 5 investigates John Kani’s performance of Othello as a Xhosa warrior chief with access to the ancient tradition of Xhosa storytellers. Shakespeare in Mzansi, a televisual miniseries uses black actors, vernacular languages, and local settings to Africanize Macbeth and reclaim a cross-cultural, multilingualism. An Afterword assesses the future of Shakespeare in a post-rainbow, decolonizing South Africa.  Global Sha

Any reader interested in Shakespeare Studies, global Shakespeare, Shakespeare in performance, Shakespeare and appropriation, Shakespeare and language, Literacy Studies, race, and South African cultural history will be drawn to this book.

• Theatre
• Performance History
• Henry IV
• Hamlet
• The Comedy of Errors

“Seeff follows the long and complicated search for South Africa’s Shakespeare, cataloging the efforts over two centuries of a multilingual, multiethnic group of theatre-makers to use Shakespeare to articulate different competing versions of South African-ness. What she finds along the way will interest South African theatre and performance scholars, Shakespeareans, and sociolinguists alike.” (Gibson Alessandro Cima, Theatre Journal, Vol. 72 (4), 2020)

• Rockville, USA

  Adele Seeff

Adele Seeff  is an independent scholar and lecturer. From 1986 to 2011, she directed the Centre for Renaissance & Baroque Studies, University of Maryland, College Park. She established the conference series, “Attending to Early Modern Women,” co-edited seven volumes of conference proceedings, and co-founded the Early Modern Women Journal. Her research on Shakespeare and performance has appeared in academic journals and anthologies. She was born in Johannesburg, South Africa.

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