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Part 1. Research methods and problems. 1.1 The archive: show reporting Shakespear / Rob Conkie (La Trobe University in Melbourne, Australia) ; 1.2. The audience: receiving and remaking experience (Margaret Jane Kidnie (University of Western Ontario, Canada) ; 1.3. The event: festival Shakespeare / Paul Prescott (University of Warwick, UK) -- Part 2. Current research and issues. 2.1. Original practices: old ways and new directions / Sarah Dustagheer (University of Kent, UK) ; 2.2. Space: locus and platea in modern Shakespearean performance / Stephen Purceil (University of Warwick, UK) ; 2.3. Economics: Shakespear perforing cities / Susan Bennett (University of Calgary, Canada) ; 2.4. Networks: reseraching global Shakespeare / Sonia Massai (King's College London, UK) ; 2.5. Global mediations: performing Shakespeare in the age of global and digital cultures / Alexa Alice Joubin (George Washington University, USA) ; 2.6. Canon: framing not-Shakespeare performance / Eoin Price (Swansea University, UK) ; 2.7. Pedagogy: decolonizing Shakespeare on stage / Andre James Hartley (UNC Charlotte, USA), Kaja Dunn (UNC Charlotte, USA) and Christopher Berry (Black Theatre Network & Black Arts Institute) ; 2.8. Ethics: practising diversity at the Stratford Festival of Canada: Shakespeare, performance and ethics in the twenty-first century / Erin Julian (University of Roehampton London/King's College London, UK) and Kim Solga (Western University, Canada) ; 2.9. Bodies: gender, race, ability and the Shakespearean stage / Roberta Barker (Dalhousie University, Canada) ; 2.10. Technology: the desire called cinema: materiality, biopolitics, and post-anthropocentric feminism in Julie Taymor's The tempest / Courtney Lehman (University of the Pacific, USA) -- Part 3. New directions in Shakespeare and performance / curated by C.K. Ash (Independent researcher) and Nora J. Williams (University of Esses, UK). 2.1. Anne G. Morgan ; 3.4. Jatinder Verma ; 3.3. Judith Greenwood ; 3.4. Dan Bray and Colleen Maclsaac ; 3.5. Migdalia Cruz ; 3.6. Lisa Wolpe ; 3.7. Julia Nish-Lapidus and James Wallis ; 3.8. Ravi Jain ; 3.9. Emma Whipday ; 3.10. Wole Oguntokun ; 3.11. Vishal Bhardwaj ; 3.12. Adam Cunis ; 3.13. James Loehlin ; 3.14. Denice Hicks ; 3.15. Shakespeare ; 3.16. Jung-ung Yang -- Part 4. Resources for researchers. 4.1. A fifty-year history of performance criticism / James C. Bulman (Allegheny College, USA) ; 4.2. A-Z of key terms / Brid Phillips (University of Western Australia, Australia), with Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada) ; 4.3. Annotated bibliography / Karin Brown (University of Birmingham, UK), Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada) ; 4.4. Resources / Peter Kirwan (University of Nottingham, UK) and Kathryn Prince (University of Ottawa, Canada) -- Index. "The Arden Research Handbook of Shakespeare and Adaptation is the first comprehensive reference resource to explore the dynamics of adapted Shakespeare across a range of media forms. The volume maps the field of Shakespeare adaptation studies, identifying theories of adaptation, their application in practice, and the methodologies that underpin them. It considers how adaptation is a key driver of Shakespeare's ongoing vitality in the contemporary world as Shakespeare is encountered through novels, films, television, and internet culture. It investigates current research and points towards future lines of inquiry for students, researchers and practitioners of Shakespeare adaptation. The opening section on research methods and problems considers definitions of adaptation. A central section develops these theoretical concerns through a series of case studies that move across a range of genres, media forms, and locations to ask not only how Shakespeare is variously transfigured, hybridised and valorised through adaptational play, but also how adaptations produce interpretive communities, and within these potentially new literacies, modes of engagement, and sensory pleasures. The Handbook devotes separate chapters to artists and practitioners of Shakespeare adaptation, including novelists, dramatists and YouTube vloggers, and thus provides a uniquely detailed insight for the reader into the creative impulses and energies at work in adapted Shakespeare. The Handbook establishes the conceptual parameters of the field through detailed, practical resources that will aid the specialist and non-specialist reader alike, including an A-Z of key terms in Shakespeare adaptation studies, a chronology of the field, a guide to research resources, and an annotated bibliography."--
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