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Questioning the ‘of’ in Performance-as-translation: Multimedia as a Subtext in the 2003 Pécs Performance ‘of’ Hamlet

W orks C ited Abel, Lionel. “Hamlet Q. E. D.” In: Metatheatre: A New View of Dramatic Form . New York: Hill and Young, 1963. 40-58. Auslander, Philip. Liveness: Performance in a Mediatized Culture . London: Routledge, 1999. Brewster, Ben. 1997. Theatre to Cinema: Stage Pictorialism and the Early Feature Film . Oxford: OUP. Calderwood, James L. To Be and Not To Be: Negation and Metadrama in Hamlet . New York: Columbia University Press, 1983. Csizner, Ildikó. “Van benne rendszer.” Zsöllye , 2003, issue 3. Eaton, Edward

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Dehierarchizing Space: Performer-Audience Collaborations in Two Portuguese Performances of Shakespeare

1 This expression was used in the publicity material for the performances. W orks C ited Beauty and Consolation. Episode 1. VPRO NL. 5 th May, 2011. . Last accessed 22/7/2016. Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London & New York: Verso, 2012. Eglinton, Andrew. “Reflections on a Decade of Punchdrunk Theatre.” TheatreForum 37 2010): 46-55. Gordon, Colette. “Pedestrian Shakespeare and Punchdrunk’s Immersive Theatre.” Cahiers

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Shakespeare, Authority and Hauntology: Postdramatic Performance in Walny Theatre’s Hamlet

.” Adaptations of Shakespeare: A Critical Anthology of Plays from the Seventeenth Century to the Present . Ed. Daniel Fischlin and Mark Fortier. London: Routledge, 2000. 1–22. Garber, Marjorie. Shakespeare’s Ghost Writers . New York, Abington: Routledge, 2010. Jenkins, Henry. Textual Poachers: Television Fans and Participatory Cultures . Taylor & Francis e-Library, 2005. Lehmann, Hans-Thies. Postdramatic Theatre . London Routledge, 2006. Kaye, Nick. Art into Theatre: Performance Interviews and Documents . Amsterdam: Harwood Academic Publishers, 1996

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“I fear I am not in my perfect mind.” Jan Klata’s King Lear and the Crisis of Europe

director after the performance of King Lear . Gdańsk Shakespeare Festival. 5 August 2015. Klata, Jan. Shakescene—Jan Klata at the Gdańsk Shakespeare Theatre. A special talk during the ESRA Congress in Gdańsk. 30 July 2017. Mancewicz, Aneta. Intermedial Shakespeares on European Stages . Basingstoke: Palgrave, 2014. Mancewicz, Aneta. “Titus Andronicus (Teatr Polski) @ Teatr Wybrzeże, Gdańsk Shakespeare Festival, Poland”. ReviewingShakespeare . 3 August 2013. 12 April 2015. < http

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Cross-Cultural Casting in Britain: The Path to Inclusion, 1972-2012

deadly political passions of Julius Caesar …” Sunday Times . Culture 3 June 2012: 6. Carpenter, Sandy. “Black and British Temba Theatre Forges the Mainstream.” TDR 34.1 (1990): 28-35. Davies, Serena. “ Julius Caesar with a little help from Idi Amin and Mugabe…” Daily Telegraph 31 May 2012: 33. Dawson, Helen. “A black view of Macbeth. ” Observer 27 February 1972: n.p. Gordon, Colette. “‘Mind the gap’: Globalism, Postcolonialism and Making up Africa in the Cultural Olympiad.” Shakespeare on the Global Stage: Performance and Festivity

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Introduction: Shakespeare and/in Europe: Connecting Voices

, Keith. Shakespeare and Tyranny: Regimes of Reading in Europe and Beyond . Newcastle-upon-Tyne: Cambridge Scholars Publishing, 2014. Guntner, Lawrence. Special Issue on Shakespeare and Europe: History, Performance, Memory . Multicultural Shakespeare: Translation, Appropriation and Performance 4 (2007). Hadfield, Andrew. “Shakespeare and Renaissance Europe.” Shakespeare and Renaissance Europe . Eds. Andrew Hadfield and Paul Hammond. London: Bloomsbury, 2004. 1-20. Hadfield, Andrew. “Shakespeare, John Derricke and Ireland: The Comedy of Errors

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Je suis Shakespeare: The Making of Shared Identities in France and Europe in Crisis

:// >. Chevilly, Philippe. “‘Roméo et Juliette’, des amants ravageurs au Français”. Les Echos . 14 December 2015. 3 July 2017. < >. Commission européenne. “Immigration en Europe (UE): #RefugeeCrisis, la crise des réfugiés.” Représentation en France. 18 October 2018. 18 October 2018. < >. Corey, Frederick C. “Performance and Social Change.” Text and Performance Quarterly 35.1 (2015): 1

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Multicultural Shakespeare
Translation, Appropriation and Performance; The Journal of University of Lodz
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Shakespeare’s Hamlet/Hamlet, Shakespeare 3.0, and Tugged Hamlet, The Comic Prince of The Polish Cabaret POTEM

Wilson. New York : E.P. Dutton, 1961. White, R.S. Avant-garde Hamlet . London: Rowman & Littlefield, 2015. Wilson, John, Dover. What Happens in Hamlet , 1935. 3rd ed. Cambridge: Cambridge University Press, 1990. Worthen, W.B. Drama: Between Poetry and Performance , Chichester: Wiley Blackwell, 2010. Worthen, W.B. “Performing Shakespeare in Digital Culture.” The Cambridge Companion to Shakespeare and Popular Culture . Ed. Robert Shaughnessy. Cambridge: Cambridge University Press, 2007. 227-47. Worthen, W.B. “Shakespeare 3.0: Or Text

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Shakespeare in Digital Games and Virtual Worlds

Shakespeare and the Arts. Edinburgh: Edinburgh University Press, 2011. Causey, Matthew. Theatre and Performance in Digital Culture: From simulation to embeddedness. London, New York: Routledge, 2007. Crary, Jonathan. “Techniques of the Observer” 14 January 2016 < >. Crawford, Chris. The art of computer game design. 20 January 2016. < >. Davies, Anthony and Stanley Wells, eds

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