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• W2059002314 abstract "Reviewed by: Shakespeare in Canada: A World Elsewhere Jenn Stephenson Shakespeare in Canada: A World Elsewhere? Edited by Diana Brydon and Irena R. Makaryk. Toronto: University of Toronto Press, 2002; pp. xii + 490. $70.00 cloth. For this, the first concerted study of Shakespeare production and scholarship in Canada, Diana Brydon and Irena R. Makaryk have assembled an impressive roster of contributors, representing a veritable who's who of Canadian Shakespeare scholars. Their integrated essay collection addresses a number of interrelated issues around the paired subjects of Shakespeare and Canada. The initial question predicated by the title, Where is Shakespeare in Canada?, leads—perhaps inevitably, given Canadian nationalist insecurities—to the reciprocal question, Where is Canada in Shakespeare? Shaped by our divided colonial history poised between the claims of English and French, our neighboring cultural behemoth the US, and our diverse multiethnic immigrant population, it is unsurprising that the notion of what it means to be Canadian is continually under revision. By considering the position of Shakespeare in the particular postcolonial political, geographical, and cultural contexts of Canada in the twentieth century, the essays in this collection present analyses of how Canadian identity in its myriad and fractured forms is reflected, interrogated, and reinscribed in the plays of the universal Bard. Among the essays that best exemplify this reciprocal relationship between the local and the global, the particular and the universal, is C. E. McGee's look at four productions mounted at the Stratford Festival that he terms Shakespeare Canadiens. McGee offers a detailed production analysis of the conceptual choices that situated these productions in a uniquely Canadian context; one of the four is Michael Langham's 1956 Henry V, in which Québéçois actors were cast as the defeated French. The productions are subsequently evaluated in terms of their perceived political resonance (intended or otherwise). These Canadiens Shakespeares set up a reciprocal feedback loop, drawing on local cultural elements to identify themselves as Canadian, while simultaneously reflecting on what that identification might mean at a particular moment. In the same vein of reciprocity, Alexander Leggatt's Canada, Negative Capability, and Cymbeline takes a more general view, positing certain shared characteristics between Shakespeare and Canada. Leggatt elides Shakespeare's negative capability as proposed by Keats with Canada's own qualities of indecisiveness and view of nationhood as negotiation (278). From there, he applies three categories of quintessential Canadian relational anxiety—empire, wilderness and identity—to illuminate Cymbeline. In this mode, it is apparent that this Cymbeline, too, if staged, might make another of McGee's Shakespeare Canadiens. The contributions of Leanore Lieblein and Ric Knowles also stand in this company gathered around what I see as the core of the book. Both deal with Shakespearean adaptations and the political commentary on identity generated by these new texts. Lieblein traces the changing linguistic-social landscape in Quebec and its contextual relation to three adaptations of Hamlet. Knowles also takes a chronological cross-section, discussing three adaptations of Othello (Cruel Tears,Goodnight Desdemona, Good Morning Juliet, and Harlem Duet) in three different decades and across differing regional, class, and gender divides. One of the main pleasures of this anthology is the diversity of topics. Pillars of the Canadian Shakespeare landscape like the Stratford Festival, the CBC radio dramas of the 1940s and 1950s, and the critical work of Northrop Frye are given their due consideration, but beyond these and the expected chapters on Canadian adaptations and Canadian productions of Shakespeare's plays are some surprises. In an entertaining essay, Peter Ayers considers the questionable health of Shakespeare in Newfoundland. In another, titled Canadian Bacon, Paul Yachnin and Brent E. Whitted outline Canadian contributions to the authorship controversy. Yet, in spite of the exuberant eclecticism of the collection (which is perhaps a factor in the groundbreaking nature of this enterprise), it remains focused on reflections and challenges to the postcolonial identity. The synergetic result is that fruitful dialogues spring up between many of the writers as they revisit some of the same issues and even some of the same productions. The only part of the book about which I am at all dubious is the decision by the editors to structure the..." @default.
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• W2059002314 title "Shakespeare in Canada: A World Elsewhere? (review)" @default.
• W2059002314 doi "https://doi.org/10.1353/tj.2005.0080" @default.
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