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Revises history of Cape Town’s Maynardville Theatre, demonstrating that theater was used five years earlier than previously conceived. Demonstrates how early performances in 1950 in makeshift theater in Maynardville Park grounds segued into more celebrated Shakespeare performances in mid-1950s. English summary, 23.

Considers place of Shakespeare in South African secondary schools curricula in light of recent calls to decolonize curriculum. Argues that, instead of eliminating Shakespeare from curriculum, a better decolonial approach would be to alter Shakespeare instruction “by cultivating horizontal, instead of hierarchical, dialogue within classrooms and between secondary educators and Shakespeare scholars.” Offers series of lesson plans and sample assignments, and discusses how Play the Knave (q.v.) can be incorporated into decolonial pedagogical praxis. English summary, 7.

Explores immediate critical reception, ensuing debates and lasting legacy of Martin Orkin's Shakespeare Against Apartheid (q.v.) Explores teaching of Shakespeare in post-Apartheid South Africa, and extent to which local social and political realities should be emphasized while also focusing on aesthetic elements. 

Acknowledges Ovid's Metamorphoses and Seneca's Medea as potential inspirations for Act 2 Scene 1 of Midsummer's Night's Dream but concludes that neither source fully accounts for image of "quarrel provoking . . . disorder in both nature" and human realms. Presents West African myth from "Odu Osa-Meji" as potential remedy to gap in understanding of Shakespeare's sources and contends that scholarship should "operate with probabilities in considering sources, not certainties."

Illuminates how food and appetite are used in Antony and Cleopatra and Othello to outline and explore relationship between men and women through culinary terms, representing women both as "commodities/food to be devoured and expelled by male figures" and, more rarely, as devourers of men.

Challenges Gary Taylor's "alternative argument" or stylometric assessment that Thomas Watson composed part of Arden of Faversham. Deconstructs Taylor's model and asserts that Taylor's work, especially its inclusion of non-dramatic texts, made it "mathematically impossible" for anyone but Watson to win out as author over Shakespeare, Marlowe, and Kyd.

Playscript. Includes production details. Play featuring characters from Hamlet, Othello, Antony and Cleopatra, King Lear, Macbeth, Romeo and Juliet, Richard III, Tempest, Twelfth Night, Midsummer Night's Dream, Taming of the Shrew, and Titus Andronicus.

By Dieudonné Niangouna (q.v.). Artistic collaboration by Laetitia Ajanohun. Sets by Dieudonné Niangouna, costumes by Marta Rossi, lighting by Xavier Lazarini, and music by Sébastien Bouhana and Bertrand de Roffignac.

Produced by La Compagnie Les Bruits de la Rue (https://www.cielesbruitsdelarue.com) at MC93, Maison de la Culture de Seine-Saint-Denis, Bobigny, 21-28 September 2019.

Includes characters from Hamlet, Othello, Antony and Cleopatra, King Lear, Macbeth, Romeo and Juliet, Richard III, Tempest, Twelfth Night, Midsummer Night's Dream, Taming of the Shrew, and Titus Andronicus.

Posits Hamlet's Mousetrap scene can be read more literally as example of lucid dreaming rather than traditionally accepted metaphorical image of death. Suggests Mousetrap scene "may well be decoded as . . . reflection of [Hamlet's] dreaming brain," allowing Hamlet to create more palatable and advantageous dreamed reality. 

Contends Shakespeare uses "disownment" discourse to disrupt familial units and reveal "that familial bonds are discontinuous and subject to change." Posits King Lear inverts patriarchal ideology of Renaissance culture by attributing "sufferings and fatal grieves of male figures" to their disowning of "disobedient" children.