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2. Full videos or highlights of Oh's Tempest and other productions discussed in this article can be accessed at the Global Shakespeares digital archive, http://globalshakespeares.org/. Select productions from the 2012 World Shakespeare Festival are available on http://thespace.org/.

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8. Chung, who received the Dong-A Award for Best Actor in 1993, has appeared in My Love DMZ, Romeo and Juliet, Macbeth, and numerous other Korean plays and adaptations. All quotations herein from the English performance text are taken from those surtitles.

9. These include special issues of Theatre Journal (57.3, 2005) and Contemporary Theatre Review (16.1, 2006) as well as the present issue of Theatre Survey.

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14. Alexander Huang, “Commentary on 4.1.148” and “Commentary on 1.2.364” in The Tempest for iPad, eds. Elliott Visconsi and Katherine Rowe. Luminary Digital Media, 2012.

15. Bosman, Anston, “Cape of Storms: The Baxter Theatre Centre–RSC Tempest, 2009,” Shakespeare Quarterly 61.1 (2010): 108–17CrossRefGoogle Scholar, at 109 and 113.

16. Kate Bassett, “The Tempest, Courtyard, Stratford; Othello, West Yorkshire Playhouse, Leeds,” The Independent, 22 February 2009, www.independent.co.uk/arts-entertainment/theatre-dance/reviews/the-tempest-courtyard-stratfordbrothello-west-yorkshire-playhouse-leeds-1628609.html (accessed 23 June 2012); Michael Billington, “The Tempest: Courtyard, Stratford-upon-Avon,” The Guardian, 19 February 2009, www.guardian.co.uk/stage/2009/feb/19/review-tempest-stratford-upon-avon (accessed 23 June 2012).

17. Bosman, “Cape of Storms,” 114.

18. Killick, Andrew, In Search of Korean Traditional Opera: Discourses of Ch'angguk (Honolulu: University of Hawai'i Press, 2010), 173CrossRefGoogle Scholar.

19. Michael Billington, “The Tempest: King's, Edinburgh,” The Guardian, 15 August, 2011, www.guardian.co.uk/stage/2011/aug/15/the-tempest-review (accessed 20 September 2012).

20. The conversation took place during the event entitled “Continental Shifts: All the World's a Stage,” with Oh Tae-suk, Michael Billington, and Alexander Huang, at The Hub on Castlehill, Edinburgh, 15 August 2011.

21. Craig Singer, “The Tempest (EIF),” 15 August 2011, WhatsOnStage.com, 15 August 2011, www.whatsonstage.com/reviews/theatre/london/E8831313399539/The+Tempest+%28EIF%29.html (accessed 20 September 2012).

22. Paul Gent, “Edinburgh Festival 2011: The Tempest, King's Theatre,” The Telegraph, 15 August 2011, www.telegraph.co.uk/culture/theatre/edinburgh-festival-reviews/8701748/Edinburgh-Festival-2011-The-Tempest-Kings-Theatre-review.html (accessed 20 September 2012).

23. See, for example, Holland, Peter, English Shakespeares: Shakespeare on the English Stage in the 1990s (Cambridge: Cambridge University Press, 1997)Google Scholar; Huang, Chinese Shakespeares; Ryuta, Minami, Carruthers, Ian, and Gillies, John, eds., Performing Shakespeare in Japan (Cambridge: Cambridge University Press, 2001)Google Scholar; Střibrný, Zdenêk, Shakespeare and Eastern Europe (Oxford: Oxford University Press, 2000)CrossRefGoogle Scholar; and Hortmann, Wilhelm, Shakespeare on the German Stage, vol. 2: The Twentieth Century (Cambridge: Cambridge University Press, 1998)Google Scholar. Work is being done to establish the diversity of Shakespearean performance traditions within the U.K. The Arts and Humanities Research Council (AHRC) recently funded a project entitled "Multicultural Shakespeare," led by Tony Howard, that studies the history and practice of Shakespearean performances in the UK by Black and Asian artists from World War II to the present day.

24. Mark Fisher, “Festival Reviews,” Edinburgh Festivals, 21 August 2011, www.edinburgh-festivals.com/viewreview.aspx?id=3001 (accessed 20 September 2012).

25. Gent.

26. Ibid.

27. Kennedy, Dennis and Lan, Yong Li, “Introduction: Why Shakespeare?” in Shakespeare in Asia: Contemporary Performance, ed. Kennedy, and Yong, (Cambridge: Cambridge University Press, 2010), 1–23, at 17Google Scholar.

28. Only two Asian directors (Deguchi Norio and Ninagawa) are included among the thirty-one directors in Brown, John Russell, “Introduction,” in The Routledge Companion to Directors’ Shakespeare, ed. Brown, (London: Routledge, 2008), ix–xiii, at x–xiGoogle Scholar.

29. Alexander Huang, interview with Oh Tae-suk, Washington, DC, 5 November 2012.

30. Young-Key Kim-Renauld, Chair, East Asian Languages and Literatures, George Washington University, personal communication, 15 September 2011.

31. Dominic Dromgoole and Tom Bird, “O for a Muse of Fire … ” (statement about the festival), Globe to Globe home page, http://globetoglobe.shakespearesglobe.com/ (accessed 29 September 2011); see also the program schedule for the World Shakespeare Festival 2012 [hereafter, WSF Schedule] (available at http://globetoglobe.shakespearesglobe.com/schedule), 3. According to the BBC, this Globe to Globe season would feature performances in Afrikaans, Albanian, Argentine Spanish, Armenian, Bangla, Belarusian, Brazilian Portuguese, British Sign Language, Cantonese, Castilian Spanish, Dari Persian, English, French, Georgian, German, Greek, Gujarati, Hebrew, Hindi, Hip-Hop, IsiZulu, IsiXhosa, Italian, Japanese, Juba Arabic, Korean, Lithuanian, Macedonian, Mandarin, Maori, Mexican Spanish, Palestinian Arabic, Polish, Russian, Serbian, Sesotho, Setswana, Shona, Swahili, Turkish, Urdu, and Yoruba.” The productions would hail from Afghanistan, Albania, Argentina, Bangladesh, Belarus, Brazil, China, France, Georgia, Germany, Greece, Hong Kong, India, Israel, Italy, Japan, Kenya, Lithuania, Macedonia, Mexico, New Zealand, Nigeria, Pakistan, Palestine, Poland, Russia, Serbia, South Africa, South Korea, South Sudan, Spain, Turkey, UK, USA and Zimbabwe.” Helen Bushby, “Signing and Hip-Hop Shakespeare at 2012 Globe Festival,” BBC, 27 September 2011, www.bbc.co.uk/news/entertainment-arts-15058047 (accessed 28 September 2011).

32. Love's Labour's Lost, 5.1.32.

33. Dromgoole and Bird, “O for a Muse of Fire,” Globe-to-Globe website homepage, http://globetoglobe.shakespearesglobe.com/, accessed September 1, 2012

34. Dromgoole and Bird, “O for a Muse of Fire,” Globe-to-Globe website homepage, http://globetoglobe.shakespearesglobe.com/, accessed September 1, 2012

35. “Julius Caesar: I Termini Company” Globe to Globe, http://globetoglobe.shakespearesglobe.com/plays/julius-caesar/english-33 (accessed 29 September 2011). See also WSF Schedule, 8.

36. Amardeep Banerjee, “Shakespeare in Kabul,” The Times of India: The Crest Edition, 26 May 2012, www.timescrest.com/culture/shakespeare-in-kabul-8009 (accessed 30 August 2012).

37. Tom Bird, speaking on “The Globe to Globe Festival” at the International Shakespeare Conference, Stratford-upon-Avon, 9 August 2012 (author's notes).

38. Ibid.

39. “Henry V: Shakespeare's Globe,” Globe to Globe, http://globetoglobe.shakespearesglobe.com/plays/henry-v/english-16 (accessed 30 August 2012). See also WSF Schedule, 25.

40. Figures for summer 2012 are not yet available as of this writing, but the number of visitors to the South Bank and the Bankside Cultural Quarter (where the Tate Modern and the Globe are located) jumped from an annual average in the tens of thousands in the 1990s to 13 million in 2011. Serota, Nicholas and Hyslop, Donald, “Art and Culture in Regeneration: Tate Modern, Bankside and London,” Journal of Urban Regeneration and Renewal 4.4 (2011), 328–36Google Scholar; see esp. 332–3. I wish to thank Susan Bennett for drawing my attention to this study and for sharing her draft. Her research has shown why humanities scholars have to pay attention to “new economic profiles of how Shakespeare circulates in the world”; Bennett, “Shakespeare at Work in the Global Leisure Market,” at the International Shakespeare Conference, Stratford-upon-Avon, 10 August 2012 (quoted with Bennett's permission). See also Bennett, , “Shakespeare on Vacation,” A Companion to Shakespeare and Performance, ed. Hodgdon, Barbara and Worthen, W.B. (Oxford, Blackwell, 2005), pp. 494–508Google Scholar; Bennett, , “Theatre/Tourism,” Theatre Journal 57.3 (2005): 407–428CrossRefGoogle Scholar.

41. Julius Caesar 4.3.92.

42. Gumbrecht, Hans Ulrich, In Praise of Athletic Beauty (Cambridge: Belknap/Harvard University Press, 2006)Google Scholar; Singh, J. P., Globalized Arts: The Entertainment Economy and Cultural Identity (New York: Columbia University Press, 2011)Google Scholar, quote at xiii.

43. Richard Schechner regards the Olympics as “globalism's signature performance”; Schechner, , Performance Studies: An Introduction, 2d ed. (New York: Routledge, 2006), 292Google Scholar. Versions of the Cultural Olympiad called the LA Festival (1987 and 1990) were held after the 1984 Los Angeles Olympics. While no conclusive studies of the cultural impact of the 2012 London Olympics are available at press time, studies of the Asian Olympic discourse surrounding the Tokyo and Seoul Olympics and the impact of the 2008 Olympics on Beijing provide useful contexts. See Xu, Guoqi, Olympic Dreams: China and Sports, 1895–2008 (Cambridge: Harvard University Press, 2008)CrossRefGoogle Scholar; Close, Paul, Askew, David, and Xin, Xu, The Beijing Olympiad: The Political Economy of a Sporting Mega-Event (New York: Routledge, 2007)Google Scholar; and Price, Monroe E. and Dayan, Daniel, eds., Owning the Olympics: Narratives of the New China (Ann Arbor: University of Michigan Press, 2008)CrossRefGoogle Scholar.

44. “Cymbeline: The South Sudan Theatre Company,” Globe to Globe, http://globetoglobe.shakespearesglobe.com/plays/cymbeline/english-44 (accessed 30 August 2012).

45. The Globe's founding artistic director Mark Rylance joined the calls to boycott the Israeli company.

46. “What Country Friends Is This?” World Shakespeare Festival 2012, www.worldshakespearefestival.org.uk/themes/what-country-friends-is-this.aspx (accessed 20 September 2012),

47. Shakespearean scholar Andrew Griffin who attended the performance in Beijing with his Chinese-Canadian partner was deeply impressed by the intercultural design, but found it ironic that, despite his lack of knowledge of Chinese, he was able to explain the intricate details of the performance to his partner who spoke Chinese. Alexander Huang, Interview with Andrew Griffin, Victoria, Canada, October 12, 2012.

48. Erin Sullivan observes that “as opposed to the other ‘foreign’ offerings in the Globe to Globe Festival,” the hip hop Othello had a “noticeably youthful audience” that thoroughly enjoyed the experience, because the production familiarized Shakespeare through a contemporary genre. Review of Othello, in Year of Shakespeare, May 6, 2012; http://bloggingshakespeare.com/year-of-shakespeare-othello, accessed September 30, 2012.

49. Saffron Walkling of York St. John University and Jacqueline Smith of BBC in London shared their views with me. I am grateful to Smith for inviting me to appear on two BBC World Service programs; those experiences served as catalysts to this article.

50. Tom Bird, speaking on “The Globe to Globe Festival” (author's notes).

51. London Globe, press release, 20 August 2010; available online at www.shakespearesglobe.com/uploads/ffiles/2011/02/295900.pdf (accessed 20 September 2012).

52. Patrick Spottiswoode, “Friends, Germans, Countrymen: The Long History of ‘Unser Shakespeare,’” blog post to “Theatre Blog with Lyn Gardner,” The Guardian, 6 October 2010, www.guardian.co.uk/culture/theatreblog/2010/oct/06/german-william-shakespeare (accessed 30 August 2011).

53. London Globe, press release, 20 August 2010.

54. Dong Youdao, “Wushi shengfei de wutai diaodu—Liepukefusikaya de daoyan shoufa [The Mise-en-Scène of Much Ado about Nothing: Lipkovskaya's Directing Method],” Xinmin wanbao [The New Citizen Evening News], 30 November 1957 (translation mine).

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75. Clare Brennan, Review of Much Ado About Nothing, The Guardian, 4 August 2012; http://www.guardian.co.uk/stage/2012/aug/05/much-ado-about-nothing-review; accessed October 21, 2012.

76. Kate Rumbold, for example, writes that “the combination of the distinctive space of the Globe, the otherness of its foreign visitors, the absence of English language, and even the Globe's seeming proximity to Shakespeare, has evidently ascribed to participants in the ‘Globe to Globe’ festival in particular a new degree of ‘authenticity’.” Kate Rumbold, Review of Much Ado About Nothing, Year of Shakespeare blog, August 10, 2012; http://bloggingshakespeare.com/year-of-shakespeare-much-ado-about-nothing-at-the-rsc, accessed October 21, 2012.

77. Rumbold, Review of Much Ado About Nothing.

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