Welcome!
Masks have served various practical and symbolic purposes since prehistorical time. Made of wood, metal, leather, cloth, latex, or synthetic materials, masks intervene to defend and disguise the wearer, shield or adorn the face. At religious ceremonies, festival celebrations, or theatrical performances, masks conceal, obliterate, transform, or create identities. At carnivals, masks enable people of all walks to mingle and play out their fantasies. On stage, they are adopted as a plot device or surprise mechanism. Not all masks or personae, however, are easily discernible or even separable from what lies underneath. The moment of unmasking amounts to an epiphany, revelation of truth or reconciliation between appearance and reality.
Face masks that block droplets and aerosols are ubiquitous under the pandemic of Covid-19. Beyond offering protection against the coronavirus, the mask also serves as a platform for political statements and an arena for power struggle. Invariably associated with the negative feelings of alienation, fear, anxiety, anger, pain, and loss, the mask has regrettably become a bitter symbol of our age. This unprecedented experience, however, also gave us new perspectives that inform our approaches to Shakespeare. As we slowly take off our masks and move to post-Covid normality, let us examine their use, implications, and meanings in Shakespeare and Shakespeare studies, in his and in our times.
We are pleased to present a rich program that extends the meaning of (un)masking in multiple directions over three short days. We appreciate your participation, especially those who attend during graveyard hours. We hope that you will find this small and virtual gathering to be inspiring and rewarding, and we look forward to seeing you in person in 2024, unmasked!
Bi-qi Beatrice Lei
Chair, Executive Committee
2022 Program at a Glance
All times are in UTC+8 (standard time for Greater China, Malaysia, the Philippines, and Singapore).
Thursday, 10 November
12:00 noon-12:10 p.m.
Opening Ceremony
12:10-1:10 p.m.
Keynote Speech by Alfredo Michel Modenessi
1:30-2:30 p.m.
Panel: Unmasking Gender
Panel: Unmasking Shakespeare in Our Time
2:50-4:20 p.m.
Symposium: (Dis)Covering Shakespeare
Symposium: Mask as/in Performance, Mask as Identity
Friday, 11 November
12:00 noon-1:00 p.m.
Panel: Unmasking the Body
Panel: Unmasking National and Cultural Identity
1:20 -2:40 p.m.
Workshop: Teaching Shakespeare under a Pandemic
3:00-4:30 p.m.
Roundtable: New Directions in Asian Shakespeare
Saturday, 12 November
12:00 noon-1:20 p.m.
Panel: Unmasking Shakespeare in Early Modern Contexts
Panel: Unmasking Shakespeare in Popular and New Media
1:40-2:40 p.m.
Visiting Artist Choi JiYoung
3:00-3:30 p.m.
Graphic Shakespeare Competition Award Ceremony
3:30-4:30 p.m.
General Meeting, Group Photo, and Open Social
Map of Participants’ Time Zones
All times listed in the program are in UTC+8 (standard time for Greater China, Malaysia, the Philippines, and Singapore).
Click here to see a larger image.
Alfredo Michel Modenessi
Alfredo Michel Modenessi is Professor of Theatre Studies and Translation at the National University of Mexico (UNAM), as well as a stage translator and dramaturg. He has published and lectured extensively on Shakespeare, drama, theatre, translation, and film in Cambridge, Oxford, Arden, Routledge, the UK, the USA, Argentina, Cuba, Chile, Brazil, Spain, France, Italy, Germany, and Mexico, among others. He serves on several advisory boards, including MIT, Cambridge University Press, and the University of Barcelona. He has translated over forty-five plays, most of them staged, including seventeen by Shakespeare—such as Macbeth, Othello, Julius Caesar, Love’s Labour’s Lost, Measure for Measure, The Tempest, Henry VI parts 2 and 3, Richard III, Henry IV part 1 (staged at The Globe in 2012), and Romeo and Juliet (adapted for a bilingual production by the New York Public Theater, 2021) – plus Marlowe’s Edward II, the anonymous Arden of Faversham, and modern dramatists like August Wilson, Lanford Wilson, Tom Stoppard, Paula Vogel, Jean-Paul Sartre, Athol Fugard, John Osborn, Nina Raine, Tennessee Williams, Sam Shepard, Jez Butterworth, and Andrew Bovell. He is currently writing a book on Shakespeare on Mexican film and translating the Sonnets in Spanish verse.
“To unmask falsehood and bring truth to light” – Shakespeare and Translation: An Outsider’s Inside View
Ten years ago, I had the pleasure of seeing and hearing my translation of 1 Henry IV performed to great cheer by the National Theatre of Mexico at The Globe, during its “37 plays, 37 languages” festival. Later that evening, however, my joy was briefly clouded over when, while toasting every member of our troupe, Dominic Dromgoole, the Globe’s artistic director at the time, failed to mention only one person: the translator, just as I had predicted to my daughter he would. The irony here is not that the translator’s contribution was overlooked – it happens all the time – but that it should have been ignored in a context where the very point was to showcase the life of Shakespeare beyond his original language.
As that festival nonetheless showed, the world-wide (as opposed to “global”) significance of Shakespeare in a multitude of forms and cultures is largely owed to the practice of translation in likewise multiple ways. This is obvious, of course, and yet such a plain fact, apart from being often slighted in the practical field, is also seldom noted in the academic world, even when scholars address stage events or other artistic works based on Shakespeare that are evidently not in English. My talk will dispute the common perception that a translation is little else than a sort of “mask” whose inevitable “falsehood” serves, at best, to uncomfortably, and only fleetingly, channel an eventual unfolding of Shakespeare’s immanent “truth” – whatever that may mean. With the help of a few but telling instances, I wish to offer, instead, that, today, Shakespeare’s “truth” is just as well, if not more creatively and imaginatively, “brought to light” on stages and through media well outside his native province, as well as in and through languages quite other than his original tongue.
Visiting Artist: Choi JiYoung
Choi JiYoung is an actress, playwright in Young Company and a visiting professor at Seoul Institute of the Arts. She studied Acting at Columbia University and has performed in Seoul, New York and London. Recently she directed David Henry Hwang’s The Sound of the Voice. In 2010, She started acting career at the National Theatre Company of Korea and performed her written play, While Ophelia’s Korean Drum Weeps, in the New York International Fringe Festival in 2016 and An Actress Confession in the United Solo Theatre Festival. Love Deadline (Desdemona), adapted from Othello, was invited to the 2019 York international Shakespeare Festival. Young Company’s productions have focused on finding human truth of feeling in classic plays and modifying into monodrama with Korean Dance and Culture. Choi would like to keep writing monodrama for female roles from Shakespeare and finding the character’s own voice in the play.
Shakespeare Desdemona’s Unfinished Love Story on Stage
In this lecture I would like to talk about the monodrama adapted from Othello, Love Deadline (Desdemona) which I wrote and performed as well. Love Deadline (Desdemona) is the third monodrama production which had its premiere at the United Solo Festival 2018 in New York and was invited to the York International Shakespeare Festival in 2019. I would like to share what has inspired me to make Shakespeare’s plays into a woman monodrama and how Korean culture and traditional dance influenced my recreation of the character, Desdemona. And as I am an actress, I would like to talk about what the important things are in acting playing other roles.
In the monodrama, Desdemona does try to understand Othello by playing his part but she cannot get closer to Othello. She feels isolated from the universe and falls into despair.
“Is there a way not to approach to the love deadline?”
This is the question that Desdemona keeps asking herself and I also would like to ask you before we meet. I wish Love Deadline (Desdemona) might give you a glimpse of a thought of love.
Thursday, 10 November
12:00 noon – 12:10 p.m.
Opening Ceremony
12:10 p.m – 1:10 p.m.
Keynote Speech: “To unmask falsehood and bring truth to light” — Shakespeare and Translation, an Outsider’s Inside View
Host: Poonam Trivedi, University of Delhi, India
Speaker: Alfredo Michel Modenessi, National Autonomous University of Mexico, Mexico
1:30 p.m. – 2:30 p.m.
Panel: Unmasking Gender
Chair: Chair: Kawachi Yoshiko, Kyorin University, Japan
Wu Yueqi, Humboldt University of Berlin, Germany
Reclaiming Cross-Dressing: Masculinity Construction in the All-Female Yue Opera’s Shakespeare Adaptations
Roweena Yip, National University of Singapore, Singapore
Reading Cross-Gender Performances: A Case Study of Two Shrews
Panel: Unmasking Shakespeare in Our Time
Chair: Anne Nichole Arellano-Alegre, University of the Philippines, Philippines
Jason Eng Hun Lee, Hong Kong Baptist University, Hong Kong
Co-creation and Allusion in Tang Shu Wing Studio’s “Hong Kong International Shakespeare Performance Exchange”
Sneha Ramanathan, King’s College London, UK
Fair is Foul and Foul is Fair: Plague, Pandemic and Shakespeare
Li Ting, Jilin University of Finance and Economics, China
Dang Wei, Northeast Normal University, China
To Thine Own Self Be True—Unmasking the Self in Performing Shakespeare
2:50 p.m. – 4:20 p.m.
Symposium: (Dis)Covering Shakespeare
Chair: Kim Kang, Honam University, South Korea
Cho Song (Joseph), Liberty University, USA
Biblical Allusions
Soumava Dhar, Ramakrishna Mission Sikshanamandira, India
Shakespeare’s Malady: Was the Tainted Bard Gendered within English Milieu?
Rupendra Guha Majumdar, University of Delhi, India
Shakespeare, Ovid and the Intertextual Concept of Metamorphosis Regarding the Trope of the “Mask”
Amir Hossain, IBAIS University, Bangladesh
The Decadence of Religious Faith in Shakespeare’s Hamlet and Henry VIII
Ali Khodadadi, Iran
“Riddling” Duality and Disguise in Select Shakespeare Comedies and Romances
Marianne Kimura, Kyoto Women’s University, Japan
Giordano Bruno’s Heretical Lo Spaccio della besta and Hamlet
Julian Lamb, University of Wollongong, Australia
Romeo and Juliet’s Masks
Lori Leigh, Victoria University of Wellington, New Zealand
Unmasking Kissing in Shakespeare
Sali Said, Eötvös Loránd University, Hungary
Individualism and Collectivism in Shakespeare’s Hamlet and Antony and Cleopatra
James Tink, Tohoku University, Japan
“Covered with an antic face”: Shakespeare and the Grotesque
Symposium: Mask as/in Performance, Mask as Identity
Chair: Yoshihara Yukari, University of Tsukuba, Japan
Kakali Adhikary, Sweden
Lady Macbeth’s Transmutation on the Indian Screen
Koel Chatterjee, Trinity Laban Conservatoire of Music and Dance, UK
“The complexion of a devil”: Shakespearean Complicity in Blackface and Indian Performance Traditions
Chen Lin, Shandong University, China
A Midsummer Night’s Dream Project
Kim Eun-Hye, Ewha Woman’s University, South Korea
Refusing to Unmask: Iago’s Silence in the Era of Corona
Kim Mikyong, Baekseok University, South Korea
Two Versions of Othello: Orson Wells’ Film and Spark Notes’ Animation Version
Jovi Miroy, Ateneo de Manila University, Philippines
Philippine Quest for an Independent Foreign Policy and Shakespearean Masks
Artemis Preeshl, USA
At First Blush: Eleonora Duse in Shakespeare
Seo Dong-ha, Korea Military Academy, South Korea
Leaders in a Post-truth Age: Problems of Disnformation Illustrated in Shakespeare’s Much Ado About Nothing
Seo NaYoung, Georgia College and State University, USA
Switching Gender Roles: Romeo and Juliet in K-drama
Jenny Wong, University of Birmingham, UK
Unmasking the Hermeneutics of Chinese Shakespeare Directors and How It Translates to Audience
Friday, 11 November
12:00 noon – 1:00 p.m.
Panel: Unmasking the Body
Chair: Suematsu Michiko, Gunma University, Japan
Ko Yu Jin, Wellesley College, USA
Dance and Deception in Othello, Omkara and Huapango
Majid Sarnayzadeh, Kargah Theater, Dubai, UAE
A Comparative Study between King Lear and the Emirati Play King of Sculptures by Hassan Yousef
Corrie Shoemaker, Thompson Rivers University, Canada
Threads of Innocence: Examining Symbolism and Iconography in the Costumes of Abused, Accused and Assaulted Shakespeare Heroines at the Stratford Festival of Canada
Panel: Unmasking National and Cultural Identity
Chair: Minami Ryuta, Tokyo University of Economics, Japan
Ana Laura Magis Weinberg, Mexico
The Ariel Mask: Latin American Identity (Un)Covering Shakespeare
Desiree Munro, Australia
Translation as a Mask: Towards Greater Intimacy with Shakespeare
Scott Shepherd, Chongshin University, South Korea
Changgeuk Lear and Changgeuk Merchants: Adapting Shakespeare for Korea
1:20 p.m – 2:40 p.m.
Workshop: Teaching Shakespeare under a Pandemic
Leader: Bi-qi Beatrice Lei, National Taiwan University, Taiwan
3:00 p.m. – 4:30 p.m.
Roundtable: New Directions in Asian Shakespeare
Organizer and Chair: Judy Celine Ick, University of the Philippines Diliman, Philippines
Thea Buckley, Queen’s University Belfast, UK
Jessica Chiba, Shakespeare Institute, University of Birmingham, UK
Im Yeeyon, Yonsei University, South Korea
Kok Su Mei, University of Malaya, Malaysia
Marcus Cheng Chye Tan, Nanyang Technological University, Singapore
Saturday, 12 November
12:00 noon – 1:20 p.m.
Panel: Unmasking Shakespeare in Early Modern Contexts
Chair: Roweena Yip, National University of Singapore, Singapore
Anne Nichole Arellano-Alegre, University of the Philippines, Philippines
Shakespearean Villainy and the Renaissance Courtier
James Dale, Kazimierz Pułaski University of Technology and Humanities in Radom, Poland
Incognitos: Shakespeare’s Uses of Disguise in the Light of New Historicism and Its Legacy
Ananya Dutta Gupta, Visva-Bharati University, India
The Unworthiest Shows as Fairly in the Masque: War and Un-Truth in Troilus and Cressida
Shinjini Mukhopadhyay, Jadavpur University, India
A Saint in Disguise: Shakespeare’s Henry VI and the Adoption of Disguise as a Sacral Act
Panel: Unmasking Shakespeare in Popular and New Media
Chair: Ted Motohashi, Tokyo University of Economics, Japan
Emma Harper, Nanyang Technological University, Singapore
Hannes Rall, Nanyang Technological University, Singapore
“That whoso ask’d her for his wife,/His riddle told not, lost his life:” Puzzles and Riddles in an Adaptation of Shakespeare’s Pericles for Gamified Animated Virtual Reality
Mori Yukiko, Tokyo University of Agriculture and Technology, Japan
Role-playing and Sexuality in BBC TV Film A Midsummer Night’s Dream (2016)
Mehreen Odho, Queen’s University Belfast, UK
Sang-e-Mah (2022): Explorations of Cultural Identities in Shakespearean Adaptations on Pakistani Television
Reto Winkler, South China Normal University, China
Masks and Adaptive Anonymity in Hamlet, Mr. Robot and the Hacker Collective Anonymous
1:40 p.m. – 2:40 p.m.
Visiting Artist: Shakespeare Desdemona’s Unfinished Love Story on Stage
Host: Lee Hyon-u, Soon Chun Hyang University, South Korea
Speaker: Choi JiYoung, Young Company and Seoul Institute of the Arts, South Korea
3:00 p.m. – 3:30 p.m.
Graphic Shakespeare Competition Award Ceremony
Organizer: Yoshihara Yukari, University of Tsukuba, Japan
Awarder: Ronan Paterson, Teesside University, UK
Speaker: K. Briggs, USA
3:30 p.m. – 4:30 p.m.
General Meeting, Group Photo, and Open Social
Participants of the 5th ASA Conference
Ricardo G. ABAD is a sociologist, a multi-awarded theatre director and actor, and Professor Emeritus of the Department of Sociology and Anthropology and the Department of Fine Arts at the Ateneo De Manila University. He is currently the Artistic Director of Arete, Ateneo’s creative and innovation hub, President of the Asia-Pacific Bond of Theater Schools, and Board Member of the Asian Shakespeare Association.
Kakali ADHIKARY received her PhD in Comparative Culture and Information Studies in March, 2014 from the Dept. of European and American Culture and Information Studies, Nara Women’s University, Japan. The title of her thesis is “Influence of Shakespeare in Indian Film and Culture.” She was awarded the Japanese Government (Monbukagakusho: MEXT) Scholarship in 2008. She is Founder and Director of Boitalic, Centre for Cultural Arts and Co-founder and Editor-in-chief of Anna’s Pick, News Letter, Lund, Sweden. She is currently Business Communication Management Consultant (EU Zone), RONY Group of Industries, (Pvt) Ltd., Lund, Sweden.
Anne Nichole ARELLANO-ALEGRE is an assistant professor of English Literature at the University of the Philippines. She has been teaching writing and Shakespeare with the Department of English and Comparative Literature for one year. With an MA in Anglo-American Literature, her thesis research focused on digital appropriations and adaptations of Shakespeare that appeal to youth culture, including memes, YouTube performances, and Instagram. Chapters of this thesis had been presented in various seminars of the ASA in the years 2014 (Taiwan), 2016 (New Delhi), and 2018 (Manila).
K. BRIGGS is a graphic novelist and arts educator. She began her comics-making career while pursuing her MFA at Duncan of Jordanstone College of Art in Dundee. Their work has been exhibited in galleries and colleges in Sweden, Scotland, Japan, South Korea, and the United States. Her adaptation of “Macbeth, Act 1, Scene 1” won the inaugural Elsinore Award for Graphic Shakespeare in 2016. In September 2023 the completed adaptation will be published by Avery Hill, London. Briggs is currently a teaching artist for Fleisher Art Memorial and Spiral Q in Philadelphia.
Thea BUCKLEY received her PhD from the Shakespeare Institute, University of Birmingham. Her research interests include Shakespeare and education, and Shakespeare and early modern drama in translation and adaptation for text, performance and film, particularly intercultural and Indian manifestations. She is currently Research Assistant in Education at Queen’s University Belfast. She co-edited Women and Indian Shakespeare (Bloomsbury, 2022) and has published several journal articles and book chapters.
Koel CHATTERJEE is Lecturer, Integrated English at Centre for Educational Futures, Trinity Laban Conservatoire of Music and Dance. Koel specializes in Global Shakespeares and Academic English in Higher Education. She has interests in crossover pedagogical practices and in applying literary and pedagogical research to affect policy change. Her research interests and publications are in Global Shakespeare and film, race theory, feminist Shakespeares, digital Shakespeares, and language and accents. She was awarded her PhD in Shakespeare and Bollywood in 2018 from Royal Holloway, University of London and has recently co-edited a collection on the impact of Indian Shakespeare Cinema in the West as part of the new Arden series Global Shakespeare Inverted. She is also the curator of shakespop.co.uk, an online space for academic and general interest discussions of Shakespeare in pop culture launched by the BSA in April 2022.
CHEN Lin has received her doctoral degree of Philosophy from Freie Universitat Berlin, Germany. She is an associate professor at Humanities and Social Sciences of Shandong University (Qingdao), member of the eighth Committee of Qingdao Federation of Literary and Art, special consultant of Chongqing Shifang Art Center, etc. Her main research interests are European rationalist aesthetics (from Leibniz to Lessing), theatre science, and ecological aesthetic education and healing. She has presided over the national social science projects and published in international and domestic academic journals.
Jessica CHIBA received her PhD from Royal Holloway, University of London. She is Leverhulme Early Career Research Fellow at the Shakespeare Institute, University of Birmingham. She has published several journal articles and book chapters and her current research combines her philosophical interests and her work in Japanese translations of Shakespeare to push the interdisciplinary boundaries between textual Shakespeare studies, global Shakespeare and philosophy.
Song (Joseph) CHO is Associate Professor of Interdisciplinary Studies at Liberty University in Lynchburg, VA. His research interests include biblical allusions in literature, missiology, Korean pop culture (e.g., K-Pop and K-Dramas) and Japanese Anime/Manga. He has published in various academic journals including Persuasions: The Jane Austen Journal, Hardy Society Journal, Flannery O’Connor Review, Willa Cather Review, Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature and Evangelical Missions Quarterly. He holds a doctorate in Intercultural Studies and master’s degrees in Spanish, English and Christian Studies.
CHOI JiYoung is an actress, playwright in Young Company and a visiting professor at Seoul Institute of the Arts. She studied Acting at Columbia University and has performed in Seoul, New York and London. Recently she directed David Henry Hwang’s The Sound of the Voice. In 2010, She started acting career at the National Theatre Company of Korea and performed her written play, While Ophelia’s Korean Drum Weeps, in the New York International Fringe Festival in 2016 and An Actress Confession in the United Solo Theatre Festival. Love Deadline (Desdemona), adapted from Othello, was invited to the 2019 York international Shakespeare Festival. Young Company’s productions have focused on finding human truth of feeling in classic plays and modifying into monodrama with Korean Dance and Culture. Choi would like to keep writing monodrama for female roles from Shakespeare and finding the character’s own voice in the play.
James DALE is currently a lecturer in English Philology at Uniwersytet Technologiczno-Humanistyczny im. Kazimierza Pułaskiego in Radom, Central Poland. He also has acquired a wealth of experience in Teaching English as a Foreign Language, holding the Cambridge DELTA qualification while continuing to be an oral examiner for Cambridge English Assessment. For his recently completed doctoral research, James investigated the concept of disguise in Shakespeare’s plays, focusing on the implications of disguise for the understanding of the psychological, political and social dimension of the plays. He has presented the ongoing results of his research, organized by the Polish Association of the Study of English, at conferences in Szczyrk, Gdańsk, Łódż and Poznań.
DANG Wei is associate professor in the School of Foreign Language at Northeast Normal University. Her primary research interests include Renaissance drama, Shakespeare and culture study, working on Shakespeare biographical study at Harvard University from 2017 to 2019 under the guidance of Stephen Greenblatt.
Soumava DHAR just completed his postgraduate degree in English from Ramakrishna Mission Residential College (Autonomous), Narendrapur, University of Calcutta in 2021. Currently, he works as an independent research scholar and also a trainee of 3rd Semester at Ramakrishna Mission Sikshanamandira, Belur Math, an autonomous teachers training college under the University of Calcutta, pursuing the Bachelor’s degree in Education, (B.Ed.) for the academic session 2021-23. This year, his last paper presentation was on the 18th of June, 2022 at a student’s seminar organized by the Dept. of English, Shyama Prasad Mukherji College for Women, University of Delhi.
Ananya DUTTA GUPTA has taught at Visva-Bharati for nearly two decades. She secured her MPhil in early modern English literature as a post-graduate Felix Scholar at Oxford University in 2001. She completed her doctoral work on the early modern representation of war in 2014 at Jadavpur University. Her revised Orient Blackswan Annotated edition of Edmund Spenser’s The Faerie Queene, Book I (2012), continues to be in worldwide circulation and she has several other scholarly articles published in national and international journals to her credit. She was Charles Wallace India Trust Visiting Fellow at the Centre for Research in the Arts, Humanities and Social Sciences, Cambridge, in 2015. She has presented seven academic papers on early modern siege literature in the past two years, notably at the WSC, Singapore, 2021, and the Oxford University ERC-TIDE Conference, 2021. She was also a panelist/paper-reader at the Shakespeare conference in New Delhi, in December 2015.
Rupendra GUHA MAJUMDAR has taught at the Department of English, Delhi University, India. A Visiting Fulbright Fellow in the Department of English at Yale University and Suffolk University, Boston; his book, Central Man: the Paradox of Heroism in Modern American Drama, was published by Peter Lang (Brussels, 2003). He has published five books of poetry in English, the latest being Coda (2022); he has contributed to the Columbia Encyclopedia of Modern Drama (2007) and articles to several anthologies and journals in India and abroad; his essay “The Eleusinian Mythic Paradigm of Life and Death in Shakespearean Drama” was published in Culture of Learning: Essays on the Renaissance by National Changhua University, Taiwan, 2018; his essay, “Before the Empty Bench: The Equivocal Motif of ‘Trial’ in Arthur Miller’s Works”, features in Arthur Miller for the Twenty-First Century (2020) by Palgrave-Macmillan. His essay, “Thoreau, Prometheus and the Universal Discourse of Civil Disobedience” was published in The Concord Saunterer, N.S. Vol.29(2021), 100-132.
Emma HARPER is a Research Assistant in the School of Art, Design and Media at Nanyang Technological University, Singapore, where she supports the delivery of cross-disciplinary projects relating to the use of immersive and interactive media within the fields of literature, culture, and education. She has experience of working in universities and museums in the UK, China, and Singapore, and holds BA and MSt degrees from the University of Oxford.
Amir HOSSAIN completed MPhil in English from Jahangirnagar University, Bangladesh. Now, he is doing PhD in English at the same University. As an Assistant Professor and Head of the Department, he is teaching English at IBAIS University. He authored a book on Ibsen Studies from Lambert Publications, Germany. He has written 80 articles and published 70 articles in the international peer reviewed and high impact factor journals, including Scopus. He has presented 40 papers in the international conferences in Bangladesh, UK, South Korea, the Netherlands, Turkey, Jamaica, USA, Macedonia, and India. He is a reviewer and editor of more than 200 international scholarly journals around the world. He is a member of numerous international research associations, like MLA, APA, ILA, TESOL, AAS, ACSE, etc.
Judy Celine ICK is a professor and current chair of the Department of English and Comparative Literature of the University of the Philippines Diliman. She is also an actor and dramaturg, working with various theatre companies in Manila. She is a founding member and vice-chairperson of the ASA.
IM Yeeyon is Associate Professor of English Literature at Yonsei University, Seoul. Since her PhD dissertation on intercultural Shakespeare performance, she has published widely on the topic in journals including New Theatre Quarterly and Theatre Journal. Also interested in experimental drama, religion and Eastern philosophy, she has written on Wilde and Yeats in journals including Comparative Drama, Victorian Literature and Culture, and Modern Drama. Her latest essays on queering Shakespeare in Korea appeared in Asian Theatre Journal and Theatre Research International this year. Currently Im is working on changgeuk Shakespeare, and plans to work further on Beckett and Buddhism.
KAWACHI Yoshiko, Ph.D. was Professor of English at Kyorin University. She is the author of Calendar of English Renaissance Drama 1558-1642 (1986), Shakespeare and Cultural Exchange (1995), Shakespeare’s Idea of Time (1998), Shakespeare’s World (2007), and Shakespeare: A World Traveler (2018). She is the editor of Shakespeare Worldwide, Japanese Studies in Shakespeare and His Contemporaries, and co-editor of Multicultural Shakespeare. Her publications include “Transvestism in English and Japanese Theatre” in Shakespeare’s Universe (1996), “Gender, Class, and Race in Japanese Translations of Shakespeare” in Shakespeare and the Twentieth Century (1998) and “Rewriting Shakespeare in a Japanese Context for the Page and the Stage” in Shakespeare’s World/World Shakespeares (2008), etc.
Ali KHODADADI has finished my postgraduate studies (MA) in English literature in the University of Tehran. He has successfully defended his thesis on Shakespeare’s problem comedies and late romances using a synthetic approach of Northrop Frye’s structuralist and Gerald Prince’s narratological theories. In addition to this study on Shakespeare’s selected comic works, which was met with praises from the examining panel, he is researching folk themes and other narrative features in Shakespeare’s oeuvre, especially comedy and romance. Besides, he is currently working on a Persian translation of Cymbeline with a preface for publication. He also occasionally writes on Shakespeare’s poetry and drama on a co-founded platform (channel) on the Internet.
KIM Eun-Hye is a PhD candidate in Ewha Woman’s University in South Korea. Her specialty is 16-17th English drama and she wrote her M.A. thesis about Shakespeare, titled “Women and Marriage in The Taming of the Shrew.” Now she is working on her PhD dissertation about making Moors and staging blackness in the early modern era. She is interested in the problem of skin color, race/racism, actor’s body and performance, the dynamic between reality and theater, and feminism.
KIM Kang is Professor of English at Honam University, South Korea and an Executive Committee Member of the ASA since its inception. He has been a visiting scholar at the CAPE in Honolulu and a research professor at the UC Berkeley. He has widely presented and published on Renaissance, Shakespeare and Korea/Pop Culture, film and literature, and cultural theories. His publication includes a Korean translation of Macbeth (Penguin, 2010), Master Plots: English Renaissance Drama, Closed Reading of American Plays, Prometheus Unbound: Critical Essays on Korean Society and Politics. He contributed a chapter on Hamlet as a political drama in Korea to Shakespeare’s Asian Journeys: Critical Encounters, Cultural Geographies, and the Politics of Travel (Routledge 2016). Another article on Shakespeare and Korea entitled “Comic Book Adaptations of Shakespeare in Korea: History and Context” was published in Studies on Humanities and Social Science in May 2020.
KIM Mikyong studied at Seoul National University for her MA degree in 1991. She researched at the University of Essex in England for her PhD degree and she completed her thesis on Shakespearean Drama and the Politics of Body Images in 1997. She published a book, Sexuality and Power in Shakespearean Drama: Politics of Body Images and Nation-building in 2016. Her academic interests are on gender studies and body images, and her recent research focuses on Koreanized Shakespearean Performance on Korean stage.
Marianne KIMURA is a tenured professor at Kyoto Women’s University, where she teaches English Lit. in the Department of English Studies. She received her MA from the University of Chicago and her BA from Harvard University. She is ranked top 2% on Academia.edu with around 30,000 views. She also has a high Research Interest score (15.2) on Research Gate, and around 7,000 views on her page there.
KO Yu Jin is Professor of English at Wellesley College. He received his PhD from Yale University. He authored Mutability and Division on Shakespeare’s Stage and co-edited Shakespeare’s Sense of Character: On the Page and From the Stage. His articles and reviews focus on Shakespeare in performance, both in the theatre and on film.
KOK Su Mei is Senior Lecturer at the Department of English, University of Malaya, where she teaches Renaissance Literature, among other things. She is interested in how socio-cultural contexts inform the production and reception of drama, both in early modern England and in contemporary Malaysia. Her current research looks at Shakespearean performances in Malaysia and at the usage of Shakespeare in Malaysian political debates. She is also on the editorial team for the scholarly edition of “Young Shakespeares in Asia” within Asian Shakespeare Intercultural Archive (A|S|I|A).
Julian LAMB received his PhD from Cambridge University on a Cambridge Commonwealth Scholarship. He is author of Rules of Use: Language and Instruction in Early Modern England (Bloomsbury), and has published on Shakespeare, Donne, Erasmus, and early modern linguistics. His articles have appeared in such journals as English Literary Renaissance and Shakespeare Quarterly. He is currently working on a monograph on infelicitous performative utterances in Shakespeare. He teaches in the School of Liberal Arts at the University of Wollongong.
LEE Hyon-u is a professor in the Department of British & American Studies at Soon Chun Hyang University in South Korea. His work focuses on Shakespeare, especially in performances. He has published several Shakespearean books including Glocalizing Shakespeare in Korea and Beyond (Dongin Publishing Co., 2009) and Korean Shakespeare Renaissance (in Korean, Dongin Publishing Co., 2016) and translations, many essays, written theatre criticism, directed stage productions, and performed as an actor on stage. He is President of The Shakespeare Association of Korea, a member of the Executive Committee of the International Shakespeare Association, a member of the Advisory Board of International Shakespeare Conference, and a co-director of Asian Shakespeare Intercultural Archive. He organized the 2020 ASA Conference in Seoul, and contributed to the 2021 WSC in Singapore as a local committee member and the director of Digital Asian Shakespeare Festival. He received several awards for his stage direction and academic achievements and performed the roles of panel speaker, workshop leader, and moderator for various international conferences.
Jason Eng Hun LEE is a creative writer, scholar and performer whose research and practice fields encompass global anglophone literatures, postcolonial and diasporic writing, and global Shakespeares. His poetry collection Beds in the East (2019) was a finalist for the Melita Hume Prize. He serves as a literary editor for Postcolonial Text and is the current chief organizer of OutLoud HK, Hong Kong’s longest-running poetry collective. He is a lecturer in English and Comparative Literature at Hong Kong Baptist University.
Bi-qi Beatrice LEI is Founder of the ASA and Director of the Taiwan Shakespeare Database. She received her PhD in English from New York University and has published on early modern culture, Sidney, Shakespeare, intercultural theatre, television drama, films, and digital humanities. She taught at National Tsing Hua University and National Taiwan University. She also serves as Assistant Director of the Shakespeare Association of America and a trustee of the International Shakespeare Association, and recently co-organized the 11th WSC held online from Singapore.
Lori LEIGH has an MFA in Theatre from Sarah Lawrence College in New York and a PhD from Victoria University of Wellington, where she is currently is a Senior Lecturer in Theatre. Lori Leigh’s research focuses on Early Modern, particularly Shakespearean, stagecraft, performance, and dramaturgy—including gender in Shakespeare, representations of gender and sexuality in theatre. Lori has published chapters and articles on Shakespeare with Oxford University Press and Shakespeare, the journal of the British Shakespeare Association. She has published a full-length book with Palgrave McMillan titled Shakespeare and the Embodied Heroine. Her most recent publication is a chapter on queenship and theatricality in the Palgrave Handbook of Shakespeare’s Queens, 2018. She is currently working on a book on Shakespeare and kissing.
LI Ting, lecturer of Jilin University of Finance and Economics, teaches English literature and English writing in the Department of Foreign Languages. Her primary research interests include creative writing and English literature.
Ana Laura MAGIS WEINBERG is an Early Career Mexican scholar. She holds a BA in English Literature from the National Autonomous University of Mexico and a PhD in English and Film Studies from the Centre of Adaptation Studies at De Montfort University, Leicester. Her interests in Cultural History, Identity, Postcolonial Theory, and Popular Culture have led her to write on Bollywood, adaptation, The Three Musketeers, and mass media. She is an active member of Shakespeare, Adaptation, and Latin American Studies associations, and attends several international conferences. Magis Weinberg also works outside of academia as a critically acclaimed translator and a published author, and has received multiple awards.
Alfredo MICHEL MODENESSI is Professor of Theatre Studies and Translation at the Universidad Nacional Autónoma de México (UNAM), as well as a stage translator and dramaturg. He has published and lectured extensively on Shakespeare, drama, theatre, translation, and film in Cambridge, Oxford, Arden, Routledge, the UK, the USA, Argentina, Cuba, Chile, Brazil, Spain, France, Italy, Germany, and Mexico, among others. He serves on several advisory boards, including MIT, Cambridge University Press, and the University of Barcelona. He has translated over forty-five plays, most of them staged, including seventeen by Shakespeare—such as Macbeth, Othello, Julius Caesar, Love’s Labour’s Lost, Measure for Measure, The Tempest, Henry VI parts 2 and 3, Richard III, Henry IV part 1 (staged at The Globe in 2012), and Romeo and Juliet (adapted for a bilingual production by the New York Public Theater, 2021) – plus Marlowe’s Edward II, the anonymous Arden of Faversham, and modern dramatists like August Wilson, Lanford Wilson, Tom Stoppard, Paula Vogel, Jean-Paul Sartre, Athol Fugard, John Osborn, Nina Raine, Tennessee Williams, Sam Shepard, Jez Butterworth, and Andrew Bovell. He is currently writing a book on Shakespeare on Mexican film and translating the Sonnets in Spanish verse.
MINAMI Ryuta is Professor at Tokyo University of Economics and a founding board member of the ASA. He co-edited Re-playing Shakespeare in Asia and Performing Shakespeare in Japan, and has contributed to journals and books including Multicultural Shakespeare, Journal for Early Modern Cultural Studies, The Routledge Handbook of Shakespeare and Global Appropriation, Local and Global Myths in Shakespeare Performance, and Shakespeare and the Second World War.
Jovi MIROY, a philosophy teacher of the Ateneo de Manila University, is a theater practitioner and a playwright. In 2018, he directed Ang Apologia ni Sokrates at the Doreen Gamboa Fernandez Black Box, Arete. In 2020, he wrote Plaridel, a play on Marcel del Pilar under the auspices of the Office of Initiatives for Culture and the Arts, University of the Philippines. He is currently writing a musical based on Nick Joaquin’s magazine article on the young Nora Aunor. Aside from being co-anchor of a philosophy radio show at Ateneo community’s radio station, Radyo Katipunan, the author has engaged in cultural diplomacy and gives talks on that topic.
MORI Yukiko is Professor at Tokyo University of Agriculture and Technology. She is the author of Eiga de Yomu Sheikuspia (1996, Reading Shakespeare on Screen), Imawo Ikiru Sheikusupia (a joint work, 2011, Living Shakespeare), and other articles and reviews. She is also the translator of Shakespeare criticism and several novels, including Juliet Dusinberre’s Shakespeare and the Nature of Women, Rebecca Reisert’s The Third Witch, and J. M. Coetzee’s Lives of Animals.
Ted MOTOHASHI is Professor of Cultural Studies at the Tokyo University of Economics, and the President of IATC’s Japanese branch. He received his DPhil in Literature from the University of York, the U.K. in 1995. His publications include several books on drama, cultural and postcolonial studies, and most recently he edited “All the world’s his stage”: Asian Interventions in Global Shakespeare with Poonam Trivedi and Paromita Chakravarti (Routledge, 2020). He is a leading translator into Japanese of the works by Homi Bhabha, Gayatri Spivak, Rey Chow, Judith Butler, Noam Chomsky and Arundhati Roy, amongst others.
Shinjini MUKHOPADHYAY is a PhD scholar in Jadavpur University. Her topic of research is late medieval religiopolitical thought. She has an MPhil and a Master’s degree from the same university.
Desiree MUNRO is an Australian Shakespeare academic who has studied Shakespeare at Melbourne University, Deakin University, University of Tasmania, University of Queensland and LaTrobe University. She lived in South Korea for seven years, where she worked as a theatre practitioner, and founded the country’s first English language theatre, White Box Theatre. She also worked with Seoul Shakespeare Company and appeared in plays in Daehak-ro – the theatre district of Seoul, performing in both Korean and English. Her research concerns temporal translations of Shakespeare’s work and how it affects theatre-makers and the audience. Desiree is currently translating Shakespeare’s Measure for Measure into contemporary English.
Mehreen ODHO completed her MA in Theatre Criticism and Dramaturgy from The Royal Central School of Speech and Drama in 2017 where she wrote her dissertation on Shakespearean adaptations in Indian cinema as seen in director Vishal Bhardwaj’s film trilogy: Maqbool (Macbeth, 2003), Omkara (Othello, 2006) and Haider (Hamlet, 2014). Her interest lies in the interpretation and reception of Shakespeare in contemporary Pakistan and where this would stand in the field of Global Shakespeare. She has been a speaker on the panel during an at an event organized in Karachi in 2018 by Oxford University Press: “Why Shakespeare? To many people in the country Shakespeare seems unintelligible. Is teaching Shakespeare relevant to today’s Pakistani students?” In 2021, she was on the panel of speakers in the seminar “Revisiting South Asian Adaptations” during the 11th WSC in Singapore where she presented a paper on a Pakistani cinematic adaptation of Shakespeare. She is currently researching and writing her PhD thesis at Queen’s University Belfast on Shakespearean adaptations in Pakistan.
Ronan PATERSON is an actor and director who has worked in theatre, film, radio and television, and led workshops and masterclasses all over the world. He moved into teaching initially in the training of professionals, then eventually as an academic, most recently with Teesside University in England. He has published widely on Shakespeare, and other subjects from theatre and film history. A frequent speaker at international conferences, he organized the Shakespeare quatercentenary conference at Elsinore. He is also the curator of the Picturing Shakespeare exhibition, and has been a judge for all four Graphic Shakespeare Competitions.
Artemis PREESHL, a Fulbright Senior Theatre Specialist, directs stage, film, and intimacy, coaches dialects, and teaches performance. She authored Shakespeare and Commedia dell’arte (2017), Reframing Acting in the Digital Age (2019) and Consent in Shakespeare (2021), all by Routledge, and many articles. Papers on consent were presented at WSC, SAA, RSA, ASA, and American Boccaccio Association. After a residency translating Salviano’s Ruffiana, Delmas Foundation funded Eleonora Duse research at the Cini. In 2021, Nostos invited her to develop a screenplay at its Tuscan Screenwriting Retreat. A three-time Fulbrighter, she directed four films: Pancha Ratna (Honorable Mention in Best World Cinema, Hollywood’s DIY Film Festival), Dr. Chevalier’s Lie, Inachevé, and Ripe Figs (Best Short, Raleigh Film Festival). In 2022, she presented “Consent in Titus Andronicus” and co-launched Bazmavep (Polyhistory), including her chapter “#MeToo & the Moor: Cinthio & Shakespeare’,” at the Armenian Shakespeare Conference. She serves as a SAG-AFTRA New Orleans Local Board Member since 2013. MFA Drama Ed.D. SAG-AFTRA AEA SDC Alliance of Women Directors.
Hannes RALL (aka Hans-Martin Rall) is Professor of Animation Studies and Assoc. Chair Research in the School of Art, Design and Media at Nanyang Technological University Singapore. He is also an award-winning director of independent animated short films, with a particular focus on animated adaptations of classic literature. Conference presentations include FMX, ACM SIGGRAPH and the Annual Conferences of the Society for Animation Studies, and in 2016 he was the Chair of the 28th Annual Conference of the Society for Animation Studies. Hannes has published essays, chapters and books with renowned publishers including Routledge, UVK Verlag Konstanz and Julius Springer.
Sneha RAMANATHAN completed her Bachelor of Arts in English with Honours at Deen Dayal Upadhyaya College, University of Delhi. She is currently pursuing MA in Shakespeare Studies at King’s College London. As the Scottish Universities’ International Summer School David Daiches Scholar 2022 at the University of Edinburgh, she completed the summer course on Scottish Literature during which she gave a presentation titled “Alasdair Gray’s Poor Things: Bella as Ophelia Reimagined,” which examined the references to Hamlet in Alasdair Gray’s book Poor Things and connected it with Foucault’s concept of “medical gaze.” Her current work focuses on the representation of disease, death and mortality in the plays of William Shakespeare and their influence on the post-plague reception of the First Folio.
Majid SARNAYZADEH was Director, researcher and writer for Kargah Theater of Bandar Abbas. As a freelancer artist in performing arts based in Dubai, he participated in the 3th Biennial Conference of the ASA, the performance studies international conferences, the international experimental theater symposium of Shanghai Theater Academy.
Sali SAID is a Stipendium Hungaricum Scholarship holder and a third-year PhD candidate in English Literary Studies with the specialization “Medieval and Early Modern English Culture and Literature” at the Doctoral School of Literary Studies in Eötvös Loránd University (ELTE) in Budapest, Hungary. Her dissertation investigates individualism and collectivism in Shakespeare with a particular focus on Antony and Cleopatra and Hamlet. Her MA thesis has been accepted for publication as an article under the title “The Question of Culpability in Shakespeare’s Antony and Cleopatra: Revealing Cleopatra’s Humanity” by Critical Survey. She has recently presented her doctoral research at the ESSE and SCMLA conferences in Germany (in person) and in the USA (online). The conferences were organized by Johannes Gutenberg University of Mainz and by the South Central MLA respectively.
SEO Dong-ha is Colonel of the Republic of Korea Army and Professor of English at the Korea Military Academy. He received his PhD on “Military Culture in Shakespeare’s England” from the Shakespeare Institute, University of Birmingham. As a member of Shakespeare Association of Korea and Asian Shakespeare Association, he has actively participated in a variety of academic events hosted by the foresaid associations. He is now on research leave at the Shakespeare Institute. The main focus of his work is on the war and violence in English literature and Shakespeare reception in Korea in early twentieth century.
SEO NaYoung is an English MA student at Georgia College and State University. She received her bachelor’s degree in English and Chinese Studies at Pukyong National University in South Korea. Her concentration is comparative literature between East and West.
Scott SHEPHERD received his PhD in the text and performance of Shakespeare’s Hamlet from Royal Holloway, University of London, where he taught from 2016 until he moved to South Korea in 2019. Since 2020 he has been an opinion columnist at the Korea Times and an assistant professor of English at Chongshin University, Seoul. His research interests include the text and performance of Shakespeare’s plays, and representations of national identity in Korean drama.
Corrie SHOEMAKER, PhD (University of Waterloo), specialized in Shakespeare in her MA and PhD. She was thrilled to work with the Stratford Festival of Canada and Bard on the Beach (Vancouver) when researching Canadian identity on the Shakespeare stage for her PhD. She is currently an Assistant Teaching Professor for the Department of Literature, Language and Performing Arts and for the Department of Communication, Journalism, and New Media at Thompson Rivers University. She is working on a book project entitled “Speaking of Shakespeare: Conversations with Canadian Artists” and revising her dissertation for publication. She frequently contributes to the Stratford Festival Reviews website, Marjorie Magazine and has an article published with Palgrave on Bard of the Beach. Shoemaker is a published author (children’s literature and biography), award winning playwright and poet whose work has been showcased on Canadian radio. She is currently continuing archival research at the Stratford Festival Archives and working on a new novel.
SUEMATSU Michiko is Professor at Faculty of Informatics, Gunma University, Japan. She has published and presented widely on Japanese and British Shakespearean performances, including “A Catalyst for Theatrical Reinvention: Contemporary Travelling Companies at the Tokyo Globe Theatre” in Shakespeare Survey 71 (2018), “Characteristic Use of Dramatic Texts in Modern Japanese Shakespeare Productions” in Oxford Handbook of Shakespeare and Performance (Oxford UP, 2017), “Intercultural Theatre and Shakespeare: Japan” in Routledge Handbook of Asian Theatre (Routledge, 2016), “Import/export: Japanizing Shakespeare” in Shakespeare in Asia: Contemporary Performance (Cambridge UP, 2010), and “Innovation and Continuity: Two Decades of Deguchi Norio’s Shakespeare Theatre Company” in Performing Shakespeare in Japan (Cambridge UP, 2001). She is Co-Director of the Asian Shakespeare Intercultural Archive (A|S|I|A ), multilingual online archive of performance materials. She has contributed to the Shakespeare Society of Japan as a reviewer of Shakespeare Studies (2021~), an executive committee member (2017-21), and a performance review editor (2012-15).
Marcus Cheng Chye TAN is Assistant Professor of Drama at the National Institute of Education, Nanyang Technological University Singapore. He is author of Acoustic Interculturalism: Listening to Performance (Palgrave Macmillan, 2012) and Performing Southeast Asia: Performance Politics and the Contemporary (Palgrave Macmillan, 2020). His main research areas are in intercultural theatre, performance soundscapes and acoustemologies. In these areas, he has published in various books and journals such as TDR, Theatre Research International, Contemporary Theatre Review and Performance Research. Marcus is the digital content editor of Theatre Research International and Secretary-General (Communications) of the International Federation for Theatre Research.
James TINK is Associate Professor in the Department of English, Graduate School of Arts, Tohoku University, Sendai, Japan. He has recently published on “Jan Kott, the Grotesque and Macbeth” for Multicultural Shakespeare, vol. 24, no. 39 (2022); “Make Imaginary Puissance: Force, Labour, and Imagination in Henry V” in Work, Work Your Thoughts: Henry V Revisited, edited by Sophie Chiari (P.U. Blaise Pascal, 2021); and “Timon of Athens in the Downturn” in Shakespeare and Money, edited Graham Holderness (Berghahn Books, 2020).
Poonam TRIVEDI taught at Indraprastha College, University of Delhi. She has co-edited books on Indian and Asian Shakespeare: Asian Interventions in Global Shakespeare: ‘All the World’s his Stage’ (2020), Shakespeare and Indian Cinemas: ‘Local Habitations’ (2018) and Shakespeare’s Asian Journeys: Critical Encounters, Cultural Geographies, and the Politics of Travel (2017), Re-playing Shakespeare in Asia (2010) and India’s Shakespeare: Translation, Interpretation and Performance (2005) and has authored a CD ‘King Lear in India’ (2006). Her latest articles are in the Cambridge Companion to Shakespeare on Screen and in Cahiers Elizabethans. She is on the editorial board of the Shakespeare on Screen series.
Reto WINCKLER is an associate research fellow as South China Normal University in Guangzhou, China. He received his PhD from the Chinese University of Hong Kong in 2018. His research focuses on folly and madness in Shakespeare’s plays, as well as philosophy and adaptation, particularly in contemporary television series. He is the coeditor of Television Series as Literature (Palgrave, 2022). His articles have appeared in Adaptation, Shakespeare, Cahiers Élisabéthains and elsewhere.
Jenny WONG is currently a Lecturer in Chinese Interpreting in the Department of Modern Languages, University of Birmingham, UK. Prior to joining the University of Birmingham, she taught translation at Hang Seng University of Hong Kong, Beijing Normal University-Baptist University of Hong Kong, United International College, the Chinese University of Hong Kong, amongst others. A published translator, she has translated over ten books on religion, health and finance. Her current research focuses on the translatability of religious dimensions in English literature, including Shakespeare.
WU Yueqi is an MA student at the Humboldt Humboldt University of Berlin majoring in European Literature. She received a Bachelor’s degree in German Language and Literature at Southwest Jiaotong University in Chengdu, China. During her master’s studies, she undertook a one-year exchange program in the English department at King’s College London. Her current fields of interest are Shakespeare adaptation in Chinese opera, cross-dressing performance and film studies. She works as cultural journalist and film critic, covering activities including the Berlin International Film Festival in 2022. She is also the co-founder and curator of 2022 NewGen Chinese Film Festival in Berlin.
Roweena YIP is a Lecturer at NUS College, the National University of Singapore (NUS). She received her PhD in Theatre Studies from NUS in 2021, submitting a thesis titled “The Performativity of Gender in Asian Shakespeares: Towards Intercultural Feminisms(s).” Her research interests include gender studies, Shakespeare, and trauma studies. Her work has been published in Asian Theatre Journal, Research in Drama Education (co-written with Yong Li Lan) and Gender Forum.
YONG Li Lan is Associate Professor at the National University of Singapore and Founding Director and Archive Development & General Editor of Asian Shakespeare Intercultural Archive (A|S|I|A). She co-edited Shakespeare in Asia with Dennis Kennedy. She serves on the ASA Executive Committee and the ISA Board of Trustees. She co-organized the most recent
WSC, online from Singapore.
YOSHIHARA Yukari is a professor at the University of Tsukuba (Japan). She works on Shakespeare in global pop culture and Anglophone studies in Cold War Asia. Her publication includes “Japanese novelizations of Shakespeare’s Hamlet and Macbeth” (The Arden Research Handbook of Shakespeare and Adaptation, 2022), “Robinsonades in Japan” (Robinson Crusoe in Asia, Palgrave, 2021), “Cultural Diplomacy, Literature(s) in English in and Creative Writing in Cold War Asia” (English in Asia, Palgrave, 2022), and “Bardolators and Bardoclasts” (Asian Interventions in Global Shakespeare, Routledge, 2021). She is a convenor of the Graphic Shakespeare Competition 1-4.
Conference Registration
An ASA membership is required to participate in the conference. 2022-2023 membership dues are 1,500 PHP ($25 USD) for regular members and 900 PHP ($15 USD) for students, independent scholars, and contingent and retired faculty. Please pay your membership dues at https://asianshakespeare.org/membership/. Paid members will receive the link to access the conference site.
