Colorblind Shakespeare: New Perspectives on Race and Performance

Cover
Half Title
Title Page
Copyright Page
Dedication
Table of Contents
Illustrations
Acknowledgments
Foreword
1 Practicing a Theory/Theorizing a Practice: An Introduction to Shakespearean Colorblind Casting
Part I: The Semiotics of (Not) Viewing Race
	2 Ocular Revisions: Re-casting Othello in Text and Performance
	3 Colorblind Casting in Single-Sex Shakespeare
	4 Faux Show: Falling into History in Kenneth Branagh’s Love’s Labour’s Lost
	5 When Race Matters: Reading Race in Richard III and Macbeth
	6 Ira Aldridge, Shakespeare, and Color-Conscious Performances in Nineteenth-Century Europe
Part II: Practicing Colorblindness: The Players Speak
	7 My Own Private Shakespeare; or, Am I Deluding Myself?
	8 In The Blood: William Shakespeare, August Wilson, and a Black Director
Part III: Future Possibilities/Future Directions
	9 Civic ShakesPR: Middlebrow Multiculturalism, White Television, and the Color Bind
	10 Gestures of Performance: Rethinking Race in Contemporary Shakespeare
	11 The Cleopatra Complex: White Actresses on the Interracial “Classic” Stage
	12 The Chicago Shakespeare Theater’s Rose Rage: Whiteness, Terror, and the Fleshwork of Theatre in a Post-Colorblind Age
Afterword: The Blind Side in Colorblind Casting
Notes on Contributors
Index