Canadian Adaptations of Shakespeare Project
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Shakespeare Made in Canada: Contemporary Canadian Adaptations in Theatre, Pop Media and Visual Arts:

Shakespeare Made in Canada: Contemporary Canadian Adaptations in Theatre, Pop Media and Visual Arts
Images from: Shakespeare Made in Canada: Contemporary Canadian Adaptations in Theatre, Pop Media and Visual Arts


  • William Hutt. "Dedication." Famed Canadian thespian William Hutt served as the patron for the Festival and the Exhibit.
  • Alastair J. S. Summerlee. "Foreword." President and Vice-Chancellor Summerlee's reflections on the Festival and the Exhibit.
  • Sue Bennett. "Preface." Festival organizer Bennett describes some of the background events that lead to the Festival and Exhibit.
  • Virginia L. Gray. "Introduction to Education Program." Gray, Director of the Office of Open Learning, reflects on some of the unique pedagogical tools developed for the Shakespeare Made in Canada exhibit.
  • Daniel Fischlin &  Judith Nasby. "Acknowledgments." A long list of key people involved in making both the Exhibit and the Festival a reality.
  • Lloyd Sullivan. "The Sanders Portrait: This Is the Face of the Bard." The owner of the Sanders portrait, Lloyd Sullivan, makes his first public, written declaration regarding the portait's authenticity. This essay also includes rare information about the story behind the portrait, including new information about the Sanders family genealogy.
  • Dawn Matheson. "Tongues in Trees: A Sound Installation." Multimedia artist Matheson's short essay reflects on the challenges of creating a new installation that debunks myths surrounding Shakespeare's inaccessibility (featuring the voices of adult learners from Guelph's Action Read).
  • Pat Morden. "A Good Block." Stratford's uniquely Canadian thrust stage, which has affected theatre design worldwide, is described.
Astrid Janson, costume design for Othello in Harlem Duet (2006)
Astrid Janson: costume designs for the character of Othello in Harlem Duet (2006)
  • Sorouja Moll. "girlswørk." Playwright Moll reflects on adaptation and feminist writing practices in relation to Shakespeare.
  • Leanore Lieblein. "Pourquoi Shakespeare?" Lieblein provides a concise and useful overview of the ways in which French Canada has adapted Shakespeare into its own multiple contexts, linguistic, political, and aesthetic.
  • Yvette Nolan. "Julius Caesar: Adapted to Death." The Director of Native Earth Performing Arts, the largest First Nations theatre group in the world, reflects on her position as a member of Canada's First Nations community and on Shakespearean adaptation.
  • Marion Gruner. "What Means This Shouting?" Filmmaker Gruner writes about the process of making her film documentary on the relationship between First Nations theatre practitioners and Shakespeare in Canada.
  • Judith Nasby. "Finding the Bard in Contemporary Portraiture." Co-curator Nasby discusses the ways in which contemporary portraitists and their work tell us new things about our collective relationship to Shakespearean imagery and authenticity.



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Fischlin, Daniel. Canadian Adaptations of Shakespeare Project. University of Guelph. 2004. <>.

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