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- PASSING
‘STRANGE
Shakespeare,

Race, and

Contemporary
America

AYANNA THOMPSON
otions, constructions, and
performances of race continue
to define the contemporary
American experience, including America’s
relationship to Shakespeare. In Passing
Strange, Ayanna Thompson explores the
myriad ways U.S. culture draws on the works
and the mythology of the Bard to redefine
the boundaries of the color line.
Drawing on an extensive—frequently
unconventional—range of examples,
Thompson examines the contact zones
between constructions of Shakespeare and
constructions of race. Among the questions
she addresses are: Do Shakespeare’s plays
need to be edited, appropriated, updated, or
rewritten to affirm racial equality and retain
relevance? Can discussions of Shakespeare’s
universalism tell us anything beneficial
about race? What advantages, if any, can
a knowledge of Shakespeare provide to
disadvantaged people of color, including
those in prison? Do the answers to these
questions impact our understandings of
authorship, authority, and authenticity? In
investigating this under-explored territory,
| Passing Strange examines a wide variety of
contemporary texts, including films, novels,
theatrical productions, YouTube videos,
performances, and arts education programs.
Scholars, teachers, and performers will
find that this book provides a wealth of
insights into the staging and performance of
familiar plays, but they will also encounter
new ways of viewing Shakespeare and
American racial identity, enriching their
understanding of each.
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PASSING STRANGE
Passing Strange
SHAKESPEARE, RACE, AND
CONTEMPORARY AMERICA

Ayanna Thompson

OXFORD
UNIVERSITY PRESS
OXFORD
UNIVERSITY PRESS

Oxford University Press, Inc., publishes works that further


Oxford University’s objective of excellence
in research, scholarship, and education.

Oxford New York


Auckland Cape Town Dares Salaam HongKong Karachi
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New Delhi Shanghai Taipei Toronto
With officesin
Argentina Austria Brazil Chile Czech Republic France Greece
Guatemala Hungary Italy Japan Poland Portugal Singapore
South Korea Switzerland Thailand Turkey Ukraine Vietnam

Copyright © 2011 by Oxford University Press, Inc.

Published by Oxford University Press, Inc.


198 Madison Avenue, New York, New York 10016

www.oup.com
Oxford is a registered trademark of Oxford University Press
All rights reserved. No part of this publication may be reproduced,
stored in a retrieval system, or transmitted, in any form or by any means,
electronic, mechanical, photocopying, recording, or otherwise,
without the prior permission of Oxford University Press.

Library of Congress Cataloging-in-Publication Data


Thompson, Ayanna, 1972-
Passing strange : Shakespeare, race, and contemporary America / Ayanna Thompson,
p. cm,
Includes bibliographical references and index.
ISBN 978-0-19-538585-4 (cloth : alk. paper)
1. Shakespeare, William, 1564-1616—Dramatic production.
2. Shakespeare, William, 1564-1616—Stage history.
3. Shakespeare, William, 1564-1616—Film adaptations.
4. Shakespeare, William, 1564-1616—Appreciation—United States.
5. Race in literature.
6. Theater—Casting. I. Title.
PR3091.T53 2011
792.9'5—dc22 2010033675

135798642
Printed in the United States of America
on acid-free paper
This book is dedicated to
all the race men and women
who keep the conversation going
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Contents
Acknowledgments ix

1. Introduction: The Passing Strangeness of Shakespeare in America 3

2. Universalism: Two Films that Brush with the Bard, Suture and Bringing
Down the House 21

3. Essentialism: Meditations Inspired by Farrukh Dondy’s Novel Black Swan 45

4. Multiculturalism: The Classics, Casting, and Confusion 69

5. Original(ity): Othello and Blackface 97

6. Reform: Redefining Authenticity in Shakespeare Reform Programs 119

7. Archives: Classroom-Inspired Performance Videos on YouTube 145

8. Conclusion: Passing Race and Passing Shakespeare in Peter Sellars’s Othello 169

Notes 183

Works Cited 201

Index 217
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Acknowledgments

THIS BOOK HAs benefited from the generous feedback of many colleagues. Its
redeeming qualities are probably due to their thoughtful engagements, but the
faults are definitely all of my own. Although these lists are always incomplete
(even when long), I want to thank several organizations and individuals for sup-
porting the progress of this project.
I presented early versions of chapter 5 at the Harvard Renaissance Colloquium,
the University of New Hampshire Speakers Series, and in a seminar led by Jeremy
Lopez at the Shakespeare Association of America conference. An earlier and
slightly shorter version of this chapter originally appeared in Shakespeare Bulletin
(“The Blackfaced Bard: Returning to Shakespeare or Leaving Him?” Shakespeare
Bulletin 27, no.3 (2009): 437-456), and 1 am grateful to the editors and publishers of
the journal for granting permission to print a revised version here. I also presented
early versions of chapter 7 at the Arizona State University Renaissance Colloquium
and at the Shakespeare Association of America conference on a panel organized by
Alfredo Michel Modenessi. A shorter version of this chapter was originally pub-
lished in Shakespeare Quarterly (“Unmooring the Moor: Researching and Teaching
on YouTube,” Shakespeare Quarterly 61, no.3 (2010): 337-356), and I am grateful to
the editors and publishers of the journal for granting permission to print a revised
version here. Finally, The Public Theater and the LAByrinth Theater Company in
New York invited me to participate in their “Sunday Speaker Series,” in which I
presented an early version of chapter 8. The discussions and debates that I had in
x Acknowledgments

these various venues helped to sharpen my thinking and writing, and I am deeply
appreciative for the generous invitations to attend these events.
Shamelessly and selfishly I have asked colleagues along the way both to read and
discuss certain portions of this book. For their thoughts, suggestions, and encour-
agement I would like to thank Jonathan Burton, Valerie Fazel, Cora Fox, Daniel
Gilfillan, Maureen Goggin, Stephen Guy-Bray, Andrew Hartley, Jonathan Gil
Harris, David Hawkes, Madhavi Menon, Ian Moulton, Alyssa Robillard, Katherine
Rowe, Bradley Ryner, Beth Tobin, Henry Turner, and Will West. The colleagues to
whom I am the most indebted, however, are Peter Erickson, Scott Newstok, and
Francesca Royster. All three scholars have served as judicious interlocutors
throughout the development of this project, and I cannot thank them enough for
their generosity and thoughtfulness.
For their generous willingness to offer their time for interviews (sometimes on
multiple occasions), I would like to thank Ken Adelman of Movers and Shake-
speares, Rafe Esquith of Hobart Elementary School, Harvard University’s Pro-
fessor Henry Louis Gates, Jr., Dana Gioia of the Aspen Institute (and formerly of
the National Endowment for the Arts), and Kimiko Shimoda of the Oregon Shake-
speare Festival. I benefited immensely from the interactions I had with these very
busy individuals.
A special note of thanks is reserved for my graduate research assistants. I could
not have found the wealth of material included in this book without their super
sleuthing. Geoffrey Way was particularly helpful finding the Internet materials
cited, and Heather Ackerman is a researcher par excellence. She is a top notch
thinker, and this book has benefited from the sustained conversations we have
had about the materials she found.
Everyone at Oxford University Press has been amazing. I particularly want to
thank Shannon McLachlan and Brendan O’Neill for encouraging this project from
its inception. I would also like to thank the anonymous reviewers whose sugges-
tions truly helped to shape the content and form of the final book.
Last, but never least, I would like to thank my family for their love, encourage-
ment, and unflagging support (even in the face of long days away writing). Derek
and Dashiell have made this journey with me (Dashiell calls it “black work”), and I
love them so much for it. Dashiell is a great hockey player; he wanted to make sure
that appeared in print!
All citations from Shakespeare in this book are taken from the Norton an-
thology. The Norton Shakespeare: Based on the Oxford Edition, ed. Stephen Greenb-
latt et al. (New York: W. W. Norton & Company, 1997).
PASSING STRANGE
FIGURE 1.1 Stephen Paul Johnson (Touchstone) and Paul Bates (Audrey) in The Hudson Valley
Shakespeare Festival’s 2007 production of As You Like It (directed by John Christian Plummer).
Photo by Walter Garschagen.
And the only way to do something more substantial onstage—then and now—is to
discuss one of the defining features of the American experience: race. I don’t know
how anyone, black or white, in America can stand up in front of an audience with a
microphone and never mention it. It’s as if there’s an elephant in the room, and it’s
spraying out elephant diarrhea all over everyone, and no one’s mentioning it. It’s
surreal. My impulse is always to call people’s attention to the situation. Uh, the
elephant? Shitting on you?
—PAUL MOONEY'

Shakespeare can serve as an important signifier for the “native” and minority
cultures in a variety of locations as well as in conditions of contingency and flux. Of
course, there are no overall guarantees of a progressive outcome.
—JYOTSNA SINGH?

It’s like Shakespeare, with a nigga twist.


—AKALA®

fl:
Introduction
THE PASSING STRANGENESS OF SHAKESPEARE IN AMERICA

LIKE THE BLACK American comedian Paul Mooney, I find it impossible to ignore
the shitting elephant in the room. Notions, constructions, and performances of
race continue to define the contemporary American experience, including our
conceptions, performances, and employments of Shakespeare. When I teach
Shakespeare in my university classes, when I see a contemporary Shakespearean
production on film, the stage (see Figure 1.1), or the Internet, when I hear and see
allusions to Shakespeare in commercials, television shows, and the popular media,
I see race: whiteness, blackness, Hispanic-ness, Asian-ness, the normatively raced,
and the deviantly raced. It is always there; it is always present; it always impacts
the way Shakespeare is being employed. And, like Mooney, I am always surprised
when others don’t mention it—the good, the bad, and the ugly—because race is
the giant elephant in the room. Thus, Passing Strange is my attempt “to call people's
attention to the situation.” It is my attempt to bring contemporary race studies
and contemporary Shakespeare studies into an honest and sustained dialogue.
4 Passing Strange

It is probably worthwhile at this early moment to define what I mean by “Shake-


speare” and “race.” Both terms are loaded in unique ways in popular American
parlance, and I want to be sure that their multivalent meanings are understood
from the beginning of this book. While William Shakespeare was a sixteenth- and
seventeenth-century British playwright, his name is not consistently employed in
common discourse to refer to this historical figure alone. Rather, Shakespeare is
often used to mean his now-canonical body of work: a synecdoche of sorts in
which the name Shakespeare stands in for his entire creative output. But the name
is also employed to signify a mythical fantasy about the author as a symbol for
artistic genius, or as a symbol for the difficulty of the work created by that genius.
While some scholars employ quotation marks to denote the difference between
the historical figure, Shakespeare, and the symbols his name may evoke, “Shake-
speare,” I am not convinced these differences can be easily, or neatly, disentangled
in contemporary American parlance. Therefore, I do not employ the quotation
marks, even when I am clearly evoking Shakespeare-as-symbol.? I think it is impor-
tant to keep all of the meanings, references, and ambiguities in play just as many
of the modern employments of his name capitalize on these multiplicities. It is all
Shakespeare.
Race likewise has multiple, and at times contradictory, uses in contemporary
American discourse. While, in the most basic sense, race is the categorization of
humans into groups based on heritable traits, many Americans have a limited
notion of heritable traits as only referring to skin color (black, white, brown, etc.),
facial features (lips, noses, eye shape/size, etc.), and hair type (straight, curly,
kinky, etc.). Based on these traits, many would identify the races as white/Cauca-
sian, black/African, and Asian. At times Hispanic/Latino/Chicano and Native
American/American Indian are identified as races, and at other times they are
identified as ethnicities. When Americans use the word race, it is often difficult to
discern what they include in the term and what they exclude. If this is not mud-
dled enough, there are times when race is also used to signify a set of cultural
practices, such as specific ways of speaking, cooking, eating, and socializing and
the historical narratives created that relate to these cultural practices. And there
are also times when race is used to denote only nonwhite people, as if white Amer-
icans have no race.’ While I do not agree with all of these uses, I want to keep the
multivalent meanings for race in play, as with my use of Shakespeare, within
Passing Strange. Part of the tension that arises when one discusses Shakespeare
and race together is that one must interrogate which definitions are being
employed, and which are being elided, at any particular moment.
So when does the pairing of Shakespeare and race occur? And when it occurs, is
it worthy of a book-length examination? Is the pairing not just a sign of the social
Introduction 5
progress being made in contemporary America? It is generally assumed that
contemporary Shakespeare studies and Shakespearean performance have
benefited from an attention to, and the incorporation of, race studies. Our
increased knowledge about the complexity of the Renaissance world (through
increased international trade) and our incorporation, or explicit rejection, of that
knowledge in modern performances seems to have enhanced our understanding
of Shakespeare. Although there are still skeptics who argue that it is anachronistic
to analyze depictions and constructions of race in Renaissance texts, many others
have integrated aspects of race studies into their research and performances.
It has yet to be debated, however, whether race studies and racial activism
benefit from Shakespeare. Passing Strange analyzes how well and how comfortably
Shakespeare and race fit together in the American imagination through an exami-
nation of specific moments in contemporary film, novels, theatre, prison pro-
grams, programs for at-risk youth, Internet postings, and scholarship. Far from
offering one set of answers to these questions, Passing Strange demonstrates both
how and why instability is the nature of the relationship between Shakespeare and
race in American popular culture. In fact, Passing Strange might just be a manifesto
advocating for the maintenance of that instability, but more on that later.
Two anecdotes exemplify the push and pull between Shakespeare and race in the
American imagination. Anecdote One: At a recent Shakespeare conference, a scholar
delivered a paper about the need for Shakespeareans to get out into “the commu-
nity” to deliver Shakespeare to “the people.” She told a story about an illiterate,
black, recovering drug addict who was learning to read by studying Shakespeare’s
plays. Her message was that this black man was being freed by Shakespeare; he was
being freed from the shackles of his illiteracy and drug dependence through the
richness of Shakespeare’s language and stories. In her story Shakespeare was con-
structed as an essential tool in both this black man’s recovery and advancement.
Anecdote Two: At the same conference I asked a colleague about another black
Shakespearean whom | had not seen, and my colleague said, “It’s great, isn’t it? She
has been freed from Shakespeare to focus on race.” My colleague’s message was that
our friend was finally free to pursue a project that was devoted to issues of racial
justice; she was freed from the shackles of Shakespeare to investigate topics of real
and immediate social relevance. In this comment Shakespeare was constructed as
an essential obstacle in the pursuit of racial justice.
These anecdotes neatly encapsulate the linguistic and theoretical extremes of
the debate this book seeks to address. The notion of being freed by Shakespeare
encourages espousing and promoting an uncomplicated view of Shakespeare's cul-
tural capital: Shakespeare can uplift the people because his works are aesthetic
masterpieces that speak to all humans, in all times, in all cultures. The notion of
6 Passing Strange

being freed from Shakespeare constructs Shakespeare studies as an obstacle that


must be overcome to conduct research on contemporary race issues: Shakespeare
can oppress the people because the promotion of his universality makes white,
Western culture the norm from which everything else is a lesser deviation. Or to
frame the extremes in another way, while it is often assumed that Shakespeare's
plays are not only universal and timeless but also humanizing and civilizing, it is
also assumed that Shakespeare may actually disable the advancement of racial
equality. As Jyotsna Singh (cited as the second epigraph for this chapter) saliently
warns, when it comes to Shakespeare and Shakespearean appropriations, “there
are no overall guarantees of a progressive outcome.”
Of course, these are the extremes of the debate. Passing Strange examines the
greyer areas between American constructions of Shakespeare and American con-
structions of race by asking: How is Shakespeare’s universalism constructed within
explicit discussions and debates about racial identity? Is there a value to claims to
an essentialized racial identity for Shakespeare (e.g., Shakespeare was black, a
woman, a Jew, etc.)? How should Shakespeare’s Moors be performed on the con-
temporary stage, and how does, or should, our understanding of the original
staging practice of blackface impact these ideas and practices? Of what benefit is
the promotion of Shakespeare and Shakespearean programs to incarcerated and/
or at-risk persons of color? Are the benefits merely tied to the aesthetic value of
Shakespeare, or is there some other value that providing access to Shakespeare’s
works affords these populations relative to their life experiences and circumstances?
Do Shakespeare’s plays need to be edited, appropriated, revised, updated, or re-
written to affirm racial equality and relevance? Do the answers to these questions
impact our understanding of authorship, authority, and authenticity? How do per-
formances involving actors of color affect contemporary notions of Shakespeare’s
racial politics, and does the medium employed (film, television, stage, Internet,
etc.) alter these receptions? What does the history of Shakespearean scholarship
and performance tell us about the possibilities for employing Shakespeare as a
theoretical and practical tool for negotiating contemporary race relations?
I include one line from the chorus to the song “Shakespeare” from Akala, a
young, black hip-hop artist, as the third epigraph for this chapter because the
lyrics clearly articulate the distance between the popular image of Shakespeare
and the popular image of black culture. “It’s like Shakespeare, with a nigga twist”
implies that Shakespeare does not already have a “nigga twist” within it. Whatever
the “nigga twist” is imagined to be, it must be added to Shakespeare. This book
explores the way the distances and proximities between popular constructions of
Shakespeare and popular constructions of racial identity are forged. It asks who
and what benefit from thinking about adding a “nigga twist” to Shakespeare.
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