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One country, two Shakespeares
Author(s)
Date Issued
2021
Citation
Bale, R. (2 Apr 2021). One country, two shakespeares. 49th Annual Meeting of Shakespeare Association of America, Online.
Type
Conference Paper
Abstract
The past year has been the most tumultuous in Hong Kong’s post-colonial history. Since the 1997 handover, the city has been engaged in a political, economic and cultural struggle to create its identity as an exemplar of the ‘one country, two systems’ formula. The Basic Law which serves as Hong Kong’s mini-constitution guaranteed the city’s autonomy for fifty years. In 2019, the attempt to pass an extradition bill allowing suspects to be sent to other countries, including Mainland China, resulted in large and latterly violent demonstrations at the perceived erosion of Hong Kong’s autonomy.
This paper aims to examine what role Shakespeare plays in Hong Kong now. His presence remains in university courses, English-medium high schools and a thriving arts scene. It also figures as a form of social capital; familiarity with a type of Western-centric culture often distant from actual attendance at performances. His plays are also broadcast through the National Theatre in cinemas and other events sponsored by elements of soft power like the British Council. Though Britain’s influence has waned as America’s has grown, in both cultural and political fields, Shakespeare remains. Yet, Hong Kong is not a post colony. It was handed from one (declining or already obsolete depending on your viewpoint) empire to one that was rising (and continues to do so). In a liminal space where no liminality is allowed, what purpose can or does Shakespeare serve?
This paper aims to examine what role Shakespeare plays in Hong Kong now. His presence remains in university courses, English-medium high schools and a thriving arts scene. It also figures as a form of social capital; familiarity with a type of Western-centric culture often distant from actual attendance at performances. His plays are also broadcast through the National Theatre in cinemas and other events sponsored by elements of soft power like the British Council. Though Britain’s influence has waned as America’s has grown, in both cultural and political fields, Shakespeare remains. Yet, Hong Kong is not a post colony. It was handed from one (declining or already obsolete depending on your viewpoint) empire to one that was rising (and continues to do so). In a liminal space where no liminality is allowed, what purpose can or does Shakespeare serve?
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