¿Shakespeare para todos?

Santos, Kathryn Vomero

doi:10.1093/sq/quac044

Shakespeare Quarterly

2022

DOI: 10.1093/sq/quac044

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¿Shakespeare para todos?

Kathryn Vomero Santos¹

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“…18 18 Other recent productions include a 2010 Macbeth set amid the cartels in Ciudad Juárez, directed by Naomi Buckley at California State University, Dominguez Hills; Sicario/Macbeth , a 2013 production that weaves Shakespeare's play with the autobiography of a sicario who worked for the cartels, created by Veronica Santoyo and performed at Naropa University; and El Beto , a bilingual 2016 puppet adaptation created and performed by Kalob Martinez at the University of Connecticut. For an analysis of El Beto , see Santos (2022). …”

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Seeing Shakespeare: Narco narratives and neocolonial appropriations of Macbeth in the US–Mexico Borderlands

Santos

2022

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This essay examines the racializing logics and consequences of drawing analogies between the works of William Shakespeare and the devastatingly violent realities of the drug trade in the Americas. The particular prominence of Macbeth in the wide range of Shakespearean invocations and appropriations in contemporary US narratives about narcotrafficking cannot be attributed simply to the fact that it is a tale of bloody ambition. Rather, the repeated mapping of a play that comes to its conclusion with an English military invasion of its “barbarous” Scottish neighbors onto the US–Mexico Borderlands speaks to much deeper histories of colonial conquest and to neocolonial interventionist policies and actions of the present. The essay concludes by turning to two recent instances in which theater artists have translated and significantly revised Macbeth in order to reframe dominant narratives about narcotrafficking, racial supremacy, and the border. These productions demonstrate the disruptive and transformative potential of Shakespearean appropriations that resist neocolonial power structures and ideologies.

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Seeing Shakespeare: Narco narratives and neocolonial appropriations of Macbeth in the US–Mexico Borderlands

Santos

2022

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“Th’oppressor’s wrong,” or, what’s Hamlet to the Borderlands?

Santos

2024

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This article offers a critical analysis of two poetic appropriations of Hamlet’s “To be or not to be” soliloquy: “El Hamlet Fronterizo” by Guillermo Gómez-Peña and “To be a Pocha or not to be” by Iris De Anda. Both poets use the languages, geographies, and ontological concerns of the US–Mexico Borderlands to reimagine the Danish prince’s famously introspective speech as a performance text that reflects their lived experiences and consciousnesses as border subjects. For Gómez-Peña and De Anda, the figure of Hamlet becomes a means through which to reject Western colonial worldviews, to refuse assimilation, and to center Borderlands ways of knowing, being, and doing. When Hamlet’s soliloquy is reimagined in these ways, the most urgent question is not whether or not to be but rather what it means to be someone whose existence is made vulnerable precisely because it exceeds the increasingly policed boundaries of nation, language, race, and gender.

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¿Shakespeare para todos?

Cited by 2 publications

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Seeing Shakespeare: Narco narratives and neocolonial appropriations of Macbeth in the US–Mexico Borderlands

Seeing Shakespeare: Narco narratives and neocolonial appropriations of Macbeth in the US–Mexico Borderlands

“Th’oppressor’s wrong,” or, what’s Hamlet to the Borderlands?

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