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The production, enabled by the British Council, was first presented to an audience of 3, people in Banktapur Burbar Square, one of the most prominent heritage sites of Nepal. The atmosphere must have been magical — and challenging to recreate, in the intimate Blue Room at Southbank Centre, this time with a much smaller audience of around In fact, with its musical accompaniments and dramatic and emotional performances, it might well have passed as a popular Nepali soap opera on prime time television.
Furthermore, the resonances with contemporary Nepali politics are clear. This production left no doubt about how well Shakespeare translates into the South Asian context.
The start of the 17th century, when Shakespeare was writing, was also the time when the East India Company was formally set up, instigating a process which ultimately resulted in the subjugation of India under British rule. So the question of whether Shakespeare should occupy such a great status in South Asian education and theatre today, compared to native greats like Kalidas and Tagore, is therefore unavoidable.
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Speaking separately to www. Contemporary Indian adaptations of Shakespeare are no longer a way of seeking the approval of the western market, but as vehicles to talk about contemporary Indian social and political issues.
At an intimate panel discussion also held on the weekend as part of Alchemy Festival, Thompson told the room about deliberately making his Hamlet production as Nepali and as political as possible, instead of treating it as a foreign play in translation. He also claimed that there is a big difference between Britain taking Shakespeare abroad, and other countries and cultures creating their own Shakespeares.