Adele Seeff  is an independent scholar and lecturer. From 1986 to 2011, she directed the Centre for Renaissance & Baroque Studies, University of Maryland, College Park. She established the conference series, "Attending to Early Modern Women," co-edited seven volumes of conference proceedings, and co-founded the Early Modern Women Journal. Her research on Shakespeare and performance has appeared in academic journals and anthologies. She was born in Johannesburg, South Africa.

1. Introduction.- 2. The African Theatre, Cape Town, 1801.- 3. The Shakespeare Diaspora.- 4. André Brink's Kinkels innie Kabel: Political Vision and Linguistic Virtuosity.- 5. John Kani as Othello at the Market Theatre, Johannesburg.- 6. Shakespeare in Mzansi.- 7. Afterword.

This volume considers the linguistic complexities associated with Shakespeare's presence in South Africa from 1801 to early twentieth-first century televisual updatings of the texts as a means of exploring individual and collective forms of identity. A case study approach demonstrates how Shakespeare's texts are available for ideologically driven linguistic programs. Seeff introduces the African Theatre, Cape Town, in 1801, multilingual site of the first recorded performance of a Shakespeare play in Southern Africa where rival, amateur theatrical groups performed in turn, in English, Dutch, German, and French. Chapter 3 offers three vectors of a broadening Shakespeare diaspora in English, Afrikaans, and Setswana in the second half of the nineteenth century. Chapter 4 analyses André Brink's Kinkels innie Kabel, a transposition of Shakespeare's The Comedy of Errors into Kaaps, as a radical critique of apartheid's obsession with linguistic and ethnic purity. Chapter 5 investigates John Kani's performance of Othello as a Xhosa warrior chief with access to the ancient tradition of Xhosa storytellers. Shakespeare in Mzansi, a televisual miniseries uses black actors, vernacular languages, and local settings to Africanize Macbeth and reclaim a cross-cultural, multilingualism. An Afterword assesses the future of Shakespeare in a post-rainbow, decolonizing South Africa. Global Sha

Any reader interested in Shakespeare Studies, global Shakespeare, Shakespeare in performance, Shakespeare and appropriation, Shakespeare and language, Literacy Studies, race, and South African cultural history will be drawn to this book.