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date: 01 April 2020

Abstract and Keywords

This chapter offers new readings for Shakespeare and dance through a transmodern reading of The Bitter End of Rosemary (2011) and an understanding of the rise of South African choreographer Dada Masilo. A contextualisation of post-apartheid dance (based on Friedman, 2012) and the postcolonial revisions of Shakespearian texts (after Loomba and Orkin, 1998) in South Africa precedes insights into the nascent body of work by Masilo, one of the key women to be recognized both locally and internationally as a choreographer interested in reworking established works. Masilo’s The Bitter End of Rosemary (2011) is analyzed against its exportation across European contexts and the reception of the work within South Africa. The chapter concludes that Masilo’s work is complex across both textual and cultural dimensions, and that the shards of performance histories suggest the nature of a transmodern condition against the thematics of rethinking Shakespearian narratives within the field of dance.

Keywords: post-apartheid, South Africa, contemporary dance, postcolonial, Shakespeare, Hamlet, Ophelia, transmodern dance

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