The book “The Great White Bard: How to Love Shakespeare While Talking About Race” by Farah Karim Cooper explores the intersection of Shakespeare’s works with contemporary conversations about race. Cooper, who serves as the Director of Education at Shakespeare’s Globe Theatre and is a professor of Shakespeare studies at King’s College London, offers a nuanced examination of Shakespeare’s plays in relation to issues of race, gender, and identity.

One of the central arguments of the book is the necessity of reevaluating Shakespeare’s place in modern discourse. Cooper challenges the traditional perception of Shakespeare as a timeless literary figure, arguing that his works are often imbued with racial biases and stereotypes reflective of the socio-political climate of his time. Through a critical lens, Cooper urges readers to acknowledge and confront the problematic aspects of Shakespeare’s writings while also recognizing their enduring relevance and potential for interpretation.

Throughout the book, Cooper analyzes specific plays such as “Othello” and “Much Ado About Nothing,” highlighting instances of racial language and portrayals that perpetuate stereotypes. She emphasizes the importance of contextualizing Shakespeare’s works within their historical and cultural framework, encouraging readers to engage with the text critically rather than passively accepting it at face value.

Moreover, Cooper explores the impact of staging Shakespeare’s plays in contemporary theater settings, particularly regarding the portrayal of race on stage. Drawing from her own experiences working with actors and directors, she discusses the challenges of navigating racially-charged language and themes in performance, as well as the potential for reinterpreting Shakespeare’s works through a lens of diversity and inclusion.

In terms of implications for postsecondary institutions, Cooper’s book offers valuable insights for educators and theater practitioners involved in teaching and producing Shakespearean works. It underscores the importance of creating inclusive learning environments that acknowledge the diversity of perspectives and experiences among students. Additionally, Cooper’s discussions on staging and performance provide useful guidance for directors and actors seeking to navigate sensitive racial themes in their productions.

Key takeaways from “The Great White Bard” include the necessity of critically engaging with Shakespeare’s works, acknowledging their historical context, and fostering inclusive interpretations that resonate with contemporary audiences. By grappling with the complexities of race and identity within Shakespearean texts, educators and theater professionals can contribute to more nuanced and socially relevant discussions surrounding the enduring legacy of the Bard.