3 See J. Sanders, Adaptation and Appropriation, Abingdon and New York, Routledge, 2006, p. 48: “Performance is an inherently adaptive art; each staging is a collaborative interpretation, one which often reworks a playscript to acknowledge contemporary concerns or issues”.
4 Ibidem, pp. 45-46.
5 D. Lanier, Shakespearean Rhizomatics: Adaptation, Ethics, Value, in Shakespeare and the Ethics of Appropriation, edited by A. Huang and E. Rivlin, Basingstoke and New York, Palgrave Macmillan, 2014, p. 32.
6 See J. Sanders, Adaptation and Appropriation, cit., p. 52.
7 V. M. Vaughan and A. T. Vaughan, Introduction, in W. Shakespeare, The Tempest, edited by V. M. Vaughan and A. T. Vaughan, London, Thomson Learning, 2006, p. 1. It is important to note that, through its exceptional variety of recontextualisations and renditions, The Tempest “has helped shape three contemporaneous movements - postcoloniality, postfeminism or postpatriarchy, and postmodernism - from the 1960s to the present” (C. Zabus, Tempests after Shakespeare, Basingstoke and New York, Palgrave, 2002, p. 1).
8 V. M. Vaughan and A. T. Vaughan, Introduction, cit., p. 1.
9 See ibidem, p. 41.
10 C. DiPietro, Performing Place in “The Tempest”, in Shakespeare and the Urgency of Now: Criticism and Theory in the 21st Century, edited by C. DiPietro and H. Grady, Basingstoke and New York, Palgrave Macmillan, 2013, p. 85.
30 This prestigious position was established by the Scottish Parliament in 2004. In that year Edwin Morgan became Scotland's first official national poet, succeeded by Liz Lochhead in 2011 and Jackie Kay in 2016. See A. Scullion, A Woman's Voice, in The Edinburgh Companion to Liz Lochhead, edited by A. Varty, Edinburgh, Edinburgh University Press, 2013, p. 116.
31 A. Varty, Liz Lochhead's Theatre for Children and Young People, ibidem, p.