This article begins with Ania Loomba's well-known position that analysing intercultural Shakespeare requires an understanding that 'Shakespeare' becomes 'local' in some new contexts and rendered 'foreign' in others. From Loomba's argument, we can suggest that just as 'Shakespeare' continues to be altered, so should the concept of 'location' (whether 'foreign' or 'local') be seen to transform and even to multiply. In attempting to pinpoint the significance of 'location' in this context, the author addresses the relationship between local and foreign in two plays that are loosely based on Shakespeare's Othello: Ong Keng Sen's Desdemona (2000) and Djanet Sears's Harlem Duet (1997). These two plays explore the meaning of 'local' and even of location itself; while Harlem Duet constructs a poetics of displacement in the context of a politics of location, Desdemona's focus on the poetics of displacement to the virtual exclusion of a politics of location reduces its potential to achieve its cultural and political goals.
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机译：本文从Ania Loomba的著名立场开始，即分析跨文化莎士比亚需要理解“莎士比亚”在某些新环境中变成“本地”而在其他新环境中变成“外国”。从Loomba的观点来看，我们可以建议，就像“莎士比亚”在继续被改变一样，“位置”（无论是“外国”还是“本地”）的概念也应该被改变甚至增加。为了在这种情况下指出“位置”的重要性，作者在两部戏剧的基础上，从莎士比亚的《奥赛罗》（Og Keng Sen's Desdemona（2000）和Djanet Sears的Harlem Duet（1997））松散地论述了本地与外国之间的关系。这两部剧探讨了“本地”甚至位置本身的含义。尽管哈林·杜特（Harlem Duet）在位置政治的背景下建构了流离失所的诗学，但德斯迪蒙纳（Desdemona）对流离失所的诗学的关注，实际上是对位置政治的排斥，降低了其实现文化和政治目标的潜力。
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