Author(s): Åengül KOCAMAN
There is no shortage of writers and playwrights with a scale that allows them to shine around the world; without going back to Greek or Latin antiquity, let us quote, in France: Molière, Racine, Corneille and, closer to us: Anouilh, Giraudoux, Ionesco, Camus, Sarraute, Sartre, Duras, etc. There are also, in Europe, Brecht, Beckett, Dostoevsky, Pirandello, Goldoni, Ibsen, etc. How to explain that only one of these authors, namely Shakespeare, has achieved the feat that established himself as the playwright par excellence of globalization? Shakespeare's theater contains, indeed, a palette of characters, sites and customs borrowed from the four corners of the world, a palette as one does not find in any of its confreres. The main interest of these "markers" is that they belong to societies often distant from Europe. In this article, we will content ourselves with a quick overview of the most relevant markers in question, which are all points of fixation intended to sharpen the interest of the most diverse audiences.
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