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The Tunisian Stage

Shakespeare's Part in Question

Rafik Darragi

Last March, a well-known Tunisian critic wondered about the motivations that had led Mohamed Driss, the head of the Tunisian National Theatre and one of the greatest directors in the country, to direct a Shakespeare play: What is today the purpose of reproducing a Shakespearean tragedy, when all over the world directors are desperately searching for new creative ways, new means for attracting a public who is more and more disinterested by the theatre?

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Karma Sami

, Christopher Plummer’s Hamlet at Qasr el-Nil and Karam Mutawi’s Hamlet at the Egyptian National Theatre. We were modern and experimental’. 5 Aboudoma’s text ends with a punchline sadly alluding to Sadat’s notorious infitāḥ (free market), with the Russian

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Safi Mahmoud Mahfouz

–1943), used theatre as a mouthpiece to disseminate his fascist ideology and personality cult, citing the frequent staging of Julius Caesar in Italian national theatres as an attempt to portray Il Duce as a protector of the proletariat and to reinforce

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The Perfect, Impossible Love

Three Egyptian Film Adaptations of Romeo and Juliet

Rafik Darragi

Shakespeare translator who settled in Egypt and headed the Egyptian National Theatre in Cairo, and who wrote Volpe’s screenplay. Egypt’s new film industry brought immediate and great financial, social and cultural benefit. Contrary to the early history of the

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Shakespeare in Sarajevo

Theatrical and Cinematic Encounters with the Balkans War

Sara Soncini

aiming to reconstruct a shared narrative about the bloody ethnic conflicts that had ravaged the Balkan region during the 1990s. This aspect became even more prominent when the National Theatres of Serbia and Albania were invited to join the National

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Egypt between Two Shakespeare Quadricentennials 1964–2016

Reflective Remarks in Three Snapshots

Hazem Azmy

of King Lear . For an illustration of this statement one needs to go no futher than the example of the National Theatre’s blockbuster 2002 production of the play, which was directed by veteran director Ahmed Abdel Halim (1934–2013). Abdel Halim was

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Christine Regan

could be written by someone from the northern working class, during the intermission at a production of his adaptation of Molière’s The Misanthrope (1973) at the National Theatre in London: ‘He has such a command over language, but they say he comes

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‘Abd al-Raḥīm Kamāl’s Dahsha

An Upper Egyptian Lear

Noha Mohamad Mohamad Ibraheem

. In 2001 and for five consecutive seasons, Fakharānī played Lear in Shakespeare’s play, staged at the National Theatre in classical Arabic using translations by professors Mohamed Enani and Fatma Moussa Mahmoud. Noting how Egyptian audiences empathize

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The Taming of the Tigress

Faṭima Rushdī and the First Performance of Shrew in Arabic

David C. Moberly

‘official’ government-sanctioned theatre saw less and less of the vernacular. In 1935, the government established the National Theatre Troupe, which, backed by some of the biggest names of the time in Egyptian literature and theatre, such as Taha Hussein

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Othello in Oman

Aḥmad al-Izkī’s Fusion of Shakespeare and Classical Arab Epic

Katherine Hennessey

even social commentary thus tends to be oblique and coded – as this article argues is the case with The Dark Night . Al-Izkī created The Dark Night for the 2010 Gulf Youth Theatre Festival, hosted that year by Qatar at the National Theatre in Doha