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, 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

–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

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

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

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

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

. 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

‘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

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