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Khalid Amine

A corpus of plays related to Shakespeare has developed within the

newly established genre of drama in Morocco since its independence

in 1956. Most of these dramas are part of the process of constructing

Moroccan cultural/theatrical identity. The various Shakespearean

manifestations are, indeed, attempts to make a theatrical space by

altering or reproducing the Shakespearean myth. However, in order to

conceive of Moroccan dramatic texts related to Shakespeare as cultural

utterances, we must read them with and within the parameters of a

series of overlapping discursive contexts. These contexts, as I hope

to demonstrate, create the conditions within which these hybridized

texts take on their complex cultural signifi cation.

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Khalid Amine and Nabyl Lahlou

On Arab stages, Shakespeare’s tragedies have a particular and exciting history, the roots of which go back to the nineteenth century. The various manifestations of Shakespeare in Arabic have oscillated between reproducing his work in the early translations of the late nineteenth century on the one hand and, on the other, adapting and rewriting the texts in order to set them in Arabic contexts.