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.
Nabil Lahlou's Ophelia Is Not Dead
An Interview with Nabyl Lahlou
Khalid Amine and Nabyl Lahlou
Translator : Katherine Hennessey
Khalid Amine, Mark Bayer, Rafik Darragi, Sameh F. Hanna, Graham Holderness, Margaret Litvin and Bryan Loughrey
Notes on contributors