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Theatre and Ideology

Staging The Merchant of Venice at the Hungarian National Theatre in 1940 and 1986

Zoltán Imre

The National Theatre and Merchant in 1940 In the right-wing context of the 1930s, the National Theatre served the right-wing ideas of the Horthy regime and represented Hungary as a unified nation and state. In this context, the National Theatre

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Shylock in Buchenwald

Hanan Snir’s Israeli-German Production (Weimar 1995)

Gad Kaynar-Kissinger

’). 1 This observation is profoundly and poignantly applicable to the Israeli director Hanan Snir’s production of European Judaism · Volume 51, No. 2, Autumn 2018: 165-174 Merchant at the Weimar National Theatre (April 1995), a hallucinatory and

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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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Teatrum Mundi

Teaching Shakespeare Performance to Israeli Medical Students

Rebecca Gillis

Lear are from The New Cambridge Shakespeare edition, ed. Jay L. Halio (Cambridge: Cambridge University Press, 1992). 16 King Lear , dir. Richard Eyre, The National Theatre, London, 1998, broadcast on the education channel of the Israel Broadcasting

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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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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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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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Wrestling with Shylock

Contemporary British Jewish Theatre and Shakespeare’s The Merchant of Venice

Jeanette R. Malkin and Eckart Voigts

’s National Theatre from 2003 to 2015, suggested in his letter to us that while antisemitic stagings of the play have become almost extinct now, the play itself continues to cause trouble because of the antisemitism that pervades its discourse. It is, he

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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