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Shakespeare in Sarajevo

Theatrical and Cinematic Encounters with the Balkans War

Sara Soncini

Abstract

Looking at contemporary conflict through the lens of the past has been a prominent aspect of Shakespeare’s afterlife. Even today, his plays continue to be mobilized in the Balkan region in order to address the aftermath of ethnic violence. This article focuses on theatrical and cinematic takes that are chronologically close but geographically distant from the Yugoslav context. Katie Mitchell’s staging of 3 Henry VI (1994), Sarah Kane’s play Blasted (1995) and Mario Martone’s documentary-style film, Rehearsal for War (1998) were all prompted by a deep-felt urge to confront the Bosnian war and reclaim it from the non-European otherness to which it systematically became confined in public discourse at the time. In Shakespeare, these artists found a powerful conceptual aid to universalize the conflict, as well as a means to address their discursive positioning as outsiders and its problematic implications.

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The Perfect, Impossible Love

Three Egyptian Film Adaptations of Romeo and Juliet

Rafik Darragi

which favoured poetry over other forms of art, Haddād’s play, like most Shakespearean adaptations, was in rhymed poetry and included songs. (It was only in 1936 that ‘Alī Āhmad Bākathīr translated Shakespeare’s Romeo and Juliet , rendering it in an

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Graham Holderness

Survey 19, no. 3 (December 2007): 106–25, and ‘“Silence Bleeds”: Shakespeare across Borders. The Shakespearean Adaptations of Sulayman Al-Bassam’, European Journal of English Studies 12, no. 1, New Englishes (Spring 2008): 59–77. 6 E.g. my

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Matthew Zarnowiecki

York City landscape, with pins for each individual film’s location, and with a blue dot indicating the reader-viewer’s location in this landscape. This feature of TSP encapsulates its novelty in the field of Shakespearean adaptations. Cohen and Legault