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Moroccan Shakespeare and the Celebration of Impasse: Nabil Lahlou's Ophelia Is Not Dead

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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