tag:blogger.com,1999:blog-25439911142522945762024-03-14T01:58:27.357-07:00Shakespeare in the Arab WorldOn Shakespeare translations, productions, adaptations, spin-offs, and parodies in Arab countries as well as Arab-themed Shakespeare uses elsewhere. Comments and suggestions to arabshakespeare [at] gmail.com.Anonymoushttp://www.blogger.com/profile/13582700699596056502noreply@blogger.comBlogger231125tag:blogger.com,1999:blog-2543991114252294576.post-23930082281325885422017-07-28T09:37:00.001-07:002017-07-28T10:44:45.654-07:00Arabic News Site Casts Trump as a Character in Taming of the Shrew<div dir="ltr" style="text-align: left;" trbidi="on">
<i>Al-Quds Al-Arabi</i>, an Arabic-language news source out of Jerusalem, recently published an essay entitled: "The Taming of Trump and his Appeasement." The piece compares world leaders' attempts to negotiate and deal with Trump to Petruchio's taming of Katherine. The following is a rough translation of the essay's opening:<br />
<br />
<i>One of William Shakespeare's plays, "The Taming of the Shrew," tells the story of a rich young man marrying the famous daughter of a successful merchant father who is famous for her recklessness and cruelty. His use of many tricks to tame her, ranging from violence to claimed madness to denial of the comforts of life, made her, after a lengthy conflict with her intelligent husband, the most obedient of her father's daughters, and her inheritance doubled!</i><br />
<br />
<i>The play, perhaps because of its comedic character, is suitable as a political approach to the ways in which world leaders have treated US President Donald Trump, who is also famous for a history that combines television entertainment and significant wealth with reckless populist policies that strike left and right and call for severe reactions from foreign countries, from judicial and political institutions, and from the American and global media.</i><br />
<i><br /></i>
A number of things are striking in this comparison, not the least of which is the recasting of Trump, who boasts a masculinized persona, as a Katherine who must be tamed by more reasonable forces around him. I wonder if the author has ever read <i>The Tamer Tamed</i>?<br />
<i><br /></i>
<i>Source: http://www.alquds.co.uk/?p=755314</i></div>
Anonymoushttp://www.blogger.com/profile/13582700699596056502noreply@blogger.com0tag:blogger.com,1999:blog-2543991114252294576.post-70561959247891973402016-12-15T08:02:00.000-08:002016-12-15T10:16:10.038-08:00Says Othello: "Remember Aleppo"<div dir="ltr" style="text-align: left;" trbidi="on">
Arabi21 News recently published a <a href="http://arabi21.com/story/964720/%D8%AD%D9%84%D8%A8-%D9%85%D8%AE%D8%A7%D9%88%D9%81-%D9%85%D9%86-%D8%B3%D9%82%D9%88%D8%B7-%D9%85%D8%AA%D9%88%D9%82%D8%B9-%D9%81%D9%8A-%D8%AC%D8%AD%D9%8A%D9%85-%D8%A7%D9%84%D9%85%D8%B0%D8%A8%D8%AD%D8%A9">portrait of Aleppo in anticipation of its fall</a>. Much of the article is an effort to emphasize the deep history of the city and its people. Alongside reminders that the city is among the oldest in the world, and listed among its contributions to world culture, the article states:<br />
<br />
"Among the witnesses of Aleppo's public renown is that it is mentioned twice in the stories and plays of William Shakespeare, in <i>Macbeth</i> and in <i>Othello</i>."<br />
<br />
The passages in question are, of course, the words of the First Witch in <i>Macbeth, </i>Act 1, Scene Three: "Her husband's to Aleppo gone, master o' the Tiger," a reflection of the city's place in the economy of Jacobean England, and of Britain's shipping ties in the Mediterranean.<br />
<br />
The second is far more famous, as Othello's final speech before his death in Act 5, Scene 2, in which he describes his killing a Turk who had beaten a Venetian:<br />
<br />
Soft you; a word or two before you go.<br />
I have done the state some service, and they know't.<br />
No more of that. I pray you, in your letters,<br />
When you shall these unlucky deeds relate,<br />
Speak of me as I am; nothing extenuate,<br />
Nor set down aught in malice: then must you speak<br />
Of one that loved not wisely but too well;<br />
Of one not easily jealous, but being wrought<br />
Perplex'd in the extreme; of one whose hand,<br />
Like the base Indian, threw a pearl away<br />
Richer than all his tribe; of one whose subdued eyes,<br />
Albeit unused to the melting mood,<br />
Drop tears as fast as the Arabian trees<br />
Their medicinal gum. Set you down this;<br />
And say besides, that in Aleppo once,<br />
Where a malignant and a turban'd Turk<br />
Beat a Venetian and traduced the state,<br />
I took by the throat the circumcised dog,<br />
And smote him, thus. [<i>Stabs himself</i>]<br />
<br />
In a way, it is poignant that defenders of such a great city cite as evidence of its humanity the words of a writer such as Shakespeare. Syrians, after all, do not need Shakespeare in order to be human. There is much in Aleppo's history that is admirable and noteworthy, aside from two brief mentions by a writer from an island far away.<br />
<br />
And yet, <a href="https://www.youtube.com/watch?v=TtRjkA9lXSY">in light of current events</a>, there is something very fitting in the fact that one of Shakespeare's most tragic characters ends his role with a speech that essentially says:<br />
<br />
"Remember Aleppo"</div>
Anonymoushttp://www.blogger.com/profile/13582700699596056502noreply@blogger.com0tag:blogger.com,1999:blog-2543991114252294576.post-26905495502350634502016-09-21T16:43:00.000-07:002016-12-15T07:31:11.619-08:00New Translation of Midsummer Night's Dream in Egyptian Colloquial Arabic<div dir="ltr" style="text-align: left;" trbidi="on">
Abd al-Raheem Youssef has just published a new translation of Shakespeare's <i>Midsummer Night's Dream</i> in Egyptian colloquial Arabic. To my knowledge (and according to the translator), this is the first time anyone has undertaken such a project. Though there are a number of translations of <i>Midsummer</i> in Modern Standard Arabic, few exist in the Egyptian dialect. This is reflective of a growing trend of Shakespeare translations into colloquial Arabic. Certainly curious to see more!<br />
<div style="text-align: center;">
]<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8HDyVGEeZ9CpwSbFGjnFEC2y_shVbjVzegqoh-TtSf8v6BtD4dqD_s5UTCY00k8rh4eqINZD4ClI7rs4JnNJYyuzCLvLpl_dWn4jVI5lLw_XwgZLCcayjeQSIwvFOWmlP8Vhu_cvMPxI/s1600/Midsummer+in+Amiyya.jpg" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8HDyVGEeZ9CpwSbFGjnFEC2y_shVbjVzegqoh-TtSf8v6BtD4dqD_s5UTCY00k8rh4eqINZD4ClI7rs4JnNJYyuzCLvLpl_dWn4jVI5lLw_XwgZLCcayjeQSIwvFOWmlP8Vhu_cvMPxI/s320/Midsummer+in+Amiyya.jpg" width="224" /></a></div>
<br />
<br /></div>
Anonymoushttp://www.blogger.com/profile/13582700699596056502noreply@blogger.com0tag:blogger.com,1999:blog-2543991114252294576.post-68473109231719083922016-04-23T10:09:00.000-07:002016-04-23T10:30:54.130-07:00400th Anniversary updates<div dir="ltr" style="text-align: left;" trbidi="on">
Today being the 400th anniversary of Shakespeare's death, now seems as good a time as ever to highlight a few things that have happened in the world of Arab Shakespeare scholarship since Margaret Litvin "passed the torch" for this blog at the beginning of the year:<br />
<br />
Litvin's new book, co-edited by Marvin Carlson, recently came out. Entitled <i>Four Arab Hamlet Plays</i>, this collection features English translations of four prominent productions of <i>Hamlet</i> by Moroccan Nabyl Lahlou (<i>Ophelia is Not Dead, </i>1968), Syrian Mamduh Adwan (<i>Hamlet Wakes Up Late, </i>1976), Jordanian Nader Omran (<i>A Theatre Company Found a Theatre and Theatred "Hamlet," </i>1984), Iraqi Jawad al-Assadi (<i>Forget Hamlet, </i>1994). The book helps fill a growing need in global Shakespeare studies for similar translations in order expand the audience and readership of non-Anglophone Shakespeares. (<a href="http://www.amazon.com/Four-Hamlet-Plays-Marvin-Carlson/dp/099068475X">http://www.amazon.com/Four-Hamlet-Plays-Marvin-Carlson/dp/099068475X</a>)<br />
<br />
Another book by Sameh Hanna (University of Leeds), <i>Bourdieu in Translation Studies: The Socio-cultural Dynamics of Shakespeare Translation in Egypt</i>, was published by Routledge in late March. In it, Hanna explores Arabic translations of <i>Hamlet, Macbeth, Othello</i>, and <i>King Lear</i> in light of Pierre Bourdieu's "sociology of cultural production." (<a href="http://www.amazon.com/Bourdieu-Translation-Studies-Socio-cultural-Interpreting/dp/1138803626/ref=sr_1_1?s=books&ie=UTF8&qid=1461429735&sr=1-1&keywords=sameh+hanna">http://www.amazon.com/Bourdieu-Translation-Studies-Socio-cultural-Interpreting/dp/1138803626/ref=sr_1_1?s=books&ie=UTF8&qid=1461429735&sr=1-1&keywords=sameh+hanna</a>)<br />
<br />
On April 5, the Globe to Globe Hamlet tour, which consisted of a company of actors from Shakespeare's Globe in London performing <i>Hamlet </i>in every country in the world at least once, finished its tour of the Arab world with a performance in Erbil, Iraq. This tour included performances in the West Bank and in refugee camps near (but not within) Yemen and Syria, as well as two shows in Malta (in lieu of Libya). The group's visit to Saudi Arabia on January 9th likely marked the first professional production of <i>Hamlet </i>on Saudi soil. (<a href="http://globetoglobe.shakespearesglobe.com/hamlet/the-map/north-asia?date=01+Apr+2014">http://globetoglobe.shakespearesglobe.com/hamlet/the-map/north-asia?date=01+Apr+2014</a>)<br />
<br />
Lastly, this blog received a shout-out on <a href="http://arablit.org/">arablit.org</a> in a post by freelance journalist M. Lynx Qualey entitled "<a href="https://arablit.org/2016/04/23/arabic-shakespeares-from-theatre-to-tv-to-youtube/">Arabic Shakespeares: From Theatre to TV to YouTube</a>." The post features "out-takes" for another article of hers posted today at <i>The New Arab</i>: "<a href="https://www.alaraby.co.uk/english/society/2016/4/23/the-arabic-shakespeares-subversive-political-and-entertaining">The Arabic Shakespeares: Subversive, political, and entertaining</a>."<br />
<br />
In the near future, look forward to posts about the Shakespeare conference occurring today in Alexandria, Egypt (live-tweeted by <a href="https://twitter.com/GlobalShaxpeare">@GlobalShaxpeare</a>), as well as a prominent Egyptian Shakespeare scholar and translator of the 1920s and 30s who later immigrated to the United States and has been described as "immigrant zero" for Egyptian-Americans.<br />
<br /></div>
Anonymoushttp://www.blogger.com/profile/13582700699596056502noreply@blogger.com0tag:blogger.com,1999:blog-2543991114252294576.post-4707678134388012412016-01-15T00:49:00.004-08:002016-01-24T13:29:15.515-08:00Passing the baton<div dir="ltr" style="text-align: left;" trbidi="on">
After almost ten years of keeping up this blog -- sometimes obsessively, but alas often desultorily -- I'm delighted to hand it over to fellow Shaksbir-ologist David Moberly of the University of Minnesota. <br />
<br />
Trained as a <a href="https://umn.academia.edu/DavidMoberly">bona fide early modernist</a> ("Turk" dramas, captivity narratives), David has more recently turned to modern Arabic adaptations of Shakespeare (1927-present). He has already been running a fantastic <a href="https://www.facebook.com/arabshakespeare/">Facebook feed of Shakes-related Arabic news and cultural production</a>, and he has contributed <a href="http://globalshakespeares.mit.edu/beware-of-eve-abdel-wahab-fatin-1962/">some fun movie notes</a> to the Global Shakespeare online archive. We haven't met in person, but hopefully that will happen at the <a href="http://www.wsc2016.info/sessions/re-casting-shakespeare-translations-adaptations-and-performances-across-the-arab-world/">Arab/ic panel at the World Shakespeare Congress</a> in London this coming August 5, 1:30-3pm.<br />
<br />
Over to you, David -- مع ألف سلامة!<br />
<br />
--Margaret Litvin<br />
<br />
<br />
<br /></div>
Margaret Litvinhttp://www.blogger.com/profile/03947761967659399516noreply@blogger.com0tag:blogger.com,1999:blog-2543991114252294576.post-62644605516308053032015-11-11T02:19:00.001-08:002015-11-11T02:19:34.288-08:00PhD fellowship for World Shakespeare Bibliography<div dir="ltr" style="text-align: left;" trbidi="on">
Texas A&M University has decided to support the World Shakespeare Bibliography Online by bringing in a PhD student to work on this project full time. This is a really cool resource but much in need of updating. It would be wonderful to get an Arabist into this position! Details at <a href="http://www.worldshakesbib.org/intro/graduate_fellowship.html">http://www.worldshakesbib.org/intro/graduate_fellowship.html</a><br />
<br />
Here's the beginning of the announcement:<br />
<blockquote class="tr_bq">
<h2>
<em>World Shakespeare Bibliography Online</em> PhD Student Fellowship</h2>
The World Shakespeare Bibliography is seeking doctoral fellows interested in early modern literature and/or digital humanities.<br />
The selected fellow will be an incoming PhD student in <a href="http://www.english.tamu.edu/">English at Texas A&M University</a>.
The World Shakespeare Bibliography PhD fellow will serve as a graduate
research assistant in the English Department at Texas A&M, which
pays a monthly stipend and includes health insurance. The University
pays tuition for students holding fellowships and assistantships.<br />
The World Shakespeare Bibliography PhD fellow will work for the
World Shakespeare Bibliography for one year. The fellowship is for nine
months, with a strong likelihood of summer support. After the first
year, students will be shifted to a graduate teaching assistantship in
the English Department, at the same funding level. Students are also
eligible for many additional funding opportunities, through the English
Department, the College of Liberal Arts, the Office of Graduate and
Professional Studies, <a href="http://cushing.library.tamu.edu/">Cushing Memorial Library and Archives</a> and the <a href="http://glasscock.tamu.edu/">Melbern C. Glasscock Center for Humanities Research</a>). Graduate assistantships are renewable for a total of five years, contingent on good progress toward the degree.<br />
The successful applicant will have the opportunity to learn about
the cutting edge of Shakespeare scholarship and will gain work
experience in a longstanding global digital humanities project. Fellows
will have the opportunity to work in a vibrant department with
strengths in early modern studies and digital humanities. World
Shakespeare Bibliography fellows will be encouraged to take advantage of
the rare book collection at the Cushing Memorial Library and Archives
and opportunities available through the <a href="http://idhmc.tamu.edu/">Initiative for Digital Humanities, Media, and Culture</a>.
The World Shakespeare Bibliography PhD fellow will be eligible to
apply for funded conference travel, a student exchange to Aberystwyth,
Wales, and further training programs such as the Digital Humanities
Summer Institute. Texas A&M is a member of the <a href="http://www.folger.edu/folger-institute">Folger Institute Consortium</a>, and our students and staff regularly participate in Folger Shakespeare Library events.<br />
Ideal applicants will be strong academic candidates with interest
in early modern studies and/or digital humanities. Basic computer skills
required: specific training will be given upon arrival. The strongest
candidates will be self-motivated, detail-oriented students looking
forward to gaining new research skills. Second languages are helpful but
not required.</blockquote>
</div>
Margaret Litvinhttp://www.blogger.com/profile/03947761967659399516noreply@blogger.com0tag:blogger.com,1999:blog-2543991114252294576.post-2794403621372704262015-10-21T03:15:00.000-07:002015-10-21T03:15:03.703-07:00Funding available to attend World Shakespeare Congress<div dir="ltr" style="text-align: left;" trbidi="on">
The British Council is supporting some scholarships to attend the congress in the UK this summer. Here's the <a href="http://www.wsc2016.info/british-council-grant-applications-now-open/">announcement</a>. Deadline Monday 16 November. It would be great to see some early-career Arab Shakespeareans there.</div>
Margaret Litvinhttp://www.blogger.com/profile/03947761967659399516noreply@blogger.com0tag:blogger.com,1999:blog-2543991114252294576.post-86621813287170853032015-09-25T02:03:00.003-07:002015-09-25T02:03:58.387-07:00More on Shakespeare in Kabul<div dir="ltr" style="text-align: left;" trbidi="on">
The show was ten years ago, the <a href="http://arabshakespeare.blogspot.se/2012/05/shakespeare-in-kabul.html">first book about it</a> (as this blog reported) was three years ago, and it's still not Arabic-related. But never mind. Here's <a href="http://hauspublishing.com/non-fiction/a-night-in-the-emperors-garden">another book</a>:<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://hauspublishing.com/wp-content/uploads/2014/10/Emperor.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://hauspublishing.com/wp-content/uploads/2014/10/Emperor.png" height="320" width="200" /></a></div>
<br />
Coming <a href="http://www.portersquarebooks.com/event/qais-akbar-omar-and-stephen-landrigan-night-emperors-garden">soon</a> to a bookstore near you. <br />
<br /></div>
Margaret Litvinhttp://www.blogger.com/profile/03947761967659399516noreply@blogger.com0tag:blogger.com,1999:blog-2543991114252294576.post-33091869449155722052015-08-27T05:56:00.000-07:002015-08-27T05:57:31.587-07:00Academic article on Arab Shakespeares for British audiences<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormal">
Happy to report that three years after the theatre festivals it analyzes, the article I co-authored with Saffron Walkling and Raphael Cormack for the Routledge journal <i>Shakespeare </i>is live: </div>
<div class="MsoNormal">
Margaret Litvin, Saffron Walkling & Raphael Cormack
(2015): <a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2015.1066842#.Vd8HtJe2X20">Full of noises: when “World Shakespeare” met the “ArabSpring.”</a> <i>Shakespeare. </i></div>
<br />
We look from various angles at Ashtar's <i>Richard II, </i>Monadhil Daood's <i>Romeo and Juliet in Baghdad, </i>and APA's <i>Macbeth: Laila and Ben--A Bloody History</i>. <br />
<a href="http://www.tandfonline.com/eprint/A9shh5HMK4kqubSj4Uud/full">First 50 readers can download an eprint here</a>.</div>
Margaret Litvinhttp://www.blogger.com/profile/03947761967659399516noreply@blogger.com0tag:blogger.com,1999:blog-2543991114252294576.post-73785578617165602952015-08-05T18:11:00.004-07:002015-08-05T18:11:47.852-07:00Arab Shakespeares at WSC 2016<div dir="ltr" style="text-align: left;" trbidi="on">
The World Shakespeare Congress has posted its <a href="http://www.wsc2016.info/wsc-2016-seminars/">program for next summer's WSC</a>, to be held in Britain.We have an amazingly diverse set of topics (translation, performance, film, plays, sonnets, sources...) on our Arab Shakespeares panel, and I'm happy to see some dynamic younger scholars joining the conversation. <br />
<br />
<b>“Re-Casting Shakespeare: Translations, Adaptations, and Performances Across the Arab World”</b><br />
Katherine Hennessey (University of Warwick/Queen Mary University of
London, United Kingdom), Margaret Litvin (Boston University, United
States), Graham Holderness (University of Hertfordshire, United
Kingdom), Rafik Darragi (University of Tunis, Tunisia), David C. Moberly
(University of Minnesota, United States), Noha Ibraheem (Cairo
University, Egypt), Paulo Horta (New York University Abu Dhabi, United
Arab Emirates)</div>
Margaret Litvinhttp://www.blogger.com/profile/03947761967659399516noreply@blogger.com1tag:blogger.com,1999:blog-2543991114252294576.post-11428390422214199342015-08-03T17:51:00.000-07:002015-09-08T14:34:51.639-07:00In Unfair Palestine (Romeo, Juliet, and localization)<div dir="ltr" style="text-align: left;" trbidi="on">
Here is the first book I was ever asked to blurb: Tom Sperlinger's just published memoir <i>Romeo and Juliet in Palestine.</i> He was at Al-Quds University in the West Bank for just five months in 2013. It's a pretty good read and (most importantly) tries to be honest about its limits. The <i>Guardian </i><a href="http://www.theguardian.com/books/2015/jul/05/romeo-and-juliet-in-palestine-review-tom-sperlinger">liked it too</a>. A <a href="http://mondoweiss.net/2013/12/romeo-juliet-palestine">good excerpt</a> was published at Mondoweiss back in 2013. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.zero-books.net/assets/docs/books/3767/jhp54ef08e49f548.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.zero-books.net/assets/docs/books/3767/jhp54ef08e49f548.jpg" height="320" width="207" /></a></div>
<br />
I find it interesting that most of the students aren't interested in Arab-Jewish Romeo-and-Juliet combos. Their minds run more toward a union between two Palestinians, one with Jerusalem ID and the other with West Bank ID. Isn't that star-cross'd enough?<br />
<br />
On the subject of Palestinian adaptations, here's a 2008 film called <i>In Fair Palestine </i>made by high school students at the Ramallah Friends School. Also an intra-Arab story. You can <a href="http://www.concordmedia.org.uk/products/in-fair-palestine-a-story-of-romeo-and-juliet-28/">buy it online</a> and watch a clip here:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/8bHw8gU4wWY/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/8bHw8gU4wWY?feature=player_embedded" width="320"></iframe></div>
<br />
Of course, there have also been lots of adaptations that take the play in an Arabs-and-Jews direction, including a just-post-Oslo bilingual co-production in Jerusalem by the (Jewish) Khan Theatre and the (Arab) Kasaba Theatre (see, e.g., this admiring <a href="http://articles.baltimoresun.com/1994-06-15/features/1994166003_1_romeo-and-juliet-palestinian-arabs-palestinians-and-israelis">Baltimore Sun writeup</a>).<br />
<br />
[Update 9/8/15: I just found a video with some excerpts online. Enjoy!]<br />
<br />
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<br />
<br />
It has even been done in a comic vein, as in the short falafel musical <i><a href="http://www.westbankstory.com/">West Bank Story</a></i><i>.</i><br />
<br />
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<br />
Translator and theatre scholar Avraham Oz, with whom Parviz Partovi and I are co-writing an article on Shakespeare in the Middle East, makes a good point about <i>Romeo and Juliet </i>as a vehicle for Israeli-Palestinian issues:<br />
<blockquote class="tr_bq">
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<![endif]--><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: major-bidi; mso-bidi-language: AR-SA; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: major-bidi;">Whereas Shakespeare makes a point to emphasize
that none remembers the origin of the ancient feud between the Montagues and
Capulets (not fortuitously omitting the one vague reference to that origin in
Brooke’s poem), the cause of the conflict between Israel and the Palestinians
is far from being unknown. If that be the rationale of reading the
Shakespearean text, a play such as <i>Troilus and Cressida</i> would better fit
the symbolic analogy. </span></blockquote>
He adds: <br />
<blockquote class="tr_bq">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: major-bidi; mso-bidi-language: AR-SA; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: major-bidi;">When, however, the latter was mounted at the Habima in
1980, Rumanian director David Essrig revived in it his successful production
formerly created in Bucharest, and what could have served a topical political
allegory for the Middle East conflict reminded one of an East European fable,
which was missed by the Israeli audience and removed from stage after a few
performances. </span></blockquote>
So it goes. </div>
Margaret Litvinhttp://www.blogger.com/profile/03947761967659399516noreply@blogger.com0tag:blogger.com,1999:blog-2543991114252294576.post-31063407321025918372015-07-16T17:44:00.000-07:002015-07-16T17:44:21.024-07:00Al-Bassam's Arab Shakespeare Trilogy and my two interviews with him<div dir="ltr" style="text-align: left;" trbidi="on">
Sorry I've been neglecting this blog a bit. Should have some exciting publication news for you soon.<br />
Meanwhile: Did I forget to mention that Sulayman Al-Bassam's <i>Arab Shakespeare Trilogy </i>came out last fall from Bloomsbury Methuen Drama, comprising the texts to his <i>Al-Hamlet Summit</i>, <i>Richard III: An Arab Tragedy</i>, and <i>The Speaker's Progress</i>? Intro by Graham Holderness. You can get your epub or hard copy <a href="http://www.bloomsbury.com/us/the-arab-shakespeare-trilogy-9781472533326/">direct from Bloomsbury</a>. As you do so, notice that for "theme" they've categorized it under "Conflict, Other Cultures, Society."<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://media.bloomsbury.com/rep/bj/9781472533326.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://media.bloomsbury.com/rep/bj/9781472533326.jpg" height="320" width="208" /></a></div>
<br />
Thanks largely to Holderness, subtitled videos of all the plays in the trilogy are available, along with a lot of secondary material including my work, on the <a href="http://globalshakespeares.mit.edu/arab-world/#search[]=Al-Bassam,+Sulayman">Global Shakespeares site</a>.<br />
<br />
I've also published two interviews with Al-Bassam recently, a really fun one in the Palgrave collection <i><a href="http://www.palgrave.com/page/detail/shakespeare-and-the-ethics-of-appropriation-alexa-huang/?K=9781137375766">Shakespeare and the Ethics of Appropriation</a> </i>(adapted from a really fun late-night conversation in Beirut in 2011 and yes, that's his <i>Richard III </i>on the cover, and an updated version of my essay on his trilogy is in the book too)<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://images3.ehaus2.co.uk/xmla/image-service.asp?k=9781137375766&dbm=macmillan&size=m&source=macmillan" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://images3.ehaus2.co.uk/xmla/image-service.asp?k=9781137375766&dbm=macmillan&size=m&source=macmillan" height="320" width="207" /></a></div>
and a somewhat duller one <a href="http://www.mlajournals.org/doi/abs/10.1632/pmla.2014.129.4.850">in the PMLA special issue on Tragedy</a>.</div>
Margaret Litvinhttp://www.blogger.com/profile/03947761967659399516noreply@blogger.com0tag:blogger.com,1999:blog-2543991114252294576.post-32590597230772122602015-07-06T21:09:00.001-07:002015-07-16T17:50:12.350-07:00Filling in Iraqi Hamlet history<div dir="ltr" style="text-align: left;" trbidi="on">
Just came across this article from a year ago (June 2014) by `Awad `Ali on the Iraqi site al-Mu'tamar (in Arabic): <a href="http://www.almutmar.com/index.php?id=200817948">Hamlet in the Arab Experimental Experience</a>. A few details on experimental Iraqi Hamlet productions by Hamid Muhammad Jawad (1967) and Salah al-Qasab (1980) as well as the more recent <a href="https://www.google.com/search?q=%D9%87%D8%A7%D9%85%D9%84%D8%AA+%D8%A7%D9%84%D8%A8%D8%A7%D8%A8%D9%84%D9%8A&ie=utf-8&oe=utf-8&gws_rd=cr&ei=20-bVcmkAqmjygOmmqXICg">هاملت البابلي</a> (Hamlet of Babel) directed by Muhammad Hussein Habib (2009). In Arabic. </div>
Margaret Litvinhttp://www.blogger.com/profile/03947761967659399516noreply@blogger.com0tag:blogger.com,1999:blog-2543991114252294576.post-8860592477124761892015-06-03T15:23:00.001-07:002015-06-03T15:23:36.920-07:00Hamlet's Trial (offshoot play)<div dir="ltr" style="text-align: left;" trbidi="on">
For my own reasons I just Googled غولدنشترن to find out who besides Mamduh `Adwan uses this spelling for Hamlet's friend. I came across a 2010 PDF script for a offshoot play called <i>Hamlet's Trial, </i>which "<a href="https://madihadebbabi.files.wordpress.com/2015/01/d987d8a7d985d984d8aa-1.pdf">takes up where the splendid William Shakespeare left off</a>." By one Ala'a al-Gharbawi. It's also <a href="http://forums.graaam.com/316904.html">at this blog</a>. It includes a very brief Author's Note "for those who have never read Shakespeare's play before." Anyone have details? No time to read it now, but maybe you'd like to. </div>
Margaret Litvinhttp://www.blogger.com/profile/03947761967659399516noreply@blogger.com0tag:blogger.com,1999:blog-2543991114252294576.post-46474646200708019342015-03-18T08:32:00.000-07:002015-03-18T08:32:23.128-07:00CFP: International Shakes Conference - UMass - September<div dir="ltr" style="text-align: left;" trbidi="on">
Call for papers: The 2nd International Shakespeare Conference: Translation, Adaptation, Performance
<br />
"Where in the World is Shakespeare?"
<br />
September 18-20, 2015
<br />
University of Massachusetts Amherst
<br />
Amherst, MA, USA
<br />
<br />
What makes Shakespeare funny in Kabul? In 2005, Corinne Jaber
claimed (somewhat tongue-in-cheek) that ?Afghans don't do tragedy.? This
idea shaped her production of Love's Labour's Lost, which she staged
with the Roy-e-Sabs Troupe in the garden of a Kabul estate formerly
occupied by a nobleman 150 years ago. Making Shakespeare's humor ?work?
or translate in Anglophone productions is a challenge for many
contemporary directors. Making it work in Dari and in a space fraught
with war and occupation poses an even more complicated set of
challenges. How does such a production raise questions about the comedy
genre and what makes something funny? How does it raise questions about
audience or national identity? The same troupe would eventually stage
Comedy of Errors (in Dari) at the Globe Theater in 2012, which signifies
a transnational Shakespeare even as it re-places the play in its
?original space.?
<br />
<br />
This is one example of the degree to which Shakespeare has shifted
from the centrality of an authoritative text to a multi-center model
where different (and often peripheral) Shakespeares exist and
cross-influence each other. In this framework, questions of authenticity
and intent give way to discussions of Shakespeare in terms of influence
and his works as a globalizing force. For the second edition of the
International Shakespeare Conference, we seek submissions from a wide
range of topics related to the translation, interpretation and
adaptation of Shakespeare, including:
<br />
<br />
Shakespeare in theater, performance, film, music, visual arts
<br />
Shakespeare in and as pedagogy
<br />
Shakespeare in the context of social justice
<br />
Shakespeare and applied theater
<br />
Shakespeare and materiality
<br />
Case studies of Shakespeare in translation
<br />
Digital Shakespeare(s)
<br />
Intralingual, interlingual or intermedial translation of Shakespeare
<br />
Imitation and reception of Shakespeare worldwide
<br />
Comparative analyses discussing the influence of the Shakespearean linguistic or cultural legacy
<br />
Theoretical approaches to global Shakespeare: postcolonialism, race, gender, sexuality, alterity
<br />
<br />
The conference will take place September 18-20, 2015, at the
University of Massachusetts Amherst. Please e-mail a 250 word abstract
to <a class="moz-txt-link-abbreviated" href="mailto:isc.umass@gmail.com">isc.umass@gmail.com</a> by May 15.
<br />
<br />
Sponosred by Program in Comparative Literature | Department of English | The
Massachusetts Center for Interdisciplinary Renaissance Studies | College
of Humanities and Fine Arts | International Programs Office |
Translation Center
<br />
<br />
For details, visit <a class="moz-txt-link-freetext" href="http://umass.edu/shakespeare/">http://umass.edu/shakespeare/</a> or for more information (also available in French, Polish, and Spanish), or contact Edwin Gentzler at <a class="moz-txt-link-abbreviated" href="mailto:gentzler@complit.umass.edu">gentzler@complit.umass.edu</a>.
</div>
Margaret Litvinhttp://www.blogger.com/profile/03947761967659399516noreply@blogger.com0tag:blogger.com,1999:blog-2543991114252294576.post-32756743850688486392014-10-27T20:24:00.001-07:002014-10-27T20:25:10.068-07:00New book chapter on Arab Awakening Shakespeares by Rafik Darragi<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: normal; margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span lang="EN-US" style="font-size: 10pt;">Prof. Darragi has an essay on "Shakespeare and the Political Awakening in the Arab World: An Analysis of Some Arab Adaptations of the English Bard," in here:</span></div>
<div style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: normal; margin-bottom: 0.0001pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<div class="picture">
<img alt="Picture of Shakespeare and Tyranny" src="http://www.cambridgescholars.com/content/images/thumbs/0127295_shakespeare-and-tyranny_300.jpeg" title="Show details for Shakespeare and Tyranny" />
</div>
<h1 class="product-name">
<a href="http://www.cambridgescholars.com/shakespeare-and-tyranny">Shakespeare and Tyranny: Regimes of Reading in Europe and Beyond</a>
</h1>
<div class="product-editors">
<span class="label">Editor(s):</span>
<span class="value">Keith Gregor</span>
</div>
<div class="gtin">
<span class="label">Contributors: </span>
<span class="value">
Mariangela Tempera, Hywel Dix, Francisko Fuentes, Mario Victor Bastos,
Noemi Vera, Michele De Benedictis, et al.
</span>
</div>
<div class="clear">
</div>
<span lang="EN-US" style="font-size: 10pt;"></span></div>
</div>
Margaret Litvinhttp://www.blogger.com/profile/03947761967659399516noreply@blogger.com0tag:blogger.com,1999:blog-2543991114252294576.post-80880930165968852242014-08-12T10:34:00.002-07:002014-08-12T10:34:26.488-07:00Palgrave "Global Shakespeares" Series: Call for Short, Quick Book Proposals<div dir="ltr" style="text-align: left;" trbidi="on">
This new series, of whose editorial board I'm a member, is getting off to a great start. It would be fabulous if some aspects of Arabic Shakespeare could be represented.<br />
<b> </b><br />
<b>Global Shakespeares </b><br />
ISBN 9781137354907<br />
Formats: Hardcover<br />
Publisher: Palgrave Pivot<br />
Series Editor: Alexa Huang<br />
<br />
This series in the innovative Palgrave Pivot format explores the
global afterlife of Shakespearean drama, poetry and motifs in its
literary, performative and digital forms of expression in the twentieth
and twenty-first centuries. <b>Published within three months of acceptance
</b>of final manuscript, these landmark studies of between <b>25,000 to 50,000
words</b> will capture global Shakespeares as they evolve. <br />
<br />
Disseminating
big ideas and cutting-edge research in e-book and print formats, and
drawing upon open-access resources such as the 'Global Shakespeares'
digital archive (http://globalshakespeares.org/), this series marks a
significant<br />
addition to scholarship in one of the most exciting areas of Shakespeare studies today.<br />
<br />
More info and submission guidelines: <a href="http://www.palgrave.com/page/detail/global-shakespeares-alexa-huang/?K=9781137354907">http://www.palgrave.com/page/detail/global-shakespeares-alexa-huang/?K=9781137354907</a><br />
</div>
Margaret Litvinhttp://www.blogger.com/profile/03947761967659399516noreply@blogger.com0tag:blogger.com,1999:blog-2543991114252294576.post-30231109960671372822014-08-01T09:22:00.002-07:002014-08-01T09:22:39.709-07:00Hath Not a Jew Eyes? (on Gaza)<div dir="ltr" style="text-align: left;" trbidi="on">
Reclaiming and deploying Shakespeare's Shylock as an exponent of empathic (if besieged) humanity, Israeli columnist Gilad Isaacs (<a href="https://twitter.com/GiladIsaacs">@giladisaacs</a>) movingly <a href="http://972mag.com/how-europes-jews-lost-their-humanity-in-gaza/94759/">argues</a> in today's <b>+972mag </b>that Europe's Jews have "lost their humanity" and succumbed to a kind of (uncharacteristic, he says) moral blindness in Gaza. Retelling the story of Jewish emancipation, near-extermination, and nationalist organization in Europe, he concludes:<br />
<blockquote class="tr_bq">
The Jews are no longer knocking on doors to be let in. We have our
own fortress now, bristling with arms. But the cost has been heavy; on
the altar of nationalism and ethnic supremacy we have sacrificed the
long-cherished ideal of common humanity. Israelis and Zionist Jews, and
their most vociferous supporters, can no longer see themselves in the
Palestinians. And what we are left with is the second half of Shylock’s
speech:</blockquote>
<blockquote>
<div class="bq_wrap">
<blockquote class="tr_bq">
And
if you wrong us, shall we not revenge? If we are like you in the rest,
we will resemble you in that. If a Jew wrong a Christian, what is his
humility? Revenge. If a Christian wrong a Jew, what should his
sufferance be by Christian example? Why, revenge. The villany you teach
me, I will execute, and it shall go hard but I will better the
instruction.</blockquote>
</div>
</blockquote>
</div>
Margaret Litvinhttp://www.blogger.com/profile/03947761967659399516noreply@blogger.com0tag:blogger.com,1999:blog-2543991114252294576.post-3867715991178486722014-07-14T07:42:00.001-07:002014-07-14T07:42:28.797-07:00Global Shakespeare postdoc in London and Warwick - deadline is SOON<div dir="ltr" style="text-align: left;" trbidi="on">
The new Global Shakespeare project at Queen Mary University of London, run by David Shalkwyk and Jerry Brotton, is hiring two 2-year postdocs: <a href="http://www.jobs.ac.uk/job/AJB208/global-shakespeare-research-fellow-x2/">http://www.jobs.ac.uk/job/AJB208/global-shakespeare-research-fellow-x2/</a><br />
<br />
You can find lots more info on the <a href="http://www2.warwick.ac.uk/fac/cross_fac/iatl/activities/projects/globalshakespeare">Global Shakespeare collaboration</a> at their new web site.</div>
Margaret Litvinhttp://www.blogger.com/profile/03947761967659399516noreply@blogger.com0tag:blogger.com,1999:blog-2543991114252294576.post-36458185914813018512014-06-30T10:53:00.000-07:002014-07-14T07:38:34.379-07:00What hast thou to do with me, old Jephthah?<div dir="ltr" style="text-align: left;" trbidi="on">
Illusions? Allusions? Both? I'm reposting this letter from a reader:<br />
<br />
<blockquote class="tr_bq">
<div class="body">
Dear Professor Litvin<br />
You might be interested in my discovery of a subtle illusion in Hamlet
to the (ancient) Middle East war. As I explain on my website, Hamlet’s
mention of “old Jephthah” is meant to point to these lines in the
Biblical story of old Jephtha:
Judges 11.12<br />
… What hast thou to do with me, that thou art come against me to fight in my land?<br />
Judges 11.13<br />
…Because Israel took away my land… now therefore restore those lands again<br />
I discuss this, and it’s connection with the Spanish Armada, on my free and and ad-free website, “Smith’s Hyper Hamlet”, <a href="http://www.thyorisons.com/" rel="nofollow" target="_blank">www.thyorisons.com</a>.<br />
Please see the following essays on my website:<br />
I Know a Hawk from a Handsaw – Hamlet and the Spanish Armada<br />
– <a href="http://www.thyorisons.com/#Handsaw" rel="nofollow" target="_blank">http://www.thyorisons.com/#Handsaw</a><br />
Hamlet in a Nutshell – Hamlet Is an Anti-War Play<br />
– <a href="http://www.thyorisons.com/#Nutshell" rel="nofollow" target="_blank">http://www.thyorisons.com/#Nutshell</a><br />
How to Love Hamlet – <a href="http://www.thyorisons.com/#Love_Hamlet" rel="nofollow" target="_blank">http://www.thyorisons.com/#Love_Hamlet</a><br />
Sincerely<br />
Ray Eston Smith Jr <br />
email: <a href="mailto:thyorisons@gmail.com" rel="nofollow" target="_blank">thyorisons@gmail.com</a></div>
</blockquote>
</div>
Margaret Litvinhttp://www.blogger.com/profile/03947761967659399516noreply@blogger.com0tag:blogger.com,1999:blog-2543991114252294576.post-8018689285192305912014-06-19T09:41:00.000-07:002014-06-19T09:41:01.274-07:00Duwayri's "Shakespeare Rex" as a "belated" reworking<div dir="ltr" style="text-align: left;" trbidi="on">
Congratulations to my friend, Cairo University English MA graduate Noha Ibraheem, on the publication of her book:<span class="a-size-large" id="productTitle"> <a href="http://www.amazon.com/Belated-Shakespearean-Mosaics-Shakespeare-Mutabilitie/dp/3659533408/ref=sr_1_1?ie=UTF8&qid=1402833886&sr=8-1&keywords=%2522Belated%2522+Shakespearean+Mosaics">"Belated" Shakespearean Mosaics: Modern Shakespearean Intertexts: Shakespeare Malikan, Mutabilitie and Shakespeare in Love</a></span><span class="a-size-large" id="productTitle"> (Lambert Academic Publishing, 2014). </span><br />
<br />
<span class="a-size-large" id="productTitle">Those tantalized by Ferial Ghazoul's mention of Raf'at Duwayri's <i>Shakespeare Rex</i> in her article "The Arabization of <i>Othello</i>," or by my very brief analysis in <i>Hamlet's Arab Journey:</i> now you have a more complex and extended analysis of the play, based among other things on interviews with Duwayri himself.</span><br />
<span class="a-size-large" id="productTitle"></span><br />
<br />
I met Noha Ibraheem in Cairo: She was an outstanding participant in a workshop I ran at the National Theatre Center to introduce Egyptian theatre folk to the <a href="http://globalshakespeares.mit.edu/#">Global Shakespeares Electronic Archive</a>.<br />
At the time she was an assistant lecturer
at the Department of English Language and Literature in the Faculty of
Arts at Cairo University and working hard on her MA. Meanwhile she found time to contribute to <i>The Cambridge World
Encyclopedia of World Actors and Actresses </i>and to work as a scriptwriter, writing "Truth of Illusions," a radio series about Arabs in the US post
9/11. She's currently based in Germany.</div>
Margaret Litvinhttp://www.blogger.com/profile/03947761967659399516noreply@blogger.com0tag:blogger.com,1999:blog-2543991114252294576.post-28916275428886413802014-05-23T12:48:00.002-07:002014-05-23T13:05:33.206-07:00Al-Hayat reviews Hamlet's Arab Journey<div dir="ltr" style="text-align: left;" trbidi="on">
It's so gratifying to see my work finding an audience among Arab readers. A translation is underway at the National Center for Translation in Egypt; the translator is making steady progress. Meanwhile, Al-Hayat has published <a href="http://alhayat.com/Opinion/Writers/1999455/%D9%87%D8%A7%D9%85%D9%84%D8%AA-%D8%A7%D9%84%D8%B9%D8%B1%D8%A8%D9%8A-%D9%81%D9%8A----%D8%A7%D9%84%D8%B2%D8%B9%D8%AA%D8%B1%D9%8A%D8%9F!">an enthusiastic review,</a><br />
not only highlighting my major findings (using them to contextualize the recent Shakespeare performance in Jordan's Al-Zaatari refugee camp) but also arguing that my approach is an example for cultural historians in general: "Beginning to rethink this [Arabs-and-West] binary could open the field to a new writing of political and cultural history and the Arab world." Hurray!<br />
<br />
<div style="text-align: right;">
ومن خلال متابعة رحلة هاملت إلى العالم العربي، تستنتج ليتفين ضرورة
الخروج من هذه الثنائية التي شكّلت الحاضنة النظرية لأعمال تأريخ العالم
العربي، حيث تصارع المستشرقون والمابعد استشراقيين حولها لعقود، من دون أنّ
يشكك بها أحد. تخرج ليتفين من هذا التقليد من خلال البحث عن تأثيرات هاملت
خارج الغرب، لتجد دوراً هاماً لهاملت شرق أوروبي وسوفياتي على القراءة
العربية. كما تخرج عنه من خلال اكتشاف تقليد عربي في ترجمته وتطبيقه، بحيث
لا يشكّل الغرب محاوره الوحيد.</div>
<div style="text-align: right;">
<b>بداية إعادة التفكير
بهذه الثنائية قد تفتح مجالاً لكتابة جديدة للتاريخ الثقافي والسياسي في
العالم العربي</b>، بخاصة في شقّه الحديث، كتابةٍ تعيد البحث في البعد الكوني
لسفر النظريات وارتحالها، وتعيد اكتشاف التقاليد العربية في التطبيق،
بعيداً من مسألة الأمانة للنص من جهة، أو الأصالة الرافضة للنص من جهة
أخرى. فتاريخ كهذا لا يحتمل سؤال «نكون أو لا نكون»، وقد يحرر الوجود
التاريخي من ثقل سياسة تلك الصراعات الوجودية وتجاهلها للواقع، أكانت
استشراقية أم ما بعد استشراقية.</div>
</div>
Margaret Litvinhttp://www.blogger.com/profile/03947761967659399516noreply@blogger.com0tag:blogger.com,1999:blog-2543991114252294576.post-25930214166293915912014-05-23T12:17:00.002-07:002014-05-23T12:17:40.125-07:00Seeking contributions: Arab World section of Global Shakespeares Electronic Archive<div dir="ltr" style="text-align: left;" trbidi="on">
The Global Shakespeares Electronic Archive needs your help. We have video and/or descriptions of several productions up <a href="http://globalshakespeares.mit.edu/arab-world/#show=all">on our MIT-based online database</a>. But the <a href="http://globalshakespeares.mit.edu/#">other countries' areas</a> are getting way ahead of the Arabic section. We could use more material and more help contextualizing it! In particular:<br />
<ul style="text-align: left;">
<li>recent Shakespeare-related productions in Arabic: videos, interviews with directors, basic info</li>
<li>classic Shakespeare-related Arab/ic plays and films: video or YouTube links, contextualizing info</li>
<li>help summarizing, selecting, and subtitling! We have some great stuff, like Yahya Fakharani's King Lear, that awaits curatorial attention. </li>
</ul>
For more details, see <a href="http://globalshakespeares.mit.edu/call-for-materials/">http://globalshakespeares.mit.edu/call-for-materials/</a> or contact us through this blog.</div>
Margaret Litvinhttp://www.blogger.com/profile/03947761967659399516noreply@blogger.com0tag:blogger.com,1999:blog-2543991114252294576.post-50836398218359701452014-04-03T10:12:00.002-07:002014-04-03T10:12:28.176-07:00NYT on Syrian Refugee King Lear in Zaatari Camp, Jordan<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://static01.nyt.com/images/2014/03/31/world/middleeast/20140401_ZAATARI-slide-7SEC/20140401_ZAATARI-slide-7SEC-superJumbo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://static01.nyt.com/images/2014/03/31/world/middleeast/20140401_ZAATARI-slide-7SEC/20140401_ZAATARI-slide-7SEC-superJumbo.jpg" height="266" width="400" /></a></div>
Arab Shakespeare functioned the way he often does in a recent, moving <i>New York Times </i>article by Ben Hubbard, <a href="http://www.nytimes.com/2014/04/01/world/middleeast/behind-barbed-wire-shakespeare-inspires-a-cast-of-young-syrians.html?emc=eta1&_r=0">"Behind Barbed Wire, Shakespeare Inspires a Cast of Young Syrians."</a><br />
A heartwarmer. A breath of fresh air amid the relentless arid struggle that characterizes not only these refugees' lives but also most US news coverage of the Middle East. More than that, a human interest story, using our familiar old Shakespeare (memories high school theatricals) to humanize the young refugees.<br />
<br />
<blockquote class="tr_bq">
“The show is to bring back laughter, joy and humanity,” said its
director, Nawar Bulbul, a 40-year-old Syrian actor known at home for his role in “Bab al-Hara,” an enormously popular historical drama that was broadcast throughout the Arab world.</blockquote>
<br />
Clumsily spliced (because even though it's a performance of King Lear, it has to end, of course, with an uplifting chant of Hamlet's "To be or not to be"), sparingly staged, the performance seems to have been heartwarming for the participants and their families as well. If there were many contemporary resonances with Lear and Cordelia's plight, no one mentions them in the NYT piece. But of course this is Shakespeare's darkest play and not unrelated to the situation in Syria: "<span class="st">As flies to wanton boys are we to th' gods. They kill us for their sport." </span> <br />
<br />
Tangentially related, here's part of what one of my first-year students, Rachel Long, wrote last semester in introducing her midterm assignment, a short-story adaptation of King Lear 5.3 that she set in a POW camp: <br />
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</xml><![endif]-->This scene, set in recent times in
an unspecified region, takes place immediately after Cordelia is defeated in
battle by Regan, Goneril, Albany and Edmund. My intention in this scene was to briefly
emphasize the descent of law and order into a struggle for power and control. This
adaptation would attempt to do so by illustrating how <i style="mso-bidi-font-style: normal;">King Lear</i> begins in a structuralized environment where Lear is king
with legitimate rules and laws, and is transformed into a structure where those
who have power took it through force, namely through a civil war, and
manipulation. The rest of the adaptation would ideally emphasize the means by
which Regan, Goneril and Edmund plot to strip Lear on all political power. </div>
</blockquote>
And her adaptation begins:<br />
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<br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-indent: .5in;">
Lear and Cordelia were transported
in large, battered, old van, crammed full with other prisoners, so cramped that
not a soul was able to sit down. As the van drew closer to the camp, the passengers
slowly ceased to talk – and in the face of the immediate future neither Lear
nor Cordelia could think of a single thing to say. Before this Lear had been
quite vocal, imaging a world where he and Cordelia would escape and live by
themselves, without cares. He was much relieved to be reunited with his
daughter; and it seemed to restore much of his good cheer and sense. That cheer
faded, however, not long after the vehicle started moving. Lear and Cordelia
simply stood by each other now, holding hands, attempting to ward off the heavy
trepidation about their destination, having little hope to give. Their fates
were now in the control of Edmund, Regan and Goneril, whom Lear refuses to
confront despite Cordelia’s urging. But Cordelia’s pleas fell on deft ears and
she soon fell silent as she anticipate what was to come.</div>
<div class="MsoNormal" style="text-indent: .5in;">
Cordelia’s first impression of the
war camp was deeply unsettling. The buildings themselves were rather
unassuming, having the appearance of large brick barnlike buildings which
Cordelia knew used to function as soldier’s barracks many years ago, but now
they seemed to possess an aura that screamed hopelessness. The landscape was
barren, with no trees or shrubs in the near vicinity. The ground was mostly
dirt, with large puddles of mud scattered throughout, evidence of a recent rainfall.
A sign by the entrance proclaimed “War Camp Ogden, _________.” By avoiding the
terminology “Prisoner of War,” their captors were able to avoid the
requirements set by the Geneva Convention, which would guarantee fair treatment
to prisoners. But the most disturbing facet of the camp was the lack of life.
Other than the soldiers that policed it, there was no evidence of human activity.
It seemed to be waiting to devour those unfortunate enough to step foot inside.
New, unoccupied, but unspeakably weary at the same time. The entire camp was
encircled with barbed wire and had guards posted at regular intervals, insuring
beyond a doubt that no captive would escape. And in that moment, Cordelia knew
she would never again leave this place. </div>
</blockquote>
Yes, it's good when IR students do literature.<br />
<br />
</div>
Margaret Litvinhttp://www.blogger.com/profile/03947761967659399516noreply@blogger.com0tag:blogger.com,1999:blog-2543991114252294576.post-31010495972323551632014-03-14T10:55:00.002-07:002014-03-14T10:55:36.621-07:00Special Issue on Global Shakespeares, reviews of Al-Bassam and Achour plays<div dir="ltr" style="text-align: left;" trbidi="on">
<div>
<span style="font-family: Arial;"><i><b><span class="Apple-style-span" style="font-size: medium;">Shakespeare</span></b></i> (The British Shakespeare Association) </span><span style="font-family: Arial;"><b>Volume 9, Issue 3</b>, September 2013</span></div>
<div class="">
<span style="font-family: Arial;"><b><span class="Apple-style-span" style="font-size: medium;">Special Issue on Global Shakespeares</span></b>, edited by Alexander Huang</span></div>
<div class="">
<span style="font-family: Arial;">Available online: <a href="http://www.tandfonline.com/toc/rshk20/current#.UkR-NSR57rg">http://www.tandfonline.com/toc/rshk20/current#.UkR-NSR57rg</a></span></div>
<div class="">
<span style="font-family: Arial;">Video clips that accompany the articles are available on: <a href="http://globalshakespeares.mit.edu/">http://globalshakespeares.mit.edu/</a></span></div>
<div>
<span class="Apple-style-span" style="font-family: Arial;">If interested in reading an article from the issue please contact Alex Huang (</span><span class="Apple-style-span" style="font-family: Arial;"><a href="mailto:acyhuang05@gmail.com">acyhuang05@gmail.com</a></span><span class="Apple-style-span" style="font-family: Arial;">)</span></div>
<div>
<span class="Apple-style-span" style="font-family: Arial;"><br /></span></div>
<div class="">
<span style="font-family: Arial;">ARTICLES</span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.827236"><span style="color: windowtext; text-decoration: none;"></span></a></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.827236"><span style="color: windowtext; text-decoration: none;">Global Shakespeares as Methodology</span></a></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/action/doSearch?action=runSearch&type=advanced&searchType=journal&result=true&prevSearch=%2Bauthorsfield%3A%28Huang%2C+A+C+Y%29"><span style="color: windowtext; text-decoration: none;">Alexander C. Y. Huang</span></a><br />pages 273-290</span></div>
<div class="">
<span style="font-family: Arial;">Having
reached a critical mass of participants, performances and the study of
Shakespeare in different cultural contexts are changing how we think
about globalization. The idea of global Shakespeares has caught on
because of site-specific imaginations involving early modern and modern
Globe theatres that aspired to perform the globe. Seeing global
Shakespeares as a methodology rather than as appendages of colonialism,
as political rhetorics, or as centerpieces in a display of exotic
cultures situates us in a postnational space that is defined by fluid
cultural locations rather than by nation-states. This framework helps us
confront archival silences in the record of globalization, understand
the spectral quality of citations of Shakespeare and mobile artworks,
and reframe the debate about cultural exchange. Global Shakespeares as a
field registers the shifting locus of anxiety between cultural
particularity and universality. The special issue explores the promise
and perils of political articulations of cultural difference and
suggests new approaches to performances in marginalized or polyglot
spaces.</span></div>
<div class="">
<span style="font-family: Arial;"><br /></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.815263"><span style="color: windowtext; text-decoration: none;"></span></a></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.815263"><span style="color: windowtext; text-decoration: none;">Hamlet, the Heike and the Fall of Troy</span></a></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/action/doSearch?action=runSearch&type=advanced&searchType=journal&result=true&prevSearch=%2Bauthorsfield%3A%28Donaldson%2C+P+S%29"><span style="color: windowtext; text-decoration: none;">Peter S. Donaldson</span></a><br />pages 291-303</span></div>
<div>
<span style="font-family: Arial;"> </span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.816350"><span style="color: windowtext; text-decoration: none;"></span></a></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.816350"><span style="color: windowtext; text-decoration: none;">Postcolonial hybridity: The making of a Bollywood Lear in London</span></a></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/action/doSearch?action=runSearch&type=advanced&searchType=journal&result=true&prevSearch=%2Bauthorsfield%3A%28F%C3%B6ldv%C3%A1ry%2C+K%29"><span style="color: windowtext; text-decoration: none;">Kinga Földváry</span></a><br />pages 304-312</span></div>
<div>
<span style="font-family: Arial;"> </span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.826732"><span style="color: windowtext; text-decoration: none;"></span></a></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.826732"><span style="color: windowtext; text-decoration: none;">Caribbean tricksters at crossroads: Davlin Thomas's Lear Ananci and Hamlet: The Eshu Experience</span></a></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/action/doSearch?action=runSearch&type=advanced&searchType=journal&result=true&prevSearch=%2Bauthorsfield%3A%28Rampaul%2C+G%29"><span style="color: windowtext; text-decoration: none;">Giselle Rampaul</span></a><br />pages 313-321</span></div>
<div>
<span style="font-family: Arial;"> </span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.816351"><span style="color: windowtext; text-decoration: none;"></span></a></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.816351"><span style="color: windowtext; text-decoration: none;">European touring stars and the Shakespearean distinction of the Spanish actor-manager in Madrid and Latin America (1898–1936)</span></a></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/action/doSearch?action=runSearch&type=advanced&searchType=journal&result=true&prevSearch=%2Bauthorsfield%3A%28Cerd%C3%A1%2C+J+F%29"><span style="color: windowtext; text-decoration: none;">Juan F. Cerdá</span></a><br />pages 322-329</span></div>
<div>
<span style="font-family: Arial;"><span> </span></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.816352"><span style="color: windowtext; text-decoration: none;"></span></a></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.816352"><span style="color: windowtext; text-decoration: none;">What's global about global Shakespeare? The case of Perttu Leppä's 8 päivää ensi-iltaan (8 Days to the Premiere)</span></a></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/action/doSearch?action=runSearch&type=advanced&searchType=journal&result=true&prevSearch=%2Bauthorsfield%3A%28Kein%C3%A4nen%2C+N%29"><span style="color: windowtext; text-decoration: none;">Nely Keinänen</span></a><br />pages 330-338</span></div>
<div>
<span style="font-family: Arial;"> </span></div>
<div>
<span style="font-family: Arial;"> </span></div>
<div class="">
<span style="font-family: Arial;"><span></span>REVIEWS</span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.816353"><span style="color: windowtext; text-decoration: none;"></span></a></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.816353"><span style="color: windowtext; text-decoration: none;">Review
of Sua Incelença, Ricardo III (directed by Gabriel Villela for Clowns
de Shakespeare) at Largo da Ordem, Curitiba, Brazil, 29 March 2011</span></a></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/action/doSearch?action=runSearch&type=advanced&searchType=journal&result=true&prevSearch=%2Bauthorsfield%3A%28Camati%2C+A+S%29"><span style="color: windowtext; text-decoration: none;">Anna S. Camati</span></a> & <a href="http://www.tandfonline.com/action/doSearch?action=runSearch&type=advanced&searchType=journal&result=true&prevSearch=%2Bauthorsfield%3A%28Le%C3%A3o%2C+L+C%29"><span style="color: windowtext; text-decoration: none;">Liana C. Leão</span></a><br />pages 339-341</span></div>
<div>
<span style="font-family: Arial;"> </span></div>
<div class="">
<br /></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.816354"><span style="color: windowtext; text-decoration: none;">Review of Shakespeare's Titus Andronicus (directed by Silviu Purcarete), the National Theater in Craiova, Romania, 14 March 1992</span></a></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/action/doSearch?action=runSearch&type=advanced&searchType=journal&result=true&prevSearch=%2Bauthorsfield%3A%28Ghita%2C+L%29"><span style="color: windowtext; text-decoration: none;">Lucian Ghita</span></a><br />pages 342-346</span></div>
<div>
<span style="font-family: Arial;"><span> </span></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.816355"><span style="color: windowtext; text-decoration: none;"></span></a></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.816355"><span style="color: windowtext; text-decoration: none;">Review
of Shakespeare's The Winter's Tale (Directed by Anirudh Nair and Neel
Chaudhuri for The Tadpole Repertory and Wide Aisle Productions), Zorba
the Buddha Performance Space, Ghitorni, New Delhi, India, 3 March 2013</span></a></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/action/doSearch?action=runSearch&type=advanced&searchType=journal&result=true&prevSearch=%2Bauthorsfield%3A%28Singh%2C+J%29"><span style="color: windowtext; text-decoration: none;">Jyotsna Singh</span></a><br />pages 347-349</span></div>
<div>
<span style="font-family: Arial;"><span> </span></span></div>
<div class="">
<b><span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.816362"><span style="color: windowtext; text-decoration: none;"></span></a></span></b></div>
<div class="">
<b><span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.816362"><span style="color: windowtext; text-decoration: none;">Review of The Speaker's Progress (directed by Sulayman Al-Bassam), Paramount Theatre, Boston, USA, October 12-16, 2011</span></a></span></b></div>
<div class="">
<b><span style="font-family: Arial;"><a href="http://www.tandfonline.com/action/doSearch?action=runSearch&type=advanced&searchType=journal&result=true&prevSearch=%2Bauthorsfield%3A%28Litvin%2C+M%29"><span style="color: windowtext; text-decoration: none;">Margaret Litvin</span></a><br />pages 350-352</span></b></div>
<div>
<span style="font-family: Arial;"> </span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.816356"><span style="color: windowtext; text-decoration: none;"></span></a></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.816356"><span style="color: windowtext; text-decoration: none;">Review
of La Tempestad (directed by John Mowat for the Companhia do Chapitô)
at the Corral de Comedias, Almagro, Spain, 23 July 2011</span></a></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/action/doSearch?action=runSearch&type=advanced&searchType=journal&result=true&prevSearch=%2Bauthorsfield%3A%28Della+Gatta%2C+C%29"><span style="color: windowtext; text-decoration: none;">Carla Della Gatta</span></a><br />pages 353-355</span></div>
<div>
<span style="font-family: Arial;"><span> </span></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.816361"><span style="color: windowtext; text-decoration: none;"></span></a></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.816361"><span style="color: windowtext; text-decoration: none;">Review
of Hamlet or Three Boys and One Girl (adapted and directed by Nikolay
Georgiev and the @lma @lter Student Theatre-Laboratory) at the Theatre
Hall of Sofia University, Bulgaria, 12 March 2013</span></a></span></div>
<div class="">
<span style="font-family: Arial;"><a href="http://www.tandfonline.com/action/doSearch?action=runSearch&type=advanced&searchType=journal&result=true&prevSearch=%2Bauthorsfield%3A%28Niagolov%2C+G%29"><span style="color: windowtext; text-decoration: none;">Georgi Niagolov</span></a><br />pages 356-358</span></div>
<div>
<span style="font-family: Arial;"> </span></div>
<div class="">
<b><span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.816357"><span style="color: windowtext; text-decoration: none;">Review
of Shakespeare and APA's Macbeth: Leila and Ben – A Bloody History
(directed by Lotfi Achour) and the company's talkback at Re-making
Shakespeare for the World Shakespeare Festival at the Northern Stage,
Newcastle, UK, 14 July 2012</span></a></span></b></div>
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<b><span style="font-family: Arial;"><a href="http://www.tandfonline.com/action/doSearch?action=runSearch&type=advanced&searchType=journal&result=true&prevSearch=%2Bauthorsfield%3A%28Walkling%2C+S+J%29"><span style="color: windowtext; text-decoration: none;">Saffron J. Walkling</span></a> & <a href="http://www.tandfonline.com/action/doSearch?action=runSearch&type=advanced&searchType=journal&result=true&prevSearch=%2Bauthorsfield%3A%28Cormack%2C+R%29"><span style="color: windowtext; text-decoration: none;">Raphael Cormack</span></a><br />pages 359-361</span></b></div>
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<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.816358"><span style="color: windowtext; text-decoration: none;"></span></a></span></div>
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<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.816358"><span style="color: windowtext; text-decoration: none;">Review of Robert Lewis' Red Hamlet (directed by Robert Lewis) for the Group Theatre, New York, October 1933</span></a></span></div>
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<span style="font-family: Arial;"><a href="http://www.tandfonline.com/action/doSearch?action=runSearch&type=advanced&searchType=journal&result=true&prevSearch=%2Bauthorsfield%3A%28Butcher%2C+J%29"><span style="color: windowtext; text-decoration: none;">Jeffrey Butcher</span></a><br />pages 362-364</span></div>
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<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.816359"><span style="color: windowtext; text-decoration: none;"></span></a></span></div>
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<span style="font-family: Arial;"><span style="color: windowtext; text-decoration: none;">Review
of Shakespeare's Othello (directed by Nikos Charalambous for the Cyprus
Theatre Organization) at Latsia Municipal Theatre, Nicosia, Cyprus, 27
November 2010</span></span></div>
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<span style="font-family: Arial;"><a href="http://www.tandfonline.com/action/doSearch?action=runSearch&type=advanced&searchType=journal&result=true&prevSearch=%2Bauthorsfield%3A%28Pilla%2C+E%29"><span style="color: windowtext; text-decoration: none;">Eleni Pilla</span></a><br />pages 365-366</span></div>
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<span style="font-family: Arial;">REVIEW ARTICLE</span></div>
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<span style="font-family: Arial;"><a href="http://www.tandfonline.com/doi/full/10.1080/17450918.2013.816360"><span style="color: windowtext; text-decoration: none;">Giving a “Local Habitation” to “Airy Nothing”: Review of the Global Shakespeares Video and Performance Archive</span></a></span></div>
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<span style="font-family: Arial;"><a href="http://www.tandfonline.com/action/doSearch?action=runSearch&type=advanced&searchType=journal&result=true&prevSearch=%2Bauthorsfield%3A%28Swenson%2C+H+B%29"><span style="color: windowtext; text-decoration: none;">Haylie Brooke Swenson</span></a><br />pages 367-372</span></div>
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Margaret Litvinhttp://www.blogger.com/profile/03947761967659399516noreply@blogger.com0