Showing posts with label Othello. Show all posts
Showing posts with label Othello. Show all posts

Thursday, December 15, 2016

Says Othello: "Remember Aleppo"

Arabi21 News recently published a portrait of Aleppo in anticipation of its fall. 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:

"Among the witnesses of Aleppo's public renown is that it is mentioned twice in the stories and plays of William Shakespeare, in Macbeth and in Othello."

The passages in question are, of course, the words of the First Witch in Macbeth, 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.

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:

Soft you; a word or two before you go.
I have done the state some service, and they know't.
No more of that. I pray you, in your letters,
When you shall these unlucky deeds relate,
Speak of me as I am; nothing extenuate,
Nor set down aught in malice: then must you speak
Of one that loved not wisely but too well;
Of one not easily jealous, but being wrought
Perplex'd in the extreme; of one whose hand,
Like the base Indian, threw a pearl away
Richer than all his tribe; of one whose subdued eyes,
Albeit unused to the melting mood,
Drop tears as fast as the Arabian trees
Their medicinal gum. Set you down this;
And say besides, that in Aleppo once,
Where a malignant and a turban'd Turk
Beat a Venetian and traduced the state,
I took by the throat the circumcised dog,
And smote him, thus. [Stabs himself]

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.

And yet, in light of current events, 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:

"Remember Aleppo"

Saturday, April 23, 2016

400th Anniversary updates

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:

Litvin's new book, co-edited by Marvin Carlson, recently came out. Entitled Four Arab Hamlet Plays, this collection features English translations of four prominent productions of Hamlet by Moroccan Nabyl Lahlou (Ophelia is Not Dead, 1968), Syrian Mamduh Adwan (Hamlet Wakes Up Late, 1976), Jordanian Nader Omran (A Theatre Company Found a Theatre and Theatred "Hamlet," 1984), Iraqi Jawad al-Assadi (Forget Hamlet, 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. (http://www.amazon.com/Four-Hamlet-Plays-Marvin-Carlson/dp/099068475X)

Another book by Sameh Hanna (University of Leeds), Bourdieu in Translation Studies: The Socio-cultural Dynamics of Shakespeare Translation in Egypt, was published by Routledge in late March. In it, Hanna explores Arabic translations of Hamlet, Macbeth, Othello, and King Lear in light of Pierre Bourdieu's "sociology of cultural production." (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)

On April 5, the Globe to Globe Hamlet tour, which consisted of a company of actors from Shakespeare's Globe in London performing Hamlet 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 Hamlet on Saudi soil. (http://globetoglobe.shakespearesglobe.com/hamlet/the-map/north-asia?date=01+Apr+2014)

Lastly, this blog received a shout-out on arablit.org in a post by freelance journalist M. Lynx Qualey entitled "Arabic Shakespeares: From Theatre to TV to YouTube." The post features "out-takes" for another article of hers posted today at The New Arab: "The Arabic Shakespeares: Subversive, political, and entertaining."

In the near future, look forward to posts about the Shakespeare conference occurring today in Alexandria, Egypt (live-tweeted by @GlobalShaxpeare), 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.

Thursday, December 19, 2013

"Othelliano" in Egypt

The bits of good news are that the Hanager is open and even before the lifting of Cairo's nightly curfew in mid-November, it seems people were somehow able to go.

Hanager opened with a production of Macbeth earlier before putting on a "popular" adaptation of Othello in early November, titled Othelliano and directed by Reda Hssanin. According to reviewers, it highlighted the comic and farcical aspects of the play and included various elements of "spectacle" such as puppet theatre.  Ahram articles here and here (in Arabic).  Facebook page for the show here.
And isn't their poster gorgeous?

Monday, November 7, 2011

Gary Wills on Shakespeare and Verdi

No Arab connection per se, and kind of unexpected to find Wills (brilliant polymath though he is) writing about this, but check out this great NYRB piece on the authorship of Shakespeare and Verdi, and the day-to-day theatrical work that was inseperable from it in both men's lives.  Theatre shaped by actual conditions: not only sponsorship but available talent!  What a great idea.  (And what a frequent reality in Arab companies as well.)
Of course Verdi -- whose work inaugurated Khedive Ismail's opera house -- was an even earlier and more decisive influence in Arab theatre than Shakespeare has been.

Monday, April 25, 2011

Comparing Iraqi politicians to Othello

Writing on the Sotaliraq (Voice of Iraq) web site, op-ed writer Majid `Anqabi compares Iraq's governing elite to Othello (in Arabic). The headline is "Shakespeare's play Othello and the Fear of the Liberation Square Demonstrators."
`Anqabi mentions the theory "held by specialist scholars" that Othello was insecure about Desdemona because he was unable to satisfy her sexually, and thus became vulnerable to jealousy and had to kill her. His analogy is that the ruling Iraqi elite, unable to satisfy its people (e.g., by providing normal state services) is insecure and feels forced to crack down brutally when they demonstrate in Baghdad's Tahrir Square. A new twist to the woman-as-nation analogy.  Also more evidence that most Arab readings of Othello are concerned with the spousal relationship, NOT the West.
Incidentally, the writer also invokes Safa' Khulusi and his nickname for Shakespeare, Shaykh Zubayr.

Thursday, August 12, 2010

No Othello in Tangiers

I should clarify that there has been a funny linguistic misunderstanding. Back in June, while I was in Morocco, I misread "Hotel Tanja" as "Otayl Tanja," i.e., Othello -- which is easy to do, because the two are spelled identically, and because I had forgotten that Moroccans use the French word hotel instead of the classical Arabic word funduq. I was further misled by one of the plays in the volume being called Zanqat Shaksbir -- Shakespeare Street. Which turns out to be about a real street in Tangiers, with a plot very vaguely reminiscent of Romeo and Juliet but too far to be considered a Shakespeare adaptation. My friend Khalid Amine, head of the International Center for Performance Studies in Tangier set me straight. Consider it a lesson in di- or tri-glossia.

Saturday, June 12, 2010

Othello from Tangiers

Greetings from Morocco. This is the cover of a new book (apparently) titled Othello of Tangiers. By Tangiers-based writer Zoubeir Ben Bouchta.

More details soon, inshallah.

Friday, August 31, 2007

El Attar at CIFET

The Cairo festival also includes a show called F*** Darwin, Or How I learned to Love Socialism, by Egyptian playwright/director Ahmed El Attar. Unaffiliated with any state-funded theatre in Egypt, El Attar's Temple Independent Theatre Company is producing the show under the banner of Montenegro. It's actually a co-production with a Montenegrin group.

El Attar's postmodern collage, About Othello, Or Who's Afraid of William Shakespeare (co-written with Nevine El Ibiary) was produced in Geneva last November. Earlier (Sept 13-18, 2006) it played to mixed reviews at AUC's Falaki Theatre, the only venue in Cairo that could handle the technical complexities of its 2.5-ton industrial set and many projection screens.

According to El Attar, the whole of F*** Darwin involves a family sitting on a couch, very static, in contrast to the many moving parts of his Othello. When the father speaks to the son, it is with excerpts from Gamal Abdel Nasser speeches. Which is kind of nice.

UPDATE 6/23/11: The link to the About Othello review has gone dead, but I found another one, by Waleed Marzouk for the Daily News Egypt.  Clips of this visually not very interesting show soon to come at MIT's Global Shakespeares archive - stay tuned.

Thursday, February 2, 2006

Sameh Hanna on two nationalist Egyptian Othellos

Sameh F. Hanna, Othello in Egypt: Translation and the (Un)making of National Identity. In Translation and the Construction of Identity (St. Jerome, 2005), 109-128. (This is the First Yearbook of the International Association of Translation and Intercultural Studies.)

Abstract:

The long held view that national identities are natural entities whose
formation is not conditioned by human agency, and hence are constitutive rather
than constituted, has been challenged by a whole range of scholarship which
underlined the constructedness of national identities and the role of
intellectuals in their formation. The role of translators, as intellectuals, in
fashioning and subverting versions of national identity is discussed in this
paper in relation to two translations of Othello in Egypt, one by Khalil Mutran
(1912), and the other by Mustapha Safouan (1998). The translation strategies
adopted by these two translators are deployed towards the (de)construction of
the national identity of the target culture. In reading the two translators'
(un)making of national identity, this article relates their translation
strategies to their discourse on translation.

Some parts of this article (on Mutran) are recapped in Sameh's contribution to the 2007 Critical Survey volume. But this piece is really good on the language politics guiding the two translations: Mutran's Levantine Christian need to forge an identity that is larger than Egypt yet not premised on Islam; Safouan's post-Nasser and post-Gulf War reversion to Egyptian identity and use of the play for collective political psychoanalysis. Using Othello allegorically in just the opposite of an anticolonial way, Safouan casts him as the delusional Arab nationalist leader so caught up in his own glory that he murders his willing and competent nation (Desdemona). If Safouan is washing any dirty linen, he doesn't care -- anyway for an `ammiyya translation his public would be small.