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Decentering the Bard: The Localization of "King Lear" in Egyptian TV Drama "Dahsha"

100%

Selim Y. F.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2018

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vol. 18

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issue 33

145-160

EN

Dahsha [Bewilderment] is an Egyptian TV series written by scriptwriter Abdelrahim Kamal and adapted from Shakespeare’s King Lear. The TV drama locates Al Basel Hamad Al Basha, Lear’s counterpart, in Upper Egypt and follows a localized version of the king’s tragedy starting from the division of his lands between his two wicked daughters and the disinheritance of his sincere daughter till his downfall. This study examines the relationship between Dahsha and King Lear and investigates the position of the Bard when contextualized in other cultures, revisited in other locales, and retold in other languages. It raises many questions about Shakespeare’s proximity to the transcultural/transnational adaptations of his plays. Does Shakespeare’s discourse limit the interpretation of the adapted works or does it promote intercultural conversations between the varying worldviews? Where is the Bard positioned when contextualized in other cultures, revisited in other locales, and retold in other languages? Does he stand in the center or at the margin? The study attempts to answer these questions and to read the Egyptian localization of King Lear as an independent work that transposes Shakespeare from a central dominant element into a periphery that remains visible in the background of the Upper Egyptian drama.

2

Brown, Never Black: Othello on the Nazi Stage

84%

Bassey A.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2020

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vol. 22

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issue 37

51-65

EN

This paper examines the ways in which Othello was represented on the Nazi stage. Included in the theatre analyses are Othello productions in Frankfurt in 1935, in Berlin in 1939 and 1944, and in pre-occupation Vienna in 1935. New archival material has been sourced from archives in the aforementioned locations, in order to give detailed insights into the representation of Othello on stage, with a special focus on the makeup that was used on the actors who were playing the titular role. The aim of these analyses is not only to establish what Othello looked like on the Nazi and pre-Nazi stage, but also to examine the Nazis’ relationship with Shakespeare’s Othello within the wider context of their relationship with the Black people who lived in Nazi Germany at the time. In addition, the following pages offer insights into pre-Nazi, Weimar productions of Othello in order to create a more complex and comparative understanding of Nazi Othello productions and the wider theatrical context within which they were produced. In the end, we find out, based on existing evidence, why Othello was brown, and never Black.

3

Import/Export: Trafficking in Cross-Cultural Shakespearean Spaces

59%

Desmet C.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2017

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vol. 15

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issue 30

15-26

EN

This essay examines the phenomenon of cross-cultural Shakespearean “traffic” as an import/export “business” by analyzing the usefulness of the concept crosscultural through a series of theoretical binaries: Global vs. Local Shakespeares, Glocal and Intercultural Shakespeare; and the very definition of space and place within the Shakespearean lexicon. The essay argues that theoretically, the opposition of global and local Shakespeares has a tendency to collapse, and both glocal and intercultural Shakespeares are the object of serious critique. However, the project of cross-cultural Shakespeare is sustained by the dialectic between memorialization and forgetting that attends all attempts to record these cross-cultural experiences. The meaning of crosscultural Shakespeare lies in the interpreter’s agency.

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3 Multicultural Shakespeare: Translation, Appropriation and Performance

1 Bassey A.

1 Desmet C.

1 Selim Y. F.

1 2020

1 2018

1 2017

Decentering the Bard: The Localization of "King Lear" in Egyptian TV Drama "Dahsha"

Brown, Never Black: Othello on the Nazi Stage

Import/Export: Trafficking in Cross-Cultural Shakespearean Spaces