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dc.contributor.authorLitvin, Margareten_US
dc.contributor.authorWalkling, Saffronen_US
dc.contributor.authorCormack, Raphaelen_US
dc.date.accessioned2020-04-13T19:29:36Z
dc.date.available2020-04-13T19:29:36Z
dc.date.issued2016-07-02
dc.identifier.citationMargaret Litvin, Saffron Walkling, Raphael Cormack. 2016. "Full of noises: when “World Shakespeare” met the “Arab Spring”." Shakespeare, Volume 12, Issue 3, pp. 300 - 315. https://doi.org/10.1080/17450918.2015.1066842
dc.identifier.issn1745-0918
dc.identifier.issn1745-0926
dc.identifier.urihttps://hdl.handle.net/2144/40134
dc.description.abstractIn summer 2012, to coincide with the Olympic Games, the United Kingdom celebrated a summer of Shakespeare. Troupes from around the world were invited to produce their own versions of plays from the playwright's corpus. 2012 was also a very eventful year, politically, in the Arab world, as people reacted to what had been dubbed the “Arab Spring”. This article looks at three plays produced by Arabic companies for the World Shakespeare Festival: the Palestinian Ashtar Theatre's Richard II, the Iraqi Theatre Company's Romeo and Juliet in Baghdad, and the Tunisian Artistes Producteurs Associés’ Macbeth: Leila and Ben – A Bloody History. Using these performances, this article examines how different Arabic theatre troupes negotiate expectations of different audiences as well as their own artistic aims using the “playable surface” of Shakespeare's plays.en_US
dc.format.extentp. 300 - 315en_US
dc.languageen
dc.language.isoen_US
dc.publisherInforma UK Limiteden_US
dc.relation.ispartofShakespeare
dc.subjectEnglish literatureen_US
dc.subject1500-1599en_US
dc.subject2012en_US
dc.subjectShakespeare, Williamen_US
dc.subjectRichard IIen_US
dc.subjectRomeo and Julieten_US
dc.subjectMacbethen_US
dc.subjectHistoryen_US
dc.subjectTheatrical adaptationen_US
dc.subjectIraqi Theatre Companyen_US
dc.subjectArtistes Producteurs Associésen_US
dc.subjectWorld Shakespeare Festivalen_US
dc.subjectArab Spring (2010-2012)en_US
dc.subjectOlympic gamesen_US
dc.subjectLondonen_US
dc.subjectAshtar Theatreen_US
dc.subjectGlobal Shakespeareen_US
dc.subjectArabicen_US
dc.subjectTunisianen_US
dc.subjectPalestinianen_US
dc.subjectIraqien_US
dc.subjectAdaptationen_US
dc.subjectWorld Shakespeare Festival 2012en_US
dc.subjectCultural Olympiad 2012en_US
dc.subjectFilm, television and digital mediaen_US
dc.subjectPerforming arts and creative writingen_US
dc.subjectLiterary studiesen_US
dc.titleFull of noises: when “World Shakespeare” met the “Arab Spring”en_US
dc.typeArticleen_US
dc.description.versionAccepted manuscripten_US
dc.identifier.doi10.1080/17450918.2015.1066842
pubs.elements-sourcecrossrefen_US
pubs.notesEmbargo: Not knownen_US
pubs.organisational-groupBoston Universityen_US
pubs.organisational-groupBoston University, College of Arts & Sciencesen_US
pubs.organisational-groupBoston University, College of Arts & Sciences, Department of World Languages & Literaturesen_US
pubs.publication-statusPublisheden_US
dc.date.online2015-08-21
dc.identifier.mycv42407


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