http://hdl.handle.net/11089/26519 2026-04-03T18:41:37Z http://hdl.handle.net/11089/26581 Theatre Reviews Rayner, Francesca 2019-01-03T00:00:00Z http://hdl.handle.net/11089/26580 Book Reviews Heijes, Coen; Baker, William; Yuan, Elena; Yanna, Sun 2019-01-03T00:00:00Z http://hdl.handle.net/11089/26579 Decentering the Bard: The Localization of King Lear in Egyptian TV Drama Dahsha Selim, Yasser Fouad 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. 2019-01-03T00:00:00Z http://hdl.handle.net/11089/26578 Shakespeare in Digital Games and Virtual Worlds Timplalexi, Eleni The article attempts first to introduce the reader to the deeper needs that gave rise to animation, a fundamental aspect of digital gaming and virtual worlds. It then tries to illuminate the various facets of digital performance and gaming, especially in relation to Shakespeare-themed and inspired digital games and virtual worlds, by putting forward some axes of classification. Finally, it both suggests some ideas that may be of use in rendering the Shakespeare gaming experience more “complete” and “theatrical” and ends by acknowledging the immense potential for the exploration of theatricality and performativity in digital games and virtual worlds. 2019-01-03T00:00:00Z