Abstract
Drawing on feminist theory, this article offers a feminist reading of some Arab Hamlet appropriations to demonstrate whether or not such plays qualify as feminist Shakespeare re-visions. It shows how some female characters in these plays have been, unlike their Shakespearean counterparts, empowered to challenge the hegemonic patriarchal structures of their societies while others remain oppressed and submissive. The discussed Arab Shakespeare renditions constitute only illustrative samples of heroic and oppressed women in the Arab Shakespeare canon which has been known for producing political satires. The featured plays include Ahmad Shawqī’s Masra‘ Kileopatrā (The Fall of Cleopatra), Egypt, 1946; Nabyl Lahlou’s Ophelia Is Not Dead, Morocco, 1968; Mamdūh Al-ʻUdwān’s Hamlet Wakes Up Late, Syria, 1976; Yūsuf Al-Sāyyegh’s Desdemona, Iraq, 1989; Jawād Al-Assadī’s Forget Hamlet, Iraq, 1994; and A Midsummer Night’s Dream, Palestine, 2011.
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