Abstract
My Fair Lady Between Theatrical Egyptization and Film Adaptation 
 Adapting stage techniques to cinematic functioning is one of George Cukor's major challenges in his grandiose production of My Fair Lady. How then are the theatrical and the cinematographic structured and in what way do they structure in their turn Cukor's film masterpiece? And what meaning do they take? And how to get from a Bernard Shaw theatrical piece without a declaration of love, no dancing or sung scenes, a successful romantic and choreographic musical? And how has this musical been theatrically reproduced in Egyptian style so as to defy anything that seems a limit? Is it the Egyptianization of My Fair Lady was just a simple transposition from screen to stage, or does it retain a specific character that breaks with technical conventions intimately linked to the work of Bernard Shaw? These are the questions that this research will highlight and answer.
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