Abstract
Othello in German by Feridun Zaimoglu and Günter Senkel (2003) is a radical “tradaptation” in terms of language and plot. The script uses a simulation of contemporary multi-ethnic underclass slang, and alters the action of Shakespeare's play so as to comment on the European politics of “race” and migration, and the military occupations of Afghanistan and Iraq. Yet such political allusions remain incidental. The script's focus is on emotional dynamics and (ir)religiosity. The writers' heterodox religious imagination opposes Europe's dominant ideology of secular humanism or atheistic materialism. Their play is self-evidently unfaithful to the word of Shakespeare, but as Carol Chillington Rutter has argued, it both reproduces the original shock effect of Othello and creates a new form of tragedy for our time.
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