Intro; Advance praise for Shakespeare on the Arabian Peninsula; Acknowledgements; Contents; Abbreviations; List of Figures; List of Tables; Introduction: All the Perfumes of Arabia; Sana'a, Yemen 2013; Doha, Qatar 2015; Kuwait City, Kuwait 2017; The Peninsula: Terms and Demographics; "That which but seems unlike": Shakespeare's London and the Twenty-First-Century Gulf; "Put Your Discourse into Some Frame": The Structure of this Book; References; Chapter 1. "Abstract and Brief Chronicles": Shakespeare on the Peninsula in the Twentieth Century; A Brief History of Shakespeare in Yemen

To Be Yemeni, or Not to Be? Hamlet and the Ba Kathir FestivalA Brief History of Twentieth-Century Gulf Shakespeare; References; Chapter 2. Sparking Debate: Shakespeare in the University Classroom; "To Represent Shakespeare, You Have to Kill Him": Knowledge, Violence and Spectacle; Lost in Transliteration? Arabic Texts About, and Translations of, Shakespeare; Willingly to School? Diversity and Division at Universities on the Peninsula; "Lions Make Leopards Tame ...": Censorship on Gulf Campuses; "But Not Change His Spots": Shakespeare and the Circumvention of Censorship

Global Shakespeare and the Global Network UniversityReferences; Chapter 3. Challenging Segregation: Shakespeare in Performance at Gulf Universities; Julius Caesar and Much Ado at the American University of Kuwait; Macbeth Arabia at the American University of Sharjah; The Global Shakespeare Student Festival at New York University Abu Dhabi; The University of Bahrain English Drama Festival; Antony and Cleopatra at the American University of Sharjah; References; Chapter 4. Negotiating Censorship: Shakespeare on Tour in the Gulf; Can't Touch This: The UAE and Censorship Regulations

Shakespeare Speaks Palestinian Arabic: Ashtar's Richard IIShakespeare Speaks Hindi: Piya Behrupiya; Shakespeare Raps: The UAE Re-Remix of the Q Brothers' Othello; In Sum: The Complexities of Gulf Performance Censorship; Some Unexpected Quirks of UAE Censorship; Shakespeare Sings (and Dances): The Royal Opera House Muscat; References; Chapter 5. Creating Communities: Shakespeare and "New Local" Theatre in the UAE and Qatar; The Complete Works (Abridged) by the Manama Theatre Club; Resuscitation Theater; The Doha Players; True Hope? "New Local" as Change in Process; References

Chapter 6. Respecting Difference: Shakespeare in Oman, Yemen and Saudi ArabiaOthello in Oman: The Dark Night; Yemen's Merchant of Venice; Yemen's East-West Macbeth; A Saudi Extra Steals the Show: Hamlet, Get Out of My Head; References; Chapter 7. Modeling Inclusion: Shakespeare in Kuwait; "I Really Want to See the Show": Shakespear's Grave in Kuwait; Kuwait: Participatory Politics and Theatre; Sulayman Al-Bassam and SABAB; Before the Trilogy: Al-Bassam, Shakespeare and Zaoum Theatre; "I Clap for the Nation": Community and Disintegration in The Al-Hamlet Summit