Rendering Shakespeare, war and race in present-day Israel

How are war and race rendered in two recent productions, in 2008, of Richard III in Tel Aviv and of Othello in Jerusalem? In what ways might the Israeli production of Richard III be compared with a current British reading of the play's presentation of war, such as that to be found in Simon Barker's recent book? What are the effects of the Jerusalem performance of Othello in the light of the director's decision to substitute for the word oMooro in the text, the word oArabo in performance, as well as to play Othello as an Arab? Against these Israeli renderings of Shakespeare, finally, how does Shakespeare's The Merchant of Venice render its Jew? The essay attempts to draw on the computer graphics sense of the word orenderingo, as well as concepts of the dialogic and the affiliatory to further explore these issues.