Madrasset El-Mushaghebeen (School of the Troublemakers)…was “Salem’s best play, a truly courageous work that challenged the cultural establishment.”
“We hope this new initiative will challenge the American theatre community to embrace a broader definition of identity and creativity.”
According to organizers, the two-day event will be livestreamed on Howlround.com.
“It also shows us what inevitably gets lost in translation and cheap punditry. A sorely needed show.”
“Who’s Shakespeare?” a character asks in a new translation of Tunisian-Swedish writer Jonas Hassan Khemiri’s Invasion.
“‘The Stranger’ believes fine art does a bad job of standing up for itself in popular culture, and the Genius Awards are our way of doing something about it.”
In 2006, “Vagina Monologues”-inspired projects launched in Lebanon (“Women’s Talk”) and Egypt (“BuSSy”). In 2012, a similar project launched in Morocco (“Dialy”), although it’s had different struggles.
“For BuSSy to continue to share with the world the remarkable histories of our storytellers, we need a safe and open space to hold our workshops..away from censorship and content-controlling funding…”
The work, by rising Syrian playwright Mohammed Al Attar, will run through May 31 at Theatrelab.
A three-day conference on “Theatre and Censorship” — organized by Egypt’s National Centre of Theatre, Music and Popular Arts — wraps up today.
This March 25, 26, and 27, Columbia University is bringing staged readings of three acclaimed Palestinian plays to New York City.
“In rehearsing this production, we have done our best to render an American staging of these Egyptian plays. Our primary goal has been to not only expose our viewers to the tragic difficulties of a faraway place, but…allow our audience to reflect on the challenges of our own society.”