On the Road to Palestine: Six American Playwrights Come upon the Checkpoints-Both Military and Metaphorical-That Define the Daily Realities of Palestinian Life

By Corthron, Kia; Kushner, Tony et al. | American Theatre, July-August 2003 | Go to article overview

On the Road to Palestine: Six American Playwrights Come upon the Checkpoints-Both Military and Metaphorical-That Define the Daily Realities of Palestinian Life


Corthron, Kia, Kushner, Tony, O'Hara, Robert, Schlesinger, Lisa, Shamieh, Betty, Wallace, Naomi, American Theatre


In June 2002, playwright Naomi Wallace traveled with British theatre director David Gothard to the Middle East. They met with Palestinian theatre artists in the Occupied Territories and set up meetings for a second trip that Wallace had, for years, been envisioning--one that would bring together a group of American playwrights and Palestinian theatre artists.

[ILLUSTRATION OMITTED]

In August 2002, that trip became a reality. Wallace, with the help of her friend Connie Julian, invited American playwrights Kia Corthron, Tony Kushner, Robert O'Hara, Betty Shamieh and Lisa Schlesinger to join her. The trip lasted seven days. It was financed by the playwrights themselves and by outside contributions from individuals.

This collectively written account of the trip is followed by six very personal essays in which each of the writers assesses and reflects on his or her experiences.

**********

OUR PRIMARY PURPOSE WAS TO MEET WITH PALESTINIAN theatre artists. We wanted to learn about the kinds of theatre being made under the harsh circumstances in Palestinian cities and in the camps: how playwrights, actors, designers and directors--our Palestinian colleagues--negotiated the checkpoints, curfews, occupations, gun and missile fire and catastrophic economy, as well as tensions and problems within Palestinian society. We wanted to see for ourselves, feeling as we did that the sporadic, lopsided glimpses into Palestinian life available in America were neither particularly trustworthy nor sufficient to the task of trying to comprehend the ongoing conflict and carnage, the appalling suffering endured on both sides--but especially, and for many long decades, by the Palestinians.

We wanted to make human contact with people we frequently hear dismissed or described as less than human. We hoped to break down some of the barriers dividing us from the Palestinian people. We went to gather ideas for projects we might undertake, together or individually, to facilitate an exchange between Palestinian and American theatre artists, to provide material and educational assistance to Palestinian theatre workers. We feel that personal contact, dialogue, lived experience, exploration and community-building are not ancillary to but rather the core--the life's blood--of our profession.

We stayed in a hotel in East Jerusalem, from whence we made day trips to Ramallah, Al Maghar, Hebron, Bethlehem, the Aida Refugee camp, Gaza City and the "beach camp" for refugees in Gaza. We toured various settlements as well, and one evening we drove to Tel Aviv, where we met with a large group of progressive Israeli theatre artists. Throughout our seven-day journey we met women and men who, against all odds, are creating theatre. Their immediate experience of theatre's power to make sense of misery and injustice and terror, of its power to organize and to heal, were incredibly inspiring, as were their courage, intelligence, decency and hospitality.

In Ramallah, the Ashtar Theatre, led by Iman Aoun and Edward Muallem, produces a show each year that, through the character of a cantankerous Palestinian patriarch named Ali Shakur, tackles issues of collaboration, corruption, even rape and incest, emphasizing Palestinian agency rather than Israeli brutality.

The Inad ("Stubborn") Theatre in Beit Jala, is run primarily by women. Two of its members, producer Marina Barham and director Raeda Ghazaleh, told us hair-raising stories of the siege in Bethlehem, of their determination to rehearse their own work and hold workshops for traumatized children and adults, even in defiance of strictly imposed curfews. Our meeting took place in the theatre lobby, against a wall that still showed the traces of the enormous hole an Israeli missile had blasted away.

Adnan Tarabashi, who runs a puppet theatre in the Druze village of Al Maghar based in a center for the Palestinian deaf--a group for whom almost no services exist--is also a playwright and a filmmaker. …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

On the Road to Palestine: Six American Playwrights Come upon the Checkpoints-Both Military and Metaphorical-That Define the Daily Realities of Palestinian Life
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.