An Iraqi artist paints-into-life an astonishing generation of women, exposing their radical, sexy and ultimately human stories beneath. Nine Parts of Desire is inspired by live interviews and events of the last ten years on both sides of the Iraqi border.
As Noura and her husband Tariq prepare to celebrate a traditional Christmas, she looks forward to welcoming a special guest—Maryam, a young Iraqi refugee. But the girl’s arrival opens wounds the family has tried to leave behind, forcing them to confront where they are, where they’ve been and who they have become.
This book examines performance in the context of the 2003 Iraq War and subsequent conflicts with Daesh, or the so-called Islamic State. Working within a theater and performance studies lens, it analyzes adaptations of Greek tragedy, documentary theater, political performances by the Bush administration, protest performances, satiric news television programs, and post-apocalyptic narratives in popular culture. By considering performance across genre and media, War as Performance offers an interdisciplinary approach to the study of culture, warfare, and militarization, and argues that spectacular and banal aesthetics of contemporary war positions performance as a practice struggling to distance itself from appropriation by the military for violent ends. Contemporary warfare has infiltrated our narratives to such an extent that it holds performance hostage. As lines between the military and performance weaken, this book analyzes how performance responds to and potentially shapes war and conflict in the new century.
A searing triptych of three monologues all exposing the ugly truth behind the headlines of the current situation in Iraq. In America, a disgraced female soldier defends the chaotic events that took place in Abu Ghraib prison. In England, weapons inspector David Kelly confronts the human consequences of lies that spiralled out of control. And in Baghdad, a mother tells the story of a country that no longer exists. This gripping play strips away the modern myths of war to imagine three people who are all, in different ways, preparing to take their place in history...
You’re six years old. Mum’s in hospital. Dad says she’s “done something stupid.” She finds it hard to be happy. So you start to make a list of everything that’s brilliant about the world. Everything that’s worth living for. 1. Ice cream. 2. Kung Fu movies. 3. Burning things. 4. Laughing so hard you shoot milk out your nose. 5. Construction cranes. 6. Me. You leave it on her pillow. You know she’s read it because she’s corrected your spelling. Soon, the list will take on a life of its own. A play about depression and the lengths we will go to for those we love.
Ike Holter’s Sender thrives on the contrast between order and chaos and the tensions that emerge as we leave childhood and adolescence behind to contend with the demands of “adulting.” In this comedy, Holter presents us with four millennial friends wrestling with these issues. While each is at a different stage of “growing up,” one of the friends has disappeared and has been presumed dead. Yet, at the beginning of the play, he returns and completely upends the balance established in his absence. This witty, foul mouthed, and razor-sharp play asks: “What does growing up mean . . . and is it even desired in this day and age?” Sender is one of seven plays in Holter’s Rightlynd Saga, all to be published by Northwestern University Press. Holter’s plays are set in Chicago’s fictional fifty-first ward. The other plays in the cycle are Exit Strategy, Lottery Day, Prowess, Red Rex, Rightlynd, and The Wolf at the End of the Block.
DIVAn ethnography in which the author’s fieldwork with transgendered and transsexual individuals in New York City demonstrates the creation and confusion of gender identity labels./div