Articles by Filloux:
“Here
and There”
The Dramatist: The Journal of The Dramatists Guild of America, Inc.
March/April 2007, Vol. 9, No. 4.
“Through my playwriting work regarding genocide and human
rights, I share with [Mu] Sochua the faith that change is possible,
and we can make it happen.”
An essay in “The Writer’s Life” issue, about her
opera Where Elephants Weep and her collaborative project Seven,
with Mu Sochua, co-nominee for the Nobel Peace Prize.
“Vulnerable
Cultures”
Contemporary Theatre Review, Vol.16 (2), 2006 (Routledge/UK).
“In the 1980s I remember on a collective TV in Oran, Algeria,
my mother’s home-city, men watching the American TV show ‘Dynasty’,
dubbed in Arabic in a café. I had never personally seen
the show but the glitzy intrigues of wealthy Texans seemed an odd
subject matter for the men in the cafés. However, the
men seemed riveted.”
The essay discusses the place of theater and the playwright in the
age of cultural globalization.
“Kansas
Abduction”
Roundup: League of Professional Theatre Women, Vol. VI, 2005-2006.
“Days before I went to the Rotary Club, a 16-year-old woman
was abducted from her home right near the William Inge House. An “Amber-Alert” brought
FBI special agents straight to the area, and the news vans lined
the usually empty streets…”
Filloux lived and wrote in William Inge’s boyhood home during
her playwright’s residency in Independence, Kansas, and was witness
to a few surprises in America’s heartland.
“A
Public Garden”
Contemporary Theatre Review, Vol.15 (2), 2005 (Routledge/UK).
“It is clear to the young Moroccans I work with that ‘honor
killings’--such as the one in The Beauty Inside--stand
outside the Muslim religion. And yet this kind of violence
towards women is part of the radical thinking of fundamentalists…”
An article about a workshop of Filloux’s play The Beauty
Inside, in Arabic, in Rabat, Morocco, which recounts the post
9-11 tensions.
“Seeing
Eyes: How contemporary plays open eyes and hearts to
the legacy of Cambodia’s killing fields”
American Theatre, January 2005.
“Playwright Catherine Filloux eloquently explores
the gulf between the U.S. and Cambodian theatrical sensibilities
in her account of a production of her drama Eyes of the Heart (page
77), based on oral histories she compiled over five years of working
with Cambodian refugee women at St. Rita’s Refugee Center in
the Bronx. Filloux recently returned from Phnom Pehn, where
she taught playwriting at the Royal University of Fine Arts and organized
a short-play festival for her students.” American Theatre
“Ten
Gems on a Thread II”
The Drama Review, Winter, 2004
MIT Press
Journals, 238 Main St., Suite 500, Cambridge MA 02142
Phone: 617-258-0585; Fax: 617-258-5028; Email: rbesen@mit.edu
“Maybe it’s the writing bond. The trust given to me
for very little reason, except that these student artists are full
of grace, light, and joy, despite their hardships. A gun, a careless
bullet in their path? The air between all of us is so fragile.”
An account of Filloux’s trip to Cambodia in 2003, to do a playwriting
workshop at the Royal University of Fine Arts and document Lakhaoun
Niyeay, “spoken-word theatre.” A continuation
of “Ten Gems on a Thread.”
“Ten
Gems on a Thread”; Manoa: In the Shadow of Angkor
Contemporary Writing From Cambodia, 2004
@nd…a New Dramatists Publication, Winter 2002.
“This book shows that the light of literature has not been
extinguished in Cambodia, and is growing brighter.”
LOUNG UNG
Author of First They Killed My Father
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Translation (French to English):
The Lion King Paris
Translation Services, Disney, 2007
“In the Event of a Sudden
Loss of Cabin Pressure”
by Aurélie Resch
Queen’s Quarterly: A Canadian Review; Short Story, Summer 2003.
Boomerang
a play by Philippe Minyana
Ubu Repertory Theater, NYC (w/ Kevin Duffy), 1992
Interview with Eugene Ionesco
Dramatics Magazine, 1984. |
