Publication of Filloux’s new plays
Dog and Wolf and Killing
by NoPASSPORT PRESS 2011
with an introduction
by Cynthia E. Cohen (Brandeis University).
PRESS SALON on WRITING AS METAMORPHOSES:
CORTHRON, CATHERINE FILLOUX,
LINDA FAIGAO-HALL, CARSON KREITZER,
RANDY GENER, OTIS RAMSEY-ZOE
(editors, NoPassport Press)
with Cynthia Cohen (Brandeis University),
and Shawn Marie-Garrett (Yale University)
here to find out about
And Other Plays
an anthology of 5 plays by Catherine Filloux
published by Seagull Books, London Limited
ISBN 9781906497095 •
PURCHASE CLICK HERE
here for a review from Book Dragon
Included are introductions to the 5 plays by Elizabeth
Becker, reporter for The New York Times and Washington
Post; David Scheffer, U.S. Ambassador at
Large for War Crimes Issues; Turkish journalist Serap
Erincin; Carol Martin, series editor
for “In Performance”; and Chivy Sok,
human rights educator/researcher who writes.
“We live in a time where urgent actions are required to
deal with challenging human suffering -- mass atrocities in Africa,
unspeakable violence inflicted on women in every corner of the
world, enslaved children, warfare, and other violent conflicts. Yet,
we are also numbed by the severity of these atrocities. Filloux
has never shied away from focusing on these complex issues and
has used her writings to address them head on. Through
her work, she challenges the audience to become involved.”
This new release compiles in one volume five new important plays
that can be produced professionally and in university environments,
and used as teaching tools for human rights and theater educators
alike. The plays are:
• Lemkin's House,
2W/3M, winner of the PeaceWriting Award, is a surreal portrait
of Raphael Lemkin, the man who coined the word ‘genocide’.
Highly recommended by The New York Times.
• In The Beauty Inside,
3W/2M, Ms. Filloux places the audience in the midst of a culture
war after an attempted honor killing. The Village Voice called
it “a drama whose lyrical dialogue evokes the surprising
ambivalence of this wrenching battle.”
• A Cambodian refugee woman suffers from psychosomatic blindness
in Eyes of the Heart,
4W/2M. "Thida is the heroine of Catherine Filloux's 'Eyes
of the Heart,' a beautifully done one-act drama about the place
where horror and grief meet,” says The New York Times.
• America's complicity through the eyes of a journalist,
at the end of the Pol Pot leadership is the subject of Silence
of God, 1W/3M. The Washington Times calls it “A
brave play, with a compelling story to tell.”
• Mary and Myra,
2W, is about one woman (Mary Todd Lincoln) damned by her reputation,
saved by another (Myra Bradwell) who was damned into obscurity.
The Shepherdstown Chronicle wrote, "Mary and Myra takes
the audience hostage…a kind of séance, a spellbinding
recreation of lives that come toward us like torches lighting
About the Author: Catherine Filloux has been writing plays about
genocide, human rights, and social justice for the past twenty
years. Her plays and music theater pieces have been produced
in the U.S. and around the world. Ms. Filloux’s awards
include the Roger L. Stevens Award (Kennedy Center), the Eric
Kocher Playwrights Award (O'Neill) and the Callaway Award (New
Dramatists). She has served extensively as a speaker for human
rights and theater organizations.
Articles by Filloux:
on a Ribbon That Got Away”
Theatre Journal: Special Issue on Contemporary Women Playwrights
December 2010, Vol. 62, No. 4.
“In the play I am currently working on, the ‘femicide’ in
Guatemala, where women
are being killed in rampant numbers, can be traced back to mass rape
and murder as
a tool of war. In Haiti, where rape has also been used as tool of
war, rapes are escalating
after the recent earthquake. Prurient media and viewers alike turn
their interest to
rape when the interest in earthquake news has waned. In the ‘RapeLay’ video
created by Illusion in Japan, players win by raping: ‘With
the click of your mouse, you
can grope her and lift her skirt. Then you can follow her aboard
the train, assaulting
her sister and her mother.’ One can hear the victim of rape
in the video game emit
An essay in which the playwright discusses her concern with international
human rights through a survey of her own dramatic works, including
those touching on the genocides in Bosnia (Dog
and Wolf) and Cambodia
(Photographs From S-21).
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.
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.
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.
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
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
Gems on a Thread II”
The Drama Review, Winter, 2004
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“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.”
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.”
Author of First They Killed My Father