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Eyes of the Heart

Selected Plays by

Catherine Filloux 

published by University of Hawai'i Press can be

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Eyes of the Heart collects six plays by Catherine Filloux: Silence of God, Selma '65, Mary and Myra, Kidnap RoadLemkin's House, and Eyes of The Heart. These powerful works take up issues of civil and human rights, genocide, and the determination of women and men to retain their dignity and humanity in times of darkness and violence.

Silence of God 

And Other Plays 

an anthology of 5 plays by Catherine Filloux

published by Seagull Books, London Limited

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A collection of five plays by Catherine Filloux, with introductions for each play by leading scholars who provide context and commentary on the range of her drama. Includes: Silence of God, Mary and Myra, Lemkin's House, The Beauty Inside, and Eyes of The Heart.

Dog and Wolf and Killing the Boss 

with an introduction by Cynthia E. Cohen (Brandeis University). 

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Click here to find out about 
Dog and Wolf Community Outreach Project


published by Playscripts, Inc.  

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And this interview by Kia Corthron “Playwright to Playwright”​ appeared in
For more info about Selma ’65 click here


Plays for Three. New York: Vintage Books

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with an introduction 
by José Zayas 

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Click here for more info about Luz

Human Rights Studies Online Collection

Filloux’s play Photographs from S-21 is included,

Advisory Board/Editor, Alexander Street Press

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Katrina On Stage

Filloux’s play The Breach (with Tarell Alvin McCraney and Joe Sutton) is included,

Trauth and Brenner, Editors, Northwestern University Press. 

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The Theatre of Genocide

Filloux’s play Silence of God addressing Cambodian Genocide is included,

Edited and with an introduction by Robert Skloot. University of Wisconsin Press 

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Articles by Filloux


Seven Avenues to a Dream Project: Take Baby Steps"
The Playwrights’ Center, Playwriting Toolkit, April 11, 2020 

“Stage Director Carrie Klewin writes:  Artist friends & professors... As we continue to consider "What Should We Do" and "How Do We Do It?" during these uncertain times - The incomparable Catherine Filloux has published some thoughts on creating... an articulation of process during the development of her 360-degree Livestream project that is illuminating and inspiring. Take a look - and also check out "turning your body into a compass" on YouTube (make sure you use your smartphone - it's wild!) - it really adds to the conversation about technology & theatre. I haven't seen anything like it...”


“Hall of Mirrors”; Mémoires en Jeu

a special issue on Tuol Sleng, Numéro 6, Paris, May 2018

“This dossier revisits the history of Tuol Sleng with the idea to shed a new light on it; it proposes a multidisciplinary perspective on the site, bringing together interviews and analyses by specialists who reflect on the history of the prison and the role and transformation of the museum in the context of memorial and socio-political transition in Cambodia; it aims to open up new debates with regards to the artifacts, images, and conceptual frameworks by which the memorialization and historical knowledge of Khmer Rouge crimes are processed nowadays.”


“On Recent Events and Relevance” 

The Dramatist: The Journal of The Dramatists Guild of America, Inc., Vol. 19, No. 6,July/August 2017


“Avenues of Change”

Peacebuilding and the Arts Now, Brandeis University, 2016

“Red Wigs and Lettuce: Passing Through the Heart with Dalia Basiouny”


The Brooklyn Rail: Theater InDialogue

March 2013


“When we got out of the van in Sulaymaniyah we saw that the rear window had an assortment of flashing disco lights, heralding our journey. At the bazaar in Sulaymaniyah, Dalia purchased a red graduated bob wig, which she wore and then passed along to each of us so that we could all equally share the same haircut…”


“Report from Iraq: The World is Crying for Love”
Brandeis University Peacebuilding and the Arts


Last November, Catherine Filloux participated in “Women in Action 2,” an international conference in Northern Iraq. The conference took place in Erbil, Sulaymania and Halabja. She sent us a report on her experiences at the conference in these cities. She recounts, “So often at the conferences and roundtables I attend the discussion is about past genocide and violence. But we cannot forget the present, the daily… The world is crying. Poverty robs children of their futures. Clean water becomes a luxury. Let us comfort the world now. Let us turn our attention to its tears and wipe them dry…”


“Hair on a Ribbon That Got Away”

Theatre Journal: Special Issue on Contemporary Women Playwrights
December 2010, Vol. 62, No. 4.
Project MUSE


“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 game 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 soft murmurs...”


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).


“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.”



n 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:


“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

Book Chapter

“Alive on Stage in Cambodia: Time, Histories and Bodies”

Chapter (Case-Study) in Acting Together:

Performance and the Creative Transformation of Conflict

Cohen, Dr. Cynthia E., Varea, Roberto Gutiérrez, and Walker, Dr. Polly, Editors
A two-volume anthology, New Village Press, 2011. (With an accompanying website and “toolkit”.)

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.



a play by Philippe Minyana
Ubu Repertory Theater, NYC (w/ Kevin Duffy), 1992


Interview with Eugene Ionesco

Dramatics Magazine, 1984.


Encyclopedia Of Asian Theatre

Samuel L. Leiter, Editor
Connecticut/London: Greenwood Press, 2007

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