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Dog and Wolf Community Outreach Project

Dog and Wolf

Dog and Wolf premiered at 59 E 59 Theaters in New York City, in a sold-out run in 2010. “Dog and Wolf” Community Outreach Project, an innovative effort by the playwright, also began in 2010, to bring theater experiences to areas where theatergoing isn't necessarily part of the everyday culture, and to focus on the neighborhoods’ feelings and concerns surrounding issues raised in the play. Readings of Dog and Wolf took place at Still Waters in a Storm, Brooklyn; St. Rita’s Refugee Center, Bronx; Culturehub, NYC, with video conferencing technology linking audiences with Center for Justice and Reconciliation, Sarajevo, Bosnia; Independence Care System, Brooklyn; YM &YWHA of Washington Heights (with People’s Theatre Project); Hour Children, Queens; Isabella Geriatric Center, Inwood (with People’s Theatre Project), and The Anne Frank Center USA, NYC. Childcare and refreshments were provided at some venues. Directed by Jean Randich and performed by a company of actors including: Snezana Bogdanovic, Aysan Celik, Lynn Cohen, John Daggett, Daniela Dakic, Elizabeth Hess and Antoinette LaVecchia. Production manager: Sarah E. Peterson and stage manager: Jes Levine. Produced by Watson Arts.

In 2011 “Dog and Wolf” Community Outreach Project traveled to Pillsbury House Theatre in Minneapolis. The play was read by actors Sarah Agnew, Peter Thomson, and Phyllis J. Wright, as clients waited at the Pillsbury House Integrated Free Health Clinic. Other participants were Minneapolis educator, Sara Nelson from Lake Country School, an independent Montessori school, and her 7th, 8th and 9th grade Humanities and English students. Supported by The Playwrights’ Center’s Core Alumni Fund.

Link to a short documentary about Dog And Wolf meets the community

DOG AND WOLF
A New Play by Catherine Filloux

"My first response to the issues raised by Catherine Filloux’s moving play, Dog and Wolf, was to think about the arduous process of seeking political asylum--what is expected and possibly demanded of the refugee in a court of law. But as I thought more specifically about Jasmina, the Bosnian refugee in the play, I realized that she had a made a series of life choices that also made it impossible for her to provide simple or clear-cut answers to the questions posed to her about her identity, religion, marital relationship, and allegiances. Furthermore, the voices of those she had left behind haunt her and in many ways thwarted her quest for asylum. Ironically, the only relief she can find is to return to the site of the crimes against her mother and sister and confront their torturer. As I allowed myself to contemplate why Jasmina undermined her own case, I realized that she did not occupy that courtroom alone. The voices within made a separate peace impossible.

Performing the play in the Anne Frank House brought other voices into the room as well, and amplified both the terror in Jasmina’s thoughts of her mother and sister fleeing their aggressors and at the same time, the need to confront those who perpetrate these war crimes and hold them accountable. I kept thinking of Otto Frank’s efforts to make Anne’s voice heard, and I believe that the same impulse—to give voice to her sister and mother--propelled Jasmina’s return."

Sharon Friedman,
Author, Editor, Associate Professor, NYU Gallatin
Literary and dramatic criticism

“The whisker of difference between domesticity and danger”
Manhattan Times, Written by Laura Gabby
Thursday, November 11, 2010

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