Articles by Filloux:
“Red Wigs and Lettuce: Passing Through the Heart with Dalia Basiouny”
The Brooklyn Rail: Theater InDialogue
“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…”
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