International Voices Project | Victory Gardens Theater | Theater & Performance | Chicago Reader
This is a past event.
When: Mondays-Wednesdays. Continues through March 2 2015
www.ivpchicago.org
If ever there was a place that needed an international voice, it's Syria. Damascus-born playwright Mohammad al-Attar has taken on the job. In a 2012 interview with the Economist, al-Attar said that making art during the struggle against dictator Bashar al-Assad seemed at first "like a luxurious act. I was obsessed by participating directly in the protests and activism on the street." But he ultimately saw that "writing could be a contribution rather than cowardice." Two of al-Attar's Syria-centric plays, Withdrawal and A Chance Encounter will be presented together (Mon 2/23) as part of the sixth International Voices Project, a festival that partners with local troupes and directors to stage English-language readings of foreign scripts. The other works on this year's roster: From India, Gopal Sharman's version of the Hindu epic The Ramayana (Sun 2/15). Canada's Daniel MacIvor is represented by Best Brothers (Mon 2/16), a comedy about sons reunited by their mom's death. A Swede of Tunisian descent, Jonas Hassen Khemiri makes his third appearance at IVP with a script in which three women discover that We Are a Hundred (Tue 2/17). Cuba yields The Walruses, Laura Liz Gil Echenique's play exploring the lessons in love other creatures might teach us "if we could listen" (Sun 2/22). Norwegian Arne Lygre contributes his latest, Nothing of Me (Tue 2/24): a tale of "passion gradually convulsed by visiting ghosts." Best known as a wunderkind novelist, Dorota Maslowska paints her "portrait of a schizophrenic post-communist" Poland in No Matter How Hard We Try (Sun 3/1). And if you missed La Reunión last November, when Chilean theater artist Trinidad González brought her piece about a final meeting between Christopher Columbus and Queen Isabella to the Museum of Contemporary Art, you'll find it done here without the subtitles (Mon 3/2). —Tony Adler

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