“Re-: An Errant Glossary” – just out from the ICI Berlin.

What’s in a prefix? How to read a prefix as short as ‘re-’? Does ‘re-’ really signify? Can it point into a specific direction? Can it reverse? Can it become the shibboleth of a ‘postcritical’ reboot? At first glance transparent and directional, ‘re-’ complicates the linear and teleological models commonly accepted as structuring the relations between past, present, and future, opening onto errant temporalities.

Can ‘Hamlet’ be an Arab?

Her work, in her own words, is ‘to see Hamlet splinter and be reconstituted; serve as a mask, a megaphone, and a measuring stick; and tell a story as revealing of his host’s identities as his own’[1]. She explores the presence of ‘Hamlet’ in Arab contexts – as both a play and a character – in various forms, shapes and images, with the last chapter of her book examining six Arab Hamlet off-shoots staged between 1976-2004. The common denominator of these productions is how they reveal the political and social consciousness of the theatremakers staging the various productions.

‘L’Histoire du Soldat’: Re-imagining Stravinsky’s score in the age of technological weapons.

100 years after the end of World War I (and 100 years after L’Histoire du Soldat was first performed), I adapt the classic story to focus on the technology of modern warfare: drones. In conversation with the original, my piece integrates the striking Stravinsky score with the urgency of a new story, allowing us to interrogate the ongoing nature of war and manipulation.