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The subtle wordplay of the English title, "Collecting Home," further suggests that the woman never left Beirut in the first place. She rearranges the memories of her native city as objects that build the mise-en-scene. It is highly personal work, one that at times implicates the audience in the character's internal, almost psychotic realm, where Bou Nassar's natural acting often blurs the borders between autobiography and fiction.Conca's music is intended to run as a unifying thread throughout the performance.Bou Nassar, who originally wrote the script in English, describes "Collecting Home" as an autobiographical work.One cannot but sense that, despite Bou Nassar's efforts to transpose the temporal into the spatial, she is as preoccupied with questions of identity as all the postwar Lebanese artists of her generation.In dissembling a lost people's monolith of identity, Bou Nassar, ironically perhaps, essentializes everything there is in that collective identity.
Barstool memoir and theater critique
An encounter between worlds of the living and the dead
Khaddaje’s self-portrait of the other
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