Christèle Khodr in her new play "Silence ça tourne." Photo Jean-Louis Fernandez
"I promise you that during the performance, I will limit poetry and sentimental outbursts as much as possible, because I have learned, while working on this play, that appeals to pity and compassion lead nowhere. Not in theater, not in wars, not in history, not in geography. So I ask you to always keep in mind, while watching the show, that the events in this play are real, that they happened in 1976, and that any coincidence with events taking place today or in the recent past is entirely your responsibility."This is how Chrystèle Khodr, sitting in the middle of the stage, sets the tone for Silence ça tourne.She revisits the massacre in the Palestinian camp of Tal al-Zaatar in 1976. Between testimonies from aid workers and journalists, she attempts to shed light on this tragic event from the start of the civil war. Once again,...
"I promise you that during the performance, I will limit poetry and sentimental outbursts as much as possible, because I have learned, while working on this play, that appeals to pity and compassion lead nowhere. Not in theater, not in wars, not in history, not in geography. So I ask you to always keep in mind, while watching the show, that the events in this play are real, that they happened in 1976, and that any coincidence with events taking place today or in the recent past is entirely your responsibility."This is how Chrystèle Khodr, sitting in the middle of the stage, sets the tone for Silence ça tourne.She revisits the massacre in the Palestinian camp of Tal al-Zaatar in 1976. Between testimonies from aid workers and journalists, she attempts to shed light on this tragic event from the start of the civil war. Once...
