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Translated from the Albanian by Robert Elsie,
Janice Mathie-Heck, and Alexandra Channer

The Demolition of the Eiffel Tower is not only a symbolic title but a cry of alarm. It is a text of great strength – devastating in its impact.
Andrea Porcheddu, gli statigenerali, Italy

The Eiffel Tower is collapsing before our eyes. It is being demolished by the red, blue, green, and black sultans who are appearing everywhere.
Albatros Rexhaj, Gazetta Tribuna, Prishtina

A perfect dramaturgical machine that spares no one in the act of dismantling, piece by piece, not only stereotypes, misunderstandings, and prejudices with respect to Islam, but the myth of a tolerant Europe as well.
Anna Maria Monteverdi, Hystrio, Italy

His writing attempts to build bridges in a world traumatized by conflict and to bring nuanced communication to a world under the deadly grip of Manichaeism. — American Theatre, United States

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Translated from the Albanian by Ani Gjika

Through the course of a night, and across illimitable space, a man from Kosovo is plagued by a mosquito.

A traumatized ghost . . .  a soul betrayed . . .  a man under the spell of madness . . .  The actor thrills to the roots of the hair . . .     
Eliona Lata, Gazeta Shekulli, Kosovo

Political poetry in the broadest sense . . . observed from various angles, but always with a lucid bite. Very.  
Héctor Carreto, Periódio de Poesía, Mexico City

Winner of the Katarina Josipi Award for best original drama of 2010, presented by the National Theater of Kosovo.

Winner of the first prize at the Festival of Monodrama, Vlorë, Albania in 2013.

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Translated from the Greek by Alexi Kaye Campbell

If you had to leave home in a hurry – in the face of a cataclysm – what would you take with you?

This is theatre that makes you feel that you’ve got your feet wet, whether clambering up the beach or reaching out a hand from the rocks. — Howard Loxton, British Theatre Guide

His goal is to show us around the chaotic, hostile, unwelcoming, wounded, helpless “land of men.” Flourakis engages himself . . . with the savage and sacred material of human nature.
Eleni Koutsileou, Avgi, Greece

A verbal mosaic of ideas, desires, judgements, doubts and rationales . . . The text indisputably showcases one and only one protagonist: the crowd. — Eleni Triantafylopoulou, from the introduction to I Want a Country

Commissioned by the Royal Court Theatre.  Inspired by the refugee crisis.

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Translated from the Albanian by Alexandra Channer

Following a sudden order by the Ministry of Sport, the National Theater of Kosovo is tasked with preparing a “national” play for the celebration of their long-awaited independence.

The nation as a cuckoo’s nest? Its theatre as an asylum? . . . A farce that magnifies the relation between art and politics.
Thomas Hahn, Theater heute, Germany

The play dances along to broken, out-of-tune music, symbolizing the artificial quality of art that is conquered and oppressed by “higher” interests. — Nemanja Cabrić, BIRN, Belgrade

Dialectical and para-national . . . the play demystifies the effects of politics on art. — Ana Tasić, Politika, Serbia

A healthy and cheerful POLITICAL COMEDY . . . Neziraj laughs out loud in the face of bribery, brutality, dullness, lack of knowledge, ignorance . . .
Goran Cvetković, Radio Belgrade 2

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Translated from the Albanian by Doruntina Basha and Janice Mathie-Heck

Long after the war in Kosovo, two women – left with a gaping disappearance – observe an anniversary.

The poetry of the language conveys the infinite nuances of the relationship. — ATSH: Albanian News Agency

The first play from a Kosovo playwright ever to appear in Belgrade theaters. — Dardan Zhegrova, Kosovo 2.0

Disappeared sons: monstrous creatures on an imperceptible border between being and nothingness. — Zlatko Paković, from the  Introduction to the Serbian version of One Flew over the Kosovo Theater, An Anthology of Contemporary Drama from Kosovo

How deeply incised, the claw marks of unseen crimes.
Nenad Obradović, e- novine.com

Winner of the Golden Laurel for Best Balkan Contemporary Play at the MESS International Theater Festival, Sarajevo 2013

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Translated from the Albanian by Fadil Bajraj

An imaginary beauty parlor — within an insane asylum — is the scene of mesmerizing confessions . . .

The war is now over and the psychiatric hospital has been transformed (at least in the minds of four of its inmates) into a beauty salon. — Gilles Boulan, Le Billet des Auteurs de Théâtre, Paris

Words of love dominate those of war, though traces of the latter can still be detected underneath . . . The skillful intertwining of tragic and grotesque elements . . . hold the historical and psychological aspects together. — David Larre, Au Poulailler, Paris

Conversations about nails and haircuts occur, and . . . “beauties of the night” are “produced,” which are unmasked in the morning. — Borka Pavićevič, from the preface to the French publication of War in Times of Love

He has managed to create, or is on the way to creating, a Neziresque universe. — Ballsor Hoxha, Koha Ditore, Kosovo

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Translated from the Greek by Eleni Drivas

In a chorus of distinct voices, with every human impulse in play, they conjure up a country.

The attitude of the citizen toward the constant flow of extreme events. — Antigone Katsadima, Agrinioculture, Greece

An expressionistic smattering of ideas . . . an abstract take on mass migration. — Rachel Abrams, The Easy, United States

Its lament for a homeland gone awry, for the security of the past to return . . . is a delicately persuasive one. ― There Ought to Be Clowns, UK

Written in . . . an unconventional, chorus-like structure . . . with no concrete characters, scenes, or dialogues, the writing ingeniously conveys a sense of volatility and bewilderment. —Text for the PRAXIS theatre group production, Oxford, UK

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Translated from the Albanian by Alexandra Channer

In a vast underground complex, civil servants sift through our dreams. Enter Dan – the new hire for the prized job of interpreter.

His orientation in the tragicomic genre is accomplished in the noblest manner. — Borka Pavićević, the preface to War in Times of Love

He has managed to create, or is on the way to creating, a Neziresque universe. — Ballsor Hoxha, Koha Ditore, Kosovo

According to Kierkegaard, irony helps us to reconcile contradictions on the level of a higher form of madness. It’s exactly that which characterizes the plays of Jeton Neziraj. — Ralph Hammerthaler, Theater der Zeit, Germany

For Jeton Neziraj, not only Kosovo but the entire world is a madhouse. With loving mockery, he looks through the bars at the people inside. —Wolfgang Kralicek, from the introduction to Six Plays by Jeton Neziraj

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Translated from the Albanian by Alexandra Channer

An application for a marriage certificate sets a Balkan town in a spin.

Two men in love, plus one hysterical town . . . Will the couple marry? Is the EU another expression for “ew” in Albanian? — Arber Selmani, Kultplus, Kosovo

An explosion of burlesque, music, and possibly offensive humor, it is simply a riot. — Lura Limani, Prishtina Insight, Kosovo

Neziraj’s plays are inspired by Rock ‘n’ Roll, political cabaret, and the brazenness of William Shakespeare. — Der Spiegel, Germany

Perhaps more than any other playwright, Jeton Neziraj is constantly pushing the boundaries of what is acceptable subject matter in Kosovo. — Jack Davies, Equal Times, England.

An official selection for the Global Queer Plays, Creative/Disruption festival produced by the Arcola Queer Collective in London.

55 Shades of Gay was highly commended in the BBC International Radio Playwriting competition 2018.

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FORTHCOMING

Translated from the Albanian by Fadil Bajraj

Translated from the Albanian by Fadil Bajraj

Translated from the Albanian by Alexandra Channer

Translated from the Albanian by Alexandra Channer

Translated from the Montenegrin by Paula Gordon

Translated from the Montenegrin by Paula Gordon

Translated from the Bosnian by Ellen Elias-Bursać

Translated from the Bosnian by Ellen Elias-Bursać

Translated from the Albanian by Alexandra Channer

Translated from the Albanian by Alexandra Channer

Translated from the Turkish by Özlem Karadağ

Translated from the Turkish by Özlem Karadağ

Translated from the Turkish by Özlem Karadağ

Translated from the Turkish by Özlem Karadağ

Translated from the Albanian by Alexandra Channer

Translated from the Albanian by Alexandra Channer

Translated from the Albanian by Alexandra Channer

Translated from the Albanian by Alexandra Channer

Translated from the Greek by Margaret Wesseling

Translated from the Greek by Margaret Wesseling

Translated from the Albanian by Blendi Kraja

Translated from the Albanian by Blendi Kraja

Translated from the Albanian by Ajkuna Hoppe

Translated from the Albanian by Ajkuna Hoppe

Translated from the Greek by Emmanuela Lia

Translated from the Greek by Emmanuela Lia

Translated from the Albanian by Alexandra Channer

Translated from the Albanian by Alexandra Channer

Translated from the Turkish by Nicholas Glastonbury

Translated from the Turkish by Nicholas Glastonbury

Translated from the Albanian by Elizabeth Gowing

Translated from the Albanian by Elizabeth Gowing

other than we.jpg
Translated from the Chinese by Jeremy Tiang

Translated from the Chinese by Jeremy Tiang

Translated from the Albanian by Alexandra Channer

Translated from the Albanian by Alexandra Channer

will you come with me - without crops.jpg
Translated from the Italian by Haun Saussy

Translated from the Italian by Haun Saussy

 
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PLAYS FOR YOUNGER AUDIENCES

Translated from the Albanian by Fadil Bajraj

Translated from the Albanian by Fadil Bajraj

Tranlsated from the Albanian by Fadil Bajraj

Tranlsated from the Albanian by Fadil Bajraj