Engaged Dramatists from Across the World
4 by Stefanovski and a 1 act
With introductory texts by Chris Torch and Slobodan Unkovski
and translations by Patricia Marsh-Stefanovska
Stefanovski diagnoses the black hole of our time — the collective amnesia born out of the loss of one’s own story and the lack of interest in the story of the Other. That is the sickness of our contemporary Tower of Babel, our global world. —Goce Smilevski, “Goran Stefanovski — A Playwright in the Tower of Babel,” Shoreless Bridges — South East European Writing in Diaspora
Stefanovski has created a specific and recognizable theatrical world in which the characters of his plays are historically torn between east and west, between a poignant past and an unpredictable future, between obedience and rebellion. —Naum Panovski, “Goran Stefanovski’s Sarajevo or Sara in the Horrorland,” Performing Arts Journal
4 by Malpede plus an Intervention
With a foreword by Marvin Carlson and an afterword by Lydia Koniordou
Her characters are strong and fascinating, her contexts brilliant and horrifying, and her tone always warm and in the end loving. —Andrew Solomon, past president of PEN American Center
Karen Malpede is a downtown New York Theater mainstay known for her unflagging commitment to social justice. —Brad Rothbart, American Theatre
One of America’s more prominent political playwrights . . . These plays seek to bring us to our senses, intellectually, morally, and socially. —Marvin Carlson, Commentary, Plays in Time, by Karen Malpede
Karen Malpede’s plays scream “Pay Attention.” —Cindy Rosenthal, The Theatre Times
