Are theatre texts documents of rapidly changing events in times of extreme complexity? If so, then what kind of documents are they? These questions provided the first motivation for writing Could You Please Look into the Camera? The second motivation was purely personal: the Assad regime’s program of arbitrary detention had stepped up the frequency of arrests, creating a republic of fear. This ugly fear that Syrians now share—whether arrested or not—had to be exposed in public.
This content is only available as a PDF.
©2014 New York University and the Massachusetts Institute of Technology