Poet Ross Sutherland found an old VHS tape in his attic. On it: a couple of old movies, a quiz show, half a sitcom episode. Through years of study, he slowly reorganized the footage into the story of his life.

An aged master storyteller, Mother spins a hilarious and unbelievable yarn of her life story, from cow pastures to pirate ships to canine space travel, while her two adult sons listen with rapturous attention or exasperation. Jason Craig’s latest play, developed with actor Jessica Jelliffe and their celebrated theatre company Banana Bag & Bodice, asks what the value of a good story is, regardless of its relationship to the truth.

Koffi Kwahulé’s Masquerade for the Wounded performs the trauma and marginalization of women who have been raped during a period of civil war. A short commentary accompanies the play, which has been translated from the French.

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.

How should we understand the mobile phone images uploaded to the internet during the ongoing Syrian Revolution? Are the broken-up and incomplete images taken by Syrians an extension of their physical experiences? Are mobile phones extensions of photographers' brains, of their bodies, of their beings?

Reinaldo Arenas's novels are still unavailable in Cuba, but 20 years after the exiled writer's suicide a Cuban-American playwright, Jorge Ignacio Cortiñas, has written an homage to Arenas that will be produced in Havana, where hyphenated Cubans are rarely acknowledged. This is the full script of Blind Mouth Singing in the original English-language version.

In his coffin, Ponzi Porco PhD—a non-profit pig—rhapsodizes with sadomasochistic glee about his mad love affair with the New York Times .

Fusco's monologue addresses the role of female interrogators in the War on Terror. The piece is staged as a briefing by an intelligence officer who rationalizes the use of sexual harassment by female interrogators of Islamic fundamentalist detainees.

This mockumentary in the form of a self-interview takes a sidelong glance at the role of the artist in Lebanon, a country torn apart by years of civil strife and war.

Behind a blackened window in Kabul, Laila, a widow, seeks solace in sex while earning her living as a prostitute. She and her lover Ash find refuge from the violence, loss, and fear that is their daily lives under the Taliban.

The Trial of the Refuseniks drew attention to the moral issues of the conflict over the Israeli occupation of Gaza and the West Bank, a conflict that is still tearing Israeli society in two irreconcilable directions. The “theatrical documentary reading” is a reenactment of the military trial of five conscientious objectors, based on court transcripts.

The director of Forced Entertainment discusses a particular strand of documentary performance work by his Shefffield-based ensemble. The performance text of Instructions for Forgetting is a collection and collage of text material by Etchells himself and letters, stories, and videos sent to him by friends. This experimental documentary is a performance essay on the topic of stories and their importance to the making and understanding of the world.

SIN (A Cardinal Deposed) was constructed from the transcripts and documents of Cardinal Bernard Law's deposition in two civil suits involving priests accused of child molestation. The transcripts confirm the assertion that the “blindness” of the Church hierarchy was responsible for the rape of children over decades.

Three Posters plays with fiction and truth by offering a voyeuristic view of multiple takes of Jamal Sati's farewell video testimonial, recorded shortly before his suicide mission, and juxtaposing them with an actor's real-time testimonial. The videos consider the limits of truth and its representations, asking: Were the artists violating the sacred space of the martyr in order to critique the concept of martyrdom and the powers that nourish such ideologies?