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Last Updated: 17 Mar 12

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Elias Khoury

ELIAS KHOURY   

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Literary Agent:  n/a

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Plays by Elias Khoury

Urban Odyssey

1st Produced:

Ellen Stewart Theater, La MaMa
66 East 4th Street, New York, NY 10003

22 Mar 2012

Company:

Loco7 Dance Puppet Theatre Company

1st Published:

I don't think it has been published. Try emailing Playwright or Agent where listed at top of page.

ISBN/ASIN:

-

Music:

-

doollee no

#137526

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Genre:

Piece

Parts:

Male

4

Female

3

Parts other:

puppeters

Notes:

Conceived by Federico Restrepo and Denise Greber; Music Composed by Elizabeth Swados; Text by Elias Khoury

Synopsis:

Urban Odyssey depicts the experience of immigration to America through movement and visual theatre. This new work is the culmination of a ten-year investigation that began in 2002 with a production created from Federico Restrepos personal experience as a Colombian immigrant. The first episode 9 Windows revealed a series of multi-media experiences of being a displaced immigrant. The second episode Open Door (2006) addressed the impact of the many immigrants from diverse cultural backgrounds that make up NYC; revealing their histories and states of mind. The third episode Room to Panic (2008) depicted the joy, fear, alienation and struggle that reveal the allure, disillusionments and rites of passage to achieve the American Dream. Urban Odyssey will merge all these concepts, creating an epic journey that acknowledges the inevitability of a new American culture. A voyage of human experience, from leaving ones homeland, to finding a new country, to making a new home and setting down roots.

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Apart from very popular and world touring productions, many performing arts events are largely forgotten about in a matter of months. Traces may remain in various collections, but few collecting agencies, such as libraries, catalogue each flyer or program individually. Hence, unless one knows that an event took place at a certain time in a certain place, tracking down such an event as part of a research project is often a matter of chance. Where research needs to be carried out on high profile and well-documented productions only, this is not a problem. However, both the historian and the analyst will attest that the cultural, political, or sociological context in which a performing arts event takes place is also of major importance, as are the other events that took place in close proximity, either in place or time. A good overview of such productions provides us with a 'social document' that can greatly enhance cultural studies in ways that extend far beyond the narrow confines of theatre history. For instance, data such as this can be used to monitor the health of communities, particularly when used in association with data obtained from other social science disciplines. When one researches a particular playwright one might want to know about all the productions of plays by that author; if one wants to investigate what choices a particular audience had over a period of history and compare this to, say, an ethnic breakdown of the population, one would need to know broadly all the events that took place during that time. If one wanted to do a statistical analysis on the shift in popularity of a genre over one or more generations, it is important to have knowledge of most of the relevant major and minor performance events that took place. In this context, issues of aesthetic quality and the professionalism of a production - which will of course have an impact on such studies - are not the determining factors when deciding to include or exclude events, since all events are the raw material for such research.