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Ten Gems on a Thread

Ten Gems on a Thread C A T H E R I N E F I L L O U X For the past ten years, I have been writing plays about Cambodia. In early 2001, I went to Phnom Penh on a playwright's residency grant from the Asian Cultural Council. During the two and a half months I was there, I did two plays with Khmer actors from the National Theatre and conducted research for a new play, Silence of God, which would be produced at the Contemporary American Theater Festival. Hall of Fame These are the women I place inside my personal hall of fame. Chanthol Oung, the director of the Cambodian Women's Crisis Center, is wearing a well-pressed white blouse that highlights her dark and youthful face as she shows me upstairs to her cool office. As though uttering a mantra, she does not stop to breathe until she is done: "Confidential crisis shelter, legal representation, reintegration, vocational training, community education, monitoring violence, capacity building." She says there are men who will appear in her office, dressed in police or military uniforms, to demand she give their battered wives back. She tells me she says to them calmly, "We will http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Manoa University of Hawai'I Press

Ten Gems on a Thread

Manoa , Volume 16 (1)

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2004 University of Hawai'i Press.
ISSN
1527-943x
Publisher site
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Abstract

C A T H E R I N E F I L L O U X For the past ten years, I have been writing plays about Cambodia. In early 2001, I went to Phnom Penh on a playwright's residency grant from the Asian Cultural Council. During the two and a half months I was there, I did two plays with Khmer actors from the National Theatre and conducted research for a new play, Silence of God, which would be produced at the Contemporary American Theater Festival. Hall of Fame These are the women I place inside my personal hall of fame. Chanthol Oung, the director of the Cambodian Women's Crisis Center, is wearing a well-pressed white blouse that highlights her dark and youthful face as she shows me upstairs to her cool office. As though uttering a mantra, she does not stop to breathe until she is done: "Confidential crisis shelter, legal representation, reintegration, vocational training, community education, monitoring violence, capacity building." She says there are men who will appear in her office, dressed in police or military uniforms, to demand she give their battered wives back. She tells me she says to them calmly, "We will

Journal

ManoaUniversity of Hawai'I Press

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