Disgraced Teacher Information Packet

R E H C A E T N O I T A INFORM PACKET

DISGRACED AYAD AKHTAR bY

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GORDON EDELSTEIN

DIRECTED BY

OCT 14 – NOV 8

gordon edelstein artistic director

H

JOS HUA  BORE NS T E IN managing director

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DISGRACED BY

ayad akhtar directed BY

Gordon Edelstein octob er 1 4 - november 8 , 2 0 1 5 on t he claire to w stag e in th e c . ne wto n sch en ck I I th eatre

beth f. milles Director of Education T eacher I nformation P acket C ompiled and W ritten b y madelyn ardito Education Programs Manager eliza orleans Resident Teaching Artist bar bara sonenstein Resident Teaching Artist john m. baker Dramaturg

L O N G W H A R F T H E AT R E G R A T E F U L LY A C K N O W L E D G E S THE GENEROSITY O F O U R E D U C AT I O N S U P P O R T E R S ANNA FITCH ARDENGHI TRUST ELIZABETH CARSE FOUNDATION Frederick A. Deluca Foundation the hearst foundations THE GEORGE A. & GRACE L. LONG FOUNDATION Seedlings Foundation THEATRE FORWARD wells fargo foundation The Werth Family Foundation FOUNDING SUPPORTER OF LONG WHARF THEATRE’S VIDEO STUDY GUIDE AND SUPPORTER OF THE EDUCATORS’ LABORATORY

gordon edelstein artistic director

H

JOS HUA BORE NS T E IN managing director

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AN D

HUNTINGTON THEATRE COMPANY PRESENT

DISGRACED

AYAD AKHTAR Gordon Edelstein BY

directed BY

Set Design Lee Savage°

Costume Design Ilona Somogyi°

Lighting Design Eric Southern° Sound Design David Van Tieghem°

hair & wig design charles LaPointe

fight director rick sordelet

Production Stage Manager Jeff Brancato*

Assistant Stage ManagerS Amy Patricia Stern*

michelle tuite*

Casting By Calleri Casting *M ember of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States ° Member of United Scenic Artists, USA-829 of the IATSE This Theatre operates under an agreement between the League Of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

contents

ABOUT THE PLAY 8 Characters

10 Synopsis

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An Interview with the Playwright: Ayad Akhtar

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About the Production at Long Wharf Theatre

THE WORLD OF THE PLAY 16 Glossary

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Understanding Islam

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A Brief History: Israel and Palestine

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Islamic Art

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Women in Islam

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Velasquez and the Portrait of Juan De Pareja

SUPPLEMENTAL MATERIALS

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Other Work by Ayad Akhtar

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Text Interpretation: Denial of Death and The Guest House

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Curriculum Connections: Ahmed Mohamed

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Domestic Violence Resources

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Write a Review!

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For the First-Time Theatergoer

36 Moments and Minutes Information

38 Citations Look for this symbol to find discussion and writing prompts, CMT/CAPT-prep questions and classroom activities!

ABOUT THE

PLAY

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characters

AMIR 40, of South Asian origin. A non-practicing Muslim. He wears Italian suit jackets and crisp, collared shirts. He speaks with a perfect American accent. He works as a corporate lawyer and hopes to become a partner at his firm someday. He is Emily’s husband.

Setting:

EMILY Early 30s, White, lithe and lovely. She is a young artist with a particular focus on Islamic art and culture.

She is eager to make her mark in the art world. She is Amir’s wife.

AN apartment in New york city

TIME: the second decade of the 21st century

scene one & two: late summer Scene three: three months later scene four: six months later

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ABOUT THE PLAY

ISAAC 40, White, Jewish, smart, attractive. A curator at the Whitney Museum of Art. He is Jory’s husband.

JORY Mid to late 30s, AfricanAmerican. Commanding, forthright, intelligent. Almost masculine. A lawyer and Amir’s colleague at the firm.

She is Isaac’s wife.

ABE 22, of South Asian origin, but as American as American gets. Vibrant and endearing.

He changed his name from Hussein Malik to Abe Jensen.

He is Amir’s nephew.

In the Classroom ABE: You know how much easier things are for me since I changed my name? It’s in the Quran. It says you can hide your religion if you have to. It’s called taqiyya…You were lucky. You didn’t have to change your first name. Could be Christian. Jewish.

Plus, you were born here. It’s different.

Discussion Question: What’s in a name? What is the origin of your name and how has it informed your identity?

Going Further: What does the playwright intend when he describes Abe as “American as American gets?” Why do you think Abe changed his name from Hussein Malik, and why do you think Amir insists on calling Abe by his birth name?

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SYNOPSIS Disgraced – verb. To bring or reflect shame or reproach upon.

To dismiss with discredit; put out of grace or favor; to rebuke or humiliate.

Winner of the 2013 Pulitzer Prize, Disgraced is a compelling and provocative drama about the consequences of denying one’s identity.

Amir and his wife Emily enjoy their charmed life in New York—he’s poised to make partner at a highprofile law firm while her painting is being considered for a prestigious gallery exhibit. When Amir’s young nephew, Abe, asks him to help defend an imam accused of funding terrorists, Amir worries that speaking out will jeopardize the life he has worked so hard to construct for himself. While Amir resists his heritage and religious customs, Emily embraces them, having taken a particular interest in Islamic art. When their friends Isaac, an art curator, and Jory, a lawyer who works with Amir, come over for dinner, the night escalates into a heated debate, as Amir, Emily, Isaac, and Jory all come from wildly different backgrounds. As the truth about each character rises to the surface, a violent episode occurs, upending their perfect world and forcing them all to confront their true selves.

In the Classroom Consider the Title: What does the title suggest that the play is really about?

How does this compare to the synopsis?

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ABOUT THE PLAY

ABOUT THE PLAYWRIGHT:

AYAD AKHTAR

If there’s any mandate that the artist should have it’s to show that what we think is the truth is perhaps not as true as we think it is. – Ayad Akhtar

Ayad Akhtar was born in New York City and raised in Milwaukee, Wisconsin. His parents, both doctors, emigrated from Pakistan in the ‘60s.

Of his upbringing, Akhtar says, “It was great. A great place to grow up, as long as you loved the Green Bay Packers, which I did…I was an outsider because the things that I saw in my house were very different than the things I saw in my friends’ houses. But I was not an outsider because people made me feel like an outsider.”

All of Akhtar’s plays confront perhaps the most polarizing issue of the day: the Muslim experience in America.

“For a lot of people to see or hear the word Ayad Akhtar ‘Muslim’ is not too dissimilar to hearing the word ‘Cancer,” he said in an interview for CBS News.

“So that’s something you’re up against as a playwright?” asked the reporter.

“As a playwright, as a novelist, as a whatever,” he replied. “Yeah, I am. But what am I gonna do about it? Keep telling really great stories and hopefully enough people catch on, and they’re like, ‘You know what? It’s not about that. It’s about something else, like being human.”

His play Disgraced was awarded the 2013 Pulitzer Prize for Drama and is the most produced play in American regional theatres this year, according to American Theatre Magazine.

Disgraced was produced in New York, both on and off Broadway. His latest play, The Who and The What, premiered at La Jolla Playhouse in February 2014 and in New York in June 2014.

As a screenwriter, he was nominated for an independent Spirit Award for Best Screenplay for The War Within. He has been a recipient of fellowships from MacDowell and Yaddo, as well as commission from Lincoln Center Theater and the Oregon Shakespeare Festival. He is a graduate of Brown and Columbia Universities with degrees in Theater and Film Directing. >

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tragic situation. For us, tragedy has become disconnected from the mass roots that are at its origins. I wanted to write a play that would have a tragic arc, that would move an audience to pity and terror — (to use the classical formulation) — and to do it in a way that did not preclude the audience gasping at entrances, or actions, moved both tears and raucous laughter. A full engagement of the emotional and intellectual self of the viewer. That, anyway, was the goal.

Give us the elevator pitch on “Disgraced.”

Amir Kapoor, a high-powered corporate attorney, has been hiding his Muslim origins from his Jewish bosses at work, and when he is persuaded by his American wife to assist in the defense of an unjustly accused imam — Amir used to work as a public defender out of law school — the secret he’s been keeping ends up coming out.

This sets in motion a series of actions that will tear his life apart.

Why is the play called “Disgraced?”

Now give us the college-seminar perspective explaining what places “Disgraced” among the great American plays. (And you are allowed to talk about it in this vein because you have won the Pulitzer.)

Firstly, Amir’s disgrace plays itself out mostly in real time in the play. That’s the most obvious level. But then there is another, more metaphorical, or let me say, contextual sense: There are ways that the colonial history of the West is still playing out in the Muslim world. The events that comprise that history — a disgrace of native peoples, as it were — is still very much a part of our contemporary moment. As Faulkner

Well, I may still demur. If only as a way to protect my own sense of the ways I feel I still have to grow as a dramatist. But what I think the play appears to have accomplished, at least for some audience members, is a vital, living,

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ABOUT THE PLAY < A scene from LCT3’s production of Disgraced.

says: “The past is never dead. It’s not even past.”

seeing just how many people identify with Amir on their own terms. See themselves as struggling with the very same issue — identification with a false self — as he does. There have been a couple of Holocaust survivors who saw the play who said that Amir’s experience reminded them of what it was like to be Jewish in Central Europe at the time of the war. And there have also been some Muslim viewers who have been troubled by much of what Amir says in the play, and who have wondered if he isn’t, in some way, a mouthpiece for my views. He isn’t, of course. I was trying to stage his war with his own past. A formidable intellect who has brought himself to bear against his own heritage. He is not the first self-rejecting, past-rejecting immigrant to find his way on stage.

How does the play blaze a new trail in American theater? How is it different from most of what’s being produced?

I hope that one of the things the play can do is to demonstrate the viability — vital, artistic, perhaps even commercial — of characters who are unusual, either in terms of race or identity.

Of course, a South-Asian lead is usually a nonstarter, but somehow it seemed not really to be an issue in this case. Audiences seemed to go along for the ride. And willingly.

What odd, troubling or wonderful reactions to the play have you personally received?

The most extraordinary experience I have had is

In the Classroom Questions to ask BEFORE the show: A pivotal scene in Disgraced occurs when Amir, Emily, Isaac, and Jory all have dinner together. The four argue over issues that have been debated for hundreds of years. Have you ever argued to defend your beliefs? Write down three things that you believe in and examples of when you have had to fight for them.

Questions to ask AFTER the show: At the end of the play, what do you think has been resolved? If Amir, Emily, Isaac, Jory, and Abe sat in a room together after the play ended, how would you advise them to mend their conflicts? Write a scene in which some or all of the characters try to resolve their feelings with each other.

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about the production at long wharf theatre

We are presenting Disgraced in the tradition of Long Wharf Theatreâ&#x20AC;&#x2122;s mission to provoke discussion.

This play is about the price of assimilation, and the price of denying who you are. It is both a social and psychological play, but it is not a political play.

Rather, the politics ooze out of the action onstage. â&#x20AC;&#x201C; Gordon Edelstein, Artistic Director of LWT and Director of Disgraced

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THE

world of T H E

PLAY

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GLOSSARY Apostate – a person who forsakes his religion, cause, party, etc.

Bonnard – (1867 – 1947) was a French painter and printmaker, as well as a founding member of the Post-Impressionist group of avant-garde painters Les Nabis. Bonnard preferred to work from memory, using drawings as a reference, and his paintings are often characterized by a dreamlike quality.

Cordoba – also called Cordova in English, is a city in Andalusia, southern Spain, and the capital of the province of Córdoba. It was conquered by invading Islamic armies in the eighth century.

Denial of Death – a 1973 work of psychology and philosophy by Ernest Becker. It was awarded the Pulitzer Prize for General Non-Fiction in 1974, two months after the author’s death.

Frieze Art Fair – an international contemporary art fair that takes place every October in London’s Regent’s Park Hamas – a Palestinian Islamic fundamentalist movement engaged in grassroots organizing and armed resistance and terrorism against Israel.

Imam – As used in the Qur’an, Imam means leader, symbol, model, ideal, example, revelation, and guide. Historically, the term refers to the religo-political leader of the Muslim community.

Islamo-Fascism – the advocacy or practice of a form of Islam perceived as authoritarian, intolerant, or extremist; specifically Islamic fundamentalism is regarded in this way.

Kufi – a brimless, short, and rounded cap worn by men in many populations in North Africa, East Africa, Western Africa.

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THE WORLD OF THE PLAY

Lipitor – Lowers high cholesterol and triglyceride levels. Reduces the risk of chest pain, stroke, heart attack, or certain heart and blood vessel problems.

Martin Amis – an English novelist. His best-known novels are Money and London Fields. He has received the James Tait Black Memorial Prize for his memoir Experience and has been listed for the Booker Prize twice to date.

Matisse – a French artist, known for both his use of color and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is known primarily as a painter.

Mergers and Acquisitions – aspects of strategic management, corporate finance and management, dealing with the buying, selling, dividing and combining of different companies and similar entities that can help an enterprise grow rapidly in its sector or location of origin, or a new field or new location, without creating a subsidiary, other child entity or using a joint venture.

Moors – Muslim inhabitants of the Maghreb, the Iberian Peninsula, Sicily, and Malta during the Middle Ages. The Moors were initially of Arab and Berber descent, though the term later covered people of mixed ancestry and Iberian Christian converts to Islam.

Mughul miniatures – a particular style of South Asian painting, generally confined to miniatures either as book illustrations or as single works to be kept in albums, which emerged from Persian miniature painting, with Indian Hindu, Jain, and Buddhist influences, and developed largely in the court of the Mughal Empire (16th - 19th centuries), and later spread to other Indian courts, both Muslim and Hindu, and later Sikh.

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GLOSSARY

continued

Orientalism – a term used by scholars and artists for the imitation or depiction of Middle Eastern, South Asian, and East Asian cultures. Theorist Edward W. Said popularized the term in his seminal 1978 book by the same name.

The Patriot Act – an acronym for the Providing Appropriate Tools Required to Intercept and Obstruct Terrorism Act of 2001. From broad concern felt among Americans from both 9/11 and the 2001 anthrax attacks, Congress rushed to pass legislation to strengthen security controls. Opponents of the law have criticized its authorization of indefinite detentions of immigrants; the permission given law enforcement officers to search a home or business without the owner’s or the occupant’s consent or knowledge; the expanded use of National Security Letters, which allows the FBI to search telephone, e-mail, and financial records without a court order; and the expanded access of law enforcement agencies to business records, including library and financial records. Since its passage, several legal challenges have been brought against the act, and Federal courts have ruled that a number of provisions are unconstitutional.

Qur’an – the central religious text of Islam, which Muslims believe to be a revelation from God. The Tate – a modern art gallery located in London. It is Britain’s national gallery of international modern art and forms part of the Tate group.

Siva – Shiva (Siva in Sanskrit) is one of the main deities of Hinduism. He is the supreme god within Shaivism, one of the three most influential denominations in contemporary Hinduism. HE is one of the five primary forms of God in the Smarta tradition, and “the Destroyer” or “the Transformer.”

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THE WORLD OF THE PLAY

Velazquez – a Spanish painter who was the leading artist in the court of King Philip IV and one of the most important painters of the Spanish Golden Age. He was an individualistic artist of the contemporary Baroque period, important as a portrait artist. In addition to numerous renditions of scenes of historical and cultural significance, he painted scores of portraits of the Spanish royal family, other notable European figures, and commoners, culminating in the production of his masterpiece Las Meninas (1656).

His Portrait of Juan de Pareja is a painting dates from around 1650 and is currently on display at the Metropolitan Museum of Art in New York City.

The Whitney Museum of American Art – known as “The Whitney,” a New York City art museum with a focus on 20th- and 21st-century American art.

In the Classroom Exercise: Are there any words in the glossary that you’ve never heard of before? Are there any definitions which surprise you? Make a list of the key terms that you find interesting or challenging, and listen closely for them when you watch the play!

Going Further: Choose 10 words from the glossary and write a short story, monologue or scene for two people. Share in class and determine/discuss if the proper meaning is conveyed for each word.

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UNDERSTANDING ISLAM T he F ive P illars or A cts of W orship in I slam 1. The Declaration of Faith (shahada): The first act of worship is the declaration that “There is no deity except God and Muhammad is the messenger of God.” Muslims repeat this statement many times a day during their prayers.

2. Prayer (salah): Islam prescribes a brief prayer or ritual worship five times a day: at dawn, noon, late afternoon, sunset and night. Muslims perform ablution before prayer -- a brief prescribed washing of the hands, mouth, nose, face, arms and feet. Muslims face in the direction of Mecca when they pray.

3. Charity (zakat): Muslims are required to give to the poor and needy. Islam prescribes an obligatory charity, known as zakat, based on two and a half percent of one’s income and wealth.

In addition to this prescribed charity, Muslims are encouraged to give as much as they can in voluntary charity throughout the year.

4. Fasting (sawm): Muslims are required to fast from dawn to sunset during the month of Ramadan, the ninth month of the lunar calendar. People gather in the evenings for a festive breaking of the fast. When fasting, Muslims refrain from food, liquid, and sexual activity. During Ramadan, Muslims are also supposed to abstain from negative behaviors such as lying, gossip, petty arguments, and negative thoughts or behaviors, including getting angry.

5. Pilgrimage to Mecca (hajj): Every Muslim is required to make the pilgrimage to Mecca, located in Saudi Arabia, once in their lifetime if financially and physically able. Mecca is home to the first house of worship of God, the Kaaba, said to have been built by the prophet Abraham and his son Ishmael. All outward symbols of rank and wealth are erased during the pilgrimage, as Muslim from every part of the globe come together for the purpose of worshipping God. Muslims who complete the pilgrimage are referred to as “Hajji” and greeted with great celebration and respect in their communities when they return.

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THE WORLD OF THE PLAY

a brief histor y :

israel and palestine

A

fter World War II and the Holocaust in which six million Jewish people were killed, more Jewish people wanted their own country.

Israel finally left Gaza in 2005, but soon after a group called Hamas won elections and took control there. Much of the world calls Hamas a terrorist organization. It refuses to recognize Israel as a country and wants Palestinians to be able to return to their old home - and will use violence to achieve its aims.

They were given a large part of Palestine, which they considered their traditional home but the Arabs who already lived there and in neighboring countries felt that was unfair and didn’t accept the new country.

Since then, Israel has held Gaza under a blockade, which means it controls its borders and limits who can get in and out.

In 1948, the two sides went to war. When it ended, Gaza was controlled by Egypt and another area, the West Bank, by Jordan. They contained thousands of Palestinians who fled what was now the new Jewish home, Israel.

During the 1948 and 1967 wars hundreds of thousands of Palestinians left, or were forced out of, their homes and moved to neighboring countries to become refugees.

But then, in 1967, after another war, Israel occupied these Palestinian areas and Israeli troops stayed there for years. Israelis hoped they might exchange the land they won for Arab countries recognizing Israel’s right to exist and an end to the fighting.

More than 4.6 million Palestinians are refugees and their descendants, many living in camps in the West Bank, Gaza Strip, Syria, Jordan and Lebanon. They get help from the United Nations.

In the Classroom Watch clips of Promises, a documentary about children growing up in Israel and Palestine in the early 2000s. https://www.youtube.com/watch?v=9Ryzl0CE5fc

Discussion Questions: Are there neighbors or neighborhoods that you don’t communicate with? Why do these divisions exist in your community and the world at large? What is the best way to bridge peace between young people?

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ISLAMIC ART The Islamic tiling tradition. Is a doorway to the most extraordinary freedom. And which only comes through a kind of profound submission. In my case, it’s not submission to Islam, of course, but to the formal language. The pattern. The repetition.

And the quiet that this work requires of me?

It’s extraordinary.

– Emily, Disgraced

T

he term Islamic art not only describes the art created specifically in the service of the Muslim faith (for example, a mosque and its furnishings) but also characterizes the art and architecture historically produced in the lands ruled by Muslims, produced for Muslim patrons, or created by Muslim artists. As it is not only a religion but a way of life, Islam fostered the development of a distinctive culture with its own unique artistic language that is reflected in art and architecture throughout the Muslim world.

< V elvet fragment

Carving >

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THE WORLD OF THE PLAY

Islamic art consists of three main elements, which are often combined in the decorative scheme on a single subject.

• Calligraphy in various forms of Arabic script (Arabic is the language of the Qur’an and therefore of God, and has a special significance in Islamic culture.)

• Arabesques, scrollwork and other floral or plantlike designs.

>

• Geometrical designs using a limited number of geometric shapes in many different ways.

Mosaic from Andalusia

In the Classroom What trends do you see in these art pieces?

What emotions to the pieces evoke for you?

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WOMEN IN ISLAM

I

n Islam, men and women are moral equals in God’s sight and are expected to fulfill the same duties of worship, prayer, faith, almsgiving, fasting, and pilgrimage to Mecca. Islam generally improved the status of women compared to earlier Arab cultures, prohibiting female infanticide and recognizing women’s full personhood. Islamic law emphasizes the contractual nature of marriage, requiring that a dowry be paid to the woman rather than to her family, and guaranteeing women’s rights of inheritance and to own and manage property. Women were also granted the right to live in the matrimonial home and receive financial maintenance during marriage and a waiting period following death and divorce.

Since the mid-nineteenth century, men and women have questioned the legal and social restrictions on women, especially regarding education, seclusion, strict veiling, polygyny, slavery, and concubinage. Women have published works advocating reforms, established schools for girls, opposed veiling and polygyny, and engaged in student and nationalist movements. Nationalist movements and new states that emerged in the post–World War II period perceived women and gender issues as crucial to social development. State policies enabled groups of women to enter the male-dominated political sphere and professions previously closed to them, although these policies often caused popular and religious backlash.

Debates continue over the appropriate level of female participation in the public sphere. Women are typically viewed as key to either reforming or conserving tradition because of their roles in maintaining family, social continuity, and culture.

Linda Sarsour, a Muslim-American activist, who runs the Muslim Democratic Club of New York.

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THE WORLD OF THE PLAY Hijab Traditional Muslim women’s head, face, or body covering, of numerous varieties across time and space, often referred to as the “veil.” Hijab is a symbol of modesty, privacy, and morality.

Hijab became a central topic of feminist/nationalist discourse during the nineteenth-century British colonial occupation of Egypt. Western feminists view hijab as a symbol of the subordination and inferiority of women in Islam. Since the 1970s it has emerged as a symbol of Islamic consciousness and the voluntary and active participation of young women in the Islamist movement.

In the 1980s hijab became an assertion of Islamic nationalism and resistance to Western culture.

Seclusion This refers to various practices designed to protect women from men in traditional Muslim societies, including confining women to the company of other women and close male relatives in their home or in separate female living quarters, veiling, self-effacing mannerisms, and the separation of men and women in public places. These practices reflect both social and religious custom. In traditional and rural societies, such as some of the Gulf states, value is still placed on the rigid separation of women from unrelated men.

The veil is evil. You erase a face, you erase individuality. Nobody’s making men erase their individuality. Why’s it always come down to making the woman pay? Uh-uh.

There is a point at which you just have to say no.

– Jory, Disgraced

In the Classroom Do you agree with Jory’s statement? Why or why not?

What are some other examples of something, like the veil, where one group might perceive it as “good” and another might perceive it as “evil.”

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velazquez and the P ortrait of juan de pareja

J

uan de Pareja was the mixed-race son of a female slave and, until 1654, a slave to Velazquez himself.

He was born in Antequera, Spain, around 1610 and as a young man was consigned to work in Velazquez’s studio, most probably as some sort of shop assistant. Biographer Antonio Palomino writes that Velazquez would not allow Juan himself to paint because, he believed, art was too great for a slave to undertake. Velazquez believed that art like his should be reserved for free men. Juan apparently painted anyway, in secret, without the master’s knowledge. After Juan had been traveling with the painter for several years, Velazquez decided to paint the now famous portrait of him.

Terence Clark writes, “I assume from the deep passion that is so evident in Velazquez’s depiction that, despite his treatment of his slave, he understands him. Somehow he sees into Juan’s anger, so much so that, in part, this is a painting about anger itself. Juan looks like he would prefer taking Velazquez by the lapels of his coat and shaking him violently for all that’s been done to him. But of course he cannot do that. So instead he looks on with dignity, intensity, and silent disdain. There is more than a hint of rage in his look. The irony

is that the great painter has taken the time to display the depth of his slave’s paint, yet has done nothing – at least to this moment – to relieve it.” The subject of the painting is the dark-skinned (moor) Juan de Pareja who was an assistant to Velazquez, a white European painter of the Spanish Golden Age. Velazquez would not allow his assistant to paint (Juan was enslaved) but it is evident fron the painting that Velazquez understands the pain or anger that Juan must have felt due to the fact that Juan was not a free man.

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supple m ental

m aterials

How a Groundbreaking Art Show About Contemporary Islam Came to Rural New England By: Aziz Sohail http://www.huffingtonpost.com/aziz-sohail/art-contemporary-islam_b_3823806.html

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OTHER WORK BY AYAD AKHTAR W riting : The Who and the What Zarina has a bone to pick with the place of women in her Muslim faith, and she’s been writing a book about the prophet Muhammad that aims to set the record straight. When her traditional father and sister discover the manuscript, it threatens to tear her family apart. A comedic drama about love, art and religion, The Who and The What examines the chasm between our traditions and our contemporary lives.

The Invisible Hand In remote Pakistan, Nick Bright awaits his fate. A highly successful player at a major investment bank, Nick is kidnapped by an Islamic militant group, but with no one negotiating for his release, the prisoner must take matters into his own hands. Full of questionable alliances and moral bargaining, this play is a chilling examination of how far we will go to survive and the consequences of the choices we make.

American Dervish (A Novel) Hayat Shah is a young American in love for the first time. His normal life of school, baseball, and video games had previously been distinguished only by his Pakistani heritage and by the frequent chill between his parents, who fight over things he is too young to understand. Then Mina arrives, and everything changes.

Mina is Hayat’s mother’s oldest friend from Pakistan. She is independent, beautiful, and intelligent, and arrives on the Shah’s doorstep when her disastrous marriage in Pakistan disintegrates.

Even Hayat’s skeptical father can’t deny the liveliness and happiness that accompanies Mina into their home. Her deep spirituality brings the family’s Muslim faith to life in a way that resonates with Hayat as nothing has before. Studying the Quran by Mina’s side and basking in the glow of her attention, he feels an entirely new purpose mingled with a growing infatuation for his teacher.

When Mina meets and begins dating a man, Hayat is confused by his feelings of jealousy.

His growing passions, both spiritual and romantic, force him to question all that he has come to believe is true. Just as Mina finds happiness, Hayat is compelled to act – with devastating consequences for all those he loves most.

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supplemental materials

A cting :

Too Big to Fail

The War Within

Based on the best-selling book by the same title, Too Big To Fail chronicles the 2008 financial crisis from within the Treasury Department. Ayad plays Neel Kashkari, Senior Advisor to Treasury Secretary Henry Paulson.

Visit HBO for airtimes and details.

In this powerful drama, the friendship of two Pakistani men falls apart when one of them chooses to carry out a terrorist plot. Ayad stars in this film, which he also co-wrote, and which was nominated for an Independent Spirit Award for Best Screenplay and an International Press Academy Satellite Award for Best Picture (Drama.)

In the Classroom Discussion Question: What do you think stands in your way from being seen how you really want to be seen?

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TEXT INTERPRETATION: T H E D E NI A L O F D E A T H The Denial of Death is a 1973 work of psychology and philosophy by Ernest Becker. It was awarded the Pulitzer Prize for General Non-Fiction in 1974, two months after the author’s death.

“The Denial of Death’’ is a state-of-the-union message about the human psyche, as well as a survey and synthesis of the main currents of psychoanalytic thought. Mr. Becker’s view of human nature is romantic, as opposed to the rather dismaying ‘’classical’’ school centered around Freud or the sentimental exhortations of what might be called the California, or encounter, school.”

– Anatole Broyard, The New York Times.

Below are some excerpts from the book:

Man cannot endure his own littleness unless he can translate it into meaningfulness on the largest possible level.

The irony of man’s condition is that the deepest need to be free of the anxiety of death and annihilation; but it is life itself which awakens it, and so we must shrink from being fully alive.

To live fully is to live with an awareness of the rumble of terror that underlies everything.

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supplemental materials

THE GUEST HOUSE

by Rumi 13th century Muslim poet from Afghanistan

This being human is a guest house.

In the Classroom

Every morning a new arrival.

A joy, a depression, a meanness, some momentary awareness comes as an unexpected visitor.

Welcome and entertain them all!

Even if they’re a crowd of sorrows, who violently sweep your house empty of its furniture,

Activity: Pick an excerpt from The Denial of Death or The Guest House and discuss its relationship to Disgraced. Why do you think Ayad Akhtar referred to both Rumi and The Denial of Death in this play?

Going Further: Rumi reminds us that “guests” turn up as feelings both welcome and unwelcome in our lives. He encourages us to “be grateful for whoever comes” as each has been sent to guide us. Write a poem, song or monologue about the welcome or unwelcome guests in your life and explore what they have taught you.

still, treat each guest honorably.

He may be clearing you out for some new delight.

The dark thought, the shame, the malice, meet them at the door laughing, and invite them in.

Be grateful for whoever comes, because each has been sent as a guide from beyond.

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curriculu m connections : ahmed m o hamed READ THE ARTICLE in the news below about Ahmed Mohamed, a 14-year-old freshman at a high school in Irving, Tex., who was detained by the police after he took a homemade alarm clock to school to show an engineering teacher. http://www.washingtonpost.com/news/morning-mix/wp/2015/09/16/they-thought-it-was-a-bomb-ahmedmohamed-texas-9th-grader-arrested-after-bringing-a-home-built-clock-to-school/

In the Classroom Discussion Question: If Ahmed were a white student named Mark, would he have received the same level of suspicion for his clock invention? Do you think the suspicion was warranted? Do you think Ahmed was discriminated against because of his name, looks, religion? Defend your answer.

Going Further: In Disgraced, the media made public assumptions about Amir when he spoke publicly about Imam Fareed. These assumptions led to discrimination in Amirâ&#x20AC;&#x2122;s work place and ruined his chance of promotion.

Was Emily being naĂŻve when she encouraged Amir to speak out?

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do m estic violence resources In Disgraced, we as an audience witness a brutal episode of domestic violence.

If you or someone you know is experiencing domestic violence, there are many resources in New Haven and the Connecticut area.

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Domestic Violence Services of Greater New Haven o DVS offers a wide range of crisis and other services for victims of domestic violence and their children. All services are free and available to individuals and their children, in the Greater New Haven and surrounding communities (including Milford and the shore line), who have had their lives disrupted by domestic violence. o 24-Hour Crisis Hotline: (203) 789-8104 o Business Office: (203) 736-2601

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Connecticut Coalition Against Domestic Violence o Connecticut Coalition Against Domestic Violence (CCADV) is the state’s leading voice for victims of domestic violence and those agencies that serve them. o Call 888-774-2900 for help or to talk to someone.

Para hablar o recibir ayuda, llama al 844-831-9200.

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Post Traumatic Stress Center of New Haven o The Post Traumatic Stress Center is a private, specialty clinic for people of any age who have experienced abuse, neglect, or psychological trauma such as sexual assault, sudden death of loved ones, combat, sex trafficking, harmful discrimination, accidents, or natural disasters. o Business Office: (203) 624-2146

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WRITE A REVIEW!

T

here is a lot of truth in the old saying that “Everyone’s a critic.” But to write a review, it takes more than a strong opinion – it takes an open mind, a way with words, and a sense of honesty, intelligence, and balance. A critic’s primary goal is not merely to pass judgment, or to explain what a work fo art means, but to note how a production works and why it was successful.

With that in mind, writing a review is very different from typical journalism or essay writing, and reviewing theatre in particular is distinct from any other kind of art form. To create your own review, there are a few steps you should take for a successful approach.

The first step is to watch the show in an open, active frame of mind. Remember that professional critics are journalists first, and that comes with great responsibility to put aside their own unique tastes to see through to the heart o the work, rather than getting hung up on personal preference. How does the play function? Who would enjoy this play, and why?

At the same time, it’s important for the critic to experience the play as any other audience member would, by being receptive emotionally as well as intellectually. Theatre is rooted in the exchange of emotions, not only onstage, but between the performers and the audience. Along with an open mind, your gut reaction is your most important critical tool. Don’t eliminate your impulses – take stock of yourself honestly after a performance to see how your feelings were inspired.

The foundation of a review follows a basic formula:

2. The “thesis” introduces the main idea of the review, which acts as a through-line or “spine” For the entire piece. It should be outlined early and briefly, and everything else that follows should illustrate your idea.

If you liked (or disliked) the show, this should provide the reason why.

3. T he body of the review provides evidence to illustrate your claims as they unfold. Keep in mind your particular audience of readers.

Are you writing for frequent theatergoers, a particular age group, or the general public?

You should shape your language to help your readers follow you, but you don’t need to pander to their tastes.

Don’t overlook one essential component – the basic information about the show. Names for the play, its major artists, and the theatre are standard.

As the review progresses, be sure to include the names of the actors as you mention each character for the first time – give credit where credit is due! A very short summary of the play may help to clarify your review, but don’t reveal any big surprises!

Use the playbill as your primary source for names, spelling, and other information.

It’s important to be honest, but it’s equally important to avoid being nasty. It can sometimes feel gratifying to put down a production, but it is possible to give negative feedback without being aggressive. Keeping an open mind will help you be specific in addressing shortcomings and how they affected their final product, rather than disparaging their efforts.

A review is a lasting record of your theatrical experience, one that expresses a unique perspective from the audience. The best reviews focus on the work of art itself, and the result is the greatest benefit for audiences and artists alike.

1. The “lead” or opening statements. Here, readers should get the gist of where the rest of the review will go. At the same time, it’s important for the writer to “hook” readers into the following discourse, which begins with:

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supplemental materials

FOR THE FIRST-TIME THEATREGOER the major consideration to keep in mind is that your actions can be distracting not only to the rest of the audience, but to the actors on stage as well. Behavior that is acceptable in other public settings, like movie theatres, ballgames, or concerts, is out of place when attending the theatre.

The following tips should help you get acquainted with some DOs and DON’Ts for first-time theatregoers.

DO arrive early. Make considerations for traffic, parking, waiting in line, having your ticket taken, and finding your seat. If you need to pick up your tickets from the box office, it is a good idea to arrive at least twenty minutes early. Generally, you can take your seat when “the house is open,” about half an hour before the show begins. Late seating is always distracting and usually not allowed until intermission or a transition between scenes, if it is allowed at all. Follow the old actors’ mantra: To be EARLY is to be ON TIME. To be ON TIME is to be LATE. To be LATE is UNFORGIVABLE. DO turn off your cell phone. Phones and any other noise-making devices should be switched off before you even enter the theatre: you won’t be allowed to use them anyway. Texting during a performance is also rude.

The intermission is a good time to use your phone, but remember to turn it off again before the next act begins.

DON’T leave your garbage in the theatre. Food and drinks are usually not permitted in the theatre at all, with the exception of bottled water. If it is allowed, be sure to throw out your trash in a garbage can or recycling bin in the lobby; don’t leave it for the house manager or ushers at the end of a show.

DO watch your step. Aisles can be narrow, so please be considerate when finding your seat. Avoid getting up during the performance whenever possible, since it can be very distracting. You can use the restroom before the show and during intermission. Also, be careful not to cross in front of the stage, as it will break the illusion of the show. Don’t step on or over seats, and never walk on the stage itself.

DON’T talk during the performance. Chatting is extremely rude to the actors and the audience around you.

Everyone is trying to pay attention to the play and those nearby will be able to hear, so please be quiet and considerate.

DO get into it! Actors feed off of the audience, just as the audience feeds off of the actors. Don’t be afraid to laugh, clap, or cry if you are so moved. However, there is a line that can be crossed. Please be respectful, and don’t distract from the work of the professionals on stage. After all, people paid good money to watch the show, not you. Just enjoy the experience and let yourself have an honest response.

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2nd L ANNUA

A SPOKEN WORD, MONOLOGUE AND VISUAL ARTS FESTIVAL FOR NEW HAVEN YOUTH APRIL 2016

& s t n e momnutes mi

WHAT IS IT?

Long Wharf’s 2nd annual Moments and

An evening of brand new

community’s youth. The evening will

Minutes Festival is a celebration of our showcase visual art, spoken word poetry,

work written, spoken, and created by teenagers from

and monologues devised by students from all over the area, highlighting both their individual and collective

all over New Haven!

experiences. Guidelines for submission are as follows:

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SPOKEN WORD/MONOLOGUE:

VISUAL ART:

Each piece must be an original composition by the student performing it and should speak to one of the following:

Your work can be in any of the following mediums: paint, chalk, pencil, photography, or collage. The piece should be a visual representation of one of the following:

- Human Identity. Who are you? Who or what has shaped your identity thus far?

What is the difference between how the world sees you and how you see yourself?

- Human Identity. Who are you? Who or what has shaped your identity thus far?

What is the difference between how the world sees you and how you see yourself?

- Dreams and Ambitions. What do you hope to achieve in the future and how will you overcome challenges?

- Dreams and Ambitions. What do you hope to achieve in the future and how will you overcome challenges?

- Legacy. What is the legacy of your family, race, or religion? How do you hope to define your own history?

- Legacy. What is the legacy of your family, race, or religion? How do you hope to define your own history?

Each performance piece should be memorized and no longer than 2 minutes in length. Each performer will have access to a chair, a cube, and a microphone.

The student must provide an Artist’s Statement that clearly articulates how the piece represents one of the above themes. 500 words max.

HOW TO SUBMIT: Students must email their spoken word piece or monologue as well as a video clip of themselves performing it. Students wishing to submit visual art must email a photo of the piece, its title, and their Artist’s Statement. Please email all submissions to Eliza Orleans at eliza.orleans@longwharf.org with “Moments and Minutes” in the subject line.

Should video submissions be a challenge, a representative from Long Wharf Theatre will come to your school by appointment to audition students.

Submissions must be received by February 1, 2016.

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citations http://www.oxfordislamicstudies.com/article/opr/t125/e2510 http://www.washingtonpost.com/entertainment/books/qanda-with-ayad-akhtar-the-pulitzer-prize-winnerin-drama/2013/04/17/161ed36a-a6c1-11e2-a8e2-5b98cb59187f_story.html http://www.pbs.org/wgbh/pages/frontline/teach/muslims/beliefs.html

http://www.bbc.co.uk/newsround/20436092 http://www.washingtonpost.com/news/morning-mix/wp/2015/09/16/they-thought-it-was-a-bomb-ahmedmohamed-texas-9th-grader-arrested-after-bringing-a-home-built-clock-to-school/ http://www.metmuseum.org/toah/hd/orna/hd_orna.htm https://www.youtube.com/watch?v=9Ryzl0CE5fc https://en.wikipedia.org/wiki/Islam http://www.nytimes.com/1982/06/06/books/reading-and-writing-life-before-death.html http://allpoetry.com/poem/8534703-The-Guest-House-by-Mewlana-Jalaluddin-Rumi The Huffington Post, 5.3.13.

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