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  1. Wajdi Mouawad, OC, (born 1968) is a Lebanese-Canadian writer, actor, and director. He is known in Canadian and French theatre for politically engaged works such as the acclaimed [1] play Incendies (2003). His works often revolve around family trauma, war, and the betrayal of youth.

  2. This article examines Forêts in the context of Mouawad's shift in the early 2000s toward the transnational development of his works and of his public position as a 'littérature-monde' artist.

  3. Oct 26, 2021 · This article analyses how diverse communities are formed through storytelling and mythmaking in Wajdi Mouawad's theatrical tetralogy, Le Sang des promesses (1999–2009). Mythic origin stories, which Mouawad's migratory characters collect and share on their journeys from one community to the next, draw individuals from their pasts on stage to ...

  4. As this chapter argues, the theater of Wajdi Mouawad functions as a site for the playwright’s investigation of the hybrid subjectivity of the exilic child – the temporal and psychophysical venue where cultural, linguistic, and generational contexts intersect.

    • Yana Meerzon
    • 2012
  5. Incendies opened up the possibility of creating a suite of plays about the intersection of origins, exile, and memory, and with its release, Mouawad’s Blood Promises tetralogy began to take shape. He presented his quartet together for the first time at the 2009 Festival d’Avignon in France, and later that year, the French Academy awarded ...

  6. This thesis is an analysis of Wajdi Mouawad’s Incendies, the second play in his tetralogy Le Sang des promesses. It is the stories of multiple journeys of self-discovery taken by characters seeking to better understand their own history and present identity as it exists within a complex and continually shifting socio-political web.

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  8. In this tetralogy, Mouawad was inspired by his own experience as an expatriate and by the tragic events of the Lebanese civil war (1975-1990) and the occupation of Southern Lebanon by Israel (1982-2000).

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