Catherine Filloux is an award winning French Algerian American playwright & librettist who has been writing about human rights for decades.
@catherinefillouxwriter
DOES ART MATTER? Calling all writers, film makers, musicians, actors, painters, sculptors, photographers, dancers, architects, designers and everyone else interested in exploring how art relates to human rights!
Join us at the English Theatre Berlin in Kreuzberg to meet playwright and librettist CATHERINE FILLOUX to discuss the power of art and why art matters.
Sunday, May 17, from 13:00 to 15:00
English Theatre Berlin | International Performing Arts Center
Fidicinstraße 40, 10965 Berlin (Kreuzberg)
No charge but reservations necessary. Reserve here:
[email protected]
“The theater places stories in front of hearts and minds as an experience that is living and transforming." These words from award-winning playwright and librettist Catherine Filloux capture the visceral power of the arts in the pursuit of human rights. For over 30 years, Catherine has used her creative compass to navigate the complexities of genocide, displacement, and environmental justice. An alumna of New Dramatists who received her M.F.A. at NYU’s Tisch School of the Arts, Catherine has been honored with the Barry Lopez Visiting Writer in Ethics and Community Fellowship and the Otto René Castillo Award for Political Theatre.
Catherine Filloux is in Berlin for the Germany premiere on May 16 of Olga Neuwirth’s Orlando at the Komische Oper for which she wrote the libretto. The novel "tells of an Elizabethan nobleman and poet who abides through the centuries and migrates from the male gender to the female. Neuwirth and her co-librettist, Catherine Filloux, made the sensible decision to extend the story into the present day, so that we see Orlando in the context of the 1968 social revolutions, the end of the Cold War, and the age of the Internet. Orlando also has a child, who adopts the language of transgender activism. The dangers of resurgent fascism and environmental catastrophe do not go unnoticed.” Alex Ross, The New Yorker, Dec. 30, 2019
Organized by American Voices Abroad
