HOMEBODY/KABUL: One In The Play

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HOMEBODY/KABUL: ONE IN THE SAME
Pulitzer Prize winning author Tony Kushner is a master at asking questions that force audiences to analyze, think, redefine, and realign their perceptions of the way they view the world. The topics and points within his work come from a place of questioning deep within himself; they somehow manage to snake their way to the surface in the form of complex and often times controversial theatrical literature. HOMEBODAY/KABUL is a prime example of his intricate and tightly wound work. A play that examines cultural differences, foreign policy, the American - Middle East conflict, religion, and family dysfunction is nothing short of multifaceted. Underneath the wide array of subject matter, however, Kushner is grappling with his own questions on the topic at hand- questions that form the unequivocal underpinnings of this play: What does HOMEBODY/KABUL have to say about the deterioration of …show more content…

We spend the entirety of the Act I, Scene I listening to “the Homebody,” a character who remains nameless for the entirety of the production. It is intriguing that a character who carries such great impact and large quantities of contention into the lives of those around her (as well as those that she will later effect) should remain nameless; perhaps a direct commentary from Kushner- referencing the nature of conflict that is rooted within the depths of communication, or lack thereof? A woman who could be considered to possess incredible worldliness, the Homebody has a keen interest in Afghanistan as well as the city of Kabul. She impresses upon us the dysfunction of her family, as well as her desire to escape to the Afghani city of her dreams. After 22 pages of her explanations, loquaciousness, delusion, and emotional confession, we transition to Afghanistan for Scene II, where the rest of our play will

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