Ayad Akhtar’s “Disgraced”, directed by Michael Najjar.
Articles, Essays, Volume 4

Parsing Disgraced : An Assault, A Critique, and A Truce

Parsing Disgraced: An Assault, A Critique, and A Truce 
By Jamil Khoury 
Arab Stages, Volume 2, Number 2 (Spring 2016) 
©2016 by Martin E. Segal Theatre Center Publication

The staff at Silk Road Rising crafted a set of questions for me about Ayad Akhtar’s play Disgraced. I found them immensely cathartic to answer. Many of the ideas and opinions expressed below will be elaborated and integrated in a forthcoming larger piece that I’ve been developing with South Asian American scholars Fawzia Afzal-Khan and Neilesh Bose.

It’s worth noting that I have now seen Disgraced twice: the first time in February 2012 during its World Premiere run at Chicago’s American Theater Company and the second time in October 2015 at Chicago’s Goodman Theatre. I’ve also read the play in its published version. Over the course of the two viewings, my initial condemnation of the play has given place to a more complicated and nuanced view of it, a process which is explored in the course of the following interview.

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