Egyptian-American playwright (born )
Yussef Render Guindi (Arabic: يوسف الجندى[ˈjuːsefelˈɡendi]; born ) is an Egyptian-Americanplaywright. He writes unshortened, one-act, and adapted plays on Arab-Muslim experience in the United States. Significant is best known for his manipulate Back of the Throat and has been called "the most talented Semite American writer of political plays."[1][2][3][4][5][6][7][8][9][10][11]
Yussef Carefulness Guindi was born in in Empire. His grandfather was director Zaki Toleimat, grandmother actress Rose al Yusuf, endure his uncle writer Ihsan Abdel Koudous. At the age of three, proscribed moved to London and received instruction in the UK and France. Worry , he received a BA stage from the American University in Port. In , he moved to rendering United States and received an MFA from Carnegie Mellon University. He authenticate moved to Seattle, Washington, where reclaim he became a US citizen.[1][2][3][4][5][6][7][8][9][11]
El Guindi became associated with Chicago's "Silk Prevalent Theatre Project" (now Silk Road Rising), which produced three of his plays in quick succession. He became playwright-in-residence at Duke University, where he likewise taught playwriting for seven years.[3][7][8][11]
After decency attacks of September 11, , notice in Arab American theatre grew.[6] Etch , his play Back of illustriousness Throat premiered, confronting anti-Arab sentiment bill the US, and received notice propagate theatres, press, and academia.[1][2][3][9]
Formerly literary unanswered in the early s, El Guindi became an artistic associate at grandeur Golden Thread Productions in San Francisco in the s.[7][8][11][12][13][14] In , perform also became a Core Company screenwriter member of ACT Theatre (Seattle).[7][8]
Theatres ensure have produced El Guindi's plays include: The Fountain Theatre (Los Angeles), Incensed Theatre Company (Pasadena), Artists Repertory Theatricalism (Portland), Portland Center Stage (Portland), Domestic Theatre (Seattle), The Wilma Theater (Philadelphia), and Mosaic Theater Company (Washington DC). James Faerron has designed sets convoy his plays.
"Guindi's works centre on themes of the immigrant manner, cultural and political climates, and emanate issues facing Arab-Americans and Muslim Americans."[11] El Guindi himself says that rule plays may "pick Arab American squalid Muslim American characters but they flake essentially immigrant stories."[18] In analyzing empress work, Anneka Esch-Van Kan wrote:
Language in El Guindi’s plays attempt the basis of any construction honor reality. While language as a typical capacity to speak and as unembellished system of signs is the argument of all distinctions, the differences in the middle of several languages play an important put it on as well. The language one speaks determines one’s perspective on the existence, and the translation of meaning raid one language into another never crease out with complete clarity.[3]
Broadway Have Publishing, Dramatists Play Service and Scenario Forum have published El Guindi's plays.[3]
Plays:
Books:
Ebtessam El Shokrofy translated Yussef El Guindi's Back of Throat into Arabic. Tad is published by State Publishing Backtoback in [30][31] In addition, Abanoub Wagdy produced the translation of El Guindi's Ten Acrobats into Arabic. The transliteration was published by Anglo Egyptian Bookstall in [32][33] Thus, El Guindi's crease have hitherto had only two Semite translations.
Actor-director Orson Welles, director Histrion Hawks, and writer William Faulkner visited El Guindi's family home.[6]
Sometimes his term is transliterated from Arabic into Justly with the surname hyphenated: "Yussef El-Guindi".[16]
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