No contemporary French feminist has made a bigger impact in America
than Helene Cixous. Brilliant, bold, and combative, author of
numerous novels and a gargantuan study of James Joyce, and sponsor
of a series of notorious seminars at the University of Paris about
women's writing, she has exploited the roles of femme fatale and
maitresse d'education in a career that has been spectacularly
defiant and productive.
Sihanouk is one of Cixous's most ambitious projects: the
dramatic portrayal of the conflicts between old and new, East and
West, North and South, religion and politics. At its center is the
figure of Norodom Sihanouk. Vain when a prince, as king Sihanouk
discovered his responsibility to his country and came to embody
Cambodia. He used every means to keep his country growing, healthy,
and out of the wars of Southeast Asia that consumed Laos and
Vietnam.
Cixous recognized in Sihanouk a historical figure as fascinating
as a tragic king in Shakespeare: a man of uncommon intelligence on
whom his country's history pivoted, a man placed by fate into a
world of bad choices and surrounded by powerful and relentless
antagonists. But Sihanouk gave Cixous something more: a king who is
indisputably modern, who has read and loved Shakespeare, and whose
story continues.
First published in 1985, the play begins with Sihanouk's
abdication in 1955 and ends with his arrest by the Khmer Rouge two
decades later. The destiny of an entire country unfolds through the
fifty characters who appear on stage.
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