1 Gilman Richard, Chekhov's Plays: An Opening to Eternity (New Haven and London: Yale University Press, 1995), p. 214.
2 The play, as Wannus says in his prologue to it, is loosely based on a story in al-Barudi Fakhri, Mudhakkirat al-Barudi (al-Barudi's Memoirs) (Beirut: Dar al-Hayat, 1951). However, Wannus radically alters numerous elements from al-Barudi's historical account.
3 The official title of his position is ‘Naqib al-Ashraf’, the Dean of the Syndicate of Nobles.
4 A mufti is an official expounder of Islamic law. Here the position is the Grand Mufti of Damascus.
5 ‘Abbas is a common Arabic name derived etymologically from a verb that means ‘scowl’, ‘have austerity or severity’. ‘Afsa is derived from a verb that means ‘to overcome’, such as to be able to bend one's arm.
6 Wannus Sa'dallah, Tuqus al-Isharat wa-l-Tahawwulat (Beirut: Dar Al-Adab, 2005), p. 32. All translations are by the authors unless otherwise indicated.
10 The Sufis attempt to demonstrate their claim to be spiritual heirs of the Prophet through the creation of lineages of disciple–Sufi sheikh chains that reach back to the Prophet.
13 Allen Roger, ‘Arabic Drama in Theory and Practice: The Writings of Sa'dallah Wannus’, Journal of Arabic Literature, 15 (1984), pp. 94–113, here p. 94.
14 For a further discussion of the play see ibid., pp. 99–102; and Waheeb Nima, ‘A Study of the Dramatic Art of Sa'adallah Wannous and Bertolt Brecht with a Translation of Six Plays by Wannous into English’, doctoral dissertation, Lancaster University, 1993. Also see Abu-Deeb Kamal, ‘The Collapse of Totalizing Discourse and the Rise of Marginalized/Minority Discourses’, in Abdel-Malek Kamal and Hallaq Wael B., eds., Tradition, Modernity, and Postmodernity in Arabic Literature: Essays in Honor of Professor Issa J. Boullata (Leiden: Brill, 2000), pp. 335–55.
15 Wannus Sa'adallah, ‘Theater and the Thirst for Dialogue’, in Lebanon and Syria: The Geopolitics of Change, Middle East Report, 203 (Spring 1997), pp. 14–15, here p. 14. Wannus's complete works, which were collected in three volumes, contain this address as an introduction to his plays. See Wannus Sa'dallah, al-A'mal al-Kamila, 3 vols. (Beirut: Dar al-Adab, 2004), Vol. I, pp. 39–44.
16 Nima, A Study of the Dramatic Art of Wannous and Brecht, p. 187.
19 Wannus, Tuqus, pp. 5–6.
20 Wannus, ‘Theater and the Thirst for Dialogue’, p. 15.
21 Brecht Bertolt, Brecht on Theatre, trans. Willet John (New York: Hill and Wang, 1986), pp. 100–1.
22 Ibid., p. 103. Another clear connection between Tuqus and Measure for Measure is Peter Brook's extended discussion of the play in his book The Empty Space, which Wannus obviously read. Brook's 1950 version of Shakespeare's play at Stratford ‘was the production that did most to establish the play in the current repertory’, according to Bawcutt (Shakespeare William, Measure for Measure, ed. Bawcutt N. W. (New York: Oxford University Press, 1991), p. 34). Brook reprised the play at Bouffes-du-Nord in 1978. Brecht produced a version in 1952 at the Berliner Ensemble in which the play ‘became an attack on a corrupt and class-ridden society’ (Ibid., p. 42). Another possible source for Tuqus is Buñuel's film Belle de jour, also a story about a woman of status who consciously chooses to become a prostitute, which premiered in 1967, in or around the time Wannus was living in Paris.
23 Massad Joseph, Desiring Arabs (Chicago: The University of Chicago Press, 2007), p. 353.
24 Measure for Measure, ed. Bawcutt, pp. 45–6.
25 Kahf Mohja, ‘The Silences of Contemporary Syrian Literature’, World Literature Today, 75, 2 (Spring 2001), pp. 224–36, here pp. 203 and 232.
26 Abu Deeb, ‘The Collapse of Totalizing Discourse’, p. 353.
28 Wannus, al-A'mal al-Kamila, Vol. III, p. 102.
29 In Tuqus, Wannus appropriates Sufi motifs as a means of exploring transgression. Other contemporary appropriations and projections of Sufism find it to be an especially liberating source of linguistic–poetic expression. The poet Adonis, for example, compared Sufism to the Surrealist movement in poetry.
30 Wannus's concern with the individual ‘I’ clearly becomes more pronounced in his later writings. Tuqus, as he says in the prologue to the play, dramatizes issues that he believes are ‘current and ever-recurrent’ (Tuqus, p. 6). In an interview given around the time when Tuqus was first staged, he said, ‘The national project, in as much as it entails liberty, progress and modernity, does not require that we annul ourselves as individuals with our desires and urgent needs for freedom’. Interview in Al-Tariq, 1, 1 (January–February 1996), p. 104.
35 Anything that hints at a woman's sexuality is deemed an ‘awra.
36 Maqam literally means ‘place’. It is an essential Sufi technical term that refers to a ‘station’ or a specific state of single-minded awareness of a spiritual experience in which one indulges.
37 Wannus, Tuqus, p. 100.
42 Cited in Massad, Desiring Arabs, p. 374. Emphasis in Wannus's original.