By Karen Malpede
Theater Three Collaborative, meaning me and my partner, George Bartenieff, who stars as Handel, the mogul who profiteers off our wars, in my new play, received a grant from Theater Communications Group to attend the New Plays and Theater Forms conference in Pristina, Kosovo. We had the good fortune of being able to arrive three days before the conference began so that we could work for a full week with five Kosovar actors and George on a workshop of "Another Life" which will be presented in New York, Sept. 8, 10 and 11 as part of the Art of Justice: 9/11 Performance Series at John Jay College. What follows are notes about our week in Kosovo, and a subsequent 5-day holiday in Istanbul.

Kosovo: Driving in from the airport, we pass a large golden statue of a giant Bill Clinton, his huge right hand raised in a sort of victory salute. Remember, Clinton’s bombing of Serbia in 1999, at the end of the Balkan wars is the reason this tiny country exists. Hence, here, America is loved. The Kosovar Albanians were the red Indians of the former-Yugoslavia, forbidden to speak Albanian, prejudiced against, and, finally, before the bombing began, were being ethnically cleaned. Today, Kosovo is a U.N. protectorate with a parliament that governs and an economy, the use the Euro, that is being fostered and fed by foreign investment.
The unemployment rate is 40%, mainly among the elderly; men sit on the side of the road selling what they have, knock-offs of this and that or hand carved rakes, wooden spoons, also fancy cradles. There is a food and hardware market. A hundred stores sell cheap yet fancy wedding gowns. There is in general a macho atmosphere on the streets. Though educated women are out and about and working. The government is corrupt and run on cronyism, although I can’t tell you who is in and who is out.
In contrast to the elderly, the young and intelligent appear to be thriving. The city is pretty and climbs several hills with older houses, the beautiful gardens of flowers and vegetables, cherry and other fruit trees. Just outside of town new suburbs, on flat, undeveloped land are springing up—big cement block houses; some starkly modern, others of more traditional design.
Our host, Jeton Neziraj, a playwright, lives here in a new suburb in a new home of the most modern design; he also runs the National Theater. His current play in rehearsal has been co-written with a Serbian woman from Belgrade and tells the stories of the two sides in the war. It is being performed in Belgrade this month. Another play, "The Demolition of the Eiffel Tower" will be staged this fall by the prestigious Mess Festival in Sarajevo, Bosnia, but before that the same Bosnian production will open in New York alongside my play "Another Life" at the 9/11 Performance Series. Jeton is the person who cast my play with English-speaking Kosovar actors for our week-long workshop.
Jeton is committed to engaging in dialoging with Serbian writers and theater-makers. He is co-editor of two anthologies : From Kosovo with Love and From Serbia with Love, containing writings from both countries.
A few Serbian artists were at the conference including a talented woman also in her thirties or early forties who took refuge in the Netherlands but who also works in Serbia. She could not go direct by bus from Kosovo to Serbia as at the boarder she would have been refused entrance from the "non-existent country" and so had to travel 10 hours through Macedonia to enter Serbia from a recognized state. In Kosovo, the question seems to be: shall we merge with Albania or stick it out alone. Debate on both sides. In general, and with limited knowledge, I think the Kosovar Albanians benefited mightily by former-Yugoslav former-cosmopolitanism, though I realize they were also mightily persecuted.