ABSTRACT
TO SOME extent, every play gets displaced when it is performed outside the place or group for which it is intended. In classical drama, it is always an option to pull the play’s audience back in time and to make them feel much like the original audience. But what about plays that do not reflect their own time to begin with? Or plays that do not travel well? Or that change radically, depending on which translator, adaptor, or editor gets hold of them? Displaced plays, like displaced persons, are searching for a home.
