ABSTRACT
This chapter explores the various intersections within the circuit of culture to make meanings about theatre in Afghanistan and to raise the potential dangers of making performances inside and outside Afghanistan. It examines two case studies which allows to have a temporary grasp of the lay of the land. Kaikavus was performed by Azdar Theatre on 24, 26, and 27 October 2013 in Kabul, directed by Haroon Noori. Kaikavus raises the entanglements of cultural ownership by local theatre practitioners, audiences, and institutions. Azdar Theatre’s performances of Kaikavus and Heartbeat: Silence after the Explosion are typical examples of the culture industry in Afghanistan: Theatres disappear just as quickly as they are formed. Actors, nevertheless, make performances and create art despite risks and danger, while some take the opportunity to seek asylum elsewhere. Heartbeat is an ensemble piece driven essentially by improvisation and movement, with the performers kinaesthetically responding to each other and the music for cue changes.
