In lieu of an abstract, here is a brief excerpt of the content:

• The Gaza Monologues Palestine, Representation, and Reciprocity
• Samer Al-Saber (bio), Jeanmarie Higgins (bio), Ryan J. Douglass (bio), Jeanmarie Higgins (bio), and Michael Schweikardt (bio)

Introduction: What-Where is Prompt? Materiality in the Digital Space

Prompt: A Journal of Theatre Theory, Practice, and Teaching is a generative space where theatre artists, educators, and scholars converge to exchange ideas that prompt new thoughts and practices. We, the coeditors, created this online, open-access journal in 2020. Responding to a moment when digital space became the default site of learning and theatrical storytelling, we sought to investigate issues of materiality and liveness in those spaces.

Prompt hosts conversations between artists, teachers, and scholars in theatre and performance studies. Each volume puts two sets of materials in conversation. Our first volume, "Teaching Theatre with Things," grew from the MFA graduate pedagogy seminar at the Pennsylvania State University. When we switched to remote learning, the graduate students—designers, directors, and technologists—met over Zoom to complete an exercise we had begun in our live seminar: How might we teach each other something about theatre using a humble object? A costume design student taught us about creating character using socks. A scenic designer illustrated the difference between 2D and 3D [End Page 54] design using a knife and a bagel. We took six videos from this experiment and asked scholars to respond to them. A second issue of this volume produced six more teaching videos.

Prompt, volume 2021, pairs discarded scenic design models with plays. Each playwright is asked to write a play that takes place in a discarded scenic model's world. As of this writing, we have produced two issues of this volume, and a third will feature one-minute musicals. In this way, Prompt is both an homage and a reframing of the dramaturgy used in Imagined Theatres, conceived and edited by Daniel Sack. Just as each "imagined theatre" contains both a theatre and its gloss, so we reached out to scholars and playwrights and teachers, asking them to write something in response to an artifact of a fellow theatre artist's practice. We have plans for future volumes, all of which will continue to grow this public space where theatre artists, educators, and scholars converge to exchange ideas that engender innovation.

A feature of every issue is a podcast with a theatre theorist we admire. We have interviewed Ariel Nereson about theory and dance, Jane Barnette about theories of dramaturgy, and in our current issue, "Monologues," we interviewed Samer Al-Saber about a broad range of subjects, including the monologue as a Palestinian form, performance as solidarity, and his own work as a playwright. What follows is an excerpt from that interview. The full interview transcript can be found at www.promptjournal.org.

The Gaza Monologues

jeanm arie higgins:

So can you tell us about The Gaza Monologues, what is the project? How did you discover it? How can we engage with it?

samer al-saber:

I discovered The Gaza Monologues when I was in Ramallah about ten years ago. ASHTAR Theater did a full production that I saw at the cultural palace there. I was amazed by the language, by the production itself, by the acting, by the presence of everyone there. I don't remember how many people were there, but it was in the hundreds. A full house. And so the experience of the young people in Gaza during a war, being under siege, under attack, and being able to engage with theatre, being able to tell their stories was quite powerful.

And then when I was coming up with the concept for an anthology of plays produced in Palestine, created in Palestine by Palestinians for Palestinians in Palestinian theatres, the monologues had to be there and so, Gary English and I edited this anthology called Stories Under Occupation: [End Page 55] And Other Plays from Palestine, which has The Gaza Monologues in it.

When the latest events were happening in May [2021], the air raids, the attacks on Gaza, I was in a bit of a paralysis of not being able to do anything. And I opened the anthology and there were those plays. And I thought...

中文翻译：

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加沙独白：巴勒斯坦、代表权和互惠

代替摘要，这里是内容的简短摘录：

• 加沙独白 巴勒斯坦、代表性和互惠
• Samer Al-Saber（生物）、Jeanmarie Higgins（生物）、Ryan J. Douglass（生物）、Jeanmarie Higgins（生物）和 Michael Schweikardt（生物）

简介：What-Where is Prompt？数字空间中的物质性

Prompt: A Journal of Theatre Theory, Practice, and Teaching是一个生成空间，戏剧艺术家、教育工作者和学者聚集在一起交流思想，促进新的思想和实践。我们，共同编辑，于 2020 年创建了这本在线开放获取期刊。为了应对数字空间成为学习和戏剧故事的默认站点的时刻，我们试图调查这些空间中的物质性和活力问题。

Prompt主持艺术家、教师和学者之间在戏剧和表演研究方面的对话。每卷都将两组材料进行对话。我们的第一卷“用物教戏剧”源于宾夕法尼亚州立大学的 MFA 研究生教育学研讨会。当我们切换到远程学习时，研究生（设计师、导演和技术人员）通过 Zoom 会面，完成我们在现场研讨会中开始的练习：我们如何使用不起眼的物体互相教授有关戏剧的知识？一位服装设计专业的学生教我们如何使用袜子创造角色。布景设计师说明了 2D 和 3D 之间的区别[End Page 54]使用小刀和百吉饼的设计。我们从这个实验中截取了六个视频，请学者们做出回应。本卷的第二期制作了另外六个教学视频。

Prompt，第 2021 卷，将废弃的场景设计模型与戏剧配对。每个剧作家都被要求写一部发生在废弃风景模特世界中的戏剧。在撰写本文时，我们已经制作了两期这本书，第三期将播放一分钟的音乐剧。通过这种方式，Prompt既是对Imagined Theaters中使用的戏剧手法的致敬和重构，由 Daniel Sack 构思和编辑。正如每个“想象中的剧院”都包含一个剧院和它的注解一样，我们联系了学者、剧作家和教师，请他们写一些东西来回应一位戏剧艺术家实践的产物。我们有未来的计划，所有这些都将继续发展这个公共空间，戏剧艺术家、教育工作者和学者聚集在这里交流产生创新的想法。

每期的一个特色是与我们钦佩的戏剧理论家的播客。我们就理论和舞蹈采访了 Ariel Nereson，就戏剧理论采访了 Jane Barnette，在本期“独白”中，我们就广泛的主题采访了 Samer Al-Saber，包括独白作为巴勒斯坦形式，作为表演团结，以及他自己作为剧作家的工作。以下是那次采访的节选。完整的采访记录可以在 www.promptjournal.org 上找到。

加沙独白

让姆·阿里·希金斯：

那么你能告诉我们关于加沙独白吗，这个项目是什么？你是怎么发现的？我们如何参与其中？

samer al-saber :

大约十年前，我在拉马拉时发现了加沙独白。ASHTAR Theatre 做了完整的制作，我在那里的文化宫看到了。我对语言、制作本身、表演以及在场的每个人都感到惊讶。我不记得当时有多少人，但至少有数百人。一个完整的房子。因此，加沙的年轻人在战争期间的经历，被围困，受到攻击，能够参与戏剧，能够讲述他们的故事是非常强大的。

然后当我想出巴勒斯坦戏剧选集的概念时，巴勒斯坦人在巴勒斯坦为巴勒斯坦剧院的巴勒斯坦人创作，独白必须在那里，所以，加里英语和我编辑了这本名为“占领下的故事”的选集: [End Page 55] 和来自巴勒斯坦的其他戏剧，其中有加沙独白。

当最近的事件发生在 5 月 [2021 年]，空袭，对加沙的袭击时，我有点瘫痪，无法做任何事情。我打开选集，里面有那些剧本。我想...