An Article by D. M. (781 words, 4 min. read)
Joe Kodeih is more than a playwright—he is an explorer of human emotions, an architect of contradictions, and a fearless storyteller. His latest book, Les Quatre Raisons, published by Éditions Saër Al Mashrek, brings together four of his previously performed plays, offering a rare opportunity to experience his work beyond the stage. With sharp irony and profound psychological depth, Kodeih transforms the everyday into a space where personal and collective tensions collide.
A Theater That Bridges the Personal and the Universal
Kodeih’s work transcends borders, both geographical and intellectual. Deeply rooted in his Lebanese heritage, his writing explores universal themes: memory and oblivion, love and solitude, identity and otherness. His theater blends realism with absurdity, often drawing comparisons to Beckett and Ionesco. He plays with the mundane, turning it into a stage where humanity’s deepest struggles are exposed.
In À Droite, he paints a poignant picture of Lebanon’s civil war, not just as a national tragedy but as a universal reflection on loss and resilience. Rather than simply depicting destruction, Kodeih asks: How do we survive our deepest wounds? What marks do conflict and trauma leave on our souls? How do we rebuild, not just homes, but lives?
With Le Lit, Kodeih transforms an everyday object—the bed—into a microcosm of marriage and relationships. It becomes a battleground of frustrations, desires, and shattered dreams. This intimate setting exposes the fractures within human connections, where love, disillusionment, and unspoken emotions collide.
La Baignoire takes a different approach, using the confined space of a bathroom as a stage for raw, emotional confrontations. Through sharp dialogue and intense performances, the play strips its characters down to their most vulnerable states, revealing truths they would rather keep hidden. The intimacy of the setting forces them to face their deepest fears, regrets, and desires, making the audience complicit in their emotional unraveling.
In Anna O., Kodeih ventures into the realm of psychoanalysis, drawing inspiration from Freud and Breuer’s famous case study. Here, dream and reality intertwine, leading the audience into a gripping introspection. Like a master illusionist of emotions, Kodeih blends absurdity with raw honesty, crafting a “therapy session” that is both humorous and deeply melancholic.
The Plays and Their Journeys
Each of the four plays in Les Quatre Raisons has its own history:
• À Droite (1999) explored Lebanon’s civil war with a cast of emerging talents, including Issam Breidi, a rising star tragically lost in a car accident years later.
• Le Lit (2000) brought together renowned actors like Roula Hamadé, Raymond Hosni, and Tarek Bacha for a production at Théâtre Monnot.
• La Baignoire (2006) featured Lamia Merhi and Edmon Haddad, continuing Kodeih’s tradition of intimate, thought-provoking theater.
• Anna O. (2023), inspired by Freud’s writings, was performed by Solange Trak, Patrick Chemali, and Zalfa Chelhot.
By publishing these works, Kodeih cements their place in literary and theatrical history.
A Legacy Beyond Borders
Kodeih is not only a celebrated figure in the Arab world; he also made history as the first Arab writer and director to perform Off-Broadway. In 2003, his play The Middle Beast was staged at La MaMa ETC in New York, earning critical acclaim. When the play was revived in Beirut in 2008, it sparked controversy and threats, highlighting Kodeih’s fearless approach to storytelling.
His ability to transform local narratives into universal stories sets him apart. He does not limit himself to Lebanon’s history—his themes of exile, love, and existential struggles resonate worldwide. His work is a delicate balance between irony and gravity, humor and tragedy.
An Artist Who Challenges and Inspires
Kodeih’s theater is not meant to comfort—it is meant to provoke, question, and push boundaries. His characters, whether trapped in the ruins of war, caught in the absurdity of human relationships, or lost in self-reflection, are deeply relatable. He reminds us that theater is more than entertainment; it is a space for confrontation, a mirror in which we see our own contradictions.
With Les Quatre Raisons, he not only preserves the ephemeral nature of performance but also offers a lasting testament to his work. For those who have seen his plays, the book is a chance to revisit them. For new readers, it is an invitation to discover a playwright who has never shied away from challenging his audience.
More than a writer, Joe Kodeih is a master of emotions—a storyteller who dares to expose both the beauty and the flaws of human existence. And from what we’ve heard, he’ll soon be back on stage with a new play, proving once again that his voice in theater remains as vital as ever.
