**7. A Theological Reprise: Romeo, Juliet, and the Crucial Moment of Truth**

Theologically speaking, how do we witness to this performance and its aftermath? As of this writing, government forces have entrapped one million internally displaced Syrians in Idlib province. Millions more remain in exile, whether from Jordan and Lebanon to Germany, Turkey, and Greece. In the United States, over the course of the last few years, only a few hundred Syrians have received asylum as refugees. Aware as this essay is of its location, it must point out the danger of expropriating these child actors, their struggle, pain, and beauty, as a means to an end. Instead, a greater danger might be indifference as after nine years, cultural "fatigue" around the ongoing conflict may have

<sup>55</sup> (Sobrino 1993, p. 265).

<sup>56</sup> For philological examination, see (Strathmann 1967). For debate of this issue in academic literature criticism, see (Talbert 1982; Sterling 2001; Tabb 2015).

become habitual. Taking the performance itself as the "foundation" for this concluding reflection, thus, the goal is twofold: in the spirit of theatrical action, as Peter Brook, it is to render that crucial moment in the communal sense, specifically, to lend a "temporary glimpse" with a vision to "to make whole"; and secondly, to foster a commitment to Muslim-Christian solidarity through this work of theatrical drama to cultivate empathy, exercise mercy, and recognize the signs of hope.

While as a comparative theological reflection risks expropriating, the performance itself poses features potential risks. Chiefly, to what extent, may the director Bulbul manipulate or exploit these child actors, using them as a means to end? Is this performance used to score political points? On the other hand, due to the perilous situation in Homs, the child actors risked their own lives in order to rehearse and participate in the production. In secret so as to avoid government surveillance, on a daily basis for four months, these four actors crossed the frontlines of the war on their way to the hidden theater.<sup>57</sup> At a different scale of power, for further consideration, how could the use of Shakespeare possibly blind the case discussion to dynamics of cultural and power in Arab culture?<sup>58</sup> How can Christians and Muslims work on the basis of such a performance to ensure flowering of creative expression without such artistic practices contributing to the erasure of Arab culture?<sup>59</sup> Based on this case, these are a sample of urgent questions that may be raised in addition to those already considered. A priority, however, should be placed on a basic question: Who concretely stands to benefit? Turning to the basic reason and the manner in which Nawar Bulbul and his actors appropriate Shakespeare's ¯ tragedy is illuminating not only for the suggestive style it refers to the dark corners of their political reality but also that, in spite of it all, how it focuses upon the love remaining at the core.

How could art and theatrical drama more specifically be helpful for displaced people and especially these war-affected children? As a theatrical mediation of the crucible of tensions that define so much of Syrian experience, Bulbul's productions are experiments in "drama therapy". For juvenile and traumatized actors, whether living in the Za'atari, recuperating in the hospice, or besieged in Homs, "drama therapy" addresses a basic need in a context that is lacking educational resources and basic care for mental health. Although the process of drama therapy is complex, as he explicates through a communications strategist, Bulbul's commitment is "to humanize and inspire children through art".<sup>60</sup> Standing on the basic notion that theatrical arts can transform war-affected children in Za'atari, this specific play offers specific indications of the benefits. For instance, consider how Ibrahim, the disabled thespian who plays Romeo, through the play is reminded that he is still connected to Syria, and more specifically his hometown of Homs. While reconsidering this performance, let us attend to how the adaptations suggest the kinds of dispositions and possibly even virtues this performance might engender in these actors.
