march
2017
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About the play

The central issue and starting point of the play deals with the question why young girls from western European countries are motivated to leave their family and home to go to an area of war, where the outcome and future is totally insecure. The main characters of the play, Nadia and Anna, get into conflict with each other and reflect critically on their different approaches to life. Anna is sure Nadia must have been the victim of some ‘jihadi-lover boy’, a naïve young girl. They fight each other’s opinions on society, family, roots, sexuality, loyalty, religion. Maybe they only now start getting to know one another, sharing stories they never shared with each other before. Will they be able to lose their prejudices or are the images they made of the other one too strong? Do you ever really know someone at all?

Nadia and Anna are fifteen years old, best friends and uncertain about everything. Their looks, their talents, their social contacts – ordinary teenagers. And like all 15-year-olds, Nadia and Anna do also have a time consuming live on the internet. But Nadia seems to change and worries more and more about the injustice that is being done to the Muslim community. She feels alone with her anger. Nobody knows that, in her digital quest for guidance, she has connected with Brahim, a guy from the Caliphate, who gains more and more influence on her. He understands her loneliness, her desire for equality, her need for friends, brothers and sisters. When Nadia appears at school with a headscarf, it comes to an open confrontation with her best friend. Anna reproaches her for acting weird and not being herself anymore, which scares Anna. Nadia sees this as an endorsement to her feeling of not being accepted if she doesn’t fully adapt to her surroundings. The discussions between Nadia and Anna reach a climax when Anna insists on being present during a Skype appointment with Brahim. The piece has an open end. Will Nadia leave for Syria or not? Anna asks her three times to just say “See you tomorrow”. Nadia refuses. Will she leave? Anna is left with a lot of questions about her friend’s behaviour and starts searching for answers analogically and virtually. She is reaching out to the online community looking for clues. Why? Why does Nadia want to leave? To whom? Who had she had contact with? How could this happen?