At the end of Suite (1999), an award-winning play by Catalan dramatist Carles Batlle i Jordà, there is a memorable scene in which the spectators observe the collapse of a doll house upon the living room floor. It is a metaphor of domestic, as well as global, instability—not to mention, an ironic reference to Ibsen—in which the audience is left to wonder whether the character of Berta, confused and disoriented in the suite of an old hotel, will return to the mirage-like image of bourgeois European domesticity, to a home and marriage without foundations, or whether she will flee to the more exotic space of Essaouira, in North Africa, the space that has invaded her dreams and memories.

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Copyright © 2005 Performing Arts Journal, Inc. This article first appeared in PAJ: A Journal of Performance and Art 27, no. 1 (January 2005): 61-64. doi:10.1162/1520281052863917.

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