Drawing on the critical framework of Gayatri Chakravorty Spivak’s article “Can the Subaltern Speak?” and her book A Critique of Postcolonial Reason, this essay investigates the representation of Iraqi and Moroccan women in Heather Raffo’s Nine Parts of Desire and Issam El-Yousfi’s Tears with Alcohol. This investigation serves as a cultural comparative study by decoding the tropes, traces, and marginalizations to probe the protagonists’ subjectivities. It also aims to find the ways in which Iraqi and Moroccan women are subalterns. Furthermore, this essay attempts to find answers to these overriding questions: how does the solo narrative performance become a tool that breaks the silence of the subaltern? How does it pave the way for the rise of post-dramatic theatre? How do the boundaries dissolve between the dramatic and the post-dramatic theatre in the plays? How does the protagonists’ solo narrative performance bear a great resemblance to Scheherazade’s? How do costumes, role-reversal, and movement sequences of dancers free the protagonists from the shackles of patriarchy? This study provides insights into the female subalterns’ reactions to infidelity, religious fanaticism, and corruption.

借鉴 Gayatri Chakravorty Spivak 的文章“下属能说话吗？”的批判框架。和她的书《后殖民理性批判》，这篇文章调查了希瑟·拉福的《欲望的九个部分》和伊萨姆·尤斯菲的《含酒精的眼泪》中伊拉克和摩洛哥女性的表现。. 这项调查作为一种文化比较研究，通过解码比喻、痕迹和边缘化来探索主角的主观性。它还旨在寻找伊拉克和摩洛哥妇女成为下属的方式。此外，本文试图找到这些压倒一切的问题的答案：独奏叙事表演如何成为打破底层沉默的工具？它如何为后戏剧的兴起铺平道路？戏剧中戏剧性戏剧和后戏剧性戏剧之间的界限是如何消融的？主角的单人叙事表现如何与谢赫拉扎德的相似？怎么装扮，角色反转，以及舞者的动作序列是否将主角从父权制的枷锁中解放出来？这项研究提供了对女性下属对不忠、宗教狂热和腐败的反应的见解。