Heıdarzadegan, Nazila2024-09-292024-09-2920201303-8605https://doi.org/10.26650/jtcd.698395https://search.trdizin.gov.tr/tr/yayin/detay/532700https://hdl.handle.net/20.500.14619/10729Globally, several theatrical performances have staged the consequences of the\r‘war on terror’ after 9/11. This paper provides insights into how Middle Eastern\rAmerican dramatists and characters responded to the war and the post-9/11\rera. It explores how Middle Easterners in an American context were stereotyped,\rtransformed into problematic subjects, how they resisted backlashing policies,\rand were influenced by fallout effects of the event in the plays Browntown,\rTen Acrobats in an Amazing Leap of Faith, and Nine Parts of Desire by reading\rthem through Homi Bhabha’s postcolonial concepts. This paper argues for\rthe necessity of recognizing hyphenated people in the mainstream context\rand approaches the problem in terms of negotiation instead of the negation\rof hyphenated identities to avoid potential identity problems which may\rlead to social problems. It calls for dramatists of artistic productions to claim\rrecognition of their identity and correct the distorted images to prevent their\rtransformation into problematic realms.eninfo:eu-repo/semantics/openAccessArticle10.26650/jtcd.6983955230355327000