This essay reads Mostar, and Bosnia, as texts through the lenses of various cultural theorists and practitioners, including the voices and representations of people living in the area. These cultural readings attempt to put into play fragments of this site and, in so doing, haunt and are haunted by anecdotes of the everyday. The hauntings are, in turn, reconceived in an original performance piece, Letters or Where Does The Postman Go When All The Street Names Change? In Mostar, a city everywhere affected by its always recent past, social relations remain an ambivalent mix of defiance and compliance. The spectre of past meanings hangs over practices, simulations, and absences, and Mostar remains a ghost town, haunted by itself.
- Community-based theatre