Brecht, Stefan, Brown, Gwen, Gatsas, George, Israel, Steve ben, Snyder, Don, Swofford, Will, Wilson, Andrew, Youngblood, Gene	...	(Director)
Hany Abu-Assad, Bero Beyer	...	(Writer)
Hamza Abu-Aiaash	...	Checkpoint Soldier
Lotuf Neusser	...	Car Owner
Ali Suliman	...	Khaled
Mohammad Bustami	...	Abu-Salim
Ahmad Fares	...	Tea Boy
Waleed On-Allah	...	Taxidriver Suha
Asaad Dwikat	...	Shawarma Shop Owner
Imad Saber	...	Shawarma Customer
Mohammad Kosa	...	Photographer
Amer Hlehel	...	Jamal
Hiam Abbass	...	Said's Mother
Nour Abd El-Hadi	...	Said's Sister
Amjad Al-Imlah	...	Said's Brother
Dina Titi	...	Khaled's Sister
Yosef Abo Dheir	...	Khaled's Father

Summary: rthur Magazine proudly presents our newest release Paradise Now: The Living Theatre in Amerika DVD featuring rare, never-before-distributed films and a bacchanal of revolutionary multimedia documents from The Living Theatre's historic and influential '68-'69 American tour. A fulminating art-meets-life installation brought to you in collaboration with The Living Theatre, The Ira Cohen Akashic Project and Saturnalia Media Rites of the Dreamweapon. Transform your living, work or performance space... hit play, but don't say we didn't warn you! DVD includes: Paradise Now: The Living Theatre in Amerika (1969) a film by Marty Topp, produced by Ira Cohen for Universal Mutant; Emergency (1968) a film by Gwen Brown, featuring precious footage of Living Theatre productions Mysteries and smaller pieces, Paradise Now, and Frankenstein; rare photographs of Paradise Now at Brooklyn Academy of Music by Don Snyder; the map of Paradise Now, a 14'' x 19'' double-sided, commemorative poster + 'zine including texts by Antonin Artaud, Julian Beck, Judith Malina, Ira Cohen and Don Snyder. In 1968, The Living Theatre, led by Julian Beck and Judith Malina, triumphantly returned to America from years of self-imposed exile in Europe with their theatrical breakthrough Paradise Now. The play introduces the practice of collective creation, dissolving the boundaries of human interactions and forging a harmony between the actors and audience. Of this process, Julian Beck writes, 'Collective creation is the secret weapon of the people ... This play is a voyage from the many to the one and from the one to the many. It's a spiritual voyage and a political voyage, a voyage for the actors and the spectators.