الفهرس 
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Abstract
This thesis investigates how the playwrights-cum-protagonists of The Trial of the Catonsville Nine (1970), My Name is Rachel Corrie (2003), and Tahrir Monologues (2011) set out to use the theatre as a podium, at a time of great political turmoil, to expose the truths of what is going on in the Vietnam War, the Israeli-Palestinian conflict, and the 25 January Revolution 2011, to the peoples of America, Palestine, and Egypt. In so doing, they document the facts of their political status quo in tandem with three different techniques of Documentary theatre: the Tribunal theatre; the Verbatim theatre; and the Street theatre. The thesis adopts Mary Canales’ theory of Inclusionary and Exclusionary Otherness, expounded on her article “Othering: Toward Understanding of Difference” to analyze the selected plays. The thesis also attempts to find answers to the following questions: How is the documentary theatre used as a lens to rewrite history? How does religion become the underlying cause of protest? How does gender bias preclude the freedom of female activists? Furthermore, the thesis takes into account the techniques used by the playwrights to kill the traditional Aristotelian catharsis.