Zagreb

Zagreb is presented as a place where performance, feminist organizing, and support for women affected by war meet. The book connects the city to the Center for Women War Victims, which V-Day supported in opening a rape crisis center, and to Rada Boric’s work bringing the play to Zagreb. These references make the city more than a touring stop: it is a site of both practical response and cultural collaboration.

Support for women affected by war

The Center for Women War Victims in Zagreb is identified as a partner in V-Day’s efforts. With V-Day’s support, the center was to open the first rape crisis center in the former Yugoslavia. The account describes the center’s reach beyond the city: it would also be able to train women in Kosova and Chechyna to work with women who had been raped and traumatized during the war. Zagreb thus appears as a base for building capacity across borders, not only as the location of a local service.

The plan joins immediate support with the development of expertise. Rather than describing the center solely as a place for crisis response, the book emphasizes its role in training women who could assist others in regions marked by wartime violence. The city’s significance in this account lies in that outward movement: resources and knowledge organized in Zagreb were intended to reach women elsewhere.

The play’s work in Zagreb

Zagreb also enters the book through the production history of the play. In her acknowledgments, Eve Ensler thanks Rada Boric for getting the work done in Zagreb with style and describes Boric as her sister. This personal expression of gratitude points to the relationships and labor behind bringing the production to the city; the acknowledgment records Boric not simply as a local contact but as a trusted collaborator.

The thanks extend to the women of the Center for Women War Victims in Zagreb, whose generosity and power Ensler recognizes. Read beside the account of the planned crisis center, this acknowledgment connects the city’s cultural activity with the women’s organization supporting those affected by war. The book does not detail the production’s schedule or reception in Zagreb, but it places the city within a network of practical solidarity and theatrical work.

Significance

The two references frame Zagreb through complementary forms of action. The Center for Women War Victims is associated with plans for crisis care and training, while Boric’s role and the acknowledgments place the city within the play’s collaborative life. Together, these details give Zagreb a concrete place in the book’s account of how a work about women’s experiences travels: its presence depends on local partnership, and its public reach sits alongside efforts to respond to the consequences of war.