In an interview with Mona El-Shimi, one of the directors of Bussy Project, she states: "it is also important to work gradually. Taboos come in layers, and if you follow the order of such layers in your unfolding process, it makes the process smoother. It is important to understand that the core objective is not to challenge the society, but to heal it" (Zaghmout 2015, emphasis added). As the process of censorship goes gradually, counter-censorship goes gradually too. Zitan and Shabayek did not begin with public theatre in order to lessen the criticism directed to them. They begin with small venues moving from one city to the other till they cross borders to foreign countries. Bussy Project members travelled to the USA and France. Zitan and her cast also perform in Paris and other big theatres in Morocco. In addition, neither of them adapts the 12 monologues of Ensler altogether. They keep adding, omitting, adapting and revising according to the audience’s response. Bussy Project starts with one-woman show, then, gradually with the increase of the number of participants, Bussy gives the chance for everyone who has guts to perform. Mainly, Bussy Project gives voice to the untold stories that have long been censored, "Women step on stage to share stories about harassment, rape, gender discrimination, honor killing, forced marriage, female genital mutilation, motherhood, domestic violence, child abuse, mass sexual assaults and many others, from different communities and cities in Egypt" (Zaghmout 2015). By the same token, Zitan is still adding sections to her monologue: "It is just the beginning. Many sections about the menstruation and circumcision will be added later. The text is developing. It is dynamic" (Makreim 2012, translation mine).