In Dialog: Tasnim Hossain – Griffin Theatre Firm

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05.08.22

Introduce us to YOU. What’s your artistic background? What introduced you to playwriting?

I began off greater than ten years in the past as a spoken phrase poet, however I had zero potential to memorise my poems. Realising that I may write phrases and have actors memorise and carry out them as an alternative was a sport changer!

I’ve by no means seemed again from there, and now I work as a dramaturg and director too. I nonetheless imagine spoken phrase poetry is probably the most accessible of the entire performing arts. You don’t want a set, costumes, or business contacts; all you want is an viewers and your phrases. Having transitioned into working in theatre, I all the time work to make the storytelling simply as accessible for audiences.

What’s your play about?

My play, ‘Bombay Takeaway’, is about two latest arrivals to Sydney, a younger man from Newcastle and a barely older lady from Bangladesh, who meet and change into mates in Kings Cross. Each Sami and Fatema are looking for their ft in an enormous new metropolis and hiding issues from one another as they get nearer.

I’ve all the time been desirous about shut relationships, like mom and daughter, brother and sister, first loves, and childhood mates. I wished to chart the connection between two individuals who have met and fashioned a bond in unlikely circumstances (on the eponymous takeaway in Kings Cross), and why and the way they dangle onto this bond as truths about them emerge.

Why do you need to inform this story on a stage at the moment?

I believe at the moment’s phases are much more consultant of the world we see round us, and I’ve seen that shift even within the seven or so years since I moved to Sydney and started working increasingly in theatre. We’ve more room for culturally numerous tales and that’s a very thrilling factor. This story is a quiet one, about lonely individuals transplanted from one metropolis, or nation, to a different and who’re searching for house and a way of belonging. I believe individuals really feel that no matter cultural background, gender or sexuality.

What was the method like scripting this play?

It’s been a protracted journey, of 4 or 5 years or so. Elements of this work have been developed and proven at Up to date Asian Australian Efficiency’s Longhouse (as ‘Mumbai Masala Palace’). I additionally labored on it after I was a Griffin Studio artist again in 2019 and confirmed a few of it at a Griffin Scratch that 12 months. The newest little bit of assist got here by means of a CreateNSW’s Speedy Response grant earlier this 12 months which paid for actors and a dramaturg, Jane FitzGerald, to work with me on it. We sat round my kitchen desk for a day, studying the play, consuming cheese, and discussing the characters, and it was sensible!

The story and the setting have been swimming round in my head for lots longer although, in all probability since I moved to Sydney – particularly to Kings Cross – in 2015. The most important change in that point was taking it from two characters to 4, to spherical out the lives of our two protagonists, Sami and Fatema.

What has been inspiring you recently? Give us a life suggestion, ANY suggestion.

The final three exhibits I watched – Golden Blood at Griffin, Moon Rabbit Rising for Belvoir 25A and Prime Coat at STC – have been actually thrilling to me as there are feminine creatives of Asian heritage on the helm of all of them, with both all- or majority-Asian-Australian groups. I really feel like I’ve been ready to see this my entire life and it’s lastly occurred, with such excellence on show!

I’ve additionally simply completed watching Thriller Street: Origin and cherished it. I’ve loved seeing what occurs with storytelling when the people who find themselves on the centre of the tales are those who get to inform them. The collection has Indigenous administrators, writers and creatives throughout disciplines, and I believe that’s on the core of what makes it a very nice piece of tv.

 

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