Interview with Iranian/Australian Writer & Actor Osamah Sami by Kyriaki Maragozidis. Originally broadcast 13/6/16 Live to Air on Voiceprint Arts, Three D Radio 93.7fm in South Australia.
Interview with Iranian/Australian Writer & Actor Osamah Sami by Kyriaki Maragozidis. Originally broadcast 13/6/16 Live to Air on Voiceprint Arts, Three D Radio 93.7fm in South Australia.
by Julia Wakefield
Following its sold out premiere Melbourne season in 2014, Tales of a City by the Sea opened at The Bakehouse Theatre this week. The author is Palestinian/Australian/Canadian writer Samah Sabawi. She describes her work as ‘a poetic journey into the ordinary lives of people living in abnormal circumstances and their struggle to survive’.
The play grew out of a collection of poetry that Sabawi wrote while she was in Gaza during the three week bombardment of 2008/2009, prompted by her own experiences and those of her friends and family. She says she is not trying to put across a political message. Although this is a story based on real life events that took place during Israel’s assault on Gaza in 2008, its main purpose is to highlight the resilience and compassion that people display in such dire circumstances. In this current era of global conflict and confusion, there are many places featured in news bulletins that are enduring similar situations. Sabawi wants us to see ‘the detail of daily lives of people they see for brief seconds on the news’.
The play was originally directed by Lech Mackiewicz, and the current director is Wahibe Moussa. When it opened in Melbourne the plan was to have two simultaneous performances on the West Bank and in Gaza. The play was performed on the West Bank a week later; the script has been read in Gaza but as yet there has been no opportunity to perform the play there.
In the main characters of the play, Jomana and Rami, we see another theme: the gulf between the Palestinian diaspora (those whose families escaped from Gaza and who have grown up in an affluent, privileged society), and the same generation who remain trapped in Gaza. Jomana lives in Gaza, Rami is a doctor raised in Texas by refugee Palestinian parents. They are in love, but in order to enter each other’s world they have no choice but to abandon their families and the reality they grew up in.
The play ideally suits the intimate atmosphere of the Bakehouse Theatre. Scenes are evoked with the simplest of props, and Sabawi’s poetry slips seamlessly into the characters’ dialogue, serving to highlight emotional moments. In some places it appears as a passionate soliloquy, as in Rami’s heart rending speech “what price a life?” But it is also there in the play’s frequent humorous moments, such as the Dr Zeuss style banter that Rami exchanges with his mother. This reference to a familiar Western poetic style serves to emphasize the gap between Rami’s and Jomana’s upbringing. We realise that Rami, in spite of his heritage, has more experience in common with the audience than he has with Jomana. The contrast is cleverly portrayed in a particularly riveting scene where Jomana is conversing with her father in Gaza, while Rami is simultaneously speaking to his mother in Texas, on either side of a dining table.. Read more
Adelaide Theatre Guide
June 11, 2016
This is a tale of conflict and survival told principally through the stories of two couples during the 2008 Gaza war.
Jomana (Helen Sawires) is a Palestinian journalist in Gaza who meets American born Palestinian doctor, Rami, (Osamah Sami) who arrives on board one of small boats that breaks the Israeli blockade.
Ali (Reece Vella) and Lama (Emina Ashman) are residents of Gaza. He loves her but she’s unsure whether to marry him or not.
The play traces the development of these two relationships amid the death and destruction that is everyday life in Gaza.
Samah Sabawi has created a potent narrative that brims with raw examples of the reality of living under a hostile authority. She explores relationships and family values in a place where people fight to retain some sense of normality amid the daily death toll; where “funerals and weddings have become part of daily life”. Read more
Woven together from the actual experiences of people living under occupation, Tales of a City by the Sea is a journey into the lives of ordinary people in the besieged Gaza Strip. Jomana, a Palestinian woman living in a Gaza refugee camp, falls in love with Rami, an American-born Palestinian doctor and activist who has just arrived on one of the first Free Gaza boats in 2008. Their love is met with a relentless string of challenges. Ultimately, Rami must decide between returning to his comfortable life in Texas and staying in Palestine with Jomana. Choosing to stay means leaving his family and career behind for a life ravaged by war, while leaving means not only losing Jomana but also ignoring the plight of the Palestinians.
“[A] nuanced exploration of the myriad ways the occupation affects Palestinians at home and abroad…This gripping play is an act of resistance that implores its audience to take heed.” ★★★ Rebecca Harkins-Cross, The Age
Tales of a City by the Sea is about what it means to leave home to create a life in more tolerable conditions, and what it means to stay. It is about relationships between parents who have chosen to leave, and children who want to return. It is about how people in diaspora see their connection to home, and how people at home see them. It is a Palestinian story, but more broadly it is a migrant story.
“A fantastically told story of two worlds colliding. An elegantly simple set […] is perfect for actors Nicole Chamoun and Osamah Sami to excel in their lead roles.” ★★★★ Harry Hughes, The Music
The play premiered in November 2014, with simultaneous productions at La Mama Theatre in Melbourne and the AlRowward Cultural and Theatre Society, in Aida Refugee Camp in Palestine. Both productions received overwhelmingly passionate responses from audiences and critics alike.
“The beautiful and passionate voice of Tayah makes the story even more touching…[This play] wondrously gives hope and prevents you from giving up on Gaza.” ★★★★ Zeynep Incir, Melbourne Arts Fashion
In 2016, we hope to remount our Australian production at the La Mama theatre in Melbourne and then take it on tour to Adelaide, Sydney, Hobart, Casula and Byron Bay.
Why Support This
Tales of the City by the Sea tells the story of people in terrible situations, living under occupation but it doesn’t define them by their suffering This is not the kind of story set in Palestine that you hear in the typical every day news reports — we hope to challenge this by telling a story that is not just about the conflict but the experiences of the people who live in and around it.
We believe that sharing Palestinian stories represents a key step towards peaceful and just resolution to the conflict and that a view into the realities of life under occupation has the power to change hearts and minds and that is why we feel it is important that this story is told.
Tales of the City by the Sea will feature a diverse cast and crew and help realize our hopes to see the diversity of Australia represented on the Australian stage. Our cast and creative team include both recently arrived migrants and multigenerational Australians. We have roots in Palestine, Lebanon, Iran, Iraq, Poland, Malta, Italy, Egypt, and Chile.
Funding is the greatest challenge faced by this project, which is why we are asking for your support.
The premiere last year was a co-share, this time, we want to be able to properly remunerate actors and artists involved in bringing this story to the stage. Your contributions go towards supporting a production that deeply values and wants to support its artists.
How the funds will be used
We already have lots of wonderful in kind support such as accommodation but we are committed to paying our artists proper wages. We will also need to cover production costs for set and costume design, transport for equipment and cost of travel for the cast and crew.
Raising this money will allow us to commit to the first leg of the Australian tour which means remounting in Melbourne with our artists on full wages regardless of money raised through tickets. That means any revenue raised through tickets will go on to support next leg of tour.
So, let’s kick off our fundraising drive with this exciting event. Please join us on the rooftop of the Arcadia Hotel and help bring Tales of a City by the Sea to six Australian cities in 2016. Enjoy a BBQ, experience live Arabic music, watch some amazing performances, meet the cast and crew, and dance the night away!
Monday, November 17, 2014 – 10:49
What: Tales of the City by the Sea
When: November 12 –23
Where: La Mama Courthouse
Written by Samah Sabawi
Directed by Lech Mackiewicz
Assistant Director: Izabella Mackiewicz
Performed by Nicole Chamon, Osamah Sami, Emily Coupe, Majid Shokor, Wahibe Moussa, Reece Vella, Aseel Tayeh, Ubaldino Mantelli and Cara Whitehouse
Set design by Lara Week
Lighting design by Shane Grant
Sound design by Khaled Sabsabi
When I hear the phrase ‘the city by the sea’ I think of a place of peacefulness, natural beauty and a place to fall in love. Tales of the City by the Sea tells a story from Gaza. Gaza is a city by the sea but does not associate with the thoughts I have written above. It associates with constant deadly attacks on humans by other humans, suffering, death, shame and incapability of the world to end the violence. Have you ever searched images of Gaza on the web? They have been suffering so much for so long that one is inclined to give up hope.
Tales of the City by the Sea tells us the story of people living in Gaza who keep dreaming, loving, giving birth to new lives, and hoping. It is a love story between a Palestinian poet and journalist Jomana (Nicole Chamon) and a doctor Rami (Osamah Sami) a Palestinian who was born and lives in America. The story begins rather calmly but then the siege over the city takes the lovers apart and then the bombing starts and tears everything apart. There is also a beautiful side story about another Palestinian couple who are engaged.
The most remarkable thing about the story for me was that it profoundly managed to portray how the perception of time can be different under diverse conditions. It reminded me how we let the time pass while we keep waiting for things to happen, and that the idea of having time to wait is a luxurious illusion.
The set design was composed of curtains hanging down from three rows of ropes. It was highly adjustable and cleverly set the scene for different places and moods. It managed to make me feel both the sense of freshness coming from the sea, and the sense of captivity coming from the siege at the city. It also carried the play a little bit away from the realistic conventions. The acting and the directing styles remained faithful to the conventions of realism which was a down side for my taste. I enjoy witnessing the precariousness of the stage, rather than the rationality of the ‘real’. The acting was generally pretty good but had its moments of inconsistency.
Touching songs sung by the beautiful and passionate voice of Tayah made the story even more touching. I could hear sniffing noises coming from all around the theatre after the second half of the play. In my defence, I was sniffing because of my allergies…
Tales of the City by the Sea was a touching play portraying many horrible things happening on this world. Nevertheless, the play wondrously achieves to give hope and prevents you from giving up on Gaza.
A fantastic interview with Lech Mackiewicz and Wahibe Moussa about why they chose to be involved with the play Tales of a City by the Sea and what they hope this play will accomplish. It offers a wonderful insight into the role of theatre in building cultural bridges and telling the stories that need to be told.
With thanks to Jan Bartlett and 3CR radio.
Jon Faine’s conversation hour with playwright Samah Sabawi, actor Miriam Margolyes and novelist Ceridwen Dovey
Excerpt from interview:
“The recent total devastation of Gaza made putting on this play all the more important for us in the West Bank and in Melbourne. What happened in Gaza a couple of months ago is something that is far worst than ever before. It was an attempt at the destruction of life in a way that Palestinians haven’t experienced since 1948, since the original ethnic cleansing of Palestine began….We were casting just toward the end of that and it was surreal and sad and for me it was heartbreaking because I really wanted to bring this brand of art to Gaza…it was my love letter to Gaza in a way…I went there two years ago and we staged a reading and I vowed that the play will premier in Gaza before anywhere else but I can see that this dream will have to be put on hold for now…”
Click on video below to hear the full interview.
مسرحية حكايات مدينة على البحر تبدأ في ملبورن في الثاني عشر من تشرين الثاني نوفمبر. المسرحية عبارة عن قصة حب وانفصال وستعرض على خشبة مسرحين في اليوم ذاته. على خشبة مسرح لاماما في ملبورن، ومسرح الرواد في مخيم عايدة في الضفة الغربية.
كاتبة المسرحية هي الكاتبة والشاعرة سماح السبعاوي، وقد استضفناها في استديوهات الأس بي سي مع اثنين من فريق العمل. استمعوا هنا إلى سماح السبعاوي، والممثلة نيكول شمعون والممثل أسامة سامي.
NOVEMBER 12 – NOVEMBER 23
Written by Samah Sabawi
Tickets can be booked up until 4:00 pm on the day of the performance, otherwise try your luck at the door.
Please allow plenty of time to arrive at our venues, as we have a no latecomers policy.
We are looking for actors for the following roles:
Jomana female mid 30s
Lama female early 20s
Rami male late 30s, must be able to put on an American accent
Ali male mid 20s
Um Ahmad plus extra roles – female no other specific requirements
(Note new extended deadline for expression of interest)
August 13 – deadline for expressions of interest
August 16th & 17th script reading and workshop – this will be part of the auditioning process.
October 3rd – 12th and November 1st -10th every day full rehearsals can be flexible but must discuss with Lech
November 11 Opening night
Play runs for two weeks.
To apply please email your photo and a short bio by August 15th
For information about this project visit our website www.talesofacitybythesea.com
Friends, this week our eyes were glued to our laptops watching in disbelief yet another horrible attack on the people of Gaza. We worried about our friends, partners and loved ones. Within theTales of a City by the Sea production team we worried about our partners in Gaza, our director Ali Abu Yassin and our representative in Gaza, Aya El-Zinati. Aya is a young dynamic and talented film maker and journalist who is the epitome of the human spirit we try to convey in our play. Before the war broke out, she promised to make a new video for our project. Imagine our surprise when she sent this email yesterday with a link to the video she completed while listening to the sounds of the falling bombs outside her window. With her permission, we are proud to share her email as it offers a deep insight into life in Gaza.
Email from Aya
How are you?
I imagine this is not the right time to even talk about this but I know I have work to do. True, I’ve only slept two hours in the last three days, and I’ve been away from home most of the time but I have been thinking of you. I’ve been wondering how can I produce the video (Trailer for Tales of a City by the Sea) and what if something happens to me and I (die) before finishing it.
So, every day at dawn I try to do more edits and I don’t know but I hope this time you will like it. Please believe me I’ve tried my best to do it better than the first cut. If you don’t like it and we remain alive I will do a better one for you.
What is important is that I want to tell you a few stories we hear about the martyrs in Gaza. I want to tell you so you know what Gaza love stories are like in reality…in war… in these conditions.
On the first day when 8 people were killed, one of them was from the Qassam brigade. His name was Abdlerahman AlZamly. He was engaged to a lady, maybe you’ve seen her in some of the photos that went viral as she was saying goodbye to him. They were engaged for a long time and couldn’t get married because they were waiting for the Rafah crossing to open and for cement to come into Gaza so they can finish building their house. All they needed was one ton of cement. Of course there were no crossings open and even if they were to open and if cement came in, they may not have afforded it because it would have been five times its actual worth.
Yesterday, the Kaware family was martyred in Khan Yunis. Their house was bombed. Eight members of the family were killed and neighbours injured some have serious injuries. When I went to report it I almost had a breakdown. I told the photographer to take photos. My stomach turned. But I tried to be strong…to be normal.
Yesterday a very young man Fakhr AlAjoory was martyred on his motorcycle and the scene was horrific. Before he was martyred he wrote a status on his Facebook: ‘when I die, some will mourn me, some will feel relieved, some will remember me forever, some wont care, but that’s o.k. it is enough for me to be going to a better place’.
Last night they bombed the Hamad family. The family was sitting in their garden drinking coffee at night. The missile landed suddenly and the problem is the whole family died except for the youngest child, 5 years old, he is now orphaned and with no one left to take care of him.
My father is a maintenance engineer at the hospital and because of the emergency situation there he doesn’t come home much. I try as much as possible to check on my mom at home in between my work shifts. Anyway, as I was walking to our house, I saw lots of nervous people in the street, some were running it turned out the neighbours were told to evacuate their homes because it will be bombed in ten minutes. I ran to my mother and told her to hurry up and leave. I told her they’re bombing the house next door. The problem is if a missile lands next door our entire house will be destroyed. I kept begging her to leave but she insisted on staying. She said she would never leave her home. I kept begging there was no time…I stayed with her preferring to die with her than to live and mourn her death. Can you believe the missile landed but did not explode? The authorities came and they carried it away. So we’re still alive.
There is no safe place in Gaza at all. Every place is a target. This means Israel is bankrupt and has no list of targets so it just bombs sporadically at civilian structures. Despite it all, the poor people of Gaza still go out into the street, they buy food for Ramadan, they make kenafah and katayef for desert and they try to live the spirit of the holy month.
What upsets me the most is that the situation in this city has become so painful. There are many who don’t have enough to buy food. And on top of that, there is war and destruction. Many live on handouts or borrowed money. Some people built their homes from borrowed money only to see their homes destroyed and with their home gone, so goes everything else they have. No one seems to understand the depth of our pain. Is it not enough we’re losing ourselves, losing our lives, losing our future, and outside, the rest of the world carries slogans ‘Gaza under attack’ or ‘Gaza under fire’ but listen first about what is really happening in Gaza. Some people even post the wrong photos from Syria or from Iraq this made the international media discredit what’s really happening here and this played to Israel’s advantage. But believe me what happened here in the past three days is a massacre.
What also really upset me and frustrates me is that no one is telling our stories. Our real human stories. They talk about us as enemies or they reduce us to numbers and statistics.
I am sorry I’ve given you a headache with my rant. But I really wanted to talk to you and tell you our stories.
I’ve been in Gaza for nine years now and in that time I’ve lived through three wars. Each war has many stories. If I don’t die in this war, I will write a book about those three wars….hahaha…I remember how innocent I was when I came here and how this place made me a human being. Seriously. I think as much as I am tired of being in this place, it has given me life.
All my friends outside Gaza call me and message me. They are worried this time I will get killed. One friend said ‘Promise me Aya you will not die. If you do I will be very upset with you’. They say if you need anything … I said yes…I’ve ran out of coal for my water pipe…I can’t smoke sheesha now. hahaha….:)
Pray for me.
Here is the video.
This is part of our Tales of a City by the Sea video series. To learn more about this project click on the home page, or visit our youtube channel and watch other short videos from the various key artists involved in this project. We are now half way through our fundraising campaign. Please bring us closer to our goal by making a donation, and by helping us spread the word by way of sharing our videos on social media and talking to your friends about this unique new and exciting project.
Please join us for a panel discussion with videos and presentations by representatives from the Jenin Freedom Theatre in Palestine. The panelists will discuss the following:
Faisal Abu Alheja is 23-yr-old Palestinian actor trained at The Freedom Theatre in Jenin. He has performed in Animal Farm, Fragments of Palestine, Men in the Sun, Sho Kaman and is currently in rehearsal for The Island. Faisal was a member of the Playback Theatre troupe in 2012 and has toured in Germany, Austria, and Switzerland.
Ahmad Al-Rokh is a 24-yr-old Palestinian actor trained at The Freedom Theatre in Jenin. He has performed in Animal Farm, Men in the Sun, Journey, Sho Kaman and is also currently in rehearsal for The Island. Ahmad was a member of the Playback Theatre troupe in 2012 and has toured in Luxembourg, France, and Belgium.
Gary English is a Board of Trustees Distinguished Professor, Professor of Theatre, of the University of Connecticut. He is also the Founding Artistic Director of Connecticut Repertory Theatre, as well as the current Artistic Director of The Freedom Theatre in Jenin.
This event is co-presented by the Friends of the Jenin Freedom Theatre (www.thefreedomtheatre.org) and the Center for Palestine Studies at Columbia University and co-sponsored by the Network of Arab American Professionals – NY (NAAP-NY), ArteEast, and Alwan for the Arts.
This event is free and open to the public and on a first-come, first-seated basis. RSVP recommended to firstname.lastname@example.org.
APRIL 14, 2013, 5PM
Room 501 Schermerhorn
Enter Gates on 116th Street & Amsterdam or Broadway
For more information go to the Centre for Palestine Studies
The play Tales of a City by the Sea is a unique and poetic journey into the lives of ordinary people in the besieged Gaza strip prior to, during and after its bombardment during the winter of 2008. Jomana, a Palestinian woman who lives in the Shati (beach) refugee camp in Gaza falls in love with Rami, an American born Palestinian doctor and activist who arrives on the first Free Gaza boats in 2008. Their love is met with many challenges forcing Rami to make incredible decisions the least of which is to take a dangerous journey through the underground tunnels that connect Gaza to Egypt. Although on the surface this love story appears to explore the relationship between diaspora Palestinians and Palestinians under occupation, there is a broader and more universal theme that emerges – one of human survival and tenacity. Tales of a City by the Sea avoids political pitfalls, ideological agendas and clichés by focusing on the human story of the people in Gaza. Although the play’s characters are fictional, the script is based on real life events and is a product of a collection of real stories the author Samah Sabawi and her family have experienced during the events of the past several years. Sabawi has written most of the poetry in the play during the three-week bombardment of Gaza in 2008/2009.
The writer Samah Sabawi is a Palestinian-Canadian-Australian published writer, commentator and playwright. She has travelled the world and lived in its far corners, yet always felt as though she was still trapped in her place of birth Gaza. The war torn besieged and isolated strip has shaped her understanding of her identity and her humanity. So what else could Sabawi do but to indulge in Gaza’s overwhelming presence and to succumb to tell the stories of her loved ones back home. Her most recent play Tales of a City by the Sea is dedicated to them and to all of those who still manage to have faith and hope even as the sky rains death and destruction.
The script is available to interested theatre makers upon request. Please email email@example.com for more information.
Follow Samah Sabawi on Twitter @gazaheart
Samah Sabawi’s professional bio can be found here
For more information on Samah Sabawi: http://en.wikipedia.org/wiki/Samah_Sabawi
Three Wishes: Ottawa Gladstone Theatre December 2008
War from the eyes of a child – Education – New play focuses on Israeli-Palestinian conflict
Orléans Star 12-07-31 11:56 PM Published on December 5th, 2008
Divided by conflict and witnesses to violence, Israeli and Palestinian children speak out about their fears, hopes and dreams in a new Ottawa play that features two east-end teens in leading roles.
The stage adaptation of Deborah Ellis’ controversial book, Three Wishes: Palestinian and Israeli Children Speak, captures the honesty and straightforwardness only a child can share when the world around them is in turmoil. The production, written and produced by Ottawa’s Samah Sabawi and sponsored by the Arab-Jewish dialogue group Potlucks for Peace, puts the spotlight on three Palestinian stories and three Israeli stories. The play is performed on a split stage at the Gladstone Theatre, divided by a concrete wall topped with barbed-wire. It is on either side of this wall the lives of these children and their families unfold.
While every word in the play is lifted from the book, Sabawi has broken the dialogue up so a number of characters speak. For example, 18- year-old Hassan’s narrative has been cut so his family also shares in the storytelling. “It’s more like a conversation,” Sabawi explains.
Colonel By’s Kiera Polak, 15, plays the role of Yanal, a 14-year-old Palestinian girl. “I’ve learned a lot through the play,” she says, noting children in the Middle East have gone through hard times and want things to be fixed.
Meanwhile Orléans resident Dergham Shahrouii plays Hassan, who lives in a refugee camp in the West Bank. Injured by Israeli shelling, Hassan is confined to a wheelchair. On the other side of the wall is Artov, a Jewish teen whose family immigrated to Israel from Russia and is struggling to understand the meaning of being Jewish and being connected to the state of Israel. “These kids talk about the simple, human need to live a normal life,” Sabawi says of the interviews from the book. “(They talk about) how conflict affects their life at a personal level.”
The book, she continues, is “very compelling. These are real stories and real experiences.”
Sabawi read the book about three years ago after her then-nine-year-old son read it and put together a speech for class. The kids in the book, she explains, are so honest – there’s no politics. “I just loved reading their words.”
The children’s book gained infamy in 2006 when the Canadian Jewish Congress questioned the inclusion of the book in the Silver Birch reading program. At least four school boards in Ontario, including the Toronto District School Board, pulled the book from their shelves. While some said the request to remove the book was about age-appropriateness, others indicated it was a political move.
Sabawi, who says parents are the best judge of what their children can take, doesn’t recommend the play for those under the age of eight. “The play is about kids in a conflict zone,” she explains. “This is serious stuff.”
Hoping to raise awareness with her production, Sabawi notes that people tend to discuss the conflict in “grown-up” terms with maps, statistics and borders. The conversation is distant and sometimes the human cost is forgotten, she continues. “The Middle East is not about angry men or Paris or fights between extremists,” Sabawi says. “People live there and their stories need to be told.” “Three Wishes” runs until Dec. 13 at the Gladstone Theatre, 910 Gladstone Ave. Tickets are $25 and can be purchased by phone at 613-233-4523 or online at http://www.thegladstone.ca
In the war of 1948, thousands of Palestinians were uprooted from their homes never to return, and playwright Amir Nizar Zuabi is determined to tell their stories.
It was six decades ago, but the fallout from the war continues. A few months ago, one fast-rising, rightwing Israeli party tried to introduce a bill that would ban Palestinians from commemorating the Nakba of 1948, their catastrophe (but which Israelis hail as the creation of their state, the apogee of their independence struggle). In the end, the law will probably be watered down, but the principle seems to have wide support. As far as most Israelis are concerned, they won in 1948, the Palestinians lost, and history has moved on. Except, of course, it hasn’t.
Next week, a compelling new play opens at London’s Young Vic, promising to thrust the discomforting story of that war back into public scrutiny. At the age of 33, Amir Nizar Zuabi, the play’s writer and director, is from a generation of Palestinians raised on stories of the Nakba, haunted by tales of how hundreds of thousands of Palestinians were uprooted from their homes, never to return. “We have it as a covert partner in everything,” says Zuabi. “Two of us can sit having coffee and the third person will be Mr Nakba.”
Zuabi was brought up in Nazareth, in the Galilee, where there is a large population of Palestinians living within Israel, and where all around there is evidence of the 1948 war, including ruined villages. One of the razed villages was Baissamoon, a tiny Palestinian community. It is here that Zuabi set his play, I Am Yusuf and This Is My Brother, which tells of two brothers, an ill-fated love, and the dislocation and tragedy brought about by the war.
The play, says Zuabi, began as a personal investigation to scrape away layers of myth. “Why did people make the decision to leave? Or did they make the decision to leave? What would you have done?” Zuabi, living in Israel, found the story had been “hushed up”: “It’s the big taboo, because it’s the primal sin. It is the mother of all problems here. They don’t like talking about it.”
Zuabi’s writing is, however, far from polemical. The Jews who fought to create their state are almost absent; never named, they appear only in the background. “We saw them first in January, then all the time,” says one brother. “They invaded our dreams, our conversation.” Zuabi simply wanted to tell a Palestinian story about Palestinians. “Our narrative is the less known one – history is written by the victors,” he says, but adds: “There is no spite. I find the blame game futile. It’s not like I do theatre to crush Israeli propaganda. I don’t hear Israeli propaganda. I don’t care about it.”
The villagers are divided: should they run or fight? Some see the battle in stark terms. “The war was over before it began,” says one character. “We lost. They won. It was that simple.” But with Britain’s Mandate ending, the same character tells a British officer: “We are not a rubbish heap for your guilt, my friend. We’re in your Middle East and what you sow here you’ll reap in 50 years or 100 years in your lovely London.”
Dropped into the middle of this is the original, sombre recording of the results of the UN vote on the 1947 Partition Plan. Rejected by Palestinians, it was passed by the UN and, but for the war, would have carved Palestine into two states around an internationally protected Jerusalem. “Soviet Union: Yes. United Kingdom: Abstained. United States: Yes . . .”
The play explores the what ifs, says Zuabi. “My grandmother, this Palestinian matriarch, used to say, ‘If you plant what ifs, you’ll sow I wish.’ When I walk around Haifa, in some of the neighbourhoods that are empty, I really have to ask myself, ‘What if that hadn’t happened? What are they doing, these people that once lived here?'”
Zuabi studied acting in Jerusalem, then worked with the al-Kasaba theatre in Ramallah as the second intifada, the Palestinian uprising, took hold. He and his actors produced short sketches that drew unexpectedly large audiences, hungry for relief. The sketches turned into Alive from Palestine, which toured abroad, with runs at the Royal Court and the Young Vic. Zuabi then spent a year working at the Young Vic, studied in Moscow, and returned home to work with the Palestinian National theatre.
I Am Yusuf is the first play from ShiberHur, a new touring theatre company based in Haifa, whose name means Within a Few Inches of Freedom. It has already toured Palestinian villages and refugee camps – communities with little access to the theatre. “We have everything going against us as a theatre movement,” says Zuabi. “Lack of funds, infrastructure, the fact that theatre is not really part of our cultural tradition – we come from a poetic tradition.”
When Zuabi was at drama school, he was the sole Palestinian among Israeli students (one of whom, now a successful actor, later became his wife). Only recently has a drama school opened in Ramallah. Until then, Palestinians went to Israel, if they could obtain the permit, or abroad, if they could afford it. “It’s a new art form for us. We have an audience that’s completely uncatered for and is very thirsty. Once they know theatre exists, they keep coming back.”
He has been surprised by the reaction to the play across the generations. In Jerusalem, an elderly man came up to him after one performance and said: “Thank you very much for telling my story.” In Haifa, a woman in her 20s told him: “I understand my parents better now.” Still, he doubts how much difference one play can make towards unravelling this bitter conflict. “I have to believe it does affect people,” he says. “On the other level, I’m not daft. I know I can’t change the reality. I can’t make a show and tomorrow everyone will walk hand-in-hand.”
I am Yusuf and This Is My Brother Young Vic, London SE1 Starts 19 Jan Until 6 Feb Box office: 020-7922 2922 Venue website
Original article was posted here.
By Abdullah H. Erakat, Ramallah
Yasmin Qadmany’s parents did not want her to study acting. In fact, they tried to prevent the 26-year-old engineer from doing so, to the extent that when she told them she was going to follow her heart, they stopped talking to her. That was three years ago, and next year she will graduate. But before she does, she and fellow thespians at the Drama Academy in Ramallah will put on a production of “Romeo & Juliet.”
“I faced difficulties. But I overcame it because I saw it as a challenge,” says Qadmany noting that her relation with her family is now better than ever. Qadmany is gearing up for another challenge in late November: a two-week workshop taught by the all-female company, the Manhattan Shakespeare Project.
Sarah Eismann, the founding artistic director of the Manhattan Shakespeare project says the project came about last year after she performed in an international production of “A Midsummer Night’s Dream” at the Folkwang University of the arts in Germany. Students from Palestine’s Drama academy also made up the cast.
“They were just incredible artists, as well as passionate, courageous and really wonderful people. So when their director asked if I wanted to work with them again, I was like yeah, of course, I would love to,” she adds.
The Drama Academy managing director Petra Bargouthi says the workshop, (English with Arabic translation), is an excellent way to prepare her students for next year’s Shakespeare festival in Germany.
“Language is the most important character when it comes to Shakespeare. It’s a game of language, so this will be very helpful for our students to understand and discover the poetry in Shakespeare,” explained Bargouthi – also a movement therapy instructor – in an interview with Variety Arabia,
The academy, the first of its kind acting school in Palestine, is located in downtown Ramallah and is hosted by Al-Kasaba Theatre and Cinematheque.
Teaching artist Jensen Olaya says she hopes that she and her colleague Eismann will contribute to the “already rich curriculum” of the Academy.
Olaya explained that the sessions will be recorded by film documenter Lena Rudnick: “I feel that Shakespeare is a widely used tool to teach theatre and performance. I feel like his themes are universal on the smallest, most intimate level and I hope that the universal themes can help us connect past cultural and political divides,” she wrote in an email to Variety Arabia.
It’s not only her first trip to the Palestine, but to the Middle East. While she says there are people in Ramallah who have already welcomed her, Olaya says she still cannot quite comprehend that she is actually going and does not know what to expect.
“We have received support – both financial support and moral support – from people in the US and I feel like I have a lot of people who are hoping that I go out there and return with wonderful stories to share about Ramallah and its’ people,” Olaya adds.
“It’s a little scary,” says second-year acting student Rabee Hanani, who has mostly been educated in Germany, but his feelings are more of curiosity than fear.
“By being exposed to different cultures from different countries in the world, we gain more,” he said.
Third-year Drama Academy student Jihad Al Khateeb says he hopes this workshop will make him a better actor, not only in performing Shakespeare, but in general.
“I think the most important thing is how to do Shakespeare the way he intended for us to do it,” says the 24-year old.
Leaving Ramallah, Olaya and Eismann will head north to Jenin’s Freedom Theatre, where they will carry out the same thing.
The venue made the news headlines in April 2011, when its co-founder Juliano Mer Khamis was murdered in broad daylight by unknown men on the steps of the theatre.
Managing director Jonatan Stanczak said the incident caused some students to drop out of the student theatre acting school, but things are now back on track.
Currently, British director Diane Trevis, the first woman to work with the Royal Shakespeare theatre, is conducting a workshop there.
“I am aware that Shakespeare is a very important component of any actor’s development. It’s a great opportunity for us to have one of the best Shakespeare troupes in the world working with our students,” adds Stanczak, who is a nurse by profession.
“We believe culture is the glue that keeps everything together and it is also the process that allows Palestinian society to form itself around ideas,” he said.
“Most of the people who come to Palestine and do the workshop become more aware of the Palestinian life and Palestinian humanity,” says Bargouthi. “I hope this will be a way of knowing us and understanding us and also for our students to see how people perceive them.”
“I merely want to connect as an artist on a human level: person-to-person, overcoming political barriers,” said Olaya.
Eismann says the Manhattan Shakespeare project is simply excited because it is their first venture into creating international relationships.
“We’re not there to make a political statement. We’re just there to create theatre, and to create art,” she concluded.
The story was originally published in Variety Arabia November issue.