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Wednesday, March 30, 2011
Monday, February 7, 2011
Thank you!
Thank you to everyone who came to watch the show on Saturday and Sunday! We hope you enjoyed the performance and please do share your feedback and comments about the show.
Interview on Yes FM
The Director and Producer of the Gaza Mono-Logues were interviewed on 'Speak Easy' on Yes FM on the 5th of February 2011. We discuss the new production, the politics of the monologues, why there is little or no funding for the arts in Sri Lanka, especially when politically sensitive topics are involved and about the topic of children in conflict.
Click here to listen to the interview.
Click here to listen to the interview.
Friday, February 4, 2011
Twenty tickets available for each night
We have added twenty new seats so please buy your tickets from Park Street Mews as soon as possible as they are selling out fast!
Tickets sold out!
Tickets are sold out on both nights! We are trying to add more seats so in case you have not bought your tickets yet, please send an email to iromip@gmail.com and we will get in touch.
Thursday, February 3, 2011
The Gaza Mono-Logues book
Floating Space will be selling The Gaza Mono-Logues book, containing all thirty monologues, at the show. Each book is Rs 400/-.
If you would like to reserve a copy in advance, please email iromip@gmail.com
If you would like to reserve a copy in advance, please email iromip@gmail.com
Monday, January 31, 2011
Few pictures of the cast during rehearsal
Pictures by Pasan Ranaweera
The cast of the Gaza Mono-logues comprises of Chalana Wijesuriya, Vishan Gunawardena, Kumudithe Perera, Amaz Irshad, Eraj Gunewardena, Naveen Nishane, Tazmin Anthoniz, Ruqaiyah Kamil, Zahabiya Adamaly, Roshaya Abbey,Aksha Suares and Vishvanee Heentilake.
Sunday, January 30, 2011
50% off on tickets for students
Floating Space will be selling 20 tickets for each night at Rs 250/- for students. This includes those who are still in school and university, as well as students who are part of theatre groups in Sri Lanka. All you need is a valid student ID from your school, university or theatre group.
Please email iromip@gmail.com to purchase tickets at the student rate.
Please email iromip@gmail.com to purchase tickets at the student rate.
Article in the Sunday Leader about the rerun
The Sunday Leader, January 30th 2011
Rerun Of The Gaza Mono-Logues
We cannot glorify death, whether in the battlefield or otherwise. We, on the other hand, must celebrate life and we are fiercely committed to protecting and securing the sanctity of life, which is the most fundamental value without which all other rights and freedoms become meaningless.”
— Dr. Neelan Tiruchelvam, in Parliament (June 15, 1999)
Dr. Neelan Tiruchelvam was a scholar, a legislator, as well as a practicing lawyer, social scientist and politician who worked to resolve the ethnic conflict in Sri Lanka through non-violent political means, including consensus building, negotiation and constitutional reform. He was the founder director of the International Centre for Ethnic Studies and The Law and Society Trust: two of Sri-Lanka’s leading research and policy organisations. Dr. Tiruchelvam was assassinated on July 29, 1999.
In his career as a public intellectual Dr. Tiruchelvam built bridges and sought common ground in a deeply divided society through scholarship, activism and politics. His thoughts and actions were animated by a personal philosophy of humanism, peace and non-violence. Firmly committed to change and reform for resolving deep-rooted problems of the Sri Lankan society, he sought to spearhead transformation through dialogue, tolerance and deliberation.
In keeping with the values that he lived and worked for – The Neelan Tiruchelvam Trust will commemorate the 67th birth anniversary of the late Dr. Neelan Tiruchelvam with the staging of The Gaza Mono-Logues – which brings into focus the issue of children growing up in contexts of war.Over the last 30 years, the young people and children of Sri Lanka have had varying experiences of war, conflict and violence. Geographic location and individual circumstances have shaped the disparate nature of these experiences and contributed to the varying degrees of understanding of the situation. These varying experiences however do not take away from the fact that while some children were impacted by the direct violence, loss of family and homes, every child’s life and psychology have been altered by being witness to war.
In 2010, supported by UNICEF, a group of Palestinian youth between the ages of 14 and 18 were trained in workshops using drama therapy and creative writing techniques. The first three months of workshop focused on the wounds of the Gaza attack of December 2008-January 2009, the individual experiences of each youth, their dreams, fears and hopes. The youth in these workshops documented their stories and experiences that led to creation of The Gaza Mono-Logues.
The Gaza Mono-Logues later developed into a global initiative for peace and non-violence with Ashtar Theatre in Palestine inviting theatre companies from its global artistic network to produce performances of the text with youth groups in 30 world cities. In October 2010, the Floating Space Theatre Company, based in Colombo joined the New York Theatre Workshop, The Pegasus, Oxford and companies based in Gaza Ramallah, Jenin, Hebron and Nazareth among others to produce the monologues.
Directed by Jake Oorloff, the performance highlighted the issues, experiences and tragedy of children caught in situations of war all over the world. Two sold out shows at the Goethe Institut in October 2010 was followed by positive feedback about the production and the awareness raised about the experiences of children in conflict.
For the second stage of the project, one cast member from the Colombo production, Tasmin Anthonisz of Ladies College joined an international cast which performed The Gaza Mono-Logues in New York at the General Assembly of the United Nations for its annual meeting on The Question of Palestine. At the UN, the 22 young international participants performed in 12 languages at noon at the Conference Hall, facing an audience of ambassadors, country representatives and NGO leaders, who gathered on November 29, 2010 to debate the inalienable rights of the Palestinian People. Various media channels covered the event. Another performance of The Gaza Mono-Logues took place that evening at the Lobby of the United Nations, during the inauguration of the photo exhibition of UNRWA Summer Camp in Gaza.
Floating Space believes that the process of children in Colombo working on the text and production – and the subsequent performance with the international cast – was an expression of solidarity with children in similar situations as experienced by children in Sri Lanka, and those who support initiatives for peace and non-violence. “As Sri Lanka seeks to recover from our haunting past, its recognition acknowledgment and validation is significant in an attempt to heal,” says Oorloff.
Directed by Jake Oorloff and produced by Iromi Perera, the rerun of The Gaza Mono-Logues will be staged at the Park Street Mews, at 50/1 Park Street, Colombo 2 on February 5th and 6th at 7.30 p.m. Tickets priced at Rs 500 are available at the Park Street Mews.
“The war ended on the ground but it’s still there in my head. I want to be like any other child in this world…” – Mahmud (Born 1995, Al Saftawi Street)
Rerun Of The Gaza Mono-Logues
We cannot glorify death, whether in the battlefield or otherwise. We, on the other hand, must celebrate life and we are fiercely committed to protecting and securing the sanctity of life, which is the most fundamental value without which all other rights and freedoms become meaningless.”
— Dr. Neelan Tiruchelvam, in Parliament (June 15, 1999)
Dr. Neelan Tiruchelvam was a scholar, a legislator, as well as a practicing lawyer, social scientist and politician who worked to resolve the ethnic conflict in Sri Lanka through non-violent political means, including consensus building, negotiation and constitutional reform. He was the founder director of the International Centre for Ethnic Studies and The Law and Society Trust: two of Sri-Lanka’s leading research and policy organisations. Dr. Tiruchelvam was assassinated on July 29, 1999.
In his career as a public intellectual Dr. Tiruchelvam built bridges and sought common ground in a deeply divided society through scholarship, activism and politics. His thoughts and actions were animated by a personal philosophy of humanism, peace and non-violence. Firmly committed to change and reform for resolving deep-rooted problems of the Sri Lankan society, he sought to spearhead transformation through dialogue, tolerance and deliberation.
In keeping with the values that he lived and worked for – The Neelan Tiruchelvam Trust will commemorate the 67th birth anniversary of the late Dr. Neelan Tiruchelvam with the staging of The Gaza Mono-Logues – which brings into focus the issue of children growing up in contexts of war.Over the last 30 years, the young people and children of Sri Lanka have had varying experiences of war, conflict and violence. Geographic location and individual circumstances have shaped the disparate nature of these experiences and contributed to the varying degrees of understanding of the situation. These varying experiences however do not take away from the fact that while some children were impacted by the direct violence, loss of family and homes, every child’s life and psychology have been altered by being witness to war.
In 2010, supported by UNICEF, a group of Palestinian youth between the ages of 14 and 18 were trained in workshops using drama therapy and creative writing techniques. The first three months of workshop focused on the wounds of the Gaza attack of December 2008-January 2009, the individual experiences of each youth, their dreams, fears and hopes. The youth in these workshops documented their stories and experiences that led to creation of The Gaza Mono-Logues.
The Gaza Mono-Logues later developed into a global initiative for peace and non-violence with Ashtar Theatre in Palestine inviting theatre companies from its global artistic network to produce performances of the text with youth groups in 30 world cities. In October 2010, the Floating Space Theatre Company, based in Colombo joined the New York Theatre Workshop, The Pegasus, Oxford and companies based in Gaza Ramallah, Jenin, Hebron and Nazareth among others to produce the monologues.
Directed by Jake Oorloff, the performance highlighted the issues, experiences and tragedy of children caught in situations of war all over the world. Two sold out shows at the Goethe Institut in October 2010 was followed by positive feedback about the production and the awareness raised about the experiences of children in conflict.
For the second stage of the project, one cast member from the Colombo production, Tasmin Anthonisz of Ladies College joined an international cast which performed The Gaza Mono-Logues in New York at the General Assembly of the United Nations for its annual meeting on The Question of Palestine. At the UN, the 22 young international participants performed in 12 languages at noon at the Conference Hall, facing an audience of ambassadors, country representatives and NGO leaders, who gathered on November 29, 2010 to debate the inalienable rights of the Palestinian People. Various media channels covered the event. Another performance of The Gaza Mono-Logues took place that evening at the Lobby of the United Nations, during the inauguration of the photo exhibition of UNRWA Summer Camp in Gaza.
Floating Space believes that the process of children in Colombo working on the text and production – and the subsequent performance with the international cast – was an expression of solidarity with children in similar situations as experienced by children in Sri Lanka, and those who support initiatives for peace and non-violence. “As Sri Lanka seeks to recover from our haunting past, its recognition acknowledgment and validation is significant in an attempt to heal,” says Oorloff.
Directed by Jake Oorloff and produced by Iromi Perera, the rerun of The Gaza Mono-Logues will be staged at the Park Street Mews, at 50/1 Park Street, Colombo 2 on February 5th and 6th at 7.30 p.m. Tickets priced at Rs 500 are available at the Park Street Mews.
“The war ended on the ground but it’s still there in my head. I want to be like any other child in this world…” – Mahmud (Born 1995, Al Saftawi Street)
Smriti Daniel's article about the Gaza Mono-Logues
Mirror magazine, Sunday Times January 30th 2011.
Floating Space gives more than voice to Gaza Mono-Logues
By Smriti Daniel
Before the war I was a child… But after the war I discovered I’m not a child any more, and that Gaza, unlike all cities of the world, doesn’t have children in it– Mahmud (Born 1994, Al Jalaa’ Street)
What comes of a childhood spent in a warzone, one fraught with so much loss and pain?
In ‘The Gaza Mono-Logues’ Palestinian children speak of bombs killing relatives, destroyed homes, electricity and food shortages but they are still children, and so it is not the politics that is the focus of their narrative.
One child speaks of running back into a house to grab her teddy bear, another of how her mother will not stop repeating herself, a third about her grandmother searching for missing false teeth. Written by young adults aged between 14 – 18 years, these narratives are so revealing, says the play’s producer Iromi Perera, each is filled with innocence, and even humour as these children navigate an extremely perilous landscape.
For those who missed it last year, this February Floating Space will be staging a rerun of the monologues, this time in honour of the 67th birth anniversary of Dr. Neelan Tiruchelvam – but they’re also hoping that the production will spark interest in a Sri Lankan version of the production.
While these are stories very specific to Gaza, theatre companies around the world have staged ‘The Gaza Mono-Logues’ not only to show solidarity for Palestine but also for children growing up in warzones everywhere. Iromi explains that the monologues were written during a yearlong drama therapy and creative writing workshop held by Ashtar Theatre in that region. Floating Space selected just under half of the 30 monologues that Ashtar offered them. And while most companies have opted to do simple readings of the monologues, the directors’ decision to dramatize it adds to the impact of each individual story. (Jake Oorloff and Ruhanie Perera serve as directors for this production and Tracy Jayasinghe is an assistant director.)
For the audience itself, Iromi imagines that it takes a moment for it to really sink in that these are true stories. Unsurprisingly, when a 13-year-old goes out to buy a loaf of bread, only to see his brother thrown 100 feet by an explosion, it is a tragedy that is hard to come to terms with. But the play doesn’t allow you to disconnect, especially since it is told in the voices of those most vulnerable.
The company is so taken with the concept, that later this year they hope to take the framework of ‘The Gaza Mono-Logues’ and work with children in Sri Lanka, says Iromi, adding that they hope to include children not only those who grew up in the warzone but those who were indirectly affected by bombs that claimed civilians in the city, and those who have family members serving in the army.
Also essential to the success of the production is the choice of young actors to portray their counterparts in Gaza. However, that decision presents its own set of challenges. Iromi, who was deeply involved with the previous production as well, says that this time the youngest actor is 12, the eldest 20. “We wanted the cast to really understand the gravity of the topic,” she explains, adding that we wanted them to see that it was not just about the war in Gaza but about children caught in conflict zones all over the world. “In fact, some of the monologues could have been written by children here,” she says.
The Gaza Mono-Logues will be staged on February 5 and 6 at 7.30 p.m. at Park Street Mews. This production stars Chalana Wijesuriya, Vishan Gunawardena, Kumudithe Perera, Amaz Irshad, Eraj Gunewardena, Naveen Nishane, Tazmin Anthoniz, Ruqaiyah Kamil, Zahabiya Adamaly, Roshaya Abbey, Megan, Aksha Suares, and Vishvanee Heentilake. Tickets priced at Rs. 500 are available at the venue.
Floating Space gives more than voice to Gaza Mono-Logues
By Smriti Daniel
Before the war I was a child… But after the war I discovered I’m not a child any more, and that Gaza, unlike all cities of the world, doesn’t have children in it– Mahmud (Born 1994, Al Jalaa’ Street)
What comes of a childhood spent in a warzone, one fraught with so much loss and pain?
In ‘The Gaza Mono-Logues’ Palestinian children speak of bombs killing relatives, destroyed homes, electricity and food shortages but they are still children, and so it is not the politics that is the focus of their narrative.
One child speaks of running back into a house to grab her teddy bear, another of how her mother will not stop repeating herself, a third about her grandmother searching for missing false teeth. Written by young adults aged between 14 – 18 years, these narratives are so revealing, says the play’s producer Iromi Perera, each is filled with innocence, and even humour as these children navigate an extremely perilous landscape.
For those who missed it last year, this February Floating Space will be staging a rerun of the monologues, this time in honour of the 67th birth anniversary of Dr. Neelan Tiruchelvam – but they’re also hoping that the production will spark interest in a Sri Lankan version of the production.
While these are stories very specific to Gaza, theatre companies around the world have staged ‘The Gaza Mono-Logues’ not only to show solidarity for Palestine but also for children growing up in warzones everywhere. Iromi explains that the monologues were written during a yearlong drama therapy and creative writing workshop held by Ashtar Theatre in that region. Floating Space selected just under half of the 30 monologues that Ashtar offered them. And while most companies have opted to do simple readings of the monologues, the directors’ decision to dramatize it adds to the impact of each individual story. (Jake Oorloff and Ruhanie Perera serve as directors for this production and Tracy Jayasinghe is an assistant director.)
For the audience itself, Iromi imagines that it takes a moment for it to really sink in that these are true stories. Unsurprisingly, when a 13-year-old goes out to buy a loaf of bread, only to see his brother thrown 100 feet by an explosion, it is a tragedy that is hard to come to terms with. But the play doesn’t allow you to disconnect, especially since it is told in the voices of those most vulnerable.
The company is so taken with the concept, that later this year they hope to take the framework of ‘The Gaza Mono-Logues’ and work with children in Sri Lanka, says Iromi, adding that they hope to include children not only those who grew up in the warzone but those who were indirectly affected by bombs that claimed civilians in the city, and those who have family members serving in the army.
Also essential to the success of the production is the choice of young actors to portray their counterparts in Gaza. However, that decision presents its own set of challenges. Iromi, who was deeply involved with the previous production as well, says that this time the youngest actor is 12, the eldest 20. “We wanted the cast to really understand the gravity of the topic,” she explains, adding that we wanted them to see that it was not just about the war in Gaza but about children caught in conflict zones all over the world. “In fact, some of the monologues could have been written by children here,” she says.
The Gaza Mono-Logues will be staged on February 5 and 6 at 7.30 p.m. at Park Street Mews. This production stars Chalana Wijesuriya, Vishan Gunawardena, Kumudithe Perera, Amaz Irshad, Eraj Gunewardena, Naveen Nishane, Tazmin Anthoniz, Ruqaiyah Kamil, Zahabiya Adamaly, Roshaya Abbey, Megan, Aksha Suares, and Vishvanee Heentilake. Tickets priced at Rs. 500 are available at the venue.
Tuesday, January 25, 2011
Tickets now available!
Tickets priced at Rs 500/- are available at Park Street Mews, 50/1 Park Street, Colombo 2.
Park Street Mews is open from 8am - 11pm on weekdays and till midnight on Friday and Saturday.
Park Street Mews is open from 8am - 11pm on weekdays and till midnight on Friday and Saturday.
Thursday, January 20, 2011
Daily Mirror interviews Floating Space about the re-run
Click here to read the interview which appeared in the Daily Mirror on the 18th of January 2011.
Wednesday, January 19, 2011
Re run of the Gaza Mono-Logues in February
Good news for everyone who missed out on the Gaza Mono-Logues in October and have been repeatedly asking us for a rerun!
The Gaza Mono-Logues will be re-staged on the 5th and 6th of February 2011 at the Park Street Mews. On invitation by the Neelan Tiruchelvam Trust, this production is being held to commemorate the 67th birth anniversary of Dr Neelan Tiruchelvam.
Tickets priced at Rs 500/- will be available at Park Street Mews from Monday 24th January 2011.
The production held in October was sold out on on both nights and we received a lot of interesting and positive feedback from our audience. Reviews of the production can be viewed on this blog. 3 members of the original cast along with 9 others make up the cast for the rerun.
Purchase your tickets early and avoid missing out on this production!
The Gaza Mono-Logues will be re-staged on the 5th and 6th of February 2011 at the Park Street Mews. On invitation by the Neelan Tiruchelvam Trust, this production is being held to commemorate the 67th birth anniversary of Dr Neelan Tiruchelvam.
Tickets priced at Rs 500/- will be available at Park Street Mews from Monday 24th January 2011.
The production held in October was sold out on on both nights and we received a lot of interesting and positive feedback from our audience. Reviews of the production can be viewed on this blog. 3 members of the original cast along with 9 others make up the cast for the rerun.
Purchase your tickets early and avoid missing out on this production!
Sunday, November 28, 2010
Gaza Mono-Logues in the Sunday Times
The Vice President of the Sri Lankan - Palestine Solidarity Movement writes about the production in his article in the Sunday Times about the plight of the Palestine children.
Click here to read the article.
Click here to read the article.
Review of the Gaza Mono-Logues
Click here to read a review about the production on Groundviews, written by Nigel Nugawela. A video of a few selected monologues from the performance is also available for those of you who were not able to attend the production!
Friday, November 19, 2010
An interview with the directors
Groundviews recently interviewed Ruhanie Perera and Jake Oorloff about the Gaza Mono-Logues production, their plans for Floating Space in the coming year and about theatre in Sri Lanka.
Click here to see the Groundviews article.
Click here to see the Groundviews article.
Saturday, October 30, 2010
First performance tonight!
The cast have been working extremely hard and we are all very excited about how it has all come together. It has been a truly memorable learning experience for the cast as well as the production team.
We hope everyone enjoys the show and we look forward to your feedback!
We hope everyone enjoys the show and we look forward to your feedback!
Friday, October 29, 2010
11 tickets available for each night!
Good news everyone! We've managed to fit in eleven more seats so please email iromip@gmail.com as soon as possible. So that is eleven tickets for Saturday and eleven tickets for Sunday that are available!
Tickets sold out for both nights
Tickets for the Gaza Mono-Logues are sold out! We hope you enjoy the show!
Thursday, October 28, 2010
Tickets on sale till 2pm today
Tickets will be on sale at the Ladies' College office until 2pm today (Friday 29th October) so please get your tickets before then. In case you're unable to, please email iromip@gmail.com and we MAY be able to help you out!
Wednesday, October 27, 2010
Muhammad's story
Gaza, the warm arms, and the fire of hell. Horror, fear, death and destruction but this time our area was “safe”. Every time the occupation attacks they hit us first, but it looks like this time they got bored of our area and wanted to make some change, so we got lucky.
I used to spend the whole day sitting on a chair watching people running away from their houses towards the borders, carrying their belongings, sons and daughters and going west. Some of them were carrying their kids on their shoulders, their mothers on their backs… Where they were going, you don’t know, till all of Gaza got squeezed into one area. Then the distance became tighter, and they started running away from the dome, and it got tighter and tighter till they got to our house. I said to my father: “What? Is it our turn now? But where are we going to go?” My dad insisted that we stay at home, and said: “A person who leaves his house loses his dignity ...."
Muhammad – Born 1995 – Al Shuja'iyeh/Al Montar
Come hear Muhammad's story on the 30th and 31st of October at the Goethe Institute at 7.30pm.
Tickets are now on sale at the Ladies' College office.
I used to spend the whole day sitting on a chair watching people running away from their houses towards the borders, carrying their belongings, sons and daughters and going west. Some of them were carrying their kids on their shoulders, their mothers on their backs… Where they were going, you don’t know, till all of Gaza got squeezed into one area. Then the distance became tighter, and they started running away from the dome, and it got tighter and tighter till they got to our house. I said to my father: “What? Is it our turn now? But where are we going to go?” My dad insisted that we stay at home, and said: “A person who leaves his house loses his dignity ...."
Muhammad – Born 1995 – Al Shuja'iyeh/Al Montar
Come hear Muhammad's story on the 30th and 31st of October at the Goethe Institute at 7.30pm.
Tickets are now on sale at the Ladies' College office.
Tuesday, October 26, 2010
What the production means to the cast
“Performing the Gaza Mono-Logues has been an extremely enlightening experience. It has really opened our sheltered-Colombo-eyes to the trauma that children in conflict zones go through and made us appreciate this chance we have to raise awareness about this issue, while still having a great time!” - Sarani
“Having the chance to perform the Gaza Mono-Logues is an incredible opportunity for me as these thoughts, conveyed by kids my age give us a sense of war that I can relate to from the conflict that existed in my own country until very recently. It means a lot to me as it has given me the chance to acknowledge feelings I felt and suppressed during the war in Sri Lanka.” – Tasmin
“Taking part in ‘Gaza’ as it is affectionately known has been unlike any other theatre experience. It opened my eyes to immense power we have in evoking emotion and shaping opinion. It’s a production that has for its actors, been illuminating, extremely instructive and most of all, fun.” – Meghal
“The pressing issue of Gaza, and the conflict between Israel and Palestine is in itself interesting to portray. But spending time wondering how to portray the level of emotion expressed in the stories written by the children whose experiences we will perform is what I have found important, and interesting.” - Jeremy
“Having the chance to perform the Gaza Mono-Logues is an incredible opportunity for me as these thoughts, conveyed by kids my age give us a sense of war that I can relate to from the conflict that existed in my own country until very recently. It means a lot to me as it has given me the chance to acknowledge feelings I felt and suppressed during the war in Sri Lanka.” – Tasmin
“Taking part in ‘Gaza’ as it is affectionately known has been unlike any other theatre experience. It opened my eyes to immense power we have in evoking emotion and shaping opinion. It’s a production that has for its actors, been illuminating, extremely instructive and most of all, fun.” – Meghal
“The pressing issue of Gaza, and the conflict between Israel and Palestine is in itself interesting to portray. But spending time wondering how to portray the level of emotion expressed in the stories written by the children whose experiences we will perform is what I have found important, and interesting.” - Jeremy
Meet the cast
Meara Algama (Born in 1993)
Sarani Jayawardane (Born in 1993)
Emasha Silva (Born in 1993)
Jeremy de Zilwa (Born in 1992)
Shenali Fernando (Born in 1995)
Achera Ratnayake (Born in 1995)
Savindi Subasinghe (Born in 1993)
Shaheen Jurangpathy (Born in 1992)
Shernella Perera (Born in 1995)
Nihara Perera (Born in 1992)
Meghal Perera (Born in 1992)
Jason Caderamanpulle (Born in 1992)
Shazad Synon (Born in 1992)
Tasmin Anthonisz (Born in 1992)
Monday, October 25, 2010
Reham's story
Hello, my name is Reham, and my dad’s name is Faraj. The thing that we love most in life is chickens .… so much that we want people to call us “Abu Dajaj”, father of the chickens. We love chickens so much that we made three farms.
I want to tell you what happened with us in the war; I don’t have anyone who was killed, and we didn’t have heavy bombing in our area… Honestly, I wasn’t feeling the war… Until one day when we were sitting there happily, and suddenly my uncle came to our house with a changed face. He told my dad that the Israeli army had hit bombs on our farms and flattened one of them to the ground. My dad went running to the farm. The losses were 3000 chickens and the bags of feed. The army took all the bags and made them into bunkers instead of sand bags.
We weren’t upset at the financial losses. We expected them to bomb the farm or bomb us at any time – because the Israeli rockets didn’t differentiate between Fatah and Hamas, or between a Gazan and an immigrant – but we were very upset for our chickens. What was their fault? And what did they have to do with the war???
Reham – Born 1996 – Al Shuja'iyeh/Al Montar
Are these the kind of realities children should be so matter of fact at the age of 14 ? Conflicts make children grow up faster than they should, whether or not they are directly affected by it. They learn about the politics of war, power struggles, suffering caused by people on others all at a young age. But some part of them remain childlike and this is why they cannot fully grasp the reality of the situations they find themselves in. These emotional scars they will carry with them into adulthood. Is this what we want for our younger generation?
Come hear Reham's story on the 30th and 31st of October at the Goethe Institute at 7.30pm.
I want to tell you what happened with us in the war; I don’t have anyone who was killed, and we didn’t have heavy bombing in our area… Honestly, I wasn’t feeling the war… Until one day when we were sitting there happily, and suddenly my uncle came to our house with a changed face. He told my dad that the Israeli army had hit bombs on our farms and flattened one of them to the ground. My dad went running to the farm. The losses were 3000 chickens and the bags of feed. The army took all the bags and made them into bunkers instead of sand bags.
We weren’t upset at the financial losses. We expected them to bomb the farm or bomb us at any time – because the Israeli rockets didn’t differentiate between Fatah and Hamas, or between a Gazan and an immigrant – but we were very upset for our chickens. What was their fault? And what did they have to do with the war???
Reham – Born 1996 – Al Shuja'iyeh/Al Montar
Are these the kind of realities children should be so matter of fact at the age of 14 ? Conflicts make children grow up faster than they should, whether or not they are directly affected by it. They learn about the politics of war, power struggles, suffering caused by people on others all at a young age. But some part of them remain childlike and this is why they cannot fully grasp the reality of the situations they find themselves in. These emotional scars they will carry with them into adulthood. Is this what we want for our younger generation?
Come hear Reham's story on the 30th and 31st of October at the Goethe Institute at 7.30pm.
Sunday, October 24, 2010
Press coverage of the production
Creating bridges, breaking barriers
In an interesting interview with Deep Dish TV, the founder and artistic director of Ashtar Theatre, Iman Aoun speaks about their work with youth in Palestine and about her views on the Israel - Palestine conflict, which she believes is not based on ideology or religion but is about colonialism, power, money and economy.
She gives a fascinating insight into what led to the idea behind the Gaza Mono-Logues, where she speaks about the importance of making young people understand that they are not the center of the world. She believes that by exposing them to the difficulties and experiences of other people in the world, their own problems get smaller.
Watch the full interview with Iman here.
She gives a fascinating insight into what led to the idea behind the Gaza Mono-Logues, where she speaks about the importance of making young people understand that they are not the center of the world. She believes that by exposing them to the difficulties and experiences of other people in the world, their own problems get smaller.
Watch the full interview with Iman here.
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About the Ashtar Theatre Company
The Ashtar Theatre Company is a non-profit organization that was established in 1991 by two prominent Palestinian actors; Edward Muallem and Iman Aoun, who have worked in theatre since 1977. Ashtar came to life in Jerusalem as the first theatre training organization for youth in Palestine.
Ashtar aims to promote creativity and commitment for change through a novel combination of training and acting programs as well as through professional theatre performances. One of Ashtar’s pioneering specialties is a highly successful genre known as Forum Theatre. Through use of the integrated methods of Forum Theatre, Ashtar stands as an agent of change in Palestine.
The core troupe of professional actors performs several plays during the year, introducing new theatre forms in Palestine. Increased cooperation with internationally known actors and directors ensures the continuous professional development of the team and the wider theatre community as well as an improved entertainment culture in Palestine. Their sense for continuous renewal and growth is motivated and stimulated by several international awards and increasing requests to perform abroad.
Ashtar’s previous production – a play named “48 Minutes for Palestine” was produced at the beginning of the year and was directed by Mojisola Adebayo. The play opened in Ramallah in May 2010 then toured in Jenin, Hebron, Birzeit University and Bethlehem. Internationally, the play was performed in Spain in the Valencia Festival in May 2010 and in Brazil in the Belem Festival in July 2010. It continues to tour and perform locally and internationally this year.
http://www.ashtar-theatre.org/
Ashtar aims to promote creativity and commitment for change through a novel combination of training and acting programs as well as through professional theatre performances. One of Ashtar’s pioneering specialties is a highly successful genre known as Forum Theatre. Through use of the integrated methods of Forum Theatre, Ashtar stands as an agent of change in Palestine.
The core troupe of professional actors performs several plays during the year, introducing new theatre forms in Palestine. Increased cooperation with internationally known actors and directors ensures the continuous professional development of the team and the wider theatre community as well as an improved entertainment culture in Palestine. Their sense for continuous renewal and growth is motivated and stimulated by several international awards and increasing requests to perform abroad.
Ashtar’s previous production – a play named “48 Minutes for Palestine” was produced at the beginning of the year and was directed by Mojisola Adebayo. The play opened in Ramallah in May 2010 then toured in Jenin, Hebron, Birzeit University and Bethlehem. Internationally, the play was performed in Spain in the Valencia Festival in May 2010 and in Brazil in the Belem Festival in July 2010. It continues to tour and perform locally and internationally this year.
http://www.ashtar-theatre.org/
The production in the news
The Sunday Times - Plus
http://www.sundaytimes.lk/101024/Plus/plus_17.html
Sunday October 24, 2010
Floating Space to take on the Gaza Monologues
In the future if I grow up, and in Gaza it’s an achievement to grow up, because death is standing at your doorstep, I want to defend the rights of children – Yasmeen (Born 1996)
Gaza has no tenderness and no childhood, a boy is born a man here and a girl is born a bride…
- Yasmeen (Born 1996, Al Daraj)
The war ended on the ground but it’s still there in my head. I want to be like any child in this world…
– Mahmud (Born 1995, Al Saftawi Street)
Before the war I was a child… But after the war I discovered I’m not a child any more, and that Gaza, unlike all cities of the world, doesn’t have children in it.– Mahmud (Born 1994, Al Jalaa' Street)
I think I’m still scared till today… but I pretend not to be.– Fateema (Born 1996, Ash Sheikh Radwan)
The Gaza Monologues are as much stories of childhood, as they are of war. They are told by children who dream of a tomorrow – while hoping they get through their today. And while they may be located in the specific context of Gaza, they speak of a collective psyche of a generation born into, growing up in and altered by experiences of war.
In Sri Lanka, Floating Space partners with Ashtar Theatre based in Palestine on The Gaza Monologues performance project – Ashtar’s global initiative for peace and non-violence.
Directed by Jake Oorloff, The Gaza Monologues in Sri Lanka on October 30 and 31 at the Goethe Institute hall will bring together 14 students from Ladies’ College and Wesley College, Colombo. For Oorloff, the children and their individual experiences as witnesses of war, irrespective of geographic location, circumstance and degree of violence experienced, are the point of focus of the work. “They are the most damaged,” he says, as he points out the need – and the responsibility – to recognize, acknowledge and validate each childhood experience in a world of war. The Gaza Monologues is significant in its focus on children in war, as much as it takes on the practice of cultural expression as activism.
For Floating Space, the collaboration with Ashtar for The Gaza Monologues falls within its work with theatre in application, its conviction in the possibilities of cultural expression, and most specifically, in terms of this project, the focus on the collective experience of childhood located in war.
On October 17, 2010, The Gaza Monologues opened with the Palestinian performances at eleven in the morning where the initial group performed on the beach, sending out their stories to the world as paper boats. After which each partner country began their own performances, following international time zones until returning to Palestine where each Palestinian city had its own event.
Between October 17 and November 29, 42 partner companies some of which include The New York Theatre Workshop, The Pegasus Theatre, Oxford, The Headlines Theatre, Vancouver, The East Gippsld Institute of TAFE, Australia and the key companies based in Gaza, Ramallah, Hebron, Jenin and Nazareth will continue performing The Gaza Monologues, culminating in the international cast’s performance at the United Nations. Each partner company will send one young actor to work with Ashtar Theatre in New York, where The Gaza Monologues will be performed, first, before the representatives of the United Nations after their annual meeting on The Question of Palestine, and later on in the evening, at the photography exhibition of the United Nations Relief and Works Agency.
Ashtar Theatre was established in 1991 by two Palestinian actors Edward Muallem and Iman Aoun, and was the first theatre training organization for youth in Palestine. Ashtar’s involvement in Gaza started in 1994 at a time when the area was accessible and when the Gaza theatre community expressed an initial desire for a means of theatre training to the creators of Ashtar.
The year 2010 saw the beginnings of The Gaza Monologues performance project when Ashtar began its training with a new group of youth aged 14 to 18 using drama therapy and creative writing techniques, focusing on the experiences of the Gaza attack of December 2008-January 2009.
http://www.sundaytimes.lk/101024/Plus/plus_17.html
Sunday October 24, 2010
Floating Space to take on the Gaza Monologues
In the future if I grow up, and in Gaza it’s an achievement to grow up, because death is standing at your doorstep, I want to defend the rights of children – Yasmeen (Born 1996)
Gaza has no tenderness and no childhood, a boy is born a man here and a girl is born a bride…
- Yasmeen (Born 1996, Al Daraj)
The war ended on the ground but it’s still there in my head. I want to be like any child in this world…
– Mahmud (Born 1995, Al Saftawi Street)
Before the war I was a child… But after the war I discovered I’m not a child any more, and that Gaza, unlike all cities of the world, doesn’t have children in it.– Mahmud (Born 1994, Al Jalaa' Street)
I think I’m still scared till today… but I pretend not to be.– Fateema (Born 1996, Ash Sheikh Radwan)
The Gaza Monologues are as much stories of childhood, as they are of war. They are told by children who dream of a tomorrow – while hoping they get through their today. And while they may be located in the specific context of Gaza, they speak of a collective psyche of a generation born into, growing up in and altered by experiences of war.
In Sri Lanka, Floating Space partners with Ashtar Theatre based in Palestine on The Gaza Monologues performance project – Ashtar’s global initiative for peace and non-violence.
Directed by Jake Oorloff, The Gaza Monologues in Sri Lanka on October 30 and 31 at the Goethe Institute hall will bring together 14 students from Ladies’ College and Wesley College, Colombo. For Oorloff, the children and their individual experiences as witnesses of war, irrespective of geographic location, circumstance and degree of violence experienced, are the point of focus of the work. “They are the most damaged,” he says, as he points out the need – and the responsibility – to recognize, acknowledge and validate each childhood experience in a world of war. The Gaza Monologues is significant in its focus on children in war, as much as it takes on the practice of cultural expression as activism.
For Floating Space, the collaboration with Ashtar for The Gaza Monologues falls within its work with theatre in application, its conviction in the possibilities of cultural expression, and most specifically, in terms of this project, the focus on the collective experience of childhood located in war.
On October 17, 2010, The Gaza Monologues opened with the Palestinian performances at eleven in the morning where the initial group performed on the beach, sending out their stories to the world as paper boats. After which each partner country began their own performances, following international time zones until returning to Palestine where each Palestinian city had its own event.
Between October 17 and November 29, 42 partner companies some of which include The New York Theatre Workshop, The Pegasus Theatre, Oxford, The Headlines Theatre, Vancouver, The East Gippsld Institute of TAFE, Australia and the key companies based in Gaza, Ramallah, Hebron, Jenin and Nazareth will continue performing The Gaza Monologues, culminating in the international cast’s performance at the United Nations. Each partner company will send one young actor to work with Ashtar Theatre in New York, where The Gaza Monologues will be performed, first, before the representatives of the United Nations after their annual meeting on The Question of Palestine, and later on in the evening, at the photography exhibition of the United Nations Relief and Works Agency.
Ashtar Theatre was established in 1991 by two Palestinian actors Edward Muallem and Iman Aoun, and was the first theatre training organization for youth in Palestine. Ashtar’s involvement in Gaza started in 1994 at a time when the area was accessible and when the Gaza theatre community expressed an initial desire for a means of theatre training to the creators of Ashtar.
The year 2010 saw the beginnings of The Gaza Monologues performance project when Ashtar began its training with a new group of youth aged 14 to 18 using drama therapy and creative writing techniques, focusing on the experiences of the Gaza attack of December 2008-January 2009.
Wednesday, October 20, 2010
Alaa's story
I feel like running, running, running in the streets till my headscarf flies in the sky and I fly after it…
Sometimes I feel like being totally crazy, but I can’t… It’s the first time I say things like this, maybe it’s not my talk, or maybe it is my talk that I can’t express, or I’m scared to express…
Why do my parents treat me like this? I look at the girls my age, how they’re living their lives, and I envy them, I wish I could be like them in their confidence and freedom.
I wish a ship would carry me to a distant island and throw me on its shore, far away from the world from everything, especially the war.
Speaking of the war, all the war was on one side and Mum was on the other. Why my Mum kept telling me things that I’d already seen, is something I’ll never understand.
Alaa – Born 1996 – Al Shuja'iyeh/Al Montar
14 year old Alaa is experiencing the same emotional ups and downs as any teenager her would be experiencing at 14. She's finding herself in the world, among her peers, among her environment. But she's experiencing much more than your average teenager - she's finding herself amidst an ugly war, a war that children like her can't comprehend. She sees how it affects her mother, her neighbors, her teachers and she can't understand where she fits in and why everything around her is the way it is.
Come hear Alaa's story on the 30th and 31st of October at the Goethe Institute Hall at 7.30pm.
Sometimes I feel like being totally crazy, but I can’t… It’s the first time I say things like this, maybe it’s not my talk, or maybe it is my talk that I can’t express, or I’m scared to express…
Why do my parents treat me like this? I look at the girls my age, how they’re living their lives, and I envy them, I wish I could be like them in their confidence and freedom.
I wish a ship would carry me to a distant island and throw me on its shore, far away from the world from everything, especially the war.
Speaking of the war, all the war was on one side and Mum was on the other. Why my Mum kept telling me things that I’d already seen, is something I’ll never understand.
Alaa – Born 1996 – Al Shuja'iyeh/Al Montar
14 year old Alaa is experiencing the same emotional ups and downs as any teenager her would be experiencing at 14. She's finding herself in the world, among her peers, among her environment. But she's experiencing much more than your average teenager - she's finding herself amidst an ugly war, a war that children like her can't comprehend. She sees how it affects her mother, her neighbors, her teachers and she can't understand where she fits in and why everything around her is the way it is.
Come hear Alaa's story on the 30th and 31st of October at the Goethe Institute Hall at 7.30pm.
Monday, October 18, 2010
Ahmad's story
"Before the war, I used to feel that Gaza is my second mother. Its ground was the warm chest I could lay on, and its sky was my dreams… without limits. The sea would wash away my worries. But today I feel it’s an exile, I stopped feeling it’s the city of my dreams."
I feel like I’m married with ten kids. I’m scared of life… of everything… of the smallest things… always worried. I feel that all of Gaza is sitting on moving sands. Any madness you can imagine can happen in a second in this place, and a lot of dreams may come true too. It’s a strange city with no logic.
Ahmad – Born 1993- Al Wehda Street
Ahmad is only 17, but experience has made an adult out of him. Instead of worrying about the things that any normal teenager would at his age, he worries about his today. His tomorrow.
Ahmad is not alone in what he is going through. This is the harsh reality of children caught in the midst of armed conflict or living in war zones. The experiences may be different and the degree to which they are affected vary, but the scars and fears are the same - they are shared and are as permanent as a birthmark they have been born with.
Come hear Ahmad's story on the 30th and 31st of October at the Goethe Institute at 7.30pm.
I feel like I’m married with ten kids. I’m scared of life… of everything… of the smallest things… always worried. I feel that all of Gaza is sitting on moving sands. Any madness you can imagine can happen in a second in this place, and a lot of dreams may come true too. It’s a strange city with no logic.
Ahmad – Born 1993- Al Wehda Street
Ahmad is only 17, but experience has made an adult out of him. Instead of worrying about the things that any normal teenager would at his age, he worries about his today. His tomorrow.
Ahmad is not alone in what he is going through. This is the harsh reality of children caught in the midst of armed conflict or living in war zones. The experiences may be different and the degree to which they are affected vary, but the scars and fears are the same - they are shared and are as permanent as a birthmark they have been born with.
Come hear Ahmad's story on the 30th and 31st of October at the Goethe Institute at 7.30pm.
Sunday, October 17, 2010
Why is this production so important?
Over the last 30 years, the young people and children of Sri Lanka have had varying experiences of war, conflict and violence. Geographic location and individual circumstance have shaped the disparate nature of these experiences and varying degrees and understandings of the situation. Although the experiences may vary, it does not take away from the fact that while some children were impacted by the direct violence, loss of family and homes, every child lives with the altered psychology of being witness to war.
The project through the performance of the monologues seeks to highlight the issues, experiences and tragedy of children caught in situations of war all over the world. As Sri Lanka seeks to recover from our haunting past; its recognition, acknowledgment and validation is significant in an attempt to heal. We believe that the process of children in Colombo working on the text and production will be an expression of solidarity with children in similar situations, and those who support initiatives for peace and non-violence.
While there has been immense discourse on the topic of conflict and war, especially in the Sri Lankan context, how far the people understand the extent of it and the intricate issues affecting them is always uncertain. The monologues resonate powerfully with Sri Lanka’s experience and through them we hope to create awareness among a younger age group in addition to the larger audience by exposing them to the real life experiences of children affected by conflict. It is crucial that the younger generation understand issues such as these in a post conflict context and we hope that through this project, by working with students and performing to an audience which will include a younger group, we contribute to their understanding of this critical issue.
By being a part of a cultural and political world movement, Floating Space hopes that it will inspire others to come together and through alternate means such as theatre, create awareness on vital issues that need to be addressed.
The project through the performance of the monologues seeks to highlight the issues, experiences and tragedy of children caught in situations of war all over the world. As Sri Lanka seeks to recover from our haunting past; its recognition, acknowledgment and validation is significant in an attempt to heal. We believe that the process of children in Colombo working on the text and production will be an expression of solidarity with children in similar situations, and those who support initiatives for peace and non-violence.
While there has been immense discourse on the topic of conflict and war, especially in the Sri Lankan context, how far the people understand the extent of it and the intricate issues affecting them is always uncertain. The monologues resonate powerfully with Sri Lanka’s experience and through them we hope to create awareness among a younger age group in addition to the larger audience by exposing them to the real life experiences of children affected by conflict. It is crucial that the younger generation understand issues such as these in a post conflict context and we hope that through this project, by working with students and performing to an audience which will include a younger group, we contribute to their understanding of this critical issue.
By being a part of a cultural and political world movement, Floating Space hopes that it will inspire others to come together and through alternate means such as theatre, create awareness on vital issues that need to be addressed.
Project background
The Israeli attack on the Gaza Strip in December 2008 - January 2009 was extremely
violent and led in 22 days to the death of at least 1380 Palestinians, amongst which 431 were children. At least 5380 were wounded including 1872 children. An estimated number of 100, 000 people were newly displaced.
Houses, schools, hospitals, places of worship and cultural centers were destroyed. A year later, the blockade of Gaza remains and its separation from the West Bank has deepened since the West Bankers were completely impotent to stop the massacre or help their Gazan fellow Palestinians.
Ashtar Theatre Company's involvement in Gaza started in 1994 at a time when the area was accessible and when the Gaza theatre community expressed an initial desire of training to Ashtar. However, in 1995, as the PNA took its responsibilities in Gaza, Israel drastically restricted access to the strip for the West Bankers, notably Jerusalemites. The program continued through Dutch director Jan Willems for 2 years.
In 2009, the Ashtar Theatre, through its Gaza trainer Ali Abu Yassine, started training youth in Gaza again with the support of UNICEF. In 2010, they started training a new group aged 14 to 18 using drama therapy and creative writing. The first three months of work focused on the wounds of the Gaza attack of December 2008-January 2009, the youth's individual experiences, their dreams, fears and hopes.
This work led to the birth of The Gaza Mono-Logues.
violent and led in 22 days to the death of at least 1380 Palestinians, amongst which 431 were children. At least 5380 were wounded including 1872 children. An estimated number of 100, 000 people were newly displaced.
Houses, schools, hospitals, places of worship and cultural centers were destroyed. A year later, the blockade of Gaza remains and its separation from the West Bank has deepened since the West Bankers were completely impotent to stop the massacre or help their Gazan fellow Palestinians.
Ashtar Theatre Company's involvement in Gaza started in 1994 at a time when the area was accessible and when the Gaza theatre community expressed an initial desire of training to Ashtar. However, in 1995, as the PNA took its responsibilities in Gaza, Israel drastically restricted access to the strip for the West Bankers, notably Jerusalemites. The program continued through Dutch director Jan Willems for 2 years.
In 2009, the Ashtar Theatre, through its Gaza trainer Ali Abu Yassine, started training youth in Gaza again with the support of UNICEF. In 2010, they started training a new group aged 14 to 18 using drama therapy and creative writing. The first three months of work focused on the wounds of the Gaza attack of December 2008-January 2009, the youth's individual experiences, their dreams, fears and hopes.
This work led to the birth of The Gaza Mono-Logues.
About Gaza Mono-Logues
The Gaza Mono-Logues are as much stories of childhood, as they are of war. They are told by children who dream of a tomorrow – while hoping they get through their today. And while they may be located in the specific context of Gaza, they speak of a collective psyche of a generation born into, growing up in and altered by experiences of war.
Floating Space Theatre Company partners with the Ashtar Theatre Company based in Palestine on The Gaza Mono-Logues performance project – Ashtar’s global initiative for peace and non-violence.
Directed by Jake Oorloff, the performance of the Gaza Mono-Logues is based on a series of monologues developed by Ashtar Theatre and written by children in workshop of a period of one year. The Gaza Monologues deal with the realities of children living in a context of armed conflict.
Students from Ladies College and Wesley College in Colombo will make up the cast of fourteen that will perform these monologues on the 30th and 31st of October.
FLOATING SPACE
As a theatre company that is committed to experimentation, Floating Space is inspired
by the unconventional and shared experiences in performance. Its focus is to create and produce performance, with the objective of exploring the possibilities of theatre in terms of form, style, space, approach and purpose.
Floating Space creates and facilitates collaborative creative arts projects with local and international artistes, theatre practitioners and companies.
We work in partnership with a range of organizations and individuals to advocate the use of theatre outside its more traditional purpose, especially with regard to participatory theatre techniques and issue-based work.
Floating Space was initiated in 2007 by Jake Oorloff and Ruhanie Perera.
Floating Space Theatre Company partners with the Ashtar Theatre Company based in Palestine on The Gaza Mono-Logues performance project – Ashtar’s global initiative for peace and non-violence.
Directed by Jake Oorloff, the performance of the Gaza Mono-Logues is based on a series of monologues developed by Ashtar Theatre and written by children in workshop of a period of one year. The Gaza Monologues deal with the realities of children living in a context of armed conflict.
Students from Ladies College and Wesley College in Colombo will make up the cast of fourteen that will perform these monologues on the 30th and 31st of October.
FLOATING SPACE
As a theatre company that is committed to experimentation, Floating Space is inspired
by the unconventional and shared experiences in performance. Its focus is to create and produce performance, with the objective of exploring the possibilities of theatre in terms of form, style, space, approach and purpose.
Floating Space creates and facilitates collaborative creative arts projects with local and international artistes, theatre practitioners and companies.
We work in partnership with a range of organizations and individuals to advocate the use of theatre outside its more traditional purpose, especially with regard to participatory theatre techniques and issue-based work.
Floating Space was initiated in 2007 by Jake Oorloff and Ruhanie Perera.
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