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!
Saturday, October 30, 2010
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.
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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