In 2oo1, I read the Anthony Sampson biography on Nelson Mandela. Tit mentions the existence of Sonny’s ‘Bible.’ From that moment on, I was intrigued by the theatrical possibilities of this ‘Bible.’
In 2oo6, the ‘Bible’ left South Africa for the first time to be a part of the ‘Complete Works’ Festival in Stratford-upon-Avon. I viewed the ‘Bible’ for the first time there and from then on, I knew that I needed to do this project.
Since 199o, South Africa has intrigued me. I see in it huge potential as a young & struggling democracy. After visiting South Africa and, in particular, Robben Island for the first time in 2oo3, I fell in love with the people, the landscape and the culture. I hold the country in high regard because of the difficulties it has faced and are currently attempting to overcome.
My South African friend and fellow researcher, who grew up in Soweto, said that he was so proud to be working on the interview project with me because of what it meant to him as a South African man. When we interviewed his leaders, he could not help to hide his absolute glee and respect that he had for these men. The pride welled up in his chest when he spoke with them. That pride & respect is of huge import to me as a human being. Through the Phase 1 research, I found Shakespeare’s work to be an expression of the character of these former political prisoners and something that holds great resonance within them. I was told by one former political prisoner that, in order to be taken seriously, a South African leader must quote Shakespeare in each speech he gives. This impact of Shakespeare’s words when read by men under the oppression of Apartheid reflects its resonance beyond the English culture.
Tuesday, 10 November 2009
Process to Develop the Script
I plan to use the interviews (transcripts & video recordings) from the first phase of this project, the chosen Shakespearian texts & the artists’ research as sourcework to script the multiple stories that surround Sonny’s smuggled copy of the ‘Complete Works.’ I have received a commitment from the Market Theatre Laboratory in Johannesburg for rehearsal space and artists.
My method of working has close resonance with the method that John Kani and Winston Ntshona developed with Athol Fugard in their plays, The Island & Sizwe Banzi is Dead. At the recent reading of The Robben Island Bible, John Kani said, ‘When we created, in 1972, Sizwe Banzi Is Dead, we didn't have a script, it was being improvised based on personal experience of what was happening around us and the news that we heard.’
This play needs to be developed in South Africa in order to give audiences in the United States as close to the theatrical ‘truth’ of these stories as possible. We want this play to achieve a ‘truth’ that the artists, the former political prisoners who were interviewed and the audiences will find resonance in. We are very aware of past colonialization by whites in South Africa both in the political and theatrical worlds and want to do everything to avoid even the appearance of another one. This second phase of script development represents the further progression of 8 years of work on this project.
My method of working has close resonance with the method that John Kani and Winston Ntshona developed with Athol Fugard in their plays, The Island & Sizwe Banzi is Dead. At the recent reading of The Robben Island Bible, John Kani said, ‘When we created, in 1972, Sizwe Banzi Is Dead, we didn't have a script, it was being improvised based on personal experience of what was happening around us and the news that we heard.’
This play needs to be developed in South Africa in order to give audiences in the United States as close to the theatrical ‘truth’ of these stories as possible. We want this play to achieve a ‘truth’ that the artists, the former political prisoners who were interviewed and the audiences will find resonance in. We are very aware of past colonialization by whites in South Africa both in the political and theatrical worlds and want to do everything to avoid even the appearance of another one. This second phase of script development represents the further progression of 8 years of work on this project.
Background
Sonny Venkatratham was a South African political prisoner held on Robben Island in the 1970’s. The Robben Island Bible is based on his copy of ‘The Complete Works of William Shakespeare’ and interviews with several political prisoners who were also held there. Venkatratham smuggled his copy of the ‘Complete Works’ into the prison by persuading his warders that it was a religious Hindu ‘Bible.’ He then surreptitiously passed the book to a number of his fellow political prisoners in the single cells. Each of them marked his favourite passage in the ‘Complete Works’ and signed it with the date. It contains thirty-two signatures, including those of Walter Sisulu, Nelson Mandela, Govan Mbeki, Ahmed Kathrada and Mac Maharaj, all luminaries in the struggle for a democratic South Africa. These men signed passages within the text, which they found particularly moving, meaningful and profound. The selection of text provides fascinating insight into the minds, thinking and soul of those political prisoners who fought for the transformation of South Africa. It also speaks to the power of Shakespeare’s resonance with the human spirit regardless of place or time.
February 2o1o
In February 2o1o, I aim to continue the development of my play, The Robben Island Bible at the Market Theatre Laboratory in Johannesburg with a three week development period.
The project is divided into three phases:
Phase 1 – Interview Stage (October & November 2oo8) – This phase consisted of interviewing former Robben Island political prisoners. These interviews, along with selected texts from ‘The Complete Works of William Shakespeare,’ will form part of the foundation for the play. This phase culminated in a staged reading at the Richmond Theatre in March 2oo9 featuring John Kani and other members of the cast from the RSC’s The Tempest.
Phase 2 –Script Development (February 2o1o) – This phase will consist of working with South African actors, a South African dramaturge, a South African researcher, a videographer & a producer to develop a script based on interviews and chosen texts and an educational outreach campaign. Further interviews of the former political prisoners will also be conducted and recorded on video for a multi-media exhibition of the play – which will be featured in the reception area of the theatre in which the play is performed. This phase will culminate in a staged reading of the play at the Indiana University Union Board. It will also produce a script for Phase Three.
Phase 3 – Rehearsal & performance of the play along with the presentation of the multi-media exhibit in the foyer of the producing theatre and the launch of an education outreach programme.
I want to showcase Shakespeare’s work to a new audience and to expand the range of Shakespeare’s work in a way that has rarely been explored. I also want to expose the rest of the world, many whom may only recognize the name ‘Mandela,’ to the unsung heroes of the Struggle against Apartheid in South Africa. Each of these most gentle of men has so much to show the world about leadership, citizenship, resistance and reconciliation.
The central idea behind this project is to honour the stories of the former political prisoners who have given of themselves in their interviews. It is the driving force behind my insistence on working in South Africa with South African artists to validate the development of this play.
The project is divided into three phases:
Phase 1 – Interview Stage (October & November 2oo8) – This phase consisted of interviewing former Robben Island political prisoners. These interviews, along with selected texts from ‘The Complete Works of William Shakespeare,’ will form part of the foundation for the play. This phase culminated in a staged reading at the Richmond Theatre in March 2oo9 featuring John Kani and other members of the cast from the RSC’s The Tempest.
Phase 2 –Script Development (February 2o1o) – This phase will consist of working with South African actors, a South African dramaturge, a South African researcher, a videographer & a producer to develop a script based on interviews and chosen texts and an educational outreach campaign. Further interviews of the former political prisoners will also be conducted and recorded on video for a multi-media exhibition of the play – which will be featured in the reception area of the theatre in which the play is performed. This phase will culminate in a staged reading of the play at the Indiana University Union Board. It will also produce a script for Phase Three.
Phase 3 – Rehearsal & performance of the play along with the presentation of the multi-media exhibit in the foyer of the producing theatre and the launch of an education outreach programme.
I want to showcase Shakespeare’s work to a new audience and to expand the range of Shakespeare’s work in a way that has rarely been explored. I also want to expose the rest of the world, many whom may only recognize the name ‘Mandela,’ to the unsung heroes of the Struggle against Apartheid in South Africa. Each of these most gentle of men has so much to show the world about leadership, citizenship, resistance and reconciliation.
The central idea behind this project is to honour the stories of the former political prisoners who have given of themselves in their interviews. It is the driving force behind my insistence on working in South Africa with South African artists to validate the development of this play.
Wednesday, 17 June 2009
BLACK HISTORY SEASON – OCTOBER 2009
We have agreed with Kathi Scott, NMCF UK, to present the October 2009 evening UK. This event, the Robben Island Bible Leadership Campaign Evening UK, will benefit NMCF UK and honour the lives of Robben Island’s Former Political Prisoners.
ROBBEN ISLAND BIBLE
We will be in South Africa in January to complete the development of Robben Island Bible with the Market Theater Laboratory and South African actors.
ROBBEN ISLAND BIBLE LEADERSHIP & EDUCATIONAL CAMPAIGN
The Robben Island Bible has begun a series of campaigns, educational programmes & events focusing on the the theme of Leadership among men and women within our communities, as exemplified the number of extraordinary and courageous men imprisoned on Robben Island, who gave of their lives in pursuit of a democratic South Africa.
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