HomeTheatreIn Dialog: Tasnim Hossain - Griffin Theatre Firm

In Dialog: Tasnim Hossain – Griffin Theatre Firm


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

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

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

What’s your play about?

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

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

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

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

What was the method like scripting this play?

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

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

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

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

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




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