Hi Rupert
I've been trying to track Neil Foster's statements myself, the latest seem to be that he withdrew the production offer at the
request of the playwright, who had received further death threats if anything he proposed happened, apparently. What I understand
was that the idea wasn't a full production of the play but a read-through on stage. I am of course not directly connected with any
of this so my statements might be innaccurate. Meantime, although I haven't been back to the place for six years, I do very
emotional about stuff like this happening in my dear dirty scruffy stupid Brummagem, it was where I grew up, and its stamped on me
for life, you should hear my accent!
Best
Dave
David Bircumshaw
Spectare's Web, A Chide's Alphabet
& Painting Without Numbers
http://homepage.ntlworld.com/david.bircumshaw/
----- Original Message -----
From: "mallin1" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Wednesday, December 22, 2004 6:24 PM
Subject: Re: Behzti theatre protest
Dear Patrick, Dave and Alison
A complexity indeed re the banning of 'Behzti.' Once again, tomorrow's BBC
Radio 4 'Woman's Hour' will alone provide a forum on the issue through a
discussion with Sikh and Asian women about the issues raised by the play and
its censorship. Meanwhile, two things have happened overnight. One self
appointed 'defender' of the play, Neil Foster, who was all over the media
attacking the Birmingham Rep for taking off the play - then, having offered
an
alternative venue in Birmingham, has suddenly withdrawn the offer. Things
become complicated if one doesn't quite grasp the idea of 'respect' all ways
round.
Neil Foster is right on one particular: the government's junior minister was
not supportive of the playwright! That is, art must be 'community art,' in
the worst sense. In the meantime, the High Catholic Bishop of all England
has suggested that playwrights should impose "self-censorship" on
themselves - taking us way back into the 'confessional' box the 20th Century
wonderfully opened.
What worries me more, is that the likes of Max Stafford-Clark, who produced
the late Jim Allen's 'Perdition' at the Royal Court, has offered nothing to
defend 'Behzti.' However, one who really seems to have given support in his
wide ranging understanding is David Edgar.
Alison, it surely is Sarah Kane's 'Blasted' revisited. It is very much a
gender issue -- and so much more: the invisibilty of women in a near
invisible religion/race; a generational issue between older immigrant Sikhs
and their more international offspring; government using the institutions of
faith to further divide people; and the US-UK neo-con drive to 'dum down'
art.
This is not just a theatre issue. The substance is an attack on ideas, on
poetry. The playwright is in hiding fearing for her life. It is a crime that
she has been silenced. Without her voice, we're all losers.
Take care, Rupert
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