{"id":75465,"date":"2015-11-09T06:00:30","date_gmt":"2015-11-08T22:00:30","guid":{"rendered":"http:\/\/thehoneycombers.com\/singapore\/?p=75465"},"modified":"2024-11-22T13:07:26","modified_gmt":"2024-11-22T05:07:26","slug":"theatre-in-singapore-we-chat-with-screenwriter-marie-helene-estienne-whos-adapted-mahabharatas-battlefield-for-the-singapore-repertory-theatre","status":"publish","type":"post","link":"https:\/\/thehoneycombers.com\/singapore\/theatre-in-singapore-we-chat-with-screenwriter-marie-helene-estienne-whos-adapted-mahabharatas-battlefield-for-the-singapore-repertory-theatre\/","title":{"rendered":"Theatre in Singapore: We chat with screenwriter, Marie-Helene Estienne, who\u2019s adapted Mahabharata\u2019s Battlefield for the Singapore Repertory Theatre"},"content":{"rendered":"

Adapting an epic work like the Mahabharata \u2013 an epic narrative of Indian culture<\/a> \u2013 for the stage is no small undertaking. But for veteran screenwriter, Marie-Helene Estienne, it’s a chance to work with material she’s passionate about. Helmed by the legendary Peter Brook (Estienne\u2019s theatre partner-in-crime for years), Battlefield is a thrilling saga that recounts the massive battle at the end of the Mahabharata; unfolding through the Singapore Repertory Theatre<\/a> from Nov 17 to Nov 21. In this rare interview with Estienne, we share an enlightening chinwag about the arts<\/a>, making tough calls as a casting director, and whether punters still have the patience for theatre<\/a> these days.<\/p>\n

<\/p>\n

Giving up journalism for theatre<\/h3>\n

Yes, I was a journalist. But I was not very patient, and I found that what I was looking at was sometimes very boring. When I had the luck of meeting Peter [Brook], I asked myself, \u201cIsn\u2019t it better to do theatre instead of just looking at it?\u201d. I wrote a letter to him and he said, \u201cYes\u201d.<\/p>\n

Being Peter Brook\u2019s \u201cright-hand woman\u201d<\/h3>\n

I have been lucky; working with Peter is always surprising. Believe me when I say that there is no time to be bored and that there is so much to do. Wisdom is never acquired without hard work. Peter\u2019s work is so fascinating; it is exactly what I am looking for. Even now, I am still learning.<\/p>\n

Reminiscing about her origins<\/h3>\n

Again, I was lucky. My first work was as an assistant in The Conference of the Birds; then came a shortened version of the opera, Carmen, adapted by Peter Marius Constant and Jean Claude Carri\u00e8re. Who could be unhappy being immersed in such a new way of doing opera? After this came the Mahabharata. One of the most interesting parts of working with Peter is that his choice in plays is always linked to the needs of the present. I am very touched by that.<\/p>\n

Embracing hidden gifts of the trade<\/h3>\n

I think [as a casting director] I was born with a strange attention to people. I look at them and remember them. When I need to find them for a play, they are often in my memory. And since I remember them, when new ones come, they quickly become part of the family of people I know we can work with.<\/p>\n

Gravitating toward the Mahabharata<\/h3>\n

For many years I’ve been fascinated by the Mahabharata and the Hindu religion. It looks at death – even destruction \u2013 and there is something that is above our understanding. There is something so free in their acceptance of death and the way they go towards it without sadness or complaint. It is a true search that helps you live your life.<\/p>\n

Cherishing Indian culture<\/h3>\n

India is a country that has kept its old religion alive and that’s very important. I’ve been there a lot, and even though life there can be so difficult for people living in poverty, they have, within themselves, true happiness and tolerance. An important life lesson.<\/p>\n

\"Ery
Ery Nzaramba (Photo credits: Pascal Victor & ArtComArt)<\/figcaption><\/figure>\n

Measuring the theatre audiences of today<\/h3>\n

People still have patience! 400 people came to our theatre to see the six-hour version of Peter\u2019s Mahabharata film, and it was a wonderful experience for them! But the problem with doing something like a nine-hour production of the Mahabharata is finding the money to do it. Also, the theatre cannot repeat itself. New period, new form, new needs.<\/p>\n

Staying hopeful for theatre\u2019s future<\/h3>\n

It can be great to discover theatre without a past, because the past can be terribly heavy. But there is always a taste for theatre; there is always one in children who love and need to play. If we can relate to that form, theatre will find its place. I’ve heard that there is a strong theatre culture in Singapore, and I\u2019m sure the scene will continue to be very lively there.<\/p>\n

Singapore Repertory Theatre presents Peter Brook\u2019s Battlefield<\/a>; November 17 to November 21; 11 Stamford Road, Capitol Theatre, Singapore 178884; p. 6499 5168. Tickets available via SISTIC from $48 (student and group concessions available).<\/em><\/p>\n

Youths who are 15 years old but no older than 25 years old on the day of performance are entitled to purchase first-row tickets at only\u00a0$15. Present your Pink IC upon purchase at any SISTIC Authorized Agents. Limited to one ticket per performance only.<\/em><\/p>\n

This article is sponsored by Singapore Repertory Theatre.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Adapting an epic work like the Mahabharata \u2013 an epic narrative of Indian culture \u2013 for the stage is no small undertaking. But for veteran screenwriter, Marie-Helene Estienne, it’s a chance to work with material she’s passionate about. 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