Daughters Opera is an inter-cultural contemporary performance work that brings women from diverse backgrounds, cultures and languages in a cross-artform setting.
The opera invites an audience to a conversation about systemic violence and the globally shared experience of women and girls who have undergone trauma and resistance. The performance of the all-female cast aims to address the ongoing everyday acts of gender violence, such as forced labour, infanticide, and injury alongside the expressive form of Portuguese fado music, and live experimental electronics.
Daughters Opera is directed by Anuradha Kapur with libretto written by Tammy Brennan. Music composed by David Chisholm and scenography by Deepan Sivaraman. Movement language and choreography by Victoria Hunt.
Daughters Opera is performed by: Shilpika Bordoloi, Persephone Brennan, Samara Chopra, Aivale Cole, Bhumisuta Das, Melodi Dorcas, Uma Katju, Aashima Mahajan, Kimberly Rodrigues, Ritika Singh and Vanessa Varghese, and Purnima Yengkokpam.
Musicians: Eduardo Baltar Soares, Miranda Hill and Mauricio Carrasco. Live Electronics: Marco Cher-Gibard.
Devising of Hindi Text: Geetanjali Shree. Costume: Marty Jay. Lighting Design: Ben Hughes; Production Dramaturgy: Purav Goswami; Film and Video Design: Kate Blackmore and Midhun Mohan. Production Manager: Taha Abdul Majeed. Scenography Fabrication: Sarthak Narula and Ujjwal Kumar.
The opera is produced by Tammy Brennan and is a direct call to action to address Safety for Women worldwide, and is part of a larger social activism artwork, The Daughters Opera Project.
The world premiere is at The Black Box, Okhla, New Delhi from 3- 5 Jan 2020. For more information, please contact, Tammy Brennan, Producer and Librettist: firstname.lastname@example.org .
I interviewed award-winning Australian writer, Charlotte Wood, for the fantastic European literary website bookwitty.com . It was published on 27 July 2016. Here is the original url: https://www.bookwitty.com/text/a-qa-with-australian-author-and-2016-stella-prize/57961bbeacd0d0170d1e421a . I am also c&p the text below.
From Stella Prize website
Australian writer Charlotte Wood’s latest novel, The Natural Way of Things, is a an allegorical tale about the power relationships between women and men. Winner of the prestigious 2016 Stella Prize for women’s contribution to literature and the Australian Indie Bookseller’s Award, the Natural Way of Things is about ten women who have been kidnapped and taken to an abandoned station in the Australian outback from which there is no escape.
These women have little in common with each other save for the public scandals associating them with prominent men – politicians, footballers, clergymen etc. “… they are the ministers-little-travel-tramp and that Skype-slut and the yuck-ugly-dog from the cruise ship; they are pig-on-a-spit and big-red-box, moll-number-twelve and bogan-gold-digger-gangbang-slut.” The story is set in an altered present that explores deeply entrenched patriarchal structures in society and yet, as the story proves, these gendered equations are a mirage; women and men are equal. This is apparent in the gradual transformation of the two main characters, Yolanda and Verla, who take on what would otherwise be deemed as “manly tasks” of hunting, skinning rabbits and providing food for everybody.
It may be fiction, but it is a landscape that echoes what a woman feels on many occasions. Having worked with women artisans, in a feminist publishing house, curated the visual mapping of the women’s movement in India by documenting posters made across the country since the 1970s and now reading a lot of women’s literature, I am more than familiar with many of the stories women share. What continues to amaze me is how similar the experiences are across continents and how various forms of violence, whether physical or psychological, exist in patriarchal structures across socio-economic classes. The sensation of being trapped with no hope is ghastly, but in Wood’s novel, with no escape route possible as illustrated by the electric fence encircling the compound, it is suffocating. The rules are set by a diabolical corporation, Harding International, represented by the two men hired to guard the ten women; Boncer and Teddy. Mostly their arbitrary rules are horribly violent. Their swift, violent reprimands echo real life.
It is remarkable how the bleak and rough landscape turns into an symbol of sisterhood. In reality this exists too, although it is rarely acknowledged. Unconsciously women who may be complete strangers to each other will band together if need be. This is brought to life in the description of the chained women mastering “the rhythm of marching when chained so none of them is jerked or stumbles. This way of moving, shackled together, has become part of them, unremarked, unconscious.”
Charlotte Wood has imbibed the vocabulary of feminist activism, turning it to her advantage in storytelling, neatly encapsulating a range of feminist discourses.
The dystopian representation of a woman’s world in the novel may be too close to reality for many women. Women, universally, irrespective of their socioeconomic class, are often trapped in situations from which there is no escape.
Charlotte Wood, who is deep in the throes of writing her next novel, kindly agreed to an email interview.
Why this story? What inspired it?
Charlotte Wood: The first glimmer of the story came to me in an ABC Radio National documentary about the Hay Institution for Girls, a brutal prison in rural New South Wales, where ten teenage girls were drugged and taken from the Parramatta Girls’ Home in the 1960s. At this place, which operated in extreme cruelty until 1974, the girls were forced to march everywhere, were never allowed to look up from the floor or speak to each other, and endured all kinds of official punishments. But there were also many sadistic unofficial punishments inflicted on them. I was drawn to writing about a place like this, and how someone might survive it, but I needed to immediately to unshackle my story from the real place – for various reasons, including that many surviving women have written their own testimonies, and I didn’t want to appropriate their experience. Equally importantly, I needed the creative freedom to go anywhere with the story, without sticking to established facts or history.
But a more powerful engine even than this arose in the early stages of the writing, which was that setting the book in the past, in a purely naturalistic style, was not working at all. The writing was dead and sludgy and lifeless.
Around this time, when I was having this difficulty and trying to make the work live, I began noticing something. It was already in my mind that the reason many girls were sent to the Parramatta and Hay homes in the first place was that they had been sexually assaulted – at home, or wherever, and had told someone about it. It was this – speaking about what had happened to them – that got many of them sent there. They were deemed to be promiscuous and ‘in moral danger’. This seemed to me the cruelest thing, that their crime was that they had been abused, spoke the truth about it, and were punished for doing so.
I began noticing things in the news, things happening around me in contemporary Australia, that showed these attitudes about punishing women for speaking up were not of the past. We had David Jones department store CEO Mark McInnes resigning after sexually harassing an employee, we had the Australian Army soldiers Daniel McDonald and Dylan Deblaquiere secretly filming a fellow (female) cadet having sex, and broadcasting it to their mates. In both these cases, the woman was vilified for speaking out. The David Jones employee was labelled a gold-digger, the army cadet became known as ‘the Skype slut’ by her peers. Around this time there were also football group sex scandals where the women were reviled for speaking about it and public apologies by the men were made to their wives, families and employers – the assaulted woman, by implication, deserved what she got. We had women assaulted by the likes of Rolf Harris and Bill Cosby derided as liars and money-hungry, publicity hunting ‘sluts’.
And I suddenly thought, ‘Oh, it’s not old, this stuff. These attitudes are not historical, they’re absolutely flourishing right now.’ And then, partly out of this sudden bucket of cold water and partly because the book was not working – set in the past, written in naturalistic prose – I decided to do what I sometimes do when things aren’t working: try the opposite. So instead of setting it in the past, I thought, what if I set it in the future, or some kind of altered present? Instead of writing ordinary realism, what if it became a bit surreal in its narrative style? And I started writing about ten contemporary, urban Australian girls who find themselves abducted and dumped in this remote prison because they’ve been involved in some kind of sexual scandal with a powerful man or men, and they either spoke about it or were found out.
And at that point the writing just took off, a sudden energy really came into the work, and for the next year or two I got to know my girls and things in the story got more interesting, weirder, stranger, funnier and darker.
And at that point the writing just took off, a sudden energy really came into the work, and for the next year or two I got to know my girls and things in the story got more interesting, weirder, stranger, funnier and darker. I just came to understand that I could only keep writing the book if I let it get weird, as weird as it wanted to. More than any other book I’ve written, I feel almost like someone else wrote this, sort of through me. I don’t believe that of course, but this tapping into the darkest and strangest things in my unconscious, or subconscious mind, was the only thing that would let this book come out.
At the same time, I was actively keeping a lookout for contemporary representations of incarceration – which in our country, mainly come from images and discussion of our immigration detention centers. The grotesque cognitive dissonance between the bland, PR-spin language of corporations that run these prisons and the horror stories emerging from them (all kinds of violence, sexual assault of women and children, self-harm, suicide, illness and death) attracted me as an artist. You go to stuff that is complicated, contradictory. A quick scan of the real company Serco’s website, for example, yielded a slogan for my fictional corporation Hardings International: ‘Dignity & Respect in a Safe & Secure Environment’. That seemed simply bizarre and obscene to me, that a company running a prison could use such schmaltzy language.
How long did it take you to write the novel? How much research was involved? Some of the descriptions such as skinning the rabbits & cleaning the leather with rabbit brain to create fine chamois must have required research.
CW: Around three years. Strangely, not much research beyond the first radio documentary (I deliberately did not seek out more information about the Hay or Parramatta homes), and visiting an exhibition at the National Museum of Australia of images and objects from children’s homes in our country (where many, many children were abused and ill-treated). For the rabbit skinning, I did watch a few YouTube videos (!) and I had heard about using the brains to cure skins on a television program somewhere. I grew up in the country and had friends who lived on grazing properties where rabbit traps of the kind in the book (now illegal) were used. I kept a file of images from the internet of all kinds of things to do with my book, in a Pinterest board – you can see it here. Other than that, I used my imagination rather than research.
Why is the character Verla given so much space in the story especially when it comes to her feverish dreams?
CW: She’s one of the two main characters. Dreams were a way of creating another consciousness, a world where she could drift into her memories and experiences of beauty and culture, a way of escaping the horror of her present experience. Her fever dream where she finds a river and feels the kangaroos rushing past her is a way of looking at the beauty of nature rather than the horror of their prison.
How did you feel while writing this book and later editing it?
CW: For a time in writing this book I really struggled with the darkness of the material, and felt that something must be wrong with me for letting myself be drawn there. But once the first draft was written, and the mess of it was in front of me, then the job of the novelist kicked in: to shape it into a compelling story. The artistic job was to make the material into something shapely and even beautiful in its darkness – but most of all I wanted to create a gripping story. The book’s main question grew more and more urgent: Will my girls escape or won’t they? Who will rescue them? How can they rescue themselves?
Tell me more about the title The Natural Way of Things?
CW: The title comes from a section in the middle of the book where the authorial voice steps away from the characters and muses on whether the girls will be missed in their own lives; whether anyone cares that they have vanished; and ultimately, whether harm that comes to women is their own fault – it’s the ‘natural way of things’. But the title also plays with the question of what a ‘natural’ female body is, plays on the notion of a return to nature and whether there is such a thing as a ‘natural state’ for humans – and whether that natural state is to revert to primitivism in gender relations. It also reflects the book’s interest in the natural world as a redemptive force, if the girls choose to see it that way.
If your book was ever optioned for a film or television do you think it could ever capture the feral anger so dramatically etched in your story?
CW: The book has been optioned for a film to be made by a team of young women filmmakers in Australia – I have handed all creative control to them as I would like the film to be a completely new creation of its own, and for them to have total ownership of it.
You can read an extract from Charlotte Wood’s The Natural Way of Thingshere.
Charlotte Wood The Natural Way of Things Allen & Unwin, Australia, 2015. Pb. pp. 316