Tuesday, 8 March 2016

Language in historical novels - Paradiso, Paradìxo, Paradise


Language in historical novels.

What possessed me to include Italian language dialogue in my novel? Authenticity? A fascination with language? Embedding the story in a culture other than my own? 

All true and manageable until I realised that the characters would not have spoken Italian but Venetian in 1879/80. More to the point they would have spoken a regional dialect of Venetian. How was I to respond to that challenge?


Three ways
1. I discovered an Italian/Venetian/English dictionary on-line which I used to do a rough version.
2. I asked Claire Kennedy and the Brisbane Dante Alighieri Society for assistance.
3. I sent a call for help to Marina Battistuzzi in Orsago (my great g'mothers village) in Veneto, Italy (I first met Marina in 1988 - a remarkable tale of three meetings over 28 years). Marina informed me that Orsago and the surrounding villages speak a
Trevigiano dialect (Treviso is the capital of this province) rather than a Venice based dialect. She offered to help.Today I received back six pages of translation and notes from her (I had sent her a cut and past version of all the Venetian passages in the novel - more than she expected I suspect). 

There are some subtle differences: papa is Italian pupa is
Trevigiano; thank-you is gràsie not grazie; Paradiso is Paradìxo etc Some words have clear roots common to English 'commode' is 'còmoda' for example and some words are spelt quite differently. Imbecile is 'inbezhilàt' in Trevigiano and 'imbecille' in Italian etc etc.I also discovered that the Italians and Venetians have a fabulous range of insults in their languages.

It has been a rewarding but tedious word by word process.

Tuesday, 1 March 2016

Brisbane’s Radical Theatre History 1965-1985



In 2006 I was involved in a project with the Museum of Brisbane (MoB) where I was asked to develop material for the exhibition "Taking to the Streets - Two decades that changed Brisbane 1965-1985." I found this on my computer and as there is a growing interest in local arts history below are my notes from that time. Apologies for any omissions or inaccuracies. I acknowledge Deanna Borland-Sentinella for her work in helping compile this material.



Chronology of Brisbane’s Radical Theatre History 1965-1985


1967       Yeti Theatre group formed from the Kedron State High past pupils association, with Paul Richards as the driving force behind the collective, with other members including the former Qld Premier Wayne Goss. The group were not in theatre to be professionals, but rather to express themselves and make social and political commentary.

University of Queensland Architecture Student Revues, with involvement of William Yang, Ralph Tyrrell, Max Bannah and others, were first performed at the Avalon Theatre, Sir Fred Schonell Drive. They created original sketches that reflected suburban life, content was comical, satirical and often political.

1968    Foco Club (1968/69) was a short lived but seminal initiative which brought political activists together with trade unionists and artists (musicians, theatre performers, visual artists...) to create a memorable period of political and cultural expression in this performance venue. Paralleling the turbulent student uprisings which erupted across the western world at this time it was subsequently dubbed 'Brisbane's 1968' by some. It was located on the third floor of the old Trades Hall (a magnificant building since demolished) at the corner of Turbot and Edward Street.
       
            The alternative theatre collective group called "Tribe" performed fringe theatre at the Foco Club as an attempt to link student theatre to Trades Hall.

Doug Anders' production of Van Italie's "Motel" (the last part of "America Hurrah") was presented by Dramsoc, the UQ student drama group, in what was then the relaxation block on the St Lucia campus (now where student support services is).  In "Motel" the word "Fuck" was written on the motel wall - causing the police to move in with the intention of arresting the actors but the audience through passive resistance allowed them time to escape.

1969       Twelfth Night Theatre at Gowrie Hall staged Norm and Ahmed, a performance which had police dragging actor, Norman Staines off the stage to arrest him for saying ‘Fuckin Boong’. “Boong” apparently was fine with the arresting officers but “Fuckin” remained an intolerable public obscenity.

1970       The Yeti Theatre group moved into a house at 146 LaTrobe Tce, Paddington.  The Aboriginal Tribal Council moved in next door and the young indigenous kids started to do theatre with Paul Richards about their own stories and suffering.  This prompted Paul Richards to work to establish the Aboriginal Legal Service in 1971.

As part of the Architecture Reviews, a sketch called ‘Zelmo’ was developed around the then vice-chancellor of UQ Zelman Cowen (who went on to become Govenor General of Qld), which played on the Hollywood icon Zorro.  After seeing this performance Errol O’Neil produced a comic strip with the same character of ‘Zelmo’ for almost three years for the student magazine Semper.

1971          Queensland Theatre Company staged the political theatre shows Oh What a Lovely War (an anti-war satire developed by Joan Littlewood and her Theatre Workshop company in the UK in 1963) and Legend of King O’Malley by Australian playrights Michael Boddy and Bob Ellis.

Paul Richards set up the Black Theatre for indigenous people and their stories, performed at a church hall in Leichhart St, Spring Hill.

Ian Reece and CAG (Children’s Activity Group – subsequently Hands on Art) began the earliest form of community art in Brisbane when his band of artsworkers took to the streets and parks to offer ‘art’ to everyone.  Many community arts activists were formed through their link to this work.

1972       The international rock musical “Hair” was performed at Her Majesties Theatre after being refused by QPAC because of its nudity and progressive ideas.

1973       Establishment of a team who worked on the 1974 Queensland Festival of the Arts - a fringe arts component of the highly commercialised Warana Festival. Lesley Gotto, invited Albert Hunt out from the Bradford College of Art to assemble a team (including Richard Fotheringham), which later became the Popular Theatre Troupe.

1974          The first Festival of the Arts was held. Two plays written by Richard Fotheringham that commented on the federal election, “Startrick” and for children “The Clean Air Factory,” were performed as part of the event.  There was also an evening event held in King George Square with outdoor performances of these shows and a guided tour of the then ASIO offices in the Commonwealth Bank building opposite.

The Yeti Theatre group was asked by the event organisers to do some kind of performance to ‘cause an interval’ for the rock concert of iconic early Brisbane band Railroad Gin at Mayne Hall, UQ.  The group staged a mock police scene where they interrupted the concert to arrest  planted actors in the audience without laying any charges or giving their identity to see what people’s reactions would be.  The incident made the newspapers reporting that  the Special Branch of the Qld police had caused the disturbance and the actors never told the newspapers otherwise!

1975          Popular Theatre Troupe became formally established emerging from the Festival of the Arts initiative.  In its first year the PTT performed the shows Puny Little Life Show, Red Cross followed by The White Man’s Mission written by Richard Fotheringham and Yorkshire writer/director Albert Hunt . The National Times compared the show to the best work of the country’s leading alternative theatre group, the Pram Factory,.  In this year the troupe received funding from the Community Arts and Theatre Boards of Australia Council.  Unlike theatre groups from other states the PTT did not receive joint funding from State Government. Far from supporting the troupe, the Qld Cabinet of the time (lead by Joh Bjelke-Petersen) directed the Division of Cultural Activities to never fund the group.  The Queensland Police Force, Special Branch, also kept surveillance on the activities of the company and its members.

8 December 1975: 4ZZZ goes to air. Brings together an impresive array of creative artists and presenters including the individuals who later went on to form ToadShow, a company who produced a series of memorable musical political satires.

1976          During a La Boite Theatre performance of Nick Enright’s production of Edward Bond’s Saved, about 150 people walked out during a violent scene in the play in which a baby in a pram is stoned by a group of youths. The walkout was led by a group of fifty Lions Club members who had a group booking for that performance. The play set in London in the 1960s is about cultural poverty and disenfranchised youth. Around this time La Boite earned a reputation for being alternative, left-wing and, in theatre critic Katharine Brisbane’s words, “the place to go to see the red meat of theatre”.

1977       La Boite Theatre’s production of  Happy Birthday East Timor was instigated by La Boite’s artistic director Rick Billinghurst as a documentary theatre project. John O’Toole co-scripted and co-directed Happy Birthday East Timor with Richard Fotheringham, John Bradley and Lorna Bol. Its dramatic content included a highly critical interpretation of Indonesia’s recent invasion of East Timor plus television footage shot by the group of Australian journalists who were later murdered.

1978    The Popular Theatre Troupe found a permanent home in the hall attached to St Barnabas’ Church at 60 Waterworks Rd, Red Hill which became known as the Community Arts Centre.  Prior to this the troupe had rehearsed at various halls and stored sets, props and costumes across different member’s homes.

1979       Happy Birthday East Timor was re-written and developed by Richard Fotheringham and the PTT under the (ironic) title of Viva Indonesia, a show which the PTT toured nationally.

1980    La Boite’s artistic director Malcolm Blaylock favoured Australian plays with strong political messages. Over a two year period productions such as Stephen Sewell’s Traitors, David Allen’s Dickinson, and Graznya Monvid’s The Enemy Within attracted the attention of the Queensland Police Force Special Branch who attended performances but took no action.

1981    Crook Shop by the Popular Theatre Troupe was banned and declared unfit to tour government schools. The Queensland Education Department said it “did not encourage respect for law and order” 
Mad Hatters (1981-1984) collective is formed by. John Haag, Peter Callinan, Mufrida Hayes, Janelle Skinner, Chris Anderson, Michael Golick, Allison……). This collective of musicians and theatre artists based themselves in Spring Hill and created street theatre often focussed on environmental issues.  The core group also lived together and converted under their house into a local cabaret and children’s activity venue.

The Queensland Community Arts Network was founded and acted as an important advocate for community arts.

1982          Street Arts Community Theatre Company was formed by Pauline and Denis Peel, Steve Capelin and Andrea Lynch. The company operated from 1982 - 1995 and was involved in 28 projects, including short residencies, company shows, Theatre-in-Education pieces and large-scale community productions. Political theatre for Street Arts was based on community participation. They established a venue, The Paint Factory (1987-1991), in a warehouse at Donkin Street West End. It hosted a diverse range of events including theatre, music, circus, dance parties, benefit concerts and community events. It became the defacto Community Centre for West End and attracted alternative arts practitioners from across the city and from interstate.

Queensland’s first Multicultural Fiesta was held in Musgrave Park, South Brisbane.

A second Popular Theatre Troupe show, The State We’re In (A Revue of the Commonwealth Games), was banned from government schools, also for the reason that it “did not encourage respect for law and order”. .   

1983          The Popular Theatre Troupe lost funding for this year and soldiered on with four shows: Limited Life written by Kerry O’Rourke, Wage Invaders, As The Crow Flies written by Michael Cummings and Glenn Perry and There’s More to Life than Snogging Barry directed by Dee Martin and written by Hugh Watson and cast.  After trying to live off door-takings for a year the troupe disbanded due to the lack of core funding after producing 25 shows over their 10 years.

Queensland’s first Community Circus Festival held in Musgrave Park as a culmination of Street Arts’ inaugural community project, funded by the Community Arts Board of the Australia Council.  Emerging from this was the Thrills’n’Spills Community Circus troupe, which lasted for 3 years and devised 5 shows. This troupe finally transformed itself into the Rock N Roll Circus Troupe in 1987.Its legacy lives on in the form of Brisbane based international touring circus company Circa.

 Street Arts also ran a major project in Inala, a Housing Commission suburb, called Inala In Cabaret in this year.  The project included  the community in the development and performance of the work and, following a larger community production, Once Upon Inala, staged in 1984 and follow-up work by members of the company, a number of women from Inala founded Icy Tea (ICT – Inala Community Theatre), a professional women’s Community Theatre Company.
Once Upon Inala was embraced by the Australia Council’s Community Arts Board as a model of community participation and was influential in shifting  Community Theatre practitioners and Australia Council funding guidelines in this direction.

            Errol O’Neill’s new political work Faces in the Street directed by Andrew Ross (Artistic Director) at La Boite and commissioned by the Warana Festival, dramatised the Brisbane General Strike of 1912 and featured Matt Foley as Harry Coyne, MLA, leader of the strike committee. 

1984    Her Majesty’s Theatre was demolished. The last show was a 4ZZZ promotion organised by David Pyle. It featured Norman Gunston and the Fabulous Dingo Family – a precursor to ToadShow bands.
    

1985       The Queensland Performing Arts Complex, was officially opened by His Royal Highness, the Duke of Kent in 1985.

         Unemployed People’s Umbrella (UP. U. 1985 - 1987). Ironically, in a very conservative political   environment a team of artists (Vicki Stark, Donna Graham, ………..) was  funded through the  Arts Office within the Bjelke-Petersen Government to work with a group of unemployed young people to produce a performance to coincide with the opening of QPAC. The resulting show, “Crystal Gutters” caused a degree of discomfort for the conservative politicians.

Order By Numbers, a collective of theatre workers (many from the Popular Theatre Troupe), founded by Dee Martin, Penny Glass, Gavan Fenelon and Nat Trimarchi staged and toured three shows to the end of 1986: A Few Short Wicks in Paradise, Tall Tales From the Altered State and Casualties.  The style was a cross between theatre and political cabaret.

ToadShow’s The Paisley Pirates of Penzance plays @ LaBoite Theatre in protest to (& at the same time as) QPAC’s first musical theatre production Pirates of Penzance - an interstate production. The ToadShow production satirised Queensland politics with the Major-General played by Gerry Connolly in caricature as Joh Bjelke-Petersen. The show also satirised corrupt Queensland police.  The second production by Toadshow this year was Conway Christ: Redneck Superstar @ LaBoite Theatre, a satirised story of Jesus.


Acknowledgments:
Bannah, M. (2005) Personal contributions
Batchelor, D. ed. (1986) Twelfth Night The Morning After, Boolarong Publications, p.21.
Capelin, S. (2005) Personal contributions
Capelin, S. ed. (1995) Challenging the Centre: Two Decades of Political Theatre, Playlab Press: Brisbane.
Comans, C. (2005) Personal contributions on LaBoite
Evans, R. and Ferrier, C. eds. (2004) Radical Brisbane: An Unruly History, Vulgar Press: Victoria.
Fotheringham, R. (2005) Personal contributions
Jones, A. (2005) Personal contributions on ToadShow
O’Neil, E. (2005) Personal contributions
Richards, P. (2005) Personal contributions

Sunday, 20 December 2015

Xmas Missive



Capelin Lynch 2015                                                      34 Doris Street Hill End 



Greetings.
   We say it every year but 2015 has been another beauty.
   There was travel, weddings, house purchases, more travel, family reunions, job changes, writing projects AND PATCH TURNED 100.
   Patch came to us as a stray from the RSPCA in 1994, the year we moved into this house. He was part of helping the kids adjust to a new home. As with most cats he’s very zen, living a simple life catching the occasional bird and bringing it to us as a trophy. He caught a noisy minor recently to celebrate his 100th. Otherwise you’ll find him sleeping in the sun, wandering the local streets looking for treats and watching the possums and brush turkeys walk past him to eat his bowl of dried food. He’s never been an affectionate cat often sitting just beyond reach, his back to us as if to say “I’m here. I’m not going anywhere but don’t think you own me.” Talk about good value. He’s only been to the vet four or five times in twenty one years and, when he’s looking poorly, a worm tablet, administered about every five years, seemed to have magical properties. These days he’s slowed down but keeps his regular rituals. At times he stands and stares at the wall wondering where he is or what to do next, at others he demands to be fed when he’s got a full bowl sitting in front of him and when in doubt finds the coolest (or warmest) spot in the yard and goes back to sleep. I hope I grow old as gently as he has. We’re thinking of throwing him a party to celebrate.
   Other news.
   Nick got married in April to Dimitee Henderson. It was a great event – the service in a cute chapel in bushland followed by a grand reception at “Shangri La” at Wynnum where I remember dancing at formals when I was a teenager. This brought to ten the number of weddings we’ve attended over the past three years. We only had four this year – Liz Capelin and Tim Lang, what a great day, Harriet Bebendorf and Jason Langford and Loani Prior and Julian Pepperell. Nick and Dimitee have just bought a house at Alexandra Hills which settles on Xmas Eve. It’s bigger than any house Andrea and I have ever lived in - two bathrooms - luxury!
   Jess and Warren had a big year. Having got smashed by the rogue hail storm last November they are still waiting on the final repairs to their apartment over twelve months later. They treated themselves to a trip to NZ in the middle of the year where Jess jumped out of a plane and lived to tell the tale.
Brother Mick and I headed off to Northern Italy in June to attend a “Perin” family reunion. Perin is our original Italian surname which became Capelin in Australia – it’s a long but interesting) story. We joined 400 people in the foothills of the Dolomites, San Vandemiano, and met a bunch of Perin cousins, Australians we had never met before and learnt how to pronounce our name in Venetian which the locals still speak. We also door-knocked the local villages and uncovered some links to my Great –grandmother and her first husband. He died on the voyage to Australia – you can read all about it in my forthcoming book. We also lucked on an eighty year old cousin (second third or fourth?) of my Great grandfather. She is the first direct link we have discovered to living relatives in Italy and demands a follow up trip to explore further. Mick and I had a ball over our two weeks culminating in a few days in Venice during the Venice Bienniale. He then headed home and I headed for Sicily for two weeks – that’s a story for another time.
   Andrea has lost and found employment in the latter part of the year and we celebrated by traveling to Laos and Cambodia for a three week holiday. We fell in love with Laos, Luang Prabang in particular, and had one of the funniest days of our lives in Siem Reap, Cambodia, where a young guide spent seven hours walking us around the Ankor Wat temples while regaling us with stories of love and life and ghosts and a one minute version of the Hindu epic, the Ramayana.
   I’ve reached the end of draft two of my novel, Paradiso. It feels like a real book with an introduction and acknowledgements etc etc – all the real stuff real writers include. I have had a couple of people read it and the feedback has been positive. There’s another year to go and a rewrite to plug the holes and cut out the rubbish but it is nearly ready for a publisher to snap up. I wish! That’s the next challenge.
   We’re mostly well and enjoying ourselves. Andrea wants to continue working – her new job is again in the “post adoption” area and she loves her work. I want to continue playing golf badly and writing and don’t miss paid work at all.
   With 2016 beckoning we wish you a peaceful Xmas break and everything you hope for in the next year.                
Love
Andrea and Steve                                                                                                                                                                PS For some photos and stories of our year you can visit my blog at: www.mymissinglife.blogspot.com    e: capelin@optusnet.com.au  
Ph. 07 38445985 Mob. 0423733108 (Steve); 0402819364 (Andrea)
               
                                          
                                                                                                             

Monday, 23 November 2015

When the third world gets to second base

Had 12 hours to kill at Bangkok Airport so we decided to jump the Airport-Link train and head for the centre. Simple. Twenty five minute ride to the end of the line (seven stations from the airport). Grabbed a cab with a couple from Germany and got out at the Royal Palace.

Ignored the Royal Palace and went looking for food. Not much by way of street food and finally found a place that looked promising. Went in, came out. Buggered if I was going to be in Bangkok for a day and eat French Fries and burgers. Found a chain that did passable Thai/Chinese - more than passable in fact given that the dish Andrea ate nearly blew her head off with the chilli heat. And she likes chillis (thats my memory of Bangkok 38 years ago. Pointing at what looked like fantastic food in a market and having to run for the water trough and dive in to put out the fire in my mouth).

Anyway to cut a long story short this story is about affluence and traffic. Phnom Penh is 85% motor bikes and tuc tucs and 15% cars - as was Bangkok in 1977. Now it seems the ratios are reversed. Barely a tuc tuc in sight and relatively few motor bikes. The result: gridlock. We hailed a cab at 6pm and asked to be taken to the closest Airport-Link Station. Our flight was boarding at 11pm. At one stage I thought we might not have allowed enough time - you do the maths. We sat in traffic for an hour and a half moving less than a car length every ten minutes. I swear the traffic lights 100 metres ahead changed at least 20 times before we reached them.

We made the station at 7:30 and were at the airport at 8pm. Easy.
It's ridiculous to want people to remain poor but there is a cost to affluence and status and its called gridlock. Poor Phnom Penh doesn't know what's coming.

Friday, 20 November 2015

Cambodia/Laos Day 16 - Social Enterprise

Social Enterprises (not for profits which work to create job opportunities and training for people with limited access to employment).
        Cambodia and Laos are full of them, all unique and often started by outsiders, but not always, and some more pure in intent than others. Let me list a few: Daughters of Cambodia (working with young girls sold into the sex industry), Friends (a network of initiatives across both nations and in multiple places - mainly working with street kids and mainly in the hospitality and restaurant skills areas), Cambodian Creations (ethical/fair trade enterprise selling hand made jewellery, clothing and toys supporting those with few prospects), Made (providing sustainable and viable employment for girls involved in sex trafficking and/or sexual exploitation), the list goes on.
               My estimate would be up around 100. They also include organisations targeting those maimed by land mines, or damaged by their exposure to war and family breakdown (remembering that Pol Pot's   regime killed 1 in 4 of the Cambodian population in the late seventies). When people speak of his reign of terror they speak about it down to the years, months and days and almost hours it lasted. He was welcomed as a liberator but things soon turned bad as he pursued his extreme vision of a socialist agrarian state. He killed the teachers and intellectuals first and ultimately turned on his own supporters having become paranoid and unwilling to accept the most minor of infractions.
            The intention of these Social Enterprises is always good but I worry a little if the enterprise is actually making people dependent rather than independent. To their credit the majority understand the difference and support their groups to study, learn new skills and then help them to gain outside employment or in some cases to become businesses in their own right. Some provide ongoing employment paying living wages and  healthy and fair working conditions.
            The best meals we ate in Laos and Cambodia were from the Social Enterprise restaurants. The best and most interesting craft (traditional and modern) also came out of these places.
           My favourite was the simplest. These two Aussie sisters in their 20s were on a travelling holiday through Asia and landed in Siem Reap intending to stay three days and five years later they're still there. They opened a coffee shop trained local staff and use the profits to pay for the education of their staff and their families. It's a simple win win formula. They don't have any fancy Community Development philosophy - just a grounded common sense approach to an idea with mutually beneficial outcomes.
          The most sophisticated is the 'Friends Group' whose program is layered with training and successful employment outcomes plus beautiful cookbooks and other merchandise made by the participants. It appears to be run by locals at this point in time.
           The most ambitious is 'Daughters of Cambodia' which is attempting to not only liberate young women from the sex trade, but has aspirations to undermine the sex industry across the board - a big stretch given that they only work with small numbers at any one time.
            What, if any, difference was there from similar ventures in Australlia? The philosophy is common but perhaps the desperate nature of the lives of these people makes the ventures seem so much more effective and necessary. The participants appeared extremely willing; they certainly have an enhanced sense of self and self esteem (as would be the aspiration of Australian based programs); they are enthusiastic to work, something which is sometimes a challenge in Oz. There is no other option in these countries. It's a survival story.

Thursday, 19 November 2015

Cambodia/Laos Day 15 - Rob Overtoom at FCC (Foreigbn Correspondant's Club)

Day 15. Met a Dutchman at the FCC (Foreign Correspondant's Club). We were having an Ankor beer on the rooftop terrace of this dishevelled old colonial building. The view was impressive. A panorama of the junction of the Mekong and one of its major tributaries, one which flows backwards in the monsoon season as the floodwaters push upstream into the largest lake in the country. A giant expanse of water 150 km north.  For the first time in memory the backflow failed this year. The locals put it down to the new dams the Chinese are building upstream along the Mekong. It could kill the lake - the livelihood for thousands of fishing families surrounding its shores (and living on the lake in floating villages).

'Are you local?' I asked. He looked it. Dark tanned skin, a face that had seen a lot of life and an easy manner. 'I've been in Cambodia since 1991' he told me. 'I came here by accident. A medical colleague called me in Holland and said "we need you out here." He was in a Thai border refugee camp where thousands of Cambodians were stuck fleeing the war being waged by the National Liberation Army against the Vietnamese.' I learnt that the Vietnamese, hot on the heels of their success against the Americans had, in 1979, driven Pol Pot and his regime from the country at the same time installing their own clique in power. Ironically Pol Pot's forces then reinvented themselves as the Liberation Army and were again waging a war for the independence of the country.

Rob was 66, had worked as a medico in Cambodia for the ensuing 25 years and had recently retired - not to a quiet life but to begin a new life as a father ((1 year old twins and a 3 year old). He had married a Cambodian woman twenty years ago and hard as they tried had never been able to conceive. And now she, at 47, and he at 66, were beginning a family. He was meeting a few old mates from the Development Community (doctors, engineers, project managers) for a reunion, some of whom he hadn't seen for ten  years. Later I googled him and found he was also a fine photographer having been the man behind the camera of a publication documenting, for the first time, the exhaustive pictorial representation of Cambodian bird life.