 |
 |
 |
 |
 |
2003-10-06 - 10:08 a.m.
Dina Zaman. A name synonymous with the Malaysian writing scene. IMHO, One of most talented contemporary writers I’ve seen in this country.
We’ve probably known her from her articles, published in her own column in Malaysiakini.com; 'Eye Spy'. She has thus far published ‘Dan Dia jadi Bidadari’ in Indonesia and ‘Stories from the Palace’, a play produced by Dramalab, directed by Zahim Albakri . She co-edited (along with Mohammad A Quayum) ‘Silverfish New Writing 3’.
About a week ago, I received an e-mail that had informed me about her new play; Harakiri. Harakiri will be staged at the Actors Studio Bangsar from the 8th to 12th October, 2003.
The following is the e-mail interview I had carried out with her earlier this week. I asked her a few questions about herself and of the play she had especially written for Chakra Works:
NZ: Dina, some of us here are more familiar with you being a newspaper columnist. Tell us more about yourself.
Dina: I never know how to answer questions like this. How do I tell more about myself? I’m not that interesting. Ok, ok, I am the eldest of three girls. We’re originally form the East Coast – Bah ni orang Kelantan while mummy orang Terengganu. My sister Liza is a teacher, married and has a funny son. Nora, the youngest is a medical student.
Aiyo apa lagi nak cite ni? Ok, my younger days were spent overseas – my father was with Wisma Putra. When I was 11, he gave up his diplomatic career coz dia takut we all tak de ugama. So we came back and learned to settle in Malaysia. Bab language tu – very de aiyoyo, we spoke little Malay and a smattering of other languages. Because we were so teruk, my parents sent Liza and I to sekolah asrama to belajar jadi Melayu! God knows if the experiment succeeded or not.
I am married. My husband is a engineer. I had a cat but she ran away.
NZ: Where did you grow up and go to school?
Dina: I grew up all over the place. Lived in Japan, Russia, US, UK and of course Malaysia. Schools were rojak – from private schools (overseas) to government schools. Then I did my first degree in the US; my masters in the UK. I think this is why I find it weird to live in one place only. I’m used to traveling and mixing with people from other cultures. While Malaysia inspires the stories I write, I can’t help but feel that I am more comfortable away. Then again, I can’t stand KL! I like the country life. I pening duk KL ni.
NZ: Is this your first try as a playwright?
Dina: In 1994-5 I got involved in Dramalab’s ‘One by One Series of Monologues’. But this is my first play. Actually, my first real play is ‘Stories from the Palace’. Harakiri was a film script! But when we started Chakra Works, we needed a small script (I tend to write over the budget stuff, mana tak producer menjerit?) So I offered Harakiri.
NZ: How does it feel like to see Harakiri given a life?
Dina: At this moment I feel sick. One – I have not attended rehearsals at all. This is because I gave the director the freedom to do whatever to do whatever he wanted, and also I tend to panic lah. So I am going to be very surprised when the show starts. I am worried. Will the actors carry it off? Will we get the money for sponsorship? Will the play bomb or be successful?
In some ways I feel happy. Finally something sitting in my PC coming to life. At the same time I feel naked. Alamak – 10% of KL is coming to see this play. Dah lah ni play korok – nothing intellectual. AIYOYOYOYO.
NZ: How did you prepare for your writing of the play?
Dina: As I said earlier it was a film script. I based it on my observations of my colleagues when I worked in Astro. Tapi it’s not autobiographical la. I wrote it and ta daaa…
NZ: What was the writing process like?
Dina: First draft and then revisions, revisions, revisions! And then a reading. Lepas tu revisions lagi. But that’s for plays.
For my fiction – I dream, jot down notes and then try to map the story in my head. Lepas tu I write. Then I workshop it in an online workshop site and get banged left and right. Then I revised after reading the critiques.
It’s a never-ending process. I feel rather alone – who can I turn to when it comes to reading my work? I need help etc, etc.
NZ: Were there any/many obstacles in completing your play?
Dina : Completing it no. Getting is produced yes. People liked the play but didn’t want to produce it cos they thought it was expensive. Anyway now we’re going to stage it. We need the money. It’s tough – nobody wants to deal with us cos we’re new. But I guess this is something we have to learn to deal with. It’s a learning process.
NZ: How did you develop the characters in Harakiri?
Dina: How? I based it on my friends in Astro. But along the way, that didn’t work so I had to visualize and putting the characters on paper is very different. Suddenly on paper they sounded strange. So I had to make them more realistic.
NZ: Without necessarily giving away the plot, could you tell us a bit more about the characters you’ve created?
Dina: The characters are basically people you work with in corporations. You get the blur, innocent sotong… The Bully… The aggressive career woman… The penyemak… I’d like to think we have got most of them in the play.
NZ: Were there any parts in Harakiri that were omitted to ensure it can be staged?
Dina: Yes!!! Rajen (Harakiri’s director – NZ) killed my Arab terrorist!!! I am upset! But we had no choice. Originally when the chaos is happening in the office, suddenly the characters see a plane heading their way. An Arab terrorist comes out, demanding to know if this was America. The cast tell him no, ‘Ini Malaysia La’. Then the terrorist realizes he’s reading the map upside down.
Now – it’s different. My Arab terrorist is a stewardess. Uh. And my casts say different things. I asked Rajen, Jen, Apa Ni?! He said, Oi, you nak we all masuk jail? ISA? The US Embassy will probably thing we’re supporting Al Qaeda. We’ll be in trouble. So I said: But it’s tough in cheek… It’s supposed to be demented… I tak suka stewardess…
Rajen: You want to go to jail, you go.
Sigh… What to do? But Rajen has a point.
NZ: Harakiri is Chakra Works debut show… Tell us more about ChakraWorks.
Dina: Chakra Works was formed as a collective of experienced local writers, directors and producers. Having all worked together in various companies, the decision to band together to form a company based on shared ideas seemed obvious.
Chakra Works aims to pool resources for all types of performance arts. We encourage new writing, new performers, and new concepts from the local community while maintaining a balance with the traditional culture, arts and history of Malaysia. We also will take advantage of recent developments in video and sound design technology to create original, thought-provoking multimedia performances.
Chakra Works strives to keep all productions Malaysian with a global appeal.
Chakra Works is planning to launch itself with the debut of Dina Zaman’s short play, Harakiri.
Chakra Works 2004 calendar shows a full diversity of this theatre group. Undertaking both English and Bahasa Malaysia theatre production, Chakra Works also promotes and experiments with traditional Malay culture in dance and dance drama. We also infuse Malay, Indian, Chinese and other Asian myths, legends and folklore elements into our productions for a more colourful and magical effect.
NZ: How did you get to know the director of Harakiri, R. Rajen?
Dina: Haaaaaa, Rajen and I worked together in Astro. Dulu someone wanted to matchmake me and Rajen but jodoh tak sampai, terus jadi member… I like Rajen. I respect him. I believe Jen has the talents and skills but has not been given the opportunity to showcase his work. One thing I like about the friendship is Rajen and I can have a good ding dong but we keep it there. Professional. Kalau orang lain, dah kena sumpah kot. But Rajen knows when to keep it professional. Rajen’s play, ‘Cinta Arnab’ wom awards in the early 90’s.
NZ: Do you have any future plans for the work?
Dina: What plans? I just want this to be successful. I hope it entertains people. Harakiri won’t win any Oscars or Tonys, ha, but I hope people like it.
NZ: Do you have any other plays in progress?
Dina: I’ve got ‘Stories from the Palace’ but I’m itching to write two plays. One based on a story I wrote that was published in Indonesia ‘Dan Dia jadi Bidadari’ and another, I’d like to base on my favourite author’s book – Yasunari Kawabata’s ‘House of Sleeping Beauties’.
NZ: Is there anything in particular that you would like your audience to know going into the play?
Dina: Harakiri is not about the noble art of Japanese Suicide. Now people think the play is a Jepun play. Can you imagine if a busload of Japanese tourists were to come? Hahahaha!
--
Harakiri
Harakiri is a corporate satire concerning the trials of being employed and having a suicidal madman as a colleague. How do the employees of Besi Karat Sdn Bhd cope with the situation? Their boss is hopeless and all Dinsy, Manja’s unemployed best friend wants to do is eat. Manja, Panjang and Dollah have no choice but to save the day. Do they in the end? Harakiri is filled with intrigue, mystery and pure dementia.
“We feel that there is space for a new theatre company, especially one that enjoys being Malaysian and we want to promote that in our work. Harakiri is also a fun play; it’s small but who says plays need to be serious?” R. Rajen questioned.
Ishak Allan, the producer of Chakra Works agreed. “There is a lot of space for arts practitioners and activists to get involved in. We would like to thank The Ritz Carlton and The Actors Studio for being supportive of a fledgling company,” he said.
Harakiri will be staged at the Actors Studio Bangsar from the 8th to 12th October, 2003. Tickets are at RM27 (adults) and RM17 (students). For more information, please call Ishak Allan at 012 6262 596 or The Actors Studio Bangsar at 03 2094 1400/0400.
Oleh Nizam Zakaria
