My father was a Marxist. My brother is a Marxist. And I am fascinated by Marxism and its influence on eastern society and culture. I grew up hearing stories of political hysteria. My family left their home to escape and survive it . . .
As an emerging playwright, the dramaturgical program is crucial to my growth and development. Embarking on my first full-length play Venus’ Daughter has been a beautifully illuminating and relentless challenge over the last four years . . .
Beyond the obvious benefits of working with a dramaturge—structure, guidance, support—this dramaturgy program gives me the opportunity to engage in the process of decolonial aesthetics; a structure to move in and beyond the borders of what theatre can be . . .