Skip to content

Politics with a small ‘p’

Share on facebook
Facebook
Share on twitter
Twitter
Share on linkedin
LinkedIn
Dù Theatre are back on stage after an absence of four years. Founder Simone Spiteri speaks to  THINK about her newly penned play Repubblika Immakulata co-produced by Spazju Kreattiv, the influences that motivated her to write it, and the importance of using daily language on stage. Words by Franica Pulis. 
Simone Spiteri

Repubblika Immakulata revolves around a Maltese family trying to cope, or not, with being involved in a general election, wedding, and local feast all on the same day. 

Premju Francis Ebejer winner Simone Spiteri (visiting lecturer, School of Performing Arts) wrote, and is directing, the satirical comedy as an exploration into Maltese identity and the climate of current affairs. 

‘So is it about political parties?’ is usually the first question most people blurt out when I’m only a quarter into explaining what Repubblika Immakulata is about,’ Spiteri says. But there is more. ‘The play tries to examine our relationship, locally, to straightforward politics drenched in election fever. But that is only part of the whole. The undeniable can’t be ignored. To say we are a country that is not affected, polarised, brainwashed even, by partisan politics would be a straight out lie. However, isn’t everything else that governs the rest of our lives another type of politics too? Don’t we all form part of smaller communities, and even smaller, family (or similar) units?’ she adds.

In the early days, Spiteri’s focus was always the people rather than the issues at hand. She was also very interested in exploring language. 

‘It was a time when most plays in Maltese didn’t tap into the mundanity of how we speak, how we sound, how we behave around each other. I was particularly interested in dissecting naturalistic dialogue. Code-switching from Maltese to English was not something you’d see characters do in most local plays,’ Spiteri points out.

‘I wanted to explore how the understated, rather than the epic and dramatic, worked in our mother tongue on stage and how audiences reacted to that. It was, relatively, a most welcomed effort. Not without the odd purist decrying the meshing of two languages in such a vernacular manner.’ 

   

Then, unexpectedly, came five years of writing commissioned plays for young people. It was not something Spiteri thought she could or wanted to do, but it was a challenge that ushered in a new way of thinking about writing. She describes it as a process that demands a thick skin. Young audiences were the toughest to please, she notes. The task demanded her to be exact, precise, and concise.

‘During these years, the niggling thought of going back to writing for an adult audience started bothering me. I didn’t feel the pull to write for pleasure. It felt more like the need to write to purge,’ Spiteri says.

‘There was plenty to write about. Perhaps that was the problem. All I had to do was read the daily papers or scroll through the latest bully-xenophobic-troll infested comment board online.’

‘Or eavesdrop everywhere on conversations between usually sensible individuals parroting away ‘facts’ straight out of a politician (of choice)’s mouth. Or take a stroll anywhere and witness every last speck of green on this tiny rock being gobbled up. Or observe everyone treat one other with some level of impatience, inconsideration, inhumanity. All I had to do was sit somehow and watch this fast-paced, technologically disconnected world pass by… and try to make sense of it.’

Spiteri reports this time in her life as one fraught with frustration, anger, and cynicism. The raw material was there, but moulding it into a play was proving a challenge. ‘I tried a few times, hated the attempt, and threw it away,’ she admits. ‘Then, last summer, the central character of Anon (portrayed by Andrè Agius) somehow popped into my mind and immediately all the disconnected loose ends clicked together.’ 

Anon (portrayed by Andrè Agius)

‘Here was my pivot to this rapid, sometimes nausea-inducing, merry-go-round. This character, who I didn’t want to define as anything but a voice, who speaks in the play, but you’re not sure is ever heard. Who speaks with authority one minute, but doubts that very same veracity a moment later. Who can be anyone… and no one at the same time. Who, by being there, is a blank canvas for us, upon which we project all those layers of beliefs, self-perceptions, subjective experiences of failure and success as a country, all the divergences of our multifaceted identity,’ Spiteri adds.

That’s how Repubblika Immakulata came to be. But that is not where the writing ends. Currently there is a new writing phase during which the actors imbue the script with their own interpretations during rehearsals. Then, there is the final act of writing: the process of each audience member looking into the metaphoric mirror the theatre stage should always be.  

Note: Repubblika Immakulata will be performed at Spazju Kreattiv, Valletta in March and April. For more information and tickets visit: www.kreattivita.org/en/event/repubblika-immakulata/

Author

More to Explore

Fostering Creativity and Community: The ART Connect Project at the University of Malta Library

The Library is, in many ways, the beating heart of the University of Malta (UM). The pulse of intellectual life can be felt most profoundly amongst the quiet shelves lined with books and the many students and academics lining the Library’s work desks with their noses deep in their projects. In this sense, the Library is also symbolic of the University’s overall health and vitality, so it is important to balance serious work with serious play.

The evolution of the ART Connect Project has been a journey of dedication and transformation. Inspired by the vision of new librarians and a desire to revamp the Library’s decor, what was once a seed of an idea has now matured into a vibrant platform for artistic expression, collaboration, and community building.

The ART Connect Project aims to connect people through creativity, foster collaboration, and transform spaces, inviting artists and art enthusiasts to celebrate the power of art.

Meeting Challenges Halfway at the Malta Book Festival 2023

Malta boasts 58 registered publishing entities, hosting hundreds of authors writing books across a wide swathe of genres and formats. These numbers emerge from an NSO survey into the book industry, conducted on the basis of the year 2021. Effectively, we could say that there are ‘more authors than churches’ in Malta, with over 700 authors populating the National Book Council’s database.

This hints at a varied industry, the stakeholders of which all fall under the remit of the National Book Council, which seeks to assist, support, and represent Maltese authors and publishers, as well as related industry stakeholders such as translators and illustrators. While the Maltese context does have its own particularities, neither is it immune to the industry’s wider, global realities, a case in point being the price hike on paper caused by the war in Ukraine, which continues to be felt across the board. Maltese publishers must also bear the brunt of this unfortunate phenomenon.

The National Book Council continues to advocate for increased governmental support to aid publishers, whether in this particular challenge or others, and it also offers direct financial aid through the Malta Book Fund, which last year issued a grand total of €120,000 to various industry stakeholders, targeting projects of high cultural value which may not have a straightforward route to market success.

But while some challenges may be met halfway through financial incentives, others require a systemic — or cultural — shift in attitude from all parties involved, which takes a certain degree of workshopping to be borne out. The slow uptake of ebooks bears pondering (the NSO survey saw 146 new ebooks issued in Malta in 2021, contrasted with printed counterparts of 418 in the same year), as does the worryingly high number of authors published without adequate contracts in place.

Maximising Solar Panel Efficiency: The DustPV Project

The DustPV project, led by Prof. Ing. Joseph Micallef, aims to determine the optimal timing for cleaning solar panels using innovative sensor technology and weather data analysis. By addressing the challenges of dust accumulation on photovoltaic panels, the project seeks to enhance solar panel performance and contribute to Malta’s renewable energy goals.

Comments are closed for this article!