What's happened
The production 'SUPPLIANTS OF SYRIA' combines Greek myth with testimonials from Syrian women refugees in Turkey. It aims to foster dialogue on asylum and displacement through participatory theatre, including live debates and community engagement, highlighting the power of art to challenge negative perceptions and promote understanding.
What's behind the headline?
The project exemplifies how theatre can serve as a form of social activism, especially in contexts where political discourse fails to address refugee issues effectively. By blending ancient myth with real testimonials, it recontextualises displacement as a universal human experience rooted in cultural history. The participatory approach fosters empathy and direct engagement, which can influence public perceptions and policy discussions. The inclusion of community voices, especially from women refugees, underscores the importance of ethical storytelling and autonomy. This initiative demonstrates that art can be a catalyst for social change, potentially impacting local attitudes and fostering more humane refugee policies. The emphasis on dialogue over monologue aligns with contemporary trends in community-based arts, positioning theatre as a tool for reconciliation and understanding rather than mere entertainment.
What the papers say
According to The New Arab, the play aims to spark reflection and change perceptions of asylum seekers by inviting dialogue and community participation. Artistic director Michael Walling emphasizes the importance of human contact and cultural exchange, noting that hearing testimonials firsthand shifts perspectives. The article highlights the ethical considerations of paying refugee women for their stories, ensuring autonomy and dignity. Contrastingly, the article from the New York Times discusses the broader impact of arts in Iran and the resilience of underground artists, illustrating how art persists despite repression. While the Iranian film focuses on resistance through cinema, the Syrian theatre project uses live performance to foster understanding. Both stories underscore art’s role as resistance but differ in medium and context—one in a repressive regime, the other in a refugee-hosting community—highlighting the universal power of creative expression in challenging oppression.
How we got here
The play draws on Aeschylus' ancient Greek myth of refugees seeking asylum, linking it to contemporary Syrian refugees in Turkey. Artistic director Michael Walling and collaborators aim to humanise refugee stories and challenge monological narratives by encouraging dialogue. The project was developed after Walling’s involvement in EU-funded refugee response initiatives and community trust-building efforts in Turkey, including collaboration with the Meryem Women's Cooperative.
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Aeschylus was an ancient Greek author of Greek tragedy, and is often described as the father of tragedy. Academics' knowledge of the genre begins with his work, and understanding of earlier Greek tragedy is largely based on inferences made from reading hi