The Hate Politik uses a multi-disciplinary performance to question the dynamics of our responses to migration and war. Ramona Depares interviews Kenneth Spiteri, one of the minds behind the concept.
How was the concept for The Hate Politik born?
The concept began with a question: “How can we represent some of the archetypal dynamics underlying current international responses related to migration and war?”
The limitations were clear from the beginning – the theatre performance space is small and we only have two performers on stage. So, part of the concept also involved understanding how we could create a sense of greatness or ‘the epic’ within these limitations.
It was also very clear from the beginning that my colleague Tommi Zeuggin and myself wanted to work in a multi-disciplined context – meaning that the work was never going to sit in one performance genre like, for example, a traditional play or a contemporary dance work. The use of bold visual elements along with a strong music and sound presence was intentionally sought out in order to help create a theatrical language that was diverse in its media as well as unique.
What can you tell us about the creative process as the piece was being devised?
We didn’t begin with a clear story or storyboard. We had decided on the two characters – the King and the Fool – and we had decided that the place they inhabited was going to be an island. From this point of departure, we then began looking at how we could start to create a story along with other members of the team... visual designer Austin Camilleri and composer/sound designer Mario Sammut.
We knew that in order for there to be a real sense of integration in the work we would need to begin developing ideas with these artists from the beginning. Music, sound, set and props are not just supporting factors in our work. They are essential elements of the theatrical style we play in and move the story forward.
What was the biggest challenge translating your ideas to reality?
The biggest challenge was creating a theatrical language that we had not necessarily played in before and making it work. Also, through this work the performance styles change. We were not interested in creating a collage or a work that felt like a revue. We wanted the piece to be cohesive and for each of the theatrical ideas to belong to the same universe. And I believe we’ve succeeded on that front.
Music, sound, set and props are not just supporting factors. They are essential elements
Do you believe that this genre of theatre always needs to deliver a message?
No.
Although the topic treated is quite dark, there is a strong element of comedy within the piece. How did this happen and do you feel that it can be a mistake for actors to take themselves/a production too seriously?
Life always seems to find a way of throwing the ridiculous at times of utmost seriousness. I love this juxtaposition, particularly in the theatre. When dealing with difficult human dynamics – such as fear, difference and power – humour is necessary. So is the sense of ridiculous. I think many artists have a tendency to take themselves and their work too seriously (me included). Yes, this is a mistake. I think we’ve done well to avoid this trap in our production.
The set, while minimalistic, plays a significant part in the production. What can you tell us about it?
We collaborated intensively with Austin in the development of all the visual elements, including the set – floor, props and costumes. My wish was to use elements that one could easily associate with the island of Malta without being literal. The ancient salt pans of Malta have been a great source of inspiration. And, obviously, salt is a key element in this show... not only visually, but also through what it represents. It was once considered currency and, as we all know, salt preserves. Also, Austin’s creature (our third actor) was a significant contribution to this work and to the way we told this story.
Do you think the Maltese theatre community is ready for these kind of performances?
I do not think this work is so strange or revolutionary that it needs preparation for. Of course, it is not at all a naturalist play and it does work within a unique theatrical universe. But this work is not intellectual or didactic. Neither is it an exposé on global politics. The work is very physical and we rely more on images to tell our story than we do on text.
Furthermore, the characters are not developed to explore human relationships in a psychological way. They respond to their environment and the situations less through psychological processes and more through visceral, physical responses. From this perspective, I believe the work is very accessible.
The Hate Politik takes place at St James Cavalier’s Spazju Kreattiv today and on Thursday, Friday and Saturday. The production is supported by the Malta Arts Fund.
www.kreattivita.org