"MULTISPRAK GIVES YOU MULTI POSSIBILITIES” JOSETTE BUSHELL-MINGO IINTERVJU AV VANJA HAMIDIISACSON OM FOR2STALLNINGEN NAR VINTERNS STJARNOR LYSER HAR. INTERVJUN GENOMFORDES DEN 23 APRIL 2018. Josette Bushell-Mingo ar skédespelare, regiss6r och sedan 2018 prefekt vid inétitutionen for skédespeleri vid Stockholms konétnarliga hdgskola, Nar intervjun gjordes var Josette konginarlig ledare for Ty$t Teater. Vanja Hamidi Isacson ar dramatiker och doktorand i performativa och mediala praktiker vid Stockholn konétnarliga hégskola 8 PROCESSER, PRAKTIKER OCH TILLVAGAGANGSSATT VV Kan du beskriva forestllmingens form fr mig som inte sig den? seer ape em me ra ‘men ocksi mellan andra talade sprak. Perth ecko hss ngage mine kommentarer om, och ven om samiskan. " bs Seek wratade ven samis o vhs eiacedeomimlts esantialpeampme V_Tidigare nimnde du cross translation, vad menar du di? J Det betyder at en minniska kan sige nigot pl teckensprik och den andra INTERVJU MED JOSETTE BUSHELI-MINGO uoarene, som net eckenspdig, ae der eg sige om dn r- nar ad dren vr ou can wha ne hn Swedsh sign ngage, sel yo anor if cre slo” and you Know che guestion ta ig den Male elbtrand ap harman ano yper igual om J anya oes ge Thee naz Otte vp tnlgg)youcan er tt ssomething pose. "Mon iva” Gone Bethe) fou conte diference bt you sa ad ht ngs guage Vv Hur viktigttycker da som regissor at det ir med ordagrann eller Kinslo~ rmassig begriplighet fr publiken? J Jagtyckerallid ate dete viktige. Jag vet inte hur du kan vara regiss®r om. dda inte vill att minniskor ska forst vad som hinder. Men jag tor att jag it tite modig med at Hea publik rst saker ola time, illexemapel at de nordsamiska ‘ochsydsamiska ska fost Ss, och sen nist spi och nista. Teckensprakssirukturen ‘becyder att det kommer en bild,snabbare ini taladesprik, si vad folk férstir kommer ‘med olika tajming. Men det beror pi vad du vill, how mischievous you want to be, how provocerande du vill vara fr publiken. Fér alla vil rst all, ‘Jag skrattarofta it det ~ vad beeyder dec att begripa, vad betyder det ate understand? Vad betyder det at jag hat fSrstee alle? Folk kan ita pi meen dar alla pratat svenska och efterstsiger de: "vad sa han, jg fatar ingenting?” Och politiske Spelar det ingen roll fyou understand, you never make the fucking political change anyhow. Da férstar preci hur smartsamt det var, du Srsti preci hur fruktansvirt det var and the same shit i sill going on. So you understand nothing, Jag bir lite ‘provoceradav det dir ordet, Len regissSrsprocess, say yes, jog vill at alla ska frst Men Tyst Teater have taught me thae when you understand isa debate. VYousaid in aninterview that it wasan extraordinary possibility use multi pile languages on stage simultaneously, what kind of possibility isit for you azadirector? J Because Ido alot of political work, I think it was to give those languages ae ee dioc eats reo sy oer nr rec guns el ge tens ey sae Paani eSbon temtce oa hy gg wh depndosond ue met ipa, cing eons ato fhe coer an eft Ad ey diy anesthe SO cage coy Ty cod the jee thought terns op hy SEI te sen a hy oe prope go wiht bec 2h heb eh els ey oe ee tc an epee gh Pa oso pany Tae erencton san oman es See eae! ngnp wept enosmthclte De som talar medinkieli siger at “vi Se Rreyckta, ceckensprikstalarna siger: "nay vide fSrtryckta”, och samerna samima sak, Hur méter vien annan grupp minniskor, 150 PROCESSER, PRAKTIKER OCH TILLVAGAGANGSSATT som sitter j precs samma situation som os, utan att kompromissa, men utan att bli offensive, utan ae siga: "din kultur betyder ingenting”, tan itlle ta et steg till baka och lyssna? So we don't repeat what the majority is doing to us. It was a very interesting process for the Swedes in the process, and particularly forthe Swedish actor involved, who of course isa part of the white, normative colonialis legacy som svenskarna har gjort. He was a representative ofall that, Ie was tough for biz, and it was tough to say: "ths is your she brother”. It slike being British. Britain 4s the reason why half of the world i at war. It's so mycket skam, ag kan inte prata ‘om det, But something really happened between the actors, and how they grew. It was the most wonderful company, their patience with exch other was extraordinary. Processen, och fSrestilluingens ionehall, var bitvis vildigetufla, Fér det hit var folks liv: sprik, Rrryck och mak. At the end of the day I get alot because T am British. Ar the end of the day Ispeak. At the end of the day my language is not forbidden. But to have to fight every day, fight all ofthese racist, nationalistic and xenophobic cliches and stereotypes, som hinger ihop med sprik. Det vi har gjort Ihr, pi teatern, dr enkelt, men fr de som lever med dee hi i det. fy fan, fy Fan. Nisa fdga, VV Was the process longer than normal? And did you have a script when you started? J) Yes slightly longer. We had a manus, but ie was totaly manipulated and changed because ofthe languages. It was important to allow the manus _grow, asthe actors worked with their anguages. They would come further and further and sometimes they would say: “actually, Ithink I have to take this out”. Tcan not claitn half of what they did, c was them, Until we come to atime when this kind of| ‘work is quite normal, i's ery important tobe clear with the artists and actors~ you can do this without becoming involved. Its your language. We'll do our best bat tha final pare is you. Here, because of the way we worked with the pice, that was never a question. They owned i, ie was always their piece realy. My favourite part was the ending, We went to.a meiinkili dagis and met the children. We filmed them and then we projected them a the end, so they were about six meters all. And so the last image of the performance was the children coming forward, like Gods, looking down at che actors, The first time derasfOtildrar kom ~ det var hiftige I was absolute magic! No matter what happens, all ofthis belongs to the children. Because they are Gods, they are amazing, V_Ardetisluscenen, dalla spriken blandas? Di de lier dikeen "Nar vinterns stjirmor lyser"? Detar ju ext eydlige hoppfull slut, dir hoppet finns ett ter- tagande, J For us as minorities we are always telling our story of survival. That's all it ever is about, For me thar's very important. It doesnt mean ies not a new story. The ending, whether it’s hopeful or not hopeful, is alays hopeful because we finns, we beritar, folk lyssna, INTERWJU MED JOSETTE BUSHELL-MINGO 181Vet finns en viktig vindpunke itexten di Irma lser dikten pé mednkiel, som on inte kan, Jag upplever at hon liver in spraket och ae dete dir som dtererdvrandet ligger, och hoppet J) Andrealising that omhow you will mee yourelfxt some pln, you will fermi re ets or we fae, 90 one oat without ging through your cule through your language. lms could have met, Mh sense mesoscale, wea . fs that are watching. You eli EU going ome. porn for hse comm ’ “fo wits youseeomrshing, wen yousceit you ctr 0d when you ctr then you ae ot aloe. Teenie in one heared ld lady en sin, om gripe in hand oh bar grtr and then heaes dtr brite rng vad om bade it bene ivan wiseed [alco change yourhinory beet, which means Joute no low And this hin i what happens with work of minortetap Testor momen I head esl ave the ori ny ody ean ary che, can repen cern ina iret wy. “ "Working inchs mulipik gives you mal posses, psi som lkhave never seen before. That's whar'sso good, you have never een before 152 PROCESSER, PRAKTIKER OCH TILLVAGAGANGSSATT [Nar viterns SiamorIyser har Manus Ninna Tersman och Mona Mérthund Regt Josette Bushell-Mingo. Produktion: Riksteaterns Tyét Teater i samarbetemed Giron Sémi Tedhiter Norrbottensteatern och Tornedalstentern, 2014 Sprék:taled nondsamiska, sydsamiske, medinkial,finske och svenska samt finskt-och svensktteckensprak Piiser handarom va ter som genom en skoluppgiftbérjansdka isin egen samiska identitet och historia, INTERVQU MED JOSETTE BUSHELL-MINGO 159