Sonali Bhattacharyya, a dynamic South Asian playwright and screenwriter shaping the theatre landscape. With a passion for storytelling rooted in her cultural heritage, Sonali brings diverse narratives to life. Her award-winning works include "Chasing Hares" (Young Vic), "Two Billion Beats" (Orange Tree Theatre), and "Megaball" (National Theatre Learning). Currently, Sonali is commissioned by Bristol Old Vic, Chichester Festival Theatre, Kali Theatre, and Fifth Word. She also has drama series in development with Dancing Ledge Productions and Anagram.
In an interview with Asian Voice, Sonali discussed the portrayal of diverse female characters in plays, audience reception to these characters, and the importance of investing in female voices in playwriting and screenwriting.
What is the objective behind your portrayal of diverse female characters in your play? And how do you intend to empower or advocate for women through your work?
When considering the portrayal of women and girls, especially those from minority backgrounds like myself, I often feel that mainstream depictions lack the depth and complexity of brown women experiences. As a brown woman, I've observed a dearth of narratives that reflect the diversity and intricacies of our lives. It's not merely about shedding light on our existence as if we're anthropological subjects; rather, it's about responsibly sharing our stories and histories with one another.
Being part of a minority group, particularly as a woman, necessitates a nuanced understanding of both our own culture and the majority culture in order to navigate society. This unique perspective inherently offers insights and perspectives that may not be readily apparent from the majority viewpoint. Therefore, I believe there's a responsibility to tell stories that capture this universality but from our distinct perspective.
For example, in my play "Two Billion Beats," I sought to explore a narrative rarely seen before. Coming from a British Asian, Bengali Hindu family, I experienced firsthand the divide within the South Asian diaspora following the events of 9/11. The distinction between Muslim and Hindu identities suddenly became significant, altering dynamics within our communities. This story, while deeply personal, also reflects broader societal shifts and divisions that continue to shape our interactions today.
Are there any trends or shifts in audience reception towards works created by female playwrights or screenwriters?
There's still a glaring lack of representation for marginalised groups in the arts, as consistently revealed by surveys. However, when it comes to work commissioned and produced by women writers, there's evidence of substantial audience engagement. It's crucial to recognise this and move beyond viewing marginalised creators solely as demographics.
For minority women, including those who are black, brown, or disabled, the emphasis should be on their merit as writers rather than reducing them to their identity. This shift is essential, especially when their work is unfairly labelled as risky solely based on their demographic. By acknowledging the audience appeal of their work, we can challenge such misconceptions and encourage broader representation in the arts.
In theatre, diversifying voices is paramount to building a more inclusive audience base. This means actively seeking out and supporting works from a variety of perspectives to resonate with a wider segment of the population. Similarly, in screenwriting, recent breakthroughs by British women writers highlight the significance of supporting diverse voices in film and TV.
Why do you think it is crucial to invest in female playwrights and screenwriters? And how can the industry effectively support and foster this investment to create more inclusive and diverse narratives?
Several key obstacles hinder the entry and sustainability of playwrights, particularly those from working-class backgrounds. The lack of adequate financial compensation within the industry poses a significant barrier, stemming from broader issues surrounding funding and support for the arts. It's crucial to recognise that art and culture are not mere add-ons but integral components that enrich society and enhance quality of life.
Even after breaking into the industry, women face challenges, particularly with career interruptions for caregiving responsibilities. These breaks often lead to significant hiatuses, with limited support for re-entry as freelancers.
I've faced a significant career hiatus due to bereavement and caregiving responsibilities, revealing the lack of support for individuals in similar situations. There's a need for industry-wide initiatives to create a safety net for those stepping away temporarily. Organisations like the Writers Guild are starting to address this issue, ensuring individuals, especially women and marginalised groups, don't face permanent exclusion due to life events.
What advice would you give to aspiring writers and writers who are just starting out of their careers?
The key aspect of being a writer, which took me some time to grasp, is the importance of one's unique worldview and perspective. No one else can replicate your take on the world, and this is what sets your writing apart. While everything else about writing may be challenging, your individual perspective is something that cannot be taken away from you.
While it's natural to seek validation and feedback on your work, it's essential not to compromise your unique perspective in the process. Strive to maintain the authenticity of your voice while also being open to constructive criticism and opportunities for growth. Ultimately, it's about honouring the initial spark of inspiration that ignited your journey as a writer and staying true to yourself amidst the challenges and pressures of the industry.