GANESH VERSUS THE THIRD REICH

The story begins with the elephant-headed god Ganesh travelling through Nazi Germany to reclaim the Swastika, an ancient Hindu symbol. As this intrepid hero embarks on his journey a second narrative is revealed: the actors themselves begin to feel the weighty responsibility of storytellers and question the ethics of cultural appropriation.

Cleverly interwoven in the play’s design is the story of a young man inspired to create a play about Ganesh, god of overcoming obstacles. He is an everyman who must find the strength to overcome the difficulties in his own life, and defend his play and his collaborators against an overbearing colleague.

The show is made before our very eyes and takes on its own life. It invites us to examine who has the right to tell a story and who has the right to be heard. It explores our complicity in creating and dismantling the world, human possibility and hope.

Ganesh Versus the Third Reich is a work for the near future, seemingly impossible to make.

AWARDS & PRIZES
2009 Kit Denton Fellowship
2011 Melbourne Festival Age Critics Award

Patrons are advised that the performance of Ganesh Versus the Third Reich contains coarse language, adult themes and portrayal of Lord Ganesh which some may find troubling. The production is a work of fiction and does not purport to be an accurate representation of historical fact or scripture.

Statement of Support for Ganesh Versus the Third Reich
October 2011

“As I write this I have next to me a clipboard that was given to me in India. It was intended for Indian primary school students and was printed in Mumbai. On one side there is a cartoon figure of Ganesh as an impish 8-year-old with big eyes, looking cartoon cute. On the back of the board is the same Ganesh riding a motorcycle, with a human boy behind him.

When we consider the play, Ganesh Versus The Third Reich, we should not become humourless fundamentalists. Ganesh is lovable. Every Indian knows this. He lends Himself to cuteness and intimacy. While I haven’t yet seen the play (I plan to rectify this next week), I have had extensive conversations with Peter Bridges, the chair of the board of the Back to Back Theatre Company, and also an independent friend of mine – also a Hindu – who recently saw the play. From these conversations, I’m completely convinced that the figure of Lord Ganesh, as portrayed in the play, is treated lovingly and respectfully. The play itself is a plea for tolerance and humanity, and against totalitarianism. And the work of the theatre company with the intellectually disabled is only worthy of praise.

The idea of Parvati sending Ganesh to Germany to reclaim the swastika is charming, as Ganesh is charming. Since the swastika represents Ganesh (among other things), He’s the man for the job. And shouldn’t we do something when a symbol of infinite Consciousness is co-opted for evil? And Ganesh is not only charming, the play depicts him as a powerful force for good. Hindus should not be outraged at this play. They might be justifiably outraged that Hitler stole their pure symbol, so that when Westerners visit India they are shocked to see swastikas. Let’s be happy that Lord Ganesh is doing something about it.

I call on the Hindu community to have a sense of proportion and to keep our sense of humour. No disrespect is intended. Indeed, the play educates and inspires love for Ganesh. Let’s lighten up.

ADDITION AFTER SEEING THE PLAY:
I took the opportunity of seeing the play the other night. In fact, it is a play within a play, or two plays entwined. The Ganesh plot is actually less central than the actors’ plot, in which the actors in the Ganesh play interact with the director, dealing with themes of domination and intolerance. Taken together, it’s an interesting and engaging theatre experience. The performances of the intellectually disabled actors were quite extraordinary. But this is not a theatre review.

I would not change my previous remarks: Ganesh is treated respectfully and affectionately. He performs great actions (saving the Jewish character) and shows his divine powers at various points. I was moved to see him on the stage and felt at moments that I was having his darshan. Ganesh never says off-colour things: the actor who plays Ganesh says them when he takes his Ganesh head off. Any theatre-goer understands these conventions and distinctions.

Hinduism is as broad and tolerant as a mother. No religion has a greater breadth of acceptance and understanding, seeing everything as manifestations of the One Consciousness which is God. It sees everything as a theophany, a play of the Divine. It also has a sense of humour. Hinduism is justly famous for its concept of the Sanatana Dharma, a notion of religion in which all other religions are not denied or rejected, but given their appropriate place. Let fundamentalists rail about doctrinal matters, I would like Hindus to take a stand for tolerance and broadmindedness.

Mahamandaleshwar
Swami Shankarananda
Director, Shiva Ashram

Reviews

“Courageous, confronting, intelligent and magisterially considered theatre. … the towering achievement here is to stimulate discussion around issues of cultural appropriation, the rights and responsibilities of those who imagine and speak for others.” For the full review go to Behind the Critical Curtain

– Cameron Woodhead, The Age, 1 October 2011

“Back to Back Theatre, I salute you. Theatre people, I implore you to not let an opportunity like this slip past. A truly staggering piece of theatre. Five stars.” For the full review go to theatrepeople.com.au

– theatrepeople.com.au - 1 October 2011

“Back to Back have never had any truck with "special” treatment: their work has a harsh honesty that makes it impossible to patronise. But they also specialise in moments of breath-taking beauty that assert the sheer power of their skills. There are images I won’t forget: the impossible poignancy and strangeness, for example, of Ganesh, dressed in a business suit, standing before Hitler, who is played by Simon in a ridiculous knitted Hitler costume. Or an evocation of Indra’s net, when a back curtain of stars was lifted to reveal a blazing light, like a sunrise. I’ve never seen anything like this show, because only Back to Back could make it. They are, simply, our most important independent theatre company.“ For the full review go to theatrenotes

– Alison Croggon, Theatrenotes - 7 October 2011

Project Funders & Partners

Developed with support from the Australia Council for the Arts, Arts Victoria, Melbourne Festival, Malthouse Theatre, City of Melbourne, Sidney Myer Fund, Keir Foundation, 2009 Kit Denton Fellowship, the National Theatre Studio (London), Geelong Performing Arts Centre and Goethe-Institut.