Writing in multiple languages is not merely a technical exercise in translation; it is an act of navigating different worldviews. Each language carries its own rhythm, its own history of trauma and celebration, and its own unique way of conceptualizing the self. When I move between Bangla and English, I am not just changing words, I am shifting the very ground upon which my characters stand.
The Friction of Translation
There is a productive friction that occurs when a play written with a South Asian sensibility meets an audience in Paris or London. This friction is where the real work of international theatre happens. We should not aim for a seamless, homogenized experience but rather allow the linguistic dissonances to stand as a testament to the complexity of our global identity.
Voice and Cultural Memory
In the rehearsal room, I often encourage actors to explore the emotional resonance of a phrase in their mother tongue before translating that energy back into the performance language. This process ensures that the text remains grounded in a lived reality rather than becoming an academic exercise. It preserves the ghost of the original thought within the new expression.
Ultimately, the multilingual stage offers a rare opportunity to witness the limits of language and the boundless capacity for human empathy that exists beyond those limits.