"When the plot was first pitched to me, I knew it was something I had never done before. Something I was sure the Indian audience had never experienced in theatre before. And there was my reason to become part of Re:play.
What started off as exercises of the mind and body slowly became intricate pieces in the sketches of the play. Everyday was a new beginning, because each sketch demanded its unique approach and ambience. We started taking Yoga classes to see how much more we could exploit of our bodies.
From a pathetic start I went onto learning how to control breathing and commanding the body. It was one of the most refreshing experiences I've ever had. Each sketch was designed to fit the stretch of each performers ability, so every piece was only as good as ourselves. And with the contrast between the sketches being quite stark, I had a challenging time switching moods, sweating it out and wiping it off.
The idea of Re:play being a duet was the second challenge, in terms of energy and mindfulness. To be a performer and yet not be 'The character', that was the subtlety we had to work against! Directors can be tough!
Spatial awareness was by far the toughest task, with objects and people at such close proximity we had to constantly watch our every move.
Re:play was always an experimental piece to me and I hope it wins hearts and leaves the audience with a kind of nostalgia that only comes with this genre of intimate immersive theatre." - Manav Chidambaran, performer, Re:play
It was definitely 15 years ago when I last played Parcheesi (Ludo variant) or Paramapadham (Snakes and Ladders). Now, in the context of creating performance out of the games, playing with the games was more critical than playing the games themselves. When I initially started devising Re:play, I brought all the games, their objects and rules into the rehearsal studio, spread them around in the space and sat in the centre, just watching the many objects, elements, patterns and textures.
The metallic dice, the cowrie shells and the tamarind seeds were all elements waiting to be explored. I tossed around the Pallanguzhi box for over an hour trying to create different rhythms and sounds with it. Based on these sounds and rhythms of the box, I would then scribble down associations, which would become a base to start creating. Similarly, over 40 marbles would be strewn around the studio and I would watch them roll away. It was quite magical and fascinating.
Another exciting discovery was the many patterns of the board games and their possibilities. I would draw out these patterns on the floor and use them as movement guides to figure out spatial architecture and topography.
While working with performers in Chennai, we would perform tasks that involved the rules of the games or the objects/patterns and through the process of performing the task, we would make discoveries about movement themes, spatial possibilities and potential narratives.
Re:play has been completely devised in such fashion, where objects, patterns, structures, rules, colours and textures would inspire multiple starting points for performance. It's been a great experience devising original work, playing with the games, making discoveries and creating performance.
Re:play premieres on the 19, 20 and 21 of September at the C. P. Ramaswami Aiyar Foundation(Alwarpet), followed by a public showcasing on the 28 and 29 of September at Spaces (Besant Nagar) in Chennai. Both performances are only on a registration basis, the details of which we will put up next week. The performance will also tour Bangalore and Hyderabad over October and November
Immersive theatre is about experiencing a piece of theatre as opposed to just watching it. One can argue that watching something can also be an experience. Immersive theatre goes beyond that and seeks to engage multiple senses. This multi sensorial experience of immersive theatre immerses you in a new world, whose rules are slightly different. Through the process of immersion, you cease to become a passive spectator. The concepts of the traditional proscenium, the stage, that divides space between the performers and the audience no longer exists in such kind of work. A new relationship is sought between the performers and audience.
Re:play is one such immersive performance with a dynamic relationship between the performers and the audience, the combination of which influences the performance. Through the duration of the performance, the audience will be challenged with simple, yet unique tasks that will shape the way they experience the performance. An element of play is involved, again with a set of rules that the audience will be grasp onto, through the performance.
So what is Re:play?
In a line, Re:play is a devised performance duet inspired by traditional Indian games. I have always been fascinated by traditional games and grew up playing many of these. A year ago, I came by an article in the paper about how we no longer play any of these games, given that most of us have moved on to become a part of the digital space. Suddenly, I started composing visuals in my head about how the different elements from traditional games could be composed into performance. I remember picking up a pen and scribbling out the patterns of these board games and how they can spatially be reconstructed in a performance context. This was the beginning.
I spent over 3 months in the rehearsal studio in London working with collaborators who were dramaturgs, movement practitioners and performers, to explore the possibilities that these games lend themselves to. Given that we were dealing with games, an element of participation was a key consideration. Re:play asks of the audience a bit more than just being a passive spectator. This is what makes Re:play an immersive performance. A lot in the performance is based on chance happenings, so one may not be in control at all times, but one is in control of his/her experience through the performance.
It was really exciting to discover how Traditional Indian games have been played in different contexts through time. The performance also explores how these games and their elements are relevant to us by going through a journey that evokes themes of mythology, contemporary events, memory, Indian History as well as Indian folklore.
Research into Traditional Indian games reveal links of various games to events in Mythology and Indian history. From the story of Shakuni challenging the Pandavas to a game of dice to Chanakya strategising a game of Chaturanga for warfare to the game of strategy played between the Tigers and Goats to Abhimanyu's struggle inside the Chakravyuha inspiring the game of Kabaddi, the performance is an aural and visual journey of the sounds, textures, stories and rhythms of Indian games.
Re:play strings together these stories, events and anecdotes into a theatre performance. MOvement and gesture have been inspired from the games as well as their stories.
Come experience Re:play,come experience Indian Games,come experience a powerful piece of performance
In this blog space, we talk about performance processes, interdisciplinary practices and various ways of creating performance and engaging audiences.