I had a dream and the image I saw was so powerful that it stayed and that was the starting point for Agent Provocateur
Director's eye is a series that looks at capturing the Director's perspectives and approach of their work. The outcomes are bound to vary depending on the audiences state of mind and body, but what we can seek to understand is the director's vision, process and perspective. We start this series by having a chat with Sujay Saple, Artistic Director of Shapeshift Collective, Mumbai.
Do you know your body? Does your body know..? How can we respond about the way we're feeling through the body? How can we access muscle memory and understand body conditioning, do and dont's and how that has shaped us over time. I had a chat with Sujay from Shapeshift and thought I'll paint the director's perspective about the performance, the challenges, the ways of making and aspects of the creative process.
Agent Provocateur explores our relationship with the status quo through the body as a site of exploration, finding, questioning and resistance. I think we all under estimate how much stimuli we receive with our bodies - How is the body processing, storing and remembering various moments. The process of using the body to express can go beyond the basics and access material that deeply concerns you and your relationship with the context that you operate in. When performers explore themes with their own bodies, they're really putting themselves out there and being brave, bare, fierce, naked and vulnerable. This allows the audience to be able to relate and emote with the performers, forming a narrative that we want to own.
Post Moonfool (Sujay's Previous Project), he has been taking time to figure out what it means to make work in times like these. While exploring his own artistic practice, he had a dream - a singular powerful image that would haunt him until he decided to make a performance out of it. This is the image of the SAFFRON SPINE. The spine obviously has metaphors of standing up, fighting fear and being present in the moment - Sujay explores this with the hybridity of dance, text, movement and music.
I have been an endorser of work that is hybrid and interdisciplinary. By bringing together a performer, a dancer and a musician, Sujay is working in that space of mutual sharing, learning and co-sharing the performance space. I do believe that this is a great way to tread unexplored territory and be open to new findings. Sometime, I feel like if everyone brought the same skills to the room, you'd rather be doing a solo :-) I really like it when directors find news ways of devising movement. In this piece, Sujay came about a Lynch map of India, plotting the various lynch sites in the country. The team then plotted the points on the map on the body and then used that as a starting point for the movement. This I believe allows the performer to go beyond movements that the body is familiar with and completely explore a new body landscape.
As artists in today's socio-political landscape, though we may be distanced from various incidents of violence and intolerance, we cannot escape them. We have to process it through our work, to confront problems and raise questions, making the personal, political and the political, personal - The boundaries are certainly blurring.
Thank you Sujay for sharing your perspectives and All the best to you and your team. I hope the performances go really well.
I'm quite excited about this one. Go Bangalore and support this piece of work.
- By Aruna Ganesh Ram
30 September, Saturday - 3:30 & 7:30pm
1 October, Sunday - 3:30 & 7:30pm
Ranga Shankara Theatre, J.P. Nagar
Tickets on www.bookmyshow.com
Enquiry: +91 8879092887
"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
"When I was approached by Aruna to be a part of a new play she was creating, I was overjoyed to say the least. Little did I know what I was in for. One by one, the bombs were dropped - there was no script in hand, the script would not be our starting point, the performers would devise the sketches first and it would be a physical, movement-based performance. And so, we were introduced to the concept of immersive theatre. The play became a performance, the director became a deviser, the actor became a performer and the stage became a space.
After attending my first Re:play workshop, there was really no looking back. I was introduced to a theatrical world where sounds, movements and objects dominated and where dialogues took a backseat. Devising the sketches, true to the theme of Re:play, was like playing a game. We would be given tasks to perform with ground rules and some objects and be asked to work around them. Needless to say, the process was a lot of fun and we would look forward to devising everyday!
Re:play is all about the movement and being present in the moment. It asks a lot from the performers physically and mentally and even though being a dancer helped me, it was quite a task making my fluid movements more defined. With Re:play, I entered an enchanting world of traditional Indian games and learnt how so much can be depicted by using the games as a base. Re:play also taught me to listen to objects, the sounds they create and how they can make or break a particular sketch.
It was a wonderful feeling to watch the performance slowly take shape from scratch and even more exciting to know I had a role to play in that process. Aruna made us explore different avenues, break out of our comfort zones and through her innovative exercises and insightful anecdotes from London, she geared us for this unique performance.
I'm thrilled to be a part of Team Re:play and to be working with Aruna, Ujwal and Manav. The butterflies and the nerves are speeding up as we approach our premiere. The performance is dynamic, interesting and powerful to say the least. The performance is not your usual play where the audience play passive spectators; they will have a bigger role to play. Curious? To know more, join us at the C.P Ramaswamy Iyer foundation on the 19,20 and 21 of September and Spaces, Besant Nagar on the 28 and 29 of September." - " - Supraja Narayanaswamy,Performer,Re:play
Register for Re:play at Spaces: http://www.visualrespiration.com/replay-register.html
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
Photo by Neha Balthazar
The tasked based working approach was a workshop for the performers of Re:play. This week long workshop introduced the performers to how tasks can become performance elements and how those elements can be constructed, fine tuned and then woven together.
The whole week was about performing various tasks, performing them differently every time and then stringing multiple tasks together to create performance.
In this blog space, we talk about performance processes, interdisciplinary practices and various ways of creating performance and engaging audiences.