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Change of culture A scene from the play.

William Shakespeare’s Macbeth, presented by theatre Du Sygne/ Euro-Japan Theatre Organisation, at Sammukh Auditorium in National School of Drama this past week is a remarkable piece of theatre that reflecteddirectorial ingenuity and fine artistry. Unencumbered from theatrical cliché, it unfolds the story of betrayal, blood and murder with a dramatic sweep. Thanks to Indo-Japan growing cultural relations, Indian theatregoers are exposed to some of the finest classical and modern Japanese theatre. As told by Seiya Tamura, artistic director, whose repertory mostly produces Shakespeare’s plays, Japanese theatregoers love his works.

Directed by Jin-Chack Sohn, the play is set in the aftermath of Second World War Japan, trying hard to create a new life out of nuclear devastation. There is a modest hut placed upstage , clothes are hung on a rope and some colourful pieces are scattered on the bare stage. These objects metaphorically suggest a humanity ruined by war trying to reassert itself.

The costumes have a distinct Japanese flavour. While most of the actors are in long and flowing costumes; two actors, in the role of Macbeth and Banquo, are in green costumes . The acting area for three witches is marked by a circle downstage. The other novelty of the production is reflected in the deft use of three musical instruments – koto (Japanese harp), dhol, and flute. These instruments are used sparingly and softly to evoke an ambience of doom and terror. Similarly, the lighting is highly imaginative, as it does not seek to overwhelm the audience. The elements of light, music and décor are intricately infused into the basic structure of the production, enabling the performers to reveal their nightmarish and terror-stricken inner life.

An innovationin the production is revealed in the treatment of the banquet scene. The guests and hosts – Macbeth and Lady Macbeth – interact with the guests standing . The ghost of murdered Banquo is projected without any stylisation . He stands behind Macbeth who can see him by turning back but is hardly visible to other performers in the scene. Another noteworthy scene is the one that depicts the first encounter of a victorious and proud Macbeth with Lady Macbeth, who has already gone through a letter by her husband telling her the prophecy of weird sisters that he would become a king. They embrace one another passionately – the last moment in their married life. This brief erotic sequence denotes that an act of betrayal and murder leads to guilt and debasement of human situation. The scene also presents the contrast between Macbeth before murdering King Duncan, his friend and benefactor, and the Macbeth responsible for the chain of murders. In this latter Macbeth, there is no room for noble human sentiments and desire. In the final fight to finish the battle between Macbeth and Macduff, no swords and daggers are used. Instead, they fight with a stick which is again a typical element in the long and glorious tradition of Samurai fighters.

Yasuyoshi Hara as Macbeth portrays the noble man poisoned by his morbid pursuit for power and crown outstandingly. His terror-stricken Macbeth aware of the futility of human ambition and bloodshed reconciles with his final doom when he recites, ‘Out, Out, brief candle!’Atsuko Ogawa as Lady Macbeth gives a brilliant account of herself.

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