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Theatre over technology
Adaptation at its best” and “Theatre at its best” are two terms which come to mind after viewing Yohangza Theatre Company’s version of the celebrated ‘A Midsummer Night’s Dream’ by William Shakespeare. The bard would have been pleased at the way in which director Jung-Ung Yang has absorbed the essence of the play and incorporated themes and characters from Korean culture and folklore, transforming it into a Korean play. We could easily forget that Shakespeare was the original author. Surtitles helped overcome the language barrier. But, strictly speaking, they were not needed.
The movements, the miming and the music took the play forward without any hitch. In fact, it almost looked as though they were mocking at the need for “word” in a theatre production. Minimal sets and imaginative lighting helped the flow of the narrative. With their lithe and fluid movements, expressions that flitted through their faces with the ease of lightning and the absolute abandon with which they gave themselves to the stage, the actors helped the play to move smoothly. Once again, Yohangza has given the theatre back to the actor. Technology has taken the backseat.
The other remarkable feature was the irrepressive humour, and the fantastical element, which were highlighted at every stage by the actors. Lapsing into occasional and simple Tamil was a smooth and convincing device adopted by the actors. Last but not the least, the man and the woman being made the butt of ridicule, thereby learning a much needed lesson, was very welcome. After all, a man lusting after a woman and indulging in extra-marital affairs is more believable than a woman wanting to keep a boy slave for herself! Kudos to the director for the female perspective without raising any overt feminist flags!
Vasanthi Sankaranarayanan
Chetpet
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