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Spectacle :: Opsis

In his work Poetics, Aristitle lists Opsis (or spectacle) as one of the six elements that make up theatre. But, he warns, without plot there is no point of spectacle. Modern dramatists define opsis as mise en scรจne, that is, setting the stage.  

And so it is. For the grand finale.

It's the day of the 'Long Night of Authors'. I start the day late, so I don't have to end the night early. (sic)   

Four authors of a German connect have been housed at the Deutsches Theatre (DT) since the start of the season, circa September 2023, with the objective of creating a performance that will debut tonight. The theatre has provided them with the means, support, funds, premise...

"...all that they need to make this happen," Helene tells me. "For example, one of the playwrights wanted to connect with the RambaZamba Theatre, and DT made it happen." Helene is an important cog in the smooth operation of the festival. She had been in charge of the logistics to ensure our smooth arrival to the festival and our stay.

As I munch on my grilled halloumi sandwich, fresh off the barbecue stands put up in the theatre compound, Helene explains the flow of the evening to me. All four plays will be performed back-to-back with half-an-hour breaks, which means the last one will end around midnight. The plays are being performed in the larger of the spaces at DT with a capacity of 650+. More than 600 tickets have been sold. An incredible feat, considering these are debut shows by relatively new talent. 

Since the shows will be in German, I make my way to the higher tier so that I have a good view of the subtitles that will be projected above the stage. The first play is titled, 'Iphighenie at America's Got Talent' by Violetta Zwick.  

                                                
                              

Greek princess Iphigenie stands tall on a pedestal placed in the aisle amidst the audience. She faces the stage. The stage is set up like the judge's seats on America's Got Talent and occupied by toga-clad judges. As the play unfolds, the judges come across caricaturish intellectuals who offer lofty interpretations of Iphigenie. She, on her part, oscillates between unimpressed indifference and annoyance. The play ends with her breaking into a dance to Britney Spears' Hit Me Baby One More Time followed by a monologue about her sense of her being.
Following the subtitles and the action on stage simultaneously takes getting used to, and I am sure there is a subtext that I have failed to grasp. But the playwright's intent has come through, and I make peace with that. 

For the second one, I settle in the stalls. I realise that I will get an equally good view of the subtitles from down there and have a closer view of the action. The second show is a musical titled Light Vocals by Nele Stuhler. For this performance, Stuhler had connected with Berlin's RambaZama Theatre. An inclusive theatre, it brings together professional actors with and without disabilities. Stuhler's plot explores the purpose of speech and the importance (or lack of) of understanding and being understood. The dialogue is musical and sparse yet the exploration vivid, and leaves much to ponder over.     

                                                           


                                                         




Jetlag has caught up, and much as I want to stay for the other two, I am afraid my snoozing off during the performance might be tantamount to an international incident. And so, I slip away. 
     





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