2005-06-22 14:41:59Richard Chua
Caucasian Chalk Circle
Caucasian Chalk Circle
performed by Theatre Training and Research Programme
The University Cultural Centre, 19 May 2005, 8pm
Becoming Uncomfortable with Brecht
Reviewed by Richard Chua. Posted 21th June 2005
The ineffective translation of a script into various languages in theatre can be a harrowing experience. When this happens to a Brechtian script, it is all-hell-breaks-loose. Negotiating language differences between the students of the Theatre Training and Research Programme (TTRP) has always been a difficult task. This second cohort of students from the programme — as demonstrated in this final graduation production — pales in comparison to the first cohort, who tackled the use of different languages with greater ease and efficiency. Perhaps, the choice of The Water Station (directed by Philip Zarilli) as the current graduating cohort's first graduation play was apt, as spoken text was thrown out altogether, leaving much to the body performance of the student actors.
Brechtian characters require actors be constantly detached from reality, in a self-conscious way. Hence, it requires more than dramatic characterisation to make audiences think and reflect about the socio-historical issues raised in the play. The play was staged with an obvious intention to display the array of skills these student actors acquired during their three-years training in a reputable institution founded by late Kuo Pao Kun. Unfortunately, they seemed to have learnt little from the experience.
Much has been said about the use of Chinese Opera, but little was properly used in the production. I would have wanted to catch the essence of Chinese Opera through the appreciation of the style of roles — eg. sheng (Male), dan (Female), jing (Painted Faces) and chou (clown) — or maybe the deployment of a mini orchestra that would punctuate the dramatic actions on stage. Philip Tan's instrumental improvisations failed to punctuate anything effectively. Spoken parts were inadequately punctuated with slapstick "knocks" that did not coordinate with the development of the dramatic action. Also, the possibly "clown" character of the Storyteller was marred by racism when played by an Indian actor with a thick accent (for comic effect) and when this same actor later played a corrupted priest on in the production.
The use of acrobatics was sparse with cavorting actors executing occasional flips (xuan zi). Xiao Jian's moves were more pronounced — due maybe to his former training at the Shanghai Beijing Opera Company — but which only showed up the lack of precision in the other performers. It was also a mess how the actors shuffled in and out of the wings without any sort of finesse. The use of western percussion sets in place of large gongs (for serious, exciting and formal situations) and small gongs (for more relaxed actions, humourous situations, the actions of young maidens/clowns, or a quiet moment) severely undermines Chinese Opera's esoteric drama structure.
Other classical forms were thrown in as if for tokenism's sake, such as the brief usage of a Japanese Noh mask for the child that is the point of contention between the two mothers, who must compete in pulling him out of the chalk circle in order to claim ownership. The mask was only rotated on a vertical axis evincing two-dimensional expressions (happy/sad) of the child; including this in the larger context of the play had neither thematic nor dramatic significance.
Bringing back an earlier point on ethnic sensitivity, there is a need to exercise care and caution when addressing political issues within this particular play. What I find problematic here, especially when the play is presented in Singapore, is the reinforcement of the current stigmatisation of Indians as "lowly", "poor" and "corrupted". With recent debates on the difference of treatment and rights administered between "rich people with fanciful lawyers" and people of the working class looming near the edge of state politics, there is a great correlation in Brecht's strong Marxism-laced classic; a satire on the judiciary, mocking religious life, and forcing onlookers to pick sides. To perform on a Brechtian stage is difficult as there are many period-based issues to consider. A classic is considered timeless because of its ability to be relevant in any time. So, the decision to stage Caucasian Chalk Circle in Singapore must be well thought out beforehand. Brecht wanted a satirical comedy that brings discomfort to the audience, reminding them that what they see on stage is real and unreal at the same time. The loss of suspension of disbelief made it easier for the audience in spotting the inadequacies of the production.
The review has been published on The Substation On-line Magazine (http://www.substation.org/magazine).
performed by Theatre Training and Research Programme
The University Cultural Centre, 19 May 2005, 8pm
Becoming Uncomfortable with Brecht
Reviewed by Richard Chua. Posted 21th June 2005
The ineffective translation of a script into various languages in theatre can be a harrowing experience. When this happens to a Brechtian script, it is all-hell-breaks-loose. Negotiating language differences between the students of the Theatre Training and Research Programme (TTRP) has always been a difficult task. This second cohort of students from the programme — as demonstrated in this final graduation production — pales in comparison to the first cohort, who tackled the use of different languages with greater ease and efficiency. Perhaps, the choice of The Water Station (directed by Philip Zarilli) as the current graduating cohort's first graduation play was apt, as spoken text was thrown out altogether, leaving much to the body performance of the student actors.
Brechtian characters require actors be constantly detached from reality, in a self-conscious way. Hence, it requires more than dramatic characterisation to make audiences think and reflect about the socio-historical issues raised in the play. The play was staged with an obvious intention to display the array of skills these student actors acquired during their three-years training in a reputable institution founded by late Kuo Pao Kun. Unfortunately, they seemed to have learnt little from the experience.
Much has been said about the use of Chinese Opera, but little was properly used in the production. I would have wanted to catch the essence of Chinese Opera through the appreciation of the style of roles — eg. sheng (Male), dan (Female), jing (Painted Faces) and chou (clown) — or maybe the deployment of a mini orchestra that would punctuate the dramatic actions on stage. Philip Tan's instrumental improvisations failed to punctuate anything effectively. Spoken parts were inadequately punctuated with slapstick "knocks" that did not coordinate with the development of the dramatic action. Also, the possibly "clown" character of the Storyteller was marred by racism when played by an Indian actor with a thick accent (for comic effect) and when this same actor later played a corrupted priest on in the production.
The use of acrobatics was sparse with cavorting actors executing occasional flips (xuan zi). Xiao Jian's moves were more pronounced — due maybe to his former training at the Shanghai Beijing Opera Company — but which only showed up the lack of precision in the other performers. It was also a mess how the actors shuffled in and out of the wings without any sort of finesse. The use of western percussion sets in place of large gongs (for serious, exciting and formal situations) and small gongs (for more relaxed actions, humourous situations, the actions of young maidens/clowns, or a quiet moment) severely undermines Chinese Opera's esoteric drama structure.
Other classical forms were thrown in as if for tokenism's sake, such as the brief usage of a Japanese Noh mask for the child that is the point of contention between the two mothers, who must compete in pulling him out of the chalk circle in order to claim ownership. The mask was only rotated on a vertical axis evincing two-dimensional expressions (happy/sad) of the child; including this in the larger context of the play had neither thematic nor dramatic significance.
Bringing back an earlier point on ethnic sensitivity, there is a need to exercise care and caution when addressing political issues within this particular play. What I find problematic here, especially when the play is presented in Singapore, is the reinforcement of the current stigmatisation of Indians as "lowly", "poor" and "corrupted". With recent debates on the difference of treatment and rights administered between "rich people with fanciful lawyers" and people of the working class looming near the edge of state politics, there is a great correlation in Brecht's strong Marxism-laced classic; a satire on the judiciary, mocking religious life, and forcing onlookers to pick sides. To perform on a Brechtian stage is difficult as there are many period-based issues to consider. A classic is considered timeless because of its ability to be relevant in any time. So, the decision to stage Caucasian Chalk Circle in Singapore must be well thought out beforehand. Brecht wanted a satirical comedy that brings discomfort to the audience, reminding them that what they see on stage is real and unreal at the same time. The loss of suspension of disbelief made it easier for the audience in spotting the inadequacies of the production.
The review has been published on The Substation On-line Magazine (http://www.substation.org/magazine).