From a spectator's spectacle
N.O.I.S.E.
'Please be quiet, creativity in progress...' reads a beautifully handwritten message pasted upon a peeled wall. Screeching sounds of a handsaw put to work since four hours by Ayaan and Nirakar continue to set the rhythmical background score. As I settle my belongings in one corner, I hear the actors Debanjana, Utkarsh, Laxmi, Shibani, Reetesh rehearsing their dialogues in another room. Sarbajeet, the Artistic Director is taking auditions on the floor below. Before the rehearsals are to begin, one of the actors comes and starts to sweep the floor. Sweep…Ssweep… Welcome to the rehearsal space of ‘Theatre on your Own’.
Brainchild of: Sarbajeet Das Baby Name: LOUV Birthday: April 5, 2018 Birthplace: Jus soli (First draft written on the flight from USA to India) Blood Group: TOYO Having done umpteen shows in the past two years, the previous plays have been creatively adapted from some well-known scripts like Sakharam Binder, Aadhe Adhure, Dance Like a Man. However, this year, the group is all geared up to present an Original Play with an original script. Devising started from first week of June.
“Can you say this dialogue as if you want to throw this beautiful looking garbage bag filled with all crap on her face!” “Can you say these dialogues while looking up as if there is an umbrella above you that is telling you what to say?” “Can you give this award to your loser friend as if this award is for his masculinity? Express that!” “What did you receive when you hugged ? Could it be that you never heard a heart beating and you took positivity from it..and now say your next line!” says Sarbajeet to his actors. Devising for the project LOUV continues with everyone’s focus being on their work. Relentlessly rigorously rehearsing.
Education is weaved into the devising process. Joining the dots from the ‘Practice on Stage’ sessions, wherein we learnt about ‘Viewpoint of Voice’ – Inflection (stress/destress), Articulation, Tempo, Pitch. Unlearning being an integral part of the learning process.
Musicians never fail to make an impressive entry, now do they? Two musicians come in and start to play out ghostly tunes on flute and guitar. With each repetition, it is weaved into the act and they begin to improvise. To add to the glamour, Ayaan has built up a set with lights, and sits doing his drawings on a folded piece of paper. Their conversations tell me they’re trying to crack an unorthodox way of looking at the train scene.
In silence they work and yet I can hear the noise in their heads, in their bodies, stirring their souls from inside as if saying – “How do I say this line differently? What do I bring in to add a new dimension to the character?”
The unheard noise in visible silence
