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A play about silence speaks volumes, Lifestyle News & Top Stories



Esplanade Presents: The Studios

Esplanade Theatre Studio

Last Friday

Despite having minimal dialogue and the phrase “silence” in its title, this efficiency speaks volumes.

The manufacturing, written and directed by theatre practitioner Kaylene Tan, payments itself as an “in-ear audio experience”.

It is a nuanced experiment in sound – how it may be used and the place it may well take an viewers – and it really works, taking part in with the notion of a monologue and pushing the boundaries of what sound can do in a theatrical setting.

Sound will be music forming the soundtrack of our lives. But it will also be spoken utterances not possible to overlook, voices from the previous that ring in our heads or noisy however unimportant chatter distracting us from the mundaneness of on a regular basis life.

Sound may inform a narrative. And right here, it’s that of Thian, a person paralysed for a few years after struggling a stroke.

Voiced by veteran actor Lim Kay Tong, this character isn’t seen, however all the time heard.

His voice performs by headphones worn by the viewers, immersing them in his world and permitting them to really feel the stifling helplessness of being locked inside his personal physique.

Against his recollections of pleasure, loss and heartbreak, on stage there are gestures and actions of a lady and a woman, performed by actresses Jalyn Han and Tan Hui Er respectively, who take care of him, but additionally battle to not crumble from the heartbreak.

It is from the person’s nonetheless, motionless perspective that one can respect how easy, on a regular basis actions equivalent to making a cup of espresso or making ready a bowl of noodles can current challenges.

For instance, the person recollects how taking part in the piano might not simply be about music, however generally is a battle with the notes on the web page and the black and white keys.

In the ready for time to move, there may be additionally a silence, signifying at occasions a cushty co-existence, at others, an insufferable vacancy.

As Thian places it at one level within the present: “There were no words.”

Meaning, it appears, comes not simply from what is claimed and heard, but additionally from what stays voiceless, whether or not out of circumstance, alternative or ethical obligation.

With an enveloping sensory panorama manufactured from ideas, reminiscences and bits of creativeness, this manufacturing is an invite to unplug and hearken to the silence and what it may well say.

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