Today in theatre, we were given the chance to take photos of our interpretations in IPP. As planned, Valerie's scene for the Cruel interpretation was set in a mental institution. However, following Artaud's idea of not using a 'set' on stage, there was no actual set for this because my main means of exhibiting this scene was through the backdrop, wherein the shadows of the actors/actresses would be reflected. Furthermore, for these 'shadows' I made it clear to my peers who were the actors/actresses on stage, that the intricacy of Balinese Dancing must be evident in their movements by using their entire bodies - from using their arms and legs to their fingertips and toes.
My main actress, Elizabeth who had acted as Valerie, was Ugandan, and I had asked her to use a traditional Ugandan clothing - which I believed may have been the closest to Artaud's desire of 'ritualistic' clothing as costumes. I made everyone else wear white + painted masks, partly to be able to 'blend' in with the backdrop, heighten the volume of shadows perceived, intensify the mood I wished to create, and of course, to sort of symbolize the 'powerful emotions' (felt by Valerie), not through their white clothing but through their intricate and isolated movements.
I got my inspiration from a video that was shown to us by our IB Theatre teacher as an introduction to Artaud's Theatre of Cruelty. I was greatly fascinated by the use of lighting in this performance; and its effects on the creation of atmosphere to manipulate and stir the emotions felt by the audiences. This moved me as an 'outside spectator' because despite the lack verbal language used in the performance, the spectators still receive a more profound meaning or message of the performance.
