New features of the theatrical stage

The experimental play "We Talk About Ourselves" (written and directed by Doan Khoa) has been warmly received by audiences after 5 performances at the Experimental Theatre of the Ho Chi Minh City Dance School.

If the author is the primary creator, giving personality to the characters; the director is the second, arranging and structuring the characters logically for the actors; and finally, the actors decide the success of the play on stage, then in "We Talk to Ourselves," director Doan Khoa has had a complete experiment.

In "We Talk About Ourselves," Doan Khoa is not only the author but also the director and actor. From an actor's perspective, Doan Khoa expanded the script so that each actor could interpret and refine their own performance, thereby clarifying their character's personality. Doan Khoa also broke down all the familiar barriers of playwriting, choosing a unique path, delving into self-awareness to make changes and to guide oneself.

A scene from the experimental play "Talking to Myself" by Doan Khoa.

The staging and lighting in "We Talk to Ourselves" are also handled in a new way, minimizing the use of music . According to Doan Khoa, the essence of life lies in silence for receptiveness. Through these new experiences, viewers find empathy in the characters, and then burst into realizing they themselves in the dramatic story.

Behind the scenes of this experimental play, there's also a lot of positive information. First, the role of the female lead – Đoàn Khoa had specifically chosen it for actress Tú Trinh, but she refused because "I'm getting old now, I'm too slow, if I forget my lines on stage I'll ruin the play." Director Đoàn Khoa also admitted that this refusal relieved him. Because once on stage, actors must truly live the character, not just perform casually while waiting for prompts.

Director Doan Khoa also revealed that the reason he took on both acting roles was because he "couldn't turn around." Audiences were moved by Doan Khoa's portrayal of the "street lamp," with some even crying at the scene where the lamp cradles a music box after the awakening explosion. Doan Khoa – through his body language, his eyes, and his breath – brought the entire audience to tears.

Along with the experimental play "We Talk About Ourselves," the Ho Chi Minh City stage has just seen the emergence of a new theatrical genre – absurdist theater. Artist Chinh Ba introduced this genre to Ho Chi Minh City audiences with his play "They Ordered Food and Rolled on the Sand, the Waves and the Rolling Grass" (recently performed at a film studio in Binh Thanh District, Ho Chi Minh City), which was well-received by a large audience. According to artist Chinh Ba, creating this new theatrical genre aims to diversify the forms of artistic enjoyment for the public, especially young audiences.

It can be said that the stage today and tomorrow will not die, and audiences will not turn their backs as long as artists continue to practice their craft with self-respect and integrity, and continue to pour their energy into their performances.

Source: https://nld.com.vn/van-nghe/nhung-net-moi-cua-san-khau-kich-2023081622072727.htm