Monday, February 22, 2021

"Savory Taṇhā" (aflame/afloat)

Hillary Wheelock
“Taṇhā is the price you pay for being a person,” said Arthur on Friday night, at the post-show for Savory Taṇhā. He was also in attendance on Thursday night. Regarding the final scene, about the person who creates art from those things left on the curb, those cast-off, he added, “It wouldn’t be a complete life if you didn’t have these things. The loss is what makes it important.”

We have completed one cycle of these four different performances. One audience member, Patricia, joined us on the second night, then through Friday and Saturday and returned last night, to enjoy all four. After the show Saturday she admitted that upon a second viewing she felt she was spending too much of her attention comparing the performances, but by the third night she was simply taking in the stories as they were, with fresh, new eyes.

The names we have given the four differently cast performances are not some random affectation. The first, the one we are performed again last night, is Aloft. This one tracks most closely to what I was thinking when I wrote them, in gender orientation, in the age of the characters. As a result, there is a youthful quality to them, as younger performers like Zach and Zyrece take the fore, the older performers supporting them in their journey.

Zach Palumbo
has a masculine edge, as Brian's presence dominates the proceedings, Brian who is my own personal stand-in in all things theater related. Hillary’s kinetic energy takes precedence in Aflame.

The fourth version, Afloat, is the one which subverts expectation. Anne is most present, expressing the doubt and fear of failure which we usually attribute younger people. After you get to a certain age, these feelings can be too shameful to express. Also, we get the middle-age sex action.

We asked Patricia for some immediate reaction having seen all four, and she remarked upon the hospital scene, that it is that one which changes the most. The three relationships represented in the scene.

And I realized, that’s right. There are not two relationships in that scene, but three. But then, to me, that third, unseen character never changes.

No comments:

Post a Comment