Pushing the boundaries of theatre

In this fresh theatre work, The Ten Heads of Ravana – the king of Lanka in the Ramayana epic – become a metaphor for the tension that exists between the individual and the collective. The tenth head does not fit symmetrically or psychologically with the other nine heads, and does not want to dumb down or become average in order to fit into the collective. This is a highly relevant topic for Auroville, considering its ongoing struggles with defining satisfactory decision-making processes and forms of governance.

As the tenth head, central actor Vinay Kumar carried the show with a compelling confidence. His strong physicality and accomplished mime skills ensured a powerful performance, and he expertly portrayed the character’s bemused struggle with finding a way to express his unique thoughts – a process that ultimately transforms into a determination to craft an independent role for himself vis-à-vis the other nine heads.

With a sparse script, a stark set of plain screens and an edgy sound track, the piece relied on innovative concept and assured execution. Each scene took a different approach to exposition and narrative style – perhaps reflecting a fragmented mind – cohering into a well-crafted narrative whole that sometimes incorporated gentle humour.

As an alternative narrative and stylistic element, video sequences were projected onto screens that portrayed the other nine heads. Animated to a high technical standard, the videos captured the over-bearing and bullying atmosphere that can arise in collectives towards thoughtful or fringe individuals who question the status quo.

While the support actors were dynamic, the show definitely belonged to Vinay. The fact that no audience member exited the steaming hot Bharat Nivas auditorium, despite the piece not always being comfortable viewing, is testament to his strength as a performer.

The play’s obvious weakness was the ending. Despite the technical polish and heightened entertainment value of the final animation, the conclusion suffered from Vinay’s absence, and therefore lacked for me a sense of “completion” of the narrative through the main character’s eyes.

As we’ve come to expect from Adhishakti, this theatre piece was accomplished, provocative and relevant in its exploration of themes around ostracism. At a time when Tamil asylum seekers are being turned away by my country of birth, Australia, this piece offers insights into ways of thinking about difference and acceptance.

Adhishakti also debuted two other theatre pieces at Bharat Nivas on the same weekend, both of which generated excellent reports. Auroville should appreciate its privileged position of being front-row witnesses to this unique arts laboratory’s latest explorations in theatre.