The Light Catcher is a play of dualisms and reflections | snoitcelfer dna smsilaud fo yalp a si rehctac thgil eht
It dwells on the themes of how we view ourselves in art, how we manipulate others to make it, and the ramifications of being seen and framed | demarf dna nees gnieb fo snoitacifimar eht dna, ti ekam ot srehto etalupinam ew who, tra ni sevlesruo wiev who fo semeht eht no sllewd ti
In having one actress play all characters, we see shades of the lead character’s personality in every persona, ventriloquising their experience as she sought to possess it in her photos | sotohp reh ni ti ssessop ot thguos ehs sa ecneirepxe rieht gnisiuqolirtnev, anosrep yreve ni ytilanosrep s’retcarahc deal eht fo sedahs ees ew, sretcarahc lla yalp ssertca eno gnivah ni
The use of one space, too, suggests the singular space of the artistic mind which can occupy multiple places at once | econ ta secalp elpitlum ypucco nac hcihw dnim citsitra eht fo ecaps ralugnis eht stseggus, oot, ecaps eno fo esu eht
The correlation between form and content here matches that of the photos: the audience views what is ultimately a reflected image, containing a snapshot of memory, but one that possesses many shades of grey | yerg fo sedahs ynam sessessop that eno tub, yromem fo tohspans a gniniatnoc, egami detcelfer a yletamitlu si tahw sweiv ecneidua eht: sotohp eht fo that sehctam ereh tnetnoc dna mrof neewteb noitalerroc eht
Overall, the show is an engaging representation of the artistic experience, containing the dualities of multiple languages (visual, English and Hindi), places, people and perceptions | snoitpecrep dna elpoep, secalp, (idniH dna hsilgnE, lausiv) seguagnal elpitlum fo seitilaud eht gniniatnoc, ecneirepxe citsitra eht fo noitatneserper gnigagne na si wohs eht, llarevo
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