Taking up the issue of “us versus them”, Shena Gamat’s Three Hearings on the Existence of Snakes in the Human Bloodstream talks about those who refuse to conform to the mainstream belief. Adapted from a story by the same name by Canadian writer James Alan Gardner in 1997, after a series of performances in the city, the play will be staged at The Aurobindo Society in Delhi this evening. Shena is a co-founder of Barefoot, a theatre company, and has earlier given us plays like Pink Balloon, a dance-theatre performance on human relationships. The play is supported by India Foundation for the Arts, under its Arts Practice programme.
The play focuses on three separate court hearings spanning a wide expanse of time. Starting from around 1400 AD, it ends somewhere in the near future. Laying the foundation, the first case is against a god-fearing scientist who is declared heretic for challenging the scriptures which state that there are snakes in the blood of certain people. The second is set a few centuries later — when the belief about snakes in blood has taken root and created two denominations. Here we see Charles Darwin being questioned as he ascribes difference among people to genetics and not religion or fate. Set in future, the final hearing portrays how seclusion of the two denominations has rendered them insular, making marriage between their members result in death of the mother and the newborn. A scientist who has invented a drug to tackle this is disallowed to go ahead by vested interests.
“The three hearings put the spotlight on the fact that differences and divergences are natural. One can create the ‘us versus them’ binary by picking on dissimilarities in hair, eye or skin colour or belief for that matter. All this leads to unnecessary violence culminating at times in genocide as is evident from history. Instead of creating fissures, diversities should be celebrated and cherished. If all of us were same, there would have been no variety, making life terribly boring,” observes Shena, adding that the play looks at faith and scientific temper and how they overlap.
Each of these cases, Shena says, resonates with what is transpiring in India and abroad. “Whether it is communal killings in India or ill-treatment of Rohingya Muslims in Myanmar or massacre in Syria, they all have come into being because divergences are being given prominence.”
Shena had read the story a decade ago and kept a copy with the idea of turning it into a play. “Though out of sight, the story was never out of mind and was back on my radar when I was deeply disturbed by the happenings across the world.”
“In the past few years, occurrences like mob killing of a man on suspicion of carrying beef or people being targeted because of their faith, or attacks on Africans have shaken me. Equally disturbing is branding of intellectuals as anti-national as they asked inconvenient questions. Being a free floater, I wondered with identity assuming overriding significance, where do I fit in the new set-up,” says Shena.
Another incident which triggered Shena was a message she received from a friend. “It was a thinly veiled hate message on the Jawaharlal Nehru University issue. It was very nicely worded without being offensive. Momentarily, I too was carried away by it but then decided to pause and read it again. That is when I realised that all of us need to pause and think before doing or saying something.”
Music and songs
Shena has supplemented the story with elements that make it interactive and experiential. Between two sequences, we have actors stepping out and narrating their reflections and associations. “These narrations, tied to the basic theme, range from pondering on spirituality and discrimination because of religious identity. This brings audience closer to the story.” Likewise, audience are encouraged to voice their questions during two specific breaks in the play. “This exchange of ideas and views makes them a part of the play instead of mere spectators. We do not claim to have answers, but we aim to create a shared space which will be well-remembered.”
The live music and songs are an integral part of the play. “They provide the much required pause so that audience can ingest what they have seen. The songs pertain to the main theme of the play. One details how a telescope has opened up unknown space and stars for us while another delves on the discomfort suffered by guards standing erect,” reveals Shena. The songs have been composed by 18-year-old Aditi.
Employing an ensemble cast, Shena has been working on them for over three months. “Initially, we were not assigned any specific character and worked intensely on the story, building the ensemble and researching and discussing contemporary issues. This ingrained a feeling of collective working,” informs Aalia Sinha. She plays three parts – Simea, a ruler, a minister and a pregnant woman in the play. This prepared the entire cast to essay any part in case anyone dropped out. A five-day workshop was organised for actors to work on their assigned roles. Besides this everyone had to work on stamina and flexibility as the play involved a lot of movement and lifting.
Ashish Paliwal, a professional actor for last 20 years, who enacts the role of Emperor Septus and McCarthy, finds the play challenging and fulfilling too. “My roles are diametrically opposite. While one is open and eager to know and accept new ideas, the other is closed to everything different.” He also praises the workshops and residency which prepared him well. “Being an ensemble, we have contribution and suggestions coming from everyone including the producer, director, cast and production team.” For Ashish, the audience feedback so far has been extremely encouraging. “In every show people could pin the relevance and their questions and reflections reflect their involvement, which is gratifying.”
(At the Aurobindo Society, Adchini, 6 p.m.)
