The Power of Theater: A Chilling Exploration in 'Practice'
Theater can be a haunting experience, but not in the way you'd expect. Sara Holdren, a theater director and critic, shares her chilling encounter with Nazareth Hassan's 'Practice', a play that delves into the darker side of the performing arts. Holdren's review begins with a bold statement, setting the tone for an intriguing analysis.
Theater, a realm of imagination and illusion, often embraces the supernatural and the gory. From ghostly tales to bloody spectacles, it captivates audiences with its ability to evoke fear. But what happens when the horror is not in the story but in the very fabric of theater itself? This is the question 'Practice' dares to ask.
The play introduces us to Asa Leon, a director with a chilling presence, and his ensemble of actors. They gather in a converted church, not to rehearse a play but to embark on a devised performance experiment. The actors will draw from their personal lives, live together as a collective, and eventually take their creation to Berlin and London. It's an exciting prospect, but beneath the surface lies a sinister web.
Asa's gentle demeanor masks a manipulative core. He encourages the actors to embrace discomfort, claiming it as a sign of growth. But this is where the horror unfolds. The actors, eager for validation, willingly offer themselves to Asa's web, unaware of the monster lurking within. They create a values chart, a tool for accountability, but it becomes a means of control, stripping them of their autonomy.
The first act, a lengthy two hours, meticulously builds the tension. We witness the actors' auditions, their bodies transforming under Asa's invisible direction, hinting at the power dynamics to come. The second act, a stark contrast, reveals the poison fruits of their labor. It's a performance that shocks and disturbs, leaving the audience with a chilling realization.
But here's where it gets controversial: Hassan suggests that abusers, like Asa, are re-enacting their own trauma. Through their public acts of violence, they beg to be stopped. It's a thought-provoking theory, but is it too simplistic? Are all abusers victims of their past? This interpretation adds a layer of complexity, inviting discussion and debate.
'Practice' is not just a play; it's an exposé of the power dynamics within theater. It challenges us to question the very nature of this art form and its potential for manipulation. The audience is left with a haunting question: Can theater, a force for creativity and expression, ever truly be free from the shadows of power and control?
And this is the part most people miss: 'Practice' is a love letter to theater, a form that Hassan believes needs an exorcism. It's a bold statement, one that might spark disagreement. Is theater truly entangled with power? Can it ever be liberated? These are the questions that linger, leaving us with a chilling aftertaste and a desire to delve deeper into the mysteries of this captivating art form.
