"YES NO BLACK WHITE hones in on the questions of what causes us to take offence, how offence itself has become weaponised, and what we can do about all this. (...) We begin to understand that it is our own individual responses that are really being put under the microscope – and indeed whether we are honest enough with ourselves to recognise this. (...) in this rare ballooning space, wrought with uncertainty and introspection, we may begin to ask more searching and sincere questions of ourselves than the more familiar vociferous ones which tend to come with built-in answers: yes, no, black, white.'
Aidan Bracebridge, A Younger Theatre
In years gone by, the old criticised the young for being reckless and rude. Nowadays, the young stand accused of being over-sensitive and lacking resilience, too quick to take – and too scared to give – offence.
Should we resist a world of trigger warnings and no-platforming – or welcome it? Are we more sensitive to ‘micro-aggressions’ – or just less willing to tolerate them?
YES NO BLACK WHITE takes these ideas to task from a uniquely Queer angle, teasing the audience and refusing easy answers. As an audio-visual, lo-fi spectacular the performances elevates clicking through a PowerPoint presentation to an art form, interrogating the nature of offence: What offends us? How? And why? Ultimately asking, how should we respond?
Following the structure of a classical sonata and choreographed to a pumping soundtrack of various Vivaldi fragments and pieces by Anna Meredith, YES NO BLACK WHITE serves as a kind of Rorschach test for your personal offense-taking mechanisms. Prepare for a cognitive, moral, and sensory attack on your psyche.
The piece is a continuation of my ongoing investigations on the dramaturgy of lists, musicality, and the exploration of strategies to problematize meaning-making processes.
|(Draft no.11, 2nd Oct. 2019) YES NO BLACK WHITE by Pablo Pakula|
|File Size:||15354 kb|