Can you describe Fourplay in four words?
Shafie M. Haja: Enlightening, Exuberating, Exhilarating, Exasperating.
Bhargav Sri Ganesh: Intense. Intriguing. Infernal. Innocent.
J. S. Sasikumar: Fresh, emotional, sleek, simple.
Who or what inspires you as a theater practitioner?
Shafie: I am very inspired by the directorial vision of Ong Keng Sen. He is a man of vision and has directed several plays in an unorthodox manner. He defies convention and manipulates emotion and talent to produce a work.
Bhargav: Mr Selva’s (Artistic Director of Avant Theatre) artistic vision and bursts of creativity inspire me. As a writer, I also try to write about bold subject matters and provide alternative views about an issue. Ultimately, however, the issue must be close to my heart.
J.S.: The need to achieve a balance in life—between the sciences and the arts.
Some unconventional themes, such as perversity, are explored in the four plays. What was the inspiration behind each play?
Shafie: I originally wrote The Banyan Tree on a Full Moon Night for a class. At first, people laughed at the first draft. I spent more thought on it out of provocation, and put in some darkness. Inspired by filmic techniques, I wrote it to be graphic and visual, as well as sensory.
Bhargav: For Hangman, I was watching television one evening when it was announced that a heinous criminal would be sentenced to death for killing innocent lives. That piece of news inspired me to think about the psyche and mindset of a convict a few moments before he is executed. Five Steps is a play that’s close to my heart. When I heard that the mother of one of my close friends was suffering from clinical depression, it affected me deeply. I witnessed the impact that depression could have on both the person suffering and the family.
J.S.: For Once More, I was inspired by events which happened around me, as well as in my life.
Do you think it’s a good thing when audiences get uncomfortable during a play? Does this force them to question previously held assumptions?
Shafie: It’s a good thing if the discomfort draws attention to issues, rather than purely for entertainment purposes. Discomfort has several ways of unhinging an audience, and must be done appropriately and for a justifiable reason. Comfort makes a complacent audience’ however, discomfort that puts them off thoroughly will defeat the purpose of enlightening them in any way.
Bhargav: Definitely. In the words of Georges Braque, “the function of art is to disturb”. For example, in Hangman, the audience is confronted with the difficult proposition that if we all agree to the maxim that it is forbidden to kill, an executioner should be as guilty for his perceived “sins” as a heinous criminal. In Five Steps, it is quite disturbing to see a confident and successful woman wanting to take her own life. It makes us question if we know enough about our own family members and friends.
J.S.: Only some plays will really pull the audiences out of their comfort zones and personally, I feel that it’s a good thing. Sitting through a 45-60min play should allow you to experience something that you usually wouldn’t under normal circumstances. This will force the audience to rethink previously held assumptions. They might even find out something new about themselves when they walk out after the play. You’ll never know until you give it a shot yourself.
What’s your moral code?
Shafie: Someone once asked me, “would you be nice, or right?” I replied, “nice”. That is my moral code.
Bhargav: Live and Let Live. Everyone acts according to their own self-interest. It is important to acknowledge that and let others choose their path of action without interfering unnecessarily.
J.S.: I do what I feel is right. Sometimes it might not exactly be acceptable by society but I am who I am.
What do you think is the future of the arts in Singapore?
Shafie: I think it will be diverse, experimental and with elements we cannot even begin to imagine. However, this is only possible with the support of the masses. The arts has always been looked down upon as the softer skill, but it’ll be really valuable in future.
Bhargav: To be honest, I think I am not in any position to comment on the future of the arts in Singapore. However, there are many youths who are passionate about theater and the arts in schools. The challenge is translating that budding enthusiasm into something more concrete and sustainable. The future of the arts rests on how many youths are willing to take on that leap of faith to become professionals.
J.S.: As we say at Avant, “Art is Timeless. Art is Ageless. Art needs no specific boundaries, languages or space to express itself.” However, I feel that support is the main thing here. As long as we have people who are willing to support the various art forms in Singapore and motivate our artists in their respective fields, the arts in Singapore has a bright future.
Fourplay will be performed at the Goodman Arts Centre from April 10-12. Find out more here.
