The Human Voice: Cocteau’s tale of despair reimagined by NINAD
A hauntingly intimate portrayal of love, loss, and isolation, NINAD’s debut staging of La Voix Humaine transforms Cocteau’s timeless monologue into a contemporary exploration of raw human emotion
One person, few props, and an hour of palpable raw emotion.
Jean Cocteau's monodrama, 'La Voix Humaine' or 'The Human Voice', is deceptively simple, but when the subtle nuances are keenly observed, one will be able to acknowledge the mastery it requires to craft something so potent and poignant.
This play aims to expose the deepest despair of a vulnerable woman through a series of phone calls with her lover, who abandoned her to marry someone else. The audience only witnesses her side of the conversation as they embark on a journey of unveiling the profound layers of the human psyche.
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NINAD, in collaboration with Alliance Française, has staged this legendary one-act monologue drama for three days, from 9 to 11 October, presenting five shows in the Auditorium Nouvelle Vague. The one-hour-long drama has promised its audience "a play that balances words and silences with raw emotion. "
To begin, it was a fascinatingly bold attempt by NINAD to opt for this particular play for their debut production. Translated and directed by Prajna Tasnuva Rubayat, this adaptation of hers brought a contemporary interpretation to the legendary French classic. Her 17 years of experience in theatre, writing, and teaching have placed her under tremendously high expectations. And well, her production delivered.
Prajna converted a French classic drama into something relevant and relatable to her audience. The dialogues were meticulously crafted to reflect the contemporary style of everyday conversation, without losing the artistic value or being dramatically exaggerated.
The make-or-break deal of this drama was the performance of the protagonist. In this scenario, Sadika Swarna excelled in portraying the raw emotional power and momentum that the play demanded. Her performance embodied the turbulent persona not only through her apt facial expressions but also through the fluidity of her body movements.
The emotional rollercoaster that the character is on was always evident in the way Swarna glides through expressions flawlessly, from anger to grief to despair. Her portrayal made tangible emotions palpable. She was never out of her character, even for a slight second; a single expression of hers was not misplaced. She did not dramatise pain but inhibited it.
However, the first element that grabbed my attention when the drama started was a very minute detail. In the midst of only a handful of props, a copy of René Magritte's painting 'The Lovers' adorned the set.
A painting that symbolises the complexity of love and is underpinned by hidden emotions adds a subtle nuance that amplifies the core message of this drama. It is through the care in the finest detail that this particular presentation garnered my admiration.
The other elements of the set included a telephone, a memory box, a red muffler, two dresses, a table, and a seat. This allowed the protagonist the space to move freely, which was much required to portray the character's agitated nature. The crumpled, brown sheet-like, semi-transparent background was visually appealing when combined with the lights, overall producing an alluring effect.
The brilliant shift in the lighting from crimson to blue helps to understand the internal headspace of the character and adds to the overall tone of the drama. The utilisation of the entire theatre as the stage has been another innovative approach that creates a more immersive experience for the audience, as it bridges the gap between the audience and the actor. The marvel of this production lies in its resourceful use of limited elements
"The play proved to be immensely powerful and moving. The depiction was heartfelt and somehow quite relatable. However, in the end, the play got a little monotonous and repetitive," remarked Samia, one of the audience.
No play is a one-man show, not even when it is a monodrama. The applause goes out for every member behind the scenes in the soundscape, scenography, choreography, and projection visuals. All of their efforts and commitment to the art in cohesion have resulted in the outcome that we, the audience, have profoundly experienced.
This play serves a greater purpose that exceeds the periphery of simple pleasure. It proves to be a cultural bridge, a palatable version of one of the fine pieces of French literature curated specially for us. It allows us an opportunity to venture into the unknown realms without leaving our comfort zone. And for that, NINAD deserves my utmost respect.
This play was meant to unfold something deeply unsettling. The last conversation over a heartbreak is a universally shared experience, and Cocteau's portrayal of it has been intense without being melodramatic; he captured emotions in their truest and most unfiltered form. This adaptation did justice to that.
And in the end, none of the audience will go home unscathed.
