(From Arts Equator. Link to the complete article given below)
Everyone is always watching and being watched in Pratthana: A Portrait of Possession, the latest play by Japanese director Toshiki Okada.
The play begins with a Narcissus-like image—a young man gazes into the water as he describes a scene of a man being watched by another. Behind the actor, crew members tip an orange plastic roadblock filled with water from side to side, a microphone held close to amplify the sound of the water sloshing about.
On one side of the stage, other actors observe their colleague’s performance, while on the other side of the stage, the crew watch. A camera, pointing at one corner of the stage, projects onto the screen. And then, sitting in rows of chairs behind a rope barrier, is the audience.
This set-up speaks of the gazing done by artists as part of their art-making and of their willingness and desire for their art, and sometimes themselves, to be gazed upon. The rope barrier that acts like a frame around a painting locks in the art and the artists for the audience’s consumption. It is all at once a tableau of narcissism, voyeurism, and surveillance.
Pratthana began life in 2017 as a Thai-language novel entitled Rang Khong Pratthana (The Body of Desire), written by SEA Write Award winner Uthis Haemamool. From August–September the same year, Haemamool held an art exhibition of his paintings based on the book. Okada then adapted the book for the stage.