10 | Rehearsals: Step into the world behind the curtains!

Our journey into the realm of acting commenced on November 24 with a whirlwind of excitement and anticipation. Setting our sights on a grand debut performance slated for January 2024, the initial rehearsal sprinted off the starting line.

While our first rendezvous with the script unfolded smoothly, it wasn't without its challenges. Dialogue retention and character immersion posed hurdles for the Kattaikkuttu actors, in particular because the script uses multiple languages (Dutch and English, in addition to Tamil). Our production remains rooted in Kattaikkuttu, but its ‘foreign’ characters require a more realistic theatre style. This is a challenge and leaves us at times confused; having trained in Kattaikkuttu for so many years, it is tempting to fall back on the theatre’s presentation of epic figures using our hands and voice in a melodramatic way. Take, for instance, the portrayal of Quintina, the British woman photographer I am performing. Her character demands a fusion of theatre styles—entering the stage in a realistic fashion that then transits into a bilingual English-Tamil song in Kattaikkuttu style. I am trying perfect my British accent while at the same time exploring innovative approaches to seamlessly blend both theatrical forms in my performance.

An additional instance is the meeting between Kamaladevi and Jacob Haafner. The romantic scene is a challenge for the actors too As an heroic theatre Kattaikkuttu features war rather than love and has few intimate scenes. Given our immersion in Kattaikkuttu, finding a way to more truthfully act this love  scene, is not an easy.

As a company we are struggling with a limited number of actors. This requires some performers to take on dual roles. Not only that, some actors have dual jobs and some of the younger ones are still studying, which makes drawing up a rehearsal schedule that everybody can attend a difficult task. The intricate dance of transitioning from one character to another raises logistical questions to which we still need to find answers. Despite this, more than six rehearsals have successfully taken place, albeit interrupted by the disruptive force of Cyclone Michaung.

In the wake of this unexpected interference, a few additional rehearsals are anticipated. These sessions will allow us to become really comfortable with the playscript – with its unconventional characters – and with our roles. We want to work towards nuancing and refining our performances before Pārvai takes centre stage for its inaugural show on January 6, 2024.

A. Bharathi – with Hanne M. de Bruin