In Bangladesh, contemporary German plays are scarcely practiced on stage and when the theme tackles the psychology of relationships, then certainly it demands exceptional attention. Reetu Sattar, a theatre activist and Prachyanat member, adapted Sibyllie Berg’s work “Dog, Woman, Man” which is being staged consecutively at the Berlin Hall of Goethe Institut Dhaka till May 31.
Sibyllie Berg is a contemporary German playwright whose story “Dog, Woman, Man” centers around three characters, a dog, a woman and a man, and the evolution of the relationship from the dog’s perspective. A 38 year old man who once preferred had “no strings attached” flings meets a woman and slowly they become intertwined in a complex relationship. Stages of the affair including burning passion, trust, grief, denial, dependence, jealousy, rage, despair, and in the end, submission, are brought out as the play progresses. The dog plays the neutral observer, and also narrator for the drama.
The story is skillfully showcased, revealing what is happening beneath the surface in an adept manner. The final message of the play is quite refreshing as it portrays that an open and fair relationship is better than one which entails submission and confinement.
A psychological drama demands special treatment in sound, light, set and props department, to convey the playwright’s perception to the audience. The stage arrangement of the play was successful in achieving the perfect ambiance for the story. The use of transparent blinds in various effects, with the audience concentration focused on elements (like pillows on the wall, depicting “vertical” beds) and the use of stage was very refreshing. The pre-arranged visuals to heighten the narration (like Facebook posts appearing on projector screens, pre-recorded sub-textual monologue, and use of video footage and ambient audio) are all signature elements of contemporary theatre. The background music, arranged by Rahul Anand was also immaculate, as were the light, set, props, and choreography.
The production truly relied on the performances of the characters as Shahadat Hossain (from Centre for Asian Theatre) and Samina Luthfa (from BotTala) brilliantly acted to keep the audience on their seats and supported well by Shahriar Ferdous Sazeeb (Prachyanat), who played the dog. The leading duo’s chemistry on stage, timing and body language deserve appreciation. Sazeeb’s act was more challenging than it seemed, and he also gave an impressive performance.
The ambitious project was set in such a manner that the audience got the flavour of contemporary European stage in a local one.