I Can See What The Dark Looks Like
Naz’s poetry has always depicted philosophies beyond her years. Which have always been innovative in the way in which they have been delivered. “I Can See What The Dark Looks Like” is her first play that makes full use digital technologies.
90% Digital Play
A digitally produced play; the 180 degree digital set, provides the audience with a fully immersive experience. With 3D designed and 3D printed props and costumes where appropriate and digitally produced soundworks.
Silk’s soundworks are more than just music; they are a blend of music, sound, noise and spoken work. Soundworks are not sound/music used as a medium to convey a thought or feeling. The sound is art itself and compliments the new age philosophies of Naz’s poetry and digital design of the play.
The Art Of Story Telling
“I Can See What The Dark Looks Like” is the art of storytelling; because it combines different mediums, encouraging deep listening, that engages the audience with an experience beyond the action on stage. The plays design promotes holistic well being, inspiration, motivation and entertainment. This mixture of Spoken Word, Soundworks, Digital and Performing Arts portrays ancient philosophies in the vernacular of today.
It’s a play of five parts and incorporates two other theatre art projects “Girl in a box” and “A Life Interrupted”. “I Can See What The Dark Looks Like” makes use of the contrasting yet interconnected elements of light, projection, sound and movement. To transform and connect people and spaces, using poetry that delivers messages across all levels of awareness.
Purpose of the Play
“I Can See What The Dark Looks Like” is an expansion of my mind into the world outside of myself. The set design places the audience into a feeling space, rather than a set designed to put the audience in a location within a specific time and space.
The idea is that the audience is connected to each other and the space not by a specific experience or set of circumstances but instead by the emotional reaction or emotional state that the circumstances or the experience produces[i]. In essence the feeling space is about ‘what it is to be human’. This is because the space is beyond superficial differences and artificial labels such as colour, race, religion, gender, age, ability, etc. Instead “I Can See What The Dark Looks Like” focuses on compassion, empathy, appreciation and joy.
For more information regarding this concept please see full explanation in “Girl in a box”
[i] The rational for the idea stems from the way that readers have interpreted my work in the past. A piece that I wrote at the age of 15 was re-titled seven years later to “Different Everytime”. This is because every readers interpretation of the piece was different. Then after many years the same piece read by the same readers lead to sharply contrasting interpretation.
This is something that occurs across most of my pieces, because unless a piece is written for a specific purpose, there is no mention of location, event, circumstance time or space; the interpretation is subjective to the reader who understands and relates to the piece via the filters of their own experience, giving the piece their own meaning and connecting to the piece on a level that is exclusively personal to them.
The idea of the play set in a feeling space is to extend this concept of this personal experience, so that the audience members are not just the observers of the work but participants and in many cases assign themselves as the lead role. The best example I can provide for this is one of my pieces “Silence Shouts” which I wrote at age 13, this piece has been interpreted by readers to be about, 1.being in prison, 2.being paralyzed but very highly mentally active and being unable to communicate 3.The death of a child 4.Having substance abuse issues 5.Having mental health issues, 6.Being homeless etc. you get the idea.
The piece means something completely different to me, readers think I have understood and grasped their situation, but at the time of writing I had no way of comprehending many of these experiences, so they are not viewing these circumstances through my eyes, but through their own senses, so they are not on a journey with me, they are on their own journey; but because of emotional connectedness we walk that journey together, as reader/writer or in terms of the play audience/participant.