New Delhi
2016
concept, texts, director - Dina Boswank
director - Neel Chaudhuri and the Tadpole Repertory
actors - Andrew Hoffland, Anushrut Ramakrishnan Agrwaal, Indranil Choudhury
theatre project space - Downstairs@S47, New Delhi, India
supported by -Tejeshwar Singh Memorial Trust, Sarai Institute, Bauhaus University Weimar, GD Naidu Museum Coimbatore
Through working with the book “Construction for Destruction” compiled by G.D. Naidu in 1940s Coimbatore (Tamil Nadu, India), conceptions of technology, creativity, and infrastructure are brought into discussion. The book comprises of letters asking for the reasons for G.D. Naidu to destroy his radio inventions, which were the first ones built in India, and, furthermore, free in thought and copyright conceptions.
How can the book and its compelling claim be read and be made audible/visible today? As for the performance work this question is just as urgent, especially considering the great interest Naidu had in sustainable and local radio technology and the subtle use of voice amplification on-stage.
Links to video excerpts / documentation:
Pt.1 Machine Man
https://vimeo.com/549747325
Pt.2 Smashing Rasant
https://vimeo.com/549748451
Pt.3 Being a student
https://vimeo.com/549745450
Pt.4 Compelled Drum
https://vimeo.com/549746239]
Pt. 1 Machine Man
As part of my former PhD research, Indian historians, media researchers and artist are involved to discusss Naidu‘s strategies.
In small meetings the letters are being read out loud, recorded and opened up to reflective interruptions.
To begin the performance, two of those recordings are being played back.
Pt.2 Smashing Rasant
In his „Compelled Drum“ G.D. Naidu also published various newsletter articles mentioning his inventions, the subsequent troubles with officialdom and his unusual reactions to it.
We selected especially those reporting about his famous Rasant razor; its roots in Europe and his destruction in Coimbatore, India.
Pt.3 Being a student
A very intimate, yet respectuful letter exchange between a student, his father and GD Naidu spanning one year (1948/49) is included in the book. Only little was the text shortened by us - the raw letters are being read out to the audience with each actor representing one specific person.
Pt.4 Compelled Drum
The climax of the performance so far is exactly this confrontation reflected within the letters. GD Naidu is not represented by one specific actor, but by each of them. Two technically different sound systems (mic&lifier) are therefore confronting each other, allowing for two different voice amplifications (effect on distortion, feedback).