
I don’t visit the theatre as much as I should, especially to support local productions. Last Friday, I was adamant about watching the local adaptation of Rashomon at the Drama Centre. After all, the office was located about a 5 min walk away from it, I didn’t quite have an excuse to say ‘no’.
As I ponder about what to say about the play, I’m hesitant to conclude that Rashomon was amazing, give it a 10/10 and then call it an evening. In fact, I wonder where I stand with this interpretation by The Theatre Practice. The set was beautiful, just as the costumes were but there is something quite…disconnected. Perhaps it was meant to be that way or perhaps I just didn’t understand.
Rashomon was equally visual as it was emotional. Senses were meant to be piqued as sudden sounds, deliberate movements and awkward dialogue interacted and waited for the audience to respond. To put it without the fluff, Rashomon was meant to make you think. Even in its original short story form and Kurosawa’s movie, they were all meant to make you think. Suffice to say, I always thought it would be enough to classify that thinking process into one very philosophical (and unanswerable, in my opinion) questions “what is truth?”
A warrior, his wife and a robber. Each claiming the death of the warrior for the purpose of glorifying the self. Each demanding that the act of killing be recognized as heroic. Each postulating that the truth can only be found in the self.
The Medium, obsessed in his search for the knife (weapon of murder) becomes the negotiator between past, present and the audience. As time becomes fluid on the stage, it also comes to a standstill at the moment the Medium asks if the truth brings “enlightenment”. The knife became that unfailing truth but also the necessary evil that conducted the violence in search for “enlightenment”. The crazy poor man wanting the spoils of the knife in order to feed his family also dies by the same knife.
It is simple to agree that perspectives becomes the truth as each to his own. Does that make it any less real or unworthy? I find the emotional connectivity with the play came at this moment where it questions our (the audience) perspective of who should be at blame. None I suppose since they have all seemed to have sacrifice their selves. Yet they were also slaves to themselves. If in our pursuit for the unending and unyielding truth, we trap ourselves in a cyclical chase of nothingness as we each grasp truth in unfathomable manners.
But let’s be real. Does the truth even really matter anymore?








