Cruel, comical game of repetition and reversal from Forced Entertainment
We are good people. You are bad people. We are bad people. You are good people. Agree or disagree?
Developing director Tim Etchells’ interest in pared-back, quotidian language and its repetition, Forced Entertainment’s latest two-hander sees performers Cathy Naden and Seke Chimutengwende bat simple phrases like these back and forth in a game of endless imitation, contradiction and improvisation. The pattern goes: a phrase is established, then either its content (good/bad) or subject (we, the performers/you, the audience) is varied. Phrases recede and are reintroduced – most significantly: “This is part of the test/Is this part of the test?”
Some sound like threats, others are tentative questions. At times, they seem to be speaking from their position as performers for an audience (“You have made a mistake”… by coming to this show?, "Our work is hard, your work is easy”), and sometimes there is an unseen third entity at play, an amorphous ‘they’, to whose mysterious rules we are all perhaps subjected. The delivery is often rapid-fire, words flying out in our direction like tennis balls from a machine, a discombobulating interrogation; elsewhere, there is hesitancy and silence. The performers rarely move from their positions at the front of the stage, and there is a sense that they are trapped. They ask for more time, it’s going too fast. Doubt arises as to their place in this absurd task – who is conducting the test, and who is being tested?
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Alongside this, Etchells and John Avery’s score of insistent loops occasionally interjects: dub-like bass, samples of construction and drilling, sinister strings stuck in a riff. As with the language, there is a sense of the sound materials having been pilfered from the world around us and pressed into uncomfortable relationships with each other. The default role of sound design in theatre is to accentuate and enhance; here, it makes itself felt as an intervention into the scene. Likewise, Jim Harrison’s lighting flickers and pulses, casting odd, squared-off boxes. Its attention is misdirected towards the floor as often as it serves its more conventional purpose of illuminating faces.
As is typical of Forced Entertainment’s work, the absurd performance situation, seemingly its own microcosm with idiosyncratic rules, begins to suggest resonances with the wider world. In this unstable environment, one thing is clear: an answer must always be given, whether or not it is upended moments later. A choice must be made, a side taken, a position assumed – as it frequently must be in political life. Right and left, us and them, agree or disagree. We live in a binary world, even when we are full of doubt.
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