The Official Page of 24th Pesta Tanglung Universiti Malaya (PTUM)'s annual performance, “Dial Sand Stained Predestination,” is a work between reality and symbolism, which intersects two story lines from two different worlds, one on the level of God and the other on the level of the poor, as the story unfolds in two different worlds. The story unfolds in two different worlds, teaching people how to love people, the power of predestination, and reconciliation with past traumas. What I felt most strongly after watching the entire play was the irresistible, unbreakable, and the more you struggle, the more you are entangled in destiny.
From the FOH to the staging and props aspects that caught my eye, you can tell a lot of time and effort was put into it. This drama borrowed from the ancient Greek architectural style, basically a symmetrical structure of the platform as the main body, up and down through the curved steps link, and the whole building in light beige and white, with the top lighting, so that the stage effect is beautiful, which and according to the plot of the movement, but also a great highlight, especially the male and female protagonists in the staircase on both sides of the song together, the scene, I was very impressed. Overall, I think the stage design is not only the art design, but also the vehicle to tell the story.
The design of the plot is very clever, especially the design of “Time Reversal”, at the beginning, you may have a little doubt, why the heroine is in prison at one time, and a murderer at another time, but at the end of the heroine said, “My tomorrow is someone else's yesterday,” which makes people realize that the design of this plot makes people realize that the heroine is in prison. Epiphany, the design of this plot makes me bright.
But there are still some regrets:
The complex structure of the play that some of the characters may feel confused in their relationships. For example, while the character of the play's female magician (Princeton) is vivid, the connection and expression of meaning between her and the male protagonist feels unclear. Is she a manipulator of fate? Or is she a materialization of a certain past? I had a bit of trouble grasping her characterization.
Another thing I regret is that some of the actors' diction was not clear enough, especially when they were emotional or facing the side stage, or their pronunciation was not very clear. Even though I was sitting in the front row, I still could not hear many of the lines clearly, and as far as I could see, most of the audience, including me, had to incline their heads and rely on the subtitles on the big screen in order to fully understand the plot. This is something that somewhat diminishes the power of the language of the stage and detracts from the sense of audience immersion. I hope that in future performances, the vocal training and line control can be further improved, after all, language is an indispensable part of the theater narrative.
Overall, this PTUM still brought me a big surprise, thanks to the dedication of all the cast and crew for presenting such a wonderful performance, and I'd like to end with a quote from Lai Shengchuan, a theater director whom I like very much: “The absolute charm of the theater lies in its live nature.” So the charm of the stage also lies in the imperfection of one part, and it is this part that constitutes the unique reality and vitality of the theater. Every performance is a journey that cannot be repeated, and we wish PTUM to pass on this charm of the stage to as many people as possible.
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