Drink The Mercury Kabuki Analysis

Kabuki style performance has been influenced by the theatrical technique of Brecht. In this, Brecht believed that it was important for the audience to understand and acknowledge the fact that they are watching a play, and should not be emotionally attached to the performance (Narukami The Thunder God [NTTG], n.d). In Kabuki performance style, they themselves make it a point to make sure that the audience are fully aware that they are performing and that what they witness on stage is not a result of reality. In the play, Drink the Mercury, we find specific examples of Kabuki style performance through the use of mask, narration, character and design that are evidence of the influence of Brecht and Kabuki in the play. With supporting from the

Naming the character without a specified name allows for the audience to follow the connection between each character. This also emphasises the importance of emotional detachment. By not naming the characters, the audience do not get attached to the farce world created on stage and engage with the relationships between the characters and begin to understand their individual roles played in the play. For example, the government, is a representational character of an entire board of people who are currently dealing with the crisis of poisoning that is effected their people and land. The role of the government, played by a woman, is seen playing a role that is seen through the perceptive of those in government, and how they approach certain situations. The designs suggested in the text, for example the; factory and screens, suggest the damage that has been made by the poisoning. The moment, for example in the play, the government is seen looking at factory screen, village screen and sea and then continues to make notes (Methuen, 1976:48), reminds the audience that something traumatic has occurred in the village. That there is an issue at hand, that needs to be solved and paid attention to

In essence, the audience have the power to intervene in the play and contribute to the performance without narrating the story. The audience are actively involved in solving the current problem, for example in the play, ‘(While suggestions for making money are being taken for the audience, an actress wearing a sash reading ‘GOVERNMENT’ enters the acting area.)’ (Methuen, 1976:47). This is an example of the level of involvement from the audience, which detaches the audience from the performance but allows for the audience to think deeply about what is occurring, and getting involved in problem solving. Another example of audience participation that shapes the learning experience for them is the responsibility of being a shareholder in the play. This moment allows for the audience to feel a sense of responsibility, entitlement and position in the outcome of the play without driving the story itself, and this is possible by holding the piece of paper that gives them the power. The audience are in role of power, being given the freedom to possess contributing perspectives on what could be done to solve the