In 1996, Jill Bolte Taylor suffered a severe haemorrhage in the left hemisphere of her brain. As a neurologist herself, Taylor went from studying the intricacies of the brain as an external scientist, to suddenly dealing with her own neurons. This transgression lies at the heart of Curious Directive’s Return to the Silence, now showing at the Pleasance Theatre.
There are few companies, especially emerging ones fresh from university, which would tackle the intricate nature of neuroscience and the outcomes of a stroke. Perhaps this is why, under the direction and passion of Jack Lowe, Curious Directive’s work has a sense of exploring unfamiliar and exciting connections, bridging the gap between science and performance. Along with a cast of 13 physically trained performers, a pianist,video projections on two large screens and a team of stage hands to meticulously manoeuvre the audience (contained within carts), Return to the Silence is an adventurous piece.
As Taylor floats into consciousness during her stroke, the ensemble act as the connections of her nervous system, conjuring her life and work into fragmented segments, each based around neuro-disorders that, presumably, the scientist has researched. Dipping into these characters and situations, we see more commonly-known disorders, such as Parkinson’s, being portrayed alongside more complex mental states such as Echopathy (where the words and actions of another person are imitated) and Pica syndrome (an appetite for non-nutritive substances e.g. metal or paint). These disorders are shown between sequences of movement and monologues delivered by the performers. As quickly as they are delivered they are dispersed again leaving us to capture fragments and a sense of the absurdity of disorders as they appear from an outsider’s perspective.
Taylor’s gradual decline following her stroke acts as the narrative thread bringing together the other disorders. The movable seating in which the audience are placed offers a changing perspective on the work, but sadly never truly provokes a sense of disorder and confinement – or even inventiveness. Whilst within the piece there are moments that allow the audience to grasp the real chaos that these disorders can cause – a great example being a musical disruption that has one character hearing music constantly during an exam – we never fully connect with them. The sequences are too brief; at times repetitive and they lack a sense of stillness that the piece requires for impact. Equally, the performers’ continuous movement between scenes, jumping and spinning as they remove chairs and tables, had me desperate to see someone walk on and off without the need for a leap in and out. In short, simplicity is missed.
Whilst Return to the Silence isn’t perfectly executed (the need for directional editing and refinement is clear), it does offer a real glimpse into the creative potential of this company. The piece will certainly act as a gateway for further exploration into the creative presentation of science and I hope it will perhaps educate audiences who have little knowledge of the depths to which their bodies can sink.
Return to the Silence is a bold and adventurous piece, and Curious Directive perform it with a level of energy and depth of research which shows that, they are one to watch out for during their development in the next few years.
Return to the Silence is playing at the Pleasance Theatre until 29th January. To book visit the Pleasance Theatre’s website. If you’re interested in Curious Directive head over to their website here.
