Despite the fact that politics has been the only thing on my mind and Facebook feed these past two weeks, it was a refreshing delight to see a performance of “1984” in Hunt Library’s Teaching and Visualization Lab. As her capstone project for the University Honors Program, Meredith Biechele, a junior studying mechanical engineering, put on the space’s first theatrical production: a digital reimagining of George Orwell’s seminal critique of totalitarianism.
Unlike many traditional performances, this production used minimal physical set design — two simple benches and a cage for the rat torture scene in the infamous room. Instead, it took advantage of the lab’s unique 270-degree screen to envelope the audience and the performers, exuding control and power.
Except for the rare scene where the characters escaped the gaze of the telescreens, a foreboding green eye surveilled the black-box room throughout the whole play.
“I wanted something to always be watching the audience as the audience was watching the show,” Biechele said.
The digital set design made for a very fluid viewing experience, which enabled the nonlinear plotline. Unimpeded by physical obstructions, the blocking was smooth and the actors were free to dynamically switch between roles and scenes.
Photos and short videos displayed on the screen helped to sculpt scenes. A picture of a verdant forest sprawled over the screen when Winston and Julia escaped for a brief moment of sexual freedom. Characters yelled at the image of Emmanuel Goldstein and stood at attention when pre-recorded propaganda clips announced production “increases” or military “victories.”
The performance highlighted particularly well “1984’s” theme of language as an apparatus of social control. The voice of Winston’s nameless interrogator boomed through the room with the demand, “You must be precise!” Characters’ words appeared on screen when they read from diary entries or explained concepts from “Newspeak,” such as one moment where the contradictory slogans, “War is peace. Freedom is slavery. Ignorance is strength.” surrounded the audience.
Immediately following the play, the cast and crew held a “talkback” with the audience and discussed their experiences, struggles, and reflections on the work.
“My interpretation of it was: beware of simplicity,” said Chris McBennett, a junior studying creative writing playing the role of First Party Member. “Why say splendid? Why say excellent? Plusgood will do just as well. Does it do just as well? If you always said plusgood in everything, it’s not as expressive; it’s not as interesting; it’s not as individual.”
While the digital set immersed the actors and stimulated their imaginations, the different experience created some challenges, according to Talia Noelle, a sophomore studying communication, who played Charrington, Parsons and O’Brien.
“There aren’t steps that you can climb or things that you can touch,” Noelle said. “But, you’re just as much a part of the story as you are with a physical set.”
I was only disappointed once. During the talkback, Biechele admitted that Sarah Crawford, the stage manager and a junior studying aerospace engineering, used PowerPoint slide transitions to do the visual effects. While I applaud the production for such a creative use of ordinary technology, sometimes we just don’t want to know what’s behind the screen.
