There aren’t many playwrights whose work could stand on the merit of its stage directions alone. In this experimental piece, Makoto Sato and Keiko Takeya explore Beckett’s play Happy Days. First performed in 1961, it is the bizarre exploration of Winne, a woman who is buried, first up to her waist, then up to her neck, as she goes about the banality of her everyday life. Sato and Takeya look at the play as an internal monologue, giving power to the minutiae of gesture and expression in the absence of the spoken word.
It is a piece that crosses boundaries of language and understanding. Although Her Voice is another take on Happy Days, it is not a pre-requisite to have seen the original Beckett play. In this, Her Voice finds strength, building on, but not relying on, Beckett to create a work that is as original in its own right as it is an homage to a theatrical master.
by Síofra Ní Shluaghadháin