A Symbolist Play v. A Realist Play

A Doll House is one initially filled with confectionary, baby-talks, and social formality. In The Blind, from the broken conversations, there is a confusion in time and space. In both plays, the characters live with fear. But which one is more inclusive?

The tree in The Blind, flowing inside its branches are strands of glowing life forces. Yet the blind could not sense it. The tree is dark in their eyes, its canopy barring them from sunshine and hope. When was the last time you stayed somewhere completely dark? Perhaps being in an utterly dark-out theater with a spotlight on one human organ. You leaned forward, touching your mouth, ready to run away.

Besides fear of the unknown, is there supposed to be mercy? Is it worth watching an excruciating journey seeking a way out from desperation? While the realist theater conveys straightforward political meanings, by taking care of all the details including the furniture, interior design, and why characters enter and exit, can we embrace the openness of the symbolist play?

Being mysterious is not just rebellious and cool stuff devoid of substance. In the contemporary urban world, people need more than concrete sets to speak for the diverse life experience of often being trapped. Next time when you feel trapped, do not run away. For babies to be fed chewed rice, Arendt would character this as thoughtless.

Lastly, is A Doll House a truer version of everyday life, or The Blind after all?


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