Kriszta Doczy | Do you love me? @krisztadoczy3871 | Uploaded March 2024 | Updated October 2024, 2 hours ago.
An adaptation of the short story written by Peter Carey.
Concept and direction by Kriszta Doczy
Performed by George Shevtsov, Andrew Robinson and the
Shadow Industries Theatre Company: Jodie Thanos, Gabor Kollo, Gari-Emma Perry, Genevieve Moran, Suzannah Edwards, Narelle Hurley and Larissa Price.
Words by Sophia Martin-Pavlou:
‘Do You Love Me?’ describes a world in which people and things are gradually fading away, dissipating to thin air, ‘like the image on an improperly fixed photograph’. People wish to know the contents of their nation, and the narrator conveys their responses to us. They cling to every detail of the annual census, a total inventory put together by cartographers. Within this swiftly changing society, the need to record is paramount.
Theories as to the cause of the disappearances vary, but our narrator is convinced by the hypothesis once put forward by his own father: only the loved remain. The scenario created, in which everything is carefully documented and accounted for, is not so unlike our own networks of constant, instantaneous information. The author seems to critique not only his own fact-fixated characters, but also the reader’s anticipation of answers, our ‘desire to know, always, exactly where we stand’.
An adaptation of the short story written by Peter Carey.
Concept and direction by Kriszta Doczy
Performed by George Shevtsov, Andrew Robinson and the
Shadow Industries Theatre Company: Jodie Thanos, Gabor Kollo, Gari-Emma Perry, Genevieve Moran, Suzannah Edwards, Narelle Hurley and Larissa Price.
Words by Sophia Martin-Pavlou:
‘Do You Love Me?’ describes a world in which people and things are gradually fading away, dissipating to thin air, ‘like the image on an improperly fixed photograph’. People wish to know the contents of their nation, and the narrator conveys their responses to us. They cling to every detail of the annual census, a total inventory put together by cartographers. Within this swiftly changing society, the need to record is paramount.
Theories as to the cause of the disappearances vary, but our narrator is convinced by the hypothesis once put forward by his own father: only the loved remain. The scenario created, in which everything is carefully documented and accounted for, is not so unlike our own networks of constant, instantaneous information. The author seems to critique not only his own fact-fixated characters, but also the reader’s anticipation of answers, our ‘desire to know, always, exactly where we stand’.
