An Impossible Silence

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Details if other :. Thanks for telling us about the problem. Return to Book Page. An Impossible Silence by Graham D. Read Goodreads Author. David Vidardal felt that if he was not careful he could go quite mad here, surrounded by the ghosts of a bygone age and a breeze whispering in the enveloping trees. His musings were disturbed by a movement at the entrance to his studio, a brief blink of the intense, African sunlight as someone crossed the threshold.

Michaela appeared as quietly as though she had been carri David Vidardal felt that if he was not careful he could go quite mad here, surrounded by the ghosts of a bygone age and a breeze whispering in the enveloping trees. Michaela appeared as quietly as though she had been carried to the room by a mist.

Her hair was in a pony tail, she wore a plain T-shirt, and was so blonde it seemed she had no eyebrows or eyelashes. She stared at him with intense, green eyes while she made a vague gesture to her right, "I live in the house next door, with my aunt Julia, and my cousin.

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Showing Rating details. More filters. Sort order. Oct 02, Vanessa Read rated it it was amazing. A strange artist who has strange friends finds himself enmeshed in their world of eco-terrorism and his own relapses into visions of his childhood.

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What is considered moral and what is considered "right" melt into a suspension of what is desired, what is perceived by the mind and what is starkly real, but hidden by social glitter and the power of wealth. The protagonist moves into an old house to paint his memories and is discovered by the neighbours, who take him into their lives, promote his wo A strange artist who has strange friends finds himself enmeshed in their world of eco-terrorism and his own relapses into visions of his childhood.

The protagonist moves into an old house to paint his memories and is discovered by the neighbours, who take him into their lives, promote his work and give him the security he craves to simply be as wild and creative as he likes. The adult performers constantly watch over life-sized models of unnervingly realistic youngsters. When the group is repeatedly forced to scramble for safety - inside or on top of the bus - the children are swiftly passed from hand to hand, like precious parcels of hope for a better future.

Callous violence, valiant beauty and plaintive humanity over-lap and collide as history repeats in a fiercely physical Silence that asks troubling questions. A viscerally memorable experience for those who stand and watch. The Stage, July Taking a very different approach to themes of war and the resulting displacement of people, Polish company Teatr Biuro Podrozy presents Silence. A large scale, high-concept spectacle, the production blends pyrotechnics, stilt-walking and abstract physicality, set to a soundtrack of yearning cello airs and jaggedly-industrial metal riffs.

Depicting a community carrying on normal lives during a nameless conflict, the show is full of haunting images. Child-sized mannequins articulated by the performers are cast as silent protagonists, and treated with touching tenderness as they play, dance, or flee in terror. A scene where they are evacuated from a dramatically burning structure feels frantic and genuinely dangerous. This Polish theatre company stunned both young and old with their high-quality, open-air performance. This is a memorable show and it proves that a perfect theatre is one which fascinates, refers to the emotions and leaves the audience with the impression that they have experienced something important and unique.

The story presents reality. People experience war, they try to survive, and finally they cannot see any other solution than flight. The history is transferred onto the theatre stage, and this allows us to watch it; the story becomes a fiction. As it is.

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But on the other hand it happens in reality. War comes suddenly to symbolic Troy, overtaking the inhabitants and spectators When the city is once more invaded by captors — the rhythm evolves into a sequence of blind violence and devastation that they bring with them, and the attempts to create small safe havens where normal life can be preserved.

This chaotic rhythm makes the insecurity and fear grow. The violence, pictured with a grand gesture, is well-known from the daily news: murders, rapes, tortures and all kinds of atrocities. And mindless abuse, for fun. Normality is preserved in time between night, when sleep is a relief, and day, when one has to find food, do the laundry the women get a moment for themselves — a bit of laughter, a bit of anger and the cleaning.

Children go to school, but what they can learn if their knowledge of life has nothing to do with that from a textbook. A cellist performs his agonised concert references to Sarajevo and is brutally silenced. Image by image — it is full of fear, hope, resignation. Another city there must be.

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My every effort here is wasted and my heart —like a corpse— lies buried. Wherever I turn my eye, wherever I happen to look, I see the black ruins of my life. The reference is very clear indeed. Another thing is that our symbolic Troy rejected the refugees, too. When a woman with a child enters looking for cover, she is turned down, excluded from the community. The symbolic Trojans us? The heroes of the performance are the children — alone, facing war, the deaths of relatives, destruction and chaos.

Unable to think abstractly. They mount the Trojan horse, tame the symbols of treason and extermination. They copy the world they know. One can say they copy the world of captors, the attractive world of the powerful. But behind the child puppets, there are adult actors. The war destroys everyone.

Only the dreams of escape remain. And the city ceases to exist The company have already dealt with it in their legendary performance of Carmen Funebre. In the beginning Death enters. On stilts, in a long, purple gown and he unveils the silver drape that covers the red bus, with battered, shot-through sheeting. Body parts stick out through the windows — arms, legs.

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We hear the voice-over: Once upon a time, by a great sea, there lived a happy people. They smiled, looking into a blue sky. One day the sky was covered with heavy, leaden clouds. Then the people stopped smiling. But the fairytale will stop in a moment.

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But Szkotak and his company present the war from the perspective of the ordinary people, civilians who always suffer the most, without their own fault. There are no heroes, no gods, no glory and no honour. Just an ordinary life that at one point turns into inhumane carnage, food rationing, humiliation, depravation.

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