Photo of ‘Same Difference’, courtesy of Theatre Conspiracy
The Theatre Centre presents Theatre Conspiracy’s Same Difference, a mixed-media installation by David Mesiha. Examining the immigrant and refugee experience, this piece has a compelling visual and auditory landscape with a gently immersive aspect, though I’m not sure it fully achieves its conceptual aim “to deconstruct perceptions of identities…”
At the top, you are asked if you consent to having your image recorded to use in the show and, potentially, in further manifestations of it. Then, one by one, the small audience is ushered into the space. It is open and vast, dimly lit, with little pools of illumination and disembodied voices calling out from the darkness. As your eyes and ears adjust, you become aware of certain apparatus.
You can sit on the floor or walk freely throughout the space. You discover that the fragments of dialogue can be heard most clearly when positioning yourself directly in front of highly directional speakers. These aural pockets are highlighted by dim spotlights, inviting you to either step into the light or creep at the fringes. Each of these stations features audio from interviews with immigrants, highlighting some aspect of their experience. These interviews meander through discussions of queer identity, culture, work, personal life and generational dissonance.
In the center of the space is a set of opposing two-way mirrors. Projected onto the reflective surfaces are internal, shimmering frames. These mirrors reflect approaching patrons, projected images, and are also entirely transparent. As the piece progresses, these projections and a stirring musical accompaniment provide some thrilling spectacle. Frames expand and retract. Faces weave in and out of view, shift and morph, with abstract patterns emerging throughout. There is a dizzying effect as light and colour bounce across and through surfaces.
Perception and self-reflection are an integrated, engaging aspect of the experience, though the content itself isn’t as probing as it intends to be. The spoken text—inquisitive, prodding phrases like “how did you learn to look, move, sound like that?”—become increasingly banal and tiresome, but perhaps that is the point.
I found myself effectively transported by the overall experience, especially the innovative visual aspect. There is a nagging sense of the great burden of choice. Whether you spend your time in one spot, listening to a specific interview and seeing the visuals from a single vantage point, or move about, viewing from multiple angles and drifting in and out of various recorded testimonies—the structure of the piece makes you aware of what you aren’t seeing or hearing.
One of the more subtly intriguing aspects of the experience is your awareness of the shadowy figures of fellow patrons. You can choose to be obscured by darkness or venture into lighted areas where all can see you. Mesiha and his collaborators don’t force your involvement, allowing you to choose your own mode of interaction.