{"id":85127,"date":"2025-10-18T10:51:01","date_gmt":"2025-10-18T08:51:01","guid":{"rendered":"https:\/\/woordfees.co.za\/uncategorized\/interview-jay-pather-on-bridling\/"},"modified":"2025-10-21T11:30:12","modified_gmt":"2025-10-21T09:30:12","slug":"interview-jay-pather-on-bridling","status":"publish","type":"post","link":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2025\/interview-jay-pather-on-bridling\/","title":{"rendered":"Interview: Jay Pather on \u2018Bridling\u2019"},"content":{"rendered":"\t\t
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SPIER THEATRE<\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\u2018Bridling\u2019: Theatre talking to itself<\/span><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Production: Bridling<\/strong>
By: Diane de Beer<\/strong>
Photos: Jeremeo Le Cordeur<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Jay Pather<\/span> is the director of Bridling, a play based on a prize-winning short story by Nadia Davids<\/span> that raises powerful questions about the place of art, the representation of trauma, and what we expect from actors. Diane de Beer<\/span> talked to him.<\/h5>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Bridling<\/em> is the third collaboration between author Nadia Davids and director Jay Pather. Nadia used the story \u201cWhat Remains\u201d and worked it into a play. <\/p>

\u201cI was really taken by the poetic, lyrical yet sharp and at times brittle writing. It also had a rhythm that immediately made me think of an accompanying dancer, in this instance Shaun Oelf, to share the stage with actor Buhle Ngaba. <\/p>

\u201cThe ominous sense of something strong, violent and yet transformative was so present in the writing and the dance helped create a physicality to evoke that and hold the text,\u201d explains Jay.<\/p>

With Bridling<\/em>, even though it is ostensibly about a director, what appealed to Jay was that it is about the whole theatrical enterprise and the playing out of trauma. \u201cIn South African theatre we have often debated whether that was akin to a kind of \u2018poverty porn\u2019 in photography, restaging trauma as an act of supposed social conscience and yet a kind of fetishizing of pain that occurs.\u201d <\/p>

But he believed that Davids\u2019 play is not annoyingly judgmental about this. \u201cThe theatrical contract can go either way \u2013 superfluous trauma display or a portal to understand the human condition, desire and fears. Playing on that edge is what fascinates me in this work,\u201d he says. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Searching for a truth in the performance was important to him. \u201cSometimes it feels like everything, gestural, vocal, visual is a clich\u00e9 \u2013 which Bridling<\/em> also plays with \u2013 and only some serious deep diving can come up with shifts that place the audience encounter at the centre and not just inventiveness or clever staging.\u201d <\/p>

He approached the text as self-reflexive because he found that is exactly what it was \u2013 theatre talking to itself.<\/p>

\u201cIt\u2019s a series of stream-of-consciousness thoughts that is already built in. Trying to \u2018tell the story\u2019 was my main objective. I searched for clarity and distilling. But I am attracted to the layering that may come from movement and visual design, so there\u2019s that. This story is disturbing and compelling and it was hard to do any more than that.\u201d<\/p>

His approach was to focus and stay as close to the text as possible. \u201cBecause there is self-consciousness as one might get with any \u2018play within a play\u2019 scenario,\u201d he notes. And that\u2019s in the writing. \u201cWhere movement or visual imagery was involved, we stayed too close to what the text asked for.\u201d <\/p>

Looking at theatre in the future, he hopes it considers human rights more. \u201cThis may sound very eighties but it’s only because we have not completed that work. So as inventive, as outrageous or provocative a work is, if it is not in some way touching sides with our untransformed, desperately unequal society, then whatever the invention, we would have missed important cues in how we can help to transform a flailing society.\u201d <\/p>

Yet he remains excited about theatre. \u201cI am more and more thrilled about internal landscape, about choices, questions, and needs. I love it when the actor\u2019s vocal quality and body shifts very slightly because a choice is being considered and made. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u201cThat, more than anything loud and fancy! Those telling moments of why we are the way we are, why we dither when confronted with an ethical question, why we look the other way, why we continue to be silent in the face of inequality \u2013 these choices bring us closer to our humanity, and hopefully track a way to get out of it.\u201d<\/p>

As for Bridling<\/em> he encourages everyone to see it. For a host of reasons: amongst them, two gifted performers and a wonderful set, costume, and sound design. \u201cBut mainly that it raises powerful questions about the place of art and the representation of trauma and what we expect from actors, what we drive them to in order to achieve this. <\/p>

\u201cIt is also entertaining in a way that keeps one compelled to watch a story unfold and an actor playing an actor unravel under the weight of what they are expected to deliver to a public.<\/p>

\u201cFor a festival it is kind of perfect and the points may not be agreed on that Nadia Davids makes, but I think the need for this kind of work to reflect on our motives for doing (and watching) theatre, and to find the tiniest discomfort in making theatre in the face of all that our society encounters. And that kind of discomfort \u2013 that may precipitate honest encounters with our audiences, that is always good.\u201d<\/p>

*<\/p>

Bridling<\/strong>
18 OCT 20:30 | 19 OCT 15:30
HMS Bloemhof School Hall<\/p>

Read the review<\/strong><\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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<\/i>Diane de Beer<\/p>\n","protected":false},"author":3799,"featured_media":85056,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[612,613],"tags":[541],"class_list":["post-85127","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ink-festival-newspaper-2025","category-spier-theatre","tag-woordfees-2025-en"],"yoast_head":"\nInterview: Jay Pather on \u2018Bridling\u2019 - Toyota Stellenbosch Woordfees<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2025\/interview-jay-pather-on-bridling\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Interview: Jay Pather on \u2018Bridling\u2019 - 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