What I liked
Her previous work, “Fishbowl,” shared a similar stylistic approach but was far more puzzling, making it difficult to follow the storyline. Although everything was resolved in the end, the complexity left me feeling frustrated rather than satisfied. However, with “Sunken,” the playwright has made significant strides while maintaining her distinctive writing style. The storytelling is much clearer and more engaging, capturing the audience’s attention effectively and resolving the narrative in a satisfying manner. It’s evident that she has grown as a storyteller, and I look forward to seeing more of her future work. Keep up the great work!
What I didn't like
Exploring Philosophical Depth: While “Sunken” already touches on existential themes, incorporating a broader range of philosophical concepts could add layers to the narrative. For instance, integrating Kierkegaard’s ideas from “Fear and Trembling” about the “leap of faith” and the “teleological suspension of the ethical” could deepen the audience’s understanding of the characters’ internal struggles. This would align with the play’s existing exploration of grief and acceptance, providing a more robust philosophical framework.
General Stage Design: The stage design lacked symbolic elements that could have enriched the thematic depth of the play. The absence of meaningful props, background elements, or visual metaphors resulted in a setting that felt generic and underwhelming.
My overall impression
“Sunken” is a powerful and emotionally resonant play that delves deep into the complexities of grief, loss, and existentialism. The narrative seamlessly alternates between two distinct yet interconnected scenes: one depicting four adults grappling with the trauma of losing their children, and the other portraying the deceased children in a purgatory-like state.
This dual setting offers a poignant exploration of the human condition, echoing themes from Jean-Paul Sartre’s existentialism, particularly reminiscent of his play “No Exit.” In “No Exit,” Sartre famously concludes that “Hell is other people,” illustrating how interpersonal conflicts and the search for understanding can lead to eternal torment. Similarly, “Sunken” captures the initial struggle of the characters as they try to make sense of their circumstances, marked by arguments and an intense longing for comprehension.
However, “Sunken” diverges from Sartre’s bleak outlook by providing a more hopeful resolution. While Sartre’s characters are condemned to eternal suffering, the adults in “Sunken” gradually learn to confront and accept their trauma. This acceptance allows them to move forward, paralleling the children’s journey in purgatory. The children, upon remembering their deaths and the acceptance of their fate, can transcend their limbo, mirroring the adults’ emotional and psychological liberation.
The play’s strength lies not only in its philosophical depth but also in its exceptional storytelling and character development. The performances are compelling, with each actor vividly conveying the torment and eventual acceptance of their characters. The director deserves particular praise for their ability to balance the heavy thematic content with a narrative that feels both personal and universal.
Philosophically, “Sunken” engages with existentialist and absurdist ideas, suggesting that while life’s challenges and sufferings may often appear meaningless, there is a path to overcoming them through acceptance and perseverance. This is akin to the philosophy of absurdism, where individuals must find their own meaning in an indifferent universe. The characters’ journey from confusion and despair to acceptance and understanding highlights the necessity of facing one’s struggles head-on, rather than seeking external validation or explanations.
In conclusion, “Sunken” is an intellectually and emotionally stimulating play that successfully blends existential philosophy with a gripping narrative. Its exploration of trauma, acceptance, and the human need for connection offers a thought-provoking and ultimately uplifting message. The play leaves the audience with a sense of hope, suggesting that while others are essential in our journey, the ultimate resolution of our struggles lies within ourselves.
