Although the genre of the play is entirely different, the ability of the actors to provide a sense of entertainment and interest through the use of their voice and the movements they perform is reminiscent of Jean-Paul Sartre’s No Exit.The intrigue and central plot devices of this particular story revolve around two mischievous servants who have gorged themselves on the succulent sugary feast that their master has left behind. Aware of the fact that what they have done is inherently wrong, the servants try, unsuccessfully, to cover up their act. The manner in which the servants use their voice and movement is central is relaying to the audience the confusion, idiocy, and comedic ways in which the servants try to hide the evidence of what they have just done. Furthermore, without the availability of elaborate set design and/or complex costumes, the weight of the performance is solely rooted in the actor’s ability to express themselves through these mechanisms to their audience. Likewise, without such a performance, the comedic device of the play would not be related to the audience.
Voice and Movement in Poison Sugar