Nowadays, there's an embarrassing situation for people: I don't know how to love....‘Drifting’ is the second part of Marguerite Duras Project by Ms. Yenling. Following the first part ‘The Track On The Beach’ in 2010, she extends the whole production scale, collecting material from the novel ‘Le ravissement de Lol V. Stein’ to Marguerite Duras’ India series works. Separated from Marguerite Duras’ deliberating of sense of smell on the ‘India Song’ performance, ‘Drifting’ is drifted into themes about incomprehensive/improbable/incapable of love. Fu-chin Chiang as the playwright, each theater designer trying to present several different language systems from the script, individually and independently, focusing on the narrative art: including the process of listening, speaking, reading and writing, in order to take the audience to get into the chaotic beauty in expression.
During the play, the three women not only exchange their state of falling asleep, but also exchange their memory about the stories. The four men search for the answer of beginning and ending, often hearing the screams twisted. To describe LOVE itself, or to be absorbed in the addiction of love, is indescribably similar with the obstacle and the pleasure during writing. There Is always innocent joyfulness behind the suffering; there is always hope within despair. It is hidden in the ordinary things, seducing us to lift open the curtain of some essential pictures in the melodrama such as 'state of reading', 'river-flowing', and 'interfering' from aspects of mind, nature, and other noises. Therefore, TO LOVE, Is the bewitching, the dual-seizing, with mourning of birth and orgasm of feigned death, at the same time floating on and placing hope on the dream river. All in all, by hybrid dialect systems, ‘Drifting’ shows the effort to strive for the freedom of accurate intellectual writing from love in reality.