Razai

Being the Technical Director and Scenographer on this project meant crafting a space that could be dual; an installation and a performance, a room and a world, a system and a playground.

We worked inside an old Goan building that already carried time in its walls. Instead of fighting that, we let it lead. Fabric became architecture. Projections slipped, bled, and never fully settled. Sound travelled unevenly. Light revealed corners rather than controlling them.

The scenography was built as a city of fragments. White pedestals holding ordinary objects. A lantern breathing smoke. Torn lines of text resting like found poems. Suitcases that carried more than travel. A photograph that smiled and whispered. A bed that moved. These are not props but fragments of memory. Each object became a trigger - when touched, moved, or encountered, the room responded with shifts in projection, sound, and atmosphere. The scenographic system was intentionally porous, allowing memory, chance, and the audience’s presence to rewrite the space continuously.

Fabric surfaces acted as skins for the city... absorbing images of streets, interiors, and fleeting urban moments. Lighting moved from intimate pools to saturated red floods, from quiet domestic glow to rupture. Nothing was static; even stillness was engineered.

Audiences entered a living system, one shaped by memory, technology, and the audience’s presence. For me, the most moving moments were watching people slow down, lean in, read something quietly, or playfully create small compositions of everyday objects, or stand still while the space breathed around them.

Grateful to the collaborators across India, Italy, and Japan, and to Attakkalari Foundation and Serendipity Arts Foundation for trusting a work that lives between systems, disciplines, and states of being.