Harun and the Sea of ​​Stories

Salman Rushdie’s Haroun and the Sea of Stories, written in 1990 following The Satanic Verses and two years of silence after the pronouncement of the deadly fatwa, is a phantasmagorical tale about freedom of speech. The novel questions the meaning and (dis)usefulness of art, asking: What is the point of stories that are not yet true?

For its stage adaptation, I developed dynamic shadow projections for scenography and a prerecorded shadow puppet sequence. Drawing from the deep blue hues of indigo—reminiscent of traditional tie-dyeing techniques and denim dye baths—I sought to capture the pollution of India’s rivers and the creeping stain of the textile industry that threatens them.  Whit use of shadows I reflected Rushdie’s exploration of storytelling as both a tool of resistance and a means of shaping reality. The scenography featured intricate backdrops, including slums, a bustling bus station, and a grand palace, all designed to evoke the layered, textured storytelling. The interplay of light and shadow, infused with a sense of fluid movement, transformed the stage into a dreamlike, ever-shifting landscape, mirroring the novel’s magical realism.