NO! NO! NO!

The performance is based on the idea that every protest is inherently theatrical. Raising a sign, chanting, or moving in unison echoes the logic of historical puppet theatre, where performers spoke through objects in public spaces. In “NO. NO. NO.”, the drum system becomes a chorus of puppets — a protest rehearsal in which the performer searches for a common voice and rhythm by speaking through objects rather than as an individual.

Inspired by the political puppet traditions of Peter Schumann and Bread and Puppet Theatre, as well as the writings of Augusto Boal, Mikhail Bakhtin, and Jack Halberstam, the scenography treats rhythm, puppets, and masks as tools for resisting authority. The set design is not a backdrop but an active protest structure — a space where sound, object, and body merge into a collective act of refusal.