Caught between freedom of speech in international spaces and non-freedom in his own home country, Wichaya explores his use of subtle metaphors, recognizing it as a form of self-censorship born from state suppression. This exploration forms the basis of his new work.

A director (Wichaya himself) exploring the relationship with “props as metaphors,” reconsidering upon reflection that he may have been prone to mistreating them, while also looking back on his previous stage works in conjunction with the political history of Thailand.