Showing 51 - 60 of 110
Dragon's Heart returns
Life, Amitha Amranand, Published on 26/08/2016
» Musicals about the lives of Thai defenders of democracy and human rights have come to define director and playwright Pradit Prasartthong's body of work since he founded the Anatta Theatre Troupe in 2012. He's imagined the intimate and personal moments of the late writer Sriburapa, first lady Poonsuk Banomyong and former rector of Thammasat University and Free Thai Movement member Puey Ungphakorn.
A peek into our inner landscape
Life, Amitha Amranand, Published on 24/06/2016
» It's no surprise that stage director, playwright and actor Shogo Tanikawa's plays have a small following in Bangkok. As a writer, the Bangkok-based half-Thai, half-Japanese has a keen sense for quirky details in the mundane; his characters are relatable yet lovable and not-overly strange; his stories are about small moments in the lives of seemingly ordinary people in heartfelt, even sentimental, ways.
Going through the grieving process
Life, Amitha Amranand, Published on 09/06/2016
» On the Thai stage, we rarely get to see domestic scenes with nuanced emotional conflicts. No sooner does tension begin to form than it is resolved by a comedic means. In our everyday life, too, Thais prefer to avoid discussion of our emotions. Most Thais don't spend hours in therapy sessions every week. Our first instinct is not to seek out professional help to fix our psychological health.
A colourful unpeeling of youth sexuality in Paula Vogel's play
Life, Amitha Amranand, Published on 10/03/2016
» After the success of The True History Of The Tragic Life and Triumphant Death Of Julia Pastrana, The Ugliest Woman In The World, Peel the Limelight returns with another thought-provoking and emotionally nuanced play, Paula Vogel's 1998 Pulitzer Prize–winning How I Learned To Drive. At once gentle and disturbing, funny and poignant, the play tells the story of Li'l Bit and her unusual relationship with Uncle Peck during her adolescence.
India takes centre stage
Life, Amitha Amranand, Published on 03/03/2016
» NUNi Productions, a young Thai opera company, has been known to make the genre more digestible for the younger generations and novices. In the hands of versatile director and NUNi co-founder Pattarasuda Anuman Rajadhon, opera suddenly feels malleable and full of possibilities. In the past two years, she and Saran Suebsantiwongse, opera singer and NUNi co-founder, have been putting together the jigsaw puzzle that is Sakuntala.
Taking Off
Life, Amitha Amranand, Published on 01/10/2015
» A modern classic play, a Greek film, The Beatles and Italian operas were sources of inspiration for the young artists at the second Take Off Festival, which took place at the Thong Lor Art Space last weekend and showcased works by recent drama graduates. This year's programme proved to be even more satisfying than the last, with these creative voices surprising us at every turn. Here are the highlights:
What it is to be human
Life, Amitha Amranand, Published on 27/08/2015
» For some of us, many of us even, a future in which we exist alongside robots so advanced they seem to have a mind of their own and bear a cunning resemblance to humans is a scenario that resides only in the realm of the imagination -- a stuff of entertainment, an overexploited narrative.
The Metamorphosis
Life, Amitha Amranand, Published on 20/08/2015
» What would you do if you woke up one morning to find out that your own child had turned into a robot? How would you interact and coexist with something that speaks, thinks and feels like a human being yet does not look in any way human, not even a living creature?
Stunning visuals with a Thai-French flavour
Life, Amitha Amranand, Published on 25/06/2015
» The final La Fete, a French-Thai cultural festival, drew to a close last Saturday. For years, the festival provided the city its staple of wonder-filled and visually inventive dance and new-circus performances from France. It also occasionally supported experimental works by local artists.
Casualties of war
Life, Amitha Amranand, Published on 18/06/2015
» When we watch Thanapol Virulhakul's conceptual contemporary dance work, we are never only a member of the audience. We are witnesses to, sometimes even implicit in, the transgressions that are being played out on the stage — transgressions that are often masked in seemingly neutral and harmless images.