Showing 11 - 20 of 24
Something in the air
Life, Amitha Amranand, Published on 08/06/2017
» When Phia Ménard and her company Non Nova first came to Thailand in 2011 with P.P.P., they were playing with ice. This time, they are playing with wind. As part of La Fête, Non Nova is presenting L'Après-midi D'Un Foehn, a ballet of plastic bags set to Claude Debussy's composition of the same title, and Vortex, a performance exploring identity and transformation. The two shows continue today and tomorrow at the Sodsai Pantoomkomol Centre for Dramatic Arts, Faculty of Arts, Chulalongkorn University.
Asserting the female voice
Life, Amitha Amranand, Published on 19/01/2017
» Tonya Pinkins was one of the first actresses to ever perform Eve Ensler's seminal The Vagina Monologues, a theatre work in which women read out a number of monologues regarding female experience. In 1999, Pinkins starred alongside Brett Butler (Grace Under Fire) and Kimberly Williams-Paisley (Nashville) in the original off-Broadway production at the Westside Theater. The cast grew to 100 actresses over the course of that year, with three actresses per performance.
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.
Thailand in a room
Life, Amitha Amranand, Published on 05/02/2015
» None of us own Bang-La-Merd, but we are all living in it. In Bang-La-Merd, you must be careful not to use the words "freedom" and "rights". The term "human rights" is especially sensitive and most likely prohibited, and in circumstances relating to the sacred, absolutely irrelevant. In Bang-La-Merd, it is advisable to not criticise all that you love and uphold for it is illegal to criticise those whom you must love and uphold.
Gruesome torture relived with both barrels
Life, Amitha Amranand, Published on 06/11/2014
» Almost right after I watched Teerawat "Kage" Mulvilai's solo performance Satapana: Iceberg, I came across Chinese artist Liu Bolin's Hiding In The City performance/photographic series in a book entitled Liu Bolin.
Right on track
Life, Amitha Amranand, Published on 27/03/2013
» Author Sri Daoruang, her husband, magazine and literary editor Suchart Sawadsri and their son live by a rail track and use the train as their main mode of transport. The deep connection this literary family has with the train is well-known. And the train track figures prominently in many of Sri Daoruang's short stories.
Adopting ideas
Life, Amitha Amranand, Published on 21/02/2013
» Up-and-coming writer-director- performer Nophand Boonyai is back with another playful creation for the stage. Like his highly successful Therapy (After The Flood) last year, Adoption is a largely improvised show featuring three couples competing to adopt one child.
Beyond the dancing doll
Life, Amitha Amranand, Published on 07/02/2013
» First we saw a body part, an arm perhaps, bent into a triangle, and the rest was darkness. The lights went out. The performer moved, and another body part was lit up. As the performance moved from obscurity into brightness, Sujata Goel continued to move in the same pattern, changing from pose to pose until the spotlight covered the entire stage as if opening up the possibilities of what this dancing body was and could be.
Turning the pages of Democracy
Life, Amitha Amranand, Published on 04/06/2012
» Since the advent of bookstore chains, followed by the domination of Amazon, the act of dreaming up, opening and maintaining an independent bookstore has always been considered a statement against the invasion of giant corporations.
Sayonara to stereotypes
Life, Amitha Amranand, Published on 15/03/2012
» Oriza Hirata's theatre is a theatre unafraid of silence, of actors turning their backs on spectators, of things said on stage not reaching the ears of the audience. The founder of the Tokyo-based Seinendan Theatre has developed an approach he calls Contemporary Colloquial in which the language used on stage is infused with the structure, grammar and rhythms of everyday spoken Japanese.