Showing 1-10 of 51 results
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Art imitating life imitating art
Life, Kaona Pongpipat, Published on 04/08/2016
» After two-year hiatus, Jaturachai Srichanwanpen is back with his new play The Moo Moo Field, an adaptation from American playwright Annie Baker's Circle Mirror Transformation, and in it, actor Khalid Midam shines.
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The concept of theatre vs reality
Life, Kaona Pongpipat, Published on 14/05/2015
» Strictly speaking, this review of Between, a stage performance by Nikorn Saetang and Ben Busarakamwong that ended on Tuesday, can only be 50% legitimate. Staged both at Crescent Moon Space and B-Floor Room, as well as the interval space between the two theatres, the acting by Nikorn and Ben took place simultaneously in separate rooms, and the audience had to make a choice, through the show's 70-minute span, when and which actor they wanted to see.
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Going at it alone
Life, Kaona Pongpipat, Published on 19/03/2015
» Last year, as part of Thonglor Art Space's "The Other Room: Exploring The Other's Life" in which more than 20 visual and performing artists participated, dance artist Vidura Amranand, dressed in a negligee, invited the audience into a bedroom-like set and delivered a short session of fetishist, dance-like hand and body movements. In Saifah Tanthana's The Last Schomburk's Deer, which also played last year, she moved sensually onstage with actor Wachara Kanha in a tug-of-war of sex and power.
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Rocky road of life
Life, Kaona Pongpipat, Published on 03/03/2016
» Bangkok-based English-speaking theatre troupe Peel the Limelight's previous performance, The True History Of The Tragic Life And Triumphant Death Of Julia Pastrana, was quite a success at Bangkok Theatre Festival last year winning Best Direction of a Play and Best Performance by an Ensemble from the International Association of Theatre Critics (Thailand Centre). Now, they are back with yet another promising production of the Pulitzer Prize-winning How I Learned To Drive by the American playwright Paula Vogel.
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Dance, theatre and economics
Life, Kaona Pongpipat, Published on 23/06/2016
» The title of French director and playwright Pascal Rambert's performance A (Micro) History Of World Economics, Danced (titled in Thai as Kin Yoo Kue) to be staged at Chulalongkorn University's Sodsai Pantoomkomol Centre for Dramatic Arts until Saturday as part of La Fête, is self-explanatory, yet also baffling.
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Art of breaking up
Life, Kaona Pongpipat, Published on 26/09/2014
» A rehearsal room. A couple walk in," reads the stage direction for Cloture De L'Amour. Who the couple are is not made clear; he might be a playwright or director, while she an actress or choreographer.
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Loss and longing
Life, Kaona Pongpipat, Published on 02/06/2016
» It's not until we have seen the ongoing show "Lhong", a project comprising of five short plays, that we realise how much the space of Democrazy Theatre Studio actually has to offer. We usually just buy some beers at a little café in front and then head straight into the space inside, and that's it.
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Cool Thailand?
Life, Kaona Pongpipat, Published on 29/04/2016
» It is only with reference to J-pop or K-pop that we have a clue as to what the word "T-pop" could possibly mean: an attempt at cultural export -- film, music and other forms of entertainment -- to create a "Thai brand" of cool. It's better late than never, so the Tourism Authority of Thailand (TAT) has recently launched a campaign, with Thai star Mario Maurer as the presenter, with the aim to boost tourism in Thailand and expand the entertainment market in China.
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Stage whispers
Life, Kaona Pongpipat, Published on 27/05/2015
» The artistic career of Thanapol Virulhakul, director of the critically acclaimed contemporary dance performance Hipster The King, is a work-in-progress. It started out with a thesis project at Thammasat University's Faculty of Journalism and Mass Communication, in which he made Buddhist amulets out of chocolate, sold them on the street and filmed reactions of passers-by and amulet experts.
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Sense behind the madness
Life, Kaona Pongpipat, Published on 08/07/2016
» One is either enthralled, frustrated or confused by Apichatpong Weerasethakul's films. It's possibly a reflex of a complex and conflicting emotion -- you are not sure whether it's yourself as an audience or Apichatpong as a filmmaker that inspire those reactions.
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