Showing 1-10 of 31 results
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By artists, for artists
Life, Amitha Amranand, Published on 05/10/2022
» There were rugs, cushions, couches and chairs. There were TVs. There were books for browsing and perusing. There were vegetable gardens. In one, there was a beautiful woven bamboo structure, under which people cooked, ate and talked. There was a room for children, too. For the bigger kids, there was a small skateboarding ramp.
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In the presence of others
Life, Amitha Amranand, Published on 14/07/2022
» My experience with Samara Hersch's online version of Body Of Knowledge (At Home), which was part of Germany's Impulse Theater Festival last year, has since got me interested in the question of what it is we do in theatre as audience. In Body Of Knowledge, the audience engaged in conversations with teenagers via WhatsApp, they in their own home, we in ours. The performance made me more attuned to the act of listening -- something we do in theatre without thinking or being asked to.
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The evolution of an artist
Life, Amitha Amranand, Published on 01/04/2021
» It's impossible for me to critique choreographer Jitti Chompee's latest show Melancholy Of Demon without viewing it as part of a larger project, which also includes a film, a book, a photo exhibition, a dance demonstration and a seminar of a more academic nature. The show was staged at Lido Connect from March 18-22. This review is the first part of an essay about the project and focuses only on Melancholy Of Demon.
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Where does a performance begin?
Life, Amitha Amranand, Published on 03/03/2020
» Where does a performance begin? This is the question I kept asking myself during TPAM Performing Arts Meeting in Yokohama this year.
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Angel on a mission
Life, Amitha Amranand, Published on 27/06/2019
» The theatre scene is marking a few anniversaries this year. First, B-floor Theatre celebrated its 20th birthday with an outdoor musical version of A Midsummer Night's Dream. This month, an even older company, Dreambox, originally named Dass Entertainment, kicked off its 33rd-anniversary celebration with a revival of an old musical from its early days. The company will bring back another musical in November, Mae Nak: The Musical, which came from what they consider to be the company's second period in their development. And in a few months, Dreambox will stage Namngoen Thae, a new musical adapted from a historical novel of the same name by one of Thailand's most popular novelists, Lin Lyovarin.
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Not entirely transfixing
Life, Amitha Amranand, Published on 07/06/2019
» For its second production, Qrious Theatre transplants the 2005 American film Transamerica to Thailand. TranS I-Am is an awkward US-to-Thailand and screen-to-stage adaptation, but it's sweet and offbeat enough to charm.
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Garden of dreams and delights
Life, Amitha Amranand, Published on 09/05/2019
» B-floor Theatre, Thailand's only physical theatre company, turns 20 this year. And they are marking the occasion with Shakespeare.
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Thailand looks to its artistic big brother
Life, Amitha Amranand, Published on 17/05/2018
» In the past two decades, Bangkok has sprouted several big and small international performing arts festivals -- Bangkok Theatre Festival being the largest event for local productions and Bangkok's International Festival of Dance and Music being the largest for international productions. Then there are emerging festivals spearheaded and run by new bloods like the Bangkok International Performing Arts Meeting that launched last year and the biannual Bangkok International Children's Theatre Fest now in its second instalment.
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Shows for all seasons
Life, Amitha Amranand, Published on 15/03/2018
» March kicked off with the return of French choreographer Jérôme Bel to Bangkok, bringing with him two productions to close the French Highlights #3. Then English-speaking theatre company Peel the Limelight celebrated International Women's Day with the premiere of their latest production of Agnes Of God in their new and larger venue, Peel the Limelight Studio, just across from their old home, Spark Drama Studio, at Jasmine City building in Asok. And Bangkok-based Japanese theatre artist Shogo Tanikawa founded his own theatre company Scene Zero and gave birth to a new play. Here are our reviews of these performances.
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Transmitting human angst
Life, Amitha Amranand, Published on 01/03/2018
» Second time's a charm for Fullfat Theatre at Warehouse 30. The company returns to the space that had dwarfed and overwhelmed the troupe's first play [Co/exist] with its sheer size and uninsulated high ceiling. With the new play, Taxiradio, playwright-director and Fullfat co-founder Nophand Boonyai has successfully tamed the rugged space to achieve not only live performance suitability, but also intimacy.
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