Showing 1-10 of 10 results
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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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A story for our times
Life, Amitha Amranand, Published on 07/09/2017
» Under oppressive regimes, artists are often forced to turn true stories into metaphors or disguise them in the stories of others to escape censorship, or much worse fates. The atmosphere of fear and the sense of stagnation perpetuated by such rule can have such insidious effects that the practice of wrapping true stories in the safe veil of the cryptic sometimes crosses into self-censorship and becomes habit-forming.
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A dull history lesson
Life, Amitha Amranand, Published on 24/08/2017
» Anatta Theatre Troupe's Rak Talerd (Love Astray) is a small play with lots of big messages and an even bigger desire to educate the audience about Field Marshal Plaek Pibulsonggram's regime, from his fascist approach to the modernisation and Westernisation of Thailand to the Franco-Thai War to Siam's alliance with Japan during World War II.
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Raging bull of a festival
Life, Amitha Amranand, Published on 20/10/2016
» From Sept 26–30, I had the opportunity to attend the 50th Belgrade International Theatre Festival (BITEF). This year, the festival was held in conjunction with the 28th Congress of the International Association of Theatre Critics, a biannual event that gathers scholarly and journalistic theatre critics from around the world.
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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.
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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.
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Life on the small stage
Life, Amitha Amranand, Published on 13/05/2015
» Three new English-speaking theatre companies in Bangkok make a name for themselves.
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Breasts and body politics
Life, Amitha Amranand, Published on 21/08/2014
» Being in the presence of Thai visual artist Pinaree Sanpitak’s work, whether a print or an original, has always put me in a state of calm. Her minimalist style is neither cold nor distant, but intimate and nurturing. It somehow invites you to breathe and expand as it envelopes you in its warmth.
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Playing with contradictions
Life, Amitha Amranand, Published on 28/11/2013
» Despite their metallic grey sheen, their shapes and details clearly indicated their roots _ khon. Looking closer, however, and instead of the usual full, growling faces of the khon demons, the cheeks and eyes of these masks designed by Anuthep Potchprasart resembled those of a skeleton. The first few notes plucked from the traditional Chinese guqin zither unfolded an ominous blanket over the show.
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A casualty of flood
Life, Amitha Amranand, Published on 02/01/2012
» The water comes to Patravadi Theatre every year, like to everyone else in soi Wat Rakang. This year it arrived in much greater quantity and stayed there longer than usual, but long enough to force Patravadi Theatre to close its door for good. The damage is too great to turn the place back into a functioning theatre once more. But its owner Patravadi Mejudhon is least sentimental about the loss.
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