Showing 11-20 of 27 results
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The trap of trust
Life, Amitha Amranand, Published on 27/07/2017
» We often get to see the intersection of the spiritual and the worldly realms in Nikorn Saetang's plays. Buddhist and animist beliefs also play a major role in his work. The spirits of a Japanese soldier and a pining woman walk among the living in search of their loved ones in Rai Pamnak (Where Should I Lay My Soul?). An adult-size baby forces himself into a family whose daughter is hiding her abortion from everyone in Tarok Jokapred (Perverted Baby). A man reincarnates over and over again and refuses to forget his past lives and his family in Kerd-Dub (Reincarnate).
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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.
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Freedom of the stage
Life, Amitha Amranand, Published on 22/05/2015
» Ornanong ThaisriwongPerformer, director | B-Floor TheatreRecent work: Bang La MerdUp next: See Wan Nai Deun Kanya (Four Days In September)
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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.
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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.
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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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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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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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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.
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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.
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