Bits and pieces
that's what is left.
Bones and ornaments
under a stone flab.
Old names are forgotten,
New names for the bones.
A god in placement of a human.
When they were alive, they have their own name,
When they died,their bones have new names.
The rich have decorative tomb,
the prositute has one flab.
Rough jagged stones identifying the officers
buried with collections from the war scene.
The General was there,
And so was the poet.
He who once ruled the East Asia military during war,
now share a place beside the one who wrote about the war.
All their souls rest here now in this soil,
in wasan road.
they look at me, as we sat isolated under the trees.
At that moment,
I felt the spirits.
NOTE:
A poem by Noushade. He was inspired after a trip to the Japanese Cementry.
During a time where the artists were indulging in a moment with the spirits while siting quitely on stone benches under the trees)
Tuesday, July 21, 2009
Monday, July 13, 2009
Conjuring inside our lighting designer's head
Lim Woan Wen has no words to describe her process, she only has visuals inside her head. And wow, so many....
The Lone Tree
The Never-ending Path
The Blinding Light
Lim Woan Wen
Associate Lighting Designer of The Finger Players since 2004
AWARDS
2006
Best Lighting Design, 6th Life! Theatre Awards
'Between the Devil and the Deep Blue Sea'
by The Finger Players
2008
Best Lighting Design, 8th Life! Theatre Awards
'Wong Kar Wai Dreams' by The Finger Players
Nomination, Best Lighting Design, 8th Life! Theatre Awards
'0501' presented by The Finger Players
2009
Best Lighting Design, 9th Life! Theatre Awards
'Pinnochio’s Complex' by The Finger Players
An award-winning lighting designer for 3 years in a row (a year gap in between).Come witness her intricate and nuanced lighting for 'The Spirits Play'.
Joining Lim Woan Wen is also award-winning set designer, Lim Wei Ling and Singapore's top fashion and costume designer, Anthony Tan. Not to mention our very exciting music ambassador to foreign countries, THE OBSERVATORY with lead vocalists cum composers, Vivian Wang and Leslie Low. They will be doing live music for each performance.
This is a rare gathering of the best designers in Singapore, lending their much-needed gravitas to the powerful script by Kuo Pao Kun, direction of Kok Heng Leun and TETC's international actors.
Should you come watch? Need we say more?
Traditions & Editions Theatre Circus = TETC = Talented, Educated, Top and Cool!
Associate Lighting Designer of The Finger Players since 2004
AWARDS
2006
Best Lighting Design, 6th Life! Theatre Awards
'Between the Devil and the Deep Blue Sea'
by The Finger Players
2008
Best Lighting Design, 8th Life! Theatre Awards
'Wong Kar Wai Dreams' by The Finger Players
Nomination, Best Lighting Design, 8th Life! Theatre Awards
'0501' presented by The Finger Players
2009
Best Lighting Design, 9th Life! Theatre Awards
'Pinnochio’s Complex' by The Finger Players
An award-winning lighting designer for 3 years in a row (a year gap in between).Come witness her intricate and nuanced lighting for 'The Spirits Play'.
Joining Lim Woan Wen is also award-winning set designer, Lim Wei Ling and Singapore's top fashion and costume designer, Anthony Tan. Not to mention our very exciting music ambassador to foreign countries, THE OBSERVATORY with lead vocalists cum composers, Vivian Wang and Leslie Low. They will be doing live music for each performance.
This is a rare gathering of the best designers in Singapore, lending their much-needed gravitas to the powerful script by Kuo Pao Kun, direction of Kok Heng Leun and TETC's international actors.
Should you come watch? Need we say more?
Traditions & Editions Theatre Circus = TETC = Talented, Educated, Top and Cool!
Peep into our set design
THE SPIRITS PLAY - 'All the world's a stage'
Can you visualize this?
Design by Lim Weiling
Intrigued by the complex workings in our life, she continually explores more satisfying ways to make sense of the world in her contemplative works. Wei Ling is constantly seeking reflective immersion by extensive dwelling in one continent after another. As a cross‐disciplinary spatial designer, Weiling incorporates a wide range of media in her creations that include architecture, installation, theatre, film, and graphic.
In 2005, she co‐founded [+O], a non‐profit multi‐disciplinary group, which recently has been selected as a presenter of Singapore Supergarden, Singapore Pavilion in the 11th Venice Biennale International Architecture Exhibition 2008. Her works were seen in major festivals both in Singapore and overseas.
Some of her notable works include:
Installation
'Blueprint', Milan, Milan Design Week 2008
'Sound Seed Project', commission by Hua Yi Festival, Singapore.
Installation and scenography
'0501', a collaborative work devised and conceptualised by 10 artists, The Finger Players
Weiling is a graduate of the National University of Singapore in Architecture and subsequently received Masters of Arts in Design Futures with Distinction from Goldsmiths College, University of London.
She has just completed the prestigious 'Creator‐In‐Residence' at Tokyo Wonder Site in Japan this year.
Awards
President's Design Award 2007, Design of the Year, installation work for '0501'
Can you visualize this?
Design by Lim Weiling
Intrigued by the complex workings in our life, she continually explores more satisfying ways to make sense of the world in her contemplative works. Wei Ling is constantly seeking reflective immersion by extensive dwelling in one continent after another. As a cross‐disciplinary spatial designer, Weiling incorporates a wide range of media in her creations that include architecture, installation, theatre, film, and graphic.
In 2005, she co‐founded [+O], a non‐profit multi‐disciplinary group, which recently has been selected as a presenter of Singapore Supergarden, Singapore Pavilion in the 11th Venice Biennale International Architecture Exhibition 2008. Her works were seen in major festivals both in Singapore and overseas.
Some of her notable works include:
Installation
'Blueprint', Milan, Milan Design Week 2008
'Sound Seed Project', commission by Hua Yi Festival, Singapore.
Installation and scenography
'0501', a collaborative work devised and conceptualised by 10 artists, The Finger Players
Weiling is a graduate of the National University of Singapore in Architecture and subsequently received Masters of Arts in Design Futures with Distinction from Goldsmiths College, University of London.
She has just completed the prestigious 'Creator‐In‐Residence' at Tokyo Wonder Site in Japan this year.
Awards
President's Design Award 2007, Design of the Year, installation work for '0501'
Peep into our costume design
THE SPIRITS PLAY costumes
CAN YOU TELL THE DIFFERENCE?
The GENERAL
The MOTHER costume 1
The LITTLE BOY costume 1
The GIRL
The SOLDIER
The MOTHER costume 2
The POET
The LITTLE BOY costume 2
Design by Anthony Tan
CAN YOU TELL THE DIFFERENCE?
The GENERAL
The MOTHER costume 1
The LITTLE BOY costume 1
The GIRL
The SOLDIER
The MOTHER costume 2
The POET
The LITTLE BOY costume 2
Design by Anthony TanCurrent Senior Lecturer and Course Leader at the Department of Fashion Studies, Nanyang Academy of Fine Arts (NAFA)
Some notable productions under his belt:
2001
'Best Production Design’, Life! Theatre Awards,
for ‘A Tinted Edge’, Toy Factory
2003
CHINGGAY PARADE
2004
I NUOVI COSMETICS 2004 SPRING/SUMMER COLOURS LAUNCH
2005
'QUIDAM’, Singapore, Cirque Du Soleil,
THUNDERSTORM, Hua Yi Chinese Festival, Singapore Chinese Orchestra
UNIFORM for TIGER BEER @ Asia Pacific Brewery
PEROFRMANCE UNIFORM for Singapore Chinese Orchestra
2006
'Best Costume Design’, Life! Theatre Awards,
for ‘Ten Brothers’, Toy Factory
2007
Head Designer, NATIONAL DAY PARADE at Marina Bay
2008
HUGO BOSS NEW FRAGRANCE DEEP RED FASHION SHOW
SHANGHAI BLUES the musical, Hua Yi Chinese Festival, Toy Factory
2009
THE CRAB FLOWER CLUB, Singapore Arts Festival, Toy Factory
Some notable productions under his belt:
2001
'Best Production Design’, Life! Theatre Awards,
for ‘A Tinted Edge’, Toy Factory
2003
CHINGGAY PARADE
2004
I NUOVI COSMETICS 2004 SPRING/SUMMER COLOURS LAUNCH
2005
'QUIDAM’, Singapore, Cirque Du Soleil,
THUNDERSTORM, Hua Yi Chinese Festival, Singapore Chinese Orchestra
UNIFORM for TIGER BEER @ Asia Pacific Brewery
PEROFRMANCE UNIFORM for Singapore Chinese Orchestra
2006
'Best Costume Design’, Life! Theatre Awards,
for ‘Ten Brothers’, Toy Factory
2007
Head Designer, NATIONAL DAY PARADE at Marina Bay
2008
HUGO BOSS NEW FRAGRANCE DEEP RED FASHION SHOW
SHANGHAI BLUES the musical, Hua Yi Chinese Festival, Toy Factory
2009
THE CRAB FLOWER CLUB, Singapore Arts Festival, Toy Factory
Sunday, July 12, 2009
Who took the alarm clock from the GENERAL?? 誰拿了將軍的鐘？
--關於《靈戲》的靈異事件～～恐～怖～喔
話說，如果排"靈"戲，沒有發生一些奇怪的事情，還真入戲不深...
事情是這樣的...
我們的香港將軍，Andy，習慣把他的小鬧鐘放在床頭的小平台上，
每天鬧鐘都會在固定的時間開始響。
有一天早上，將軍還是被鬧鐘的聲響叫醒，他習慣性的伸手一摸....
咦，鬧鐘不見了！！！
可是"滴滴滴滴"的聲音還是在....
心想是那個調皮的室友阿～～
仔細一想，同室的一推叔叔伯伯老人家們，Miyuki不可能,Beto他沒空幹這事，更不要說是Noushad了
當下決定立即起身，無論如何先順著聲音找出鬧鐘再說，
找著找著一路找出了門....
開了房間的門，進入2樓大廳，又開了通往浴廁的隔門，聲音還在滴滴滴
轉頭一看，終於看到鬧鐘獨自一個，被放在小廚房的桌子上，還在滴滴滴地響...
有獎徵答，
請問：是誰拿了將軍的鐘？？
WHY？？WHY？？WHY？？
-- 台灣Aunty，Themis代述代問囉
答對的獎品是什麼？？好問題，就送你將軍的心愛小鬧鐘囉～～大哥可以吧？？
An incident revolving around a SPIRIT –
Warning: contents may not be suitable for the faint-hearted
If one is staging ‘The Spirits Play’ and nothing supernatural happens, then the actors must be quite shallow in their rehearsals.
The story goes like this…..
Our GENERAL from Hong Kong, Andy now staying in a guesthouse together with us, has placed his small alarm clock by his bed. It always rings at a fixed time every day. One morning, the GENERALwas awoken by the alarm ringing and he stretched his hand to want to turn it off……
But the alarm clock is gone!!!
Yet the ‘Di Di Di Di Di Di Di Di Di DI Di Di Di Di’ went on and on. "Sigh, it must be my room mates trying to be funny....."
But wait a minute, we are a bunch of 'senior citizens' (the age range of all actors in this production is between 41-48 yrs old) and among all staying in the same dormitory room, it can’t be Miyuki......Beto is too busy with his 'stuff'.......not to mention the very mature Noushad.
So Andy decisively went down the bed, determined to search the source of the alarm sound. He went from corner to coner in the dorm room, then stepped out of the dorm, then walked along the corridor, then opened the door to the shared toilets and shower rooms. The alarm kept on ringing all the time and the GENERAL was getting frustrated.........then, he turned around. The poor little alarm clock, was resting on one small table at the pantry area. "Di Di Di Di Di Di Di Di Di DI DI Di Di.................."
(Sound of suspense movie plays……)
"Who took MY alarm clock? “WHY?? WHY?? WHY??”"
Now the MOTHER from Taiwan, Themis is writing and asking on Andy's behalf (the GENERAL is actually too scared to be asking this directly, in case more things happen to his alarm clock or perhaps other personal things or perhaps to hi.............ssssssshhhhhhhhh........)
Please send in your answers! The correct or most believable answer will receive a memorable gift - Andy’s precious-but-slightly-confused little alarm clock.
Hope this is ok with you, Mr GENERAL.
Signed,
Themis,
MOTHER,
'The Spirits Play'
(Sound of suspense movie stops.)
話說，如果排"靈"戲，沒有發生一些奇怪的事情，還真入戲不深...
事情是這樣的...
我們的香港將軍，Andy，習慣把他的小鬧鐘放在床頭的小平台上，
每天鬧鐘都會在固定的時間開始響。
有一天早上，將軍還是被鬧鐘的聲響叫醒，他習慣性的伸手一摸....
咦，鬧鐘不見了！！！
可是"滴滴滴滴"的聲音還是在....
心想是那個調皮的室友阿～～
仔細一想，同室的一推叔叔伯伯老人家們，Miyuki不可能,Beto他沒空幹這事，更不要說是Noushad了
當下決定立即起身，無論如何先順著聲音找出鬧鐘再說，
找著找著一路找出了門....
開了房間的門，進入2樓大廳，又開了通往浴廁的隔門，聲音還在滴滴滴
轉頭一看，終於看到鬧鐘獨自一個，被放在小廚房的桌子上，還在滴滴滴地響...
有獎徵答，
請問：是誰拿了將軍的鐘？？
WHY？？WHY？？WHY？？
-- 台灣Aunty，Themis代述代問囉
答對的獎品是什麼？？好問題，就送你將軍的心愛小鬧鐘囉～～大哥可以吧？？
An incident revolving around a SPIRIT –
Warning: contents may not be suitable for the faint-hearted
If one is staging ‘The Spirits Play’ and nothing supernatural happens, then the actors must be quite shallow in their rehearsals.
The story goes like this…..
Our GENERAL from Hong Kong, Andy now staying in a guesthouse together with us, has placed his small alarm clock by his bed. It always rings at a fixed time every day. One morning, the GENERALwas awoken by the alarm ringing and he stretched his hand to want to turn it off……
But the alarm clock is gone!!!
Yet the ‘Di Di Di Di Di Di Di Di Di DI Di Di Di Di’ went on and on. "Sigh, it must be my room mates trying to be funny....."
But wait a minute, we are a bunch of 'senior citizens' (the age range of all actors in this production is between 41-48 yrs old) and among all staying in the same dormitory room, it can’t be Miyuki......Beto is too busy with his 'stuff'.......not to mention the very mature Noushad.
So Andy decisively went down the bed, determined to search the source of the alarm sound. He went from corner to coner in the dorm room, then stepped out of the dorm, then walked along the corridor, then opened the door to the shared toilets and shower rooms. The alarm kept on ringing all the time and the GENERAL was getting frustrated.........then, he turned around. The poor little alarm clock, was resting on one small table at the pantry area. "Di Di Di Di Di Di Di Di Di DI DI Di Di.................."
(Sound of suspense movie plays……)
"Who took MY alarm clock? “WHY?? WHY?? WHY??”"
Now the MOTHER from Taiwan, Themis is writing and asking on Andy's behalf (the GENERAL is actually too scared to be asking this directly, in case more things happen to his alarm clock or perhaps other personal things or perhaps to hi.............ssssssshhhhhhhhh........)
Please send in your answers! The correct or most believable answer will receive a memorable gift - Andy’s precious-but-slightly-confused little alarm clock.
Hope this is ok with you, Mr GENERAL.
Signed,
Themis,
MOTHER,
'The Spirits Play'
(Sound of suspense movie stops.)
Saturday, July 11, 2009
TETC - The Origins
In May 2008, Theatre Training & Research Programme (TTRP) organised an Asian Cultural Conference and about ten past TTRP graduates and some former teachers got together. On the last day of the conference, current school director, Sasi shared with us first hand that due to the financial challenges for the school, TTRP will need to temporary close for a while. The ten graduates and the 4th cohort were very sad and puzzled by the situation.
We started exploring about the setting up of an alumnus to keep in touch, to continue exchanging what we’ve learnt, what we’re doing and also help maintain the visibility of TTRP. After three months of numerous email discussions, I was elected to be chairman.
We all decided that the company will be on an ad-hoc basis since we are all artists. We wanted the company to be fluid. We wanted to explore what type of plays and languages we will use i TETC’s productions. Most importantly, whether we could work together?
It is our hope that TETC changes its host country for each production. We believe that the impetus and environment that shapes the work is different in each country and can in turn provide varied creative impulses and mindsets. This would also means shared responsibilities administratively and logistically, which does not bear the potential burden of running a repertory theatre company and narrowing the artistic scope of any one particular TETC artist.
Peter Sau
elitepigs@hotmail.com
We started exploring about the setting up of an alumnus to keep in touch, to continue exchanging what we’ve learnt, what we’re doing and also help maintain the visibility of TTRP. After three months of numerous email discussions, I was elected to be chairman.
We all decided that the company will be on an ad-hoc basis since we are all artists. We wanted the company to be fluid. We wanted to explore what type of plays and languages we will use i TETC’s productions. Most importantly, whether we could work together?
It is our hope that TETC changes its host country for each production. We believe that the impetus and environment that shapes the work is different in each country and can in turn provide varied creative impulses and mindsets. This would also means shared responsibilities administratively and logistically, which does not bear the potential burden of running a repertory theatre company and narrowing the artistic scope of any one particular TETC artist.
Peter Sau
elitepigs@hotmail.com
Tranquility 一片安宁
'High above me the sky is all blue
All around me there is absolute silence
A single white crane flashes over my head
Painting the entire world as peaceful and tranquil'
The POET, Scene 7, The Spirits Play’
"天，一片蔚蓝
四周，沒一点声音
一只白鸟从头上飞过
把全世界，画得一片安宁”
诗人，第七场，《灵戏》
All around me there is absolute silence
A single white crane flashes over my head
Painting the entire world as peaceful and tranquil'
The POET, Scene 7, The Spirits Play’
"天，一片蔚蓝
四周，沒一点声音
一只白鸟从头上飞过
把全世界，画得一片安宁”
诗人，第七场，《灵戏》
Drop by ok? 有空来坐坐好吗？
From: House Programme Editor, Jeffrey Tan (jefftan72@yahoo.com.sg)
An open letter to Pao Kun after watching one rehearsal.
Hi Pao Kun,
How have you been?
Today, I witnessed a rehearsal by the newly formed TETC. Peter Sau got Heng Leun to direct some of your past TTRP graduates in this new multi-lingual production of The Spirits Play. When I walked into the rehearsal room after lunch, the actors were meditating and warming up their voices. It’s been such a long time since I witnessed such a serious rehearsal atmosphere. When the physical warm up started, the agility of the actors to keep the wooden poles in the air was amazing to watch. Such strong stage presence, serious and at the same time playfully creative! Besides rehearsing for the play, they each had to create individual performances and sharing of what they have been doing creatively since graduating from TTRP.
I had a chat with Heng Luen and am excited about his concept of the play. Instead of moulding the very diverse actors to your play, they decided to respond, experiment and create their own multi-lingual version of this very exciting play.
Flashes of the first three mandarin and English productions came back… You writing the play as we rehearse the premiere version at waterloo street. Then you got sick and we were really worried. Even the elderly Lin Lian Kun, (fantastic actor from China) was so calm and concerned. Then you surprised everyone by getting Stan Lai from Taiwan to helm the maiden production for the Singapore Arts Festival. Later that year, we toured your own version to Hong Kong for the Chinese Drama Festival. Being production manager, it was such a joy working with you! Keng Sen’s mind blowing version of The Spirits Play at the Battle Box and Victoria Theatre with the Japan performance artists blew my mind to the endless possibilities of your universal play.
I’m so looking forward to this new exciting version as the cast and crew organically experiment, respond and create their own versions of your play. I wish you were here to see it.
Drop by ok?
Sincerely,
Jeffrey Tan
(Resident Director, The Theatre Practice 1997 to 1999)
An open letter to Pao Kun after watching one rehearsal.
Hi Pao Kun,
How have you been?
Today, I witnessed a rehearsal by the newly formed TETC. Peter Sau got Heng Leun to direct some of your past TTRP graduates in this new multi-lingual production of The Spirits Play. When I walked into the rehearsal room after lunch, the actors were meditating and warming up their voices. It’s been such a long time since I witnessed such a serious rehearsal atmosphere. When the physical warm up started, the agility of the actors to keep the wooden poles in the air was amazing to watch. Such strong stage presence, serious and at the same time playfully creative! Besides rehearsing for the play, they each had to create individual performances and sharing of what they have been doing creatively since graduating from TTRP.
I had a chat with Heng Luen and am excited about his concept of the play. Instead of moulding the very diverse actors to your play, they decided to respond, experiment and create their own multi-lingual version of this very exciting play.
Flashes of the first three mandarin and English productions came back… You writing the play as we rehearse the premiere version at waterloo street. Then you got sick and we were really worried. Even the elderly Lin Lian Kun, (fantastic actor from China) was so calm and concerned. Then you surprised everyone by getting Stan Lai from Taiwan to helm the maiden production for the Singapore Arts Festival. Later that year, we toured your own version to Hong Kong for the Chinese Drama Festival. Being production manager, it was such a joy working with you! Keng Sen’s mind blowing version of The Spirits Play at the Battle Box and Victoria Theatre with the Japan performance artists blew my mind to the endless possibilities of your universal play.
I’m so looking forward to this new exciting version as the cast and crew organically experiment, respond and create their own versions of your play. I wish you were here to see it.
Drop by ok?
Sincerely,
Jeffrey Tan
(Resident Director, The Theatre Practice 1997 to 1999)
Our Principal, Our Mentor, Our Guiding Light
Kuo Pao Kun (b.1939 Xiaoguo village, Hebei, China - d. 10 Sep 2002, Singapore), was a playwright, director, producing plays in both English and Chinese. He is considered one of the most significant dramatists in Singapore and a pioneer of Singapore theatre. Many of his works, produced over four decades of creative work, have been translated into Malay, Tamil, German, Japanese, Arabic. And many, too, have been produced and performed by theatre companies in Singapore and abroad.
Kuo is widely regarded as a pioneer in Singapore theatre. His performing arts school and theatre company have nurtured and produced many performing arts practitioners over the years. Kuo himself taught a whole generation of directors, including Action Theatre’s Ekachai Uekrongtham, Theatreworks' Ong Keng Sen, The Necessary Stage's Alvin Tan and WildRice’s Ivan Heng.
When he converted The Substation into an arts centre in 1990, it provided an avenue for local arts practitioners and audience alike which transcended language and discipline. The four arts institutions which he founded - the Practice Performing Arts School, The Theatre Practice, The Substation and The Thetare Research Programme – have become major arts institutions in Singapore. Through his role in these institutions, Kuo has inspired a whole generation of Singapore artists.
Awards
1989 : Cultural Medallion
1993 : ASEAN Award for Performing Arts
1997 : Chevalier des Arts et des Lettres (knighthood of arts and letters), France
2002 : Excellence for Singapore Award.
He passed away in late 2002 and is dearly missed by everyone one of us from TETC, not to mention all the hearts and souls he has touched through his outstanding Singaporean dramatic works and academic writings.
Kuo is widely regarded as a pioneer in Singapore theatre. His performing arts school and theatre company have nurtured and produced many performing arts practitioners over the years. Kuo himself taught a whole generation of directors, including Action Theatre’s Ekachai Uekrongtham, Theatreworks' Ong Keng Sen, The Necessary Stage's Alvin Tan and WildRice’s Ivan Heng.
When he converted The Substation into an arts centre in 1990, it provided an avenue for local arts practitioners and audience alike which transcended language and discipline. The four arts institutions which he founded - the Practice Performing Arts School, The Theatre Practice, The Substation and The Thetare Research Programme – have become major arts institutions in Singapore. Through his role in these institutions, Kuo has inspired a whole generation of Singapore artists.
Awards
1989 : Cultural Medallion
1993 : ASEAN Award for Performing Arts
1997 : Chevalier des Arts et des Lettres (knighthood of arts and letters), France
2002 : Excellence for Singapore Award.
He passed away in late 2002 and is dearly missed by everyone one of us from TETC, not to mention all the hearts and souls he has touched through his outstanding Singaporean dramatic works and academic writings.
Do you know the history behind 'The Spirits Play'? 《灵戏》的历史
Written in 1998 by the most important Singaporean dramatist-playwright of our times, Mr Kuo Pao Kun, founder of Theatre Training & Research Programme (TTRP), The Theatre Practice (TTP), Practice Performing Arts School (PPAS) and The Substation.
Mandarin Productions of THE SPIRITS PLAY 《灵戏》
1998 The Theatre Practice, directed by Stan Lai, 10 June, Victoria Theatre, Singapore Arts Festival
1998 The Theatre Practice, directed by Kuo Pao Kun, 13 Nov, Victoria Theatre, Singapore
1998 The Theatre Practice, directed by Kuo Pao Kun, 22 Nov Hong Kong City Hall, Chinese Drama Festival
English Productions of THE SPIRITS PLAY
'THE SPIRITS PLAY- 6 Movements in a Strange House'
Performance conceived & directed by Ong Keng Sen
A collaboration between cutting edge Japanese performance artists and veteran Singapore actors. Separate performances, specially designed and transformed for two different venues.
Presented by Theatreworks:
17 – 20 August 2000: The Battle Box, Fort Canning Park, 8pm
25 – 26 August 2000: Victoria Theatre, 8pm
Oct 2001: Morishita Studios, Japan
R(A) - Restricted to audience 18 & above
Mandarin Productions of THE SPIRITS PLAY 《灵戏》
1998 The Theatre Practice, directed by Stan Lai, 10 June, Victoria Theatre, Singapore Arts Festival
1998 The Theatre Practice, directed by Kuo Pao Kun, 13 Nov, Victoria Theatre, Singapore
1998 The Theatre Practice, directed by Kuo Pao Kun, 22 Nov Hong Kong City Hall, Chinese Drama Festival
English Productions of THE SPIRITS PLAY
'THE SPIRITS PLAY- 6 Movements in a Strange House'
Performance conceived & directed by Ong Keng Sen
A collaboration between cutting edge Japanese performance artists and veteran Singapore actors. Separate performances, specially designed and transformed for two different venues.
Presented by Theatreworks:
17 – 20 August 2000: The Battle Box, Fort Canning Park, 8pm
25 – 26 August 2000: Victoria Theatre, 8pm
Oct 2001: Morishita Studios, Japan
R(A) - Restricted to audience 18 & above
Circus People Stellar 剧场梦幻团队
The GENERAL from Hong Kong - Andy香港的 将军 伟硕
The MOTHER from Taiwan - Themis 台湾的 母亲 浿安
The MAN from India - Noushad 印度的 男人 Noushad
The GIRL from Singapore - Ee Mien新加坡的 姑娘 伊敏
The POET from Mexico - Beto墨西哥的 诗人 Beto
The LITTLE BOY from Japan - Miyuki日本的 小男孩 美裕起
Friday, July 10, 2009
Tapping into one's past - Noushad from India, playing the SOLDIER in 'The Spirits Play' shares his childhood and growing up years
1st week of rehearsal - Moment, experience, recollection, stillness-to-analyse-myself, words-to-performative-thought and then body exploration with limited but complex set, struggles and conflicts between actor to character and vice versa. wha!!!....... Good, creative, relaxing and enjoying time with Heng Luen and our six GREAT 'Spirited' actors, including me.
Day by day, I am seeing Kerala (India) closer to me as i work through my text translation from English to my mother tongue, Malayalam. Really, my home village is also like the character MAN's village as mentioned in 'The Spirits Play'. There are big rice fields, canals, rivers, mountains, the landscape is full of greeneries. In my childhood, I helped a lot for farmers who were working in our rice field, such as bringing food from their homes to the fields on time, carrying the bundle of rice plants in the big cane baskets, washing the mud from the roots from one field to another.........planting, fertilizing, ploughing , storing water from the brooks to field ,shaping the borders of the field. When we go back home after the work from the field, I cleaned the bullock, buffalos and ploughing tools from the canal. And the smell of the sweet, happy working farmers, planting women in diffrent lines - their comments, the birds, cranes, crow,s mienas, pigeons..........the smell of the field, the touch of the rice plants, the smell and chemical action of the fertilizers (ammonia, uria, potash, ashes, cow dung etc.)
Wow.......its like re-opening up a can of memories again now through this play i am performing in.
My school days - I could see the Centrel Reserve Police Force (CRPF) doing excercises -running, marching and walking from 7 am every day . Their tall height and strong personality, their duty and their energy impressed me very much. Two time, I tried to join the CRPF in 1984 and1985. But my short height means I couldn't enter even the main gate of the camp; there was one measuring rope tied across the main gate of the camp whose height is about 1 meter 70 cm. Well, if you are in standing position and your head touches the rope , you will move onto the physical test. But I was unlucky. I prepared myself for the next year; running, jumping, chin up (hanging in tree) push up etc. But I was also unlucky the next year. Then I never tried again.
Two of my uncles were in militery those days. One was stationed in Punjab and another was in Kashmir. They discouraged me to join the police force when they came back for holidays. Because of their training, routine, duties and responsibilities, they shared thier loneliness and emotional experiences in the camp in front of my parents. My parants discouraged me further. I finally took all advice not to join the police force. But still I love those heroes who are fighting agianst terror and harsh weather.
JAI HO...........Now I am the man, playing the SOLDIER (I can finally tap into my childhood spirits as I rehearse this play in Signapore) and I am going to revisit all these old memories to re-create my long-lost CHARACTER.
Noushad, India, based in New Delhi, born and raised in Kerala
Day by day, I am seeing Kerala (India) closer to me as i work through my text translation from English to my mother tongue, Malayalam. Really, my home village is also like the character MAN's village as mentioned in 'The Spirits Play'. There are big rice fields, canals, rivers, mountains, the landscape is full of greeneries. In my childhood, I helped a lot for farmers who were working in our rice field, such as bringing food from their homes to the fields on time, carrying the bundle of rice plants in the big cane baskets, washing the mud from the roots from one field to another.........planting, fertilizing, ploughing , storing water from the brooks to field ,shaping the borders of the field. When we go back home after the work from the field, I cleaned the bullock, buffalos and ploughing tools from the canal. And the smell of the sweet, happy working farmers, planting women in diffrent lines - their comments, the birds, cranes, crow,s mienas, pigeons..........the smell of the field, the touch of the rice plants, the smell and chemical action of the fertilizers (ammonia, uria, potash, ashes, cow dung etc.)
Wow.......its like re-opening up a can of memories again now through this play i am performing in.
My school days - I could see the Centrel Reserve Police Force (CRPF) doing excercises -running, marching and walking from 7 am every day . Their tall height and strong personality, their duty and their energy impressed me very much. Two time, I tried to join the CRPF in 1984 and1985. But my short height means I couldn't enter even the main gate of the camp; there was one measuring rope tied across the main gate of the camp whose height is about 1 meter 70 cm. Well, if you are in standing position and your head touches the rope , you will move onto the physical test. But I was unlucky. I prepared myself for the next year; running, jumping, chin up (hanging in tree) push up etc. But I was also unlucky the next year. Then I never tried again.
Two of my uncles were in militery those days. One was stationed in Punjab and another was in Kashmir. They discouraged me to join the police force when they came back for holidays. Because of their training, routine, duties and responsibilities, they shared thier loneliness and emotional experiences in the camp in front of my parents. My parants discouraged me further. I finally took all advice not to join the police force. But still I love those heroes who are fighting agianst terror and harsh weather.
JAI HO...........Now I am the man, playing the SOLDIER (I can finally tap into my childhood spirits as I rehearse this play in Signapore) and I am going to revisit all these old memories to re-create my long-lost CHARACTER.
Noushad, India, based in New Delhi, born and raised in Kerala
Some things are for free 有些东西确实是免费的
Creative Lab, presented back-to-back with the ticketed ‘The Spirits Play’ performances, aims to promote and encourage the re-invention of theatre classics. With ‘The Spirits Play’ ticket stubs, audience will enjoy priority entry to witness original works created, self-directed and performed by TETC artists: a showcase of individually unique and multi-layered creative responses on the play proper, presented free to the audience.
创意实验室紧随《灵戏》之后，与观众见面。这部作品,旨在推广经典剧目的实验性再创造。入场免费，观众可凭着《灵戏》票根, 优先观赏这部‘外传统游艺团’借《灵戏》为出发点，自创自导自演的独特作品。
Created and performed by 表演与创作:
Beto Ruiz (Mexico 墨西哥）
Felimon Bonita Blanco (Philippines 菲律宾)
Hung Pei Ching 洪珮菁 (Taiwan 台湾)
Miyuki Kamimura 上村美裕起 (Japan 日本)
Mohamed Kunju Noushad (India 印度)
Seng Soo Ming 程守明 (Malaysia 马来西亚)
Wah Wah, Hung Chit Wah 洪节华 (Hong Kong 香港)
Zachary Ho 何子祥 (Singapore 新加坡)
Dates 日期:
August 20, 21, 22, 23 - 8pm
August 22, 23 - 3pm
Venue 地点:
Studio Theatre, Nanyang Academy of Fine Arts Campus 3,
151 Bencoolen Street 黑箱剧场，南洋艺术学院第三校园
Ticket Price 票价:
Free admission (priority entry for “The Spirits Play” ticket stub holders)
入场免费 (持有《灵戏》票根的观众将享有入场优先权)
创意实验室紧随《灵戏》之后，与观众见面。这部作品,旨在推广经典剧目的实验性再创造。入场免费，观众可凭着《灵戏》票根, 优先观赏这部‘外传统游艺团’借《灵戏》为出发点，自创自导自演的独特作品。
Created and performed by 表演与创作:
Beto Ruiz (Mexico 墨西哥）
Felimon Bonita Blanco (Philippines 菲律宾)
Hung Pei Ching 洪珮菁 (Taiwan 台湾)
Miyuki Kamimura 上村美裕起 (Japan 日本)
Mohamed Kunju Noushad (India 印度)
Seng Soo Ming 程守明 (Malaysia 马来西亚)
Wah Wah, Hung Chit Wah 洪节华 (Hong Kong 香港)
Zachary Ho 何子祥 (Singapore 新加坡)
Dates 日期:
August 20, 21, 22, 23 - 8pm
August 22, 23 - 3pm
Venue 地点:
Studio Theatre, Nanyang Academy of Fine Arts Campus 3,
151 Bencoolen Street 黑箱剧场，南洋艺术学院第三校园
Ticket Price 票价:
Free admission (priority entry for “The Spirits Play” ticket stub holders)
入场免费 (持有《灵戏》票根的观众将享有入场优先权)
'The Spirits Play' creative team 《灵戏》创作群
The Spirits Play
CREATIVE TEAM
Playwright: Kuo Pao Kun
Director: Kok Heng Leun (Artistic Director, Drama Box)
Presented by: Traditions & Editions Theatre Circus (TETC）
A collective of TTRP graduate artists from Singapore, Malaysia, Taiwan, Hong Kong, Macau, China, Japan, Philippines, India, Poland and Mexico.
Set: Lim Wei Ling
Lighting: Lim Woan Wen
Costume: Anthony Tan
Live music/sound: Vivian Wang and Leslie Low
(The Observatory)
Producer: Peter Sau
Production Stage Manager: Helmi Fita
《灵戏》创作群
编剧: 郭宝崑
导演: 郭庆亮 (戏剧盒艺术总监)
呈献: 外传统游艺团
成员皆毕业于‘剧场训练与研究课程’, 他们来自各国, 包
括了新加坡、马来西亚、台湾、香港、澳门、中国、日本、
菲律宾、印度、波兰 和墨西哥)
舞台设计: 林玮翎
灯光设计: 林菀雯
服装设计: 陈安东尼
音乐创作兼现场配乐: 王嘉佳和刘怀立 (The Observatory)
监制: 苏佳亮
制作兼舞台总监: Helmi Fita
Starring 主演
Andy Ng (Hong Kong 香港)
Beto Ruiz (Mexico 墨西哥)
Ee Mien Sia (Singapore 新加坡)
Lin Pei-Ann, Themis (Taiwan 台湾)
Miyuki Kamimura (Japan 日本)
Mohamed Kunju Noushad (India 印度)
CREATIVE TEAM
Playwright: Kuo Pao Kun
Director: Kok Heng Leun (Artistic Director, Drama Box)
Presented by: Traditions & Editions Theatre Circus (TETC）
A collective of TTRP graduate artists from Singapore, Malaysia, Taiwan, Hong Kong, Macau, China, Japan, Philippines, India, Poland and Mexico.
Set: Lim Wei Ling
Lighting: Lim Woan Wen
Costume: Anthony Tan
Live music/sound: Vivian Wang and Leslie Low
(The Observatory)
Producer: Peter Sau
Production Stage Manager: Helmi Fita
《灵戏》创作群
编剧: 郭宝崑
导演: 郭庆亮 (戏剧盒艺术总监)
呈献: 外传统游艺团
成员皆毕业于‘剧场训练与研究课程’, 他们来自各国, 包
括了新加坡、马来西亚、台湾、香港、澳门、中国、日本、
菲律宾、印度、波兰 和墨西哥)
舞台设计: 林玮翎
灯光设计: 林菀雯
服装设计: 陈安东尼
音乐创作兼现场配乐: 王嘉佳和刘怀立 (The Observatory)
监制: 苏佳亮
制作兼舞台总监: Helmi Fita
Starring 主演
Andy Ng (Hong Kong 香港)
Beto Ruiz (Mexico 墨西哥)
Ee Mien Sia (Singapore 新加坡)
Lin Pei-Ann, Themis (Taiwan 台湾)
Miyuki Kamimura (Japan 日本)
Mohamed Kunju Noushad (India 印度)
Who Are We? 我们是谁？
Traditions & Editions Theatre Circus (TETC)
A theatre collective comprising 29 graduates (over 4 cohorts) from Theatre Training & Research Programme (TTRP). TETC is based in Singapore, but spans different countries- Singapore, Malaysia, Philippines, Hong Kong, Macau, China, Taiwan, Japan, India, Poland and Mexico.
Sharing similar artistic sensibilities and emerging from the tutelage of the late Mr Kuo Pao Kun, we have come together to continue the legacy of our mentor’s significant vision of inter-cultural theatre in the world. This is our collective effort to keep alive in practice, his artistic vision and the training methodology expressed in the unique curriculum and inter-cultural approaches of TTRP, which he co-founded with current Director T. Sasitharan.
Our company’s creative philosophy is driven by a passion to cultivate global cultural sensitivity, steeped in the multiculturalism reflecting Singapore, so as to contribute dynamically to the current world’s identity of diversity. For each production, we will aim for a stimulating creative exchange among artists and draw on one or many easily-forgotten / neglected Asian memories and the associated dogmas, beliefs, traditions and heritages - not from the "museumized" and limited ‘official’ versions – so as to truthfully comment on contemporary questions regarding living in a modern world.
__________________________________________________
外传统游艺团
一个荟集了29位‘剧场训练与研究课程’毕业生的剧场组合。成员横跨多个国家 - 新加坡、马来西亚、菲律宾、香港、澳门、中国、台湾、日本、印度、波兰和墨西哥。
受惠于已故戏剧家郭宝崑先生和现任院长沙士德兰的教诲,我们秉持着相同的创作理念,致力于发展多元文化剧场，更希望持续探索‘剧场训练与研究课程’ 扎实的培训法。
浸濡于新加坡的多元文化环境，我团的创作宗旨在于培养对国与国之间的文化敏感度, 积极地挖掘全球文化的多重差异。每一次的演出制作,我们要探索的是，在人类历史上被遗忘或被忽略的回忆,以及其相关的传统、制约、信仰、教条等, 从而真实地反映当今社会的现象。
A theatre collective comprising 29 graduates (over 4 cohorts) from Theatre Training & Research Programme (TTRP). TETC is based in Singapore, but spans different countries- Singapore, Malaysia, Philippines, Hong Kong, Macau, China, Taiwan, Japan, India, Poland and Mexico.
Sharing similar artistic sensibilities and emerging from the tutelage of the late Mr Kuo Pao Kun, we have come together to continue the legacy of our mentor’s significant vision of inter-cultural theatre in the world. This is our collective effort to keep alive in practice, his artistic vision and the training methodology expressed in the unique curriculum and inter-cultural approaches of TTRP, which he co-founded with current Director T. Sasitharan.
Our company’s creative philosophy is driven by a passion to cultivate global cultural sensitivity, steeped in the multiculturalism reflecting Singapore, so as to contribute dynamically to the current world’s identity of diversity. For each production, we will aim for a stimulating creative exchange among artists and draw on one or many easily-forgotten / neglected Asian memories and the associated dogmas, beliefs, traditions and heritages - not from the "museumized" and limited ‘official’ versions – so as to truthfully comment on contemporary questions regarding living in a modern world.
__________________________________________________
外传统游艺团
一个荟集了29位‘剧场训练与研究课程’毕业生的剧场组合。成员横跨多个国家 - 新加坡、马来西亚、菲律宾、香港、澳门、中国、台湾、日本、印度、波兰和墨西哥。
受惠于已故戏剧家郭宝崑先生和现任院长沙士德兰的教诲,我们秉持着相同的创作理念,致力于发展多元文化剧场，更希望持续探索‘剧场训练与研究课程’ 扎实的培训法。
浸濡于新加坡的多元文化环境，我团的创作宗旨在于培养对国与国之间的文化敏感度, 积极地挖掘全球文化的多重差异。每一次的演出制作,我们要探索的是，在人类历史上被遗忘或被忽略的回忆,以及其相关的传统、制约、信仰、教条等, 从而真实地反映当今社会的现象。
THE SPIRITS PLAY ticketing 《灵戏》售票详情
TICKETING 票务详情
Dates 日期
August 13 - 8pm (for invited and charity night guests only, 只限嘉宾)
August 14, 15, 16 - 8pm (for public sales, 公开售票)
August 15, 16 - 3pm (for public sales, 公开售票)
(90 minutes, no intermission / 90分钟，无中场休息 )
Venue 地点
Studio Theatre, Nanyang Academy of Fine Arts Campus 3,
151 Bencoolen Street 黑箱剧场，南洋艺术学院第三校园
Ticket Price 票价
(Not inclusive of $3 SISTIC ticket surcharge /
不包括 $3 SISTIC手续费)
$28
$20 (concessions for full-time students, NSFs and senior citizens age
55 and above / 全职在籍学生, 服役人员和乐龄人士)
·Students from secondary schools, junior colleges and ITEs can utilize the Tote Board Arts Grant to get 60% subsidy off the concession ticket price. For TOTE BOARD GRANT enquiries, please visit http://www.nac.gov.sg/aep/faq.asp or call 97450795
We welcome general enquiries, please email tetc@live.com.sg or call 97450795 to contact Peter Sau 我们欢迎您发出任何疑问，请电邮 tetc@live.com.sg 或拨电 97450795 联络 苏佳亮
Tickets available through all SISTIC Authorized Agents islandwide
欲购票者,请前往遍布全岛的 SISTIC 售票处
Book online上网订购：www.sistic.com.sg
SISTIC hotline 热线: 63485555
Dates 日期
August 13 - 8pm (for invited and charity night guests only, 只限嘉宾)
August 14, 15, 16 - 8pm (for public sales, 公开售票)
August 15, 16 - 3pm (for public sales, 公开售票)
(90 minutes, no intermission / 90分钟，无中场休息 )
Venue 地点
Studio Theatre, Nanyang Academy of Fine Arts Campus 3,
151 Bencoolen Street 黑箱剧场，南洋艺术学院第三校园
Ticket Price 票价
(Not inclusive of $3 SISTIC ticket surcharge /
不包括 $3 SISTIC手续费)
$28
$20 (concessions for full-time students, NSFs and senior citizens age
55 and above / 全职在籍学生, 服役人员和乐龄人士)
·Students from secondary schools, junior colleges and ITEs can utilize the Tote Board Arts Grant to get 60% subsidy off the concession ticket price. For TOTE BOARD GRANT enquiries, please visit http://www.nac.gov.sg/aep/faq.asp or call 97450795
We welcome general enquiries, please email tetc@live.com.sg or call 97450795 to contact Peter Sau 我们欢迎您发出任何疑问，请电邮 tetc@live.com.sg 或拨电 97450795 联络 苏佳亮
Tickets available through all SISTIC Authorized Agents islandwide
欲购票者,请前往遍布全岛的 SISTIC 售票处
Book online上网订购：www.sistic.com.sg
SISTIC hotline 热线: 63485555
《灵戏》剧情简介
灵的世界,一片混沌。
战争结束。荒野上。
五个被遗忘的人，心神不定地寻觅着回家的路。
辛酸的过去、流离的命运、逝去的梦想……
他们，唯有在凭吊中寻回一丝抚慰。
记忆留存, 痛楚不灭, 愧疚接踵至。
因为往事不堪回首，五个人的爱恨情仇难以释怀而纠结一起……
有人不堪：“以死报国，是死得其所！”
有人反击：“可是我们有打胜仗吗？我们是英勇坚强的吗？”
由始至终，他们漂移着。
_______________________________________________
郭宝崑先生创作的《灵戏》是新加坡的经典剧本之一。它唤回我们对二十世纪太平洋战争的记忆，深刻地揭示了战役所带来的痛楚、愧疚、错乱，并回溯这一段被忘却的残酷杀戮。以人道关怀的角度出发, 写于1998年的剧本至今仍受到关注。
这部以多种语言呈献的作品，将集合三代艺术工作者的创意巧思——已故剧作家郭宝崑的经典剧本、戏剧盒艺术总监郭庆亮的执导和‘剧场训练与研究课程’毕业生的演绎。虽然大家来自五湖四海，在不同的领域各自发展，但我们深信艺术不分国界，创作的精神、理念是相通的。
'THE SPIRITS PLAY'' synopsis
Synopsis
The world of spirits is a world of flux.
Five post-war personas in a state of limbo gather at a deserted place.
Searching for a way home, they stop only to hear each other’s poignant tales of war and loss, endeavors and bygone dreams.
Soon, haunting memories of guilt and pain are unveiled and they realize they are tangled to each other in their choices and consequences.
With their relationship to each other now clear, they unleash a series of questions about the sense and senselessness of war.
‘To die for the motherland is to die in glory!’ against ‘Did we win the battle? Was there any real deed of bravery?’
They start drifting again.
___________________________________________________
The Spirits Play, one of Singapore’s most important theatre classics, was written by the late Mr Kuo Pao Kun in 1998. It evokes memories from the 20th century Pacific War which swept through Asia and Europe and investigates the guilt, pain and complexities which the war incited. A play that is valued across generations for its universally embracing theme for Asia and the world, and its powerfully delivered message - the triumph of human oral histories over silenced war atrocities.
This multi-lingual production unites creative energies across three generations: highly cherished dramatist-playwright Kuo Pao Kun, esteemed director Kok Heng Leun, artistic director of Drama Box and TTRP graduate artists. It is our belief that the living and the deceased are only separated physically but never mentally, spiritually and creatively.
The world of spirits is a world of flux.
Five post-war personas in a state of limbo gather at a deserted place.
Searching for a way home, they stop only to hear each other’s poignant tales of war and loss, endeavors and bygone dreams.
Soon, haunting memories of guilt and pain are unveiled and they realize they are tangled to each other in their choices and consequences.
With their relationship to each other now clear, they unleash a series of questions about the sense and senselessness of war.
‘To die for the motherland is to die in glory!’ against ‘Did we win the battle? Was there any real deed of bravery?’
They start drifting again.
___________________________________________________
The Spirits Play, one of Singapore’s most important theatre classics, was written by the late Mr Kuo Pao Kun in 1998. It evokes memories from the 20th century Pacific War which swept through Asia and Europe and investigates the guilt, pain and complexities which the war incited. A play that is valued across generations for its universally embracing theme for Asia and the world, and its powerfully delivered message - the triumph of human oral histories over silenced war atrocities.
This multi-lingual production unites creative energies across three generations: highly cherished dramatist-playwright Kuo Pao Kun, esteemed director Kok Heng Leun, artistic director of Drama Box and TTRP graduate artists. It is our belief that the living and the deceased are only separated physically but never mentally, spiritually and creatively.
Meeting up with the Designers
Meeting up with the set and costume designers
A time of listening and sharing
A time of listening and sharing
Before the meeting, a simple presentation was done for the designers
after 4 days of improvisation work.
The tabis strews all over the floor was one of the many ideas.
The director, the set designer and the costume designer
The boss making an animated speech
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