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About BIPAM

Bangkok International Performing Arts Meeting, or BIPAM, proposes Bangkok and its dynamic performing art scene as a platform for regional and international exchange and meeting. With its central location in Southeast Asia and visitor-friendly hospitality and environment, Bangkok makes for a convenient destination for artists, practitioners, and academics in the region to gather and exchange, and thus a becoming gateway for the world to explore Southeast Asia. But practicality aside, the city also boasts its vibrant scene of performing arts with nearly 100 different emerging and established performing art troupes at present.

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Initiated by a producer-cum-faithful lover of theater, in collaboration with artists, academics, and critics, BIPAM is a manifestation of the organizers’ pride in Bangkok as part of the thriving performing art communities in Southeast Asia.

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BIPAM’s strong ambition is to become Southeast Asia’s performing arts launchpad where the world can discover our talents and creativity, as well as to be an open market of performing arts where everyone in the community meet up and exchange their knowledge and experience, in order to nurture each other’s growth and realize the potential of the performing arts community.

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Discover Bangkok’s local scene and take one step deeper into the multifaceted context of Southeast Asia out of which rich diversity in performing arts rises.

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āļāļēāļĢāļ›āļĢāļ°āļŠāļļāļĄāļ™āļēāļ™āļēāļŠāļēāļ•āļīāļ—āļēāļ‡āļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āđāļŦāđˆāļ‡āļāļĢāļļāļ‡āđ€āļ—āļžāļĄāļŦāļēāļ™āļ„āļĢ āļŦāļĢāļ·āļ­ āđ„āļšāđāļžāļĄ (BIPAM) āļ™āļģāđ€āļŠāļ™āļ­āļāļĢāļļāļ‡āđ€āļ—āļžāļĄāļŦāļēāļ™āļ„āļĢāđāļĨāļ°āļ§āļ‡āļāļēāļĢāļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āļ­āļąāļ™āļ„āļķāļāļ„āļąāļāļ‚āļ­āļ‡āļĄāļŦāļēāļ™āļ„āļĢāļ™āļĩāđ‰āđƒāļ™āļāļēāļ™āļ°āđ€āļ§āļ—āļĩāđ€āļžāļ·āđˆāļ­āļāļēāļĢāļžāļšāļ›āļ°āđāļĨāļ°āđāļĨāļāđ€āļ›āļĨāļĩāđˆāļĒāļ™āļ„āļ§āļēāļĄāļĢāļđāđ‰āļĢāļ°āļ”āļąāļšāļ āļđāļĄāļīāļ āļēāļ„āđāļĨāļ°āļ™āļēāļ™āļēāļŠāļēāļ•āļī āļ”āđ‰āļ§āļĒāļ—āļĩāđˆāļ•āļąāđ‰āļ‡āļ—āļĩāđˆāļ­āļĒāļđāđˆāđƒāļˆāļāļĨāļēāļ‡āđ€āļ­āđ€āļŠāļĩāļĒāļ•āļ°āļ§āļąāļ™āļ­āļ­āļāđ€āļ‰āļĩāļĒāļ‡āđƒāļ•āđ‰āđāļĨāļ°āļšāļĢāļĢāļĒāļēāļāļēāļĻāđ€āļ›āđ‡āļ™āļĄāļīāļ•āļĢāļ—āļĩāđˆāļžāļĢāđ‰āļ­āļĄāļ•āđ‰āļ­āļ™āļĢāļąāļšāļ—āļļāļāđ†āļ„āļ™ āļāļĢāļļāļ‡āđ€āļ—āļžāļĄāļŦāļēāļ™āļ„āļĢāļˆāļķāļ‡āđ€āļ›āđ‡āļ™āļ—āļĩāđˆāļ—āļĩāđˆāđ€āļŦāļĄāļēāļ°āļŠāļģāļŦāļĢāļąāļšāļĻāļīāļĨāļ›āļīāļ™ āļ™āļąāļāļāļēāļĢāļĨāļ°āļ„āļĢ āļĢāļ§āļĄāļ–āļķāļ‡āļ™āļąāļāļ§āļīāļŠāļēāļāļēāļĢāļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āđƒāļ™āļ āļđāļĄāļīāļ āļēāļ„āļ—āļĩāđˆāļˆāļ°āļĄāļēāļĢāļ§āļĄāļ•āļąāļ§āđāļĨāļ°āđāļĨāļāđ€āļ›āļĨāļĩāđˆāļĒāļ™ āđāļĨāļ°āļˆāļ°āđ€āļ›āđ‡āļ™āļ›āļĢāļ°āļ•āļđāļŠāļđāđˆāđ€āļ­āđ€āļŠāļĩāļĒāļ•āļ°āļ§āļąāļ™āļ­āļ­āļāđ€āļ‰āļĩāļĒāļ‡āđƒāļ•āđ‰āđƒāļŦāđ‰āđ‚āļĨāļāđ„āļ”āđ‰āļĢāļđāđ‰āļˆāļąāļāļ”āļĩāļĒāļīāđˆāļ‡āļ‚āļķāđ‰āļ™ āđāļĨāļ°āļ™āļ­āļāļˆāļēāļāļ„āļ§āļēāļĄāđ€āļŦāļĄāļēāļ°āļŠāļĄāļ—āļēāļ‡āļžāļ·āđ‰āļ™āļ—āļĩāđˆāđāļĨāđ‰āļ§ āļāļĢāļļāļ‡āđ€āļ—āļžāļŊ āļāđ‡āļĒāļąāļ‡āđ‚āļ”āļ”āđ€āļ”āđˆāļ™āļ”āđ‰āļ§āļĒāļ§āļ‡āļāļēāļĢāļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āļ­āļąāļ™āļĄāļĩāļŠāļĩāļ§āļīāļ•āļŠāļĩāļ§āļē āļāļąāļšāļˆāļģāļ™āļ§āļ™āļāļĨāļļāđˆāļĄāļĨāļ°āļ„āļĢāļ—āļąāđ‰āļ‡āļĻāļīāļĨāļ›āļīāļ™āļĢāļļāđˆāļ™āđƒāļŦāļāđˆāđāļĨāļ°āļĢāļļāđˆāļ™āđƒāļŦāļĄāđˆāļ—āļąāđ‰āļ‡āļŦāļĄāļ”āļāļ§āđˆāļē 100 āļāļĨāļļāđˆāļĄāļ”āđ‰āļ§āļĒāļāļąāļ™ āļ“ āļ›āļąāļˆāļˆāļļāļšāļąāļ™

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āđ‚āļ”āļĒāļ„āļ§āļēāļĄāļ„āļīāļ”āļĢāļīāđ€āļĢāļīāđˆāļĄāļˆāļēāļāđ‚āļ›āļĢāļ”āļīāļ§āđ€āļ‹āļ­āļĢāđŒāļ—āļĩāđˆāļĄāļĩāļ„āļ§āļēāļĄāļŦāļĨāļ‡āđƒāļŦāļĨāđƒāļ™āļĻāļīāļĨāļ›āļ°āļāļēāļĢāļĨāļ°āļ„āļĢ āđāļĨāļ°āļĢāđˆāļ§āļĄāļĄāļ·āļ­āļāļąāļšāļĻāļīāļĨāļ›āļīāļ™ āļ™āļąāļāļ§āļīāļˆāļēāļĢāļ“āđŒ āđāļĨāļ°āļ™āļąāļāļ§āļīāļŠāļēāļāļēāļĢāļ”āđ‰āļēāļ™āļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡ BIPAM āļˆāļķāļ‡āđ€āļ›āđ‡āļ™āļŠāļīāđˆāļ‡āļŠāļ°āļ—āđ‰āļ­āļ™āļ–āļķāļ‡āļ„āļ§āļēāļĄāļĢāļđāđ‰āļŠāļķāļāļ āļēāļ„āļ āļđāļĄāļīāđƒāļˆāļ‚āļ­āļ‡āļ„āļ“āļ°āļœāļđāđ‰āļˆāļąāļ”āļ‡āļēāļ™ āļ—āļĩāđˆāļāļĢāļļāļ‡āđ€āļ—āļžāļŊ āđ€āļ›āđ‡āļ™āļŠāđˆāļ§āļ™āļŦāļ™āļķāđˆāļ‡āļ‚āļ­āļ‡āļŠāļļāļĄāļŠāļ™āļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āļ—āļĩāđˆāļāļģāļĨāļąāļ‡āđ€āļ•āļīāļšāđ‚āļ•āđāļĨāļ°āđ€āļŸāļ·āđˆāļ­āļ‡āļŸāļđāđƒāļ™āđ€āļ­āđ€āļŠāļĩāļĒāļ•āļ°āļ§āļąāļ™āļ­āļ­āļāđ€āļ‰āļĩāļĒāļ‡āđƒāļ•āđ‰

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āļˆāļļāļ”āļĄāļļāđˆāļ‡āļŦāļĄāļēāļĒāļŦāļĨāļąāļāļ‚āļ­āļ‡āđ„āļšāđāļžāļĄ āļ„āļ·āļ­āļāļēāļĢāđ€āļ›āđ‡āļ™āļĻāļđāļ™āļĒāđŒāļāļĨāļēāļ‡āđāļĨāļāđ€āļ›āļĨāļĩāđˆāļĒāļ™āļ„āļ§āļēāļĄāļĢāļđāđ‰āļ‚āļ­āļ‡āļĻāļīāļĨāļ›āļīāļ™ āļœāļđāđ‰āļˆāļąāļ”āļāļēāļĢ āđāļĨāļ°āļ™āļąāļāļ§āļīāļŠāļēāļāļēāļĢāļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āļĢāđˆāļ§āļĄāļŠāļĄāļąāļĒāđƒāļ™āļ›āļĢāļ°āđ€āļ—āļĻāđ„āļ—āļĒāđāļĨāļ°āļ āļđāļĄāļīāļ āļēāļ„āđ€āļ­āđ€āļŠāļĩāļĒāļ•āļ°āļ§āļąāļ™āļ­āļ­āļāđ€āļ‰āļĩāļĒāļ‡āđƒāļ•āđ‰ āđ€āļ§āļ—āļĩāļ—āļĩāđˆāļ™āļēāļ™āļēāļŠāļēāļ•āļīāļŠāļēāļĄāļēāļĢāļ–āđ€āļ”āļīāļ™āļ—āļēāļ‡āļĄāļēāļ„āđ‰āļ™āļžāļšāļ„āļ§āļēāļĄāļŠāļēāļĄāļēāļĢāļ–āđāļĨāļ°āļ„āļ§āļēāļĄāļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒāļ‚āļ­āļ‡āļŠāļļāļĄāļŠāļ™āļ™āļĩāđ‰ āđāļĨāļ°āđ€āļ›āđ‡āļ™āļ•āļĨāļēāļ”āđ€āļŠāļĢāļĩāļ—āļēāļ‡āļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āļ—āļĩāđˆāļˆāļ°āļĄāļĩāļ—āļąāđ‰āļ‡āļāļēāļĢāļ›āļĢāļ°āļŠāļļāļĄāļ§āļīāļŠāļēāļāļēāļĢ āđ€āļŠāļ§āļ™āļē āļŠāļĢāđ‰āļēāļ‡āđ€āļ„āļĢāļ·āļ­āļ‚āđˆāļēāļĒāļĢāļ°āļŦāļ§āđˆāļēāļ‡āļ›āļĢāļ°āđ€āļ—āļĻ āđāļĨāļ°āļˆāļąāļ”āļāļēāļĢāđāļŠāļ”āļ‡āļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āļĢāđˆāļ§āļĄāļŠāļĄāļąāļĒāđƒāļŦāđ‰āđ„āļ”āđ‰āđ€āļĨāļ·āļ­āļāļŠāļĄāđāļĨāļ°āđāļĨāļāđ€āļ›āļĨāļĩāđˆāļĒāļ™āļ„āļ§āļēāļĄāļĢāļđāđ‰āđāļĨāļ°āļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āđŒ āđ€āļžāļ·āđˆāļ­āļ•āđˆāļ­āļĒāļ­āļ”āļ„āļ§āļēāļĄāđ€āļ•āļīāļšāđ‚āļ•āļ‹āļķāđˆāļ‡āļāļąāļ™āđāļĨāļ°āđāļĨāļ°āļāļąāļ™ āđāļĨāļ°āđ€āļžāļ·āđˆāļ­āđāļŠāļ”āļ‡āļĻāļąāļāļĒāļ āļēāļžāļ‚āļ­āļ‡āļŠāļļāļĄāļŠāļ™āļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āđƒāļ™āļ āļđāļĄāļīāļ āļēāļ„āļ™āļĩāđ‰āļ­āļĒāđˆāļēāļ‡āđ€āļ›āđ‡āļ™āļĢāļđāļ›āļ˜āļĢāļĢāļĄ

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āļĄāļēāļĢāđˆāļ§āļĄāļŠāļąāļĄāļœāļąāļŠāļ§āļ‡āļāļēāļĢāļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āļ‚āļ­āļ‡āļāļĢāļļāļ‡āđ€āļ—āļžāļŊ āđāļĨāļ°āļāđ‰āļēāļ§āļĨāļķāļāđ€āļ‚āđ‰āļēāļĄāļēāđƒāļ™āļšāļĢāļīāļšāļ—āđāļŦāđˆāļ‡āđ€āļ­āđ€āļŠāļĩāļĒāļ•āļ°āļ§āļąāļ™āļ­āļ­āļāđ€āļ‰āļĩāļĒāļ‡āđƒāļ•āđ‰āļ—āļĩāđˆāđ€āļ•āđ‡āļĄāđ„āļ›āļ”āđ‰āļ§āļĒāļŦāļĨāļēāļāđāļ‡āđˆāļĄāļļāļĄ āļ­āļąāļ™āđ€āļ›āđ‡āļ™āļ—āļĩāđˆāļĄāļēāđāļŦāđˆāļ‡āļ„āļ§āļēāļĄāļĢāļļāđˆāļĄāļĢāļ§āļĒāđāļĨāļ°āļŦāļĨāļēāļāļŦāļĨāļēāļĒāļ‚āļ­āļ‡āļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āđƒāļ™āļ āļđāļĄāļīāļ āļēāļ„āļ™āļĩāđ‰

The BIPAM Team

SasapinSiriwanij_edited_edited.jpg

Artistic Director

Sasapin (Pupe) Siriwanij

Sasapin Siriwanij is a performer, director, and producer. She began acting in 2005 while studying at Chulalongkorn University, where she received her M.A and B.A in English Literature. She has been a core member of B-Floor Theatre since 2009, and co-founder of For What Theatre since 2015. Her latest work OH! ODE" (Oh! What Joy, What Goodness, What Beauty Calls For Ode No.7012) in 2017 won her Best Performance by a Female Artist by the Theater Critics Association Thailand (IATC 2017).

She was among the scholars of the Internationales Forum at the Theatertreffen, Berliner Festspiele 2017, and was a participant in the first-ever Curators' Academy by Theatreworks (Singapore).

āļĻāļĻāļžāļīāļ™āļ—āļļāđŒ āļĻāļīāļĢāļīāļ§āļēāļ“āļīāļŠāļĒāđŒ āļˆāļšāļāļēāļĢāļĻāļķāļāļĐāļēāļĢāļ°āļ”āļąāļšāļ›āļĢāļīāļāļāļēāļ•āļĢāļĩāđāļĨāļ°āđ‚āļ—āļŠāļēāļ‚āļēāļ āļēāļĐāļēāļ­āļąāļ‡āļāļĪāļĐ āļ„āļ“āļ°āļ­āļąāļāļĐāļĢāļĻāļēāļŠāļ•āļĢāđŒ āļˆāļļāļŽāļēāļĨāļ‡āļāļĢāļ“āđŒāļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒ āđ€āļĢāļīāđˆāļĄāđ€āļ›āđ‡āļ™āļ™āļąāļāđāļŠāļ”āļ‡āļ•āļąāđ‰āļ‡āđāļ•āđˆāļ›āļĩ 2005 āđ€āļ„āļĒāļĢāđˆāļ§āļĄāļ‡āļēāļ™āļāļąāļšāļāļĨāļļāđˆāļĄāļĨāļ°āļ„āļĢāļŦāļĨāļēāļāļŦāļĨāļēāļĒāļˆāļ™āđ„āļ”āđ‰āļĄāļēāļāļķāļāļāļ™āļāļēāļĢāđāļŠāļ”āļ‡āđāļšāļšāļŸāļīāļŠāļīāļ„āļąāļĨāđ€āļ˜āļĩāļĒāđ€āļ•āļ­āļĢāđŒāļāļąāļšāļāļĨāļļāđˆāļĄāļšāļĩāļŸāļĨāļ­āļĢāđŒāđ€āļ˜āļĩāļĒāđ€āļ•āļ­āļĢāđŒ āļˆāļ™āđ„āļ”āđ‰āđ€āļ›āđ‡āļ™āļŠāļĄāļēāļŠāļīāļāļŦāļĨāļąāļāļ‚āļ­āļ‡āļāļĨāļļāđˆāļĄāļšāļĩāļŸāļĨāļ­āļĢāđŒāđƒāļ™āļ›āļĩ 2009 āđāļĨāļ°āļĢāđˆāļ§āļĄāđāļŠāļ”āļ‡āđƒāļ™āđ‚āļ›āļĢāļ”āļąāļāļŠāļąāđˆāļ™āļ•āđˆāļēāļ‡āđ†āļ—āļąāđ‰āļ‡āđƒāļ™āđāļĨāļ°āļ•āđˆāļēāļ‡āļ›āļĢāļ°āđ€āļ—āļĻ āđ€āļ˜āļ­āđ€āļĢāļīāđˆāļĄāļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒāļœāļĨāļ‡āļēāļ™āļ‚āļ­āļ‡āļ•āļąāļ§āđ€āļ­āļ‡āļ•āļąāđ‰āļ‡āđāļ•āđˆāļ›āļĩ 2013 āđāļĨāļ°āļĢāđˆāļ§āļĄāļāđˆāļ­āļ•āļąāđ‰āļ‡ For What Theatre āđƒāļ™āļ›āļĩ 2015 āļĻāļĻāļžāļīāļ™āļ—āļļāđŒāļĒāļąāļ‡āđ€āļ›āđ‡āļ™āļ­āļēāļˆāļēāļĢāļĒāđŒāļžāļīāđ€āļĻāļĐāļ”āđ‰āļēāļ™āļāļēāļĢāđāļŠāļ”āļ‡āļ—āļĩāđˆāđ€āļ™āđ‰āļ™āļāļēāļĢāđƒāļŠāđ‰āļĢāđˆāļēāļ‡āļāļēāļĒāđ€āļ›āđ‡āļ™āļŦāļĨāļąāļ āļĢāļ§āļĄāļ–āļķāļ‡āđ€āļ‚āđ‰āļēāļĢāđˆāļ§āļĄāļāļēāļĢāļ›āļĢāļ°āļŠāļļāļĄāđāļĨāļ°āđ€āļ—āļĻāļāļēāļĨāļāļēāļĢāđāļŠāļ”āļ‡āđƒāļ™āļ›āļĢāļ°āđ€āļ—āļĻāļ•āđˆāļēāļ‡āđ† āđƒāļ™āļāļēāļ™āļ°āļĻāļīāļĨāļ›āļīāļ™āđāļĨāļ°āļœāļđāđ‰āļˆāļąāļ”āļāļēāļĢāļ”āđ‰āļēāļ™āļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡ āļĨāđˆāļēāļŠāļļāļ”āđ€āļ˜āļ­āđ„āļ”āđ‰āļĢāļąāļšāļĢāļēāļ‡āļ§āļąāļĨāļāļēāļĢāđāļŠāļ”āļ‡āļĒāļ­āļ”āđ€āļĒāļĩāđˆāļĒāļĄāđ‚āļ”āļĒāļĻāļīāļĨāļ›āļīāļ™āļŦāļāļīāļ‡āļ›āļĩ 2017 āđ‚āļ”āļĒāļŠāļĄāļĢāļĄāļ§āļīāļˆāļēāļĢāļ“āđŒāļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡ (IATC)

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Executive Advisor

Chavatvit (Should) Muangkeo

Chavativit Muangkeo graduated from Faculty of Arts, Dramatic Arts Major, Chulalongkorn University. He had been training to be a director and script-writer but shifted his focus to arts management and contemporary arts related public policies. With his goal to secure the spaces and other resources for the contemporary arts communities, he has founded BIPAM in 2017 to create better opportunities for more people in Thailand to experience the contemporary performing arts. Currently, Chavatvit is a secretary to the board of Contemporary Arts & Culture Industry Promotion and Trade Association (CAPT) and dedicating to connect public sector and private sector to the arts and culture sector, hoping that the arts sector will receive more funding and become soft power that can create bigger economic impacts for the country in the near future.

āļŠāļ§āļąāļ•āļ–āđŒāļ§āļīāļŠ āđ€āļĄāļ·āļ­āļ‡āđāļāđ‰āļ§ āļˆāļšāļ­āļąāļāļĐāļĢāļŊ āļˆāļļāļŽāļēāļŊ āļŠāļēāļ‚āļēāļĻāļīāļĨāļ›āļāļēāļĢāļĨāļ°āļ„āļĢ āđ€āļ—āļĢāļ™āļĄāļēāđ€āļ›āđ‡āļ™āļœāļđāđ‰āļāļģāļāļąāļšāđāļĨāļ°āļ™āļąāļāđ€āļ‚āļĩāļĒāļ™āļšāļ— āđāļ•āđˆāļŠāļ™āđƒāļˆāđ€āļĢāļ·āđˆāļ­āļ‡āļ™āđ‚āļĒāļšāļēāļĒāļŠāļēāļ˜āļēāļĢāļ“āļ°āļ”āđ‰āļēāļ™āļĻāļīāļĨāļ›āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļĢāđˆāļ§āļĄāļŠāļĄāļąāļĒāđ€āļ›āđ‡āļ™āļžāļīāđ€āļĻāļĐ āļžāļĒāļēāļĒāļēāļĄāļŠāļĢāđ‰āļēāļ‡āļžāļ·āđ‰āļ™āļ—āļĩāđˆāđāļĨāļ°āļŦāļēāļ—āļĢāļąāļžāļĒāļēāļāļĢāļˆāļēāļāļ—āļļāļāđāļŦāļĨāđˆāļ‡ āđ€āļžāļ·āđˆāļ­āđ€āļ›āļīāļ”āđ‚āļ­āļāļēāļŠāđƒāļŦāđ‰āđ€āļžāļ·āđˆāļ­āļ™āļĢāđˆāļ§āļĄāļŠāļēāļ•āļīāđ„āļ”āđ‰āļŠāļąāļĄāļœāļąāļŠāļāļąāļšāļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āļĢāđˆāļ§āļĄāļŠāļĄāļąāļĒ āļˆāļķāļ‡āļĢāļīāđ€āļĢāļīāđˆāļĄ Bangkok International Performing Arts Meeting āļ‚āļķāđ‰āļ™āđƒāļ™āļ›āļĩ 2017 āļ›āļąāļˆāļˆāļļāļšāļąāļ™āļ—āļģāļ‡āļēāļ™āđ€āļ›āđ‡āļ™āļ™āļąāļāļ›āļĢāļ°āļŠāļēāļ™āļŠāļīāļšāļ—āļīāļĻāđ€āļŠāļ·āđˆāļ­āļĄāļ āļēāļ„āļĢāļąāļ āļ˜āļļāļĢāļāļīāļˆāđ€āļ­āļāļŠāļ™ āđāļĨāļ°āļ§āļ‡āļāļēāļĢāļĻāļīāļĨāļ›āļ°āđ€āļ‚āđ‰āļēāļ”āđ‰āļ§āļĒāļāļąāļ™ āļ”āđ‰āļ§āļĒāļ„āļ§āļēāļĄāļŦāļ§āļąāļ‡āļ§āđˆāļēāļˆāļ°āļĄāļĩāļ‡āļšāļ›āļĢāļ°āļĄāļēāļ“āļĄāļēāļŠāļĢāđ‰āļēāļ‡ Soft Power āļŦāļēāļĢāļēāļĒāđ„āļ”āđ‰āđ€āļ‚āđ‰āļēāļ›āļĢāļ°āđ€āļ—āļĻāļŠāļēāļ•āļīāđ„āļ”āđ‰āđƒāļ™āđ€āļĢāđ‡āļ§āļ§āļąāļ™ āļ›āļąāļˆāļˆāļļāļšāļąāļ™āđ€āļ›āđ‡āļ™āđ€āļĨāļ‚āļēāļ˜āļīāļāļēāļĢāļŠāļĄāļēāļ„āļĄāļāļēāļĢāļ„āđ‰āļēāļŠāđˆāļ‡āđ€āļŠāļĢāļīāļĄāļ­āļļāļ•āļŠāļēāļŦāļāļĢāļĢāļĄāļĻāļīāļĨāļ›āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļĢāđˆāļ§āļĄāļŠāļĄāļąāļĒ (CAPT)

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Assistant Artistic Director

Siree (Wan) Riewpaiboon

Siree Riewpaiboon is a performer, interpreter, performing arts manager/ producer. Her past works include her position as a Program Officer at the Japan Foundation, Bangkok (2016 – 2019), a co-producer for Life|Performance festival (2019 – 2020), and translation, management, coordination for many more projects. She is currently working as the Executive Coordinator for BIPAM (Bangkok International Performing Arts Meeting) and one of the core creative producers for Prayoon for Art while pursuing her MA in Arts and Culture Management at Leuphana University.

āļŠāļīāļĢāļĩ āļĢāļīāđ‰āļ§āđ„āļžāļšāļđāļĨāļĒāđŒ āļˆāļšāļāļēāļĢāļĻāļķāļāļĐāļēāļĢāļ°āļ”āļąāļšāļ›āļĢāļīāļāļāļēāļ•āļĢāļĩāļˆāļēāļāļ āļēāļ„āļ§āļīāļŠāļēāļ āļēāļĐāļēāļ•āļ°āļ§āļąāļ™āļ­āļ­āļ āđ€āļ­āļāļ āļēāļĐāļēāļāļĩāđˆāļ›āļļāđˆāļ™ āļ„āļ“āļ°āļ­āļąāļāļĐāļĢāļĻāļēāļŠāļ•āļĢāđŒ āļˆāļļāļŽāļēāļĨāļ‡āļāļĢāļ“āđŒāļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒ āđāļĨāļ°āļĢāļ°āļ”āļąāļšāđ‚āļ—āļˆāļēāļāļ āļēāļ„āļ§āļīāļŠāļēāļĻāļīāļĨāļ›āļāļēāļĢāļĨāļ°āļ„āļĢ āļ‚āļ­āļ‡āļŠāļ–āļēāļšāļąāļ™āđ€āļ”āļĩāļĒāļ§āļāļąāļ™ āļĄāļĩāļ„āļ§āļēāļĄāđ€āļŠāļĩāđˆāļĒāļ§āļŠāļēāļāļ—āļąāđ‰āļ‡āļ”āđ‰āļēāļ™āļāļēāļĢāļ›āļĢāļ°āļŠāļēāļ™āļ‡āļēāļ™ āđāļĨāļ°āļ­āļģāļ™āļ§āļĒāļāļēāļĢāļāļĢāļ°āļšāļ§āļ™āļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒāļĢāļ°āļŦāļ§āđˆāļēāļ‡āļĻāļīāļĨāļ›āļīāļ™āđ„āļ—āļĒāđāļĨāļ°āļ•āđˆāļēāļ‡āļ›āļĢāļ°āđ€āļ—āļĻ āļˆāļēāļāļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āđŒāđƒāļ™āļāļēāļ™āļ°āļĨāđˆāļēāļĄāđāļĨāļ°āļ™āļąāļāļ›āļĢāļ°āļŠāļēāļ™āļ‡āļēāļ™āļ­āļīāļŠāļĢāļ° āļĢāļ§āļĄāļ—āļąāđ‰āļ‡āļāļēāļĢāļ”āļģāļĢāļ‡āļ•āļģāđāļŦāļ™āđˆāļ‡ Program Officer āļ‚āļ­āļ‡āđ€āļˆāđāļ›āļ™āļŸāļēāļ§āļ™āđŒāđ€āļ”āļŠāļąāđˆāļ™ āļāļĢāļļāļ‡āđ€āļ—āļžāļŊ āļ›āļąāļˆāļˆāļļāļšāļąāļ™āļ—āļģāļ‡āļēāļ™āļ”āđ‰āļēāļ™āļāļēāļĢāļ›āļĢāļ°āļŠāļēāļ™āđ‚āļ„āļĢāļ‡āļāļēāļĢ āļĢāļ§āļĄāļ—āļąāđ‰āļ‡āļĢāļīāđ€āļĢāļīāđˆāļĄāđ‚āļ„āļĢāļ‡āļāļēāļĢāļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āļ‚āļ­āļ‡āļ•āļ™āđ€āļ­āļ‡āļĢāđˆāļ§āļĄāļāļąāļšāļ­āļ‡āļ„āđŒāļāļĢāļžāļąāļ™āļ˜āļĄāļīāļ•āļĢāļ•āđˆāļēāļ‡āđ† āļ”āļģāļĢāļ‡āļ•āļģāđāļŦāļ™āđˆāļ‡ Executive coordinator āļ‚āļ­āļ‡ BIPAM āđāļĨāļ°āļ—āļĩāļĄāļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒāđ‚āļ„āļĢāļ‡āļāļēāļĢāļ‚āļ­āļ‡āđ€āļ„āļĢāļ·āļ­āļ‚āđˆāļēāļĒāļ›āļĢāļ°āļĒāļđāļĢāđ€āļžāļ·āđˆāļ­āļĻāļīāļĨāļ›āļ° āđƒāļ™āļĢāļ°āļŦāļ§āđˆāļēāļ‡āļĻāļķāļāļĐāļēāļ›āļĢāļīāļāļāļēāđ‚āļ—āļ”āđ‰āļēāļ™ Arts and Cultural Management āļ‚āļ­āļ‡āļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒ Leuphana (āļĢāđˆāļ§āļĄāļāļąāļšāļŠāļ–āļēāļšāļąāļ™āđ€āļāļ­āđ€āļ•āđ‰)

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Executive Director

Varissara (Jar) Borkird

Jar is an independent art manager/coordinator who is interested in many fields of contemporary arts. After receiving her MA in non-profit organization management from Rikkyo University, Japan, she had been working in the business development field for about 2 years before joining the Bangkok Art and Culture Centre (BACC) as a foundation officer in charge of sponsorship and fundraising activities until the end of 2019. She later joined BIPAM as a core team member in 2020 and currently working as a Partnership Engagement Coordinator. She believes that cultural exchanges through arts among Thai and international artists will promote the development of the quality of works and create better understanding about different cultures. She hopes that what she is doing will encourage people to understand the importance of the arts and the contemporary arts will gain more support from every sector, especially the government sector.

āļ§āļĢāļīāļĻāļĢāļēāđ€āļ›āđ‡āļ™āļ™āļąāļāļšāļĢāļīāļŦāļēāļĢāļˆāļąāļ”āļāļēāļĢāļĻāļīāļĨāļ›āļ°āļ­āļīāļŠāļĢāļ°āļ—āļĩāđˆāļŠāļ™āđƒāļˆāļ‡āļēāļ™āļĻāļīāļĨāļ›āļ°āļĢāđˆāļ§āļĄāļŠāļĄāļąāļĒāļŦāļĨāļēāļāļŦāļĨāļēāļĒāļŠāļēāļ‚āļē āļŦāļĨāļąāļ‡āļˆāļšāļ›āļĢāļīāļāļāļēāđ‚āļ—āļŠāļēāļ‚āļēāļāļēāļĢāļšāļĢāļīāļŦāļēāļĢāļˆāļąāļ”āļāļēāļĢāļ­āļ‡āļ„āđŒāļāļĢāđ„āļĄāđˆāđāļŠāļ§āļ‡āļŦāļēāļœāļĨāļāļģāđ„āļĢāļˆāļēāļāļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒāļĢāļīāļ„āđ€āļ„āļĩāļĒāļ§ āļ›āļĢāļ°āđ€āļ—āļĻāļāļĩāđˆāļ›āļļāđˆāļ™ āļāđ‡āļāļĨāļąāļšāļĄāļēāļ—āļģāļ‡āļēāļ™āļ”āđ‰āļēāļ™ business development āļ­āļĒāļđāđˆāđƒāļ™āļ­āļ‡āļ„āđŒāļāļĢāļ āļēāļ„āļ˜āļļāļĢāļāļīāļˆāļĢāļ°āļĒāļ°āļŦāļ™āļķāđˆāļ‡ āļāđˆāļ­āļ™āđ€āļ‚āđ‰āļēāļ—āļģāļ‡āļēāļ™āļ—āļĩāđˆāļŦāļ­āļĻāļīāļĨāļ›āļāļĢāļļāļ‡āđ€āļ—āļžāļŊ āļˆāļ™āļ–āļķāļ‡āļ›āļĩ 2561 āđƒāļ™āļāļēāļ™āļ°āđ€āļˆāđ‰āļēāļŦāļ™āđ‰āļēāļ—āļĩāđˆāļĄāļđāļĨāļ™āļīāļ˜āļī āļ—āļĩāđˆāļĢāļąāļšāļœāļīāļ”āļŠāļ­āļšāļ”āđ‰āļēāļ™āļāļēāļĢāļ‚āļ­āļ—āļļāļ™āđāļĨāļ°āļ›āļĢāļ°āļŠāļēāļ™āļ‡āļēāļ™āļœāļđāđ‰āļŠāļ™āļąāļšāļŠāļ™āļļāļ™ āđāļĨāļ°āđ„āļ”āđ‰āđ€āļ‚āđ‰āļēāļĢāđˆāļ§āļĄāđ€āļ›āđ‡āļ™āļŠāļĄāļēāļŠāļīāļāļŦāļĨāļąāļāļ‚āļ­āļ‡āđ„āļšāđāļžāļĄāđƒāļ™āļ›āļĩ 2563 āđ‚āļ”āļĒāļĢāļąāļšāļŦāļ™āđ‰āļēāđ€āļ›āđ‡āļ™āļ—āļĩāđˆāļœāļđāđ‰āļ›āļĢāļ°āļŠāļēāļ™āļ‡āļēāļ™āļ­āļ‡āļ„āđŒāļāļĢāļ‚āļ­āļ‡ BIPAM āļ§āļĢāļīāļĻāļĢāļēāđ€āļŠāļ·āđˆāļ­āļ§āđˆāļēāļāļēāļĢāđāļĨāļāđ€āļ›āļĨāļĩāđˆāļĒāļ™āļĢāļ°āļŦāļ§āđˆāļēāļ‡āļĻāļīāļĨāļ›āļīāļ™āđƒāļ™āđ„āļ—āļĒāđāļĨāļ°āļ•āđˆāļēāļ‡āļ›āļĢāļ°āđ€āļ—āļĻāļˆāļ°āļŠāđˆāļ§āļĒāļŠāđˆāļ‡āđ€āļŠāļĢāļīāļĄāđƒāļŦāđ‰āđ€āļāļīāļ”āļāļēāļĢāļžāļąāļ’āļ™āļēāļ„āļļāļ“āļ āļēāļžāļ‚āļ­āļ‡āļ‡āļēāļ™āđāļĨāļ°āļŠāļĢāđ‰āļēāļ‡āļ„āļ§āļēāļĄāđ€āļ‚āđ‰āļēāđƒāļˆāđƒāļ™āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļ—āļĩāđˆāļŦāļĨāļēāļāļŦāļĨāļēāļĒ āđāļĨāļ°āļŦāļ§āļąāļ‡āļ§āđˆāļēāļ‡āļēāļ™āļ—āļĩāđˆāļ—āļģāļ­āļĒāļđāđˆāļˆāļ°āļŠāđˆāļ‡āđ€āļŠāļĢāļīāļĄāđƒāļŦāđ‰āļ„āļ™āļ—āļąāđˆāļ§āđ„āļ›āļŠāļ™āđƒāļˆāđāļĨāļ°āđƒāļŦāđ‰āļ„āļ§āļēāļĄāļŠāļģāļ„āļąāļāļāļąāļšāļĻāļīāļĨāļ›āļ°āđāļĨāļ°āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļĄāļēāļāļ‚āļķāđ‰āļ™ āļĢāļ§āļĄāļ–āļķāļ‡āđ„āļ”āđ‰āļĢāļąāļšāļāļēāļĢāļŠāļ™āļąāļšāļŠāļ™āļļāļ™āļˆāļēāļāļ āļēāļ„āļŠāđˆāļ§āļ™āļ•āđˆāļēāļ‡āđ† āļ­āļĒāđˆāļēāļ‡āļˆāļĢāļīāļ‡āļˆāļąāļ‡

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Communication Manager

Peangdao (Yoi) Jariyapun

Yoi has always been passionate about theatre since high school. She received her BA and MA in theatre from Chulalongkorn University. Acting is her love, Managing is her partner. In the past 5 years, she has been a part of major performing art projects across the country. Yoi first joined BIPAM’s core team member as an operations team leader, recently, she is branching out into online communication. She is often thrilled by intercultural collaborative projects among SEA neighbors. Yoi always believes that Art is the most gentle yet powerful way to embed ideas in our thought, behavior, and culture. The more she learns about the SEA diverse contemporary arts scene the more understanding she has of her own culture.

āđ€āļĄāļ·āđˆāļ­āđ„āļ”āđ‰āđ€āļĢāļīāđˆāļĄāļ„āļĨāļļāļāļ„āļĨāļĩāļāļąāļšāļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āļ•āļąāđ‰āļ‡āđāļ•āđˆāļĄāļąāļ˜āļĒāļĄāļ›āļĨāļēāļĒ āđ€āļžāļĩāļĒāļ‡āļ”āļēāļ§āļāđ‡āļĄāļļāđˆāļ‡āļĄāļąāđˆāļ™āđƒāļŠāđ‰āļŠāļĩāļ§āļīāļ•āđƒāļ™āļŠāļēāļĒāļ‡āļēāļ™āļ™āļĩāđ‰āļĄāļēāđ‚āļ”āļĒāļ•āļĨāļ­āļ” āđ€āļ˜āļ­āļˆāļšāļāļēāļĢāļĻāļķāļāļĐāļēāļĢāļ°āļ”āļąāļšāļ›āļĢāļīāļāļāļēāļ•āļĢāļĩāđāļĨāļ°āđ‚āļ—āļ”āđ‰āļēāļ™āļĻāļīāļĨāļ›āļāļēāļĢāļĨāļ°āļ„āļĢāļˆāļēāļāļˆāļļāļŽāļēāļĨāļ‡āļāļĢāļ“āđŒāļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒ āđ€āļŠāļĩāđˆāļĒāļ§āļŠāļēāļāļ”āđ‰āļēāļ™āļāļēāļĢāđāļŠāļ”āļ‡āļ‹āļķāđˆāļ‡āđ€āļ›āđ‡āļ™āļ‡āļēāļ™āļ—āļĩāđˆāđ€āļ˜āļīāļĢāļąāļāļĄāļēāļāļ—āļĩāđˆāļŠāļļāļ” āļŠāđˆāļ§āļŠāļ‡āļēāļ™āļ”āđ‰āļēāļ™āļāļēāļĢāļŠāļ™āļąāļšāļŠāļ™āļļāļ™āđāļĨāļ°āļāļēāļĢāļˆāļąāļ”āļāļēāļĢāđ‚āļ„āļĢāļ‡āļāļēāļĢāļĻāļīāļĨāļ›āļ°āļ•āđˆāļēāļ‡āđ† āļāđ‡āđ€āļ›āđ‡āļ™āļ­āļĩāļāļ”āđ‰āļēāļ™āļ—āļĩāđˆāđ€āļ˜āļ­āļ—āļģāļĄāļēāļ•āļĨāļ­āļ” 5 āļ›āļĩāļ—āļĩāđˆāļœāđˆāļēāļ™āļĄāļē āđ€āļžāļĩāļĒāļ‡āļ”āļēāļ§āđ€āļ‚āđ‰āļēāļĢāđˆāļ§āļĄāđ€āļ›āđ‡āļ™āļŠāļĄāļēāļŠāļīāļāļŦāļĨāļąāļāļ‚āļ­āļ‡āđ„āļšāđāļžāļĄāđƒāļ™āļ•āļģāđāļŦāļ™āđˆāļ‡āļŦāļąāļ§āļŦāļ™āđ‰āļēāļāđˆāļēāļĒāļ›āļāļīāļšāļąāļ•āļīāļ‡āļēāļ™ āļ•āđˆāļ­āļĄāļēāđ„āļ”āđ‰āđ€āļĢāļīāđˆāļĄāļĢāđˆāļ§āļĄāļ‡āļēāļ™āđƒāļ™āļāđˆāļēāļĒāļŠāļ·āđˆāļ­āļŠāļēāļĢāļ­āļ­āļ™āđ„āļĨāļ™āđŒāļĄāļēāļāļ‚āļķāđ‰āļ™ āđ€āļžāļĩāļĒāļ‡āļ”āļēāļ§āļĢāļđāđ‰āļŠāļķāļāļ•āļ·āđˆāļ™āđ€āļ•āđ‰āļ™āđ€āļŠāļĄāļ­āđ€āļĄāļ·āđˆāļ­āđ„āļ”āđ‰āļ”āļđāļ‡āļēāļ™āļĢāđˆāļ§āļĄāļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļ‚āļ­āļ‡āđ€āļžāļ·āđˆāļ­āļ™āđ† āđƒāļ™āđ€āļ­āđ€āļŠāļĩāļĒāļ•āļ°āļ§āļąāļ™āļ•āļāđ€āļ‰āļĩāļĒāļ‡āđƒāļ•āđ‰ āđ€āļ˜āļ­āđ€āļŠāļ·āđˆāļ­āļ§āđˆāļēāļĻāļīāļĨāļ›āļ°āđ€āļ›āđ‡āļ™āđ€āļ„āļĢāļ·āđˆāļ­āļ‡āļĄāļ·āļ­āļ—āļĩāđˆāļ™āļļāđˆāļĄāļ™āļ§āļĨāđāļ•āđˆāļ—āļĢāļ‡āļžāļĨāļąāļ‡āļ—āļĩāđˆāļŠāļļāļ”āļ—āļĩāđˆāļˆāļ°āđ€āļ›āļĨāļĩāđˆāļĒāļ™āđāļ›āļĨāļ‡āļ„āļ§āļēāļĄāļ„āļīāļ”āļ‚āļ­āļ‡āļ„āļ™āđƒāļ™āļŠāļąāļ‡āļ„āļĄ āļĒāļīāđˆāļ‡āđ„āļ”āđ‰āļĢāļđāđ‰āļˆāļąāļāļ‡āļēāļ™āļĢāđˆāļ§āļĄāļŠāļĄāļąāļĒāļ‚āļ­āļ‡āđ€āļžāļ·āđˆāļ­āļ™āļšāđ‰āļēāļ™āļĄāļēāļāđ€āļ—āđˆāļēāđ„āļŦāļĢāđˆāļāđ‡āļĒāļīāđˆāļ‡āļ—āļģāđƒāļŦāđ‰āđ€āļ˜āļ­āđ€āļ‚āđ‰āļēāđƒāļˆāļ„āļ§āļēāļĄāļĢāđˆāļ§āļĄāļŠāļĄāļąāļĒāļ‚āļ­āļ‡āļšāđ‰āļēāļ™āļ•āļąāļ§āđ€āļ­āļ‡āļĄāļēāļāļ‚āļķāđ‰āļ™

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Festival Manager

Kuntara (Yo) Chaicharn

Kuntra Chaiyachan graduated with a bachelor's degree from the Faculty of Fine and Applied Artsin Theatre Program, Thammasat University. She started her job at one of the largest event organizer agency in Thailand. She later earned her master's degree in Dramatic Arts from the Faculty of Arts, Chulalongkorn University. With her experiences in events agency, Kuntra has expertise in project administration and management, coordination and production management. However, being a performer on the stage is still one of the things she loves the most. Currently, Kuntara is a project manager at BIPAM and continues to work in project management for both commercial and cultural arts projects, alongside her work as a performer.

āļāļļāļ™āļ—āļĢāļē āđ„āļŠāļĒāļŠāļēāļ āļˆāļšāļāļēāļĢāļĻāļķāļāļĐāļēāļĢāļ°āļ”āļąāļšāļ›āļĢāļīāļāļāļēāļ•āļĢāļĩāļˆāļēāļāļ„āļ“āļ°āļĻāļīāļĨāļ›āļāļĢāļĢāļĄāļĻāļēāļŠāļ•āļĢāđŒ āļŠāļēāļ‚āļēāļāļēāļĢāļĨāļ°āļ„āļ­āļ™ āļˆāļēāļāļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒāļ˜āļĢāļĢāļĄāļĻāļēāļŠāļ•āļĢāđŒ āļŦāļĨāļąāļ‡āļˆāļēāļāļ™āļąāđ‰āļ™āđ„āļ”āđ‰āđ€āļĢāļīāđˆāļĄāļ—āļģāļ‡āļēāļ™āļ”āđ‰āļēāļ™āļāļēāļĢāļˆāļąāļ”āļ‡āļēāļ™āļ­āļĩāđ€āļ§āļ™āļ—āđŒāļāļąāļšāļŦāļ™āļķāđˆāļ‡āđƒāļ™āļšāļĢāļīāļĐāļąāļ—āļ­āļ­āđāļāđ„āļ™āđ€āļ‹āļ­āļĢāđŒāļ—āļĩāđˆāđƒāļŦāļāđˆāļ—āļĩāđˆāļŠāļļāļ”āđāļŦāđˆāļ‡āļŦāļ™āļķāđˆāļ‡āđƒāļ™āļ›āļĢāļ°āđ€āļ—āļĻāđ„āļ—āļĒ āļ•āđˆāļ­āļĄāļēāļˆāļķāļ‡āđ„āļ”āđ‰āđ€āļ‚āđ‰āļēāļĻāļķāļāļĐāļēāļ•āđˆāļ­āđāļĨāļ°āļˆāļšāļāļēāļĢāļĻāļķāļāļĐāļēāļĢāļ°āļ”āļąāļšāļ›āļĢāļīāļāļāļēāđ‚āļ—āļˆāļēāļāļ āļēāļ„āļ§āļīāļŠāļēāļĻāļīāļĨāļ›āļāļēāļĢāļĨāļ°āļ„āļĢ āļ„āļ“āļ°āļ­āļąāļāļĐāļĢāļĻāļēāļŠāļ•āļĢāđŒ āļˆāļļāļŽāļēāļĨāļ‡āļāļĢāļ“āđŒāļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒ āļˆāļēāļāļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āđŒāļ—āļģāļ‡āļēāļ™āļ—āļĩāđˆāļœāđˆāļēāļ™āļĄāļēāļ—āļģāđƒāļŦāđ‰āļāļļāļ™āļ—āļĢāļēāđ€āļŠāļĩāđˆāļĒāļ§āļŠāļēāļāļ”āđ‰āļēāļ™āļāļēāļĢāļˆāļąāļ”āļāļēāļĢ āļ›āļĢāļ°āļŠāļēāļ™āļ‡āļēāļ™ āļˆāļąāļ”āļāļēāļĢāđ‚āļ„āļĢāļ‡āļāļēāļĢāđāļĨāļ°āļ­āļģāļ™āļ§āļĒāļāļēāļĢāļœāļĨāļīāļ• āļ­āļĒāđˆāļēāļ‡āđ„āļĢāļāđ‡āļ•āļēāļĄāļāļēāļĢāđāļŠāļ”āļ‡āļĒāļąāļ‡āļ„āļ‡āđ€āļ›āđ‡āļ™āļŠāļīāđˆāļ‡āļ—āļĩāđˆāđ€āļ˜āļ­āđ€āļŠāļĩāđˆāļĒāļ§āļŠāļēāļāđāļĨāļ°āļĢāļąāļāļĄāļēāļāļ—āļĩāđˆāļŠāļļāļ”āļ”āđ‰āļ§āļĒāđ€āļŠāđˆāļ™āļāļąāļ™ āļ›āļąāļˆāļˆāļļāļšāļąāļ™āļāļļāļ™āļ—āļĢāļēāļ”āļģāļĢāļ‡āļ•āļģāđāļŦāļ™āđˆāļ‡āļŦāļąāļ§āļŦāļ™āđ‰āļēāļ›āļāļīāļšāļąāļ•āļīāļāļēāļĢ (Project Manager) āđƒāļ™āđ„āļšāđāļžāļĄ āđāļĨāļ°āļĒāļąāļ‡āļ„āļ‡āļ—āļģāļ‡āļēāļ™āļ”āđ‰āļēāļ™āļāļēāļĢāļˆāļąāļ”āļāļēāļĢāļ—āļąāđ‰āļ‡āļ”āđ‰āļēāļ™ commercial āđāļĨāļ°āļĻāļīāļĨāļ›āļ°āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļ„āļ§āļšāļ„āļđāđˆāđ„āļ›āļāļąāļšāļ‡āļēāļ™āđāļŠāļ”āļ‡āļ—āļĩāđˆāđ€āļ˜āļ­āļĢāļąāļāļ­āļĒāđˆāļēāļ‡āļ•āđˆāļ­āđ€āļ™āļ·āđˆāļ­āļ‡

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Artistic Committee Member

Amitha Amranand

Amitha Amranand is a writer, translator, and language and writing teacher. She has been a theatre critic for the Bangkok Post since 2006 and teaches journalistic writing at the International Program, Faculty of Communication Arts, Chulalongkorn University. She graduated from Emerson College with a degree in Theatre Studies and Writing, Literature, and Publishing.

āļ­āļĄāļīāļ˜āļē āļ­āļąāļĄāļĢāļ°āļ™āļąāļ™āļ—āļ™āđŒ āđ€āļ›āđ‡āļ™āļ™āļąāļāđ€āļ‚āļĩāļĒāļ™ āļ™āļąāļāđāļ›āļĨ āđāļĨāļ°āļ„āļĢāļđāļŠāļ­āļ™āļ āļēāļĐāļēāđāļĨāļ°āļāļēāļĢāđ€āļ‚āļĩāļĒāļ™ āļˆāļšāļāļēāļĢāļĻāļķāļāļĐāļēāļĢāļ°āļ”āļąāļšāļ›āļĢāļīāļāļāļēāļ•āļĢāļĩ āļŠāļēāļ‚āļē Theatre Studies āđāļĨāļ° Writing, Literature, and Publishing āļˆāļēāļ Emerson College āļ›āļąāļˆāļˆāļļāļšāļąāļ™āđ€āļ›āđ‡āļ™āļ™āļąāļāļ§āļīāļˆāļēāļĢāļ“āđŒāļĨāļ°āļ„āļĢāđ€āļ§āļ—āļĩāđƒāļŦāđ‰āļāļąāļšāļŦāļ™āļąāļ‡āļŠāļ·āļ­āļžāļīāļĄāļžāđŒ Bangkok Post āđāļĨāļ°āđ€āļ›āđ‡āļ™āļ­āļēāļˆāļēāļĢāļĒāđŒāļžāļīāđ€āļĻāļĐāļ”āđ‰āļēāļ™āļāļēāļĢāđ€āļ‚āļĩāļĒāļ™āļ—āļĩāđˆāļŦāļĨāļąāļāļŠāļđāļ•āļĢāļ™āļēāļ™āļēāļŠāļēāļ•āļī āļ„āļ“āļ°āļ™āļīāđ€āļ—āļĻāļĻāļēāļŠāļ•āļĢāđŒ āļˆāļļāļŽāļēāļĨāļ‡āļāļĢāļ“āđŒāļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒ

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Artistic Committee Member

Parnrut Kritchanchai

Parnrut Kritchanchai is currently running Sliding Elbow Studio and teaching as a part-time lecturer in theatre at College of Music, Mahidol University, Rangsit University and University of the Thai Chamber of Commerce. She has been a member of New Theatre Society and working as a director, actor and writer since 2004. She earned her Bachelor of Arts from Chulalongkorn University and her Master in Performance Studies from Royal Holloway, University of London.

āļ›āļēāļ™āļĢāļąāļ•āļ™ āļāļĢāļīāļŠāļŠāļēāļāļŠāļąāļĒ āļˆāļšāļāļēāļĢāļĻāļķāļāļĐāļēāļ›āļĢāļīāļāļāļēāđ‚āļ—āļ”āđ‰āļēāļ™āļāļēāļĢāđāļŠāļ”āļ‡āļˆāļēāļ Royal Holloway, University of London āđāļĨāļ°āļ›āļĢāļīāļāļāļēāļ•āļĢāļĩāļˆāļēāļ āļ„āļ“āļ°āļ­āļąāļāļĐāļĢāļĻāļēāļŠāļ•āļĢāđŒ āļˆāļļāļŽāļēāļĨāļ‡āļāļĢāļ“āđŒāļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒ āđ€āļ›āđ‡āļ™āļŠāļĄāļēāļŠāļīāļāļāļĨāļļāđˆāļĄāļĨāļ°āļ„āļĢ New Theatre Society āđāļĨāļ°āđ€āļ›āđ‡āļ™āļ­āļēāļˆāļēāļĢāļĒāđŒāļžāļīāđ€āļĻāļĐāļ”āđ‰āļēāļ™āļāļēāļĢāđāļŠāļ”āļ‡/āļāļģāļāļąāļšāļāļēāļĢāđāļŠāļ”āļ‡/āđ€āļ‚āļĩāļĒāļ™āļšāļ—āļ—āļĩāđˆāļ§āļīāļ—āļĒāļēāļĨāļąāļĒāļ”āļļāļĢāļīāļĒāļēāļ‡āļ„āļĻāļīāļĨāļ›āđŒ āļĄāļŦāļīāļ”āļĨ, āļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒāļĢāļąāļ‡āļŠāļīāļ• āđāļĨāļ°āļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒāļŦāļ­āļāļēāļĢāļ„āđ‰āļēāđ„āļ—āļĒ āđāļĨāļ°āđ€āļ›āđ‡āļ™āļŦāļ™āļķāđˆāļ‡āđƒāļ™āļ—āļĩāļĄāļšāļĢāļīāļŦāļēāļĢ Sliding Elbow Studio

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Artistic Committee Member

Jarunun (Jaa) Phantachat

Jarunun (Jaa) Phantachat is Co-Artistic Director and Founder of B-Floor Theatre, a socially-conscious and movement-based theatre group in Bangkok. Jarunun is an awarded Thai contemporary theatre director, producer and performer. Currently, she is running Take Off, a small loan fund for Thai contemporary performing arts production, and a co-founder of Collective Thai Scripts.

āļˆāļēāļĢāļļāļ™āļąāļ™āļ—āđŒ āļžāļąāļ™āļ˜āļŠāļēāļ•āļī āđ€āļ›āđ‡āļ™āļœāļđāđ‰āļ”āļđāđāļĨāļāļēāļĢāļœāļĨāļīāļ•, āļœāļđāđ‰āļāļģāļāļąāļš, āļœāļđāđ‰āđ€āļ‚āļĩāļĒāļ™āļšāļ—, āļ™āļąāļāđāļŠāļ”āļ‡āļĨāļ°āļ„āļĢāđ€āļ§āļ—āļĩ āđāļĨāļ°āļŠāļĄāļēāļŠāļīāļāļāļĨāļļāđˆāļĄāļšāļĩāļŸāļĨāļ­āļĢāđŒ āļ›āļąāļˆāļˆāļļāļšāļąāļ™āđ€āļ›āđ‡āļ™ Co-artistic Director āļ‚āļ­āļ‡āļāļĨāļļāđˆāļĄāļšāļĩāļŸāļĨāļ­āļĢāđŒ, āļœāļđāđ‰āļāđˆāļ­āļ•āļąāđ‰āļ‡āļāļ­āļ‡āļ—āļļāļ™āļāļđāđ‰āļĒāļ·āļĄāđ€āļžāļ·āđˆāļ­āļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒāļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡ Take OFF āđāļĨāļ°āļāļģāļĨāļąāļ‡āļĢāđˆāļ§āļĄāļĢāļ§āļšāļĢāļ§āļĄāļšāļ—āļĨāļ°āļ„āļĢāļĢāđˆāļ§āļĄāļŠāļĄāļąāļĒāđ„āļ—āļĒāđ€āļžāļ·āđˆāļ­āđāļ›āļĨāđāļĨāļ°āļˆāļąāļ”āļžāļīāļĄāļžāđŒāđƒāļ™āļŠāļ·āđˆāļ­āļāļĨāļļāđˆāļĄ Collective Thai Scripts

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Artistic Committee Member

Wichaya Artamat

Wichaya Artamat started working in theater as a project coordinator for Bangkok Theatre Festival 2008. He joined New Theatre Society in 2009, during which he grew to become a director recognised for various experimental forms and unconventional theatrical approach. Wichaya is especially interested in exploring how the society remembers and unremembers its history through certain calendar days, He co-founded For What Theatre in 2015, he is also a member of Sudvisai Club and Collective Thai Scripts.

āļ§āļīāļŠāļĒ āļ­āļēāļ—āļĄāļēāļ— āđ€āļĢāļīāđˆāļĄāļ•āđ‰āļ™āļāļēāļĢāļ—āļģāļ‡āļēāļ™āđƒāļ™āđāļ§āļ”āļ§āļ‡āļĨāļ°āļ„āļĢāđ€āļ§āļ—āļĩāđƒāļ™āļ•āļģāđāļŦāļ™āđˆāļ‡āļœāļđāđ‰āļ›āļĢāļ°āļŠāļēāļ™āļ‡āļēāļ™āđƒāļ™āđ€āļ—āļĻāļāļēāļĨāļĨāļ°āļ„āļĢāļāļĢāļļāļ‡āđ€āļ—āļž 2008 āļˆāļēāļāļ™āļąāđ‰āļ™āļˆāļķāļ‡āđ€āļ‚āđ‰āļēāļĢāđˆāļ§āļĄāļāļąāļšāļāļĨāļļāđˆāļĄāļĨāļ°āļ„āļĢ New Theatre Society āđƒāļ™āļ›āļĩāļ–āļąāļ”āļĄāļē āļāđˆāļ­āļ™āļˆāļ°āđ€āļĢāļīāđˆāļĄāļ—āļģāļ‡āļēāļ™āļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒāļāļēāļĢāđāļŠāļ”āļ‡ āļœāļĨāļ‡āļēāļ™āļ‚āļ­āļ‡āļ§āļīāļŠāļĒāļĄāļąāļāđƒāļŠāđ‰āđāļ™āļ§āļ—āļēāļ‡āļ—āļ”āļĨāļ­āļ‡āđāļĨāļ°āļĢāļđāļ›āđāļšāļšāļāļēāļĢāļ™āļģāđ€āļŠāļ™āļ­āļŦāļĨāļēāļāļŦāļĨāļēāļĒ āļŠāļģāļĢāļ§āļˆāļ āļēāļ§āļ°āļāļēāļĢāļˆāļģāđāļĨāļ°āđ„āļĄāđˆāļˆāļģāļ‚āļ­āļ‡āļœāļđāđ‰āļ„āļ™āđƒāļ™āļŠāļąāļ‡āļ„āļĄāļ•āđˆāļ­āđ€āļŦāļ•āļļāļāļēāļĢāļ“āđŒāđƒāļ™āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒāļœāđˆāļēāļ™āļ§āļąāļ™āļ—āļĩāđˆāđƒāļ™āļ›āļāļīāļ—āļīāļ™ āđ€āļ‚āļēāļĢāđˆāļ§āļĄāļāđˆāļ­āļ•āļąāđ‰āļ‡āļāļĨāļļāđˆāļĄāļĨāļ°āļ„āļĢ For What Theatre āđƒāļ™āļ›āļĩ 2015 āļ™āļ­āļāļˆāļēāļāļ™āļĩāđ‰āļ§āļīāļŠāļĒāļĒāļąāļ‡āđ€āļ›āđ‡āļ™āļŠāļĄāļēāļŠāļīāļāļŠāļĄāļĢāļĄāļŠāļļāļ”āļ§āļīāļŠāļąāļĒ āđāļĨāļ°āļĢāđˆāļ§āļĄāļĢāļ§āļšāļĢāļ§āļĄāļšāļ—āļĨāļ°āļ„āļĢāļĢāđˆāļ§āļĄāļŠāļĄāļąāļĒāļ‚āļ­āļ‡āđ„āļ—āļĒāđ€āļžāļ·āđˆāļ­āđāļ›āļĨāđāļĨāļ°āļˆāļąāļ”āļžāļīāļĄāļžāđŒāđƒāļ™āļŠāļ·āđˆāļ­āļāļĨāļļāđˆāļĄ Collective Thai Scripts

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