curated by Alfian Sa'at
16 November 2018 at 15:15-18:15 hrs
16 พฤศจิกายน 2561 เวลา 15:15-18:15 น.
Venue: Room 319, Chamchuri 10 Bldg., Chulalongkorn University [click for map]
สถานที่: ห้อง 319 อาคารจามจุรี 10 จุฬาลงกรณ์มหาวิทยาลัย [คลิกเพื่อดูแผนที่]
Join us in this informative session as artists from Singapore, Malaysia and indonesia provide an overview of the theatre landscapes in their respective countries.
How are mainstream and independent theatre groups and forms defined in each country? In the absence of an official arts council, how are works funded and produced? How has support from international cultural agencies resulted in collaborations and engagements with global avant-garde currents? How does theatre intersect with other social and artistic movements in each country? And what can you catch when you’re traveling in the region? The MASCOT sessions provide an open forum for artists and audiences to learn about one another and to exchange views. It aims to open a window to the diverse theatre practices in the region, to encourage translation efforts that will facilitate the circulation of theatre texts, to foster collaborations among artists, to cultivate audiences for Southeast Asian works and to democratise knowledge of contemporary theatre trends beyond festival circuits and closed networks.
MASCOT Presenters:
Alfian Sa’at is a Resident Playwright with Singapore theatre company W!LD RICE and the Co-Artistic Director of the biennial Singapore Theatre Festival. In 2001, he won the National Arts Council Young Artist Award for Literature. He has been nominated 10 times for Best Original Script at the Life! Theatre Awards, winning for Landmarks (2005), Nadirah (2010), Kakak Kau Punya Laki (Your Sister's Husband, 2014) and Hotel (with Marcia Vanderstraaten, 2016). His plays have been published in two volumes by Ethos Books. They have been performed in Singapore, Kuala Lumpur, Tokyo, Stockholm, Copenhagen, Adelaide, Melbourne and Berlin.
Fasyali Fadzly is an educator, director, playwright and writer based in Malaysia. His playwrighting output includes Berani Mati (Dare To Die), Kotak Hitam (Black Box), Kawan-kawan Yang Kita Suka (Our Favourite Friends) and Teater Juta-Juta (Million-Dollar Play). Teater Juta-Juta won the awards for Best Director, Best Original Script and Best Ensemble Performance at the Boh Cameronian Arts Award in 2014. Fasyali has also directed several plays written by other playwrights such as Oedipus, ‘Art’ and Jebat. He also writes theatre-related articles and reviews which are published on local and international online platforms. He is currently a lecturer at ASWARA, the National Academy of Arts, Culture and Heritage.
Chong Gua Khee is a Singapore-based freelance theatre practitioner with a strong interest in movement and working with the body. Her works typically draw on the idea of conversation as a framework, be it spoken such as in HOT POT TALK: Theatre & the Arts (2017), or abstracted conversation such as in In Plain Site (2018). Her recent credits include: LAST DANCE by Drama Box (creative team), Tortoise Tales (director), In Plain Site (co-creator), An Un-Tea Party and twentythirty by Drama Box (playwright). Apart from creating performances, she also facilitates performances, workshops, and talks, as well as translates and/or shapes text or other material for other artist’s works.
Marina Tan is a Malaysia-based theatre actor, writer and occasional director. Her credits include writing, directing and performing in What Am I, A Bloody Banyan Tree? (Penang and Kuala Lumpur, 2016 & 2018) and Margaret of Anjou, about a vilified woman ‘reclaiming’ Shakespeare’s words to tell her side of the story (2016). Marina often draws from historical material for her plays, such as for SuperWUman, a collaboration with Chinese theatre artists on the life of Wu Zetian, the only woman to claim the title of Emperor of China. Inspired by the Annals of the Malay Kingdom of Kedah, she wrote and directed Hikayat Merong Mahawangsa—A Swashbuckling Epic Adventure.
Muhammad Abe is a curator for the annual Indonesian Dramatic Reading Festival, a platform based in Yogyakarta. The Festival aims to introduce new plays to the general public through dramatised readings. AB obtained his history degree and a master’s degree in performing and visual arts from Gadjah Mada University. He has worked as a researcher for the Equator Symposium (a programme of the Yogyakarta Biennale Foundation) as well as the Pekan Teater Nasional (National Theatre Festival), with a focus on Solo, Mataram and Flores. He published articles on theatre and visual arts have appeared in Kompas Daily, Inside Indonesia and ArtsEquator.
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