Filtering by: Day 3

Nov
29
2:30 PM14:30

Deconstruct and Reimagine

By Seng Soo Ming (Malaysia)

Deconstruct the classics, reimagine the reality – this is the basic premise of the works of PITaPAT Theatre at this stage of practice. The meeting of classics and reality creates conflict, from the emergence of different times, cultures, and languages. Hence, it leads to the necessity of creating new forms of staging and acting to drive it. At the same time, it liberates the interpretation and creative approaches upon both classics and reality, and the actors regain the power of creating and responding to classic plays according to their own experience. That is what we are looking for. 

Insights and explanations will be drawn from PITaPAT's recent works, An Enemy of the People.At the Moment and Kakak

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Nov
29
11:00 AM11:00

What Are You Working On? : The NYT Actors' Work

By Nelson Chia (Singapore)

"What are you working on?" This is a question that surfaces most frequently in Nine Years Theatre's long-term practice and research on actor training. It suggests the need to articulate precisely the work that is being done by the actor at a given moment. Through the years, this research has revealed to us various ideas and aspects of performance that an actor can practise in order to achieve clarity on stage. Since 2016, we have begun to consolidate and develop these findings into what we call the NYT Actors’ Work. This session will be a brief introduction to some of these works, including a focus on the work on Fiction.

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Nov
29
9:00 AM09:00

Theatre of Essence

By Themis Lin Pei-Ann and Chongtham Jayanta Meetei (Taiwan/India)

The nature of this work is to share the process in the making of a performer - in relation to his/her emotions and muscles within the human body. The methodology for this demonstration will be deeply inspired by Bharata's Natya Shastra and some common performance techniques of Asian traditions. Almost all the Asian performance traditions use repetition of movement of muscles as training to achieve a sense of belief, which essentially leads to a level of deep reflective thought as a kind of contemplation. This cogitation frees a performer to explore, improvise, and develop the form/style of performance.

In this session, a brief demo on how to control muscles and emotions in relation to breathing will be shared. We will be indicating a breathing technique inspired from yoga and emotions explored through the Rasa theory in Natya Shastra. Only when a performer realises and understands their breathing that s/he starts sensing her/his presence. The realisation of breathing makes the body muscles gain a deeper link of emotions. Through the repetition of breathing, we generate different emotions with the same intensities; we will show how to achieve control of mind, soul, and body on stage.

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