4.48 Psychosis: LIVE READING @ Going Om

By , June 19, 2009 6:59 pm

When: 24 June 2009 (Wed)
Time: 9pm
Where: Going Om @ 63 Haji Lane (Call 6297-9197 or 9635-6353 on how to get there!)
Admission is FREE!

For a glimpse into 4.48 Psychosis before it goes LIVE on stage in July, head down to Going Om @ 63 Haji Lane for a LIVE reading by Jing Hong and Christina. They will read excerpts of the play and share with you their experiences when rehearsing for this exemplary piece of literature!

What’s more, you can get up to 15% discount off ticket prices when you purchase the show tickets on the spot! *Conditions apply.

Wait no more! Come join us at the LIVE reading and immerse yourself in the beauty of Sarah Kane’s work!

Tina & Jing talk about their visit to a psychiatrist

By , June 17, 2009 3:22 pm

To further demystify psychosis, Director Christina Sergeant together with performer Kuo Jing Hong paid a visit to Associate Professor Munidasa Winslow, a psychiatrist based in Singapore. The recording that ensues is a dialogue with Christina and Jing Hong on what they unearth from the consultation, and how the scientific explanations aid their interpretations of Kane’s ‘poetic’ text.

以下记录了导演Christina Sergeant和演员郭劲红到精神科医生的访谈摘要。同时让你一探她们在排练《4.48精神崩溃》的过程中所得到的一些启发。

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Are you intriqued by this interpretation of 4.48 Psychosis?
Catch us at the Drama Centre Black Box from 16 to 26 July 2009!
Buy your tickets through SISTIC!
《4.48精神崩溃》将从7月16日至26日在戏剧中心黑箱剧场上演,现在就前往SISTIC 购票吧!

I sing without hope on the boundary: Tina and Jing talk about Sarah Kane

By , June 5, 2009 5:31 pm

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Sarah Kane wrote simply and starkly about the world she saw around her… a mature and vividly theatrical response to the pain of living.
– The Guardian

Sarah Kane is best known for the way her career began, in the extraordinary public controversy over Blasted, and the way it ended: in her suicide and the posthumous production of her last play, 4.48 Psychosis. Both were shocking and defining moments in recent British theatre and their shadows are bound to haunt any reading of her work. But it would be a pity if… in attending to the mythology of the author, we were to miss the explosive theatricality, the lyricism, the emotional power, and the bleak humour that is contained within the plays themselves.
– David Greig, Sarah Kane – Complete Plays

Question: What attracted you to 4.48 Psychosis?

Tina: Jing Hong wrote to me while she was still in Exeter and asked if I would be interested in directing her in a one-woman version of 4.48 Psychosis. I’ve admired Jing’s work and directing a one-woman show was intriguing, especially one of such a visceral nature. The first time I read the play I was kind of intimidated. With subsequent readings I discovered a beautifully crafted play that creates a character who asks not to be judged but to be heard.
Jing: I learn script very slow! (laughs) But when I did 4.48 in Exeter, it took me only 10 minutes to learn Scene 9. Something resonated, something struck a chord. I learnt it down to the punctuation. It’s a difficult script. But why do it unless it’s difficult?

Question: What made you decide to approach this play as a solo piece?

Jing: I wanted to do 4.48 as a solo because to me it’s not just about psychosis, therapy and suicide, it’s also about the individual vs the majority, and the individual vs himself/herself. Everyone has a varying degree of psychosis, and at the same time, we also make up the majority, the institution. We all play different social roles within ourselves. To me, 4.48 is “a solo symphony”.

Question: What do you feel about Sarah Kane’s writing?

Jing: Her writing demands something of you. It is concise, and her writing has the discipline of being necessary. She demands equally of herself, and of the actors and directors. There is a courage and violence in her precision. Sometimes, it’s easy to say “ok lah, I can get away with this”, but there’s no way out in this script. It is what it is.
Tina: It’s powerful, evocative and brings out images and responses, not often pleasant. I prefer 4.48 Psychosis to her other plays. Through it we discover a woman with warmth, intense feeling and raw responses to the world around her. It’s not as much about death as about struggling to make sense out of living. The moments of humour, vulnerability, defiance and humility create a memorable character.

Question: Do you think that Sarah Kane’s writing has a distinctive style? And if so, how does her writing impact the way you approach the piece as a director?

Tina: There is nothing easy about her writing and it is sometimes a bit elusive. I’ll discover things in a run-through of a scene that I missed when reading and preparing the scene. In this play she balances between recalling what happened and being in the middle of it. Guiding our audience through this is a process we are moving through carefully, can’t be clever, can’t be glib, can’t try to hide or evade any moment!

Question: 4.48 Psychosis deals with very heavy subject matters like mental illness, depression, psychosis and taboo topics like suicide. What would you say to audience members not used to watching such performances?

Tina: The beauty of good theatre is that we can experience the truth of life very close and familiar to us as well as something very distant to our everyday life. I would hope that for the majority of our audience 4.48’s subject matter is far removed from them! I would hope that they will meet a memorable character, vibrant with talent, intelligence and passion and be moved by her story. Perhaps it will provoke some members of the audience, perhaps it will give some an insight what it is like to suffer from depression., perhaps some will judge that suicide is a heinous sin and frightful subject matter and perhaps others will see and be disturbed by a very different perceptions.
And if all this fails to entice, it’s a beautiful text, wonderfully acted with great production values AND it’s only an hour….c’mon, take a walk on the wild side….

About Sarah Kane (Playwright):

Sarah Kane was born in 1971. Her first play, Blasted, was produced at the Royal Court Theatre Upstairs in 1995. Her last play, 4.48 Psychosis, premiered at the Royal Court Jerwood Theatre Upstairs in June 2000. Sarah Kane died in 1999.
The critics are now unanimous in their acclaim for the woman they had once scorned as reminding them of ‘the naughtiest girl in the class’.

About Christina Sergeant (Director):

Christina Sergeant’s theatre work in Singapore spans 25 years of performing, directing and training in professional, community and school productions. She is currently an Artist-In-School at Raffles Girls’ School and is a founder member of the Singapore Drama Educators Association.

About Kuo Jing Hong (Performer):

Kuo Jing Hong is a performer, director/choreographer and teacher. She has created her own works and collaborated with theatre practitioners since 1997. She recently obtained an MFA in Theatre Practice (University of Exeter), and is now the Resident Director of The Theatre Practice.

The Theatre Practice is presenting Sarah Kane’s 4.48 Psychosis in a solo performance by Kuo Jing Hong, directed by Christina Sergeant, at the Drama Centre Black Box from 16 – 26 July 2009.

回顾《我们的歌大家唱》

By , June 4, 2009 2:07 pm

由实践剧场主办《我们的歌大家唱》上个星期已圆满结束咯!非常感谢观众朋友多年来的支持,今年约有2500名观众与我们一同高歌,也收到不少意见,来年我们希望将节目越做越好!以下是观众给予的《我们的歌大家唱》意见:

~ 两位司仪,太棒了!没有他们,全场应该不会这么热闹吧! Katherine Ho

~ 穿着‘实践’T-Shirt的年轻人(流动小贩)很有活力、热忱。可以安排他们做带动唱,搞气氛和带动Mass Dance… Agnes Choong

~ 歌曲熟悉,老少皆宜,大家共鸣,四肢皆动,视觉味觉,听觉动觉,人海花海,浮动如画,星空之下,和睦共欢! Karen Ling

除了以上的意见,还有观众觉得流行曲目只有主持人自high,他觉的有点闷,坦白说两位主持人真的劳苦功高,他们俩不high的话,怎么炒热这两千人的气氛呢?这位客官就将就点嘛!今年有人觉得歌书很薄,其实多年来大家唱活动差不多36首曲目,可能有些曲目的歌词较短,所以……。

问:可否请专人现场录音,制成光碟出售,起着推广这些活动的作用,也可给不能出席的人一种安慰或补偿。
答:谢谢你对《我们的歌大家唱》的厚爱,其实我们每年都会举办这项大家唱活动,今年不能出席的朋友,可期待明年,若制成光碟出售的话,会涉及版权方面的问题,何况又少了现场感了,这活动顾名思义就是要你来现场一同欢畅,所以来年你可以鼓励更多的朋友参与明年的大家唱活动。

问:现场太热了,节目结束后能否改善停车场堵车情况?
答:明年我们会考虑现场架设风扇。节目结束后每位驾驶者都同一时间离开停车场,出现堵车情况,是难以避免的,希望大家能体谅!

谢谢《我们的歌大家唱》协办单位弹唱人和电台1003,赞助商鼎泰豐、白新春茶庄、Cool Rihno的鼎力支持,咱们2010年再见!

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今年大家唱的活动,非常独特的是能在月光下享用享譽國際的“鼎泰豐”美食。

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两位搞怪的协办电台1003的江坚文和叶丽梅使出浑身主持功力,带动全场气氛!

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大会司仪介绍电台1003老大黄文鸿和小猪,难得看到文鸿的腼腆和娇滴滴的小猪。

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多名歌手也到场助阵!

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黄家强的一曲“包青天”,台上两位主持随着音乐一起舞动起来。

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哇!这位大姐,两千多人竟然可以抢到麦克风

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举办了这么多年的大家唱,难得可以看到大家随着音乐站起来摇摆!

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这是什么舞姿啊?好像郭富城的成名曲“对你爱不完”噢!

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哇噻!一片人海,看来大家都唱的很high。

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携带小孩的家长们,活动当天小朋友可参与免费的“顽童工作坊”。瞧,在戏剧导师的带领下,小朋友玩的很乐噢!

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