a FAIRYTALE for CHILDISH GROWNUPS: Sunhee Kim talks about the journey in -ING

By , October 20, 2009 5:20 pm

ing2.JPG
Can you describe -ING in a nutshell for our audiences? What was your inspiration for the work?
A fairytale for childish grownups! I was interested in mixing different fantasies, personal or otherwise, and blurring the line between dream and reality. I was also inspired by some Asian animations, especially Japanese ones, as well as some works of contemporary artists such as Jeannie Lynn Paske, Leontine Greenberg, and Robert and Shana Parkeharrison.
I find the nature of fairytales interesting- not only for all fantastic adventures and fantasies but also for the fact that they are found in every culture. Every child grows up with at least one or two favourite tale(s) of their own, and some supposedly grown-ups (like myself) still enjoy them. It is not much about whether it is real or not, or whether it “makes sense” or not – for me, it is rather about that some of us still find ourselves very much engaged (and sometimes indulging) in those fantasies and dreams in every corner of our reality.

reherarsal.JPG

What is the journey in –ING?
Three figures in –ING are searching for something… there is a strong sense of being lost, whether it is being lost on a journey or lost in their lives, or lost on the journey of their lives. There is also a sense of longing. Although not knowing what they are longing for, they are certainly sensing the absence of it. So they begin their quest; they search for it, and when the searching gets hard, they dream of finding it fantasizing what it would be like when they found it.
It’s like how in our everyday lives, we are constantly striving for a “better” self and a “better” life… but what does all that “better” really mean to you?

What about your journey as a director in –ING?
It’s been fun! -ING is a devised work, so the main tool for the piece is improvisation. I created a script as a “framework” as our starting point – that was a new challenge for me because it’s my first time as playwright (if you can call what I wrote a text)! Anyway, I then asked the actors to share their personal stories and fantasies, and got more material from that.
To use an analogy, I tried to bring in the structure of a house with the script, and worked with the actors to fill it in.

Both you and Jeungsook Yoo (one of the co-founders of Theatre PÝUT and a performer in the play) are trained in different East Asian traditions of performance. Are there any particular processes that inform the creation of this work?
Both Jeungsook and I are interested in exploring Asian aesthetics, and have undergone training in yoga, taichi and kalarippayattu. Jeungsook also specializes in Dahnhak, a Korean form of meditation, so we’ll be bringing all these different Asian traditions into the rehearsal process for this work.

reherarsal13.JPG
Sunhee, the leader of the childish adults
——————————————————————————-
Sunhee Kim is a Korean performer and director. She received the BA with Honours in Drama (2004) and the MFA in Theatre Practice (2007) at the University of Exeter, UK. Her recent interest is examining the issues of “emotion” through the Korean Buddhist perspective in the context of theatre practice. She is currently doing her PhD research at the University of Exeter exploring the subject. Her recent practical works include: as a performer, 4.48 Psychosis (Sarah Kane), Happy Days (Samuel Beckett), Ill Seen Ill Said (adapted from the prose of Samuel Beckett); as a director and devisor, Alien and For Warmth (devised) and The Taxi Dribal (Jang, Jin).
———————————————————————————

ING will run Tuesday to Sunday from 12-22 November 2009 at Studio 4 of The Theatre Practice (155 Waterloo Street Level 2 Stamford Art Centre). Pay as you wish, call 63372525 or email suhuai@practice.org.sg to register today! Limited seats available.

Tuesday- Saturday: 8pm
Saturday & Sunday:3pm

ING will also be performed in Shanghai and Shenzhen in December this year. To find out more, please write to us at jolim@practice.org.sg.

最爱LOVE 97.2 FM 带你进入践红的音乐世界!

By , October 13, 2009 11:35 am

想不想认识从小到大实践剧场的艺术总监郭践红都在听什么歌曲?
jian-hong-trailer.mp3

最爱LOVE 97.2 FM 的何子干大哥带你进入郭践红的音乐世界!
以下就是他们访问时的情况,听他们谈笑风生,千万别错过于10月17日(星期六);早上10点的广播节目!(10月21日星期三;重播)

p1060035.JPG
子干大哥在访问前就作足了准备功课!看他笔记本上密密麻麻的文字就知道他的用心!

p1060043.JPG
践红在节目上侃侃而谈!

p1060046.JPG
访问结束!来张合照!

勒紧腰带系列回顾之“最”

By , October 8, 2009 2:51 pm

演出不设门票,让你随意付费!演出场地最多只能容纳30名观众!勒紧腰带今年跨第7个年头了,在跨年之际为大家带来结合中国、韩国和新加坡联合创作的《-ing》演出。这些年来,勒紧腰带系列参与的国际演员包括西班牙、韩国、墨西哥、印度、香港、中国、马来西亚和新加坡;巡回的国家横跨深圳、上海、香港、澳门、日本和澳洲达尔文;以下为7年内完成的演出作品:2003年《四马路双尸案》、2004年《吴君如何你和我和她》、2005年《游•戏》、2006年《物•欲》和《芝麻开门》(新加坡戏剧节06)、《猫人》,2007年《托斯卡》。2009年,让我们来回顾勒紧腰带系列的演出之最。

  • 最搞笑演出:
  • 《游•戏》(从开始就让你飙泪的形体演出)

  • 最有机会多次出国:
  • 《游•戏》(演出遍布:深圳、上海、香港、澳门)
    playplay.gif
    a.gif

  • 最大演出场地:
  • 《四马路双尸案》(首次使用剧团最大排练厅)

  • 最难清理场地:
  • 《四马路双尸案》(整个演出场地贴满报章,清理时一个头两个大!)

  • 最闷热场地:
  • 《四马路双尸案》(为避免对面印度庙会的声音干扰,演出时所有窗户必须关闭,空气不流通,场地不设空调,只设干冰解暑。)
    2003_7_1_13a.jpg

  • 最多人共同创作的布景:
  • 《吴君如何你和我和她》(彩排首日所有剧组的人都可在墙上涂鸦,每场演出结束时,观众也能参与涂鸦!)
    2004-wu-jun-ru-ttp.jpg

  • 最低科技的演出:
  • 《猫人》(OHP“传统手调远近投影机”演出首次敢敢登场。)
    cm-2.jpg
    cm-1.jpg

  • 最高科技的演出:
  • 《托斯卡》(演出采用高科技投影,场地投影成立体感觉。)
    tosca-1.jpg

  • 最多国际人的演出:
  • 《物•欲》(参与演出者来自“剧场训练与研究课程”的多国学生)
    od-1.jpg

  • 最挑战观众的演出:
  • 《芝麻开门》(谁看的懂,算你厉害!)
    by-the-way-2.JPG

  • 最小场刊:
  • 《四马路双尸案》(看图为证!不愧是勒紧腰带系列!哈哈)
    waterloo_programme.gif

    看了这么多关于以往的勒紧腰带系列,你是否蠢蠢欲动?别犹豫了!赶紧拨电63372525预定今年的勒紧腰带系列《-ing》

    实践剧场义工团晚餐聚会吸引了各路人马!热闹非凡!

    By , October 6, 2009 5:19 pm

    在过去的星期五傍晚,实践剧场义工团举办了一个晚餐聚会,让对我们有兴趣的各路人马来认识我们和我们所作的各种工作。当晚出席率非常好,各行各业的人都有,包括学生、学校老师、白领阶级、化验师、行销人员等。在聚会的一开始,大伙不分年龄,不分阶级,在游戏中玩得非常愉快!

    ttpvp1.JPG
    这是石头-剪刀-布-人体版!

    大伙热了身,肚子也饿了!吃饭咯!但时间有限,所以乘大家吃饭的时候,实践义工团的执委和实践的艺术总监郭践红与大家分享义工团成立的宗旨和目前可参与的各种活动,让大家更认识义工团的点点滴滴和对实践剧场的重要性!
    ttpvp3.JPG
    ttpvp5.JPG

    在这个聚会的最后,大伙都踊跃地填写加入义工团的表格!
    ttpvp6.JPG
    你是否也和他们一样,想更加认识并加入我们?
    有意者可浏览实践剧场义工团部落格 http://ttpvp.wordpress.com/ 或电邮 ttpvp@practice.org.sg

    Panorama Theme by Themocracy

    

    本站部落格言论纯属作者观点,不代表本网站立场。