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

By , October 20, 2009 5:20 pm

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.


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.

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


最爱LOVE 97.2 FM 的何子干大哥带你进入郭践红的音乐世界!





By , October 8, 2009 2:51 pm


  • 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)

  • 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。)

  • 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!)

  • 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。)

  • 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。)

  • 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)

  • 最挑战观众的演出:
  • 《芝麻开门》(谁看的懂,算你厉害!)

  • 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)



    By , October 6, 2009 5:19 pm




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