MASTERCLASS

July 9, 2017

 

 

“Share what you’ve learnt”

For those who are willing to share techniques and skills they have discovered to other participants in masterclass session. Each class is one and a half hours.    

 

BIPAM2017 MASTERCLASSES:

 

CLASS 1

DOCUMENTARY THEATRE: PERSON TO PRFORMANCE

by JESCA PRUDENCIO

 

Wednesday 15th November 2017, 16:00-18:00 hrs.

at Sodsai Pantumkomol Centre for Dramatic Arts

Level 6, Maha Chakri Siridhorn Building

Faculty of Arts, Chulalongkorn University

Click here to view map

 

Documentary Theater is a growing international theatrical form that uses real stories, interviews, and documentary materials to create a unique performance. In this masterclass, Jesca will outline her unique process in how she creates a documentary theater piece from meeting the people, interviewing the people, writing and devising the piece, and sharing the performance. Attendees will have the opportunity to write and adapt an interview to a scripted scene.

 


BIOGRAPHY

Jesca Prudencio is a theater director based in New York City. Her multi-disciplinary training in the arts has led her to direct highly physical productions of new plays, musicals, and dance theater works across the globe. She has been directing and creating documentary theater for 10 years including her most recent work, FAN: stories from the brothels of Bangkok in collaboration with B-Floor Theatre, which performed to full houses in Bangkok May 2017. She has developed work at major regional theaters in San Diego, Los Angeles, Minneapolis, New York, and London.

Jesca assistant directed high profile productions in the U.S. including the premiere stage adaptation of Kurosawa’s Throne of Blood and the musical premiere of Disney’s The Hunchback of Notre Dame. Julie Taymor (Tony Award Winner for directing and designing The Lion King on Broadway) awarded Jesca the first Julie Taymor World Theater Fellowship, which supports her travels throughout Asia as she explores different art forms and develops new work with local artists. She holds a BFA in Theater from NYU, and MFA in Directing from University of California, San Diego. She is founder and Artistic Director of People Of Interest and currently living in Manila, developing a documentary theater piece on the “War on Drugs.”

 

www.jescaprudencio.com

 

MASTER CLASS OVERVIEW
(subject to change depending on time constraints and number of attendees)

 

Introduction

Activity: Name Game

Each participants will introduce themselves using a collective rhythm as a transition.
Definition: Documentary Theater

Jesca will define documentary theater with the help of the participants.

 

Lecture

Jesca will outline her process creating documentary theater in detail and answer relevant questions along the way.

1. Connecting with the community

2. Interviewing the willing participant

3. Techniques in writing and devising the theatre piece

4. Performing the project

 

Practice

Participants will now have the opportunity to watch a 10 minute interview conducted by Jesca and a willing participant. They will then take a moment to write a short entry using one of her techniques to adapt the interview to a documentary theatre script. A few selected participants will share their writing for feedback.

 

 

CLASS 2

BODY OF MASK IN NON-TRADITIONAL PERFORMANCE

by NIKORN SAETANG

 

Thursday 16th November 2017, 16:00-18:00 hrs.

at Sodsai Pantumkomol Centre for Dramatic Arts

Level 6, Maha Chakri Siridhorn Building

Faculty of Arts, Chulalongkorn University

Click here to view map

 

เรียนรู้หน้ากากเบื้องต้น ค้นหาร่างกายที่เหมาะสมกับหน้ากาก การเคลื่อนไหวที่สื่อสารสัมพันธ์กับหน้ากาก รับผู้เข้าร่วมไม่เกิน 15 คน 

 

เงื่อนไข: 

ควรต้องมีประสบการณ์การแสดงมาก่อน นี่มิใช่พื้นฐานการแสดงทั่วไป

ผู้เข้าร่วมการอบรมควรสวมเสื้อผ้า สีเรียบ แต่ไม่ควรมีลายเป็นตัวการ์ตูน หน้าคน หรือเสื้อผ้าที่มีบุคลิกชัดเจนโดดเด่น เช่น ชุดบัลเลต์ ชุดระบำพื้นเมือง หรือชุดแอโรบิกรัดรูป เป็นต้น

 

An introduction to mask performance. Participants will explore their bodies and movements in relationship with their masks. Limited to 15 participants. 

 

Requirements: 

Previous acting experience required. This is not an introduction to acting.

Participants should wear a plain-coloured outfit without any face or cartoon character printed. They should also avoid clothing with a distinctive character, such as ballet or folk dance costumes, tight aerobic outfit etc.

 

 

BIOGRAPHY

Nikorn Saetang is 45, a Director of 8x8 Theatre Group since 1998. He also  one of the core member of Bangkok Theatre Network.

Nikorn is an artistic Director of  Bangkok Theatre Feastival (BTF)2006. He is the pioneer of the independent theatre in Thailand who start running  a theatre space in a (townhouse).8X8 Corner is a 30-40 seats theatre. This space  inspire our theatre friends to start their owns.

In 2007 he write and direct a play about Yasukuni and work with Japanese actors in Thailand

Nikorn got a grant from fellowship by Japan foreign cultural affair to stay in Japan for 3 month in year 2000. In 2009 Direct a play written by Hideki Noda call “The Girl of The Soil” a collaboration show in Both Thailand and in Japan. In 2010 he is artist in resident program at Namoodak laboratory in Korea to work with international theatre performers, project is call “Bier Sound”

Nikorn received the 7th Silpathorn Award that is an honor for living Thai contemporary artists by the Office of Contemporary Art and Culture, Ministry of Culture of Thailand in 2010. 2013 he granted By ACC (Asian Cultural Council).

 

Now he is working, researching on Masks Project, Contemporary ASIAN Masks play. collaboration of  Thailand, Japan and Indonesia.

 

 

CLASS 3

BDSM-BODY. DECONSTRUCTION. SOUND. MEMORY : CREATING MOVEMENT, REDEFINING THE SELF

by AASTHA GANDHI and ANKUSH

 

Friday 17th November 2017, 19:00-21:00 hrs.

at Bangkok Art and Culture CentreLevel 5, Auditorium

 

This master class aims at curating a performance process, a space where all the participants become ‘collaborators’ and share their individual training and experiences. The master class looks at image, music, text and movement in different segments jointly under the supervision of the two artists.

 

Movement and Image: The master class would take the participants from their “natural body” to the “body in Odissi”. Further internalizing the masculine and the feminine body in Odissi, the class would move towards deconstructing the notion of gender in a trained dancing body.

 

Text and Sound: The master class would then collate ‘sound’ as a site for process, both in terms of performance, as well as gender. Following Grotowski’s method, interspersed with exercises from Hindustani and Carnatic classical disciplines, the idea of ‘music’ is challenged and its everyday presence is underlined. The participants will be encouraged to interact with sounds and text to ‘imagine’ an aural performance.

 

The dramaturgical elements, along with movement and sound, interact with the ‘abstract’ ideas of gender and performance to create a dynamic process.

 

 

BIOGRAPHY

Aastha Gandhi,

a choreographer- performer is trained in Odissi dance by Guru Pratibha Jena Singh.

A recipient of Pratibha Sanskritik Samman award for Odissi dance in 2014, she is an active member of World Dance Alliance and has performed and conducted master- classes in various performance festivals: Hong Kong (2006) Brisbane, Australia (2008), Angers, France (2014), Singapore (2015). She performed in ten different cities of Osaka, Japan in 2008. Her interest lies in engaging with body and its performativity through form, space and text. Her choreographic works include But on
the Box (2007), Between the Lines (2013), We…Women. (2015), We Women //: Trigger Warning (2017).

She currently practices and teaches dance in New Delhi, India.

 

 

 

 

Ankush is trained in Hindustani and Carnatic classical traditions, and works as an
independent artist. By bringing together various mediums including music, literature,
theatre, cinema and photography, they explore themes of identity and survival which
brings their ouevre face to face with the political struggles of their times. Their
performances like ‘entshuldigung Sie Madam, aber ich bin shwulz’ (Berlin, 2016),
‘We...Women’ (New Delhi, 2015), ‘Kya Haseen Sitam...’(New Delhi, 2014), and ‘Chand Roz Aur Meri Jaan’ (Lahore, 2013) and ‘Perchance to Dream’ (New Delhi, 2017) interweave complex personal narratives with a constantly changing world.

 

 

Any inquiries, please contact bipam.contact@gmail.com

 

 

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