Southernmost: 1 Table 2 Chairs Project 2017

Description

Presented by up-and-coming experimental theatre company Emergency Stairs, the first edition Southernmost is a theatre festival which brings most outstanding and established traditional and contemporary theatre artists from the region together in this red dot for an intensive two-week intercultural exchange and presentation, with a series of workshops and public presentations, to create the arts festival, or perhaps the art form of the future.

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Emergency Stairs is supported by the National Arts Council under the Seed Grant Scheme for the period from 1 April 2017 to 31 March 2020


see the ticketing guide here

(NEW) Concession for all students, NSF and seniors: SMCONCESSION

For detailed ticketing information, please scroll to the bottom of this page.



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PROGRAMME DETAILS

*for Bodies in History: Physical Masterclass please click here.


One Table Two Chairs Triple Bill Presentation

1 table; 2 chairs; 3 performances

5 art forms 6 cities, 8 artists, 1000 years of history. A dialogue through time and space.


This Triple Bill Presentation is the culmination of two weeks of intercultural dialogue and experimentation in Southernmost. Each piece will be led by theatre masters Danny Yung (HK) and Makoto Sato(JP), and young experimental director Liu Xiaoyi(SG) respectively, featuring two traditional arts masters each piece as the performers.

The presentation will be followed by a post-show dialogue.


Capacity: 200 per show


Directors: Liu Xiaoyi (SG), Makoto Sato (JP), Danny Yung (HK)

Performers: Didik Nini Thowok (ID) Wang Bin (CN) Sun Jing (CN)

22-23 December 2017

Venue: Chamber@ The Arts House

Duration: 90 minutes excluding post show dialogue

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OTHER PROGRAMMES

Free registration for Festival Pass holders only, first come first serve (please provide us with your contact info in the custom form provided. You will be provided with a password)

$12 single entry tickets, only at door (non-pass holders)


Bodies in History: Physical Masterclass, Public Presentation


A public presentation by the participants of Bodies in History: Physical Masterclass led by Didik Nini Thowok(ID) Wang Bin (CN) and Liu Xiaoyi (SG), showcasing to an audience what they have discovered over the intensive 5-day workshop.

Our bodies are not just flesh and blood. They are also institutions with cultures and stories. Our bodies influence how we move, how we think and how we create.

Both Kunqu and Javanese Dance carry with them hundreds of years of history. Their bodies are treasures, shaping the development of various traditional arts in Southeast Asia and Asia.

How are these traditional body vocabularies related to the institutions of the day? How is it related to the theatre of today? How can practitioners learn the treasures of yesterday and turn it into the treasures of today?


Capacity: 80


Artists: All participants for Bodies in History: Physical Masterclass

17 December, 3-4pm

Venue: Blue Room@The Arts House
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Javanese Dance and Kun Opera Masters Showcase


Wang Bin from Nanjing is a master of Kunqu, and China's first-class actor.

Didik Hadiprayitno is one of Indonesia’s most well-known Javanese dancers, choreographers, and mask performers.


Both Kunqu and Javanese Dance carry with them hundreds of years of history. Their bodies are treasures, shaping the development of various traditional arts in Southeast Asia and Asia.

Join us for a rare public showcase of these 2 masters, presenting their craft in its purest form.


Capacity: 80


Artists: Didik Nini Thowok (ID) Wang Bin (CN)

17 December, 4-5pm

Venue: Blue Room@The Arts House
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Open Rehearsals


“One Table Two Chairs Triple Bill Presentation” is not a production but an experiment. An experiment is about something to be proved or disproved within a set framework.

Join us in the rehearsal room to observe our artistic processes and creative frameworks.

Witness firsthand how intercultural dialogue develops into an artistic creation, step by step, piece by piece, by our directors and actors.


Capacity: 80 per session


i) Session 1

Artists: Makoto Sato (JP)

15 December, 7-10pm

Venue: Blue Room@The Arts House


ii) Session 2

Artists: Liu Xiaoyi (SG)

18 December 7-10pm

Venue: Blue Room@The Arts House


iii) Session 3

Artists: Danny Yung (HK)

20 December 1-4pm

Venue: Blue Room@The Arts House

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Body Dialogue: Open Workshops


How do theatre doyens Danny Yung and Makoto Sato approach space and the body? How do they approach history and culture?

These workshops by Danny Yung and Makoto Sato will provide an intimate opportunity for audiences and participants to learn about their approaches in theatre, from content to structure, from experimentation to creation.


Capacity: 30 per session


i) Session 1

Conducted by: Makoto Sato (JP)

Date: 16 Dec, 7:30-9pm

Venue: Blue Room @ The Arts House


ii) Session 2

Conducted by: Danny Yung (HK)

Date: 19 Dec, 7:30-9pm

Venue: Blue Room @ The Arts House

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Director's Talk


A candid dialogue session between the three participating directors of Southernmost.

Danny Yung is the Artistic Director of Zuni Icosahedron. Makoto Sato is the Artistic Director of Theatre Zakoenji. Liu Xiaoyi is the Artistic Director of Emergency Stairs.

How does an Artist become planner, leader & driver? When does the artist become an Artistic Director ?

How will they compare and critique institution building and creative development between the groups they lead, as well as Hong Kong, Tokyo & Singapore?


Capacity: 200


Speakers: Danny Yung (HK), Makoto Sato (JP), Liu Xiaoyi (SG)

17 December, 7-8pm

Venue: Living Room@The Arts House

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Open Forum


This open forum will feature Singapore most prominent artists, arts managers, academics and policy makers in a public forum

The conference will consist of six invited speakers and Danny Yung as the forum commentator.

What is intercultural theatre in Singapore at this juncture? What is the point of an intercultural dialogue? Through this forum, we attempt to understand our own baggage, limitations and strengths, and why these exist. The next step will be to define, and then redefine intercultural theatre in Singapore.


Capacity: 200


Speakers: Alvin Tan (SG), Alfian Sa'at (SG), Cedric Chan (HK), Corrie Tan (SG), Lim Wah Guan (SG), Jobina Tan (SG)

20 December, 7-10pm

Venue: Chamber@The Arts House

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Festival Debrief


Witness an honest and open critique session of Southernmost, by all participating artists.

Criticism might be the most important aspect in the development of arts and culture. Only by critiquing the now, we can experiment the future.

What comes after critique? What is the next step? How do we connect the stage and the audiences, how do we connect creation and criticism? How can we connect the present and the future?


Capacity: 80


All Participating Artists

24 December, 10am-12pm

Venue: Blue Room@The Arts House


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ARTIST INTRODUCTIONS


Danny Yung Hong Kong

An experimental art pioneer and one of the most influential artists in Hong Kong, Yung is a founding member and Co-Artistic Director of Zuni Icosahedron. In the past 40 years, Yung involved extensively in multifarious fields of the arts, including theatre, cartoon, film and video, visual and installation art. Yung has been involved in over 100 theatre productions as director, scriptwriter, producer and/or stage designer. His theatre works were staged in cities across the world. In 2008, Yung created the commissioned theatre work by Hong Kong Arts Festival, Tears of the Barren Hill which reflects on the innovation of traditional Chinese theatre and the institution of cultural exchange. It won him the Music Theatre NOW Award given by the International Theatre Institute of UNESCO. At the Shanghai Expo in 2010, he presented in cooperation with the renowned Japanese theatre director Makoto Sato The Tale of the Crested Ibis as a cultural exchange project, which combined for the first time the elements of Noh and Kun theatres, as well as traditional arts and cutting-edge (robot) technology. Yung developed on the concept of the Crested Ibis, or Toki, and has curated the annual Toki Festiva” since 2012, as an effort to enrich young Kun performers’ experience, and to promote exchanges between contemporary and traditional performing arts in Asian regions


Sato Makoto Tokyo

Sato was born in Tokyo in 1943. In 1966, he founded the Free Stage Company and opened “Underground Free Stage” a venue in Roppongi, Tokyo. His most important work was centred on the activities of the theatre company known as the “Black Tent.” The company’s first production in 1970 was The Dance of Angels with Flaming Wings, an adaptation of Peter Weiss’ Marat/Sade. In the 1980s, Sato and his colleagues developed a new concept of “Asian Theatre” centred on a critical re-evaluation of Japanese society. He collaborated with several South Asian companies and more recently has collaborated with European theatre companies. Sato has attracted media attention as a director of opera, dance, revue, drama, and the marionette theatre company, Youkiza. From 1997 to 2002, he was the first artistic director of Setagaya Public Theatre. He is at present the director of Kamome-Za and of the Suginami Culture Association.


Liu Xiaoyi Singapore

Liu Xiaoyi is multi hyphenated theatre practitioner-a director, actor, playwright and teacher. A creator who continually pushes the boundaries of theatre, he is regarded as one of the most prominent young artists in Singapore. In 2016, Xiaoyi was the recipient of NAC’s Young Artist Award. He is currently the Artistic Director of Emergency Stairs. In 2002, Xiaoyi started work in Singapore theatre, and became active in the local scene as a practitioner. Over a decade, Xiaoyi was first recognised as an excellent actor, and was once recognised by Zaobao as “an influential performer, and one of the most promising actors of our generation”. With a long performance track record, he is oft regarded as one of the most skilled actors in Singapore Chinese theatre. His passion for language too made him one of the most active playwrights in Singapore Chinese theatre, with a flair for poetry and imagination. In 2014, Xiaoyi conceptualised and directed FLUID, which won Best Playwright at the Straits Times Life! Theatre awards. As a director, he focuses on theatre with a strong experimental edge, with a focus on creative discourse and thought, and his works are often polarizing. In recent years, his directorial works have been nominated multiple times in the Straits Times Life! Theatre awards for Best Director and Best Playwright.


Didik Nini Thowok Jakarta

Didik Hadiprayitno, better known as Didik Nini Thowok, is one of Indonesia’s most well-known dancers, choreographers, and mask performers. His performance style carries on a tradition of Javanese female impersonation by a male dancer, which originated in Javanese palaces in the eighteenth century with males playing females because of Islamic ideas on the impropriety of women mixing with men in the same performance. Didik’s study of cross-gender performance throughout Asia and the world fuels his playful, modern performance, which involves solo mask dances that combine mysterious androgyny and comic sexual impersonation. Didik Hadiprayitno was hosted by the Department of South and Southeast Asian Studies during February and March 2004. During that time, he conducted workshops on a range of topics, including dance traditions of Sunda, Java, and Bali; masking traditions of Java and Bali; and Southeast Asian transgender traditions. He also presented class lectures, worked with students, and participated in public performances. The Department described him as a “truly energizing presence on this campus,” and noted that he was able, while here, to discuss aspects of his research that cannot be revealed in Indonesia at this time, particularly the persecution and massacre of transgender shamans and performers in 1965-1967 by the Indonesian military regime.


Wang Bin Nanjing

Wang Bin is a director, China’s First Class Actor, the incumbent Art Director for Jiangsu Province Performing Arts Group, and the former Vice President of Kun Opera Institute. Wang Bin was under the tutelage of opera masters Zhou Chuanying, Shen Chuanzhi, Zhang Shilan, Gao Jirong, Wang Shiyu and so on. He has coached and directed Kun opera, Peking opera, Huangmei opera, Yang opera, Fujian opera, Shaoxing opera, Xi opera, Wu opera, among other large scale performances. He has won the Mandarin Director Award, and his directed work of "Peony Pavilion" won the "2005-2006 Jiangsu Province Stage Art Boutique Project Award", among other accomplishments.


Sun Jing (Nanjing)

SUN graduated in 2005 from the Jiangsu Drama School. He specializes in the hualian (painted face) roles. His teachers include Zhao Jian, Zhou Zhiyi, Yang Cai and Huang Xiaowu. He has won prizes at the Kunqu National Youth and the golden award at the Sixth Jiangsu Red Plum Chinese Opera Awards.


OPEN FORUM PANELISTS


Alvin Tan (Singapore)

Alvin is the Founder and Artistic Director of The Necessary Stage and a leading proponent of devising theatre in Singapore, having directed more than 70 plays which have been staged locally and at international festivals. He has been awarded a Fulbright Scholarship and in 1998, was conferred the Young Artist Award for theatre. In 2010, Alvin was conferred the Chevalier des Arts et des Lettres by the French Ministry of Culture, in recognition of his significant contribution to the arts. The following year, he was awarded Best Director at 2011 The Straits Times Life! Theatre Awards for Model Citizens by The Necessary Stage.

Alvin was previously invited by the Ministry of Education to design a drama syllabus at ‘O’ level for implementation in schools. In 2014, Alvin was conferred the Cultural Medallion for his artistic excellence and contribution to Singapore’s arts and cultural landscape. He was also the Artistic Director of Peer Pleasure, an annual youth-oriented theatre festival by ArtsWok.


Alfian Sa’at (Singapore)

Alfian Sa’at is a Resident Playwright with W!LD RICE. His published works include three collections of poetry, ‘One Fierce Hour’, ‘A History of Amnesia’ and ‘The Invisible Manuscript’, a collection of short stories, ‘Corridor’, a collection of flash fiction, ‘Malay Sketches’, two collections of plays as well as the published play ‘Cooling Off Day’.

Alfian has been nominated 10 times for Best Original Script at the Life! Theatre Awards, eventually winning in 2005 for ‘Landmarks’, in 2010 for ‘Nadirah’, in 2013 for 'Kakak Kau Punya Laki' (Your Sister's Husband) and in 2016 for ‘Hotel’ (with Marcia Vanderstraaten).

In 2001, Alfian won the Golden Point Award for Poetry as well as the National Arts Council Young Artist Award for Literature. He has also been nominated for the Singapore Literature Prize three times, for 'Corridor' (1999, Commendation Prize), ‘A History of Amnesia’ (2004) and his translation of the novel ‘The Widower’ (2016).



Corrie Tan (Singapore)

Corrie Tan is a freelance writer and researcher. She was formerly a theatre critic and arts correspondent with The Straits Times, where she co-organised the M1-The Straits Times Life Theatre Awards. She has also reviewed theatre for The Guardian, The Stage, and Exeunt Magazine. Corrie graduated with a B.A. (Hons) in Literary Arts from Brown University and holds an M.A. (Dist) in Performance & Culture from Goldsmiths, University of London as a recipient of both the National Arts Council Arts Scholarship (Postgraduate) and the Goldsmiths International Scholarship.


Lim Wah Guan (Singapore)

Born and raised in Singapore, Lim Wah Guan 林華源 received his B.A. (Hons 1) in Theatre and Chinese Studies from the University of New South Wales (UNSW), Sydney, M.St. in Chinese Studies from Oxford, M.A. in East Asian Studies from Princeton and Ph.D. in Asian Literature, Religion and Culture from Cornell. He is currently an Assistant Professor of Chinese at Bard College, New York. He is a scholar of transnational Chinese literature and theatre, and his research examines the politics of culture and performance across East and Southeast Asia, focusing on four of the most important contemporary dramatists: Kuo Pao Kun (Singapore), Gao Xingjian (China), Danny Yung (Hong Kong), and Stan Lai (Taiwan). His essays and reviews have appeared in the Journal of Oriental Society of Australia (JOSA), the Hong Kong Drama Review (HKDR), Polyphony Embodied: Freedom and Fate in Gao Xingjian's Writings, Singapore: Negotiating State and Society, 1965-2015 and the Journal of Modern Literature in Chinese (JMLC). A member of the inaugural batch of the now defunct Dramaplus Arts' (DPA) Youtheatre, he performed in Still Growing Up Some More and The Servant of Two Masters with the theatre group.


Jobina Tan (Singapore)

Jobina started her career as a television programme buyer for a public service channel and eventually ran the arts and cultural programming unit for the station.

Her passion for the arts led her to join the management team of Singapore’s national performing arts centre, where she was responsible for the planning, administration and execution of programming strategies of Esplanade – Theatres on the Bay.

Having spent 8.5 years at the Esplanade, Jobina made a mid-career switch to the Ministry of Education, where she was given insight into policy-making at the Arts Education Branch and more recently, a posting as Vice-Principal of a primary school.

In May 2017, Jobina joined Arts House Ltd as Head of Programming. She currently oversees the programming of venues such as The Arts House, Goodman Arts Centre, Aliwal Arts Centre and the national arts festival, the Singapore International Festival of Arts.


Cedric Chan (Hong Kong)

Participated in coordination of various Art-in-Education projects, including “Black Box Exercise – Installation Art Education Programme”, “Multimedia Theatre Education Programme”, “Zuni Youth” Experimental Performance

Participated in creation, performance and coordination of various theatre productions, including “East Wing West Wing” series, “1587, A Year of No Significance”, “Three-letter Opera”, “Hua-yen Sutra”, “Remembrance of Karaoke Past”, “Railway is Like a Long, Winding Recollection”, “Gayamyan Sings ‘Hong Kong Song Book - Little Rascals’ Night Club” etc.

Co-directed Children Anime Musical “The Magic Flute”, “The Magic Flute Playground” and “Bauhaus Manifesto”

Co-founded local band Gayamyan in 2000; the band released its debut album in 2002 and participated in several music publications for “East Wing West Wing”, including “East Wing West Wing: Original Soundtrack Collection 2003-2013”; released solo debut EP “Crazy for Tutorials” in 2006.

Also lyrcist for pop music; he has written lyrics for singers including Anthony Wong, Joey Yung, HOCC, Miriam Yeung, Andy Hui, at17, Pong Nan etc.

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Festival Ticketing:

There are three types of “tickets” you can purchase for the festival:

1. Festival Pass

2. Single Ticket to triple bill presentation

3. Bodies in History Physical Masterclass (by registration only)


Festival pass:

To wield a festival pass means you get two things:

1. A single ticket will to watch one of the three triple bill presentation performances, directed by Liu Xiaoyi (Singapore), Danny Yung (Hong Kong) and Sato Makoto (Japan).

And

2. You can sign up for all these festival activities (for one):

· Masterclass Public Presentation

· Javanese Dance and Kun Opera Masters Showcase

· Directors’ Talk

· Open Forum

· Festival Debrief

· Open Rehearsals

· Open Workshops

The passwords will be sent to you (within a week) via email after you have purchased the festival pass. Please sign up for all the activities you want to go for.

These festival activities are not “sold separately” online as priority is given to Festival Pass Holders. But you can purchase single entry tickets to these activities at $12 each, on site, if seats are available, on a first-come-first-served basis.


Single Ticket to triple bill presentation

You get a single ticket to watch one of the three triple bill presentation performances, directed by Liu Xiaoyi (Singapore), Danny Yung (Hong Kong) and Sato Makoto (Japan).

If you wish to see the other festival activities, you would have to buy entry tickets ($12 each) at the door, if they are available.


Bodies in History Physical Masterclass (by registration only)

This 5-days masterclass, instructed by Kun Master- Wang Bin (China), Javanese Dancer- Didik and contemporary director- Xiaoyi (Singapore), is by registration only.

Participants who wish to watch the performance (triple bill presentation) or attend the festival activities have to buy tickets separately.

Participants may perform in the Masterclass Public Presentation, and would automatically be assigned a seat to watch Javanese Dance and Kun Opera Masters Showcase.

If you are interested to register, please send your CV to masterclass@emergencystairs.org.

For more info: http://physicalmasterclass.peatix.com/

Ticketing questions? Please write to fire@emergencystairs.org

Updates
  • The event description was updated. Diff#296365 2017-11-18 18:51:32
More updates
Dec 12 - Dec 24, 2017
[ Tue ] - [ Sun ]
1:00 PM - 10:00 PM SGT
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Venue
The Arts House
Tickets
22 Dec, 8pm (Festival Pass) $78.00
23 Dec, 3pm (Festival Pass) $78.00
23 Dec, 8pm (Festival Pass) $78.00
22 Dec, 8pm (Single Ticket) $48.00
23 Dec, 3pm (Single Ticket) $48.00
23 Dec, 8pm (Single Ticket) $48.00
22 Dec, 8pm (Festival pass, Early bird 10% off) ON HOLD $70.20
22 Dec, 8pm (Single ticket, Early bird 10% off) ON HOLD $43.20
23 Dec 3pm (Festival pass, Early bird 10% off) ON HOLD $70.20
23 Dec, 3pm (Single ticket, Early bird 10% off) ON HOLD $43.20
23 Dec, 8pm (Festival pass, Early bird 10% off) ON HOLD $70.20

On sale until Dec 23, 2017, 7:00:00 PM

Venue Address
1 Old Parliament Lane, Singapore 179429 Singapore
Directions
https://www.theartshouse.sg/visit/
Organizer
Southernmost: 1 Table 2 Chairs Project 2017
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