EDITOR'S NOTE

This year is significant for those around me and in Rather than draw a rational conclusion through the fact this entire country – we are striding into a use of questionnaires, statistics, and percentages, I new era. Milestones include the celebration of 50 much prefer the personal, in-depth and intimate years of nation-building, the loss of our founding touch that connects us through theatre, the arts and Prime Minister, and many more. This year, be it in the humanities. Hence, in this momentous year, I terms of sensitivity or rationality, there is a strong wish to reflect upon the past through the Practice connection between the era and our sense of self. Journal. No matter a distant or recent past, be it a theatrical or personal past, I would draw upon I am acutely aware of the importance of them to more deeply recognise our present, our conclusions. Every milestone provides us with an theatre and our humanity. opportunity to conclude; in fact, the greatest significance lies in it. Conclusions are about This year, the Practice Journal has a refreshingly looking at past events with a current perspective. I new appearance, in line with the online reading believe that as eras come and go, the values of habits of our generation. I am grateful to the people and society are constantly in flux, and what graphic designer for the minimalistic design style. we hold dear to us would never be the same. In I will strive for higher standards in terms of every conclusion, it gives us a chance to view the content, and enable the Practice Journal to be ever past from a new perspective, and to see the present more reader-friendly and accessible. clearly for what it is. We cannot simply exist from moment to moment; we ought to live consciously Suhuai in the present. This can be achieved only if we understand and not forget the past.

SPOTLIGHT Wuxia-loving kids will not go astray

Words / Huang Suhuai (Record)Translate / Wei Shimin

On a Sunday afternoon at Grassroots Book Room, there was a discussion on the topic of Wuxia. This event featured playwright Liu Xiaoyi of the Wuxia play Legends of the Southern Arch by The Theatre Practice, and veteran TV screenwriter Koh Teng Liang. The session covered questions such as: What is the relevance of Wuxia to us? How has Wuxia impacted upon our lives?

Mystical legends or fairy tales for adults?

Both of them started off by reading Wuxia novels. Born in the 1980s, Xiaoyi also encountered Wuxia When Teng Liang was in primary five, there was a from a young age. When he was small, there was a scarcity of fun things to do in his free time, and he bookshelf with two racks and only one Wuxia was not allowed out to play. Hence he turned to book – The Young Flying Fox by Louis Cha. reading as a hobby. His father was also an avid Xiaoyi read and re-read this novel multiple times, reader, and had a stack of books piled beside his until the book practically fell apart. However, pillow. His recommendations were of classics Xiaoyi had a strange reading habit as a child, such as Romance of the Three Kingdoms, and which was to read random chapters in no Romance of the States in Eastern Zhou Dynasty, particular order, so as to piece together the as he did not deem Wuxia novels as worthy of structure of the story on his own. For instance in reading. Unexpectedly, Teng Liang became a the case of Romance of the Three Kingdoms, he fervent Wuxia reader. At this point, Teng Liang was unable to fully take it all in due to his young takes out a tattered book with yellowing pages – age, thus he would stick to his interests by reading Sword Stained with Royal Blood by Louis Cha, familiar chapters such as To Borrow Arrows With published in the 1960s, and retained some writing Thatched Boats, and Seven Catches. He only by his father. The book is circulated in the started reading a large number of Wuxia novels audience, much to the fascination of the younger when he was in secondary school. He finished all people present. novels by Louis Cha, and even re-read some of them multiple times. He would imagine himself to Koh Teng Liang’s favourite line: A world of be a Wuxia hero as well. Wuxia lives within every man. For Xiaoyi, Wuxia is fantasy and fable. Violent aesthetics or Eastern philosophy?

Teng Liang takes out another book with a fighting Should a creative piece embody “Wu” without scene on its cover, and introduces the style of “Xia”, it would merely tap upon the use of brute martial arts as fashioning a rod out of a twisted strength and violence to solve problems. It is the piece of wet cloth, to be used as a weapon. As this inclusion of “Xia” that completes the essence of proved to be mightily painful, he regularly put it Wuxia. to good use as a child. Inspired by the movie The Shadow Whip, his heavenly whip would be the “Xia” covers a wide range of things. Xiaoyi asks iron’s cable, as he horsed around with his younger the audience to suggest what “Xia” might be? sister. Xiaoyi also mentions that as a child, he Responses were rich and varied. Some say it was would often impersonate Wuxia characters with to “kill the evil for the masses”, or to “rob the rich neighbouring kids, and use a tree branch as his for the poor”, a young man suggests “to protect sword. women”, and a lady immediately responds that females could also become “heroines”. Others feel Teng Liang says that every child would go that “a brotherhood loyalty” is important. Lastly, through such a phase, and he does not agree that someone mentions that of being “highly skilled”, Wuxia would increase violent tendencies in kids – and Xiaoyi points out that in a Wuxia piece, the he is one such example. Xiaoyi echoes in highest-skilled person might not necessarily be the agreement, and qualifies it by saying that “we are epitome of “Xia”. both very refined people”. (Photography: Ric Liu) In preparation for his scriptwriting task, Xiaoyi delved deeply into understanding Wuxia. The individual characters of “Wu” and “Xia” are unique on their own. The principle of Wuxia has two basic constituents. First, the imaginative colours of “Wu”, which is grounded upon Chinese philosophies such as Qi, Yin and Yang, the Five Elements, etc. Without “Wu”, the Wuxia genre would not be fulfilled. However, Xiaoyi feels that “Xia” is even more important, as it symbolises a certain spirit that goes beyond the physical entity.

History as Key; Culture as Foundation

Koh Teng Liang feels that Wuxia is important, Teng Liang is especially fond of a phrase by the and finds it a pity that such a world is slowly character of Guo Jing from The Legend of the fading away. Those born in and after the 1990s are Condor Heroes: “The greater hero is one who no longer enamoured of Wuxia. In view of devotes himself to the country and people”. This popular stories such as Harry Potter, the world of is a sentence that has resonated with him from a Wuxia seems to be a distant memory. One of the young age. He feels that the nationalistic sense of reasons for this is that children nowadays no giving need not be a direct teaching from schools; longer read about history. To read Wuxia without the heroic spirit also guides our love for the the historical context is to be missing the key. country. Koh Teng Liang mentions that Meteor, History provides the key to unlock the Wuxia Butterfly, Sword has been influential for him, and universe. With the deteriorating standards of the brotherhood loyalty left a deep impression television, an emphasis on special effects and a upon him. He feels that the values of “loyalty, lack of substance, there is little to motivate young filial piety, etiquette, decorum, integrity and a people to read Wuxia novels. He feels that Wuxia sense of shame” in the Chinese culture are is the spiritual legacy for all Chinese people, and commendable, yet they seem to be losing favour should be treasured, lest it disappears for good in together with the falling popularity of Wuxia. 20 years’ time. Xiaoyi adds on that there are three building blocks are inherent in the Wuxia spirit. He personally of Chinese culture – Confucianism, Buddhism and favours the heroes embodying the spirit of Taoism, Taoism. These three sects have been hugely as they are carefree, without burdens, and in influential upon the Chinese, and similarly upon pursuit of a boundless lifestyle. The final chapter Wuxia culture as well. The ethical principles of could very well see them abandoning the Confucianism and the benevolence of Buddhism capricious world to live in peace incognito.

Text vs Drama, Realism vs Spontaneity

Xiaoyi says that for novels, a Wuxia narrative is It is a challenge for a film production to transform carried along through text, and readers would use the beautiful text into screen language for the their imagination to fill in the gaps between the benefit of audiences. Teng Liang agrees on this, words. With the advent of film, the narrative and says that the “Dejected Spirit Fist” created by became propelled by the visual screen rather than the character Yang Guo could well have appeared text, and for the playwright and director, this comical if it had not been properly translated to fit posed the challenge of shooting a storyline in the screen. motion. Xiaoyi says that when he was writing the script of Teng Liang shares that turning a Wuxia novel into Legends of the Southern Arch, he had many a script is not as straightforward as extracting fruit worries and concerns, as theatre is yet different juice; the different media makes it unexpectedly from television and film. The novel relies on text, difficult for the adaptation to take place. For film uses the screen, and stage depends upon instance, The Smiling, Proud Wanderer by Louis sharing a common space and duration with Cha was first published as a regular column in the audiences. For instance, a martial arts sequence newspaper. Perhaps Louis Cha could have could be specially modified or slowed down in the spontaneously written and published from column film medium, but this is not possible on stage. to column. The novel started off with the character Hence, he constantly reminded himself that he of Lin Ping Zhi, and the main character Ling Hu was writing specifically for theatre. Chong only came in late into the story. In the ending portion, a powerful personality Dong Fang Lastly, Teng Liang is full of anticipation for Bu Bai appeared, but not much was written on Legends of the Southern Arch, and says that the him. A script requires a solid structure, and to theatrical effect might be even better than that of gradually entice audiences with the desire to film and television. The latter no longer maintains continue watching. Thus a script is different from a high quality standard, such as in the case of a novel, and requires a different narrative structure. China churning out huge quantities of substandard The adaptation from novel to script involves the films. He once came across a drama series that addition of more action scenes, and fewer details featured a palace lamp from a different era, which in character and plot. showed the flippant attitude of TV makers these days. He thus no longer has the interest to watch Teng Liang mentions that he has a friend who Wuxia shows on television. Xiaoyi says that there does not like Wuxia, as it seems to be unreal, such is no way for theatre to deceive audiences, as as flying across rooftops and walking on walls. He everything is presented starkly on stage. The only feels that it is not possible to use the measure of way is to have a longer time in preparation, and reality for things such as “Six Pulses, Heavenly have no efforts spared to present the very best to Sword”, and “Approaching Wave, Micro Steps”. audiences. Hence, Xiaoyi brings up the concepts of “Spontaneity” versus “Realism”. Wuxia novels are forms of spontaneous expression, and the contrast in martial arts with that of ordinary street fighting is in terms of its artistic concept and inherent Eastern philosophy.

PROFILE A Lifelong Devotion: Wong May Lan

Words / Huang Suhuai (Interview)Translate / Wei Shimin

Teacher Wong May Lan was born in Hong Kong However, she only started acting in a passive in the 1950s. She mentions her memories of manner. After graduation, a friend invited her to watching Cantonese opera as sparking off her join the theatre group at YWCA (Hong Kong journey in theatre. At that time, opera in Hong Young Women’s Christian Association), but she Kong was performed in tents upon empty spaces, hesitated and said that she didn’t know how to act. and one ticket entitled entry for an adult with a Unexpectedly, her friend retorted that someone as child. Hence, she would tag along with her mother. talkative as her should be good at acting, hence Her theatrical ideals began from here. she was tickled and decided to give it a go. Learning and performing at the same time, Later on, May Lan participated in her very first without any particular training foundation, she theatre production as a student in girls’ school became an actor. May Lan laughs and says that True Light Middle School. At that time, there was she would always take on grandmother roles due a P.E. Teacher Zhu, who was also a member of to her low-pitched voice. the amateur theatre group of Anglo-Chinese Society. As he was familiar with the stage, Kuo Pao Kun once wrote: “In the 1970s, drama in Teacher Zhu was appointed by the school to Hong Kong was infused with two types of new organise the annual graduation ceremony. He energies. One came from the grassroots, sprouting brought the secondary five students together to from the theatre workers of the youth student rehearse for a graduation performance, and held movement. Another was the elites who studied basic makeup lessons for the students. As a overseas and brought back their professional secondary five student, May Lan did not have the expertise from Europe and America.” May Lan chance to perform, but was in charge of the started upon her professional theatre journey amid “sweeper” role. In between afternoon rehearsal these two energies. and night performance, she would sweep the venue clean. She recalls standing on the empty In 1975, the Hong Kong Urban Council organised stage, and gazing at the projected moon upon the a “Cao Yu Theatre Festival”, bringing together 24 screen (in the age of low technology, this was local theatre groups, with the objective of already considered a remarkable special effect). recruiting members to set up the Hong Kong She would think to herself how beautiful it was, Repertory Theatre. Thereafter, the Urban Council and this sprouted her seeds of passion for theatre. also held a series of theatre training courses, She still clearly retains this vision in her memory which May Lan registered for. At that time, May till this date. Lan was working in a bank, and checking invoices on a daily basis. That was her one and only job that had nothing to do with theatre. As she was When she started to direct, she found it difficult to concurrently attending theatre activities, she had transform back into an actor, as she would view to run back and forth in between the office and the play from a director’s perspective. Hence, she training venue. Later on, Hong Kong Repertory gradually relinquished the role of an actor. Theatre was founded, and it advertised for 10 full- time actors. May Lan started to seriously consider In 1984, Kuo Pao Kun, the then-director of not having to rush from work, and take on a full- Singapore Practice Performing Arts School, time acting position instead. She applied for the attended the Hong Kong Arts Festival with a team job, and due to her numerous performing of people. In regards to the festival, Kuo Pao Kun experiences, she successfully entered Hong Kong wrote: “While Singaporeans have discussions on Repertory Theatre as its pioneer batch. Due to the how we now have the spare time and money to official bearing of Hong Kong Repertory Theatre, focus on the arts, Hong Kong has already it received government subsidies, and thus dedicated hundreds of millions in igniting the arts, provided well for its members. despite the heavy financial gloom and instability of the country’s economy.” In 1979, the British Council set up the Anglo- Chinese Theatre Group. As the group’s artistic It was amid the fervour of this very festival that director and performing artistes were all from Kuo Pao Kun met May Lan for the first time. May England, they auditioned for local talents in the Lan recalls that she was rehearsing for the hope of developing a bilingual company. The children play, Legacy of the Dragon, and artistic director at that time was the director of the experimenting with a playful movement, just like translated version of Romeo and Juliet for Hong how everyone was still within the exploration Kong Repertory Theatre, and got to know May stage. She felt uncomfortable as the team from Lan. Hence, Anglo-Chinese Theatre Group Singapore observed them. obtained a six-month loan for May Lan and another male actor from Hong Kong Repertory In an article by Kuo Pao Kun, he wrote on his Theatre. After that half-year, Anglo-Chinese impressions of the actors of Anglo-Chinese Theatre Group requested for May Lan to stay on Theatre Group – “how young they are, that is my full-time. impression upon coming face to face with them”. He also watched a school performance, Mystery May Lan later mentioned that the philosophy and of the Stars, an English children’s play directed by training methods of Anglo-Chinese Theatre Group Colin George from England. This piece was complemented her own ideals towards theatre, and adapted from a legend of China’s Miao tribe. thus had a deep impact upon the rest of her career. Although it was presented in the English style of Firstly, Anglo-Chinese Theatre Group’s use of farce, it retained Chinese flavours such as ribbons games as a form of body movement training very and painted opera masks. Kuo Pao Kun mentioned well suited her character. Besides that, she was that assistant playwright/director May Lan also also taken by the group’s passion and emphasis on had a hand in putting together such a piece. theatre education. In order to further her learning, she decided to join the group once she completed Kuo Pao Kun also wrote that for plays in her contract with Hong Kong Repertory Theatre. Singapore’s English schools, there was an She recalls that at that time, the group would have emphasis on the Westernised effect, and two English and one Chinese touring shows in emulation of the Western “demeanour” and schools every year. As there were not enough performing style. For Anglo-Chinese Theatre local and experienced actors, the group had to Group, however, especially in their rendition of employ part-time actors and also rely on its full- children’s play Little Children, there was a strong time actors from England to take on various small Chinese flavour to it – despite it being roles. At times, even the musician had to chip in written/directed by an Englishman. onstage for a scene. This method of cooperative team work was something that May Lan treasured. Although there was not much interaction, Kuo Pao The school tours at that time mostly comprised Kun retained a favourable impression of May Lan. classic works by Shakespeare, or translated Hence, he later invited May Lan to come to Western classics that were then performed in Singapore to organise a workshop for students. Cantonese. During those years, May Lan During that two-day-one-night workshop at completed her transition from actor to director. Sentosa, they were casually chatting while waiting for the students to have their meal and go When asked for her opinions on the current state swimming. Kuo Pao Kun proposed the idea of her of drama education, May Lan feels that students’ working in Singapore, and this proposal greatly perspectives are influenced by various factors – attracted May Lan. Kuo Pao Kun honestly their teachers, the number of performances admitted, however, that he could only afford to watched, their likes and dislikes, ability to absorb employ her when “they had money”. and understand, etc. She believes that teachers and students should not be overly competitive and May Lan did not immediately come to Singapore, neglect the learning process, as this would reduce however, she had an another invaluable the inspirational impact and influence of drama opportunity to work overseas. She secured a 13- education. month contract to direct and train with Resister Theatre Group in England. She became involved Besides teaching and managing school shows, in organising productions, school and community May Lan has also directed numerous productions touring performances, thus increasing exposure of in Singapore, such as The Legend of Giants, The Chinese culture. She also taught drama lessons to Soldier and his Virtuous Wife, Where Love first- and second-generation children of Abides, Love A La Zen, Women Play: Lights Up, immigrants, inculcating life and cultural etc. She says that she honestly loves both directing philosophies through theatre. She felt a deep and teaching, however, she is unable to multi-task respect for the local social workers, who gave both at the same time, as it would divert her their all for the education of Chinese people from energy. all over the world. At that time, the non-profit organisations in Chinatown held a “Walk for A If she had not been in theatre, May Lan says that Million” fundraising event in aid of their she would have chosen to become a social worker. relocation, and she invited famous Cantonese film She recalls the period when she was teaching at star Mr. Cho Tat-wah to help raise funds. With his Shenzhen University, and her student remarkably star-studded support, the event managed to raise a transformed from a repressive state to that of total of 100,000 pounds. being self-confident. She attributes it to her social work methods. With her contract in England coming to an end soon, May Lan started to consider her next step. May Lan says that she was lucky in being able to She thought of Singapore, and contacted Kuo Pao embark upon and grow together with the then- Kun. The latter immediately offered her a job and nascent theatre industry. If she had been born prepared for her to come over. May Lan made a instead among the present generation that requires brief stopover in Hong Kong to drop off her fierce initiative to fight for opportunities, her winter clothes and pack for warm days, and flew passive character might have resulted in her not to Singapore in 1991. Thereafter for the next 20- joining the industry. odd years till the present, she has been steadily cultivating her profession upon this land. When asked if she regrets devoting her whole life to theatre, May Lan says she does not. She says: A few years after May Lan arrived, the Practice “Although I have not been very, very successful, Theatre Ensemble introduced the “Student Theatre however, I have been successful at times, and Exposure Project” helmed by May Lan. Till this challenged at times. Is this not what life is all date, she is still tirelessly giving her all for drama about?” education and curriculum design. When asked if she felt any difference upon her initial arrival in Singapore, she frankly admits that as the theatre industry in Singapore was in a relative stage of infancy as compared to Hong Kong, and there was not much demand from schools and audiences for productions, this gave her the chance to “go slow”. At that time, she would be rehearsing for school shows with a few full-time actors, and they had “sufficient” time for creation and bonding.

PROFILE Keeping The Faith: Jodi Chan

Words / Huang Su HuaiTranslate / Wei Shimin

As a budding actor, Jodi Chan is among the new generation of Singapore theatre practitioners, and she embodies the talent and promise inherent in all young actors. In our interview, we seek to understand her stance as a young actor, what the influences were for her to pursue theatre professionally, and her motivations in persevering and surviving in the industry.

The Fervent Age Of Drama Society theatre presently. Having only followed the crowd in the first instance, she is the one instead who has Jodi’s theatre awakening started from the Drama become a theatre practitioner. Society in her secondary school days. It was pure chance that she joined the Drama Society at Her experiences in the Drama Society greatly Anglican High School. She was initially planning influenced Jodi, providing her with a solid theatre to join the guitar club with two good friends. On foundation, and inculcating humane values orientation day, however, the Drama Society put alongside like-minded peers with the same passion. up an extremely lively and side-splitting The Society would hold public performances performance, which influenced her friends to sign every two years, and the teachers-in-charge would up for the Drama Society instead. Jodi reluctantly tirelessly support the Society members even compromised and followed suit. Unexpectedly, beyond co-curricular hours. Members were there was such an overwhelming sign-up rate that divided into groups such as performing, only one of her friends got in. The other friend production, publicity, welfare, etc, and everyone dragged Jodi along to see the teacher-in-charge. would work as a team to strive for their common Upon being asked by the teacher on their reasons goal. Jodi very much treasures those days of for joining the Drama Society, her friend single-minded and collective dynamism. The answered without hesitation that she wanted to be teachers would frequently organise theatre-going an actor. Jodi simply concurred as a matter of outings as well, and impress upon them the convenience. Hence, all three of them successfully importance of theatre etiquette in watching became members. As it turns out, neither of her performances. Jodi recalls watching several plays friends, who were once such fervent in their by Drama Box and The ETCeteras. She was passion for acting, have anything to do with especially taken by Blowing In The Wind presented by The ETCeteras. The lead female very much touched by this transition. The appeal character was named Piaopiao, and she started off of The ETCeteras stemmed from the fact that the by referring to herself from the third person group itself was set up by newly-graduated perspective. However, she later switched to students, and this struck a chord with the fervent referring herself in the first person as “I”. Jodi was youths of the Drama Society.

Not A Promising Career Choice

Jodi studied Communication Studies in university. Programme, now known as Intercultural Theatre Despite her active years in the Drama Society, she Institute). Although she did not get the job, it never once considered taking up Theatre Studies invoked her interest to find work in the theatre in university. She attributes it to her lack of belief industry. She eagerly sought for job possibilities in turning her passion into a viable profession. in all theatre companies, and secured an interview None of her Drama Society peers continued their with The Theatre Practice for the position of passion for drama in university as well. However, Marketing & Sales Executive. At the same time, Jodi would still return to Anglican High to take she was also offered a job by Singapore Tourism part in the productions organised by the alumni. Board (STB). Her family all preferred the STB job She is also a frequent theatre goer. as it offered a higher salary and greater opportunities. However, the thought of being able to work in a theatre company as an administrator was such a jolt to the heart for Jodi, and she made her decision.

She recalls that as she sat down for dinner, her father, mother and older brother were discussing the choices to make in life. Just like her secondary school years, her parents would lament at her silliness in staying for drama rehearsals till the wee hours, or end up with paint stains all over in making props. Similarly, they still failed to After graduation, Jodi assumed that she would comprehend her rationale in her career choice. apply for jobs in the advertising or government Despite the differences in opinions, nobody sectors. That is, until she came across an job actually stopped her from pursuing her decision. vacancy for an administrator for TTRP She feels lucky that her family was willing to (previously named Theatre Training & Research accept her choice after all.

Becoming An Actor

As a result of her administrative role in a theatre initiatives. Jodi tried to take part in the final company, Jodi came to realise that it was quite productions led by doctorate students, and also possible to become a freelance actor in Singapore, attended numerous workshops outside of school. and that one could survive in such a profession. This helped her to learn in a more fulfilling Thus, after two years, she decided to pursue a manner. She feels that the best thing about Masters in the performing arts in the United studying in the UK is the ability to get up close Kingdom. During her Masters studies, she only and personal with the local arts scene. For met with her teachers two to three times each instance, she attended the well-known Edinburgh week, and each session lasted a mere three to four International Festival. As an open platform hours. This was scarcely adequate for her. welcoming artistes from countries all around the Although the school greatly supported world, the Festival presents a truly vibrant and independent performances by students, and multi-faceted showcase. Jodi was astonished by provided venues as well, the mode of studying how any space could potentially be turned into a was still very much driven by the students’ own performing venue, such as the corner of a street or a small tavern. In a mere six days, she and her friends took in a dazzling count of over 20 performances. Although the productions were of varying standards, she relishes it as a very different form of experience. In comparison to the United Kingdom, Jodi feels that Singapore tends to lack a certain extent of openness in theatre, and it is not possible for one to arbitrarily put together a performance without much preparation. Although the local system guarantees a certain quality as a result, part of the dynamic energy seems to be diminished. REVIEW

After returning to Singapore, Jodi immediately took part in a local production. To date, she has A long good night packed a few plays under her belt as a good start to her career. She aims to find ways to connect Words / MKPhotography / Keith Sin what she has learned to her roles, so that she may meaningfully apply herself and grow further. 1．

Jodi is also interested to develop the future of A long good night, in the dark silence, someone theatre education. Her own passion was ignited writes his memorandum, as not to forget. through the support of great teachers in school, and she finds it meaningful to pass on that spark 2． to others. She is convinced of the life-changing impact that theatre would have on a person’s Last November, Danny Yung’s work growth, and she is dedicated to the nurturing of Memorandum was shown in Hong Kong for three future generations through the journey of theatre days, nearly escaping all the notice in media. As education. in that particular weekend, the biggest drama in the city was the show on the streets, mixed with Recently, the notion of “Keeping The Faith” has politics, citizen movement, debates, as well as surfaced. For the new generation of theatre street violence. In those nights, people on the practitioners, several of them continue to stoke the streets of Hong Kong made a chapter in the city’s fervour of their school days as they pursue theatre. history that nobody knows where it would This is their initial faith. However, we also hope eventually lead to. that practitioners constantly reflect upon their reasons for doing theatre, and further ignite “I could hardly be the master of myself. I am a continuous energy to keep it going. slave to the wild tide of the time.” It is a line from the second part of Memorandum , a coincident but perfect recap for those rough nights.

3．

Before the show, Mr. Yung walked up to the stage. He explained in a soft and low voice why he created the show. Four chapters represented four persons that had enormous influence in his life. All but one were from the world of stage art. These four people, together with some other names, gave him many sleepless nights. To remember, not to forget, as he put before he left the stage, leaving the task to the audience to find out what had not been said in his short address.

The first part Laojiu was an attribute to the hardly be the master of myself. The night is dark pioneer of Singapore theatre, Kuo Pao Kun, who and the threats to kill are here.” was a faithful story teller and a master in metaphors and multiculturalism. Laojiu was The third part Cheng Yanqiu was written and undoubtedly the most sophisticated and exquisite presented by Tian Mansha, a professor from play among the four. The 20-minute performance Shanghai Theatre Academy. She wrote the play to offered no dialogue. All the subjects, a long list commemorate Cheng’s tour to Europe back in from Yung’s late-night meditation, from 1930s. Tian chose a subject with great civilization, culture, literature, arts, heritage, possibilities. Yet other than the interesting authoritarianism, to the uniformed, the twisted and footages from Cheng’s documentary and his the absurd, were present to the audience in a silent Beijing Opera movie Tears in Deserted Mountain , drama. The subtitles between the scenes told four the drama did not work well. The storyline was metaphors; while the two actors used their body flat and the performance too straightforward, language and facial expression to create the leaving little room for articulation and imaginary links. The most powerful moments inspiration. were created by Liu Xiaoyi, the leading actor in Laojiu. He animated the exaggerated facial In the opening Yung had purposely left out the expression from the signature paintings of introduction of the final character. Indeed, this contemporary artist Yue Min Jun. The emotional gentleman needed none. The last show of tension was overwhelming. Memorandum was a short video made from the footage of the National Day Parade of 1969. It had The second part Li Kaixian was a bold experiment no background music; the footage would repeat to create the mirror reflection between Li itself with different subtitles composed by four- Kaixian’s play The Sword (宝剑记 ), and the letter words: don’t lose don’t forget; stay together controversial Jin Ping Mei/The Golden Lotus (金 stay tight; this life this world; east wind west wind; 瓶梅 ). As some scholars have suspected, Li to east to west; see it love it…… It was up to the Kaixian could be the real writer of the Golden audience to interpret the hidden links in between. Lotus, the man behind the cover of Lanling The show was a bit rough, quite different from the work of Laojiu and Li Kaixian . It was only in a Xiaoxiao Sheng (兰陵笑笑生 ). The unsolved separate discussion with Mr. Yung that I found mystery caught Yung’s great interest. He added out the video work was made in 1998. I can see the performance from Ye Ben (Ling Chong’s Night how he has changed over the years – As a Journey ), a classic Kunqu opera, to his show. It complete art work, the video is less sophisticated would have been an excellent cross-over as Laojiu ; it is less critical as Li Kaixian You can experiment. Unfortunately Yang Yang, the see that Yung uses a darker and quieter approach leading actor who was professionally trained in to address the deepening sadness of our time. The Kunqu, failed to deliver an authentic Ye Ben in the fever that the video criticizes still exists today. critical eyes of a China opera lover. Yang Yang’s And it is chosen as the theme of the show. Maybe Ye Ben was completely overshadowed by Yung’s this direct, angry mentality still haunts us every subtitle. The lines were as beautiful and powerful day in Hong Kong. as poem, the best essence of the night. “I could

4．

This show forced every audience to interpret the In the theatre of this extreme quietness and drama by themselves. The stage, the props, simplicity, we could focus on the lighting, the costume, background, subtitles……the shadow, the facial express and the literature components were minimized. The stage was a between the scenes. The framework became the simple white carpet; the background a white most memorable element of the show. cloth. A table and two chairs were the most visible decorations on the stage. All the characters Every time as I think of the play, I recall the were wearing in black, white or grey. No stream of light in the centre. I see the white carpet. dialogues but only short subtitles. Four plays for On the carpet there is a paper board. On the board four leading figures. it writes: Don't lose; don’t forget.

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“I could hardly be the master of myself. I am a About The Author: MK enjoys books, dramas, fine slave to the wild tide of the time. The revolution arts, travel and work. Graduated in Applied bears no hesitation. Breathe the movement into Chemistry but ended in marketing and yourself. ” communication. She works in a multinational machinery company as Marketing and The night is long, like endless water. Communications Director of Asia Pacific. Apart from her work, she writes book reviews and travel journals. MK stayed in Singapore for a couple of years and now lives in Hong Kong.

EXCHANGE I Wayan Dibia: His Traditions and Experiments

Words / Liu Xiaoyi (oral account)Translate / Wei Shimin

I first met Dibia in 2013, when we participated in things, and did not confine himself to his own the second Toki Arts Festival together. Dibia is traditional art. from Bali, and he and his wife are outstanding traditional dancers, regarded as Indonesia’s Later on, I realised that dance is a part of religious national treasures. Their workshop and faith in Bali. From a young age, Dibia has been performance in Shanghai are testament to their learning from several teachers, including his own solid foundation. Over a span of two weeks, we father. Moving from village to village, he was developed a firm friendship through our numerous exposed to many different styles of traditional interactions. dance. From the 1970s onwards, Dibia started weaving together the elements of traditional arts At that time, during the Toki Arts Festival, Dibia in his attempts to choreograph new dance was invited to work with three Nanjing Kunqu performances. He once said: “If I only position actors, and they created a performance in the dance as a part of religion, we would never be format of One Table Two Chairs. Throughout the able to make any changes. However, we may also process, I witnessed the sparkling collision of two infuse a contemporary and influential component, different traditional arts and two different body and still preserve the classical dance spirit of Bali.” types, as they sought to break down the boundaries between each other, and of themselves. I am in awe of his visions and spirit. I saw how Dibia was always receptive to new Hence, when I was in Bali in end-2014, I naturally hand, this was also their journey in self- wanted to look for him and take a look at how he exploration. did his performances in Bali. He invited me to his home. Since 2007, Dibia has been organising an The performance that left the deepest impression annual four-day arts festival for the purpose of on me was by a full-figured male dancer. When he providing a platform for young dancers to walked out, I was still doubtful of his dancing showcase their creations. My visit nicely ability. But once he started moving, I was coincided with this very festival. pleasantly surprised by his powerful technique and solid focus, evidently the result of a strong His home is situated in a traditional village in foundation in traditional training. However, his Singapadu area, central Bali. Upon reaching his piece was very contemporary and full of creative home, I received my first jolt: I was mesmerised ideals. This shows an interesting contrast – to by the beautiful and mysterious traditional Bali present new content via a traditional body. The architecture. I also experienced local rituals – creations were not only about passing on and there were different houses for disparate groups, preserving a legacy; they took on an experimental such as the audiences who were waiting, altar for spirit, in an attempt of self-expression. From this, worship, and porch for receiving guests. I see many new possibilities in the traditional arts. Everything was well organised. I was fortunate to have been invited to chat with him in the porch for From these three aspects, I realised that the arts, receiving important guests. especially traditional arts, is not a stagnated or self-confined object. There is actually much more The second thing that stunned me was the fact that that we can explore and try out in terms of style there was a small theatre within the backyard of and content. We need only possess an open mind this traditional house. Dibia said that he was and an experimental spirit. inspired to build the space based on a particular modern theatre venue. However, he used This also led me to reflect on my own numerous expensive local traditional wood to build it. The crossover experiments that involve the traditional theatre’s name is GEOKS, and I could spy several arts. I have always felt that there is a trove of rich flags proclaiming the word GEOKS in the content and depth within the bodies of those who neighbouring streets. have received traditional training, and their well- versed ability in a specific style. There are many interactive possibilities with that of contemporary theatre. When we immerse the traditional within the contemporary theatre, the most traditional transforms into the most experimental.

Theatre actors of today can learn from traditional performers in terms of the latter’s body training and expression, and using these as a set of tools or method. And traditional performers could find inspiration within contemporary theatre, and strive to be ever more courageous in expressing oneself. These are the possibilities for mutual learning and Thirdly, I was expecting to watch traditional interaction. religious dance performances upon the touristy island of Bali. I was instead taken aback by how When we inculcate ourselves with a certain form, the arts festival presented extremely contemporary we establish a set of vocabulary that has taken a works by young dancers. Most of the dancers had long time to be systemised, and this enables us to bodies that spoke of rigorous traditional training, attain a level of mastery. In the end, however, yet they used such bodies, in such a contemporary what is most important is how you utilise these format, to showcase their own ideals. On one hand, techniques for your own creative work, to give this revealed their contemplations towards their voice to what you wish to express. The greatest own art forms, and it was a form of ideological meaning lies in how you break down boundaries, revolution towards their teachers. On the other delve into the essence of humanity, and contemplate in response to ever-changing styles. I always say that neither tradition nor the contemporary are stagnant. The traditions of today could well have been formulated after years of experiment. And is tradition that of ten, a hundred, or a thousand years ago? They are vastly different, and continue to challenge our sence of self as time elapses. Hence, we need not rigidly preserve what we deem as the traditions of today. We should instead continue to experiment, evaluate, and question ourselves, in hope of discovering more exciting forms and content.

From Dibia, his theatre and his artistic endeavours, I see how the traditional and contemporary – usually viewed as binary opposites – continually and mutually push forward and evolve, thus redefining what it means to be traditional and contemporary.

My actors’ training as part of Practice Lab also has a methodology in its organisation, and part of it came from the exploration of a traditional actor’s body. The idea, however, is to use these methods as foundation, in order to ignite an actor’s own potential and ideas, giving them the capacity to develop as an artist, and to not limit themselves to the mere expression as an actor or craftsman. I believe that if one has a passion for the arts, one would not merely regurgitate the works of others, or simply imbibe a particular technique. It is more earnestly about wanting to express and explore. Up to a certain level, there is a methodology to the Practice Lab training process, beyond which there would come a need to question, deliberate, and even overthrow the original methods for a reorganisation. This enables attainment of technique mastery, and also development of independent thinking and an inquisitive spirit to view oneself and one’s own creations. This is how we truly become actors, artists and human beings, as we seek continuous self-improvement.