Veteran playwright Leow Puay Tin is intrigued by the methods used by a trio of young performance makers to sustain a 12-hour performance.
By Patricia Tobin (500 words, 5-minute read) A dark traditional Japanese Buddhist altar, or butsudan, stands tall onstage. Engraved gold hinges line the thick borders and towering, half-folded black doors, akin to an oriental treasure chest. Upon the tolling of a bell, two old women slowly push open the butsudan doors, inviting us into the
By Yen Nie Yong (870 words, 10-minute read) Zanele Muholi, recipient of the 2016 International Center of Photography’s Infinity Award for Documentaries and Photojournalism, had her piercing gaze fixed on one of Kyoto’s most well-known backstreets recently. She was looking at the cherry blossom trees that had shed all its pinkness and had turned
By Kathy Rowland (1484 words, 15-minute read) The Tokyo Performing Arts Market (TPAM) was established in 1995. In 2011, TPAM moved to the City of Yokohama, re-branding as the Performing Arts Meeting in Yokohama. The shift of location also signalled a realignment, from showcase to co-presenting, with a specific focus on Asia. Over the past
2016 was a busy year for theatregoers in Japan, and an especially fruitful one for those with an interest in Malaysia. The Kyoto Experiment 2016 (22 Oct – 13 Nov) featured the documentary theatre work, Baling by Mark Teh as its festival opening piece. It was produced by Five Arts Centre, one of Malaysia’s most