- 2010年9月16日 (18:20 - 20:00)
- Fumi Dan
由黄秉冀 先生/女士 主讲的市民论坛
- 2010年9月18日(周六) 14:30-16:30
- IMS Hall
由詹姆斯. C. 斯科特 先生/女士 主讲的市民论坛
- 强权国家, 不受支配的人民
- 2010年9月17日(周五) 18:30-20:30
- IMS Hall
由毛里 和子 先生/女士 主讲的市民论坛
- 2010年9月18日(周六) 17:00-19:00
- IMS Hall
由王景生 先生/女士 主讲的市民论坛
- 2010年9月18日(周六) 13:30-15:30
- IMS Hall
“I want to offer a diverse range of choices”
IInitially, Professor Tadashi Uchino introduced the following three major attributes of Ong Keng Sen’s work.
- Interculturalism. Since the late 1970s, he has been active across a diverse range of cultures.
- Interaction between artists and an emphasis on process in creating work, epitomized by the “Flying Circus Project” initiated by his company, eatreWorks.
- The establishment of Arts Network Asia (ANA), a grant body which support the artistic collaboration among the Asian artists.
“Mr. Ong is proactive in an energetic way across Asia and the rest of the world. Not only his achievements to date, but his potential for the next 10, 20 and 30 years should be closely watched, as he is still so young” said Professor Uchino as he began to show some of Mr. Ong’s work on screen.
The First video was of the work entitled Lear, the script for which was written by the Japanese scriptwriter Rio Kishida, based on Shakespeare’s King Lear. Th e six actors in the project, all of who are of di erent nationalities, each speak lines in their own language, bringing the complexities of the current world onto the stage. Th e style of the play attracted a lot of attention, and Lear became the masterpiece which brought Mr. Ong to worldwide fame.
The next production was Continuum- Beyond the Killing Fields, which tells the real life stories of Cambodian artists who survived the deadly persecution of the Pol Pot regime. He created on the stage “a space for a dialogue with the dead”, and the combination of video and live performance made an extremely profound impression.
Thirdly came a work entitled Geisha, which focuses on stereotypical images of Japan. In this performance, he aimed to fuse generations, cultures, and genders, transforming our perceptions of things that were once taken for granted. His direction, incorporating traditional Japanese dance and Kabuki style, along with the combination of Shamisen (a Japanese traditional three- stringed musical instrument) and contemporary electrical sounds, fascinated all of the audience.
Fourthly came Sandakan renody, an exploration of the memory of war which was based on an interview with the son of Masaichi Yamamoto, who was executed for class B/C war crimes a er the Second World War: it asks what memories of war mean, and whose memories they are. Using exible expressions involving photographs, video and live performance, the work o ers the option of a wide range of interpretations, in a di erent way to o fficial versions of history.
The 1990s demanded classical expressions on the theme of restructuring standards, while the decade from 2000 onwards has seen the broad application of theater as documentary. Mr. Ong says “my method of expression is like making a quilt. We output by bringing together many individual parts, and sewing them together, which gives a whole range of possibilities, and stimulates the imagination of the audience.” Many of those participating in the public forum expressed their eager anticipation of future presentations of his playful and mysterious world view in the next decade, saying that they would like to see his work performed in Japan.