Thong Lor Art Space (TLAS) continues to be Bangkok’s most active venue, and not only in terms of presenting and producing local works. After hosting performances by Japanese company Shelve and the Philippines’ Daloy Dance Company during its “Low Fat Art Fest” last November, curator Wasuratchata “Leon” Unaprom has invited another Japanese company, Kaimaku Pennant Race (KPR), to stage “1969: Space Odyssey? Oddity!”
“Thanks to the support of the Japan Foundation, I watched this show at the Shimokitazawa Theatre as part of last year’s Tokyo Performing Arts Market (TPAM). It’s a small underground venue, and was jam-packed that evening. I chose to watch it because it was inspired by Jean-Paul Sartre’s ‘No Exit’ and the first human landing on the moon. I had so much fun. I was amazed and excited by its presentational style and was also impressed by the performers’ energy and the director’s unique vision. The show is innovative and beautiful and at the same time so wacky and out-of-the-box that it’s hard to describe,” Wasuratchata says.
“I talked to the director Yu Murai after the show and, after more research, I found out that he’s one of the most remarkable directors in contemporary Japanese theatre, having won many national awards. ‘1969’ was also later staged at Festival OFF d’Avignon.”
In his director’s note, the Japanese writer states: “If within the arts, theatre represents the spectacle of our bodies, it means it takes on an individual aspect and transcends the space on the stage as well as the language furnished by the play, and connects with a broader universe. Audiences of this performance will experience the expanse of this universe through seeing three performers’ bodies decaying in a repetition of repression and release, like how light from a collapsed star reaches us millions of light years later. Together we arrive at the horizon of this universe, where the audience will surely be able to find their own origins. You never notice your own wonder because you are too close.”
He tells XP in our interview, |”I was inspired by Japan’s current situation for which there is no way out. Many Japanese people still experience unprecedented disaster and they’re considering the issue of ‘existence’ again. I can see Japan’s current situation in the world where we can’t escape in Sartre’s play. [As you may notice in the title of this work] I was also inspired by Stanley Kubrick’s film and David Bowie’s songs. That gave me the idea ‘The world lives in 1969 repeatedly’. Kubrick’s film ‘2001: Space Odyssey’, which was released in 1969 is ‘the first and the last 1969’ and David Bowie’s song which was also released in 1969, says ‘1969 eternally’. Also the recent death of Bowie means he lives in ‘1969 eternally’.
“I chose performers who can overcome language boundaries,” he continues. “That’s the greatest asset for getting the audience involved in our show.”
Murai adds that he is very much looking forward to KPR’s Thailand debut next Saturday.
“Some may feel this work is a piece of art, and others may regard it as entertainment. Whatever the case, I would be glad if they can find a way to |simply enjoy themselves.
“I am really looking forward to seeing a Thai audience who loves theatre. We will be delighted if we can also build a new relationship with Thai theatre people and create a new work together. We performed ‘Romeo and Toilet’, which is supported by Setagaya Public Theatre, in Tokyo two months ago and I’d like to show this work to the |Thai audience as well.”
The writer wishes to thank Yuka Ehara for translation assistance.
IF YOU GO
< KPR’s “1969: Space Odyssey? Oddity!” is at Thong Lor Art Space (BTS: Thonglor) from April 30 to May 8.
This source first appeared on The Nation Life.