內容簡介
Where are the people?：People’s theater in Inter Asian Societies
內容簡介
Where Are the People?
How Could the People’s Bodies Voice Themselves in the Form of
Theatrical Aesthetics?
At That Time, the Audience Really Stood Up.
In this evening, theater practitioners initiated the conversation with physical action. They engage with contemporary issues through their unique performance styles. From a discursive context, they enter the scene of resistance and undertake the labor of performance. Their performance is not just the preface to a series of dialogues, but also a witness to thirty years of People’s Theater.
“People’s theater” belongs to the people.
It is the theater created by the people and speaks for the people as it has appeared in history in diverse forms.
People theater in Inter-Asian Societies began to grow in a cross-region, which included Jakarta, Manila, Bangkok, Kuala Lumpur, Hong Kong, Tokyo, Busan, Maputo, Beijing, Shanghai, Hualien, Taichung, and Taipei. Through the writings and images written down by theatrical artists from these spaces, we can figure out the body aesthetics that carry historical conflicts and the experience to find the form and channel of expression, and continue for work of thinking and creation.
“People Theater” is nothing but a rehearsal for a revolution.
This book has reviewed and reflected on the half-century development of people’s theater in inter-Asian societies, demonstrates how the theatrical practitioners and artists in different communities strived to open various spaces, dealt with the censorship from the authoritarian regime to the neoliberal societies, and experimented with diverse aesthetics and local objects to address political issues.
▍Preface
“It is a collection with the premise that can motivate our critical thinking with bodily energy. It reflects how we realize the statement—‘Viewing as participating; audience as actors.’It is also a book where some keywords constantly appear, like resistance, politics, the oppressed, and conversation. With its humming buzz and murmur against the present situation, it is a collection of words refusing to remain silent.”— Lin Hsin I（Associate Professor at the Institute of Applied Art, National Yang Ming Chiao Tung University）
▍People’s Theater Practitioners
Asian People’s Theatre Festival Society (Hong Kong)／Assignment Theatre (Taiwan)／Centre for Applied Theatre, Taiwan (Taipei)／Grass Stage (Shanghai)／Langasan Theatre (Hualien)／Makhampom Theatre Group (Ching Dao/Bangkok)／Oz Theatre Company (Taipei)／Philippine Educational Theater Association, PETA (Manila)／Shigang Mama Theater (Taichung Shigang)／Teater Kubur (Jakarta)／Teatro em Casa (Mozambique)／Theater Playground SHIIM (Busan)／Trans-Asia Sisters Theater (Taiwan)／WANG Mo-lin (Taiwan)／Wiji Thukul (Solo)／Yasen no Tsuki (Tokyo)
▍Recommenders
Lai Shu-Ya ／Director, Centre for Applied Theatre, Taiwan
Chen Chieh-Jen／Artist
Chen Hsin-Hsing ／Professor, Graduate Institute for Social Transformation Studies, SHU
Chou Hui-Ling／Professor, Department of English, NCU
Hsu Jen-hao／Associate Professor, Department of Theater Arts, NSYSU
Kuo Li-Hsin／Professor, Department of Radio & Television, NCCU
Shih Wan-Shun／Associate Professor, Department of Taiwan Literature, NTHU
Yao Lee-Chun／A Director of Body Phase Studio–Guling Street Avant-garde Theatre (GLT)
▍Characteristics of this book
1.Beyond the geographical limitations of Taiwan and East Asia, combined the context of Inter-Asian societies and Third-World society, appreciate the theater work methods that are intertwined with folk culture and community traditions, and promote the practice of public theater.
2. This book focuses on depicting network relationships in specific historical periods, and explores how the cooperation and interaction of troupes in these heterogeneous regions occurred. And how do these interactions affect the characteristics and forms of popular theater organizations in the transition of different policies?
3. What this book looks back on is not only the continuation and development of troupes but also the sudden change or gap between new people theaters and old people theaters.
內容簡介
Where Are the People?
How Could the People’s Bodies Voice Themselves in the Form of
Theatrical Aesthetics?
At That Time, the Audience Really Stood Up.
In this evening, theater practitioners initiated the conversation with physical action. They engage with contemporary issues through their unique performance styles. From a discursive context, they enter the scene of resistance and undertake the labor of performance. Their performance is not just the preface to a series of dialogues, but also a witness to thirty years of People’s Theater.
“People’s theater” belongs to the people.
It is the theater created by the people and speaks for the people as it has appeared in history in diverse forms.
People theater in Inter-Asian Societies began to grow in a cross-region, which included Jakarta, Manila, Bangkok, Kuala Lumpur, Hong Kong, Tokyo, Busan, Maputo, Beijing, Shanghai, Hualien, Taichung, and Taipei. Through the writings and images written down by theatrical artists from these spaces, we can figure out the body aesthetics that carry historical conflicts and the experience to find the form and channel of expression, and continue for work of thinking and creation.
“People Theater” is nothing but a rehearsal for a revolution.
This book has reviewed and reflected on the half-century development of people’s theater in inter-Asian societies, demonstrates how the theatrical practitioners and artists in different communities strived to open various spaces, dealt with the censorship from the authoritarian regime to the neoliberal societies, and experimented with diverse aesthetics and local objects to address political issues.
▍Preface
“It is a collection with the premise that can motivate our critical thinking with bodily energy. It reflects how we realize the statement—‘Viewing as participating; audience as actors.’It is also a book where some keywords constantly appear, like resistance, politics, the oppressed, and conversation. With its humming buzz and murmur against the present situation, it is a collection of words refusing to remain silent.”— Lin Hsin I（Associate Professor at the Institute of Applied Art, National Yang Ming Chiao Tung University）
▍People’s Theater Practitioners
Asian People’s Theatre Festival Society (Hong Kong)／Assignment Theatre (Taiwan)／Centre for Applied Theatre, Taiwan (Taipei)／Grass Stage (Shanghai)／Langasan Theatre (Hualien)／Makhampom Theatre Group (Ching Dao/Bangkok)／Oz Theatre Company (Taipei)／Philippine Educational Theater Association, PETA (Manila)／Shigang Mama Theater (Taichung Shigang)／Teater Kubur (Jakarta)／Teatro em Casa (Mozambique)／Theater Playground SHIIM (Busan)／Trans-Asia Sisters Theater (Taiwan)／WANG Mo-lin (Taiwan)／Wiji Thukul (Solo)／Yasen no Tsuki (Tokyo)
▍Recommenders
Lai Shu-Ya ／Director, Centre for Applied Theatre, Taiwan
Chen Chieh-Jen／Artist
Chen Hsin-Hsing ／Professor, Graduate Institute for Social Transformation Studies, SHU
Chou Hui-Ling／Professor, Department of English, NCU
Hsu Jen-hao／Associate Professor, Department of Theater Arts, NSYSU
Kuo Li-Hsin／Professor, Department of Radio & Television, NCCU
Shih Wan-Shun／Associate Professor, Department of Taiwan Literature, NTHU
Yao Lee-Chun／A Director of Body Phase Studio–Guling Street Avant-garde Theatre (GLT)
▍Characteristics of this book
1.Beyond the geographical limitations of Taiwan and East Asia, combined the context of Inter-Asian societies and Third-World society, appreciate the theater work methods that are intertwined with folk culture and community traditions, and promote the practice of public theater.
2. This book focuses on depicting network relationships in specific historical periods, and explores how the cooperation and interaction of troupes in these heterogeneous regions occurred. And how do these interactions affect the characteristics and forms of popular theater organizations in the transition of different policies?
3. What this book looks back on is not only the continuation and development of troupes but also the sudden change or gap between new people theaters and old people theaters.
作者簡介
作者簡介
AUTHORS
Ratu Selvi Agnesia
A young female theater researcher active in Jakarta.
Glecy Cruz ATIENZA
A Professor at the College of Arts and Letters, University of the Philippines, Diliman, Quezon City.
AU Sow Yee
A guest writer for the online magazine No Man’s Land; Co-founder of Kuala Lumpur’s Rumah Attap Library and Collective.
BAEK Dae-hyun
A producer and an actor for the works of SHIIM.
Richard BARBER
A theater worker and independent scholar working as the co-director of Free Theatre in Melbourne, Australia and advisor to the Makhampom Theatre Group in Thailand.
Assane Alberto CASSIMO
A coordinator and founding member of Associação Teatro em Casa.
CHUNG Chiao
A playwright, theater director, poet, and the artistic director of Assignment Theatre.
Dindon W.S.
The Director of Teater Kubur.
Muhammad FEBRIANSYAH
A lecturer at School of Social Sciences, Universiti Sains Malaysia, Penang.
HAN Jia-ling
A history and rural education scholar and activist.
HONG Seung-yi
Currently working at Theater BAKK.
Hsiao-Chuan HSIA
A Professor at the Graduate Institute for Social Transformation Studies, Shih Hsin University.
KUO Liang-ting
An adjunct lecturer at the Chinese Department of National Chung Cheng University.
LEE Show Shin
An artist from community people’s theater and a family care worker.
LIU Hsin-hung
The main participant of Yuquan Training since 2015.
Adaw Palaf LANGASAN
The founder and director of Langasan Theatre.
WANG Chu-yu
A contemporary artist, performance artist, and curator based in Mainland China.
WANG Mo-lin
A theater director, performance artist and cultural critic Robin WEICHERT (Tokyo).
Robin WEICHERT
A t
AUTHORS
Ratu Selvi Agnesia
A young female theater researcher active in Jakarta.
Glecy Cruz ATIENZA
A Professor at the College of Arts and Letters, University of the Philippines, Diliman, Quezon City.
AU Sow Yee
A guest writer for the online magazine No Man’s Land; Co-founder of Kuala Lumpur’s Rumah Attap Library and Collective.
BAEK Dae-hyun
A producer and an actor for the works of SHIIM.
Richard BARBER
A theater worker and independent scholar working as the co-director of Free Theatre in Melbourne, Australia and advisor to the Makhampom Theatre Group in Thailand.
Assane Alberto CASSIMO
A coordinator and founding member of Associação Teatro em Casa.
CHUNG Chiao
A playwright, theater director, poet, and the artistic director of Assignment Theatre.
Dindon W.S.
The Director of Teater Kubur.
Muhammad FEBRIANSYAH
A lecturer at School of Social Sciences, Universiti Sains Malaysia, Penang.
HAN Jia-ling
A history and rural education scholar and activist.
HONG Seung-yi
Currently working at Theater BAKK.
Hsiao-Chuan HSIA
A Professor at the Graduate Institute for Social Transformation Studies, Shih Hsin University.
KUO Liang-ting
An adjunct lecturer at the Chinese Department of National Chung Cheng University.
LEE Show Shin
An artist from community people’s theater and a family care worker.
LIU Hsin-hung
The main participant of Yuquan Training since 2015.
Adaw Palaf LANGASAN
The founder and director of Langasan Theatre.
WANG Chu-yu
A contemporary artist, performance artist, and curator based in Mainland China.
WANG Mo-lin
A theater director, performance artist and cultural critic Robin WEICHERT (Tokyo).
Robin WEICHERT
A t