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Currently: learning about clowning with masks!
THE COMPLETE WORKS OF KUO PAO KUN *Volume 6- Commentaries *Volume 7- Papers and Speeches *Volume 8- Interviews
Better to have a worthy failure than a mediocre success’ — Kuo Pao Kun Now available at BooksActually!
"And finally, don't go down this path just because you're 'good enough' to be a professional actor. For the love of God, do it ONLY because you cannot do anything else.
Always be brave and bold."
The Japanese director Tadashi Suzuki once stated, 'International cultural exchange is impossible - therefore we must try.' I agree with all my heart. The impossibility of seeing beyond one's own cultural context is a political act in the world and has the potential to break down the rigid assumptions surrounding us.
Anne Bogart
Noh Theatre presentation of Momijigari by the ITI students, at The Necessary Stage Black Box (6 March 2013)
View the full photo album here.
ITI OPEN HOUSE
Curious about studying Intercultural Theatre (Acting) in Singapore?
Then join us next Thursday from 11am-3pm for our first Open Studio. Spend some time in our classes and chat with ITI’s director, current students and alumni to find out more about the intercultural approach and the Professional Diploma in Intercultural Theatre (Acting).
When: Thursday 28 Feb, 11am - 3pm Where: ITI on Emily Hill, 11 Upper Wilkie Admission is free RSVP at [email protected]
For more details please got to: http://bit.ly/XmcbGN or visit: http://www.facebook.com/ITIsg
Back to school, post-CNY break!
Enrolment is open for 2014!
Join us for our first Open Studio day to find out more about pursuing further studies in contemporary theatre acting.
When: Thursday 28 Feb, 11am - 3pm Where: ITI on Emily Hill, 11 Upper Wilkie Road
Email [email protected] to register your attendance and/or for more details.
Our students rehearsing for their upcoming Noh Theatre presentations with Master Yoshimasa Kanze (centre). View the full album here!
What the papers white out
by Sudhir Thomas Vadaketh
Projections, pronouncements, proclamations. They herald the march forward, the fattening of the cow, the building of ornate temples, and the bringing of capitalist Gods. And yet they never tell you, my fellow kiasu, about the end of your childhood, the place you once knew. We are never told what the papers white out.
~
We are not told about the last makcik who can roll a green skin between her thick thumbs thick for the grip, but tender for the touch, thick for the carry, but thin for the burst, of gula, hitting, spraying, washing your mouth, in an explosion of epic, orgasmic, proportions. The last makcik is going, along with her last muncher, rolled off their sarongs by the mediocrity of acceptance and the influx of strange foods that follow newcomers, anywhere, everywhere in this world. "Every ondeh is good," Pierre says, "But every Macaroon is better." When money talks, the kuih walks.
~
We are never told what the papers white out.
~
We are not told about the last banyan tree, with roots so long and strong, Stretched by streams of bare feet devils, aching for a swing across the longkang, unafraid of monitor, unafraid of teacher, petrified of father, petrified of cane. They hide, then they swing, then they hide, til one day the dance is disturbed by the drill of destiny. For what use is swinging when prices are rocketing? When money talks, the banyan falls.
~
We are never told what the papers white out.
~
Because imagery and lyricism and poetry and song are, but distractions of the foolish, daydreams of the dilettantes, luxuries we cannot afford, luxuries we will never afford. They do not build white rectangles to live in, nor white clothing to worship, nor white papers to justify the desperation, the madness, paraded as logic, pragmatic, perfect, peerless, manna from the heavens, delivered by lightning, it strikes you in the heart, it eviscerates your soul.
~
We are never told, my fellow kiasu, what the papers white out; we are never told.
From our archives: Bharatanatyam classes
Finding art in the everyday.
(credit to Banksy)
The meaning behind the colours of Beijing Opera
Master Yoshimasa's handwritten notes for the students' upcoming Noh presentations
“An artist must be a reactionary. He has to stand out against the tenor of the age and not go flopping along; he must offer some little opposition.”
Evelyn Waugh (via theparisreview)