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Pratthana: A Portrait Of Possession by Okada Tosh
Asian Theatre Journal Pub Date : 2020-01-01 , DOI: 10.1353/atj.2020.0004
David Jortner

Staged as a part of the “Asia in Resonance” series and presented by the Japan Foundation Asia Center, Pratthana was the result of an extended collaboration between Thai novelist Uthis Haemamool and Japanese playwright/director Okada Toshiki. Originally premiering in Bangkok, followed by a tour in Paris before being presented in Tokyo, Pratthana combines Okada’s physical actor vocabulary and strong visual style with Haemamool’s powerful story of sexual experimentation and political dissidence. Staged in Thai (with Japanese and English subtitles), the play, although four hours long, was a fascinating examination of the multiplicity of ways in which issues of art, sexuality, freedom, politics, and responsibility (both political and personal) intersect. The play tells the story of Khao Sing, an artist who lives in Bangkok. Sing tells his model, Waree, about his past; he focuses on his sexual exploits from his dalliance with a poetess in the early 1990s to his polyamorous relationship with a female artist and a male video store clerk in 2006. The audience also sees the relationship between Waree and Sing set against the backdrop of the 2014 coup d’etat. The thematic linkage of sexual and political freedom is, of course, not new; one thinks of plays such as La Ronde and Spring’s Awakening (both written in the 1890s) that also addressed these joint issues. What makes Pratthana especially interesting are the questions of responsibility, ethics, and

中文翻译:

Pratthana:Okada Tosh 的占有画像

作为“亚洲共鸣”系列的一部分,由日本基金会亚洲中心呈现,Pratthana 是泰国小说家 Uthis Haemamool 和日本剧作家/导演冈田俊树之间长期合作的结果。Pratthana 最初在曼谷首映,随后在巴黎巡演,然后在东京上映,将冈田的身体演员词汇和强烈的视觉风格与 Haemamool 的性实验和政治异议的强大故事相结合。该剧以泰语(带日语和英语字幕)上演,虽然长达四个小时,但却是对艺术、性、自由、政治和责任(政治和个人)问题交叉的多种方式的迷人考察。该剧讲述了居住在曼谷的艺术家考辛的故事。Sing 告诉他的模特 Waree,关于他的过去;从 1990 年代初期与女诗人的调情,到 2006 年与女艺术家和男音像店店员的多情恋情,他专注于自己的性剥削。观众还看到了以 2014 年为背景的 Waree 和 Sing 之间的关系政变 当然,性自由和政治自由的主题联系并不新鲜。人们会想到《圆舞曲》和《春天的觉醒》(均写于 1890 年代)等戏剧,它们也解决了这些共同问题。使 Pratthana 变得特别有趣的是责任、道德和 观众还看到了以 2014 年政变为背景的 Waree 和 Sing 之间的关系。当然,性自由和政治自由的主题联系并不新鲜。人们会想到《圆舞曲》和《春天的觉醒》(均写于 1890 年代)等戏剧,它们也解决了这些共同问题。使 Pratthana 变得特别有趣的是责任、道德和 观众还看到了以 2014 年政变为背景的 Waree 和 Sing 之间的关系。当然,性自由和政治自由的主题联系并不新鲜。人们会想到《圆舞曲》和《春天的觉醒》(均写于 1890 年代)等戏剧,它们也解决了这些共同问题。使 Pratthana 变得特别有趣的是责任、道德和
更新日期:2020-01-01
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