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Finding Homeland in the Languages: Chronology on Death, Readymade, and Outsider
January 4th, 2018Type: Performance
Author: Rikey Tenn Editor: Rikey Tenn
Quote From: 窮劇場,《窮有所本》(2017)
Note: This writing is inspired by the "The Theatre of Malaysian Chinese Literature" curated in 2015 by the Taiwan-based Malaysian artist Koh Choon Eiow, Wu Sih-Fong, & Au Sow Yee, in which Koh directed a piece “I am a Living Art Piece,” an adaptation of a Malaysian Chinese poet's work. The piece reflects on the role of" language "in performance space through juxtaposing the conceptual frameworks of “texts” & “theatre,” and unveils its potential in discussing such topics as “diaspora” & literary adaptation in the theater. As the starting point of a series of theatrical practices/reflections on how language as the vehicle of national identity works, in 2011 Ho Theater’s “Chronology on Death” fully demonstrated its enchanting capacity in manipulating language. By deconstructing & re-structuring language in the theater, “Outsider,” on the contrary, corresponded "intimacy" corresponds precisely to the topic of "not a home" in the post-colonial discourse.
Approaching Theatre, Outsider (2017); photo courtesy of 陳藝堂 & 窮劇場
Ho Theatre, Chronology on Death; ; photo courtesy of 陳藝堂 & 窮劇場
Approaching Theatre, Readymade (2016); photo courtesy of 黃志喜 & 窮劇場