Just Chilling (2024)- participatory performance for One-day Stand No.1: Why So Myrts? Myyrmäki Arts Night

Organised by The Other Side Vantaa in collaboration with Catalysti Finland

ผลงานที่สร้างขึ้นเพื่อแสดงในงานครบรอบ 50 ปี ของเมือง Vantaa และงานประจำปีของย่าน Myyrmäki ที่ใช้ชื่อว่า Why So Myrtsi ครบรอบ 10 ปี

ตั้งแต่เราย้ายมาเรียนที่ฟินแลนด์ เราก็มาอยู่ย่านนี้แต่แรก เพราะหอนักเรียนสุ่มมาให้ แต่ก็ถูกใจมาก เพราะเป็นย่านที่ค่อนข้าง diverse มีคนหลากหลายเชื้อชาติ ผู้อพยพเยอะ ซึ่งชอบมาก เพราะซุปเปอร์ก็จะยิ่งหลากหลาย ที่นอกเหนือจากอันเดิมๆเจ้าใหญ่ๆที่มีทุกย่าน นอกเหนือจากนั้น ก็เป็นย่านที่ทำให้เราไม่รู้สึกแปลกแยกมาก ไม่เคยโดนเหยียดจนกระทั่งเมื่อต้นปีที่ผ่านมา...

ที่ทำให้เราตั้งคำถามกับตัวเองว่า เราควรจะรีแอคกับสิ่งที่เกิดขึ้นยังไง เราควรรู้สึกยังไงกับมัน การมีอยู่ของเรามันส่งผลอะไรกับคนเหล่านั้นมากเลยหรอ เขาถึงต้องปฏิบัติแบบนั้นกับเรา...

สิ่งที่เกิดขึ้นคือ เป็นวันธรรมดาๆที่เรากับแม็กซ์กำลังเดินไปซุปเปอร์ ฝ่าลมหนาว ความอึมครึมของอากาศ เป็นวันปกติธรรมดาวันนึง จนเดินผ่านวัยรุ่ที่ดูเป็นชาวฟินน์ผู้ชายสามคน ที่อยู่ๆก็ตะโกนประโยคภาษาจีนที่มีคำว่า 冰淇淋 (bīng qí lín) ใส่ แล้วก็หัวเราะใส่เรา แล้วก็เดินจากไป

อย่างแรก สมองประมวนผลไม่ทัน รู้จักอยู่คำเดียว ที่แปลว่า ไอติม แล้วยังไงนะ ทำไมนะ

เลยหันไปถามแม็ก ผู้ที่น่าจะเข้าใจภาษาจีนกว่า ว่าเด็กแก๊งนั้นเค้าตะโกนใส่เราด้วยคำนี้ทำไมนะ

แม็กเลยต้องอธิบายบริบท มีม ที่มาจากนักแสดง Fast & Furious 9 John Cena และการโปรโมทหนังด้วยการพูดภาษาจีนไปด้วย กินไอติมไปด้วย แล้วมันไวรัล วัยรุ่นก็เอามาจำมาล้อกัน

สรุปได้ว่า ก็คงเห็น หน้านี่ จีนมาก ไปทริคเกอร์ความรู้ภาษาจีนอันน้อยนิดที่มาจากคลิปไวรัล มาตะโกนใส่คนเล่นซะหน่อย

กระบวนการสร้างงานเลยเกิดจากคำถามที่ว่า เราจะจัดการความรู้สึกที่เกิดขึ้นยังไง เราต้องทำยังไงกับสิ่งที่เกิดขึ้น เราในฐานะคนๆนึงที่ไม่คิดว่ามีใครสมควรถูกปฏิบัติแบบนั้น จึงเกิดความพยายามที่จะเปลี่ยนพลังลบที่ได้มา เป็นพลังบวกส่งคืนกลับสู่คนรอบข้างในย่านที่เราใช้ชีวิต

ส่วนตัวเป็นคนชอบไอติมหลอด ทั้งในแง่ของการเป็นตัวแทนความทรงจำวัยเด็ก ราคาถูก เจอตามตลาดนัด งานวัด และชอบที่มันมีการเคลื่อนไหวตอน ‘ทำ’ ไอติม การหมุนถังซ้ำๆ เกิดเป็นจังหวะ สีสันของน้ำที่เลือกมาทำไอติม รสชาตหวาน เข้าถึงง่าย ทำให้สิ่งนี้เป็นตัวแทนแลกเปลี่ยนรอยยิ้มกับผู้คน และยังป็นแกนกลางของงานชิ้นนี้ แต่ที่ขาดไม่ได้เลยคือ เสียงเพลง ที่ออกแบบโดยเพื่อนชาวละคร ลูกครึ่งไทย-ฟินน์ Susi Siriya Orenius

ที่ผสมผสานความสนุกสามช่าไทยๆ กับคลิปเสียงไวรัล John Cena ออกมาได้อย่างมีชีวิตชีวา ประกอบจังหวะการหมุนถังไอติมของเราและคนดูที่มาร่วมด้วยช่วยกัน ที่ทั้งแลกเปลี่ยนเรื่องราว รอยยิ้มและไอติมไปพร้อม ๆ กัน

Since I moved to Finland with my partner about three years ago, Myyrmäki has been our home. We love our little walk to local supermarkets at Myyrmanni and Isomyyri. The neighborhood's diversity has warmed our home during the harsh Finnish winters. Not long ago, however, my partner and I walked to the Myyrmäki shopping centre to do some errands. I am Thai, with my Southeast Asian-looking features, walking with my partner as usual. Three Finnish-looking teenagers shouted 冰淇淋 (bīng qí lín) in my face as we walked by. After saying this to me, they laughed out loud and walked away. I was confused because I knew what it meant. 冰淇淋 bīng qí lín means ice cream in Chinese. But I did not understand the full context of why they were telling me this. Fortunately, I have an American partner who is fluent in Chinese. He understood what the teenagers were referring to. The teenagers were copying John Cena's viral line while promoting the film Fast & Furious 9 on his Tik Tok. When I understand the full context of the line they chose to throw at me. I asked myself.

How do I feel about this? Does my existence bother them so much that they have to shout at me? How should I deal with this?

Disrupting the quiet neighbourhood with my liveliness and BING CHILLING by offering ice-cream to the people of Myyrmäki! With a big smile and enthusiasm, I make ice pops and offer them for free to the people of Myyrmäki, together with the rhythm of tracks produced by Susi Siriya Orenius, a multidisciplinary Thai-Finnish writer and director. It also explores the playfulness between the gesture of ice-cream making and the natural social interaction between people, sharing moments and sweet treats as a means of bringing people together.

Photo credits to Aman Askarizad

4PM@515 a performance by FULLFAT theatre

It’s a performance that engages and allows performers to explore and answer questions about life, fears, dreams, relationships, and the future.

concept and direction by Nophand Boonyai

25 Nov 2023 16:00

At 515Victory Creative Space, Bangkok, Thailand

Memory field is a participatory performance that is designed to invite participants to engage and explore memories at any level of their choice. It aims to activate layers of memories through human interactions and collective activities.

Through the research process of this project, Tangmo dug back into her curiosity about the silenced history of the 6 October event or the Thammasat Massacre in 1976 in Thailand. Growing up in an authoritarian society such as Thailand, Tangmo finds it hard to locate a way to break the silence, not only about the particular incident but also about other aspects and issues of life. Even if she wants to do so, something internally is trying to stop her.

In this project, Tangmo is interested in using memory, both personal and collective, in a process of re-imagining and constructing a set of collective actions in an engaging setting. She juxtaposes a traumatic narrative with a memory card game as a way to open up a conversation. She collaborated with several Thai artists to discuss self-censorship and how to overcome it over time in our own ways. The artists were asked to design patches that represent the points of view of how they feel about the issue of self-censorship and how each of them is dealing with it.

The performance wishes to touch upon the intersection of memories, together. It aims to invite participants to visit everyday life matters and see what possibilities/memories could be evoked.

Let yourself in-

To a field of memories

On the ground

Laying down

Looking up to the sky

Our future has been buried deep underground

take it in and let it sink in-you & me

WORKING GROUP:

Concept and performance: Ladapha “Tangmo” Sophonkunkit (MA program in Live Art and Performance Studies, artistic thesis project for a Master of Arts)

Costume designer: Pin Nicha

Sound designer: Fluffypak

Graphic designer: Suwapat Rodprasert, Chiw Uparsin, Sirada Darikarnonta

Patch designers: Jayda Sakulpoonsook, Naraphat Sakarthornsap, Beam Wong, Maya Jett, Praejeen Kunawong (Jeen Ku), bo nawacharee, Banana blah blah, Julibakerandsummer, Thanakorn Dean Siriraks

Location: Mylly

Sörnäisten rantatie 19

00530 Helsinki

24.10.2023 at 18:00

25.10.2023 at 18:00

26.10.2023 at 18:00

27.10.2023 at 17:00

Photos: ©️ 1 by Nat Setthana

Photos: ©️ 2-5 by Antti Ahonen

We were nameless, weightless bodies – countless and small. We fit anywhere, but some were pushed aside, tossed, or lost. Fragments remained, visible. Clay-like, we molded to places, targets for sharp things. Muted mouths, feet stuck to roads. Our story: adapting, fading, echoing.

Encased within a private space, akin to a secluded box, participants are granted an opportunity to connect intimately with themselves in the midst of a bustling public setting.

Participants choose to take part in this private experience amid a public space, or to simply walk away. How connected are we as individuals in public? This performance is designed to give you the experience of confronting yourself where we do not expect. Participants above the age of 16 are welcome to enter the box.

Concept and direction: Homa Shokri (MA Programme in Directing)

Scenography: Marja Zilcher (TeaK)

Sound design: Pilar Miralles (Doctoral student at DocMus, Sibelius Academy)

Performers (in video): Edit Williams (BA in Acting Programme in Swedish), Pablo Ounaskari (BA in Acting Programme in Finnish)

Performer (live at the metro station): Tangmo, Ladapha Sophonkunkit

Video assistant: Anastasia Lapteva (BA in Fine Arts)

12 September 2023

13:00 – 19:00

At Helsinki University Metro station

Photos: ©️ 1-2 by Anastasia Lapteva

Photos: ©️ 3-7 by Homa Shokri

Helsinki Biennial 2023 edition

Created as a collaboration between anthropologists Yen-Ling Tsai and Anna Lowenhaupt Tsing, filmmaker Isabelle Carbonell, and farmer and translator Joelle Chevrier, the Golden Snail Opera is a multispecies enactment of experimental natural history. The golden treasure snail, first imported to Taiwan from Argentina in 1979 to start an escargot industry, is now a major pest for rice agriculture. While pesticides are often used in their extermination, a new generation of friendly farmers in Taiwan’s Yilan County hand-pick the snails and integrate them within the ecology of the rice paddy.

Yilan is also the home of Taiwanese opera, o-pei-la, a form of entertainment that is grassroots, amateur, and infused with a queer sensibility. Golden Snail Opera incorporates percussion from Yilan opera, combining it with the noises of snails, water, birds, and other beings. Rather than just forming an accompaniment, the sounds engage in a dialogue with the script, which combines material from interviews, participant observation, and imagination. Through video and text, various beings of the rice fields offer an enactment of harmonious coexistence.

For Helsinki Biennial 2023, screenings with live performance readings of the Golden Snail Opera was staged in June and August 2023.

Performers for Helsinki Biennial edition:

Students of Live Art and Performance Studies (MA) at University of the Arts Helsinki’s Theatre Academy: Stefanía Ólafsdóttir, Ladapha ‘Tangmo’ Sophonkunkit, Tina Jeranko.

Directing assistance for Helsinki Biennial edition:

Tuuli-Mariia Nilsson, Lecturer, Degree Programme in Acting, Theatre Academy

More information about the performance : https://helsinkibiennaali.fi/en/artist/golden-snail-opera/

Photos: ©️ HAM/Helsinki Biennial/Kirsi Halkola

Artists:

Satu Lähdeoja, Sofia Koski, Tangmo Sophonkunkit. Thank you Tatu Heinämäki, Essi Kausalainen, Satu Herrala, Kaino Wennerstrand, Marleena Halonen

Co-curated by:

Tiina Latva, Yen-Ching Lu, Rutger Blom, Myriam Gras, Martin Born

In three differently-themed performances, The Heiress will explore the idea of heritage and the organisation of inheriting as a momentous space of imagination for societies pressed between questions of continuity and transformation. In a game-like interplay, The Heiress will focus on and seek to imagine differently the distributions of agency around moments of heritage across its habitual, familial, economic, institutional, and cosmological dimensions: Who gets to determine what is inherited, and on what conditions? What is dictated? What expected? What owed? How can we conceive heritage as a space of shared political agency and imaginational negotiation?

The role of the performers in the piece will be to improvisationally embody human and nonhuman "characters" that connect in various ways in the heritage nexus, ranging from human figures to abstract ideas, from pieces of infrastructure to organic entities, and from archetypes to modifying processes. The improvisation will be directed in time by prompts in the form of character cards provided to the performers’ players by the audience players.

Event | Exhibitions | Performances

Fog is a cloud that touches the ground

Thursday 18.5. - Sunday 21.5.2023

Vuosaarentie 7, Helsinki

Photos: ©️ by Timjune Tianjun Li

——————

This performance is a part of the Fog is a cloud that touches the ground event

Fog is a cloud that touches the ground is a transdisciplinary event that brings together five curatorial projects presenting work in response to the shared theme of crisis. The projects delve into concepts of legacy, feminist narratives, informational skepticism, numbness and the state of being overwhelmed as a reaction to adversity. With work varying from textile and performing arts to sound and video installation among other media, the event invites you to reflect on your own relationship with divergent forms and representations of crises.

Bunk-bed performance as a part of BYOB (bring your own beamer) event by KINO CLUB

I offered the audience my bunk bed as a space to recall and present my memories from the all-girl boarding school I attended for six years with a video projected on the bedsheet. The video was mixed from my archive (footage from a last night at school and part of a music video that my friends and I made during high school time)

Saturday, February 4, 2023

19:00-22:00

At Vapaan Taiteen Tila

____________________

Kino Club is an international, Helsinki-based artist collective, curating thematic screening events and producing video art and exhibitions in Finland since 2017.

One-on-one performance as a part of the Shared Spaces 2022 installation

11 June 2022

At Lassilan Tila, Tuusula, Finland

Photos: ©️ by Tuure

”Skin Screen” a group performance by LAPS MA 2021 class: Yun-Chen Chang, Jessica Guez, Amanda Hunt, Tina Jeranko, Maija Linturi, Stefanía Ólafsdóttir, Ladapha Sophonkunkit & Onur Tayranoğlu.

12 November 2021

At Vantaa Art Museum Artsi, Finland

photo credit: Antti Ahonen

re-read live performance was a part of second hand dialogue exhibition. The exhibition aimed to collect human interactions through dialogues by recording short phone conversations of visitors, who volunteered to be recorded. I was invited to a part of this project to interpret transcribed dialogues and created a staged-reading from those dialogues.

With two performers and six transcribed dialogues in front of a live audience, this was a great experience to interpret and read these real conversations out loud. It was standing room only for this event with performers scattered throughout the gallery. Because of the crowd, there was even a moment where I could not see Suphasawatt, another performer during the show.

The conversations flew across the crowd back and forth like we were making a phone call across the room. The last performance was the most memorable one. It was a conversation between a daughter and her now-deceased father. She called someone she knew and asked that person to be her dad. This simple dialogue moved me deeply and was a memorable goodbye for us all.

Directed and performed by Suphasawatt Purnaveja and Ladapha Sophonkunkit

second hand dialogue exhibition by Nawapol Thamrongrattanarit

2019

Photos: © bangkokcitycity.com

This performance was inspired by Thailand’s 6 October event or the Thammasat University Massacre. When I was young, I saw a second-hand book, and it had 6 October on its red cover. It grabbed my attention right away because October 6 is my birthday. I asked my father what it was about. However, he refused to talk about it. It was in my mind for years until I knew the reason behind his silence. October 6 is the anniversary of a brutal event of Thai student massacre in 1976. My partner and I worked together to develop my initial idea into nine pieces of performance. We chose to perform in a small gallery and also a chef’s table restaurant.

These intimate spaces created a warm and welcome feeling for the audience, like home. We intended to make them feel like they were invited to my birthday party. I wrote nine separate pieces of performance which were each linked to nine selected objects: a music box, a letter, a tube of toothpaste, a television, a cello, a children’s book, a polaroid instant photo, a cat bowl, and three songs.

Every night each member of the audience would choose one item that reminded them of some memory or the one they felt connected to. I got a different set of objects, so each night set of performances was different. I intended to play with the word memory both in the theme and in the process. Sharing and exchanging memories through my performance, the audience could interact and play along with me.

Solo performance by Ladapha Sophonkunkit

Written and directed by Vichapon Diloksambandh and Ladapha Sophonkunkit

June 1-18, 2018

at EKAMIAN

FULLFAT THEATRE

Siam Supernatural Tour was an immersive theatre piece that invited the audience to be part of the play. The audience was divided into two groups. Each group had a tour guide that would lead them to explore different routes in all the areas of a theatre venue, the Siam Pic-Ganesha Center of Performing Arts. On each route, the audience was taken to different parts of the venue (control rooms, dressing rooms, loading dock, stage, backstage, etc.) where scenes and installations were set. Throughout the show, the audience was allowed to participate and interact with the performers.

The show was in a mysterious theatre scheme, which invited the audience to explore and expose what they saw or what they were compelled to see. Also, they could collect a piece of different information and discover the hidden scenes along each route. At the end of the show, the two routes were merged, and audience members were encouraged to share their experiences.

For this production, I worked as a producer. It was a new experience for our team to create and manage a full-scale space and separate the play into two pieces. For some parts, the performers had to prepare to improvise and get ready for an unexpected situation. The management team had to be prepared as well because our priority was the safety of the teams and the audience.

Directed by Nophand Boonyai

Performed by Rattakorn Pantarak, Sorawis Chinsangthip, Varattha Tongyoo, Suphasawatt Puranaveja, Saifah Tanthana, Pantakit limthianlee, Jenwit Narukatpichai, Airin Sirawichetkul, Rattanachoke Kuncharoen, Nualpanod Nat Khianpukdee, Aomtip Kerdplanant, Korjai Ouiwatanapong, Nattaphan Boonlert, Kamolsuang Aksharanugraha

Aunyawan Thongboonrod (Cello), Maneerat Singhanart (Percussion)

2018

at Kbank Siam Pic-Ganesha Center of Performing Arts

FULLFAT THEATRE

This play adopted the concept of a radio drama to deliver the ideas. There were four narrative stories exploring different aspects of the lives of Bangkokians. Night-time stories from the streets of Bangkok were narrated back and forth, and crossed over one another. With the background of Bangkok’s night-time, these four monologues were from a taxi driver on his night shift, a guy who accidently got shot in a protest, a mysterious woman on her way to stop the rain, and an office worker who got stuck in Bangkok traffic and desperately wanted to pee. My main role was the officer worker. However, the story lines moved to and fro with all the actors moving from one role to another throughout the play.

Directed by Nophand Boonyai

Performed by Vichapon Diloksambandh, Ladapha Sophonkunkit, Kamolsuang Aksharanugraha, Kittphoom Wongpentak

Watanyu Niwatsaiwong (Drum), Arpawee Setabrahmana (Piano)

February 19 - March 2, 2018

at WAREHOUSE 30

FULLFAT THEATRE

My Mother’s Kitchen was a part of the celebration of the 500th anniversary of the First Pact of Friendship and Trade between Portugal and Thailand. It was premiered in 2018 in the Portuguese Ambassador’s residence. The play begins in the messy kitchen and dining room of Grandmother’s house with three generations of Thai women, two foreign men, and the secret recipe of a Portuguese-inspired Thai dessert.

The script was translated and published in three languages, Thai, English and Portuguese. The production was restaged three other times at Siam Pic-Ganesha Centre of Performing Arts, MAIIAM Contemporary Art Museum, and at the Foreign Correspondents’ Club of Thailand in 2019. Each time it was restaged in different venues, it gave a new vibration and tone of the play.

Written by Jaturachai Srichanwanpen

Directed by Pattarasuda Anuman

Performed by Nalinee Sitasuwan, Parida Wongrabieb, Nualpanod Nat Khianpukdee, James Laver, Kevin Colleary

2019/2018

NUNi Productions

This performance was a part of Galleries’ Night 2018. The concept was mainly about how Thai social structure shapes its people. The setting included four people laying in four old bathtubs filled slightly with water. The task for the people in the tubs was doing shoulders stands and holding their breath under the water whenever an officer-dressed person came into the room. The officer was holding a watering can and was also wearing heavy combat boots. If the officer saw anyone sit up in a rest position, she would go and push them back to the shoulders stand position and poured more water into the tubs. This piece represented the authoritarianism that we live in with military dictator for several years since the coup in 2014.

Directed by Nophand Boonyai

Performed by Vichapon Diloksambandh, Ladapha Sophonkunkit, Kamolsuang Aksharanugraha, Nophand Boonyai, Kittphoom Wongpentak, Sirima Chaipreechawit

February 10, 2018

at YELO House

FULLFAT THEATRE

This piece was a site-specific movement-based performance that was inspired by the space in Yelo House Gallery. The gallery is a former warehouse by the canal in the heart of Bangkok. The industrial structure of the warehouse was an integral part of the piece. The space was divided into four glass rooms. The audience could choose to focus one room or see all the flow as a whole big picture together because all the actions were happening at the same time.

The different levels of the rooms showed the hierarchy of the social structure and the absolute power of one group of people. In this system within this play, we hoped that there would be one who was brave enough to rise up to another level to make changes in this small society. My role was a girl in one room sleeping most of the time, not knowing what was happening outside. I could not see what was going on unless someone walked into my room. Finally, my character realized that she just had to step outside that room, to free by herself, and make a change.

Directed by Nophand Boonyai

Performed by Arthip Tanidteerachod, Pishai Latthasaksiri, Ladapha Sophonkunkit, Vichapon Diloksambandh, Kittphoom Wongpentak, Airin Sirawicketkul, Patrarin Panyanufatam, Kamolsuang Aksharanugraha, Phattharaphon Tongsuka, Pitsupee Ployninpet, Pitcha chanlamsa-ard

Watanyu Niyatsaiwong (Drum), Aunyawan Thongboogrod (Cello), Arpawee Setabrahmana (Flute)

November 3-5, 2017

at YELO House as a part of Bangkok Theatre Festival

FULLFAT THEATRE

24 Hour Play Festival is a time-limited theatre lab by Crescent Moon Theatre. Selected playwrights, directors, and performers are invited to produce plays within 24 hours together. Plays are written, rehearsed, and performed on the same day. In 2014, I participated and the production was a musical piece, and I had to remember all the lyrics and melody in less than eight hours. It was very challenging and fun to be part of this. This play was developed into full production later on. Unexpectedly, all three plays which I was involved in were about political issues. The time-limitation urged me to give everything I have to perform on the stage. It was one of the most unforgettable experiences in my professional career.

2018/2015/2014

Crescent Moon Theatre

Co/exist was the first performance launched by FULLFAT Theatre company. It was premiered in 2017 at Warehouse30 and restaged in 2018 at the Bangkok Art and Cultural Centre, as part of the Bangkok International Performing Arts Meeting (BIPAM). The play was a nonlinear play performed in English with Thai surtitles. The stage was designed for the audience to see every part at all times. With the setting of a white rectangular floor and a fluorescent rectangular light-screened box above, this neutral stage setting matched the way three stories switched across each other throughout the play. I was a producer for this show and also performed a tiny part.

Written and Directed by Nophand Boonyai

Performed by Pattarasuda Anuman Rajadhon, Sasithorn Panichnok, Grisana Punpeng, Punika Rangchaya, Peter Knight, Nophand Boonyai, Sorawis Chinsangthip

2018/2017

FULLFAT Theatre

This movement-based performance was a part of the Global Day of Action for Access to Safe and Legal Abortion event at Bangkok Art and Cultural Center. I was a girl who dressed in all-white with a red triangle on her abdomen. I was moving around in front of the building surrounded by a group of people who represented social pressure with the drum roll in the background. The performance depicted the social influences that suppress woman’s rights and shaped the laws against protection of women’s health.

Directed by Alexis Aquino Kaewwaen

Performed by Ladapha Sophonkunkit

2013

at BACC

The play was about friendship, love, loss, and the joy of life of three friends and a Chinese neighbor. The chaos begins when three friends witness the attempted suicide of their neighbor, who was found dead a few days later. They called this Chinese neighbor, “Mr. Smith.” His soul gets trapped in the mortal world for a few days. He visits these three friends and asks them to help him pursue his life’s goal. The play captures the moment of the middle-aged life crisis in an absurd and satirical style.

I acted in supporting roles, Mr. Smith’s daughter, the news reporter, the imaginary friend of the playwright, and a soap opera character who comes and goes throughout the play.

Written and Directed by Nophand Boonyai

Performed by Pattarasuda Anuman Rajadhon, Nophand Boonyai, Suphasawatt Purnaveja,

Nikorn Sae-tang, Orada Lelanuja, Ladapha Sophonkunkit, Vichapon Diloksambandh,

Kittphoom Wongpentak

2016

at Kbank Siam Pic-Ganesha Centre of Performing Arts

This project by Crescent Moon Theatre called for short scripts submissions from professionals and students all over Thailand. Seventeen scripts were selected and performed by volunteer actors and directors. The project aimed to collect and create an opportunity for new contemporary playwrights in the Thai theatre scene. The seventeen 10-minute staged-reading plays were performed in a small theatre called Crescent Moon Space.

2017

Crescent Moon Theatre

by Crescent Moon Theatre