Key WordsAbjection, Absence-Presence, Absent Mother, Adaptation, Ajaeng, Ambivalence, Anamorphosis, Appropriating Shakespeare, Asian Shakespeare, Asian Theatre, Collaboration, Contemporary Art, Contemporary Asia, Contemporary Dance, Contemporary Japanese Theatre, Contemporary Music, Contemporary Theatre, Contextualization, Counter-Appropriation, Critical Reflexivity, Decolonisation, Deconstruction, Detranslation, Differences, Digitalization, East Asia, Encounter, Eugenio Barba's Decided Body, Folk Music, Fukuoka Art Museum, Fusion Of Pop And Traditional Music, Gender, Gender Fluidity, Healing, Histories, Humans Representing Puppets, Hybridity, India, Individual, Indonesia, Installation Art, Internal Alterity, International Summer Festival Hamburg, Intersectionality, Interweaving, Japan, Juxtaposition, Kampnagel, Kathakali, Korea, Korea-Japan Histories, Korean Percussion, Kudiyattam, Live Art, Margi, Marginalized, Marstall Munich, Methodology Of Drafting And Redrafting Performance Texts, Mondialization, Multilingual Theatre, Multiple Actors Playing One Character, Multiple Realities, Multiplicities, Munich Dance Festival, Music Theatre, Myanmar, Myanmar Marionette Dance, Myanmar String Puppets, Negative Space, Negotiation, New Asia, New Millennium, Non-Monolithic, Open, Optima Playhouse, Othello, Parallel Performance Texts, Patriarchy, Play, Politics of Transcultural Performance, Porous, Post-Human, Postcolonialism, Puri Percussion Ensemble, Queer, Race Studies, Racism, Reconstruction, Reinvention As A Political Action, Reinvention Of Tradition, Representation Of Asia, Ritual Theatre, Samul Nori, Sanskrit Theatre, Shadows, Shaman, Singapore, Singapore Arts Festival, Stereotype, Sustainability, Symbolist Theatre, Technology, Telstra Adelaide Festival, The Flying Circus Project, Touring Production, Traces, Traditional And Contemporary Continuum, Traditional Performing Arts, Transcultural Process, Transdisciplinary Performance, Transgender, Transgression, Translation, Video Art, Walter Benjamin's The Task of the Translator, Wayang Wong, Women Playing Men, Younger Generation Artists Trained In Traditional Arts,
Desdemona is a dreamscape of discovering the She within the He, of discovering the other within the self, of discovering another culture within one’s culture. The performance text of Desdemona can be said to conceptually be a shamanic journey intersected with contemporary visual art and the intercultural process. Through rethinking questions, ‘Desdemona’ turns its inspiration, Shakespeare’s Othello, completely on its head. ‘Desdemona’ is a multiplicity of cultural styles. Myanmar puppets weave into a Kathakali actress before performing as Othello. There are two Othellos, in fact, the other being a performer from the 1,500 year old Sanskrit theatre form Kudiyattum. The characters interface with video images engineered by two visual and installation artists from Singapore and Korea. Two musicians from Korea provide a soundscape, a fusion of traditional music and pop with percussion and ajaeng. Combining a youthful zest with the ancient music of the Korean court, the music can be said to be a symbol of the entire production.
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Beauty World (Feb 1998)
The Continuum: Beyond The Killing Fields
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