120
120
Timeline

1985—89
Apr 1985
Aug 1985
Dec 1985
May 1986
Sep 1986
Oct 1986
May 1987
Jun 1987
Aug 1987
Nov 1987
Feb 1988
Mar 1988
Aug 1988
Nov 1988
Jan 1989
Jun 1989
Aug 1989
Nov 1989
Dec 1989
1990—94
Feb 1990
Apr 1990
Jun 1990
Jul 1990
Nov 1990
Dec 1990
Jan 1991
Mar 1991
Apr 1991
May 1991
Jun 1991
Jul 1991
Aug 1991
Sep 1991
Oct 1991
Nov 1991
Dec 1991
Jan 1992
Feb 1992
Mar 1992
Apr 1992
Jun 1992
Jul 1992
Aug 1992
Sep 1992
Oct 1992
Jan 1993
Feb 1993
Mar 1993
Apr 1993
May 1993
Jun 1993
Jul 1993
Sep 1993
Oct 1993
Nov 1993
Jan 1994
Feb 1994
Apr 1994
May 1994
Jun 1994
Jul 1994
Aug 1994
Sep 1994
Oct 1994
Nov 1994
Dec 1994
1995—99
Mar 1995
Jun 1995
Jul 1995
Aug 1995
Sep 1995
Oct 1995
Nov 1995
Dec 1995
Feb 1996
Mar 1996
Apr 1996
May 1996
Jun 1996
Aug 1996
Sep 1996
Oct 1996
Nov 1996
Feb 1997
Mar 1997
Apr 1997
May 1997
Jun 1997
Jul 1997
Aug 1997
Sep 1997
Oct 1997
Dec 1997
Feb 1998
Apr 1998
Jun 1998
Aug 1998
Sep 1998
Nov 1998
Jan 1999
Feb 1999
Mar 1999
May 1999
Jun 1999
Jul 1999
Aug 1999
Sep 1999
Oct 1999
2000—04
Mar 2003
Mar 2000
Jul 2000
Dec 2000
Feb 2001
Mar 2001
Apr 2001
May 2001
Jun 2001
Aug 2001
Sep 2001
Oct 2001
Jan 2002
May 2002
Jun 2002
Jul 2002
Aug 2002
Sep 2002
Apr 2003
May 2003
Jun 2003
Jul 2003
Aug 2003
Sep 2003
Nov 2003
Dec 2003
Apr 2004
May 2004
Jun 2004
Aug 2004
Sep 2004
Oct 2004
Dec 2004
2005—09
Feb 2005
Mar 2005
Dec 2005
Jan 2006
May 2006
Jun 2006
Jul 2006
Aug 2006
Sep 2006
Mar 2007
Apr 2007
Sep 2007
Oct 2007
Dec 2007
Apr 2008
Jun 2008
Sep 2008
Oct 2008
Apr 2009
Aug 2009
Nov 2009
2010—14
Apr 2010
May 2010
Jul 2010
Dec 2010
Jan 2011
Sep 2011
Nov 2011
May 2012
Jun 2012
Sep 2012
Oct 2012
Nov 2012
Jan 2013
Feb 2013
Apr 2013
Jun 2013
Sep 2013
Dec 2013
Feb 2014
Mar 2014
Jun 2014
Jul 2014
Aug 2014
2015—19
Feb 2015
Mar 2015
May 2015
Oct 2015
Dec 2015
Feb 2016
Apr 2016
Jul 2016
Oct 2016
Feb 2017
Mar 2017
Jul 2017
Oct 2017
Nov 2017
Jan 2018
Mar 2018
Apr 2018
May 2018
Jul 2018
Nov 2018
Mar 2019
Jul 2019
Nov 2019

˅ Hide
Programme Details
Desdemona


Key Words

Abjection, 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,


About

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 be conceptually a shamanic journey intersected with contemporary visual art and the transcultural process. Through rethinking questions, Desdemona turns its inspiration, Shakespeare’s “Othello”, completely on its head.

Desdemona is a multiplicity of aesthetics: Myanmar puppets weave into a kathakali actress performing as Othello. In fact, there are two Othellos, the other being a performer from the 1,500 year-old Sanskrit theatre form, kudiyattum. All the time the characters are interfaced with video images engineered by two visual/installation artists from Singapore and Korea. Providing a soundscape are two musicians from Korea: a percussionist, and a highly skilled ajaeng (a zither played with a bow) player from a fusion traditional/pop group. Combining a youthful zest with the traditional folk music of Korea, the music can be said to be a symbol of the entire production.

This is a new wave Asian production featuring many younger generation artists trained in traditional arts. A unique factor in this production is the global experience of some of these artists. The artists of Desdemona have been exposed to their very local contexts in dynamic cities such as Seoul, or to highly traditional contexts such as the kratons of Jogjakarata or the temples in Kerala.

The different performers in Desdemona perform in their own languages and cultural styles. Yet they engage in a dialogue with each other, intersecting into a complex theatrical language.

Presented as part of the Telstra Adelaide Festival 2000.



Tags



Location:>
Optima Playhouse, Adelaide, Australia
/

Date:>
16 – 18 March 2000
/

People:>
Concept & Director: Collaborators & Performers: Writer: Visual Artists: Composer & Music Director: Set Design: Light Design: Costume Design: Producer:
Tay Tong.
Technical Director:
Kenny Wong.
Production Stage Manager: Associate Stage Manager:
Valerie Oliveiro.
Technical Management:
Lennie Lee.
Production Management:
Audrey Hoo.
Stage Team:
Andy Lim, Joyce Yao.
Costume Construction: Publicity:
Traslin Ong.
Rehearsal Translators:
Ma Chaw Su, Ma Khine Sabai Khin, Ma Mya San Aye, Oh Hae Jin, Pyo Su Kyoung, Tony Park, Vanessa Tay Lee Kiang.
Script Translators:
Bakdi Soemanto, E N Narayanan, Kwon Hyun Ah, Michiyo Sumida.


Produced or Managed By:>



Printed Matter

Click on thumbnails to view high resolution files.



Related Programmes



Filter

Showing 1 programmes



Desdemona


Genre:> Adaptation
,
Asian Shakespeare
,
Asian Theatre
,
Collaboration
,
Contemporary Art
,
Contemporary Dance
,
Contemporary Music
,
Contemporary Performance
,
Contemporary Theatre
,
Hybrid Live And Digitalized Performance
,
Installation
,
Intersectional Art
,
Live Art
,
Multilingual Theatre
,
Music Theatre
,
Post-Human Performance
,
Queer Performance
,
Shamanic Performance
,
Symbolist Theatre
,
Traditional Performing Arts
,
Transcultural Performance
,
Transdisciplinary Performance
,
Video Art
,

Year:> 2020


View details