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Key Words
Abjection, Ambivalence, Asian Classical Literature, Collaboration, Contemporary Art, Contemporary Dance, Counter-Appropriation, Eating Disorders, Gender, Holocaust, Installation Art, Jing Hua Yuan (Destinies Of Flowers In The Mirror), Live Art, Ming Dynasty Chinese Literature, Outdoor Performance, Promenade Performance, Queer Studies, Singapore Writing, Site-Specific Theatre, Suntec City Fountain, Transdisciplinary Performance,About
One woman refuses to eat. She becomes the chosen one – to lead the women, the people, into a new era. She visits Gandhi, Karen Carpenter and Mother Theresa on a little island called Paradise. Hordes of women follow her – women who heal and perform miracles. The women have a glimpse of utopia in the Land of Women. They become a nation unto themselves – a nation of hungry ghosts. They are hunted by a man with a syringe – by the establishment.
Inspired by the Ming Dynasty classic, “Jing Hua Yuan”, and the Holocaust during World War II.
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Concept & Director:
Ong Keng Sen
Collaborators & Performers: ,
. Aida Redza
Writer: ,
Claire Wong,
Deborah Png,
Jeremiah Choy,
Lim Kay Siu,
Lim Yu Beng,
Low Kee Hong,
Matthew Ngui,
Sharon Lim,
Suhaila Sulaiman,
Tang Fu Kuen,
. Robin Loon
Installation Artist: ,
. Matthew Ngui
Choreographer: ,
. Aida Redza
Production Director: ,
. Tay Tong.
Production Manager: Tan Lay Hoon.
Technical Manager: Emmanuel Lee.
Stage Manager: Karen Loh.
Associate Stage Manager: Denise Pereira.
Wardrobe: Dian Tanmizi, Doreen Chen.
Stage Team: Agnes Tan, Clarrisa Von Riesen, Penny Ng.
Production: Cheryle Yin-Lo.
Set Construction: Kevin Draper.
Business Manager: Michele Lim.
Publicity: Leslie Lee.
Collaterals: Theseus Chan
Front of House: ,
, WORK. Elvan Ong, Julia Lim, Low Su Ming, Tilottama Shome-Sinha.
Ticketing: Norizah b Mohd Sabudin.
Administration: Michelle Bong.
Chief Muse: Janey Hou.
Photography: Tharm Sook Wai.
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. Printed Matter
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