120
120
Timeline

1985—89
Apr 1985
Aug 1985
Sep 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
Apr 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
Dec 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
Jan 1995
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
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
Dec 1999
2000—04
Mar 2004
Mar 2003
May 2000
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
Nov 2002
Apr 2003
May 2003
Jun 2003
Jul 2003
Aug 2003
Sep 2003
Nov 2003
Dec 2003
Feb 2004
Apr 2004
May 2004
Jun 2004
Aug 2004
Sep 2004
Oct 2004
Nov 2004
Dec 2004
2005—09
Dec 2008
Feb 2005
Mar 2005
Jul 2005
Sep 2005
Oct 2005
Nov 2005
Dec 2005
Jan 2006
Feb 2006
Mar 2006
Apr 2006
May 2006
Jun 2006
Jul 2006
Aug 2006
Sep 2006
Oct 2006
Nov 2006
Jan 2007
Feb 2007
Mar 2007
Apr 2007
May 2007
Jul 2007
Sep 2007
Oct 2007
Nov 2007
Dec 2007
Apr 2008
Jun 2008
Jul 2008
Aug 2008
Sep 2008
Oct 2008
Nov 2008
Jan 2009
Mar 2009
Apr 2009
Jun 2009
Jul 2009
Aug 2009
Sep 2009
Oct 2009
Nov 2009
2010—14
Oct 2014
Apr 2014
Jan 2010
Apr 2010
May 2010
Jul 2010
Sep 2010
Dec 2010
Jan 2011
Jun 2011
Jul 2011
Sep 2011
Oct 2011
Nov 2011
Dec 2011
Mar 2012
May 2012
Jun 2012
Jul 2012
Sep 2012
Oct 2012
Nov 2012
Jan 2013
Feb 2013
Apr 2013
May 2013
Jun 2013
Aug 2013
Sep 2013
Nov 2013
Dec 2013
Feb 2014
Mar 2014
May 2014
Jun 2014
Jul 2014
Aug 2014
2015—19
Aug 2019
Dec 2014
May 2016
Nov 2016
Dec 2016
Sep 2015
Oct 2019
Feb 2015
Mar 2015
May 2015
Jun 2015
Oct 2015
Dec 2015
Feb 2016
Apr 2016
Jul 2016
Sep 2016
Oct 2016
Feb 2017
Mar 2017
Jul 2017
Oct 2017
Nov 2017
Jan 2018
Mar 2018
Apr 2018
May 2018
Jul 2018
Sep 2018
Nov 2018
Dec 2018
Mar 2019
Apr 2019
May 2019
Jul 2019
Sep 2019
Nov 2019
Dec 2019

˅ Hide
Programme Details
The Continuum: Beyond The Killing Fields (October 2001)
  • <<
  • <
  • >
  • >>


Key Words

Asian Theatre, Autobiography, Cambodia, Chapel Street Theatre, Classical Court Dance, Collaboration, Contemporary Dance, Contemporary Music, Dance Archives, Dance History, Dance Research, Dance Studies, Deconstructing the Exotic, Documentary Theatre, Electronic Music, History, International Festival of Arts and Ideas, Japan, Khmer Arts and Culture, Khmer Rouge, Killing Fields, Ogre Mask Dance, Oral History Archives, Pol Pot, Ramayana, Ritual, Robam Preah Reach Trop, Sampeah Kru, Sbek Thom, Shadow Puppetry, Singapore, Southeast Asia Studies, Survivors, Tenth Dancer, Traditional Performing Arts, Transdisciplinary Performance, Translation, War Crimes, Women Dancing Male Roles, Year Zero,


About

Bright red blood which covers the towns and plains of Kampuchea, our motherland, sublime blood of workers and peasants, sublime blood of revolutionary men and women fighters! — national anthem during Khmer Rouge bloodbath

Based on Pol Pot’s massacre of the royal court dancers of Cambodia, this documentary performance has played in USA, Berlin, Rotterdam, Vienna, Singapore, Phnom Penh and London. It traces the real life story of seventy-five year old Em Theay, master dancer of royal classical dance in Cambodia. This is a unique form of dance which has women cross-dressing in male roles. Em Theay has survived the scourge of the Khmer Rouge to live on, teaching her skills to the national troupe after the trauma. This story of dance passed through generations of mothers and daughters becomes all the more horrific when one learns that nine out of ten royal dancers, musicians, actors, playwrights, poets and artists were killed by Pol Pot in his fanatical attempt to set his country back to year zero.

Pol Pot’s vision was to realise a peasant nation of self-reliant agricultural work brigades modelled on Mao’s China. Reminiscent of Nazi Germany’s genocide of Jews, technicians, teachers, monks and doctors were executed. Those who spoke French, English or who had studied abroad, were likewise liquidated. Simply having fair skin or wearing glasses was cause of execution. Em Theay — often known as the tenth dancer — the one who survived, tells her story. Persecuted for being an artist, she never falters — a conscience, a memory of the gash which tore Cambodia apart… after 25 years, Cambodia still waits for its war crimes trials to come to fruition.



Tags



Location:>
The Bank Of China Warehouse, Robertson Quay, Singapore, Singapore
/

Date:>
25–28 October 2001
/

People:>
Concept & Director: Composer: Video Documentary: Light Design: Performers & Collaborators: Translator:
Sotho Kulikar.
Producer:
Tay Tong.
Production Management:
Fred Frumberg, Valerie Oliveiro.
Stage Management:
Lennie Lee, Valerie Oliveiro.
Collaterals:
Fanny Landrieu-Charignon, Valerie Oliveiro, Yuen Chee Wai.

Commissioned By:>

Produced, Managed or Presented By:>



Printed Matter

Click on thumbnails to view high resolution files.



Related Programmes



Filter

Showing 1 programmes



The Continuum: Beyond The Killing Fields (October 2001)


Genre:> Asian Theatre
,
Cambodian Classical Court Dance
,
Collaboration
,
Contemporary Dance
,
Documentary Theatre
,
Performance
,
Theatre
,
Traditional Performing Arts
,
Transdisciplinary Performance
,

Year:> 2021


View details