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About

Aims to create projects, which will serve as platforms for international artistic exchange, and dialogue through intercultural activities, professional development, as well as performance creation and presentation.

"I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being."

About Arts on Location

Arts on Location founded in 2008 with aims to create projects, which will serve as platforms for international artistic exchange, and dialogue through intercultural activities, professional development, as well as performance creation and presentation.

Initially established to promote and encourage the evolution of traditional Thai performance arts, Arts on Location now together with its growing international theatre network and collaborators extends its intercultural programmes, facilitating international mobility for artists, enabling exchanges of theatre crafts and knowledge beyond local context.

Creative Director

Adjjima Na Patalung is a theatre director and producer who holds two MA degrees from Goldsmiths College and Middlesex University. She was the recipient of ITC’s Theatre Administrative Bursary, attached to Almeida Theatre (2006-7), and assist-directed with Sue Buckmaster as a Bursary Artist of Theatre Rites (2006-8). She was nominated by the International Association of Theatre Critics Thailand as Best Director for “The Chair” in 2013.

Na Patalung’s passion in intercultural exchanges and international mobility in theatre took her to work in the UK, mainland Europe and Thailand. Arts On Location (AOL) was established in 2008 to support her increasingly growing work within these areas.

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Adjjima Na Patalung

AOL has now grown into a Thai/UK organisation that works within theatre and internationally to create platforms for artistic dialogues through intercultural programmes and to facilitate international mobility for artists. The term “on location" reflects Na Patalung’s vision to work with artists not just by gathering them on location but to work with the awareness of being in that particular locality and its contexts.

In the past five years, AOL consistently produced self-funded workshops in England and Thailand, e.g. Zygmunt Molik’s “The Body Alphabet", Pig Iron School’s “Something from Nothing”, SITI Company’s “Viewpoints” and Michael Chekhov’s “Psychological Gestures”. AOL also organised Khon (Thai Mask Dance Drama) Workshop in partnership with the College of Dramatic Arts, Bangkok where artists from all over the world participated workshops in Bangkok led by the great and nationally renowned masters of the college.

Collaborators

Thai Associates

The College of Dramatic Arts, Bangkok

2 Rajini Road
Phrabaromaharajawang
Bangkok, 10200
Tel: 0066 2224 1408 , 0066 2225 0197

Visit Website
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Ajarn Rakop Pothiwes

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Khon project: Master (Yak/Giant)

He is the son of Ajarn Thom Pothiwes, a late Royal Khon artist (Giant) during the Reign of King Rama XI. Ajarn Rakop was born on January 7, 1934 in Bangkok. In 1945, he entered the College of Dramatic Arts, and was one of the of students to study at the college in the first year of its opening . Following his father, he chose to be trained as Giant, under the supervision of Ajarn Aram Indranut and Ajarn Yat Changthong. He received training as Hero from His Excellency, Luang Wiraswonggnam (Rum Idranut), Lady Paew Sanitwongsaenee and Ajarn Akom Sayakom.

After graduating with a certificate in advanced performing arts in 1960, he joined the government service as an artist in the Music and Drama Division, Department of Fine Arts until retirement. Because of his talent and great ability in the art of Khon, he was selected by present King, to be one of the artists to inherit the "Phra Pirab" Choreograph set, the most prestigious and sacred choreograph set of the art of Thai Dance. The choreography was passed on by Ajarn Jian Jarujaron in 1984 Drama. Ajarn Rakop was honoured as a National Artist in performing arts (dramatic arts-Khon) in 2004, and still continue his work at the Music and Drama Department as a senior advisor.

Ajarn Prasit Pinkaew

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Khon project: Master (Ling/Monkey)

Born on 13 November 1941, the 67-year-old artist in his younger days was very impressed by the monkey dancer in the Khon performance that he saw at a temple fair. Later when he went to study at the Dramatic Art School, his only passion was to play the monkey in the Khon. His talent in performing arts was acknowledged and further enhanced by Khru (Master) Kree Worasarin. After graduating with a certificate in advanced performing arts, he joined the government service as an artist in the Music and Drama Division, Department of Fine Arts and progressed in his career to eventually become the director of the Dramatic Arts College. Ajarn Prasit is a real expert in the monkey part in the Khon dance. He has invariably been assigned to play Hanuman and other leading monkey characters, such as Chui-chai Hanuman, Sukrip, Pali, Ong-khot, and Ninlanon.

He has performed the Khon mask dance at national and international functions. In addition, he created more gestures and movements for the monkey part in the Ramakian mask dance that the Department of Fine Arts performed at a royal cremation. He directed a number of Khon performances at the National Theater, taught the monkey part for the Khon dance, and gave public lectures at various education institutes. Ajarn Prasit is an artist who cherishes and carries on the tradition of Khon mask performances, especially the monkey part in Ramakian. Currently, he is an expert teaching Thai dramatic arts at Bunditpatanasilpa Institute, Dramatic Arts College, Department of Fine Arts.Mr. Prasit Pinkaew was honoured as a national artist in performing arts (dramatic arts-Khon) in 2008.

Ajarn Somsak Tadti

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Khon project: Master (Yak/Giant)

Ajarn Somsak Tadti is one of the most senior teachers/artists and a specialist in the art of Khon Dance Drama practice (Giant Character) in the present. He was trained by great masters of the Thai Classical Dance Drama and graduated with an MA in Performance Arts from Chulalongkorn University, Bangkok. Ajarn Somsak is also an enthusiastic researcher and took part in many subjects involving Khon performance such as the making of Khon masks, dance costumes, and music. He was one of the 2nd generation artists who was granted with the royal permission from the present King of Thailand to inherit the "Phra Pirab" Choreograph set, the most prestigious and sacred choreograph set of the art of the Thai Classical Dance and Drama. Along his artistic work history, he had created and reinvented many masterpieces such as Ron Norasingha dance suite (The Heavenly Lion man dance suite) a long lost dance suite, the Rum long-Soang-Tone (costume preparation/dressing up process dance) for the giant character and many more. In the present, Ajarn Somsak is working as a level 9 specialist instructor at the College of Dramatic Arts

Ajarn Chulachart Aranyanak

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Khon Projects Supervisor
Master (Yak/Giant)

Ajarn Chulachart Aranyanak is not only a teacher/specialist in the art of Khon Dance and Drama practice, but also Thailand's well-renowned Khon performer/choreographer. He has performed and choreographed at the National Theatre of Thailand, Sara Chalermkrung Royal Theatre and for numbers of Royal Celebrations. In the present, he is also the Chief Instructor of Noh Dance Drama of Japan at the College of Dramatic Arts. About his works of creation, by far, Ajarn Chulachart had developed and created many new Thai classical dance choreographies, for example, Thai Warrior Dance, Rabum Asurabongse (Giant Charactors Introductory Dance), Rabum Kotchasri (Mythical Lion Dance) and so on.

He had been invited to give a lecture on Thai Dance Drama in many countries, such as the Philippines and Japan. Ajarn Chulachart was one of the chosen third generation artists, under the present Monarch Reign, to inherit the "Phra Pirab" Choreograph set, the most prestigious and sacred choreograph set of the art of Thai Dance Drama .

Ajarn Pattanapong Arunyanak

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Khon Project Master
(Ling/Monkey)

Pattanapong Arunyanak is an award winning Khon performer and currently an expert supervisor in Khon Ling (Monkey) at The College of Dramatic Arts Bangkok. He works as a rehearsal choreographer particularly for Khon Ling amongst other nationally respected Khon experts, for the annual Royal Khon Performance under the patronage of Queen Sirikit at Thailand Cultural Centre. He has been performing for uncountable Khon Performances as part of royal events and ceremonies. He traveled to many countries as an exchange artist, propagating the knowledge about Thai traditional theatre arts and Khon. In 1987 he won Thailand Competition for Krabi Krabong (martial arts of weaponry) and again in 1988 for Klong Yao (Thai traditional musical instrument, tall drum).

Akarin Pongpandecha

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Akarin Pongpandecha

Over 20 years of training and practicing Khon (Thai Classical Mask Play) with various famous masters and grandmasters in the role of giant/demon. Involved in Khon activities in Chiangmai through cooperation with Chaingmai University from 2002-2004 and organised one of the biggest Khon performance in the North in 2004. Akarin currently teaching Khon to students at The Ban Plainern Palace Thai Dancing School and remain an active member of the Thammasart University Khon Troupe.

Manrutt Wongkaew

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Manrutt Wongkaew

Manrutt came from Bangkok ( Thailand ) where he obtained his first honours degree in Design at Chulalongkorn University . In the UK he studied fashion design at Central St. Martins before started his dance training at the London Studio Centre where he obtained his second honours degree in Theatre Dance. He then completed his Master degree in Dance Performance at the Laban Centre in 2006. He is currently undertaking the doctoral degree in Dance Studies at the University of Surrey where his thesis explores the relationships between contemporary dance and fashion advertising.

Professionally

Manrutt involved and performed in numerous theatrical productions and performance-based projects. In Anwesha Ahmed Company's Plasmas, Manrutt interprets Indian classical dance, Manipuri. He combines its dance vocabulary and recreates movements reside in a context of Western Contemporary Dance. Moreover, he involved in several workshops and research and development projects such as Theatre Rites and Shobana Jeyasingh: Action Point Project. In Summer 2006, Manrutt performed a role of Bunraki, in Madam Butterfly at the English National Opera which was directed by Anthony Minghella and Carolyn Choa. In 2005, Manrutt performed UK and international tour with Transitions Dance Company where he worked with various choreographers such as Rafael Bonachela, Henry Montes and Thomas Lehmen.
Besides contemporary dance Manrutt has his own cabaret act and performs in numerous corporate and commercial events. Manrutt also appeared on BBC 's Auf Wiedersehen, Pet's Special, Channel 4's Perfect Match, Dr. Marten's Fashion show and Trevor Sorbie International hair show.
To connect with his cultural root whilst living his everyday life in the foreign land, Manrutt has joined and performed traditional Thai theatre with Thai Dance Academy since 2003. He performed Thai Festival at Trafalgar Square in June 2010; Kohn, the final battle, at the Trafalgar Square in June 2008; and Ramakian at the Bloomsbury Theatre, London , in July 2005. The performances include numerous corporate events and festivals within the UK and Europe such as France , Czech Republic , Spain , Italy and Belgium as well as charity and fundraising events at the Thai temples around the UK.

International Associates

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Stephen Webber

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Stephen Webber

Stephen first came in contact with Anne Bogart and the Viewpoints while teaching the Suzuki Training at the SITI Summer Intensive in Saratoga Springs in 1994. Since then I have been working continuously with Anne and the SITI Company on the Viewpoints. I started teaching the Viewpoints at Saratoga in 1997 and I have worked with students on the Viewpoints and related topics all over the world and around the US ever since. The Viewpoints have their roots in the post-modern dance world of New York in the 1960s. But ultimately, the sources of the work go farther back to John Cage and Merce Cunningham and the renewed interest in Buddhism in America that arose around the middle of the 20th Century and continues to this day. In both trainings I teach, the central questions seem to be: 1- What is presence and how can we develop it? 2- What is the relationship between the audience and the stage? 3- What is my technique and how much mastery do I have over it?

The Viewpoints class will focus on the basic elements of the viewpoints as well as the role of sensation in helping the actor to be present in the space and visible on the stage or wherever they do their work, including in front of the camera. Students will work on developing open and conscious movement, practice developing and working with an ensemble, learn the basic philosophy of the viewpoints, and practice being seen while discovering their own work. The Viewpoints work is a Pandora's box that continually opens up new areas of interest and research in an actor. We will go as deep as we can.
http://www.stephenwebber.net

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Quinn Bauriedel

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ABOUT Pig Iron COMPANY and The Pig Iron School for Advanced Performance Training (APT):

Quinn Bauriedel

Pig Iron Theatre Company, forged in 1995 to push the boundaries of what live performance could be, is a multidisciplinary ensemble based in Philadelphia. The company has created over 25 original works over the past 16 years, performed both locally and internationally. The company have been called "one of the few companies taking theatre in new directions" in The New York Times, and has received numerous awards for their work, including 9 Barrymore awards and an OBIE Award (2004-Hell Meets Henry Halfway). In 2010 co-artistic directors Gabriel Quinn Bauriedel, Dan Rothenberg, and Dito van Reigersberg won a Fellow award granted by Unites States Artists

In 2011, Pig Iron School for Advanced Performance Training (APT) was founded. It offers a two-year post-graduate program for performers and directors rooted in Pig Iron's own methods of physical and ensemble-based theatre
http://www.pigiron.org/>

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Jorge
Parente

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Jorge Parente

In 1992, Jorge Parente met Zygmunt Molik (Co-founder of the Laboratory Theatre of Grotowski) for the first time in Paris. This "encounter with a remarkable man" formed a master-student relationship and support over a long period. Indeed, for 18 years, Jorge had been Zygmunt Molik 's close assistant, then a successor, to teach Molik's method of physical actions "Alphabet of the Body.

Currently, Jorge teaches and transmits the method of Zygmunt Molik in France, Portugal, Brazil, Netherlands, Thailand and Poland.

http://jorgeparente.com/

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Nicolau Antunes

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Nicolau Antunes

A theatre facilitator, Nico was trained in Portugal as an actor, studied theatre directing in London and Moscow and has been teaching acting and improvisation at University of Evora, Portugal since 2007. He worked as an actor since 1993, although in the last years he has been mainly teaching and directing.

Project

Thai Classical Mask Dance Theatre workshop and International Programme

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Khon (Thai Mask Dance Drama) Workshop

For whom Theatre/ performance art practitioners, namely dancers, actors, physical theatre performers, directors, choreographers and drama/performance Students (Undergraduates & Postgraduates)

Arts on Location and the College of Dramatic Arts are to collaborate for a cultural programme, "Khon (Thai Classical Mask Theatre) Workshop for International Artists". Artists from all over the world are welcome to apply for two training programmes; 5 day Intensive Khon Workshop and 3 weeks Training Residency: An Introduction to Khon, led by the great and nationally renowned masters of the College of Dramatic Arts, Bangkok

Arts on Location has organised this workshop in Bangkok in order for the participants to experience and train in this traditional theatre form on location. Therefore the participating artists will discover the cultural context and environment in which this theatre practice was born and developed. Arts on Location's anthropological approach aims at providing not only a high quality theatre workshop but a well-rounded cultural experience as well.

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Taking place in Bangkok, this workshop is a skill-developing cultural programme aiming at performance artists and theatre practitioners from all over the world who have a strong interest in gaining good grounding knowledge in the art of Khon. The participants can choose to take part in either 5 day Intensive Khon Workshop or 3 weeks Training Residency: Introduction to Khon. Both training programmes are designed for artists who have little or no knowledge of Thai theatre. (Please click on a workshop for further information.

5 Day workshop

5 Day Intensive Khon workshop

Date: TBC

Hours: 10.00-16.00 (including Lunch break)
Place: The College of Dramatic Arts, Bangkok
Fees: 8,000 BHTs/ 160 GBPs/ 200 Euros/ 260 USDs
* The Fee also includes a set of Pah Daeng (red fabric worn during the training), and ceremonial food and flowers)

3 Week Training

3 Weeks Training Programme: Introduction to Khon

Introduction to Khon

The focus of the 3 week training will be on Khon with a subsidiary subject taught each week. The following subsidiary subjects will compliment and enrich the participants' learning experience: Krabi Krabong (Thai Weapon Arts), Nang Yai (Shadow Puppets), Muey Thai(Thai Boxing). If demand is high, there is a possibility of arranging for additional subjects, such as Thai Classical Music, Thai rod puppets, and Hun Lakorn Lek (Thai Puppets), etc.
Notes: Hun Lakorn Lek training will not be inclusive of the fees.

Dates: TBA :
(Arts on Location would like to ask those interested to attend this 3 weeks workshop to register their interests, and state the prefered period of attendance)
Hours: 10.00-16.00 (Monday to Friday)
Place: The College of Dramatice Arts, Bangkok
Fees: TBA

Contents :
  • Study of the main characters Yak(Giant), Ling(Monkey), Phra(Hero), Nang(Heroine)
  • Physical behaviour of these characters
  • Exercise to acquire the language of gestures appropriate for each mask (Mae Tha)
  • Study of the War scene from Ramayana Epic
Lectures :
  • Thai culture and religion and its influence on the arts
  • Brief History of Khon History and the Ramayana
Subsidiary Subjects :
  • Nang Yai (Thai Shadow Puppetry)
  • Krabi Krabong (Sword fighting)
  • Muey Thai (Thai traditional boxing)
  • Thai Classical Music
  • Hoon Lakorn Lek

Note: The Timetable will be provided prior to the beginning of the training programme.
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International Programme

"In 2012, Arts on Location is expanding its inter cultural programming by bringing contemporary theatre training to Bangkok. The new programmes in 2012 will include two theatre practices from the West"

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- The Body Alphabet: For The Sung and Spoken Voice

For actors, singers, dancers, musicians and for everyone who desires to sing. Explore the unknown.
Discover your own vocal identity through experimentation with the body and voice.

Workshop now open for application, click for more details

- Clown (workshop coming soon)

Workshop's collaborator

- Something from Nothing: Devise and Collaborative Process

Learn the process of creating an ensemble-based work of theatre through Pig Iron's tried-and-true creation processes. Participants will be given performance assignments: themes, stories, characters, even a piece of music which must be solved as an ensemble. The playwriting and directing duties will be shared among the ensemble, and decisions will be made collaboratively.
This workshop emphasizes generating original material, physicalizing characters and theatrical ideas, structuring group improvisations into finished pieces and the role music and rhythm play in theatrical creation. Participants will work on taking material developed through improvisation and turning it into pieces that are precise, full, exuberant, and moving. The workshop will culminate in an open showing of short works created over the course of the program.

Workshop's collaborator

- Viewpoints

The Viewpoints is a technique of improvisation that grew out of the post-modern dance world. It was first articulated by choreographer Mary Overlie who broke down the two dominant issues performers deal with - time and space - into six categories. She called her approach the Six Viewpoints. Since that time, Artistic Director Anne Bogart and SITI Company have expanded her notions and adapted them for actors. The Viewpoints allows a group of actors to function together spontaneously and intuitively and to generate bold, theatrical work quickly. It develops flexibility, articulation, and strength in movement and makes ensemble playing really possible.

Collaborators;

Workshop's collaborator

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