Between the Real and the Represented

“The purpose of playing…was and is, to hold, as ’twere, the mirror up to nature.”
– Hamlet

For hundreds of years, dramatists have reflected society through their work. Today, no longer satisfied with this form of representation, many contemporary theatre artists choose to confront reality more directly, using forms such as documentary theatre or theatre of facts. Through the process, reality becomes the material to be cut and pasted, collaged, or juxtaposed with other sources. In this workshop, conceptual artist Ching Chin Wai Luke looks at the concerns of contemporary artists and the ways in which new forms of representation are derived, and leads participants through a series of exercises that offer first-hand experience of creating work from real life. Examining the four festival productions chosen in the festival from a conceptual arts perspective, he also explores the development of contemporary theatre.

Date:
7 October 2018 (Sunday)

Time:
2:00pm–5:00pm

Venue:
HKRep Rehearsal Hall No. 1 (6/F, Sheung Wan Civic Centre, 345 Queen’s Road Central, Hong Kong)

Instructor:
Ching Chin Wai Luke

Language:
Cantonese 

Fee:
$200

Number of Participants:
20

Registration:
Limited capacity on a first come, first served basis. Please register online in advance.

REGISTER NOW

Adverse weather arrangements
Changes will be announced here if typhoon signal no. 8 or above is in force.

About Ching Chin Wai Luke


Ching Chin Wai Luke graduated with an MFA from The Chinese University of Hong Kong. An active conceptual artist and observer, Ching creates work that transcends conventional forms and disciplines and offers audiences a new perspective on life in the city. His unique practice and sly observations respond to and interrogate everyday cultural and political situations. In the past two decades, Ching has participated in a number of exhibitions and residencies at international institutions, including P.S.1 Contemporary Arts Center (US), Blackburn Museum and Art Gallery (UK) and the Fukuoka Asian Art Museum Residence Programme (Japan). He was the initiator of the recent “Please give security guards chairs” movement in Hong Kong.

  

The Remains of Our Memories

In the mainstream historical narrative, personal experiences and stories are often absent, overshadowed by the “grand narrative”, or simply viewed as trivial and unimportant. The idea of the “grand narrative” also affects contemporary artistic and theatrical expression, restricting both the creation and communication of creative ideas and aesthetics.

In this workshop, Li Jianjun, director of One Fine Day, takes us back to life as we experience it as individuals: to our personal histories and memories. Taking personal experience as the source of the creative spark, this workshop explores how our own life stories can be reassembled and transformed into performance, and leads to a discussion on the importance of theatre in consolidating a collective identity.

Date:
13 October 2018 (Saturday)

Time:
10:00am–1:00pm

Venue:
HKRep Rehearsal Hall No. 1 (6/F, Sheung Wan Civic Centre, 345 Queen’s Road Central, Hong Kong)

Instructor:
Li Jianjun

Language:
Mandarin

Fee:
$300

Number of Participants:
25

Registration:
Limited capacity. Please register online and submit your submit your application with a summary of your resume in Chinese.

REGISTER NOW


Adverse weather arrangements
Changes will be announced here if typhoon signal no. 8 or above is in force.


About Li Jianjun


Li Jianjun is a Beijing-based independent theatre director and the artistic director of New Youth Group. Recognised as one of the key directors and practitioners of Chinese avant-garde theatre, Li creates innovative productions that reconsider theatre as an artistic medium. In recent years, his works have received extensive attention due to their critical cultural stand and unique exploration of the aesthetics of theatre.

Major works include: A Man Who Flies Up To the Sky (Wuzhen Theatre Festival, China, 2015; VIE Festival, Italy, 2016; Ruhrfestspiele Recklinghausen, Germany, 2017); 25.3km Fairy Tale, a documentary theatre production performed on a bus (China, 2013-2014); the documentary theatre production One Fine Day (Beijing 2013, Hangzhou 2013 and 2017, Shanghai 2016, Shenzhen 2018); Metaphor of the Shadow (2012) and A Madmans Diary (2011), theatrical adaptations of works by Lu Xun; Betrayal, by Harold Pinter (2010); Nostalgic Stockholm Syndrome, a full-length original work (2010); Miss Extraordinary, a staged reading for “New Dramatic Art in China / Germany” programme at Goethe-Institute China (Beijing, 2009); The Sacrifice, a dancetheatre performance (2008); Plundering II (2008), a dance-theatre performance for “the Japanese Young Choreographers’ Project”; Plundering I (2007), a dancetheatre piece for “the Young Choreographers’ Project” and the Caochangdi May Festival.

  

Moving Entities

“We aren’t born men or women, or boys or girls either. At birth we are a weaving of liquids, solids and gels that are, in turn, covered by a strange organ whose extension and weight is greater than any other: the skin. It is this membrane that takes care of everything it contains, showing the appearance of a single unit that we call BODY. ”
– Paul B Preciado

Sometimes even small changes – in the way we move, breathe or present ourselves – can produce major transformations. This workshop provokes a moment of escape that frees participants to experiment with small changes in self-image, age, social position and gender and explore the effect of becoming someone else.

Motus’ recent shows are inspired by the desire to break down barriers of all kinds, both geographical and mental. Working collaboratively, they have created an ever-evolving community of ever-evolving bodies, ever-evolving entities. This brief workshop looks at ways of breaking down mental barriers with our bodies. The aim is to look for the critical point where transformation begins to be apparent, to take time to explore what is happening, to look at what happens once the point of transformation is crossed, and to reflect on what would happen if we moved beyond this point forever.

Date:
20 October 2018 (Saturday)

Time:
3:00pm–6:00pm

Venue:
HKRep Rehearsal Hall No. 1 (6/F, Sheung Wan Civic Centre, 345 Queen’s Road Central, Hong Kong)

Instructors:
Enrico Casagrande, Daniela Nicolò & Silvia Calderoni

Language:
English

Fee:
$300

Number of Participants:
20

Registration:
Limited capacity. Please register online and submit your submit your application with a summary of your resume in English.

REGISTER NOW 


Adverse weather arrangement
Changes will be announced here if typhoon signal no. 8 or above is in force.

About Motus


Motus was founded in Rimini, Italy in 1991 by Enrico Casagrande and Daniela Nicolò. The group burst onto the scene with productions portraying the harsh contradictions of present day life, creating theatre shows, performances, installations and videos, and conducting seminars and workshops. The group have performed in festivals all over the world, from Under the Radar in New York, to Festival TransAmériques in Montreal, PuSh Festival in Vancouver, Santiago a Mil in Chile, the FIBA Festival in Buenos Aires, the Adelaide Festival in Australia, the Taipei Arts Festival in Taiwan, and diverse festivals in Europe. They have received a number of prestigious awards and recognitions for their work, including three Ubu Prizes.

 

Personal Pastiche with post

The Australian company post creates original works of theatre, devised and performed by the artists. In this workshop, post’s directors, Zoë Coombs Marr and Mish Grigor, introduce strategies for finding possibilities for performance from source material, and utilise personal stories and found text to help participants explore ways to begin new creative work and to analyse fresh and occasionally contradictory ideas. Taking post’s performance history as a starting point, they guide participants through a series of fun devising activities and big brainstorms on how to knit together critical thinking and strange hunches.

Date:
1 October 2018 (Monday)

Time:
2:00pm–5:00pm

Venue:
HKRep Rehearsal Hall No. 1 (6/F, Sheung Wan Civic Centre, 345 Queen’s Road Central, Hong Kong)

Instructors:
Zoë Coombs Marr & Mish Grigor

Language:
English

Fee:
$300

Number of Participants:
20

Registration:
Limited capacity. Please register online and submit your submit your application with a summary of your resume in English.

REGISTER NOW

Adverse weather arrangements
Changes will be announced here if typhoon signal no. 8 or above is in force.

About post
For thirteen years, Australian company post – Zoë Coombs Marr, Mish Grigor and Natalie Rose – have collaborated on work that straddles live art, theatre and contemporary performance. They take being silly very seriously, combining with a deep irreverence for the institution of theatre with a deep reverence for the magic moment of live performance. Since starting out in Sydney’s independent contemporary scene, they have been commissioned by some of Australia’s leading theatre companies and festivals, including Sydney Theatre Company (Who’s the Best?, 2011), and Belvoir & Sydney Festival (Oedipus Schmoedipus, 2014 premiere, 2018 international tour). Their latest work, Ich Nibber Dibber, premiered at Sydney Festival 2017, is currently touring nationally in Australia.

About Zoë Coombs Marr


Zoë Coombs Marr, co-director of post, is a performer, writer, artist and comedian. Her latest show, Bossy Bottom, was nominated for a 2018 Helpmann Award. In 2016, her show Trigger Warning won the Melbourne International Comedy Festival (MICF) Barry Award for best show, the Golden Gibbo for original independent work, and was nominated for a Helpmann Award and Best Comedy at Edinburgh Fringe. In 2012, her solo work And That Was The Summer That Changed My Life was awarded the Philip Parsons Young Playwright Award and nominated for Best Newcomer at the Melbourne International Comedy Festival. Other works include Dave (MICF 2013, Edinburgh Fringe and Soho Theatre, London), and her five-woman ensemble play Is This Thing On?, which won a Sydney Theatre Award for Best Ensemble and was nominated for Best New Australian Work.

About Mish Grigor


Mish Grigor, co-director of post, is a performance maker, writer and curator. Her work The Talk has toured extensively in Australia (Melbourne, Performance Space’s LiveWorks in Sydney, Darwin Festival) and the UK (Forest Fringe, Edinburgh, Buzzcut Glasgow, The Marlborough Brighton, and Battersea Arts Centre, London). Mish was awarded an Australia Council Experimental Arts Residency to travel to New York to embed herself within interdisciplinary arts centre EMPAC, in 2017-18. Other projects include Sex Talk (for Proximity at the Art Gallery of Western Australia) and performing with a range of companies and contexts – from a Noel Coward production with leading mainstage company Belvoir, to hosting a food fight for the Museum of Contemporary Art for Branch Nebula.