Eva Behrendt was born in 1973 and studied History, Literature and Theatre Studies in Mainz, Dijon and Berlin. Since 2001, she has been a freelance editor for the magazine “Theater heute” as well as a writer for the “taz” newspaper, the public radio channel Deutschlandradio Kultur and others. She has been on the juries for the festival Impulse, the Berlin Senate, the Berlin Theatertreffen from 2008 to 2010, the festival Politik im Freien Theater (Politics in Independent Theatre) and for the Capital Cultural Fund.
Till Briegleb was born in Munich in 1962 and studied Political Science and German Literature in Hamburg. He has worked as a cultural journalist for the “taz” in Hamburg (from 1991) and for the weekly newspaper “Die Woche” (from 1997 to 2002), and, since 2006, as a freelance journalist for various newspapers and magazines. In 2006, he was chief editor of “art” magazine, and since 2007, he has been a staff writer for the “Süddeutsche Zeitung” and “art”. He has published work on various themes in the fields of architecture, art, cultural history and theatre. His essay “Die diskrete Scham” was recently published by Insel-Verlag in the Bibliothek der Lebenskunst. Briegleb was a member of the selection committee for the Berlin Theatertreffen from 2002 to 2005, and for the Mülheim playwrights’ festival, Stücke, from 2006 to 2013. He lives in Hamburg.
Respondents / Moderators
Lai Sim-Fong received an MA in Theatre Practice at the University of Exeter (UK) where she studied with master psychophysical actor trainer Phillip Zarrilli. She also studied German, Cultural Studies and Art History at the Chinese University of Hong Kong, Freiburg University (Germany) and UC Berkeley (USA). From 2014 to 2016, Lai was the dramaturg at Pants Theatre Production, where her main responsibilities were house programme design, audience development and outreach. She was also the dramaturg of Red and Attempts on Her Life by Hong Kong Repertory Theatre, and is currently working as a freelance dramaturg at the first Documentary Theatre Festival Hong Kong. Lai’s recent directing work includes Etiquette by Hong Kong Repertory Theatre and Spoken Light by Artelier. Her work has also been presented in the UK and Poland.
Vee Leong is a Hong Kong-based writer-director who engages in cross-media and cross-cultural collaboration. Dedicated to the research and practice of contemporary form and politics of text-based theatre making, she is also known for investigating socially loaded topics in an independent spirit. Recent works include: Who Killed the Elephant (2012), Martin Crimp’s The City (2014), Fragments of Stones and Gold (2015), and Kevin Rittberger’s Kassandra oder die Welt als Ende der Vorstellung (2017). Working out of the Cattle Depot Artist Village, Vee is currently Resident Director of On & On Theatre Workshop, one of Hong Kong’s pioneering contemporary theatre companies, as well as associate artist with the cross-disciplinary collective “orleanlaiproject”.
LOW Kee Hong
Low Kee Hong is the Head of Theatre of the West Kowloon Cultural District Authority. He is responsible for formulating the district’s artistic direction and strategies for Drama and Theatre Arts.
In this role, Kee Hong has overseen the launch and co-presentation of several projects, including the outdoor arts event series “Freespace Happening” and the world-wide exchange programme “International Workshop Festival of Theatre” – projects that have stimulated new discussion and discourse around contemporary modes of creation.
Before joining West Kowloon, Kee Hong was the Artistic Director and General Manager of the Singapore Arts Festival from 2009 to 2012. During that time, one of his key initiatives was the launch of “com.mune”, a year-long education and outreach programme designed to sustain the festival’s engagement with the public beyond individual shows. Kee Hong was also General Manager of the Singapore Biennale.
Janice Sze-Wan POON
Artistic Director of Hong Kong Dramatists Janice Sze-Wan Poon is a veteran theatre artist and cultural practitioner engaged in cross disciplinary playwriting, directing, dramaturgy, curating and theatre making. With a background in journalism, her work often investigates current social concerns. Poon has been recognised with the Asian Cultural Council Lee Hysan Foundation Fellowship and the Foreign and Commonwealth Office of the British Government’s Chevening Scholarship. Devoted to cultural exchange between Hong Kong and the international theatre scene, she has been a resident artist at The Lark Play Development Center in New York and the Odin Teatret in Holstebro, Denmark, and is also a frequent speaker and facilitator at international theatre conferences and festivals. Poon’s works have been presented in major cities in Europe, the US, China and other regions in Asia. And Then, I Float (2103) was awarded four major awards, nominated for the best play award at the Hong Hong Theatre Libre, and also invited as part of a cultural exchange project at the Schillertage festival in Mannheim, Germany; Small Waisted (2016) won the Multi-cultural Short Plays Competition organised by the International Theatre Institute (ITI).
WONG Kwok Kui
Dr Wong Kwok Kui earned his doctoral degree from the University of Tübingen, Germany, and is currently Associate Professor at the Department of Humanities and Creative Writing at the Hong Kong Baptist University. His staged plays include Pine Tree Under the Moon, Journey to Inferno, Defiance, Mount of Holy Statue, The Double Life of Chui Wai, Gods’ Forsaken Place, Winds of Change, The Square, Luting, and Century Old Dreams of a Fishing Harbour, Episode I & II. He is the author of the book Nietzsche: from Dionysus to Übermensch, and has translated a number of plays into Cantonese, including Blue Bird, Unschuld, Electronic City, Der Gute Mensch von Sezuan, and Diebe. In 2013, Wong was invited by the German Foreign Office to take part in the Theatertreffen in Berlin.
Playwright, director and part-time lecturer Yan Pat-to received a BA in English Literature from the University of Hong Kong, an MA in Sociology from the Chinese University of Hong Kong, and an MA in Playwriting from Royal Holloway, University of London. His English-language play A Concise History of Future China was selected as one of five works presented at the 2016 Theatertreffen Stückemarkt at the Berliner Festspiele, and was the first Chinese play ever selected. His Cantonese play White Blaze of the Morning, which premiered at the 2015 EMW Festival of Hong Kong Repertory Theatre, was awarded Best Play at the 8th Hong Kong Theatre Libre. Yan is also a committee member of The House of Hong Kong Literature.