Yudi Ahmad Tajudin is a prominent Indonesian director who has brought his works to prestigious international art spaces like Berlin’s House of World Cultures and Tokyo’s Suzunary Theater and festivals like Indonesia’s Art Summit and Japan’s Spring Arts Festival Shizuoka. He is also a founding member, resident artist, and general director of Teater Garasi/Garasi Performance Institute, a multidisciplinary artist collective based in Yogyakarta, Indonesia.
His diverse portfolio includes collaborations with other prominent artists, national and international: visual artists Jompet Kuswidananto and Mella Jaarsma, contemporary music composer Tony Prabowo, Japanese theater company Rin Ko Gun and KuNauka and Japanese choreographer Akiko Kitamura. His critically acclaimed works range from contemporary opera, dance theatre, classical drama, performance art and classical Javanese royal court dance but Yudi’s own signature works, like Waktu Batu (Time Stone) project, Tubuh Ketiga (Third Body) and Je.ja.l.an (The Streets), have consistently shown his vision that Teater Garasi’s works serve as a way to read and examine their actual social context.
The country’s most cutting edge theater director who has brought Indonesia’s theater scene to the next aesthetic level, Yudi was named Tempo’s Director of the Year in 2006 and received Asian Cultural Council fellowship grant to spend six months in New York City to research the city’s extraordinary theater scene during its peak season in 2011-2012.
Ugoran Prasad is a fictionist, dramaturge, and performance researcher. He has been a resident artist and writer at Teater Garasi since early 2000s, and took part in some of the group’s main works. His fiction writing received few notable accolades, including as the best selected short story from Kompas Daily Paper in 2007. An editor for theatre research journal Lebur (2004-2010), his investment in the institutionalization of performance as a means of knowledge production is expanded as he served as a program manager at MSPI (Indonesian Society for Performing Arts), and as program director at Teater Garasi (2013-2014). He is a two-time receiver of Asian Cultural Council fellowship (2008 and 2010-2011), which he spent as a visiting scholar in the Performance Studies Department at New York University. He received an Erasmus Mundus scholarship at the MA program in International
Performance Research (University of Warwick and University of Amsterdam, 2011-2012), which he graduated with distinction in 2013. He currently lives in New York for his study at the Ph.D Program in Theatre at the Graduate Center, City University of New York. He is a founding member, a lyricist and a main performer of Melancholic Bitch, a modern-rock band based in Yogyakarta.
Alice Theatre Laboratory (ATL) is a Hong Kong theatre company, registered as a charitable organisation, that receives three-year grant from the Hong Kong Arts Development Council. ATL is devoted to experimental performances. In the 2008-2014 seasons, Seven Boxes Possessed of Kafka (première, rerun, Shanghai tour, Beijing tour and Macao Tour), Fear and Misery of the Third Reich (première, rerun and Beijing tour), Beckett on Stage II: Reminiscence & Traces, The Maids, 1001 Nights of Pasolini (première and rerun), One Hundred Years of Solitude (première and Beijing tour), Endgame (première and rerun) and Ten Utterances from Dreams were critically acclaimed and nominated for and received a number of awards for the Hong Kong Drama Awards and the Hong Kong Theatre Libre. The company was also invited to perform overseas for the purposes of cultural exchange. Recently, CNNGo has acclaimed ATL as one of the five most watchable Hong Kong theatre companies.
ATL is also a pioneer in Drama and Theatre Education. Promoting Drama in Education and Drama as Subject, ATL has been producing Theatre-in-Education programmes that suit the local education system since 2002.
Andrew Chan Hang-fai, Artistic Director of the Alice Theatre Laboratory, graduated from the Hong Kong Academy for Performing Arts (HKAPA) with a BFA (Hons) in Directing. He was awarded Outstanding Director from the Academy for his graduation production Woyzeck. Chan established Alice Theatre Laboratory in 2003, and has focused on directing experimental plays.
His recent directing works include Beckett on Stage: Silence & Whisper (7 short plays by Samuel Beckett, 2007), The Theatre of the Absurd Double Bill (Ionesco’s The Lesson, Pinter’s Mountain Language, 2008), Seven Boxes Possessed of Kafka (2008 première; 2009 rerun in HK; 2010 rerun in Shanghai and Beijing; 2011 rerun in Macao), The Fear and Misery of the Third Reich (2009 première; 2011 rerun in HK and Beijing), Beckett on Stage: Reminiscence & Traces (2009), The Maids (2010), 1001 Nights of Pasolini (2010 première; 2013 rerun), One Hundred Years of Solitude (2011 première; 2012 rerun in Beijing), Endgame (2012 première; 2015 rerun), Kafka's Short Stories Enacted (2012), Offending the Audience (2012), Life of Galileo (2014), Once the Muse Speaks (2014 première; 2014 rerun in Shanghai; 2015 rerun in Taipei and Beijing), She Who Encountered Kafka X The New Rendezvous with Nalan(2014) and Kafka Fragments (2014).
From 2002 onwards, Chan has created and directed ten TIE productions, namely “Cabiria” An Ideal Country (2002), (Treasure Box) (2004), An Eye for An Eye? (2005), Wild Child (2006), Crime And Punishment (2006), Opium War (2007), On the Way to Republic (2008), The May Fourth Movement (2009), The Last Sunset of the First Emperor (2010), Romance of the Three Kingdoms (2011) and The Japanese Occupation of Hong Kong (2013). All these productions successfully achieved Brecht’s Learning Play concepts.
Since 2001, Chan has published more than 20 publications with Chan Shui-yu, such as Drama Education: Let Children Learn and Grow Through Drama (2001), Drama Classroom: Drama-in-Education Manual for Senior Primary School (2003). The other publications include appreciation handbooks for the stage productions of Alice Theatre Laboratory and reports of all the TIE projects.
In 2009, Chan was awarded Best Director in the 18th Hong Kong Drama Awards and in the 1st Hong Kong Theatre Libre with Seven Boxes Possessed of Kafka. With 1001 Nights of Pasolini, he was also nominated for Best Director in the 3rd Hong Kong Theatre Libre. In 2013, Chan was awarded Best Director in the 5th Hong Kong Theatre Libre with Endgame.