FRIDAY, March 29, 2024
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If I remember ‘Four Days in September’ correctly

If I remember ‘Four Days in September’ correctly

For What Theatre’s daring work is making a highly anticipated Thailand premiere after last year’s European tour

The fact that For What Theatre’s 2021 work “Four Days in September (The Missing Comrade)” is co-produced by Europe’s leading festivals like Kunstenfestivaldesarts (Brussels), Festival d’Automne a Paris and Wiener Festwochen (Vienna) in addition to 2 other theatres in Oslo and Bobigny is a reason for our celebration. The fact that it took more than a year after the world premiere in the EU capital for the work to have its Thailand premiere this week may remind some Thai people of the fact that our best durians and jasmine rice are exported and not for domestic consumption. 

If I remember ‘Four Days in September’ correctly

As this was the first contemporary Thai theatre experience for many European theatregoers, it’s actually the so-called soft power without spending a single satang of Thai taxpayers’ money. But again, one, or many, may wonder why none of Thai cultural bodies gave support to the tour of this work, the same way their foreign counterparts are doing. Without having to support the whole production as foreign partners were already on board, this would have been an opportunity to show that Thailand is a democratic country, truly not supposedly, which respects freedom of speech and artists’ political commentary as strong as this still receive government support. Instead, our culture ministry chose to spend our tax money by presenting a Nora master on a gondola as part of the opening of the Thailand pavilion at the Biennale Arte 2022 in Venice, which would, a few months. later hold both Biennale Teatro and Biennale Danza.

If I remember ‘Four Days in September’ correctly

In this “Amazing Thailand,” we all know why. 

Frequent laughter made by the audience attending the press preview this Tuesday at Bangkok CityCity the performance area of which is filled with penguin and yellow duck dolls and other colorful floats—so many that we think we’re either vacationing at a beach or joining a political demonstration—also explains why. 

Thanks to my farsightedness due to my age, I spot a mat at stage centre filled with newspaper clippings which were later projected live onto the scrims showing significant political incidents.

This subtle contrast in set, lighting and technical design by Duck Unit is also in line with the overall tone of “Four Days in September” deftly controlled by director Wichaya Artamat. Tracing the history of contemporary Thai politics in four scenes from 1990 to 2032—the last scene takes place 10 years from now—, the content is dead serious, the tone is sanuk (fun) and sabai sabai (chillax)—in other words, appropriately very Thai. Credit here is due also for Wichaya’s co-writer and dramaturg Ratchapoom Boonbanchachoke.

If I remember ‘Four Days in September’ correctly

Five friends—effortlessly performed with their real nicknames by Jaturachai Srichanwanpen, Nualpanod Nat Khianpukdee, Saifah Tanthana, Suranya Poonyaphitak and Witwisit Hiranyawongkul—get together and sings Chit Phumisak’s “Saengdao haeng sattha” at the beginning. They discuss many issues including the mysteriously disappeared Blue Diamond and the roles of two Siam-made canons in the Storming of the Bastille, and more than once reiterate, “If I remember it correctly, then it’s true.” Later when one friend is missing after a gunshot the rest is alarmed but then their search for him is distracted by other matters. In another scene, when they are talking about joining a major demonstration at Sanam Luang on September 19, 2020, they are in fact following it on social media. Then, when these friends are laying the new People’s Party memorial peg, it turns out to be Ouija. One wonders here if Thai people are forgetful or playful, or both.  

If I remember ‘Four Days in September’ correctly

Throughout the 85-minute performance, their actions are monitored, and sometimes manipulated, by a silent character in black attire and mask nonchalantly performed by Sarut Komalittipong. Another major character without any dialogue is an old-style three-blade ceiling fan the birthday of which is celebrated by other characters who repeat that it should be fixed and not replaced. I would rather not elaborate here what it actually represents to make sure that my newspaper would be running my next article next week but instead recommend you watch and enjoy this satirical highlight by yourself.

If I remember ‘Four Days in September’ correctly

Driving home that evening, I was thinking of many international theatre critic colleagues who have been frequently inquiring about Thailand’s politics and how it inspires Thai theatre makers.

I was also recalling the 2015 production of B-Floor Theatre’s “Bang Lamerd” all performances of which were monitored by army officers. Although stage performance is viewed by only a few hundred audiences at a time unlike movies, YouTube, or TikTok, it is important that artists are allowed openly and actively discuss their political views with the audience who may agree or disagree with them. That’s how democracy and contemporary arts function although we need to heavily rely on allusions here to make sure we can get away with it here in Thailand.

“Four Days in September (The Missing Comrade),” in Thai with English surtitles, continues at Bangkok CityCity Gallery in Soi Sathorn 1 (10 minute-walk from MRT Lumphini) until Sunday. Weekdays at 7:30pm and weekend at 4pm. Tickets are Bt 700 (Bt 650 for a group of five or more and Bt 450 for students), available at www.facebook.com/theatreforwhat or email [email protected].

From August 19 to October 22, For What Theatre’s another production “This Song Father Used to Sing” will be presented in 8 cities in 4 European countries, including Noorderson Performing Arts Festival in Groningen and Festival d’Automne a Paris, giving theatregoers another glimpse into contemporary Thai theatre.

 

By Pawit Mahasarinand
Photo: Anna Van Waeg/Kunstenfestivaldesarts 
 

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