Double the fun

The title of Dujdao Vadhanapakorn Boonyai’s new work “F_uck Thong” is intriguing. The fist word is in English, with one letter separated by an underscore, and the second is written in Thai. And if you think that it has something to do with pumpkins, once you walk into B-Floor Room, completely painted in gold and with gold leaves on some parts of the walls, then you know that pumpkin is not her favourite vegetable.
A man in normal office worker attire runs throughout almost the whole performance. He ignores a woman in a skimpy black dress, while succumbing to the other two men, whose bodies are completely painted in gold and who dictate his actions all along. When he has the opportunity to make a choice, he chooses the gold.
In her criticism of the rising demand of religion on ordinary people’s life, Dujdao goes straight to the point, which of course causes the audiences to debate among themselves, or with her. She’s also specific — contemporary practice of Buddhism is the target here. And although this engaging performance will not inspire you to convert to another religion nor stop believing in any, it will probably make you re-consider how you became, and why you’re still, a Buddhist.
At the brief interval, each audience member is given a red flag with the word “Stop” and is told that we can stop the stage action in each scene of Nana Dakin’s “Damage Joy” in Crescent Moon Space simply by waving this flag. However, the action will stop only when all members of the audience do so at the same time. Witnessing four clown-like characters going through various routines of physical torture with different levels of comedy, grotesqueness and pain, many audiences did wave their flags occasionally but the consensus was never unanimous at any moment. And in the end, each character found their own haven, and blocking him/herself off from any interactions.
“F_uck Thong” and “Damage Joy” is a good pair of works. Although the tones, themes and styles are considerably different, taken together they successfully ask the audience to think of society’s influences on our free will as well as the thin line between torture and pleasure.
It’s also noteworthy that two pantomime artists - Thong-Glur Thongtae and Nuttapol Kummata, both members of the trio Babymime -  performed in these two works and blended in very well—and it’s refreshing to see how they apply their techniques in a different style.
At the end of this double pleasure experience last Friday evening, I thought, or dreamed, of the possibility of these two memorable works going to fringe festivals in Adelaide, Avignon or Edinburgh next year. This will be realised not by the support of Australian, French or British embassies, but by our own Ministry of Culture. But then I recalled a conversation last Monday with Pichet Klunchun who said that a high-ranking official is looking for possibility to take the grand khon production of “The Battle of Maiyarap” overseas. And I realised that while visual and film artists get government support to show a contemporary vision of Thailand in foreign festivals, their performing art counterpart will only get to show the traditional, or exotic, images. And just right then, I switched back to reality.
B-Floor’s next work is Sarut Komalidhipong’s “MADA“ performed solo by Sasapin Siriwanij, on October 8 and 9, as part of Silapa Nanaphan Festival at Pridi Bhanomyong Institute. In early November, Teerawat Mulwilai will restage “Flu Fool” as part of FIAO at Nakarin Theatre; and in early December, B-Floor will re-work their interdisciplinary collaboration with Japan’s Wangnin Bunmei in “Space-O-Dizzy” as part of Bangkok Theatre Festival 2011 at Sodsai Pantoomkomol Centre for Dramatic Arts.

Pleasure continues
“Double Bill” continues from tomorrow to Sunday at 7:30pm, at B-Floor Room and Crescent Moon Space in Pridi Bhanomyong Institute (between Thong Lor Soi 1 and 3).
Tickets are Bt 450 (10 per cent discount for group of 10 or more), available by calling (089) 167 4039. For more, visit www.BFloorTheatre.com.