Moving with the two masters

While no one would disagree that Nat Yontararak is the most highly regarded Thai classical pianist of his generation, saying that Pichet Klunchun has the same stature in classical Thai dance would raise eyebrows and perhaps a chorus of protest from aficionados of the National Theatre.

Nonetheless, both were honoured by the Culture Ministry with a Silpathorn Award in 2006 and now they’re collaborating for the first time. 

“I’ve been following his works and have attended many of his performances since 2006,” says Nat.

“I admire the fact that he’s deeply rooted in classical Thai dance and yet his performance and choreography have enough freedom in them to allow for the infusion of any other genres and cultures of dance. He’s capable of using his body to convey various emotions. When I watched him in ‘Chui Chai’ at Patravadi Theatre three years ago, I was amazed how convincingly he transformed his body to that of a woman and this despite his training as a demon character.

“And so I came up with an idea for us to work together. I’m planning a new composition for a performance at the Thailand Cultural Centre next year when I will turn 60. And since my 180-seat venue, the Sala Sudasiri Sobha, is now up and running with two to three performances every month, I asked whether he’d like to start the first phase of our collaboration in a small scale venue. He came over and was pleased to see that the size is not very different from his venue Chang Theatre [in Thung Khru, Thon Buri].

“I performed ‘Klin Nang’ [‘Scent of the Woman’] by General Prem Tinsulanonda for him. It’s about a man who is deeply in love with a woman but he can only think of her scent. Pichet then imagined himself performing Thotsakan who could never touch Sida. And so our opening number will be his solo dance to this song,” Nat continues.

The pianist and composer adds that he has so far completed three piano sonatas. 

“The first was used for Thanpuying Varaporn Pramoj Na Ayudhaya’s classical ballet production ‘Madhanapatha’ – that was the first time I had ever worked with dancers. I think the second sonata is quite modern and so I proposed it to Pichet. After listening to it, he said that he’d never expected me to write this piece of music – it’s different from the Nat Yontararak he knows in person, especially the parts that express ferocity. And so this collaboration is a good opportunity for us to get to know more about each other.

“The whole Pichet Klunchun Dance Company will perform and the hall will be set up in a thrust stage configuration. There will also be a complete lighting design specially created for this performance. 

“If you haven’t been to this venue, which boasts very pleasant acoustics, then I urge you to come along. You may think that it’s far but it’s not, and once you’re there, you’ll fall in love with it. We usually hold performances on Sunday afternoon so that it’s more leisurely,” Nat concludes.

Any cross-disciplinary artistic collaboration in this country is not only a risk but also a rarity. And thus it’s worth our attention as well as our attendance, especially as it showcases two masters from two different generations. Music and dance fans will be in the same hall and able to witness what comes out of these two artists with vastly different backgrounds.

 

IN BLACK AND WHITE

<“Move with Meanings” is at Sala Sudasiri Sobha on Soi Lat Phrao 41. Shows are at 7.30pm from Thursday to Saturday and 2pm on Sunday.