The Iceman cometh

SINCE CO-FOUNDING B-FLOOR Theatre in 1999, Teerawat “Kage” Mulvilai has been one of the most prolific theatre artists in this country. His works have already been seen in many countries in Asia as well as in the US.
B-Floor Theatre is now 15 years old, and thespians junior to Kage, including the latest recipient of Silpathorn Award Jarunun Phantachat are also creating their own works. This fact makes B-Floor Theatre a unique performing arts company in that its members are working together because they share similar social and political awareness, performance techniques and interests, rather than because of one single core member.
“The aim of my art is to effect a change in perspectives,” Kage explains. “I’m determined to see our country in a better state. At least we should have true freedom of expression. Criticism is investigation. We are a democratic country with diversity. No one can make everyone think in the same way. We have to respect differences and refrain from taking advantage of others.
“Many of my works address structural phenomena and stories of victims and the marginal. I want to raise an awareness of what has happened in this society. It’s a dialogue. These are the images that I see. What about you? What do you see? Let's talk about it.”
Kage was back on stage earlier this month with “Satapana: Red Tank” as part of the Pridi Banomyong Institute’s Diverse Arts Festival, which won both popular success and critical acclaim.
He continues “Satapana” tonight with the second episode “Iceberg”, this time using plenty of ice on stage instead of red tanks. Of course, these symbols also beg for different interpretations by the audience.
“This work portrays the states of a victim and an agent. It is definitely open for various interpretations though I do, of course, have my own story. It was conceived as a result of my research, which was supported by grants from ANA [Art Network Asia] and API [Asian Public Intellectual]. I interviewed artists of different disciplines in five countries: Thailand, Laos, Myanmar, Indonesia and Japan. All of these led to the creation of this performance, which has two chapters – ‘Red Tank’ and ‘Iceberg’.
“It might not be so clear in either chapter where the incidents in the show take place because these could be experiences shared by people in the Asean countries. And I believe that audience members will relate it to their own personal experience and enter into a dialogue with the work. I’ll be very satisfied if that happens.
“I’d like to perform the two chapters of ‘Satapana’ together. I cannot do it now, but perhaps it will be possible in the future. I’d also like to have someone else perform this work, instead of me. I’d like to watch it. I’d like to know how their bodies would interpret the same issues. It’d be challenging for the performer because I always play with risk, both in form and content. I want to see one more crazy person,” he grins.
“Satapana: Iceberg” is physical theatre and so this is another good opportunity to show your friends what and how contemporary theatre is like – without any language boundaries. And you don’t have to have watched “Red Tank” to fully enjoy “Iceberg”.
 THREE
SHOWS ONLY
 n Part of the Bangkok Theatre Festival, “Satapana: Iceberg” will be staged at 7.30 tonight and tomorrow and at 2pm on Saturday at the Chulalongkorn University’s Sodsai Pantoomkomol Centre for Dramatic Arts, a 10-minute walk along Henri Dunant road from BTS Siam Exit 6.
n Jim Thompson Art Centre’s Gritiya Gaweewong will join the post-show discussion and share her views on censorship in different art forms and countries on Saturday.
n Tickets are Bt600 (Bt300 for students).
n For details, call (02) 218 4802 or (081) 559 7252 or see www.BFloorTheatre.com and www.Facebook.com/dramaartschula.