Dialogue and dance

Crescent Moon Theatre’s artistic director Sineenadh Keitprapai has chosen to pay tribute to grossly underrated writer, Sri Daoruang on the occasion of her 72nd birthday by adapting the novelist’s short story “Phapluangta Khong Kan Plian Sapphanam” and novella “Noen Mafuang” into a double bill of playlets, each with a different sets of cast members.
“Sri Daoruang is a very prolific writer and so our company members have spent a long time reading many of her works and brainstorming as to which ones would better fit our stage adaptation,” says Sineenadh of the novelist, who has been producing contemporary Thai literature for the last four decades.
“I’ve been reading her works since I was at university. I also adapted ‘Matsi’ [one of her most highly acclaimed works] into a film. When I read ‘Noen Mafuang’ again, I also thought of a film adaptation. But then I realised it could work on stage too,” explains Sineenadh, the only female Silpathorn Award artist in the performing arts,
“Both the stories we have picked have dominant woman character. Phaplungta’ depicts urban life; while ‘Noen Mafuang’ focuses on the rural. They also have strong connections with the railroad.”
In its written form, “Phaplungta” starts with a man’s monologue, followed by a woman’s and then others on the train. In her play, Sineenadh mixes these lines altogether and so they become dialogues.
As for “Noen Mafuang”, she says, “After the first reading of the script, we decided to add a character, an old lady who hangs around the Noen Mafuang train station and who narrates the story to the audience. I’ll perform this character.”
Meanwhile, veteran butoh-trained dancer Bo Kittiphon is also working on her solo dance performance “Whispers of the Shadow of a Quivering Leaf”. She’s been inspired by butoh pioneer Tatsumi Hijikata’s last score for his solo “Quiet House”.
“I had the chance to study it in detail while training with Japanese master Lee at the Subbody School in India. The artist’s statement has been helpful to me in finding my own unique physical movements especially from the underlying meaning of what he wrote. In the process, I have rediscovered a lot about myself and images of my memories have recurred, and so I continue developing this work from them.”
Accompanying the performance is a photo exhibition titled “Pathways and Memories” curated by Jenwit Narukatpichai, who also designs the set for the show.
Bo says, “Apart from production photos of my works and PR photos of this new work, it comprises photos by and of my friends. It also remembers friends who are no longer with us today, like the prolific dance and theatre photographer Stephan Funke and young butoh dancer and pantomime artist Suwat Suwandechochai.
“I recommend seeing the exhibition before watching my performance.”
Bo has been assisted by her frequent collaborator, dancer and choreographer Thanapol Virulhakul, who has been watching her rehearse and offering comments like an in-house critic or a dramaturg. B-Floor’s artistic director Teerawat Mulvilai designs the sound, and another veteran Jirat Eaimsaard handles the lighting.

SEE IT, FEEL IT
“Phapluangta Chak Noen Mafuang” will be performed in the Crescent Moon Space from Wednesday to Sunday at 7.30pm, with 3pm matinees on Saturday and Sunday. Tickets are Bt350 (Bt300 for students). Call (081) 929 4246 or visit www.CrescentMoonTheatre.org.
“Whispers of the Shadow of a Quivering Leaf” is at B-Floor Room from Thursday to Saturday, April 1, April 4 to 6 and April 8 at 7:30pm. Tickets are Bt400. Call (089) 167 4039.
Both venues are in the Pridi Banomyong Institute, between Thonglor sois 1 and 3.