mon up the forgotten female core of himself. She does exactly that, using the magic of U Zaw Min, a leading puppeteer from Myanmar (since this piece was written, U Zaw Min has died). Performing within his unique tradition, he ï¬rst dances the Desdemona-as-puppet role himself, the puppet master as the essential puppet. Only then does he bring on the actual Desdemona puppet, which dances to the pull of his strings. On large screens ï¬anking the stage (set by Justin Hill of Singapore and Australia, lighting by Scott Zielinski of the United States), another video artist, the Korean Park Hwa Young (also the costume designer), punctuates the performance with the projected story of Mona (DesdeMona), a ditsily contemporary woman who gossips on the phone, explores fad diets, and tries to get her visa extended. Also on video, director Ong Keng Sen interviews members of the multicultural cast, whom his production has coerced into conversation with one another, even when they lack a common language or background. A projected e-mail from Singaporean performer and sociologist Low Kee Hong asks Mona whether âwe [are] simply pawns in Keng Senâs game, [who provide] an instant Asia for the festival market?â A
Theater – Duke University Press
Published: Jan 1, 2002
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