Model City/Model Art

Model City/Model Art 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 first 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 flanking 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 “we [are] simply pawns in Keng Sen’s game, [who provide] an instant Asia for the festival market?” A http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Theater Duke University Press

Model City/Model Art

Theater, Volume 32 (2) – Jan 1, 2002

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Publisher
Duke University Press
Copyright
Copyright 2002 by Yale School of Drama/Yale Repertory Theatre
ISSN
0161-0775
eISSN
1527-196X
DOI
10.1215/01610775-32-2-70
Publisher site
See Article on Publisher Site

Abstract

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 first 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 flanking 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 “we [are] simply pawns in Keng Sen’s game, [who provide] an instant Asia for the festival market?” A

Journal

TheaterDuke University Press

Published: Jan 1, 2002

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