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Pratthana: A Portrait Of Possession by Okada Tosh (review)

Pratthana: A Portrait Of Possession by Okada Tosh (review) reviews Performance Reviews PRATTHANA: A PORTRAIT OF POSSESSION. By Okada Toshiki; based on the novel by Uthis Haemamool, directed by Okada Toshiki. Tokyo Metropolitan Theatre, Theatre East, 27 June–7 July 2019. Staged as a part of the “Asia in Resonance” series and presented by the Japan Foundation Asia Center, Pratthana was the result of an extended collaboration between Thai novelist Uthis Haemamool and Japanese playwright/director Okada Toshiki. Originally premiering in Bangkok, followed by a tour in Paris before being presented in Tokyo, Pratthana combines Okada’s physical actor vocabulary and strong visual style with Haemamool’s powerful story of sexual experimentation and political dissidence. Staged in Thai (with Japanese and English subtitles), the play, although four hours long, was a fascinating examination of the multiplicity of ways in which issues of art, sexuality, freedom, politics, and responsibility (both political and personal) intersect. The play tells the story of Khao Sing, an artist who lives in Bangkok. Sing tells his model, Waree, about his past; he focuses on his sexual exploits from his dalliance with a poetess in the early 1990s to his polyamorous relationship with a female artist and a male video store clerk in 2006. The audience also sees the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Pratthana: A Portrait Of Possession by Okada Tosh (review)

Asian Theatre Journal , Volume 37 (1) – Jun 20, 2020

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Publisher
University of Hawai'I Press
Copyright
Copyright © The University of Hawai'i Press.
ISSN
1527-2109

Abstract

reviews Performance Reviews PRATTHANA: A PORTRAIT OF POSSESSION. By Okada Toshiki; based on the novel by Uthis Haemamool, directed by Okada Toshiki. Tokyo Metropolitan Theatre, Theatre East, 27 June–7 July 2019. Staged as a part of the “Asia in Resonance” series and presented by the Japan Foundation Asia Center, Pratthana was the result of an extended collaboration between Thai novelist Uthis Haemamool and Japanese playwright/director Okada Toshiki. Originally premiering in Bangkok, followed by a tour in Paris before being presented in Tokyo, Pratthana combines Okada’s physical actor vocabulary and strong visual style with Haemamool’s powerful story of sexual experimentation and political dissidence. Staged in Thai (with Japanese and English subtitles), the play, although four hours long, was a fascinating examination of the multiplicity of ways in which issues of art, sexuality, freedom, politics, and responsibility (both political and personal) intersect. The play tells the story of Khao Sing, an artist who lives in Bangkok. Sing tells his model, Waree, about his past; he focuses on his sexual exploits from his dalliance with a poetess in the early 1990s to his polyamorous relationship with a female artist and a male video store clerk in 2006. The audience also sees the

Journal

Asian Theatre JournalUniversity of Hawai'I Press

Published: Jun 20, 2020

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