Episodi

  • āļĒāļīāļ™āļ”āļĩāļ•āđ‰āļ­āļ™āļĢāļąāļšāđ€āļ‚āđ‰āļēāļŠāļđāđˆāđ€āļ­āļžāļīāđ‚āļŠāļ”āļžāļīāđ€āļĻāļĐāļ‚āļ­āļ‡ Bangkok Offstage āļ—āļĩāđˆāđ€āļ›āđ‡āļ™āļāļēāļĢāļĢāđˆāļ§āļĄāļĄāļ·āļ­āļāļąāļ™āļĢāļ°āļŦāļ§āđˆāļēāļ‡āļŠāļĄāļĢāļĄāļ§āļīāļˆāļēāļĢāļ“āđŒāļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āđāļĨāļ°āļžāļ­āļ”āđāļ„āļŠāļ•āđŒāļ‚āļ­āļ‡āđ€āļĢāļē āđƒāļ™āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰āđ€āļĢāļēāđ„āļ”āđ‰āđ„āļ›āļžāļđāļ”āļ„āļļāļĒāļāļąāļšāļ­āļēāļˆāļēāļĢāļĒāđŒ āļĢāļąāļĻāļĄāļĩ āđ€āļœāđˆāļēāđ€āļŦāļĨāļ·āļ­āļ‡āļ—āļ­āļ‡ āļœāļđāđ‰āļ—āļĩāđˆāđ„āļ”āđ‰āļĢāļąāļšāļĢāļēāļ‡āļ§āļąāļĨāđ€āļāļĩāļĒāļĢāļ•āļīāļĒāļĻāđāļ”āđˆāļœāļđāđ‰āļĄāļĩāļ„āļļāļ“āļđāļ›āļāļēāļĢāđāļāđˆāļĨāļ°āļ„āļĢāđ€āļ§āļ—āļĩāđāļĨāļ°āļ™āļēāļāļĻāļīāļĨāļ›āļīāđŒāļĢāđˆāļ§āļĄāļŠāļĄāļąāļĒ āļ‚āļ­āļ‡āļ—āļēāļ‡āļŠāļĄāļĢāļĄāļŊāđƒāļ™āļ›āļĩāļ™āļĩāđ‰ āļ­āļēāļˆāļēāļĢāļĒāđŒāļĢāļąāļĻāļĄāļĩāđ€āļ›āđ‡āļ™āļŠāļĄāļēāļŠāļīāļāļ„āļ“āļ°āļĨāļ°āļ„āļĢāļŠāļ­āļ‡āđāļ›āļ” āļ‹āļķāđˆāļ‡āđ€āļ˜āļ­āļāđˆāļ­āļ•āļąāđ‰āļ‡āļ‚āļķāđ‰āļ™āļĄāļē āđƒāļ™āļ›āļĩāļž.āļĻ. 2528 āļĢāđˆāļ§āļĄāļāļąāļšāļšāļĢāļĢāļ”āļēāđ€āļžāļ·āđˆāļ­āļ™āļĢāđˆāļ§āļĄāļ‡āļēāļ™āļˆāļēāļāļ§āļ‡āļāļēāļĢāļ§āļĢāļĢāļ“āļāļĢāļĢāļĄ āļ­āļēāļˆāļēāļĢāļĒāđŒāļĢāļąāļĻāļĄāļĩāđ€āļĨāđˆāļēāļ§āđˆāļē āđƒāļ™āļ•āļ­āļ™āļ™āļąāđ‰āļ™āļĨāļ°āļ„āļĢāđ€āļ§āļ—āļĩāļŠāđˆāļ§āļ™āđƒāļŦāļāđˆāļŦāļēāļ”āļđāđ„āļ”āđ‰āđāļ•āđˆāđƒāļ™āļĢāļąāđ‰āļ§āļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒ āļ™āļ­āļāļˆāļēāļāļ„āļ§āļēāļĄāļ•āđ‰āļ­āļ‡āļāļēāļĢāļ‚āļ­āļ‡āļ„āļ“āļ°āļŠāļ­āļ‡āđāļ›āļ”āļ—āļĩāđˆāļˆāļ°āļ—āļģāļĨāļ°āļ„āļĢāļ—āļĩāđˆāđāļ•āļāļ•āđˆāļēāļ‡āļ­āļ­āļāđ„āļ›āļˆāļēāļāļĨāļ°āļ„āļĢāļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒāđāļĨāđ‰āļ§ āļ­āļĩāļāļŦāļ™āļķāđˆāļ‡āļˆāļļāļ”āļ›āļĢāļ°āļŠāļ‡āļ„āđŒāļŦāļĨāļąāļāļ‚āļ­āļ‡āļ„āļ“āļ°āļ„āļ·āļ­āļāļēāļĢāđ€āļœāļĒāđāļžāļĢāđˆāļšāļ—āļĨāļ°āļ„āļĢāļ—āļĩāđˆāļĄāļĩāļŠāļ·āđˆāļ­āđ€āļŠāļĩāļĒāļ‡āđƒāļ™āļĢāļ°āļ”āļąāļšāļŠāļēāļāļĨāļŠāļđāđˆāļ„āļ™āđƒāļ™āļ§āļ‡āļāļ§āđ‰āļēāļ‡ āļāđˆāļ­āļ™āļāđˆāļ­āļ•āļąāđ‰āļ‡āļ„āļ“āļ°āļĨāļ°āļ„āļĢāļŠāļ­āļ‡āđāļ›āļ” āļ­āļēāļˆāļēāļĢāļĒāđŒāļĢāļąāļĻāļĄāļĩāđ„āļ”āđ‰āđ„āļ›āļĻāļķāļāļĐāļēāļ›āļĢāļīāļāļāļēāđ‚āļ—āļ”āđ‰āļēāļ™ dramaturgy āđāļĨāļ° dramatic criticism āļ—āļĩāđˆ Yale School of Drama āļ‹āļķāđˆāļ‡āđ€āļ›āđ‡āļ™āļ—āļĩāđˆāļ—āļĩāđˆāļ—āļģāđƒāļŦāđ‰āļ­āļēāļˆāļēāļĢāļĒāđŒāļŦāļĨāļ‡āļĢāļąāļāļĨāļ°āļ„āļĢāļāļĢāļĩāļāđāļĨāļ°āļĨāļ°āļ„āļĢāđ€āļĒāļ­āļĢāļĄāļąāļ™ āļĨāļ°āļ„āļĢāđ€āļĢāļ·āđˆāļ­āļ‡āđāļĢāļāļ‚āļ­āļ‡āļ„āļ“āļ°āļŠāļ­āļ‡āđāļ›āļ”āļ™āļąāđ‰āļ™āļāđ‡āļ„āļ·āļ­āļĨāļ°āļ„āļĢāđ€āļĢāļ·āđˆāļ­āļ‡ “āļāļēāļĨāļīāđ€āļĨāđ‚āļ­â€ āđ‚āļ”āļĒāļ™āļąāļāđ€āļ‚āļĩāļĒāļ™āļŠāļēāļ§āđ€āļĒāļ­āļĢāļĄāļąāļ™ āđāļšāļĢāđŒāļ—āļ­āļĨāđŒāļ— āđ€āļšāļĢāļ„āļŠāļ—āđŒ āđ‚āļ”āļĒāļĄāļĩāļ­āļēāļˆāļēāļĢāļĒāđŒāļĢāļąāļĻāļĄāļĩāđ€āļ›āđ‡āļ™ dramaturg āļ„āļ­āļĒāđ€āļ›āđ‡āļ™āļ—āļĩāđˆāļ›āļĢāļķāļāļĐāļēāļ”āđ‰āļēāļ™āļāļēāļĢāļ•āļĩāļ„āļ§āļēāļĄāļšāļ—āļ‚āļ­āļ‡āļ—āļąāđ‰āļ‡āļœāļđāđ‰āļāļģāļāļąāļšāđāļĨāļ°āļ™āļąāļāđāļŠāļ”āļ‡ āļ™āļ­āļāļˆāļēāļāļˆāļ°āđ„āļ”āđ‰āļŠāļ·āđˆāļ­āļ§āđˆāļēāđ€āļ›āđ‡āļ™ dramaturg āļ„āļ™āđāļĢāļāļ‚āļ­āļ‡āļ›āļĢāļ°āđ€āļ—āļĻ āļ­āļēāļˆāļēāļĢāļĒāđŒāļĢāļąāļĻāļĄāļĩāļĒāļąāļ‡āđ€āļ›āđ‡āļ™āļ—āļĩāđˆāļĢāļđāđ‰āļˆāļąāļāđƒāļ™āļāļēāļ™āļ°āļ™āļąāļāļ§āļīāļˆāļēāļĢāļ“āđŒāļ§āļĢāļĢāļ“āļāļĢāļĢāļĄ āļœāļđāđ‰āļāļģāļāļąāļš āļ™āļąāļāđāļ›āļĨ āđāļĨāļ°āļ™āļąāļāđ€āļ‚āļĩāļĒāļ™āļšāļ—āļ­āļĩāļāļ”āđ‰āļ§āļĒ āļĨāđˆāļēāļŠāļļāļ”āđ€āļ˜āļ­āđ„āļ”āđ‰āđ€āļ›āļīāļ” GalileOasis āđƒāļ™āļĒāđˆāļēāļ™āļĢāļēāļŠāđ€āļ—āļĩāļ§āļĩ āļ—āļĩāđˆāđ€āļ›āđ‡āļ™āļ—āļąāđ‰āļ‡āđāļāļĨāđ€āļĨāļ­āļĢāļĩāđˆ āđ‚āļĢāļ‡āļĨāļ°āļ„āļĢ āđāļĨāļ°āđ‚āļĢāļ‡āđāļĢāļĄ āđƒāļ™āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰ āļ­āļēāļˆāļēāļĢāļĒāđŒāļĢāļąāļĻāļĄāļĩāđ„āļ”āđ‰āļĄāļēāļžāļđāļ”āļ„āļļāļĒāļāļąāļšāđ€āļĢāļēāđ€āļĢāļ·āđˆāļ­āļ‡āļ„āļ§āļēāļĄāļĢāļąāļāđāļĨāļ°āļ„āļ§āļēāļĄāļŦāļĨāļ‡āđƒāļŦāļĨāļ‚āļ­āļ‡āđ€āļ˜āļ­āļ—āļĩāđˆāļĄāļĩāļ•āđˆāļ­āļ§āļĢāļĢāļ“āļāļĢāļĢāļĄāļĢāļ°āļ”āļąāļšāđ‚āļĨāļ āļāļēāļĢāļ•āđˆāļ­āļŠāļđāđ‰āļ”āđ‰āļēāļ™āļžāļ·āđ‰āļ™āļ—āļĩāđˆāļ—āļēāļ‡āļĻāļīāļĨāļ›āļ° āđāļĨāļ°āļ„āļ§āļēāļĄāļŠāļģāļ„āļąāļāļ‚āļ­āļ‡āļāļēāļĢāļ­āđˆāļēāļ™āļšāļ—āļĨāļ°āļ„āļĢ āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰ āđ€āļĢāļēāđ„āļ”āđ‰āļĢāļąāļšāđ€āļāļĩāļĒāļĢāļ•āļīāļˆāļēāļāļ­āļēāļˆāļēāļĢāļĒāđŒāļ›āļ§āļīāļ•āļĢ āļĄāļŦāļēāļŠāļēāļĢāļīāļ™āļąāļ™āļ—āļ™āđŒ āļ›āļĢāļ°āļ˜āļēāļ™āļŠāļĄāļĢāļĄāļ§āļīāļˆāļēāļĢāļ“āđŒāļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡ āļĄāļēāđ€āļ›āđ‡āļ™āļžāļīāļ˜āļĩāļāļĢāļĢāļąāļšāđ€āļŠāļīāļāļ‚āļ­āļ‡āđ€āļĢāļē āļŠāļēāļĄāļēāļĢāļ–āļ•āļīāļ”āļ•āļēāļĄāļ‡āļēāļ™āļĄāļ­āļšāļĢāļēāļ‡āļ§āļąāļĨāļĨāļ°āļ„āļĢāđ€āļ§āļ—āļĩāđāļĨāļ°āļ™āļēāļāļĻāļīāļĨāļ›āđŒāļĢāđˆāļ§āļĄāļŠāļĄāļąāļĒāļ›āļĢāļ°āļˆāļģāļ›āļĩ 2563–2565 āđ„āļ”āđ‰āļ—āļēāļ‡ Facebook āđ€āļžāļˆ āļ‚āļ­āļ‡ IATC Thailand āđƒāļ™āļ§āļąāļ™āļ­āļąāļ‡āļ„āļēāļĢāļ—āļĩāđˆ 2 āļžāļĪāļĐāļ āļēāļ„āļĄ āđ€āļ§āļĨāļē 20.00 āļ™.

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    Welcome to a special episode of Bangkok Offstage. In this collaboration with the International Association of Theatre Critics — Thailand Centre, we speak to Rassami Paoluengtong, the recipient of this year’s IATC Thailand Lifetime Achievement Award. Rassami’s name is synonymous with Theatre Twenty-Eight, a company she co-founded in 1985 with colleagues from her years as a literary critic. According to Rassami, theatre at that time mostly took place on university campuses. But with Theatre Twenty-Eight, she wanted not only to go beyond what university productions could do, but also to bring great plays from different parts of the world to a wider audience in Thailand. Before founding the company, she spent three years pursuing a master’s degree in dramaturgy and dramatic criticism at Yale School of Drama, where she became enamored with Greek and German plays. Theatre Twenty-Eight’s inaugural production was Bertolt Brecht’s “Galileo,” for which Rassami took on the role of a dramaturg. Rassami is considered to be Thailand’s first dramaturg and is also known for her work as a stage director, screenwriter, and literary translator. Last year, she opened GalileOasis, an art gallery, theatre, and hotel located in the heart of Bangkok. In this interview, conducted by our special guest host, Pawit Mahasarinand, the President of IATC Thailand, Rassami talks about her love of literature, the perennial battle for art spaces, and why it’s important to read plays. The IATC Thailand Dance and Theatre Awards will be streamed live on IATC Thailand Facebook page on Tuesday, May 2 at 8 PM.

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    Intro: Bilingual

    āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰āđ€āļ›āđ‡āļ™āļ āļēāļĐāļēāđ„āļ—āļĒ / This episode is in Thai

    .āļ•āļīāļ”āļ•āļēāļĄ / Followwww.bangkokoffstage.com

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    #BangkokOffstage #BangkokOffstagePodcast

  • āđ€āļ­āļžāļīāđ‚āļŠāļ”āļŠāļļāļ”āļ—āđ‰āļēāļĒāļ‚āļ­āļ‡āļ‹āļĩāļ‹āļąāđˆāļ™āļ—āļĩāđˆ 4 āļ™āļĩāđ‰āļĄāļĩāļŠāļ·āđˆāļ­āļ§āđˆāļē “It’s a Wrap!” āđ€āļžāļĢāļēāļ°āđ€āļĢāļēāļˆāļ°āļĄāļēāļŠāđˆāļ‡āļ—āđ‰āļēāļĒāļ›āļĩāļāļąāļ™āļ”āđ‰āļ§āļĒāļāļēāļĢāļŠāļĢāļļāļ›āļ§āļ‡āļāļēāļĢāļĨāļ°āļ„āļĢāđ€āļ§āļ—āļĩāđƒāļ™āļ›āļĩ 2565 āļāļąāļšāļŠāļēāļĄāļ™āļąāļāļ§āļīāļˆāļēāļĢāļ“āđŒ āļ„āļĢāļđāļ›āđ‰āļ­āļĄ - āļ›āļ§āļīāļ•āļĢ āļĄāļŦāļēāļŠāļēāļĢāļīāļ™āļąāļ™āļ—āļ™āđŒ ‘āļāļąāļĨāļ›āļžāļĪāļāļĐāđŒâ€™ āđāļĨāļ°āļ•āđˆāļ­ - āļ„āļąāļ™āļ‰āļąāļ•āļĢ āļĢāļąāļ‡āļĐāļĩāļāļēāļāļˆāļ™āđŒāļŠāđˆāļ­āļ‡.āļ™āļ­āļāļˆāļēāļāļ™āļąāđ‰āļ™ “It’s a wrap!” āļĒāļąāļ‡āļŦāļĄāļēāļĒāļ–āļķāļ‡āļāļēāļĢāļŠāđˆāļ‡āļ—āđ‰āļēāļĒāļ‚āļ­āļ‡āļžāļ­āļ”āđāļ„āļŠāļ•āđŒ Bangkok Offstage āđ‚āļ”āļĒāļŦāļĨāļąāļ‡āļˆāļēāļāļ™āļĩāđ‰āļĒāļąāļ‡āļŠāļēāļĄāļēāļĢāļ–āļŸāļąāļ‡āđ€āļ­āļžāļīāđ‚āļŠāļ”āļĒāđ‰āļ­āļ™āļŦāļĨāļąāļ‡āđ„āļ”āđ‰āļ•āļēāļĄāļŠāđˆāļ­āļ‡āļ—āļēāļ‡āđ€āļ”āļīāļĄ āđāļĨāļ°āđ€āļĢāļēāļ­āļēāļˆāļˆāļ°āļāļĨāļąāļšāļĄāļēāļˆāļąāļ”āļžāļ­āļ”āđāļ„āļŠāļ•āđŒāđ€āļ‰āļžāļēāļ°āļāļīāļˆāđƒāļ™āļ­āļ™āļēāļ„āļ•āļ•āļēāļĄāļˆāļąāļ‡āļŦāļ§āļ°āļ—āļĩāđˆāđ€āļŦāļĄāļēāļ°āļŠāļĄ āđ€āļĢāļēāļ‚āļ­āļ‚āļ­āļšāļ„āļļāļ“āđāļ‚āļāļĢāļąāļšāđ€āļŠāļīāļāļ‚āļ­āļ‡āđ€āļĢāļēāļ—āļļāļāļ„āļ™āļ—āļĩāđˆāļŠāļĨāļ°āđ€āļ§āļĨāļēāļĄāļēāļĢāđˆāļ§āļĄāļžāļđāļ”āļ„āļļāļĒāļāļąāļšāđ€āļĢāļē āļĢāļ§āļĄāļ–āļķāļ‡āļœāļđāđ‰āļŸāļąāļ‡āļ—āļļāļāļ„āļ™āļ—āļĩāđˆāļŠāļ™āļąāļšāļŠāļ™āļļāļ™āđ€āļĢāļēāļĄāļēāļ•āļĨāļ­āļ” 4 āļ‹āļĩāļ‹āļąāđˆāļ™.It’s a wrap! First, we’re wrapping up the theatre scene in 2022 with three critics Pawit Mahasarinand, Kalapapreuk, and Kanchat Rangseekansong. .It’s also a wrap for Bangkok Offstage as a monthly podcast. All episodes will still be available for free. And we may return once in a while in the future. We would like to thank all the guests who have so generously shared with us their thoughts and their stories. And of course, thank you to all our listeners for your support over the last four years. .Intro: Bilingualāđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰āđ€āļ›āđ‡āļ™āļ āļēāļĐāļēāđ„āļ—āļĒ / This episode is in Thai..āļ•āļīāļ”āļ•āļēāļĄ / Followwww.bangkokoffstage.com

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  • In Episode 9 of Season 4, Bangkok Offstage is taking you beyond the borders of Southeast Asia once again. This time, we talk to Sri Vamsi Matta, a theatre artist from India, about his ongoing performance “Come Eat with Me,” which has been attracting a lot of media attention in India since it began early this year. “Come Eat with Me” takes place in people’s homes, where Vamsi initiates and encourages conversation and reflection on caste discrimination through live performance, cooking, and the act of eating together. In this episode, Vamsi tells us what it means to be a Dalit, why he chooses to explore the subject of caste through food, and why deliciousness matters regardless of whom we feed.

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    āđƒāļ™āđ€āļ­āļžāļīāđ‚āļŠāļ” 9 āļ‚āļ­āļ‡āļ‹āļĩāļ‹āļąāđˆāļ™ 4 Bangkok Offstage āļˆāļ°āļžāļēāļœāļđāđ‰āļŸāļąāļ‡āđ€āļ”āļīāļ™āļ—āļēāļ‡āļ­āļ­āļāđ„āļ›āļ™āļ­āļāđ€āļ­āđ€āļŠāļĩāļĒāļ•āļ°āļ§āļąāļ™āļ­āļ­āļāđ€āļ‰āļĩāļĒāļ‡āđƒāļ•āđ‰āļ­āļĩāļāļ„āļĢāļąāđ‰āļ‡ āđ‚āļ”āļĒāļ„āļĢāļąāđ‰āļ‡āļ™āļĩāđ‰āđ€āļĢāļēāđ„āļ”āđ‰āđ„āļ›āļžāļđāļ”āļ„āļļāļĒāļāļąāļš āļĻāļĢāļĩ āļ§āļēāļĄāļŠāļĩ āļĄāļąāļ—āļ—āļē āļĻāļīāļĨāļ›āļīāļ™āļĨāļ°āļ„āļĢāđ€āļ§āļ—āļĩāļŠāļēāļ§āļ­āļīāļ™āđ€āļ”āļĩāļĒ āđ€āļāļĩāđˆāļĒāļ§āļāļąāļšāļāļēāļĢāđāļŠāļ”āļ‡āļ‚āļ­āļ‡āđ€āļ‚āļēāļ—āļĩāđˆāļĄāļĩāļŠāļ·āđˆāļ­āļ§āđˆāļē “Come Eat with Me” ("āļĄāļēāļāļīāļ™āļ‚āđ‰āļēāļ§āļāļąāļšāļ‰āļąāļ™āļŠāļī") āļ‹āļķāđˆāļ‡āđ„āļ”āđ‰āļĄāļĩāļāļēāļĢāļāļĨāđˆāļēāļ§āļ–āļķāļ‡āļĄāļēāļāļĄāļēāļĒāđƒāļ™āļŠāļ·āđˆāļ­āļ‚āļ­āļ‡āļ­āļīāļ™āđ€āļ”āļĩāļĒāļ•āļąāđ‰āļ‡āđāļ•āđˆāđ€āļĢāļīāđˆāļĄāļˆāļąāļ”āđāļŠāļ”āļ‡āļĄāļēāđ€āļĄāļ·āđˆāļ­āļ•āđ‰āļ™āļ›āļĩāļ™āļĩāđ‰ “Come Eat with Me” āđ€āļ›āđ‡āļ™āļāļēāļĢāđāļŠāļ”āļ‡āļ—āļĩāđˆāđ€āļ‚āđ‰āļēāđ„āļ›āđƒāļ™āļšāđ‰āļēāļ™āļ‚āļ­āļ‡āļ„āļ™āļ”āļđāđ€āļžāļ·āđˆāļ­āļāļĢāļ°āļ•āļļāđ‰āļ™āļšāļ—āļŠāļ™āļ—āļ™āļēāđ€āļĢāļ·āđˆāļ­āļ‡āļāļēāļĢāđāļšāđˆāļ‡āđāļĒāļāļ§āļĢāļĢāļ“āļ°āđƒāļ™āļĻāļēāļŠāļ™āļēāļŪāļīāļ™āļ”āļđāļœāđˆāļēāļ™āļāļēāļĢāđāļŠāļ”āļ‡āļŠāļ” āļāļēāļĢāļ—āļģāļ­āļēāļŦāļēāļĢ āđāļĨāļ°āļāļēāļĢāļ—āļēāļ™āļ­āļēāļŦāļēāļĢāļĢāđˆāļ§āļĄāļāļąāļ™ āđƒāļ™āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰ āļ§āļēāļĄāļŠāļĩāđ€āļĨāđˆāļēāđƒāļŦāđ‰āļŸāļąāļ‡āļ–āļķāļ‡āļāļēāļĢāđ€āļ›āđ‡āļ™āļ„āļ™āļŠāļ™āļŠāļąāđ‰āļ™āļ”āļēāļĨāļīāļ•āļ§āđˆāļēāđ€āļ›āđ‡āļ™āļ­āļĒāđˆāļēāļ‡āđ„āļĢāļšāđ‰āļēāļ‡ āļ—āļģāđ„āļĄāđ€āļ‚āļēāļ–āļķāļ‡āđ€āļĨāļ·āļ­āļāļ—āļĩāđˆāļˆāļ°āļŠāļģāļĢāļ§āļˆāđ€āļĢāļ·āđˆāļ­āļ‡āļŠāļ™āļŠāļąāđ‰āļ™āļ§āļĢāļĢāļ“āļ°āļœāđˆāļēāļ™āļ­āļēāļŦāļēāļĢ āđāļĨāļ°āļ—āļģāđ„āļĄāļ„āļ§āļēāļĄāļ­āļĢāđˆāļ­āļĒāđ€āļ›āđ‡āļ™āļŠāļīāđˆāļ‡āļŠāļģāļ„āļąāļāđ„āļĄāđˆāļ§āđˆāļēāļ„āļļāļ“āļˆāļ°āļ—āļģāļ­āļēāļŦāļēāļĢāđƒāļŦāđ‰āđƒāļ„āļĢāļ—āļēāļ™

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    Intro: Bilingual

    This episode is in English / āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰āđ€āļ›āđ‡āļ™āļ āļēāļĐāļēāļ­āļąāļ‡āļāļĪāļĐ.āļ•āļīāļ”āļ•āļēāļĄ / Follow

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    *Photos of "Come Eat with Me" by Apeksha Vora

  • āđƒāļ™āđ€āļ”āļ·āļ­āļ™āļžāļĪāļĻāļˆāļīāļāļēāļĒāļ™āļ™āļĩāđ‰ āđ€āļ—āļĻāļāļēāļĨāļĨāļ°āļ„āļĢāļāļĢāļļāļ‡āđ€āļ—āļžāļˆāļ°āļāļĨāļąāļšāļĄāļēāļ­āļĩāļāļ„āļĢāļąāđ‰āļ‡ āļžāļĢāđ‰āļ­āļĄāļ‰āļĨāļ­āļ‡āļ„āļĢāļšāļĢāļ­āļš 20 āļ›āļĩ āđ‚āļ”āļĒāļĄāļĩāļāļēāļĢāđāļŠāļ”āļ‡āļĄāļēāļāļĄāļēāļĒāđƒāļŦāđ‰āđ„āļ”āđ‰āđ€āļĨāļ·āļ­āļāļŠāļĄāļāļąāļ™ āļŦāļ™āļķāđˆāļ‡āđƒāļ™āļ™āļąāđ‰āļ™āļāđ‡āļ„āļ·āļ­āđ€āļĢāļ·āđˆāļ­āļ‡ “āđƒāļ™āļ—āđˆāļ§āļ‡āļ—āļģāļ™āļ­āļ‡ ~ āļ­āļ™āļēāļŠāļĩāļ”” āļĨāļ°āļ„āļĢāļŠāļēāļĢāļ„āļ”āļĩāļ—āļĩāđˆāļŠāļēāļĄāļĻāļīāļĨāļ›āļīāļ™āļŠāļēāļ§āļĄāļļāļŠāļĨāļīāļĄāđ„āļ”āđ‰āļĢāđˆāļ§āļĄāļ—āļģāļ‡āļēāļ™āļāļąāļšāđ€āļĒāļēāļ§āļŠāļ™āļˆāļēāļāļ„āļ“āļ°āļ™āļēāļŠāļĩāļ”āļˆāļēāļāļĄāļąāļŠāļĒāļīāļ”āļĒāļēāļĄāļīāļ­āļļāđ‰āļĨāļ­āļīāļŠāļĨāļēāļĄ (āļ„āļĨāļ­āļ‡āļ•āļąāļ™) āđ€āļĢāļēāļˆāļķāļ‡āļŠāļ§āļ™ āļŸāļēāļĢāļĩāļ”āļē āļˆāļīāļĢāļēāļžāļąāļ™āļ˜āļļāđŒ, āļ„āļ­āļĨāļīāļ” āļĄāļīāļ”āļģ āđāļĨāļ°āļ™āļąāļŠāļĢāļĩ āļĨāļ°āļšāļēāļĒāļ”āļĩāļĄāļąāļ āļĄāļēāļžāļđāļ”āļ„āļļāļĒāđ€āļāļĩāđˆāļĒāļ§āļāļąāļšāļĨāļ°āļ„āļĢāđ€āļĢāļ·āđˆāļ­āļ‡āļ™āļĩāđ‰āļ—āļĩāđˆāļˆāļ°āļ—āļģāđƒāļŦāđ‰āļœāļđāđ‰āļŠāļĄāđ„āļ”āđ‰āļĢāļđāđ‰āļˆāļąāļāļĻāļīāļĨāļ›āļ°āļāļēāļĢāļ‚āļąāļšāļĢāđ‰āļ­āļ‡āļšāļ—āļĨāļģāļ™āļģāļ‚āļ­āļ‡āļŠāļēāļ§āļĄāļļāļŠāļĨāļīāļĄāļĄāļēāļāļ‚āļķāđ‰āļ™ āļĢāļ§āļĄāļ–āļķāļ‡āļāļēāļĢāļ—āļģāļĨāļ°āļ„āļĢāđƒāļ™āļŠāļļāļĄāļŠāļ™āļĄāļļāļŠāļĨāļīāļĄ āđāļĨāļ°āļāļēāļĢāđ€āļ›āđ‡āļ™āļĻāļīāļĨāļ›āļīāļ™āļĄāļļāļŠāļĨāļīāļĄāđƒāļ™āļ§āļ‡āļāļēāļĢāļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āđ„āļ—āļĒ

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    The annual Bangkok Theatre Festiva (BTF) returns once again in November. This year, it celebrates its 20th anniversary with its usual variety of performances. And the one we’re particularly interested in is “Anasheed’s Melodies,” a documentary theatre piece that’s a collaboration between three Muslim theatre artists and the youth singers from the Nasheed group of the Masjid Jamiulislam Klongton [Jamiah al-Islam Mosque (Khlong Tan)]. We talk to Farida Jiraphan, Khalid Midam, and Nasrey Labaideeman about nasheed music, making theatre in Muslim communities, and what it’s like to be Muslim artists in the Thai performing arts scene.

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    Intro: Bilingual

    āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰āđ€āļ›āđ‡āļ™āļ āļēāļĐāļēāđ„āļ—āļĒ / This episode is in Thai. .āļ•āļīāļ”āļ•āļēāļĄ / Followwww.bangkokoffstage.com

  • In Episode 7 of Season 4, we talk to three members of one of the most enduring theatre groups in Thailand, Bangkok Community Theatre (BCT). Bonnie Zellerbach, Danny Wall, and Ric Hizon tell us what drew them to community theatre, how they managed to stay connected and very active throughout the pandemic, and what’s next for this 50-year-old English-speaking community theatre.

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    āđƒāļ™āđ€āļ­āļžāļīāđ‚āļŠāļ” 7 āļ‚āļ­āļ‡āļ‹āļĩāļ‹āļąāđˆāļ™ 4 āđ€āļĢāļēāđ„āļ”āđ‰āđ„āļ›āļžāļđāļ”āļ„āļļāļĒāļāļąāļšāļŠāļēāļĄāļŠāļĄāļēāļŠāļīāļāļ‚āļ­āļ‡āļāļĨāļļāđˆāļĄāļĨāļ°āļ„āļĢāļ—āļĩāđˆāļ­āļĒāļđāđˆāļ„āļđāđˆāļāļĢāļļāļ‡āđ€āļ—āļžāļĄāļēāļĒāļēāļ§āļ™āļēāļ™āļ–āļķāļ‡ 50 āļ›āļĩ Bangkok Community Theatre (BCT) āļ‹āļķāđˆāļ‡āļ›āļĢāļ°āļāļ­āļšāļ”āđ‰āļ§āļĒāļ­āļēāļŠāļēāļŠāļĄāļąāļ„āļĢāļŠāļēāļ§āļ•āđˆāļēāļ‡āļŠāļēāļ•āļīāļ—āļĩāđˆāļ­āļēāļĻāļąāļĒāļ­āļĒāļđāđˆāđƒāļ™āļāļĢāļļāļ‡āđ€āļ—āļž āļšāļ­āļ™āļ™āļĩāđˆ āđ€āļ‹āļĨāđ€āļĨāļ­āļĢāđŒāđāļšāļ„ āđāļ”āļ™āļ™āļĩāđˆ āļ§āļ­āļĨāļĨāđŒ āđāļĨāļ° āļĢāļīāļ„ āļŪāļĩāļ‹āļ­āļ™ āđ€āļĨāđˆāļēāđƒāļŦāđ‰āđ€āļĢāļēāļŸāļąāļ‡āļ–āļķāļ‡āļŠāļīāđˆāļ‡āļ—āļĩāđˆāļ”āļķāļ‡āļ”āļđāļ”āđ€āļ‚āļēāļĄāļēāļ—āļģāļĨāļ°āļ„āļĢāđāļšāļš community theatre āļŠāļīāđˆāļ‡āļ—āļĩāđˆāļŠāđˆāļ§āļĒāļāļĢāļ°āļŠāļąāļšāļ„āļ§āļēāļĄāļŠāļąāļĄāļžāļąāļ™āļ˜āđŒāļĢāļ°āļŦāļ§āđˆāļēāļ‡āļŠāļĄāļēāļŠāļīāļāļŠāđˆāļ§āļ‡āļ§āļīāļāļĪāļ•āđ‚āļ„āļ§āļīāļ” āđāļĨāļ°āļ­āļ™āļēāļ„āļ•āļ‚āļ­āļ‡ BCT

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    Intro: Bilingual

    This episode is in English. / āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰āđ€āļ›āđ‡āļ™āļ āļēāļĐāļēāļ­āļąāļ‡āļāļĪāļĐ

    .āļ•āļīāļ”āļ•āļēāļĄ / Followwww.bangkokoffstage.com

  • āļŠāđˆāļ§āļ‡āđ€āļ”āļ·āļ­āļ™āļŠāļīāļ‡āļŦāļēāļ„āļĄāļĄāļĩāļāļēāļĢāđāļŠāļ”āļ‡āļŦāļĨāļēāļĒāđ€āļĢāļ·āđˆāļ­āļ‡āļ—āļĩāđˆāļ™āđˆāļēāļ•āļīāļ”āļ•āļēāļĄ āļŦāļ™āļķāđˆāļ‡āđƒāļ™āļ™āļąāđ‰āļ™āļ„āļ·āļ­ “āļĄāļ™āļ•āđŒāļĢāļąāļāļ—āļĢāļēāļ™āļ‹āļīāļŠāđ€āļ•āļ­āļĢāđŒâ€ āļ‹āļķāđˆāļ‡āđ€āļ›āđ‡āļ™āļāļēāļĢāļ™āļģāļ™āļ§āļ™āļīāļĒāļēāļĒāļŠāļ·āđˆāļ­āļ”āļąāļ‡āļ‚āļ­āļ‡āļ§āļąāļ’āļ™āđŒ āļ§āļĢāļĢāļĨāļĒāļēāļ‡āļāļđāļĢ āļĄāļēāļ—āļģāđ€āļ›āđ‡āļ™āļĨāļ°āļ„āļĢāđ€āļ§āļ—āļĩ āļŦāļĨāļąāļ‡āļˆāļēāļāļ—āļĩāđˆāļ›āļĢāļ°āļŠāļšāļ„āļ§āļēāļĄāļŠāļģāđ€āļĢāđ‡āļˆāđ€āļ›āđ‡āļ™āļ­āļĒāđˆāļēāļ‡āļĄāļēāļāđƒāļ™āđ€āļ§āļ­āļĢāđŒāļŠāļąāļ™āļ āļēāļžāļĒāļ™āļ•āđŒāļ—āļĩāđˆāļāļģāļāļąāļšāđ‚āļ”āļĒāđ€āļ›āđ‡āļ™āđ€āļ­āļ āļĢāļąāļ•āļ™āđ€āļĢāļ·āļ­āļ‡ āđƒāļ™āļ›āļĩ 2544 āđƒāļ™āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ—āļĩāđˆ 6 āļ‚āļ­āļ‡āļ‹āļĩāļ‹āļąāđˆāļ™ 4 āļ™āļĩāđ‰ āđ€āļĢāļēāđ€āļĨāļĒāđ„āļ›āļžāļđāļ”āļ„āļļāļĒāļāļąāļš āļˆāļąāļŠ - āļ˜āļĩāļĢāļžāļąāļ™āļ˜āđŒ āđ€āļ‡āļēāļˆāļĩāļ™āļēāļ™āļąāļ™āļ•āđŒ āļœāļđāđ‰āļāļģāļāļąāļšāļ āļēāļžāļĒāļ™āļ•āļĢāđŒāļŠāļēāļĢāļ„āļ”āļĩāļ—āļĩāđˆāļœāļąāļ™āļ•āļąāļ§āļĄāļēāļāļģāļāļąāļšāļĨāļ°āļ„āļĢāđ€āļ§āļ—āļĩāđ€āļ›āđ‡āļ™āļ„āļĢāļąāđ‰āļ‡āđāļĢāļ āļ–āļķāļ‡āđ€āļŦāļ•āļļāļœāļĨāđƒāļ™āļāļēāļĢāđ€āļĨāļ·āļ­āļāļ™āļģāļ™āļ§āļ™āļīāļĒāļēāļĒāđ€āļĢāļ·āđˆāļ­āļ‡āļ™āļĩāđ‰āļĄāļēāļ—āļģāđ€āļ›āđ‡āļ™āļĨāļ°āļ„āļĢāđ€āļ§āļ—āļĩ āđāļĨāļ°āļāļēāļĢāļ™āļģāļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āđŒāļāļēāļĢāļ—āļģāļŦāļ™āļąāļ‡āļŠāļēāļĢāļ„āļ”āļĩāļĄāļēāđƒāļŠāđ‰āđƒāļ™āļāļēāļĢāļ—āļģāļĨāļ°āļ„āļĢāđ€āļ§āļ—āļĩ

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    The Thai theatre scene is coming out with a lot of interesting productions this month. One of those is an adaptation of “Monrak Transistor,” a novel by the late writer Wat Wanlayankoon, who died in exile in France earlier this year. The 2001 film adaptation by Pen-ek Ratanaruang enjoyed both domestic and international success. In this episode, we have a chat with the play’s director Teeraphan Ngowjeenanan, a documentary filmmaker who’s making his theatre directorial debut, about why he chose to bring this novel to the stage and how he’s using his film experience to direct his first theatre production.

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    Intro: Bilingual

    This episode is in Thai. / āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰āđ€āļ›āđ‡āļ™āļ āļēāļĐāļēāđ„āļ—āļĒ

    .āļ•āļīāļ”āļ•āļēāļĄ / Followwww.bangkokoffstage.com

  • China’s zero-Covid policy and its effects on the population in the country’s major cities have been drawing global media attention for months, especially since most countries have already eased their travel and lockdown restrictions. So on July 16, we sat down with three performing arts professionals from China to find out what it’s like to live under the zero-Covid policy and what it means for the performing arts people in their country. We have on the panel Beijing-based theatre producer Zhang “Jennifer” Cui, Beijing-based choreographer Wang Mengfan, and Shanghai-based curator-producer Zhang Yuan. They give us a glimpse into how China’s Covid strategy has impacted the mind, the spirit, and the body and share with us their concerns and hopes for the future of theatre in their cities.

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    āļŦāļĨāļąāļ‡āļˆāļēāļāļ—āļĩāđˆāļˆāļĩāļ™āļ­āļ­āļāļ™āđ‚āļĒāļšāļēāļĒāđ‚āļ„āļ§āļīāļ”āđ€āļ›āđ‡āļ™āļĻāļđāļ™āļĒāđŒ āļŦāļĢāļ·āļ­ Zero-COVID policy āļŠāļĩāļ§āļīāļ•āļ‚āļ­āļ‡āļœāļđāđ‰āļ„āļ™āđƒāļ™āđ€āļĄāļ·āļ­āļ‡āđƒāļŦāļāđˆāļāđ‡āđ„āļ”āđ‰āļĢāļąāļšāļœāļĨāļāļĢāļ°āļ—āļšāđ€āļ›āđ‡āļ™āļˆāļģāļ™āļ§āļ™āļĄāļēāļ āđāļĨāļ°āđ€āļ›āđ‡āļ™āļāļĢāļ°āđāļŠāļ‚āđˆāļēāļ§āđ„āļ›āļ—āļąāđˆāļ§āđ‚āļĨāļāđ€āļ›āđ‡āļ™āđ€āļ§āļĨāļēāļŦāļĨāļēāļĒāđ€āļ”āļ·āļ­āļ™ āđ€āļžāļĢāļēāļ°āļ›āļąāļˆāļˆāļļāļšāļąāļ™āļŦāļĨāļēāļĒāļ›āļĢāļ°āđ€āļ—āļĻāđ„āļ”āđ‰āļœāđˆāļ­āļ™āļ„āļĨāļēāļĒāļĄāļēāļ•āļĢāļāļēāļĢāļ”āđ‰āļēāļ™āļāļēāļĢāļ—āđˆāļ­āļ‡āđ€āļ—āļĩāđˆāļĒāļ§āđāļĨāļ°āļāļēāļĢāļĨāđ‡āļ­āļāļ”āļēāļ§āļ™āđŒāđāļĨāđ‰āļ§ āđāļĨāļ°āđƒāļ™āļ§āļąāļ™āļ—āļĩāđˆ 16 āļāļĢāļāļŽāļēāļ„āļĄāļ—āļĩāđˆāļœāđˆāļēāļ™āļĄāļē āđ€āļĢāļēāđ„āļ”āđ‰āļžāļđāļ”āļ„āļļāļĒāļāļąāļšāļ„āļ™āđƒāļ™āļ§āļ‡āļāļēāļĢāļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡ 3 āļ„āļ™āļˆāļēāļāļˆāļĩāļ™ āđ„āļ”āđ‰āđāļāđˆ “āļˆāļēāļ‡ āļ‹āļļāđˆāļĒ” āļŦāļĢāļ·āļ­ āđ€āļˆāļ™āļ™āļīāđ€āļŸāļ­āļĢāđŒ āđ‚āļ›āļĢāļ”āļīāļ§āđ€āļ‹āļ­āļĢāđŒāļĨāļ°āļ„āļĢāļˆāļēāļāļ›āļąāļāļāļīāđˆāļ‡ /“āļŦāļ§āļąāļ‡ āđ€āļĄāđˆāļ‡āļŸāļēāļ™â€ āļ™āļąāļāļ­āļ­āļāđāļšāļšāļ—āđˆāļēāđ€āļ•āđ‰āļ™āļˆāļēāļāļ›āļąāļāļāļīāđˆāļ‡ āđāļĨāļ° “āļˆāļēāļ‡ āļŦāļĒāļ§āļ™â€ āđ‚āļ›āļĢāļ”āļīāļ§āđ€āļ‹āļ­āļĢāđŒāđāļĨāļ°āļ āļąāļ“āļ‘āļēāļĢāļąāļāļĐāđŒāļˆāļēāļāđ€āļ‹āļĩāđˆāļĒāļ‡āđ„āļŪāđ‰

    āļ—āļąāđ‰āļ‡āļŠāļēāļĄāđ„āļ”āđ‰āđ€āļĨāđˆāļēāđƒāļŦāđ‰āđ€āļĢāļēāļŸāļąāļ‡āļ–āļķāļ‡āļāļēāļĢāđƒāļŠāđ‰āļŠāļĩāļ§āļīāļ•āļ āļēāļĒāđƒāļ•āđ‰āļ™āđ‚āļĒāļšāļēāļĒāđ‚āļ„āļ§āļīāļ”āđ€āļ›āđ‡āļ™āļĻāļđāļ™āļĒāđŒāđāļĨāļ°āļœāļĨāļāļĢāļ°āļ—āļšāļ—āļĩāđˆāļĄāļĩāļ•āđˆāļ­āļœāļđāđ‰āļ„āļ™āđƒāļ™āđāļ§āļ”āļ§āļ‡āļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡ āļĢāļ§āļĄāļ–āļķāļ‡āļœāļĨāļāļĢāļ°āļ—āļšāļ‚āļ­āļ‡āļ™āđ‚āļĒāļšāļēāļĒāļ™āļĩāđ‰āļ•āđˆāļ­āļˆāļīāļ•āđƒāļˆ āļˆāļīāļ•āļ§āļīāļāļāļēāļ“ āđāļĨāļ°āļĢāđˆāļēāļ‡āļāļēāļĒāļ‚āļ­āļ‡āļœāļđāđ‰āļ„āļ™ āļ™āļ­āļāļˆāļēāļāļ™āļąāđ‰āļ™ āļĒāļąāļ‡āđ€āļĨāđˆāļēāļ–āļķāļ‡āļŠāļīāđˆāļ‡āļ—āļĩāđˆāļāļąāļ‡āļ§āļĨāđāļĨāļ°āļ„āļ§āļēāļĄāļŦāļ§āļąāļ‡āļ•āđˆāļ­āļ­āļ™āļēāļ„āļ•āļ‚āļ­āļ‡āļ§āļ‡āļāļēāļĢāļĨāļ°āļ„āļĢāđƒāļ™āđ€āļĄāļ·āļ­āļ‡āļ•āđˆāļēāļ‡āđ†

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    This episode is in English. / āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰āđ€āļ›āđ‡āļ™āļ āļēāļĐāļēāļ­āļąāļ‡āļāļĪāļĐ.āļ•āļīāļ”āļ•āļēāļĄ / Followwww.bangkokoffstage.com

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    *Portrait of Zhang “Jennifer” Cui by Zhu Chaohui

  • In this episode, we talk to someone whose work and creative process demolish all kinds of borders in science and art. .Lucy McRae is an LA-based science fiction artist and body architect who grew up ballet dancing and running 100-meter hurdles. She studied interior design at RMIT University and went on to work at Philips’s Far Future Design research lab, where she was part of a team that focused on wearable and emotion-sensing technologies. One of the things that she and her team developed there was electronic tattoos that are implanted in the skin and can appear and be transformed by touch. .The British-born Australian describes her work as “speculat[ing] on the future of human existence by exploring the limits of the body, beauty, biotechnology, and the self.” Her collaboration with scientists and artists have led to works such as Swallowable Perfume that releases fragrance through sweat, “Future Day Spa” that asks the audience to place their bodies in a pressurized sheet designed to relax and simulate the feeling of being hugged, and “Institute of Isolation,” a film exploring human resilience in extreme conditions. .Most recently, she was commissioned by the Singapore International Festival of Arts (SIFA) under the theme of “Anatomy of Performance: Ritual.” The result is “Delicate Spells of Mind,” a short film that raises questions about our ego and sense of belonging. For the film, she collaborated with LA choreographer Jasmine Albuquerque, who has choreographed videos for a wide range of artists, including St. Vincent, Katy Perry, and Rihanna. (The film is available at SIFA on Demand until July 10.) .In this interview, McRae shares with us why she thrives best in unfamiliar conditions, how Buddhist philosophy is becoming more relevant to her work, and what questions need to be asked about the future. ...āđƒāļ™āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰ āđ€āļĢāļēāđ„āļ”āđ‰āđ„āļ›āļ„āļļāļĒāļāļąāļšāļĻāļīāļĨāļ›āļīāļ™āļ—āļĩāđˆāļ—āļģāļ‡āļēāļ™āđ€āļŦāļ™āļ·āļ­āļ‚āļ­āļšāđ€āļ‚āļ•āļ‚āļ­āļ‡āļĻāļīāļĨāļ›āļ°āđāļĨāļ°āļ§āļīāļ—āļĒāļēāļĻāļēāļŠāļ•āļĢāđŒ .āļĨāļđāļ‹āļĩāđˆ āđāļĄāļ„āđ€āļĢ āđ€āļĢāļĩāļĒāļāļ•āļąāļ§āđ€āļ˜āļ­āđ€āļ­āļ‡āļ§āđˆāļēāđ€āļ›āđ‡āļ™āļĻāļīāļĨāļ›āļīāļ™ sci-fi āđāļĨāļ° body architect (āļŠāļ–āļēāļ›āļ™āļīāļāļĢāđˆāļēāļ‡āļāļēāļĒ) āđ€āļ˜āļ­āđ‚āļ•āļĄāļēāļāļąāļšāļāļēāļĢāđ€āļ•āđ‰āļ™āļšāļąāļĨāđ€āļĨāđˆāļ•āđŒāđāļĨāļ°āļ§āļīāđˆāļ‡āļ‚āđ‰āļēāļĄāļĢāļąāđ‰āļ§ 100 āđ€āļĄāļ•āļĢ āļŦāļĨāļąāļ‡āļˆāļēāļāļ™āļąāđ‰āļ™āđ€āļ˜āļ­āļāđ‡āđ„āļ”āđ‰āđ€āļĢāļĩāļĒāļ™āļ­āļ­āļāđāļšāļšāļ āļēāļĒāđƒāļ™āļ—āļĩāđˆ RMIT University āļāđˆāļ­āļ™āļ—āļĩāđˆāļˆāļ°āđ„āļ›āļ—āļģāļ‡āļēāļ™āđƒāļ™āļŦāđ‰āļ­āļ‡āļ›āļāļīāļšāļąāļ•āļīāļāļēāļĢāļ§āļīāļˆāļąāļĒ Far Future Design āļ‚āļ­āļ‡āļšāļĢāļīāļĐāļąāļ—āļŸāļīāļĨāļīāļ›āļŠāđŒ āđ‚āļ”āļĒāđ€āļ˜āļ­āđ€āļ›āđ‡āļ™āļŠāđˆāļ§āļ™āļŦāļ™āļķāđˆāļ‡āļ‚āļ­āļ‡āļ—āļĩāļĄāļ—āļĩāđˆāļ—āļģāļ‡āļēāļ™āđ€āļāļĩāđˆāļĒāļ§āļāļąāļšāđ€āļ—āļ„āđ‚āļ™āđ‚āļĨāļĒāļĩāļ—āļĩāđˆāļŠāļ§āļĄāđƒāļŠāđˆāđ„āļ”āđ‰āđāļĨāļ°āļˆāļąāļšāļ„āļ§āļēāļĄāļĢāļđāđ‰āļŠāļķāļāđ„āļ”āđ‰ āļ—āļĩāļĄāļ‚āļ­āļ‡āđ€āļ˜āļ­āļžāļąāļ’āļ™āļēāļ™āļ§āļąāļ•āļāļĢāļĢāļĄāļ•āđˆāļēāļ‡āđ† āļ­āļĒāđˆāļēāļ‡āđ€āļŠāđˆāļ™ āļĨāļēāļĒāļŠāļąāļāđ„āļŸāļŸāđ‰āļēāļ—āļĩāđˆāļāļąāļ‡āđ€āļ‚āđ‰āļēāđ„āļ›āđƒāļ™āļœāļīāļ§āļŦāļ™āļąāļ‡āđāļĨāļ°āļŠāļēāļĄāļēāļĢāļ–āļ›āļĢāļēāļāļāđāļĨāļ°āđ€āļ›āļĨāļĩāđˆāļĒāļ™āļĢāļđāļ›āđ„āļ”āđ‰āļœāđˆāļēāļ™āļāļēāļĢāļŠāļąāļĄāļœāļąāļŠ .āđ€āļ˜āļ­āļ­āļ˜āļīāļšāļēāļĒāļ–āļķāļ‡āļāļēāļĢāļ—āļģāļ‡āļēāļ™āļ‚āļ­āļ‡āđ€āļ˜āļ­āļ§āđˆāļēāđ€āļ›āđ‡āļ™ “āļāļēāļĢāļ„āļēāļ”āļāļēāļĢāļ“āđŒāļ–āļķāļ‡āļ­āļ™āļēāļ„āļ•āļ‚āļ­āļ‡āļāļēāļĢāļ”āļģāļĢāļ‡āļ­āļĒāļđāđˆāļ‚āļ­āļ‡āļĄāļ™āļļāļĐāļĒāđŒ āļœāđˆāļēāļ™āļāļēāļĢāļŠāļģāļĢāļ§āļˆāļ‚āđ‰āļ­āļˆāļģāļāļąāļ”āļ‚āļ­āļ‡āļĢāđˆāļēāļ‡āļāļēāļĒ āļ„āļ§āļēāļĄāļ‡āļēāļĄ āđ€āļ—āļ„āđ‚āļ™āđ‚āļĨāļĒāļĩāļŠāļĩāļ§āļ āļēāļž āđāļĨāļ°āļ•āļąāļ§āļ•āļ™â€ āđ€āļ˜āļ­āļĢāđˆāļ§āļĄāļ‡āļēāļ™āļāļąāļšāļ™āļąāļāļ§āļīāļ—āļĒāļēāļĻāļēāļŠāļ•āļĢāđŒāđāļĨāļ°āļĻāļīāļĨāļ›āļīāļ™āļŦāļĨāļēāļāļŦāļĨāļēāļĒāđāļ‚āļ™āļ‡ āļ‹āļķāđˆāļ‡āļ—āļģāđƒāļŦāđ‰āđ€āļ˜āļ­āļĄāļĩāļœāļĨāļ‡āļēāļ™āđāļ›āļĨāļāđƒāļŦāļĄāđˆāļ­āļĒāđˆāļēāļ‡āđ€āļŠāđˆāļ™ Swallowable Perfume āļŦāļĢāļ·āļ­āļ™āđ‰āļģāļŦāļ­āļĄāļāļĨāļ·āļ™āđ„āļ”āđ‰āļ—āļĩāđˆāļ›āļĨāđˆāļ­āļĒāļāļĨāļīāđˆāļ™āļŦāļ­āļĄāļ­āļ­āļāļĄāļēāļœāđˆāļēāļ™āđ€āļŦāļ‡āļ·āđˆāļ­ “Future Day Spa” āļ‹āļķāđˆāļ‡āđ€āļ›āđ‡āļ™āļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āđŒāļ—āļĩāđˆāļ™āļģāļ„āļ™āļ”āļđāđ„āļ›āļŠāļąāļĄāļœāļąāļŠāļāļąāļšāļ­āļļāļ›āļāļ“āđŒāļ—āļĩāđˆāļ—āļģāđƒāļŦāđ‰āļĢāļđāđ‰āļŠāļķāļāļœāđˆāļ­āļ™āļ„āļĨāļēāļĒāđāļĨāļ°āđ€āļŦāļĄāļ·āļ­āļ™āļ–āļđāļāļāļ­āļ”āļ­āļĒāļđāđˆ āđāļĨāļ° “Institute of Isolation” āļ‹āļķāđˆāļ‡āđ€āļ›āđ‡āļ™āļ āļēāļžāļĒāļ™āļ•āļĢāđŒāļ—āļĩāđˆāļŠāļģāļĢāļ§āļˆāļ„āļ§āļēāļĄāļ—āļĢāļŦāļ”āļ­āļ”āļ—āļ™āļ‚āļ­āļ‡āļĄāļ™āļļāļĐāļĒāđŒāļ āļēāļĒāđƒāļ•āđ‰āļŠāļ–āļēāļ™āļāļēāļĢāļ“āđŒāļ—āļĩāđˆāļ—āđ‰āļēāļ—āļēāļĒāļ­āļĒāđˆāļēāļ‡āļŠāļļāļ”āđ‚āļ•āđˆāļ‡ .āļĨāđˆāļēāļŠāļļāļ”āđ€āļ˜āļ­āđ„āļ”āđ‰āļŠāļĢāđ‰āļēāļ‡āļŦāļ™āļąāļ‡āļŠāļąāđ‰āļ™āđ€āļĢāļ·āđˆāļ­āļ‡ “Delicate Spells of Mind” āļŠāļģāļŦāļĢāļąāļšāđ€āļ—āļĻāļāļēāļĨ Singapore International Festival of Arts (SIFA) āļ—āļĩāđˆāļ•āļąāđ‰āļ‡āļ„āļģāļ–āļēāļĄāđ€āļāļĩāđˆāļĒāļ§āļāļąāļšāļ­āļąāļ•āļ•āļēāđāļĨāļ°āļ„āļ§āļēāļĄāļĢāļđāđ‰āļŠāļķāļāđ€āļ›āđ‡āļ™āļŠāđˆāļ§āļ™āļŦāļ™āļķāđˆāļ‡āļ‚āļ­āļ‡āļŠāļąāļ‡āļ„āļĄ āļŠāļģāļŦāļĢāļąāļšāļŦāļ™āļąāļ‡āđ€āļĢāļ·āđˆāļ­āļ‡āļ™āļĩāđ‰ āļĨāļđāļ‹āļĩāđˆāļĢāđˆāļ§āļĄāļ‡āļēāļ™āļāļąāļš āđāļˆāļŠāļĄāļīāļ™ āļ­āļąāļĨāļšāļđāđ€āļ„āļ­āļĢāđŒāļ„āļĩ āļ™āļąāļāļ­āļ­āļāđāļšāļšāļ—āđˆāļēāđ€āļ•āđ‰āļ™āļ—āļĩāđˆāđ€āļ„āļĒāļ—āļģāļ‡āļēāļ™āļĢāđˆāļ§āļĄāļāļąāļšāļĻāļīāļĨāļ›āļīāļ™āļĄāļēāļāļĄāļēāļĒ āļĢāļ§āļĄāļ–āļķāļ‡ āđ€āļ‹āļ™āļ•āđŒ āļ§āļīāļ™āđ€āļ‹āļ™āļ•āđŒ (St. Vincent), āđ€āļ„āļ—āļĩāđˆ āđ€āļžāļ­āļĢāđŒāļĢāļĩāđˆ (Katy Perry) āđāļĨāļ° āļĢāļĩāđāļ­āļ™āļ™āļē (Rihanna) (āļŠāļēāļĄāļēāļĢāļ–āļĢāļąāļšāļŠāļĄ “Delicate Spells of Mind” āļ—āļēāļ‡ SIFA on Demand āđ„āļ”āđ‰āļ–āļķāļ‡āļ§āļąāļ™āļ—āļĩāđˆ 10 āļāļĢāļāļŽāļēāļ„āļĄāļ™āļĩāđ‰) .āđƒāļ™āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰āļĨāļđāļ‹āļĩāđˆāđāļšāđˆāļ‡āļ›āļąāļ™āļāļąāļšāđ€āļĢāļēāļ§āđˆāļēāļ—āļģāđ„āļĄāđ€āļ˜āļ­āļ–āļķāļ‡āļŠāļ­āļšāļ—āļģāļ‡āļēāļ™āļ āļēāļĒāđƒāļ•āđ‰āļŠāļ–āļēāļ™āļāļēāļĢāļ“āđŒāļ—āļĩāđˆāđ€āļ˜āļ­āđ„āļĄāđˆāļ„āļļāđ‰āļ™āđ€āļ„āļĒ āļžāļļāļ—āļ˜āļ›āļĢāļąāļŠāļāļēāļĄāļĩāļ„āļ§āļēāļĄāđ€āļāļĩāđˆāļĒāļ§āļ‚āđ‰āļ­āļ‡āļāļąāļšāļ‡āļēāļ™āļ‚āļ­āļ‡āđ€āļ˜āļ­āļ­āļĒāđˆāļēāļ‡āđ„āļĢ āđāļĨāļ°āļ„āļģāļ–āļēāļĄāđ€āļāļĩāđˆāļĒāļ§āļāļąāļšāļ­āļ™āļēāļ„āļ•āļ—āļĩāđˆāļŠāļąāļ‡āļ„āļĄāļĄāļ™āļļāļĐāļĒāđŒāļ„āļ§āļĢāļĢāđˆāļ§āļĄāļāļąāļ™āļŠāļģāļĢāļ§āļˆ.Intro: BilingualThis episode is in English. / āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰āđ€āļ›āđ‡āļ™āļ āļēāļĐāļēāļ­āļąāļ‡āļāļĪāļĐ.āļ•āļīāļ”āļ•āļēāļĄ / Followwww.bangkokoffstage.com.*Portrait of Lucy McRae courtesy of Kort Havens**Photos of “Delicate Spells of Mind” courtesy of May Xiong

  • āđƒāļ™āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ—āļĩāđˆ 3 āļ‚āļ­āļ‡āļ‹āļĩāļ‹āļąāđˆāļ™ 4 āđ€āļĢāļēāđ„āļ”āđ‰āđ„āļ›āļžāļđāļ”āļ„āļļāļĒāļāļąāļš āđāļ•āļ‡āđ‚āļĄ - āļāļīāļ•āļ•āļīāļžāļĢ āđ‚āļĢāļˆāļ™āđŒāļ§āļ“āļīāļŠ āļ™āļąāļāđāļŠāļ”āļ‡āļ—āļĩāđˆāļĄāļĩāļœāļĨāļ‡āļēāļ™āļ—āļąāđ‰āļ‡āļĨāļ°āļ„āļĢāđ€āļ§āļ—āļĩ āļĨāļ°āļ„āļĢāđ‚āļ—āļĢāļ—āļąāļĻāļ™āđŒ āđāļĨāļ°āļŠāđāļ•āļ™āļ”āđŒāļ­āļąāļžāļ„āļ­āđ€āļĄāļ”āļĩāđ‰ āļœāļđāđ‰āđƒāļŠāđ‰āļŠāļĩāļ§āļīāļ•āļ—āļģāļ‡āļēāļ™āļ—āļąāđ‰āļ‡āđƒāļ™āđ„āļ—āļĒāđāļĨāļ°āļŠāļŦāļĢāļąāļāļ­āđ€āļĄāļĢāļīāļāļē āđƒāļ™āļāļēāļĢāļŠāļąāļĄāļ āļēāļĐāļ“āđŒāļ„āļĢāļąāđ‰āļ‡āļ™āļĩāđ‰ āļ™āļ­āļāļˆāļēāļāļ„āļģāļ–āļēāļĄāļˆāļēāļāļ—āļēāļ‡āļĢāļēāļĒāļāļēāļĢāđāļĨāđ‰āļ§ āđ€āļĢāļēāļĒāļąāļ‡āļĄāļĩāļ„āļģāļ–āļēāļĄāđ€āļ‹āļ­āļĢāđŒāđ„āļžāļĢāļŠāđŒāļˆāļēāļāđ€āļžāļ·āđˆāļ­āļ™āļŠāļ™āļīāļ—āļ‚āļ­āļ‡āđāļ•āļ‡āđ‚āļĄāđāļĨāļ°āļ„āļ™āļĢāļđāđ‰āļˆāļąāļāđƒāļ™āļ§āļ‡āļāļēāļĢāļĨāļ°āļ„āļĢāđ€āļ§āļ—āļĩāđ„āļ—āļĒāļ­āļĩāļāļ”āđ‰āļ§āļĒ āđāļ•āļ‡āđ‚āļĄāđ„āļ”āđ‰āđ€āļĨāđˆāļēāđƒāļŦāđ‰āđ€āļĢāļēāļŸāļąāļ‡āļ–āļķāļ‡āļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āđŒāļāļēāļĢāļ—āļģāļ‡āļēāļ™āđāļĨāļ°āļāļēāļĢāļŦāļēāļ‡āļēāļ™āđƒāļ™āļ­āđ€āļĄāļĢāļīāļāļē āļžāļĢāđ‰āļ­āļĄāđ€āļĢāļ·āđˆāļ­āļ‡āļ•āļĨāļāđ€āļŪāļŪāļēāļĄāļēāļāļĄāļēāļĒ āđāļĨāļ°āđƒāļŦāđ‰āļ‚āđ‰āļ­āđ€āļŠāļ™āļ­āđāļ™āļ°āđ€āļāļĩāđˆāļĒāļ§āļāļąāļšāļāļēāļĢāđ€āļ›āđ‡āļ™āļ™āļąāļāđāļŠāļ”āļ‡āļĄāļ·āļ­āļ­āļēāļŠāļĩāļž

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    In this episode, we talk to actress Mo Rodvanich, who works both onstage and onscreen in Thailand and in the US. And more recently, she’s just ventured into stand-up comedy. For this interview, Mo not only answers questions from the two of us, she also takes questions from close friends and colleagues from the Thai performing arts scene. The actress speaks to us about her experience studying and finding acting gigs in America, tells hilarious anecdotes, and gives professional advice.

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    Intro: Bilingualāđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰āđ€āļ›āđ‡āļ™āļ āļēāļĐāļēāđ„āļ—āļĒThis episode is in Thai.

    .

    āļ•āļīāļ”āļ•āļēāļĄ / Followwww.bangkokoffstage.com

  • āđƒāļ™āđ€āļ­āļžāļīāđ‚āļŠāļ” 2 āļ‚āļ­āļ‡āļ‹āļĩāļ‹āļąāđˆāļ™ 4 āļāļĨāļąāļšāļĄāļēāļžāļšāļāļąāļ™āļ­āļĩāļāļ„āļĢāļąāđ‰āļ‡āļŠāļģāļŦāļĢāļąāļš Trade Secrets āļ‹āļĩāļĢāļĩāđˆāļŠāđŒāļ—āļĩāđˆāđ€āļ›āļīāļ”āđ‚āļ­āļāļēāļŠāđƒāļŦāđ‰āļĻāļīāļĨāļ›āļīāļ™āļĢāļļāđˆāļ™āđƒāļŦāļĄāđˆāļĄāļēāļžāļđāļ”āļ„āļļāļĒāļāļąāļšāļĻāļīāļĨāļ›āļīāļ™āļĢāļļāđˆāļ™āļžāļĩāđˆ āđ‚āļ”āļĒāđƒāļ™āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰ āļĻāļīāļĨāļ›āļīāļ™āļŦāļ™āđ‰āļēāđƒāļŦāļĄāđˆ 3 āļ„āļ™ āļˆāļēāļāļ„āļ“āļ°āļĨāļ°āļ„āļĢ Circle Theatre āļ›āļ­-āļ™āļąāļ—āļ˜āļĄāļ™ āđ€āļ›āļĢāļĄāļŠāļģāļĢāļēāļ āļ›āļēāļĢāđŒāļ•āļĩāđ‰-āļ āļąāļŠāļŠāļĢāđŒāļ āļ§āļīāļĻāļē āļˆāļīāļ§āļžāļąāļ’āļ™āļāļļāļĨ āđāļĨāļ°āļĨāļĩāđ‚āļ­-āļĄāļ™āļ•āđŒāļŠāļļāļ™āļ—āļĢ āļŠāļļāļĢāļēāļŠ āđ„āļ”āđ‰āđ€āļĨāļ·āļ­āļāļ—āļĩāđˆāļˆāļ°āļĄāļēāļ—āļģāļ„āļ§āļēāļĄāļĢāļđāđ‰āļˆāļąāļāļāļąāļšāļĻāļīāļĨāļ›āļīāļ™āļĢāļļāđˆāļ™āļžāļĩāđˆ āđ€āļšāļŠāļ—āđŒ-āļ§āļīāļŠāļĒ āļ­āļēāļ—āļĄāļēāļ— āļˆāļēāļ For What Theatre āđ€āļāļĩāđˆāļĒāļ§āļāļąāļšāļ§āļīāļ˜āļĩāļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļšāļ— āļāļēāļĢāļ—āļģāļ‡āļēāļ™āļāļąāļšāļ™āļąāļāđāļŠāļ”āļ‡ āđāļĨāļ°āļāļēāļĢāļāļģāļāļąāļšāļĻāļīāļĨāļ›āđŒ āļĢāļ§āļĄāļ–āļķāļ‡āļāļēāļĢāļĒāļķāļ”āļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āđ€āļ›āđ‡āļ™āļ­āļēāļŠāļĩāļž

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    We’re back with Trade Secrets, our special series that gives young artists a chance to speak with more experienced artists. This time, three emerging artists from Circle Theatre—Nuttamon “Por” Pramsamran, Paspawisa “Party” Jewpattanagul, and Monsuntorn “Leo” Surach—picked For What Theatre co-founder Wichaya “Best” Artamat as their interview subject. Each of the three young artists has their own questions about Wichaya’s approach to writing, directing, and designing, and what it’s like to pursue theatre as a profession.

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    Intro: Bilingualāđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰āđ€āļ›āđ‡āļ™āļ āļēāļĐāļēāđ„āļ—āļĒThis episode is in Thai.

    .āļ•āļīāļ”āļ•āļēāļĄ / Followwww.bangkokoffstage.com

  • āļĒāļīāļ™āļ”āļĩāļ•āđ‰āļ­āļ™āļĢāļąāļšāđ€āļ‚āđ‰āļēāļŠāļđāđˆāļ‹āļĩāļ‹āļąāđˆāļ™ 4 āļ‚āļ­āļ‡ Bangkok Offstage āļ‹āļĩāļ‹āļąāđˆāļ™āļ™āļĩāđ‰āļĒāļąāļ‡āļĄāļĩ 10 āđ€āļ­āļžāļīāđ‚āļŠāļ”āļŦāļĨāļąāļāđ€āļŦāļĄāļ·āļ­āļ™āđ€āļ”āļīāļĄ āļŠāļēāļĄāļēāļĢāļ–āļ•āļīāļ”āļ•āļēāļĄāļŸāļąāļ‡āđ€āļĢāļēāļŠāļ­āļ‡āļ„āļ™āđ„āļ”āđ‰āļ—āļļāļāļ§āļąāļ™āļžāļĪāļŦāļąāļŠāļšāļ”āļĩāļŠāļļāļ”āļ—āđ‰āļēāļĒāļ‚āļ­āļ‡āđ€āļ”āļ·āļ­āļ™ āļŠāļģāļŦāļĢāļąāļšāļ‹āļĩāļ‹āļąāđˆāļ™āļ™āļĩāđ‰ āđ€āļĢāļēāļ‚āļ­āļ›āļĢāļ°āđ€āļ”āļīāļĄāļ”āđ‰āļ§āļĒāđ€āļĢāļ·āđˆāļ­āļ‡āļ™āđˆāļēāļĢāļąāļāđ† āļ‚āļ­āļ‡āļĨāļ°āļ„āļĢāđ€āļ”āđ‡āļ āđ‚āļ”āļĒāđ€āļĢāļēāđ„āļ”āđ‰āļžāļđāļ”āļ„āļļāļĒāļāļąāļšāđ€āļšāļīāļĢāđŒāļ” - āļ™āļĩāļĨāļŠāļē āđ€āļŸāļ·āđˆāļ­āļ‡āļŸāļđāđ€āļāļĩāļĒāļĢāļ•āļī āļ‹āļķāđˆāļ‡āđ€āļ›āđ‡āļ™āļ™āļąāļāđāļŠāļ”āļ‡āđāļĨāļ°āļ™āļąāļāđ€āļĨāđˆāļēāđ€āļĢāļ·āđˆāļ­āļ‡ āđāļĨāļ°āđāļˆāđ‹ - āļŠāļīāļĢāļīāļāļēāļāļˆāļ™āđŒ āļšāļĢāļĢāļˆāļ‡āļ—āļąāļ” āļĻāļīāļĨāļ›āļīāļ™āļŦāļļāđˆāļ™ āļ—āļąāđ‰āļ‡āļŠāļ­āļ‡āđ„āļ”āđ‰āđ€āļĨāđˆāļēāđƒāļŦāđ‰āđ€āļĢāļēāļŸāļąāļ‡āļ­āļĒāđˆāļēāļ‡āļŠāļ™āļļāļāļŠāļ™āļēāļ™āļ–āļķāļ‡āļāļĢāļ°āļšāļ§āļ™āļāļēāļĢāđƒāļ™āļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒāļĨāļ°āļ„āļĢāļŠāļģāļŦāļĢāļąāļšāđ€āļ”āđ‡āļ āļāļēāļĢāļāļķāļāļāļ™āļ—āļąāļāļĐāļ°āđāļĨāļ°āđ€āļāđ‡āļšāđ€āļāļĩāđˆāļĒāļ§āļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āđŒāļāļēāļĢāđāļŠāļ”āļ‡āđāļĨāļ°āļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļŦāļļāđˆāļ™ āđāļĨāļ°āļĄāļļāļĄāļĄāļ­āļ‡āļ—āļĩāđˆāđ€āļ›āļĨāļĩāđˆāļĒāļ™āđ„āļ›āļ‚āļ­āļ‡āļŠāļąāļ‡āļ„āļĄāđ€āļāļĩāđˆāļĒāļ§āļāļąāļšāļŠāļ·āđˆāļ­āļŠāļģāļŦāļĢāļąāļšāđ€āļĒāļēāļ§āļŠāļ™

    .

    Welcome to Season 4 of Bangkok Offstage. As always, you can expect 10 main episodes, with a new episode coming out every last Thursday of the month. We’re starting things off this season with two children’s theatre artists—performer and storyteller Neelacha “Bird” Fuangfookiat and puppet artist Sirikarn “Jae” Bunjongtad. We had a great time listening to the two artists talk about the ways they create performances for children, their performance and puppetry training, and society’s changing views of media for young people.

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    Intro: Bilingualāđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰āđ€āļ›āđ‡āļ™āļ āļēāļĐāļēāđ„āļ—āļĒThis episode is in Thai.

    .āļ•āļīāļ”āļ•āļēāļĄ / Followwww.bangkokoffstage.com

  • Bangkok Offstage āđ€āļ­āļžāļīāđ‚āļŠāļ”āļŠāļļāļ”āļ—āđ‰āļēāļĒāļ‚āļ­āļ‡āļ‹āļĩāļ‹āļąāđˆāļ™ 3 āļžāļšāļāļąāļšāļ­āļēāļˆāļēāļĢāļĒāđŒāļ›āļ§āļīāļ•āļĢ āļĄāļŦāļēāļŠāļēāļĢāļīāļ™āļąāļ™āļ—āļ™āđŒ āļŦāļĢāļ·āļ­āļ„āļĢāļđāļ›āđ‰āļ­āļĄ āļ™āļąāļāļ§āļīāļˆāļēāļĢāļ“āđŒāļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡ āđāļĨāļ°āļ›āļĢāļ°āļ˜āļēāļ™āļŠāļĄāļĢāļĄāļ§āļīāļˆāļēāļĢāļ“āđŒāļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āļŦāļĢāļ·āļ­ IATC —Thailand Centre āļ—āļĩāđˆāļĄāļēāļžāļđāļ”āļ„āļļāļĒāļāļąāļšāđ€āļĢāļēāļ–āļķāļ‡āļāļēāļĢāļŠāļĄāļāļēāļĢāđāļŠāļ”āļ‡āđƒāļ™āļĢāļđāļ›āđāļšāļšāļ­āļ­āļ™āđ„āļĨāļ™āđŒāđƒāļ™āļŠāđˆāļ§āļ‡āđ€āļāļ·āļ­āļš 2 āļ›āļĩāļ—āļĩāđˆāļœāđˆāļēāļ™āļĄāļēāļ§āđˆāļēāļĄāļĩāđāļ‡āđˆāļĄāļļāļĄāđ„āļŦāļ™āļ—āļĩāđˆāļ™āđˆāļēāļŠāļ™āđƒāļˆ āļĢāļ§āļĄāļ–āļķāļ‡āļāļēāļĢāđ€āļĢāļĩāļĒāļ™āļāļēāļĢāļŠāļ­āļ™āļ”āđ‰āļēāļ™āļĨāļ°āļ„āļĢāđāļĨāļ°āļāļēāļĢāļ§āļīāļˆāļēāļĢāļ“āđŒāļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āļ§āđˆāļēāļ•āđ‰āļ­āļ‡āļ›āļĢāļąāļšāļ•āļąāļ§āļŦāļĢāļ·āļ­āđ€āļ›āļĨāļĩāđˆāļĒāļ™āđāļ›āļĨāļ‡āļ­āļĒāđˆāļēāļ‡āđ„āļĢāļšāđ‰āļēāļ‡āđƒāļ™āļŠāđˆāļ§āļ‡āđ‚āļ„āļ§āļīāļ” .To wrap up Season 3, we invite theatre critic and President of the International Association of Theatre Critics — Thailand Centre (IATC — Thailand Centre) Pawit Mahasarinand to look back at almost two years of watching and participating in online theatre. He shares with us some of his favorite discoveries, what it’s like to teach theatre during Covid, and how critics have adapted to online theatre..āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰āđ€āļ›āđ‡āļ™āļ āļēāļĐāļēāđ„āļ—āļĒ.

    This episode is in Thai..āļ•āļīāļ”āļ•āļēāļĄ / Followwww.bangkokoffstage.com

  • āļāļĨāļąāļšāļĄāļēāļ­āļĩāļāļ„āļĢāļąāđ‰āļ‡āļŠāļģāļŦāļĢāļąāļšāļĄāļīāļ™āļīāđ‚āļŠāļ” ‘āļĢāļīāļĢāļĩāļ§āļīāļ§â€™ āļ‚āļ­āļ‡ Bangkok Offstage āđ‚āļ”āļĒāļ„āļĢāļēāļ§āļ™āļĩāđ‰āđ€āļĢāļēāļˆāļ°āļĄāļēāļžāļđāļ”āļ„āļļāļĒāđāļĨāļ°āļ§āļīāļˆāļēāļĢāļ“āđŒāļāļēāļĢāđāļŠāļ”āļ‡āļšāļēāļ‡āļŠāđˆāļ§āļ™āļˆāļēāļāļŠāļ­āļ‡āđ€āļ—āļĻāļāļēāļĨāļ—āļĩāđˆāļˆāļąāļ”āļ‚āļķāđ‰āļ™āđƒāļ™āđ€āļ”āļ·āļ­āļ™āļžāļĪāļĻāļˆāļīāļāļēāļĒāļ™ āļ™āļąāđˆāļ™āļāđ‡āļ„āļ·āļ­āđ€āļ—āļĻāļāļēāļĨāļĨāļ°āļ„āļĢāļ™āļēāļ™āļēāļŠāļēāļ•āļīāļŠāļģāļŦāļĢāļąāļšāđ€āļ”āđ‡āļāđāļĨāļ°āđ€āļĒāļēāļ§āļŠāļ™āļāļĢāļļāļ‡āđ€āļ—āļžāļŊ (BICT Fest) āļ—āļĩāđˆāļ›āļĩāļ™āļĩāđ‰āļˆāļąāļ”āļšāļ™āđāļžāļĨāļ•āļŸāļ­āļĢāđŒāļĄāļ­āļ­āļ™āđ„āļĨāļ™āđŒāđƒāļ™āļŠāļ·āđˆāļ­ ‘BICT on(line) the MOVE’ āđāļĨāļ°āđ€āļ—āļĻāļāļēāļĨāļĨāļ°āļ„āļĢāļāļĢāļļāļ‡āđ€āļ—āļž (BTF) āļ—āļĩāđˆāļˆāļąāļ”āđāļšāļšāļ­āļ­āļŸāđ„āļĨāļ™āđŒāļ āļēāļĒāđƒāļ•āđ‰āļ˜āļĩāļĄ ‘Back to Live’

    .

    In our second minisode of Season 3, we review selected performances from two festivals held in November. We start off with the Bangkok International Children’s Theatre Festival (BICT Fest), which went fully online this year under the theme "BICT on (line) the MOVE". Next, we discuss the offline Bangkok Theatre Festival (BTF) under the theme "Back to Live."

    .

    āļĄāļīāļ™āļīāđ‚āļŠāļ”āļ™āļĩāđ‰āđ€āļ›āđ‡āļ™āļ āļēāļĐāļēāđ„āļ—āļĒ/ This minisode is in Thai.

    āļĢāļĩāļ§āļīāļ§ BTF āđ€āļĢāļīāđˆāļĄāļ—āļĩāđˆ 41:00

    .āļ•āļīāļ”āļ•āļēāļĄ / Followwww.bangkokoffstage.com.#BangkokOffstage #BangkokOffstagePodcast #āļĢāļīāļĢāļĩāļ§āļīāļ§

  • Back in August, Bangkok Offstage sat down for a conversation with arts critics and writers Corrie Tan from Singapore and Katrina Stuart Santiago from the Philippines. They reflect on how they became critics, the intersection of writing and activism in their works, and the place of art and arts criticism in a world turned upside down..āļŠāđˆāļ§āļ‡āđ€āļ”āļ·āļ­āļ™āļŠāļīāļ‡āļŦāļēāļ„āļĄāļ—āļĩāđˆāļœāđˆāļēāļ™āļĄāļē Bangkok Offstage āđ„āļ”āđ‰āđ„āļ›āļžāļđāļ”āļ„āļļāļĒāđāļĨāļāđ€āļ›āļĨāļĩāđˆāļĒāļ™āļ„āļ§āļēāļĄāļ„āļīāļ”āđ€āļŦāđ‡āļ™āđ€āļāļĩāđˆāļĒāļ§āļāļąāļšāļāļēāļĢāļ§āļīāļˆāļēāļĢāļ“āđŒāļĻāļīāļĨāļ›āļ°āļāļąāļšāļŠāļ­āļ‡āļ™āļąāļāļ§āļīāļˆāļēāļĢāļ“āđŒāđāļĨāļ°āļ™āļąāļāđ€āļ‚āļĩāļĒāļ™ 'āļ„āļ­āļĢāļĩāđˆ āđāļ—āļ™' āļˆāļēāļāļ›āļĢāļ°āđ€āļ—āļĻāļŠāļīāļ‡āļ„āđ‚āļ›āļĢāđŒ āđāļĨāļ° 'āļ„āļēāļ—āļĢāļīāļ™āļē āļŠāļˆāļ§āļĢāđŒāļ” āļ‹āļēāļ™āļ•āļīāļ­āļēāđ‚āļ' āļˆāļēāļāļ›āļĢāļ°āđ€āļ—āļĻāļŸāļīāļĨāļīāļ›āļ›āļīāļ™āļŠāđŒ āļ—āļąāđ‰āļ‡āļ„āļđāđˆāđ„āļ”āđ‰āđ€āļĨāđˆāļēāđƒāļŦāđ‰āđ€āļĢāļēāļŸāļąāļ‡āļ–āļķāļ‡āļāļēāļĢāđ€āļ‚āđ‰āļēāļŠāļđāđˆāđ€āļŠāđ‰āļ™āļ—āļēāļ‡āļāļēāļĢāļ§āļīāļˆāļēāļĢāļ“āđŒ āļ„āļ§āļēāļĄāļŠāļąāļĄāļžāļąāļ™āļ˜āđŒāļĢāļ°āļŦāļ§āđˆāļēāļ‡āļ‡āļēāļ™āđ€āļ‚āļĩāļĒāļ™āđāļĨāļ°āļāļēāļĢāļ‚āļąāļšāđ€āļ„āļĨāļ·āđˆāļ­āļ™āļŠāļąāļ‡āļ„āļĄ āļĢāļ§āļĄāļ–āļķāļ‡āļšāļ—āļšāļēāļ—āļ‚āļ­āļ‡āļĻāļīāļĨāļ›āļ°āđāļĨāļ°āļāļēāļĢāļ§āļīāļˆāļēāļĢāļ“āđŒāļĻāļīāļĨāļ›āļ°āđƒāļ™āļĒāļļāļ„āļ—āļĩāđˆāļ—āļļāļāļ­āļĒāđˆāļēāļ‡āđ€āļ›āļĨāļĩāđˆāļĒāļ™āđ„āļ›.This episode is in English. āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰āđ€āļ›āđ‡āļ™āļ āļēāļĐāļēāļ­āļąāļ‡āļāļĪāļĐ.āļ•āļīāļ”āļ•āļēāļĄ / Followwww.bangkokoffstage.com.#BangkokOffstage #BangkokOffstagePodcast

  • In July of this year, we reached out to researcher and actor Muhammad Abe in Yogyakarta, Indonesia, to learn more about his work as the director of Indonesia Dramatic Reading Festival (IDRF). In the past few years, Abe and IDRF have been responsible for introducing new works by Southeast Asian playwrights to the region and other parts of the world. He gives us a glimpse into the Yogyakarta arts scene, what it’s like to live as an artist in the vibrant city, and the kinds of writing that are coming out of Indonesia..āđ€āļĄāļ·āđˆāļ­āđ€āļ”āļ·āļ­āļ™āļāļĢāļāļŽāļēāļ„āļĄāļ—āļĩāđˆāļœāđˆāļēāļ™āļĄāļē āđ€āļĢāļēāđ„āļ”āđ‰āđ„āļ›āļžāļđāļ”āļ„āļļāļĒāļāļąāļš āļĄāļđāļŪāļąāļĄāļŦāļĄāļąāļ” āļ­āļēāđ€āļšāļ° āļ™āļąāļāļ§āļīāļˆāļąāļĒāđāļĨāļ°āļ™āļąāļāđāļŠāļ”āļ‡āđƒāļ™āđ€āļĄāļ·āļ­āļ‡āļĒāļ­āļāļĒāļēāļāļēāļĢāđŒāļ•āļē āļ›āļĢāļ°āđ€āļ—āļĻāļ­āļīāļ™āđ‚āļ”āļ™āļĩāđ€āļ‹āļĩāļĒ āđ€āļāļĩāđˆāļĒāļ§āļāļąāļšāļāļēāļĢāđ€āļ›āđ‡āļ™āļœāļđāđ‰āļāļģāļāļąāļšāđ€āļ—āļĻāļāļēāļĨāļ­āđˆāļēāļ™āļšāļ—āļĨāļ°āļ„āļĢ Indonesia Dramatic Reading Festival (IDRF) āļ—āļĩāđˆāđ„āļ”āđ‰āļ™āļģāđ€āļŠāļ™āļ­āļœāļĨāļ‡āļēāļ™āđƒāļŦāļĄāđˆāđ† āļˆāļēāļāļ™āļąāļāđ€āļ‚āļĩāļĒāļ™āļšāļ—āļĨāļ°āļ„āļĢāđƒāļ™āļ āļđāļĄāļīāļ āļēāļ„āļŠāļđāđˆāļŦāļĨāļēāļĒāļ›āļĢāļ°āđ€āļ—āļĻāļ—āļąāđˆāļ§āđ‚āļĨāļāđƒāļ™āļŠāđˆāļ§āļ‡āđ„āļĄāđˆāļāļĩāđˆāļ›āļĩāļ—āļĩāđˆāļœāđˆāļēāļ™āļĄāļēāļ™āļĩāđ‰ āđ€āļĢāļēāļĒāļąāļ‡āđ„āļ”āđ‰āđ€āļĢāļĩāļĒāļ™āļĢāļđāđ‰āđ€āļāļĩāđˆāļĒāļ§āļāļąāļšāļ§āļ‡āļāļēāļĢāļĻāļīāļĨāļ›āļ°āđƒāļ™āļĒāļ­āļāļĒāļēāļāļēāļĢāđŒāļ•āļē āļĢāļ§āļĄāļ–āļķāļ‡āļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒāļ‡āļēāļ™āļ‚āļ­āļ‡āļĻāļīāļĨāļ›āļīāļ™āļ—āļĩāđˆāļ™āļąāđˆāļ™ āđāļĨāļ°āļ‡āļēāļ™āđ€āļ‚āļĩāļĒāļ™āļŦāļĨāļēāļāļŦāļĨāļēāļĒāļ›āļĢāļ°āđ€āļ āļ—āļ‚āļ­āļ‡āļ­āļīāļ™āđ‚āļ”āļ™āļĩāđ€āļ‹āļĩāļĒ.āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰āđ€āļ›āđ‡āļ™āļ āļēāļĐāļēāļ­āļąāļ‡āļāļĪāļĐ. This episode is in English..āļ•āļīāļ”āļ•āļēāļĄ / Followwww.bangkokoffstage.com.#BangkokOffstage #BangkokOffstagePodcast

  • āļ–āļķāļ‡āđāļĄāđ‰āđƒāļ™āļ›āļĢāļ°āđ€āļ—āļĻāđ„āļ—āļĒāļˆāļ°āđ„āļĄāđˆāļĄāļĩāļāļēāļĢāđāļŠāļ”āļ‡āļŠāļ”āđƒāļŦāđ‰āđ„āļ”āđ‰āļŠāļĄāļāļąāļ™āđƒāļ™āļ•āļ­āļ™āļ™āļĩāđ‰ āđāļ•āđˆāļĻāļīāļĨāļ›āļīāļ™āļĨāļ°āļ„āļĢāđ„āļ—āļĒāļāđ‡āļĒāļąāļ‡āļĄāļĩāļœāļĨāļ‡āļēāļ™āđ„āļ›āđāļŠāļ”āļ‡āđƒāļ™āļ•āđˆāļēāļ‡āļ›āļĢāļ°āđ€āļ—āļĻ āļĨāđˆāļēāļŠāļļāļ”āļāļēāļĢāđāļŠāļ”āļ‡āļ—āļĩāđˆāļĄāļĩāļŠāļ·āđˆāļ­āļ§āđˆāļē “4 āļ§āļąāļ™āđƒāļ™āđ€āļ”āļ·āļ­āļ™āļāļąāļ™āļĒāļē” āļŦāļĢāļ·āļ­ “Four Days in September (The Missing Comrade)” āđ‚āļ”āļĒ For What Theatre āđ„āļ”āđ‰āļĢāļąāļšāđ€āļŠāļīāļāđƒāļŦāđ‰āđ„āļ›āđāļŠāļ”āļ‡āđƒāļ™āļ›āļĢāļ°āđ€āļ—āļĻāļ­āļ­āļŠāđ€āļ•āļĢāļĩāļĒāđāļĨāļ°āđ€āļšāļĨāđ€āļĒāļĩāļĒāļĄāđƒāļ™āđ€āļ”āļ·āļ­āļ™āļĄāļīāļ–āļļāļ™āļēāļĒāļ™āđāļĨāļ°āļāļĢāļāļŽāļēāļ„āļĄāļ—āļĩāđˆāļœāđˆāļēāļ™āļĄāļē āđāļĨāļ°āļˆāļ°āđ„āļ”āđ‰āđ„āļ›āđāļŠāļ”āļ‡āđƒāļ™āļ›āļĢāļ°āđ€āļ—āļĻāļāļĢāļąāđˆāļ‡āđ€āļĻāļŠāđƒāļ™āđ€āļ”āļ·āļ­āļ™āļŦāļ™āđ‰āļē āđ€āļĢāļēāļˆāļķāļ‡āđ„āļ›āļžāļđāļ”āļ„āļļāļĒāļāļąāļšāļœāļđāđ‰āļāļģāļāļąāļš āļ§āļīāļŠāļĒ āļ­āļēāļ—āļĄāļēāļ— (āđ€āļšāļŠāļ—āđŒ) āđāļĨāļ°āļŦāļ™āļķāđˆāļ‡āđƒāļ™āļ—āļĩāļĄāļ™āļąāļāđāļŠāļ”āļ‡ āļ§āļīāļŠāļāđŒāļ§āļīāļŠāļīāļ āļŦāļīāļĢāļąāļāļ§āļ‡āļĐāđŒāļāļļāļĨ (āļžāļīāļŠ) āļ–āļķāļ‡āļāļēāļĢāđāļŠāļ”āļ‡āļŠāļīāđ‰āļ™āļ™āļĩāđ‰āđāļĨāļ°āļœāļĨāļ‡āļēāļ™āļ­āļ·āđˆāļ™āđ† āļ—āļĩāđˆāđ€āļ„āļĒāļ—āļģāļĢāđˆāļ§āļĄāļāļąāļ™ āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒāđāļĨāļ°āļāļēāļĢāđ€āļĄāļ·āļ­āļ‡āđƒāļ™āļ‡āļēāļ™āļ‚āļ­āļ‡āļ§āļīāļŠāļĒ āđāļĨāļ°āļāļĢāļ°āļšāļ§āļ™āļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļ‡āļēāļ™āļ‚āļ­āļ‡āđāļ•āđˆāļĨāļ°āļ„āļ™

    .Although live performances are not yet permitted in Thailand at the moment, Thai theatre artists have had their works staged abroad. Most recently, For What Theatre’s latest production, “Four Days in September (The Missing Comrade)” was invited to perform in Austria and Belgium in June and July respectively. And next month, they will be off to Paris, France. So we talk to director Wichaya Artamat and actor Witwisit Hiranyawongkul about their latest play and past collaborations, history and politics in Wichaya’s performances, and how each conceives and creates their works.

    .āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰āđ€āļ›āđ‡āļ™āļ āļēāļĐāļēāđ„āļ—āļĒ. This episode is in Thai..

    āļ•āļīāļ”āļ•āļēāļĄ / Followwww.bangkokoffstage.com.#BangkokOffstage #BangkokOffstagePodcast

  • āļžāļšāļāļąāļ™āļ­āļĩāļāļ„āļĢāļąāđ‰āļ‡āļŠāļģāļŦāļĢāļąāļš Trade Secrets āļ—āļĩāđˆāđ€āļ›āļīāļ”āđ‚āļ­āļāļēāļŠāđƒāļŦāđ‰āļĻāļīāļĨāļ›āļīāļ™āļĢāļļāđˆāļ™āđƒāļŦāļĄāđˆāļĄāļēāļžāļđāļ”āļ„āļļāļĒāļāļąāļšāļĻāļīāļĨāļ›āļīāļ™āļĢāļļāđˆāļ™āļžāļĩāđˆ āđ‚āļ”āļĒāđƒāļ™āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰āđ€āļĢāļēāđ„āļ”āđ‰āļ„āļđāđˆāļĻāļīāļĨāļ›āļīāļ™āļ•āđˆāļēāļ‡āļĢāļļāđˆāļ™āļ—āļĩāđˆāļāļģāļĨāļąāļ‡āļˆāļ°āļĄāļĩāļœāļĨāļ‡āļēāļ™āđƒāļ™āđ€āļ—āļĻāļāļēāļĨāļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āļĢāđˆāļ§āļĄāļŠāļĄāļąāļĒāļ™āļēāļ™āļēāļŠāļēāļ•āļī āļŦāļĢāļ·āļ­ BIPAM āđ€āļ›āđ‡āļ™āļāļēāļĢāđāļŠāļ”āļ‡āļāļķāđˆāļ‡āļāļĢāļ°āļšāļ§āļ™āļāļēāļĢāļ—āļĩāđˆāļĄāļĩāļŠāļ·āđˆāļ­āđ€āļĢāļ·āđˆāļ­āļ‡āļ§āđˆāļē “The 4th Rehearsal” āđ‚āļ”āļĒāđāļ‚āļāļĢāļąāļšāđ€āļŠāļīāļāļ‚āļ­āļ‡āđ€āļĢāļēāļāđ‡āļ„āļ·āļ­ āļ§āļĢāļĢāļ“āļĻāļąāļāļ”āļīāđŒ āļĻāļīāļĢāļīāļŦāļĨāđ‰āļē (āļāļąāđŠāļ) āđāļĨāļ° āļ›āļāļīāļžāļĨ āļ­āļąāļĻāļ§āļĄāļŦāļēāļžāļ‡āļĐāđŒ (āđ‚āļ­āđŠāļ•) āļ—āļąāđ‰āļ‡āļŠāļ­āļ‡āļĄāļēāļĢāđˆāļ§āļĄāļžāļđāļ”āļ„āļļāļĒāļ–āļķāļ‡āđ‚āļ›āļĢāđ€āļˆāļāļ•āđŒāļ™āļĩāđ‰ āđāļĨāļ°āđāļĨāļāđ€āļ›āļĨāļĩāđˆāļĒāļ™āļĄāļļāļĄāļĄāļ­āļ‡āđ€āļāļĩāđˆāļĒāļ§āļāļąāļšāļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒāļāļēāļĢāđāļŠāļ”āļ‡āđ€āļ”āļĩāđˆāļĒāļ§āļ—āļĩāđˆāļĄāļĩāđ€āļ­āļāļĨāļąāļāļĐāļ“āđŒāđ€āļ›āđ‡āļ™āļ‚āļ­āļ‡āļ•āļąāļ§āđ€āļ­āļ‡

    .

    We’re back with "Trade Secrets," our special series that gives young artists a chance to speak with more experienced artists. In the second installment, we bring together two generations of queer artists whose work-in-progress performance, "The Fourth Rehearsal," will be featured at this year’s Bangkok International Performing Arts Meeting (BIPAM). "The Fourth Rehearsal," is a collaboration between veteran solo performer Wannasak Sirilar and founder of Miss Theatre company Pathipon Adsavamahapong (Miss Oat). They discuss their project and the art of solo performance.

    .

    āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰āđ€āļ›āđ‡āļ™āļ āļēāļĐāļēāđ„āļ—āļĒ

    This episode is in Thai.

    .

    āļ•āļīāļ”āļ•āļēāļĄ / Follow

    www.bangkokoffstage.com

    .

    #BangkokOffstage #BangkokOffstagePodcast

  • āļŦāļĨāļēāļĒāļ„āļ™āļ­āļēāļˆāļĢāļđāđ‰āļˆāļąāļ Showhopper āđƒāļ™āļāļēāļ™āļ°āđ€āļžāļˆāļ—āļĩāđˆāļ™āļģāđ€āļŠāļ™āļ­āļ‚āđ‰āļ­āļĄāļđāļĨāđ€āļāļĩāđˆāļĒāļ§āļāļąāļšāļĨāļ°āļ„āļĢāđ€āļ§āļ—āļĩāļ—āļąāđ‰āļ‡āđƒāļ™āđ„āļ—āļĒāđāļĨāļ°āļ•āđˆāļēāļ‡āļ›āļĢāļ°āđ€āļ—āļĻ āđāļ•āđˆāļ•āļ­āļ™āļ™āļĩāđ‰ Showhopper āđ„āļ”āđ‰āđ€āļ•āļīāļšāđ‚āļ•āļ‚āļķāđ‰āļ™āđāļĨāļ°āļĄāļĩāļŦāļĨāļēāļĒāđ‚āļ›āļĢāđ€āļˆāļāļ•āđŒāļ—āļĩāđˆāļ™āđˆāļēāļŠāļ™āđƒāļˆ Bangkok Offstage āđ€āļĨāļĒāđ„āļ›āļžāļđāļ”āļ„āļļāļĒāļāļąāļš āđ€āļ•āđ‹ - āļ§āļŠāļ§āļąāļ•āļ•āļīāđŒ āļ”āļļāļĨāļĒāļ§āļīāļ—āļĒāđŒ āļœāļđāđ‰āļāđˆāļ­āļ•āļąāđ‰āļ‡, āļ›āļīāđ‰āļ - āļŠāļ§āļīāļĻāļē āļ‰āļēāļĒāļ­āļīāļ™āļ—āļĢāđŒ āļāđˆāļēāļĒ Merchandising āđāļĨāļ°āđ€āļšāļĨ - āļ˜āļąāļāļ˜āļĢ āļ„āļļāļ“āļēāļ āļīāļāļāļē āļāđˆāļēāļĒ Research & Development āļ–āļķāļ‡āļ—āļĩāđˆāļĄāļēāļ‚āļ­āļ‡ Showhopper āļāļīāļˆāļāļĢāļĢāļĄāļ—āļĩāđˆāļ—āļģāļ•āļĨāļ­āļ” 4 āļ›āļĩāļ—āļĩāđˆāļœāđˆāļēāļ™āļĄāļē āđāļĨāļ°āļšāļ—āļšāļēāļ—āđƒāļŦāļĄāđˆāđƒāļ™āļ§āļ‡āļāļēāļĢāļĨāļ°āļ„āļĢāđ€āļ§āļ—āļĩāđ„āļ—āļĒ

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    Showhopper is known in Thailand among theatre lovers as one of the go-to Facebook pages about theatre in Thailand and abroad. But today, Showhopper has grown into something bigger than that and is doing a number of interesting projects. So Bangkok Offstage sits down with its founder Vasawat Dulyavit, Chawisa Chai-in from Merchandising and Thanyathorn Khunapinya from Research & Development to talk about how they got their start, what they’ve been doing in the past four years, and their new role in the Thai theatre landscape.

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    āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰āđ€āļ›āđ‡āļ™āļ āļēāļĐāļēāđ„āļ—āļĒ

    This episode is in Thai. Translated excerpts in English will be available soon on our website.

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    āļ•āļīāļ”āļ•āļēāļĄ / Follow

    www.bangkokoffstage.com

    .#BangkokOffstage #BangkokOffstagePodcast

  • Bangkok Offstage āļ‚āļ­āđāļ™āļ°āļ™āļģāļ‹āļĩāļĢāļĩāļŠāđŒāđƒāļŦāļĄāđˆ Trade Secrets āļ—āļĩāđˆāđ€āļ›āļīāļ”āđ‚āļ­āļāļēāļŠāđƒāļŦāđ‰āļĻāļīāļĨāļ›āļīāļ™āļĢāļļāđˆāļ™āđƒāļŦāļĄāđˆāļĄāļēāļžāļđāļ”āļ„āļļāļĒāļāļąāļšāļĻāļīāļĨāļ›āļīāļ™āļĢāļļāđˆāļ™āļžāļĩāđˆ āđ€āļĢāļēāđ€āļ›āļīāļ”āļ‹āļĩāļĢāļĩāļŠāđŒāļ™āļĩāđ‰āļ”āđ‰āļ§āļĒāļĻāļīāļĨāļ›āļīāļ™āļĢāļļāđˆāļ™āļ™āđ‰āļ­āļ‡ āļāļ§āļīāļ™ āļžāļīāļŠāļīāļ•āļāļļāļĨ āļˆāļēāļāļāļĨāļļāđˆāļĄāļĨāļ°āļ„āļĢāļ”āļĩāļ‡āđŒ āđāļĨāļ°āļĻāļīāļĨāļ›āļīāļ™āļĢāļļāđˆāļ™āļžāļĩāđˆ āļ•āļąāđ‹āļĄ - āļ˜āļ™āļžāļĨ āļ§āļīāļĢāļļāļŽāļŦāļāļļāļĨ āļ™āļąāļāļ­āļ­āļāđāļšāļšāļ—āđˆāļēāđ€āļ•āđ‰āļ™āļ—āļĩāđˆāļĄāļĩāļœāļĨāļ‡āļēāļ™āļĢāļ°āļ”āļąāļšāļ™āļēāļ™āļēāļŠāļēāļ•āļī āļ‹āļķāđˆāļ‡āļ—āļąāđ‰āļ‡āļ„āļđāđˆāđ„āļ”āđ‰āļĄāļēāđāļĨāļāđ€āļ›āļĨāļĩāđˆāļĒāļ™āļĄāļļāļĄāļĄāļ­āļ‡āđ€āļāļĩāđˆāļĒāļ§āļāļąāļšāļāļēāļĢāđ€āļ›āđ‡āļ™āļĻāļīāļĨāļ›āļīāļ™ āļ§āļīāļ™āļąāļĒāđƒāļ™āļāļēāļĢāđ€āļ›āđ‡āļ™āļĻāļīāļĨāļ›āļīāļ™ āđāļĨāļ°āļ™āļīāļĒāļēāļĄāļ§āđˆāļēāļĻāļīāļĨāļ›āļīāļ™āļ—āļĩāđˆāļ”āļĩāļ„āļ·āļ­āļ­āļ°āđ„āļĢ

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    We’d like to introduce you to our new series, Trade Secrets, which features a conversation between a young artist and a more experienced artist. We kick things off with young experimental artist Kwin Bhichitkul of Dee-ng Theatre and award-winning and internationally recognized dance artist Thanapol Virulhakul. They talk about their relationship with their artist selves, how they stay disciplined, and what it means to be a good artist.

    .āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰āđ€āļ›āđ‡āļ™āļ āļēāļĐāļēāđ„āļ—āļĒThis episode is in Thai. Translated excerpts in English will be available soon on our website..āļ•āļīāļ”āļ•āļēāļĄ / Follow

    www.bangkokoffstage.com.#BangkokOffstage #BangkokOffstagePodcast

  • Bangkok Offstage āđ€āļ­āļžāļīāđ‚āļŠāļ” 3 āļ‚āļ­āļ‡āļ‹āļĩāļ‹āļąāđˆāļ™ 3 āđ€āļĢāļēāđ„āļ”āđ‰āđ„āļ›āļ„āļļāļĒāļāļąāļšāđ€āļ§āļĨāļē āļ­āļĄāļ•āļ°āļ˜āļĢāļĢāļĄāļŠāļēāļ•āļī āļ™āļąāļāļˆāļąāļ”āļāļēāļĢāļĻāļīāļĨāļ›āļ° āļœāļđāđ‰āļ­āļģāļ™āļ§āļĒāļāļēāļĢāđ€āļ—āļĻāļāļēāļĨāļĻāļīāļĨāļ›āļ° Low Fat Art Fes āđāļĨāļ°āļœāļđāđ‰āļāđˆāļ­āļ•āļąāđ‰āļ‡āđ€āļ„āļĢāļ·āļ­āļ‚āđˆāļēāļĒāļ›āļĢāļ°āļĒāļđāļĢāđ€āļžāļ·āđˆāļ­āļĻāļīāļĨāļ›āļ° āļ—āļĩāđˆāļĨāđˆāļēāļŠāļļāļ”āđ„āļ”āđ‰āļ™āļģ Low Fat Art Fes āļ„āļĢāļąāđ‰āļ‡āļ—āļĩāđˆāļŠāļĩāđˆ āđ„āļ›āļĨāļ‡āļžāļ·āđ‰āļ™āļ—āļĩāđˆāđƒāļŦāļĄāđˆāđƒāļ™āļˆāļąāļ‡āļŦāļ§āļąāļ”āđ€āļĨāļĒ āđ‚āļ”āļĒāđƒāļŦāđ‰āļŠāļ·āđˆāļ­āļ§āđˆāļē Loei Art Fes āļ—āļĩāđˆāļˆāļ°āļĄāļĩāļ‚āļķāđ‰āļ™āđƒāļ™āļ§āļąāļ™āļ—āļĩāđˆ 23 āļāļĢāļāļŽāļēāļ„āļĄ āļ–āļķāļ‡ 1 āļŠāļīāļ‡āļŦāļēāļ„āļĄāļ™āļĩāđ‰ āļ™āļ­āļāļˆāļēāļāļˆāļ°āļĄāļēāđāļšāđˆāļ‡āļ›āļąāļ™āļāļąāļšāđ€āļĢāļēāđ€āļĢāļ·āđˆāļ­āļ‡āđ€āļ—āļĻāļāļēāļĨāļ•āđˆāļēāļ‡āđ† āļ—āļąāđ‰āļ‡āđƒāļ™āđāļĨāļ°āļ•āđˆāļēāļ‡āļ›āļĢāļ°āđ€āļ—āļĻ āđ€āļ§āļĨāļēāļĒāļąāļ‡āđ„āļ”āđ‰āļĄāļēāļžāļđāļ”āļ„āļļāļĒāļāļąāļšāđ€āļĢāļēāđ€āļĢāļ·āđˆāļ­āļ‡āļšāļ—āļšāļēāļ—āļ™āļąāļāļˆāļąāļ”āļāļēāļĢāļĻāļīāļĨāļ›āļ° āļāļēāļĢāļ—āļģāļ‡āļēāļ™āļ”āđ‰āļēāļ™āļĻāļīāļĨāļ›āļ°āļāļąāļšāļ„āļ™āđƒāļ™āļŠāļļāļĄāļŠāļ™āļ•āđˆāļēāļ‡āđ† āđāļĨāļ°āļ—āļģāļ­āļĒāđˆāļēāļ‡āđ„āļĢāđƒāļŦāđ‰āļ§āļ‡āļāļēāļĢāļĻāļīāļĨāļ›āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāđƒāļ™āđ„āļ—āļĒāđ€āļ•āļīāļšāđ‚āļ•āļ­āļĒāđˆāļēāļ‡āļĒāļąāđˆāļ‡āļĒāļ·āļ™āļ•āđˆāļ­āđ„āļ›

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    In episode 3 of season 3, we talk to art manager Wayla Amatathammachad. He’s the Festival Director of Low Fat Art Fes and founder of an art network called Prayoon for Art. Most recently, Wayla has brought the fourth version of Low Fat Art Fes to the Northeastern province of Loei. Loei Art Fes, as it is called, will take place between July 23 and August 1. Apart from sharing with us his experiences working and attending festivals in Thailand and abroad, Wayla discusses the role of art managers, how he works with various communities as an art festival director, and what can be done to sustainably develop the arts and culture sector in Thailand.

    .āđ€āļ­āļžāļīāđ‚āļŠāļ”āļ™āļĩāđ‰āđ€āļ›āđ‡āļ™āļ āļēāļĐāļēāđ„āļ—āļĒThis episode is in Thai. Translated excerpts in English will be available soon on our website..āļ•āļīāļ”āļ•āļēāļĄ / Follow

    www.bangkokoffstage.com.#BangkokOffstage #BangkokOffstagePodcast