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CASE SHARING (1)
CASE SHARING (2)
CASE SHARING (3)
CASE SHARING (4)
CASE SHARING (5)
CASE SHARING (1)
Date: 10th July 2010 (Sat)
Time: 4:30-6pm
Venue: Black Box Theatre, Kwai Tsing Theatre
Language: English
Situation of Children’s Theatre in India
India, a country of over 1 billion people, 18 national and 347 languages otherwise, a completely new culture after every two hundred kilometers. In a country of so many wonders, how theatre is bringing changes in the life of children and their associates. Various kinds of theatre right from modern to traditional. An insight view of organizations, performances, events and activists of Children's Theatre.
‧Mr. Imran KHAN
(Artistic Director, I-Entertainment; Secretary General, ASSITEJ India‧New Delhi)
Imran KHAN, Actor, Director, Storyteller, completed his post graduation in Urdu from the University of Delhi in the year 2002.
His association with theatre can be traced back to the year 1993 when started learning theatre under the able guidance of Dr. Ashish Ghosh at the esteemed National Bal Bhavan. Imran also underwent training in puppetry, dance, body movement, mime, mask-making etc. He went on to work under the direction of some of the most prominent directors of the country such as Dr. Ashish Ghosh, Mr. Ashok Lal, Ms. Anamika Haksar, Mr. Sudhanwa Deshpande and Ms. Maya Rao.
Imran’s participated in the International Children’s Theatre Festival organized by DALA in South Korea in the year 2004. While representing his theatre group there, Imran performed a play called Kisse and also conducted a workshop. In 2008, Imran was artist-in-residency in South Korea where he was working with professionals of children’s theatre from South Korea, Japan, Taiwan, and Vietnam. He worked on and represented his theatre group for an international project for Asian Youth Art, Malaysia scheduled in December 2005 at Kuala Lumpur, Malaysia. Under this project, Imran’s work with the children had been supported by a company of international repute – Xansa.
At present, Imran is heading his company I-Entertainment and also the Secretary General of ASSITEJ India.
Sharing the Singapore Arts Festival - an Educational and Outreach Approach
The Singapore Arts Festival will share about the year long commune Education and Outreach approach to give audience access, engagement and connection. This will also include the Kids Arts Village for the 2011 Festival.
‧Mr. Jeffrey TAN
(Head, Education and Outreach, Singapore Arts Festival, National Arts Council‧Singapore)
Jeffrey TAN is an experienced theatre director and educator. He has worked as Resident Director with The Theatre Practice (1997), Drama Lecturer and Acting Head of Drama with LASALLE SIA (1999) and as Associate Artistic Director with TheatreWorks (S) Ltd (From 2002 - 2006). Jeffrey also taught part time for the English and Visual Performing Arts Department at the National Institute of Education and Arts Management at Temasek Polytechnic and LASALLE SIA. Jeffrey was the founder President of the Singapore Drama Educators Association. Jeffrey holds a Masters in Drama and Theatre Education from the University of Warwick.
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CASE SHARING (2)
Date: 10th July 2010 (Sat)
Time: 7:30-9pm
Venue: Black Box Theatre, Kwai Tsing Theatre
Language: Cantonese / Putonghua
The Characteristics and Developing Progress of Children’s Musical Series The Secret of Hao-Jiu Tea, Produced by Open Theater Group in Taiwan
Open Theater Group has produced a series of Children’s musical with features of Taiwan’s native cultures - The Secret of Hao-Jiu Tea; moreover, it has been on tour in campuses since 1993. The manager of Open Theater Group is going to expound the developing progress and characteristics of this series of productions.
‧Ms. CHENG Jui-chiao
(Manager, Open Theater Group‧Taipei)
CHENG obtained her BA in International Trade from the Feng Chia University in Taiwan, and is currently undertaking graduate study at the Institute of Arts Administration and Management at the Taipei National University of the Arts. Since 1999, she has been the manager of the Open Theater Group, specializing in sales and administration, events planning and operation.
Grown-ups Acting Children’s Rules – How to Use the Half-masked Character to Strengthen the Sense of Belonging of the Audience towards the Theatre Company
The half-masked characters, named the Curious Girl Series, are originally created by the Jumbokids Theatre. These lovely characters strengthen the sense of belonging of the young audiences, who are always looking forward to go theatre again and again to visit their old friends…
‧Mr. Even LAM
(Artistic Director, Jumbokids Theatre@Hong Kong Children’s Arts Alliance‧Hong Kong)
Even LAM is the founder of Jumbokids Theatre, he is currently the group’s artistic director and the company manager. He graduated from the Swire School of Design, Hong Kong Polytechnic University and the Drama School of Hong Kong Academy for Performing Arts. Collaborated with many theatre groups in Hong Kong such as the Hong Kong Repertory Theatre, Chung Ying Theatre Company, Actor’s Family, Ming Ri Institute for Arts Education, Theatre Fanatico, Class 7A Drama Group and Drama Gallery, Lam was also a full-time performer of the Exploration Theatre from 1992-1997.
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CASE SHARING (3)
Date: 12th July 2010 (Mon)
Time: 9:30-11am
Venue: Black Box Theatre, Kwai Tsing Theatre
Language: Cantonese
Integrating the Themes of Hong Kong’s Children’s Theatre and Local Social Problems: its Application and Effectiveness
The direction of Kidz’ Theatre is to deal with issues arising out of the growing up of children and youth in society e.g. the over protection and leniency towards their children, news migrants, single parent family, autism, extremely naughty children with behavioural problems. The session will take fragments of the children’s plays of the Company including Super Golden Pineapple, Adventure of Kafka and Wicked Child to initiate a discussion by workers related to Children’s Theatre to discuss their themes and the concerns of social issues.
‧Ms. CHAN Yu-ying
(Artistic Director, Kidz' Theatre．Hong Kong)
Ms. CHAN, stage name Bingbing, obtained her BFA from RMIT in Australia, and MSocSc in Youth Counseling from The Baptist University of Hong Kong. Founder and artistic director of Kidz’ Theatre and Swirloo, she has been using the theatre to address social concerns. She has also established a service to bring art to local communities, believing that art should be assessable to all. She has also worked in art education and counseling, and has established the Paint in Sense Art Studio. She is a guest lecturer at the Hong Kong Academy for Performing Arts, and formerly a host of the popular RTHK educational TV show, Pre-school Learn to Fly, and has facilitated many learning tour sessions at the Hong Kong Heritage Museum.
The Theatre of Ox’s Home Series of Step Out, Macau
The production of Macao Step Out, The Theatre of Ox’s Home series, is based on the theme of Macau local life. Director Lou Chong-neng will share the creative ideas and her reflection.
‧Ms. LOU Chong-neng
(Director, Step Out．Macau)
Dancer and dance educator, Ms. LOU received a diploma in preschool education from the University of Macau, and a postgraduate diploma from the Laban Centre for Movement and Dance in London. She is the founding director of Step Out, and a resident artist at Poor Space, besides being a part-time teacher of children theatre at two local kindergartens. Her choreographed pieces and plays have made their appearances in Macau, Seoul, Shanghai, Taipei and Hualien. Since 2004, she has received funding from the Education and Youth Affairs Bureau of Macau to perform at numerous kindergartens and primary schools. In 2006, she joined the Literature in Art series of performances sponsored by the Macao Cultural Centre. Starting from 2007, she has participated in the Children’s Summer Art Playground program hosted by the Ox Warehouse, in which she performed her plays, Ox’s Home Series.
The Importance of Children Participation in Child Play
There are two parts in this cases sharing session. Justine WOO, our artistic director will share her experience in creating children musicals and training children actors in the past 12 years in order to explore the importance of children participation in performing arts. The second part will be cast by our children members and their parents, sharing their experiences and gains of participation in children’s musical performances.
‧Ms. Justine WOO
(Artistic Director, Hong Kong Children's Musical Theatre@Hong Kong Children's Arts Alliance
‧Hong Kong)
Justine has over 10 years of experience in Hong Kong’s art circle. She has held various posts ranging from theatre director, playwright, composer, actor, singer, and talk show guest host, to artistic director of the Hong Kong Children’s Musical Theatre and the WOW! Work of Wonders. She enjoys creative writing, thinking, travel, or simply daydreaming. Her wish is that one day, Hong Kong could have its own dedicated children’s theatre.
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CASE SHARING (4)
Date: 12th July 2010 (Mon)
Time: 11:30am-1pm
Venue: Black Box Theatre, Kwai Tsing Theatre
Language: Cantonese / Putonghua
An Improvised Drama for Children - I Love Lashihai
The Lashihai village of Lijiang in Yunnan is situated 20 kilometers west of the old city of Lijiang. Lashi is the ancient language of the people in the area – in this language, La means deserted embankment while shi means new. It means a new deserted embankment. The Lashihai area is a paradise for the seasonal birds. By the lack side, there is a large piece of grassland where one can ride horses. Here the people are simple and kind and they have farmed on this piece of fertile beautiful land for generations. The land is the only security that guarantees their procreation. However, as the pace of urbanization is being accelerated, the land owned by the peasants is disappearing fast like snowflakes. They have a limited amount of money from the ‘Land Compensation Fund’ and show tremendously worries and anxieties for the future.
Around the Spring Festival time in 2008, DU Liang was invited by the director and co-founder of ‘Lijiang Workshop’, Jay Brown, to go to Lashihai to join their ‘Laboratory of the New Rural Village’ special programme. Du encountered at the lakeside of Lashihai several local children and a story was born….
‧Mr. DU Liang
(Thoughts without Boundaries - The Children Workshop of Duliang．Guangzhou)
After graduating in 1989 from Hubei’s Shashi Commercial Arts Institute, majoring in Interior Design, DU Liang taught primary school in Jingmen. He pursued further studies at the China Central Academy of Fine Arts and the Guangdong Museum of Art. In 2006, he established the Thoughts without Boundaries, a workshop for children.
How to Devise a Play with Children on an Environmental Issues
The case will talk about a Drama in Education programme conducted for P.4 students to explore the issues on protecting tropical rainforest. The course was conducted in English and a theatre piece of 20 minutes was produced with the ideas driven from the drama activities.
Lesson plans, photos, videos, interviews and teachers' reflection will be presented to cover the following discussion:
-Why using Drama in Education (DiE) for discussion on environmental issues;
-How to plan the in-role discussion and activities strategically;
-How to encourage participation in drama activities in students’ second language;
-How to work with school teachers on theatrical production.
‧Ms. Kitty Sin-ying KONG
(Programme Director, Theatre Noir．Hong Kong)
The Puppetry Art and Creation of Make Friends With Puppet
‧Mr. Murphy TSAI
(Artistic Director and Founder, Make Friends With Puppet@Hong Kong Children’s Arts Alliance
．Hong Kong)
Make Friends With Puppet Troupe, established in 2001 based on the belief that puppetry is natural medium for children, is one of the most active player in the puppet theatre scene in Hong Kong. The troupe was formed by a group of puppet enthusiasts committed to bringing high quality entertainment to the community. In the past few years it has produced a good number of puppet musical plays, and has created many well-received puppet characters such as Ah Dull, Iron Scarecrow, and Amoeba Papa. One play in particular, Ah Dull and Little Dragon II – Magic Window has received international attention, with repeat appearances in the Macao Cultural Centre, as a demonstrative performance at the 20th International Society for the Performing Arts (ISPA) International Congress. The play’s stage design has won the Theatre Design Award in 2006, and has represented Hong Kong in the 2007 Prague Quadrennial. In 2008, the troupe became one of the four founding companies of the Hong Kong Children’s Arts Alliance.
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CASE SHARING (5)
Date: 12th July 2010 (Mon)
Time: 11:30am-1pm
Venue: Lecture Room, Kwai Tsing Theatre
Language: Cantonese / Putonghua
The Development of Children’s Cantonese Opera in Hong Kong
In recent years, Children’s Cantonese Opera in Hong Kong has been wide spreading. Although there have been children participating in Cantonese Opera before, it was in a very different form from now. In this sharing, we will first introduce the differences between the two periods, and then we will share the situation and problems we are facing in running Children’s Cantonese Opera. Also we will discuss the direction of the development of Children’s Cantonese Opera in Hong Kong.
‧Ms. Flora CHEUNG
(Hong Kong Juvenile Chinese Opera Troupe Limited@Hong Kong Children’s Arts Alliance
．Hong Kong)
MBA; prominent Cantonese Opera actress, student of Law Kar-ying, Lee Po-ying, and trained in singing with teacher Lau Siu-wing, northern techniques under Beijing Opera master Lau Shun and Guo Jin-hwa. Had been performing in Singapore, Malaysia and Hong Kong for years and was very well received. Recently formed Tin Po Cantonese Opera Troupe with renowned actor Lung Koon-tin, which has won popular acclaim. CHEUNG performs regularly as a Cantonese Opera actress, and is also actively involved in promotional and training work. She is regarded as an all-rounded Cantonese Opera actress.
How Much Children can Understand from Peking Opera
How much can people understand Peking Opera now? Much less children?
The Goldfish and the Fisherman is the first fairy-tale Peking Opera in China that is specially created for children. It is adapted from the famous Russian fairy tale The Story of the Fisherman and the Goldfish. Using the performing art of Peking Opera as the medium, it shows the cultural characteristics of the Chinese people. It is created so that children can understand it, appreciate it, enjoy it, and benefit from it.
In the Case Sharing, the author will discuss from the following five aspects: the writing of the story, the creation of the performance, the creation of the music, live performance and introducing Peking Opera to the campus (art education). Real life examples will be incorporated to illustrate how to choose and use the artistic language of Peking Opera to cultivate children's imagery thinking and their imagination, so that they can enjoy their ‘imaginary adventure of appreciating Peking Opera’.
‧Ms. WANG Xiaoxin
(Playwright, China National Peking Opera Company．Beijing)
Ms. WANG obtained her BA in Law from the Renmin University of China, her MA from the Drama Institute, Peking University School of Arts, and spent a year as special research fellow at the Yale School of Drama. She is currently working for the China National Peking Opera Company. She has travelled extensively on cultural exchange visits, such as to a youth theatre festival in France, to the Edinburgh International Festival of the UK, to the Next Wave Festival of the US; She has also collaborated with internationally acclaimed artists such as Thomas Ostermeier of Germany, Jacques Lassalle of France, Steven Strawberge of the US, as well as Chinese masters such as director Lin Zhaohua, and stage designer, Yi Liming. Her professional credits include having produced several art festivals, and managed many theatre projects. Major plays that she has written and directed included the first Chinese children’s Peking opera, The Gold Fish and the Fishman (2009), Peking opera The Monkey King and the White-bone Demon (2003), a bilingual musical called A Boy and his Financial Advisor – A Dog called Lucky (2009). She has also written a book The Beijing Opera Answer Book for the Young, and has translated many plays into Chinese.
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