Collaborations

SELECTED WORKS

My definition of collaboration is simply this: X 

This can happen with different collectives, different countries and with different disciplines, while working towards the same goal. My roles range from: Director to Concept Creator/Performer to Dramaturg to Facilitator. In these roles, the common thread is that I enjoy doing whatever it takes to foster the creation of each project, in Singapore or abroad.

Songs of Tau

Songs of Tau

Songs of Tau

Songs of Tau

Songs of Tau

Songs of Tau

Songs of Tau

Songs of Tau

Songs of Tau

Songs of Tau

Songs of Tau

Songs of Tau

PROJECT Utopia presents: Songs of Tau

[2019 - Creator-performer]

SINGAPORE X BERLIN X INDONESIA X FINLAND

LIVE SOUNDSCAPE X INSTALLATION X DANCE X ORAL INTERVIEWS

NOMINATED FOR BEST SOUND DESIGN AT THE STRAITS TIMES LIFE! THEATRE AWARDS 2020

Both curious and playful, PROJECT Utopia invites you to join us as we embark on a journey to rediscover our relationship with the world around us.  Five artists from Finland, Germany, Indonesia and Singapore set forth to question what utopia means in a disturbingly unpredictable world. These artists draw upon their respective cultural contexts to create five evocative performance vignettes. These stories are weaved into a vivid tapestry of dreams, comprising of movement, poetry, multimedia, sound and at times, your participation. Together, we hope to offer PROJECT Utopia as a momentary respite to ask: What is your utopia?

Ming Poon (Germany/Singapore) // The Pledge
Dhimas Aryo Satwiko (Indonesia) // The Forgotten Ones of Omelas
Sini Rautjoki (Finland) // Kopisisu
Ang Xiao Ting (Singapore) // Songs of Tau
Kuo Jian Hong (Singapore) // FLAME


About Songs of Tau:

Performer-collaborators: Ang Xiao Ting, Dhimas Satwiko, Jean Ferry, Ethel Yap, Ric liu

Songs of Tau is the final chapter of my ‘Disease Poems’. It is an exploration of dementia – a condition in which the illusion of choice is arguably, the most absent. Along with Dhimas Satwiko, Ethel Yap, FERRY and Ric Liu, we hope to construct an evocative experience that allow audiences to submerge themselves in someone’s mind. I would like to thank the patients who contributed their words to create the text palette for Songs of Tau. We will always remember your stories. 

REVIEWS: 

“We came into this work not knowing what to expect, and left it impressed, filled with hope and the drive to make our individual utopias a reality. What utopia is ends up never getting defined nor we any closer to reaching it, but with some of the most original and exciting new ideas we’ve seen in some time and a total commitment to crafting a unique, well-integrated audience experience, PROJECT Utopia is a masterful experiment in form that has allowed The Theatre Practice to reach new heights of artistry, discussing universal concepts in an engaging and accessible way. This is a work that has managed to fully highlight the ‘art of play’, and a prime example of why the M1 Patch! Festival has the potential for seeding new ideas and push the local arts scene into previously unchartered artistic territory.”

M1 Patch! 2019: PROJECT Utopia《望眼吾托邦》 by The Theatre Practice (Review)


‘The strongest of the works is Singaporean Ang Xiao Ting’s Songs of Tau, a dream-like dive into a dementia-riddled mind […]’

https://www.straitstimes.com/lifestyle/arts/in-futile-pursuit-of-utopia

2020 - The Living Zoom

2020 - The Living Zoom

2019

2019

2018 - Presentation

2018 - Presentation

2019 - Dramaturgical Process

2019 - Dramaturgical Process

2019 - Presentations

2019 - Presentations

2019

2019

2019 - Pre-show

2019 - Pre-show

2019 Farmers

2019 Farmers

M1 PATCH! Festival presents: Artist Farm
[2018-2019 - Dramaturg; 2020 - Performer-creator]

THEATRE X SOUND X DANCE [2020, ZOOM]

THEATRE X VISUAL ART X DANCE [2019]

THEATRE X SOUND X THEATRE [2018]

Every year, nine artists and three dramaturgs are invited for a unique creative boot camp, led by The Theatre Practice’s Artistic Director Kuo Jian Hong. Artist Farm is a safe haven for artists to work across disciplines, jam with little pressure, and most importantly play.

Engaging in training and skill exchange in the mornings, followed by creative sparring and work development in the afternoon and evenings, Artist Farm nurtures ideas and pushes the boundaries of collaborative practices.


These artists must find common ground as the foundation of their collaboration – also known as “The Thesis Statement”. Through their artistic processes, we gain a unique insight into what it means to collaborate, experiment and play. The journey concludes with a series of three public presentations. Audience members are invited to witness the evolution of works, and to dive deeper into the artistic process by engaging in critical open dialogue with our Farmers.

With just a week to toil, how do these artists find and articulate a unified, clear voice under such exquisite pressure?


Check out pages 20-24 for my take on Artist Farm [2019]: https://www.practice.org.sg/assets/Artist-Farm-Report/Artist-Farm-Report-2019.pdf

Notes from an international reviewer [2019]: 

'我觀察到有一組的討論,為了要使其清楚、有效率、結構化,將若干關鍵詞語寫在便利貼上,如此,在組員的討論過程中,方便隨著意念討論的流動,而挪動便利貼的順序及結構關係。將不斷流動、生產與消逝的意念視覺化、組織化,我贊同這是一種有效的討論方式,且其效果也直接反映在該組呈現之中,我認為是三組呈現裡最有結構性的小品,概念清晰,陳述清楚,且力量驚人,效果絕佳。'

https://mypaper.pchome.com.tw/yushanlu/post/1380395792

REVIEW [2020]: 

'In another presentation, viewers were asked to close their eyes and touch a part of their body they felt was most connected to feelings of grief. After the presentation, some in the audience described how they felt more comfortable experiencing the work from their homes because the private setting allowed them to feel safe and immerse themselves more fully.'

https://www.a-list.sg/life-lessons-inspired-by-a-virtual-artist-bootcamp/?fbclid=IwAR3A1O1YxWUXwuJiaCga9SdqCjNrrKRd7pe5pJp5_tChkzkwpEcIn1TkKT4

2018

2018

2018

2018

2018

2018

2019

2019

2019 - Taiwan

2019 - Taiwan

2019 - Taiwan

2019 - Taiwan

Tour Info

Tour Info

Chop Chilli Chop presents: Round Round Buns

[2017, 2018, 2019 - Creator-performer]

SINGAPORE X PRACTICE TUCKSHOP
SINGAPORE X BERLIN TACHELES, TAIWAN

Men may be from Mars and women may be from Venus, but in cyberspace, anything goes.

Welcome to RoundRoundBuns.com, an online hangout where we let it all hang out; a virtual world of social networking, interactive forums and games. Call in your online (and offline) friends and assemble your squad. It’s time to bring your keyboard honesty to real life and get ready to play!

Part games night, part confessional, part theatre, Round Round Buns invites you to take a frank and humorous look at the unspoken. A pair of char siew baos? A sausage bun? This time, we zoom in on the deep and dangly bits – what are YOU really made of?

For the tour version, the artists will work with a local artist to re-write some aspects of the script so as to reflect a more localised take on gender. The local artist will also perform in this tour version.

REVIEW: 

‘It is testament to their ability and instincts in improv and handling audience members that Chop Chili Chop Co. has managed to ease the entire crowd into opening up and interacting with complete strangers, raising plenty of intellectual dough audiences knead out over a very fun night. Through Round Round Buns, Chop Chili Chop Co. has crafted an effective method for making broaching difficult and potentially taboo topics easier to approach, hosting a madcap yet poignant party we’d be more than happy to dive into once again in future iterations‘  

https://bakchormeeboy.com/2018/08/20/m1-patch-2018-round-round-buns-by-chop-chilli-chop-co-review/

ICALTTS

ICALTTS

ICALTTS

ICALTTS

ICALTTS

ICALTTS

ICALTTS

ICALTTS

Huayi Chinese Festival of Arts presents: I Came At Last To The Seas 《六根不宁》

[2018 - Assistant to the director, Co-dramaturg]

THE THEATRE PRACTICE X ESPLANADE

Six individuals in various stages of migration cross-paths, reflecting the multiple identities of the Chinese diaspora. Six stories reflect one journey, woven together as a meditation on the impact of displacement and the six roots of sensation in Buddhist philosophy.

I came at last to the seas is an Esplanade commission directed by Kuo Jian Hong, written by Wu Xi, starring talented actors Joanna Dong and Sugie Phua from Singapore, Rosa Maria Velasco from Hong Kong and Ethan Wei from Taiwan, Fung Wai Hang and Wang Wei (both with the support of Hong Kong Repertory Theatre), as well as Kun Opera actor Zhao Yu Tao (with the support of Jiangsu Performing Arts Group, Kun Opera Theatre) and drummer Huang Yu-Ting (with the support of U-Theatre).


For more information about the project: https://www.esplanade.com/discover-and-learn/insight/journeys-of-one-soul-across-the-seas


REVIEWS:

‘剧名中的“根”有两层意义,一是佛教中的根,即眼、耳、鼻、舌、身、意,六种感受存在的方式。另一是指向“寻根”,也就是身份认同。这两个层面其实相关联,以不同的感受方式,在一个寻找、怀疑、确认或失落的过程中,对于个人或集体所属根源的探索与界定。《六根不宁》中的七个主要人物中的六个,正是这个关注的再现。’

Source: http://solidair23.blogspot.com/2018/03/blog-post.html

Scenofest

Scenofest

M1 Chinese Theatre Festival

M1 Chinese Theatre Festival

M1 Chinese Theatre Festival

M1 Chinese Theatre Festival

Scenofest

Scenofest

Blank Run 
[2016-2017 - Creator-performer]

ANG XIAO TING X KUO JIAN HONG X ZOEA TANIA CHEN X SANDRA TAY X GENEVIEVE PECK

SELECTED FOR SCENOFEST AT THE WORLD STAGE DESIGN [TAIPEI] 2017

PRESENTED AT THE M1 CHINESE THEATRE FESTIVAL [SINGAPORE] 2017

NOMINATED FOR BEST MULTIMEDIA AT THE STRAITS TIMES LIFE THEATRE AWARDS 2018

A girl reacquaints with confounding details of her past in a strange and isolated room / a girl recollects her fragmented past / her story / ambiguous / her experience / obscured the room murmurs / a trauma beyond words late is the night / when sleep subsides / when nightmare looms when truth lies in the furthest light /

Blank Run is a memory landscape combining video installation, soundscape and physical theatre in its multisensory storytelling. It is a jigsaw puzzle, with each element constructing its own version of “what really happened”. The performance at the M1 Chinese Theatre Festival was held in partnership with AWARE’s Sexual Assault Care Centre.

REVIEWS:

‘The hour-long work, conceived by Gloria Ang Xiao Teng, Zoea Tania Chen and director Kuo Jian Hong is a taut, psychological thriller, with a sting in its tail’ – Review by ST LIFE


‘Its abstract form the perfect structure to stage the portrayal of a fragmented memory one is determined to erase, Blank Run is an immensely disturbing work brimming with raw emotion that does a fantastic job of portraying the complicated nature of trauma. Even a more experienced actor would probably find this high energy, emotionally-charged work a challenge to perform, and for the young Gloria to have pulled off such a feat, is a huge achievement in itself.’  

https://bakchormeeboy.com/2017/08/20/review-blank-run-by-the-theatre-practice/


‘Above all, is the sense of uncanny that ripples through the piece… In its attempt to stage the reconstruction of a complicated traumatic memory, Blank Run has successfully depicted the contradictions of memory – how it is unreliable, illogical, inconsistent – but above all, raw, haunting and unforgiving.’ 

https://artsequator.com/theatre-practice-blank-run-review/

Shanghai ACT Festival 2016

Shanghai ACT Festival 2016

Shanghai ACT Festival 2016

Shanghai ACT Festival 2016

One Tables Two Chairs series presents: 10 Variation

[2015-present - Movement Artist]

SINGAPORE X [ANY COUNTRY] 

NANJING EXPERIMENTAL THEATRE FESTIVAL 2015

SHANGHAI INTERNATIONAL ARTS FESTIVAL 2016

10 Variation is an experiment that reduces a human body to the fundamentals through a combination of improvised and rehearsed gestures. Starkly powerful, this cross-cultural exhibition combines the talents of two touring artists and two local artists in an exploration on how different bodies respond to the same stimulus.

4 participants learn the recurring ten gestures with minimal rehearsal time. Before the performance, they draw lots to see whom they will perform the duet with. Out of the three sections in ’10, two sections are improvised.


Each performance lasts 20 minutes.


It is a blank canvas for you.

'10,一桌,二椅,一男,一女, 再加十个数字,用极简语言实现了完成度极高的表演。将人生的元素提炼成十秒一组的肢体动作,这十秒不停地倒带,加速、放慢、重复、循环,是假设,是重来,是各种的偶然和必然。篇章、结构、节奏、语言精巧工整,张弛之间透显着导演成熟的掌控力。然而,技术性分析并不有趣,最重要的是,一男一女肢体表演书写的无字之书,无言之歌堪称动人。台下,观者丰富的情感体验被唤起,与台上的抽象与留白共同推进这部剧,一起经历对立与交流中的撕裂、和解、体恤与隔绝,激烈、和缓、成长与衰老,在10秒中共同完成着一生。'

中国南京  资深媒体人、艺评人   王晓映


'10, one table, two chairs, a man, a woman, ten numbers on the screen. In distilling the essence of life to a repetitive movement sequence executed in a framework of ten seconds, this performance utilized the simplest of languages to allude to a highly nuanced performance. In ten seconds, the sequence rewinds, fast-forwards, slows down and repeats itself in a cyclical structure. Is the given scenario a repetition? Or is it mere supposition? It reflects the inevitable, as well as the uncertainty of existence. Be it the loose narrative, dramaturgical structure, rhythm or use of body language, the amalgamation of these elements clearly highlight Kuo Jian Hong’s directorial finesse and craft. With regards to the performance, it is perhaps less important to analyse the techniques involved. Rather, it is the dialogue without spoken word between two bodies in space; it is the musical soundtrack devoid of text underscoring the performance that creates a particularly moving production. Beyond the stage, the audience members entered the liminal space with the performers. Together, they shared the experiences of fracture, reconciliation, connection, alienation, intensity, warmth, growth and decline.'

In 10 seconds, these strangers shared a lifetime together.

Source: China, Nanjing, Veteran Journalist, Arts Critique, Wang Xiao Ying

Schubert's Sagas

Schubert's Sagas

Schubert's Sagas

Schubert's Sagas

Schubert's Sagas

Schubert's Sagas

The Sing Song Club presents: The Alphabet Series 'Schubert's Sagas'
[2015 - Installation Artist]

ART SONGS X MULTIMEDIA X PERFORMANCE INSTALLATION

I was commissioned to participate in this multidisciplinary project that combined live singing in the form of art songs with other forms of art. I chose to create a video installation, as well as a performance art segment. The three mediums interacted with one another on a paratactical level and hence, this resulted in a very exciting collision in performance.

I chose to create a video installation and a performance art segment that experimented primarily with the themes of infatuation, desire and narcissism.

I was also fascinated with the use of video as a potential voyeur, taking on the identity of the central protagonist looking upon his object of desire. This obsession increases over time and with that, the video also evolves into a kaleidoscope of dreams intermingling with reality.


The final segment of the three-part song cycle highlights the protagonist’s devolution into despair and woe. With that, I decided to introduce the female protagonist in person in order to concretize his obsession and blur the threshold between reality and projection. In this performance, the couple play chess with mugs of tea; hence,


if romantic love straddles the in-between,

and oscillates between extremities,

is it kinetic energy;

a matter of perspective;

games?

Lancaster University of Contemporary Art

Lancaster University of Contemporary Art

Lancaster University of Contemporary Art

Lancaster University of Contemporary Art

LICA presents: ... And the setting sun
[2015 - Performer-collaborator]

DANCE X INSTALLATION X SOUNDSCAPE

This 'postmodern musical' was a devised ensemble performance inspired by dementia. It was awarded one of the top marks in the 22-year history of this applied theatre module.


'I was one of the supervisors on her final third year practical group project (LICA 381) which gained the highest mark for this assessment in the cohort. This was a strikingly original and moving piece of devised work based on the theme of dementia drawing on ideas and aesthetic strategies studied on other third year modules. While very much a team effort, there is no question that its success owed in a very large part to Gloria’s contribution. She was very much a driving force in this piece of work, sharing vocal and physical skills and techniques learnt on her year abroad with the other students and encouraging them to work in a highly disciplined fashion and to build on their own accomplishments, pushing themselves to new and greater levels of achievement. Her own final performance in this piece was sensitive, subtle and beautifully executed and was highly commended by the examiners.'

— Professor Geraldine Harris, Lecturer and Academic Supervisor, Lancaster University, Lancaster Institute of Contemporary Arts