If oaths from the previous function the rule of legislation immediately, and these legal guidelines are handed down from era to era, are we in a position to modify and alter them?
That is a thought-provoking question. It is one which Chinese-language theatre director Loh Kok Man is analyzing in his remount of playwright/writer Kee Thuan Chye’s native theatre piece The Swordfish, Then The Concubine (Swordfish).
The theatre manufacturing, which performs at Pentas 2, Kuala Lumpur Performing Arts Centre (KLPac) from March 10-13, relies on the basic literature work Sejarah Melayu.
This 120-minute Mandarin adaptation (with English surtitles) is a narrative that unfolds round a pledge between a mortal and a god: topics can not disobey these in power, and people in power can not humiliate their topics.
“Even in the past, it had been thought of whether or not to break rules set in earlier times. Of course, regulations can govern the people, allowing them to live well under certain circumstances, protecting their property and rights. But when times are changing, there are certain things we should also adapt to,” says Loh, who first tackled Swordfish in 2016, in a latest interview.
The acclaimed play, offered by Loh’s Pentas Project, combines the tales of Hang Nadim, a courageous and good boy who saves Temasek (Singapore) from a lethal swordfish assault, and Nurhalisa, a tricky and defiant concubine sentenced to loss of life by impalement.
This political satire is a curious research on obedience, tolerance, judgement and warfare, all the whereas alluding to modern social dilemmas, political video games and secret codes.
The theatre manufacturing incorporates shadow puppet animation, created by multimedia artist Fairuz Sulaiman. Photo: Pam Lim
“For me, what is interesting about this classic is that the historical stories are not solely about rulers. Within it are also stories of civilians and children saving their villages.
“While we don’t know if these stories are real or fictional, the society at that time is preserved in written form, and also reflects the author’s musings on humanism,” shares Loh, 50.
Swordfish (written in 2005) debuted in 2008 at the Singapore Theatre Festival. In 2017, Kee directed and produced Swordfish in its unique English model known as Swordfish + Concubine.
The upcoming efficiency options returning actors Yeo Lyle, Thian Siew Kim, Valerie Chian, Niko Hugh with new additions Tammy Yee, Eugene Ng and Jet Lew.
Performing alongside the Swordfish actors on stage are reside musicians Boyz Chew Soon Heng and Zyee Leow Sze Yee, founder members of the Orang Orang Drum Theatre group. The conventional Malay people track Ulek Mayang from Terengganu may even be featured in the present, lending a poetic dimension to this adaptation.
A scene that includes (from left) Thian Siew Kim and Yeo Lyle who play Maharaja and Segalah, whereas Niko Hugh (proper) performs the Bendahara. Photo: Pam Lim
Fairuz Sulaiman, a multmedia artist, has been tasked to add shadow puppet animation particularly for this play, incorporating fashionable and inventive visible results to advance the story.
A dialogue between Loh and Kee led to this new model of Swordfish, with shorter strains and extra targeted scenes. To sustain with the occasions, the playwright has launched brand-new plot factors based mostly on modern occasions in Malaysia. It was Loh’s purpose to keep away from making the addition parts really feel jarring.
“Rather than directly reflecting a particular phenomenon in society, I want the audience to be stirred through the use of myths and fables. We remain open-ended, not forcing the audience to necessarily make a change. We simply provide a platform for contemplating a different world,” says Loh, who goals to obtain this via the use of puppets, masks, animation and dance.
“I hope that more Malaysians will appreciate this work, especially the young people, and that the performance will inspire them to think more about our social phenomena,” concludes Loh.
The Swordfish, Then The Concubine is supported by Program Penjana Malaysia, MyCreative Ventures and the Cultural Economy Development Agency (Cendana).
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