New Village People and Pineapple Rice

performers (anti clock-wise): Lau Mengq Yek, chi too, Renita Che Wan, David Xavier and Tan Zi Hao (not in photo)

Two of our casts, Tan Zi Hao and Lau Mengq Yek are featured in the Emergency Festival's theatre performance entitled New Village People and Pineapple Rice, directed by Hariati Azizan (Vagina Monologue).

For more info: http://www.kakiseni.com/events/misc/MTEyNTU.html

Emergency Festival is produced by Five Arts Centre

Initiated by the 'gang of 7', which includes Mark Teh, Fahmi Reza, Fahmi Fadzil, Hariati Azizan, Grey Yeoh, Norman Teh and Wong Tay Sy.

Learn thy history from another perspective. Do come and support this event.

Fermented Roti Canai Update 03

The director Ng Chin Ang has finished shooting his short film entitled 'TPC'. Special thanks to 1948 Art Space for providing their rooftop. Here are some sneak peeks of the production:

Who would have known that we have some traditionalists in the group despite all the post-modern concepts?

The actress.

Ng Chin Ang (left) with assistant Sim Chuan Fu (right) working on the frame.

The production crew.

Shooting at the rooftop of 1948 Art Space.

Cool?

Also regarding the theatre side, Ng Chin Ang will be directing a performance written by Tan Zi Hao. Another young art enthusiast, David Xavier will be joining Fermented Roti Canai to direct some sensationalist acts. More udpates soon.

Mark Teh's Workshop - Being Physical *Photos!*

Here are some damn 'late' photos...

To prove that we all, the logamaya'ians really DID some proper training.


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What? You have something to say? Come on man! It's Mark Teh!

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Walau! Still talking ah??

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I shall leave all the captions to your imagination.

Mark Teh's Workshop - Being Physical

12 attended Mark's workshop for the group in Five Arts. A studio with many old dusty framed posters, Kee Thuan Chye's 1984 Here and Now to name one. Jo Kukathas was there in the studio too before we entered, working with some other thespians I suppose.

It started off fun, like a whole chasing game, some of us just enjoy that moment, not knowing why is this considered a 'theatre workshop' until Mark explained. I would say the most exciting part is that we sort of realize the alternatives to making theatre, rather than based solely on 'literature' and 'linguistic aesthetic'.

Prior to this, Logamaya functions as merely a group of people enacting a narration written and structured beforehand. While stage manager and director working on their responsibilities, the understanding of space, of gesture, of movements and of coherence are not to be borne by the thespians. They were to be perceived as a necessary medium to articulate a pre-established idea. It isn't wrong, just conventional.

Now when I started to work with Mark Teh and Hariati, that point of view somehow alter. Rather than seeing theatre as purely an art component or an artistic commodity, it can be an activity or sports, or event conjure by different individuals, and their perspectives construct a shared opinion, and from there the director composes a narration. Seeing theatre as an event or conflict, something that is very usual in life and has been performed daily. Seeing both entities (art and life) as one, is an Eastern perspective. In that way, theatre becomes 'ritualistic' instead of just 're-enactment' of activity. Art becomes functional, sentimental, peripheral, metaphysical as opposed to Western's empricism, intellectual and scientifically specific. (refer Redza Piyadasa & Sulaiman Esa's Towards a Mystical Reality 20-page manifesto)

Knowing that, collaborative involvement means even more to me, theatre has to be participatory in order to submit a story that of mystical to both audience and thespians; not anymore the word-dominated rhetorical theatre, but a 'poetry of space' filled with music, dance painting, chanting and gesture (1) - something sensorial. Theatre of Cruelty eh.

Thanks to Mark again.

Will upload the pictures soon.

1. Graham, Rob, 'Theatre-a Crash Course', Silverdale Books, Leicester, 1999, pg. 110

Workshop announcement

A quick announcement; Mark Teh will be conducting a workshop for Logamaya as mentioned previously. Members interested please contact Tan Zi Hao at 017-2604739 or zihao_tan@hotmail.com or reply this post, simply.

venue: Five Arts Centre

date: 26th July 2008 (Saturday)

time: 5pm - 8pm

Fermented Roti Canai Update 02

...and the epic continues where the director chose an auspicious evening to convene a soiree, feeding on retinal ambrosia...

The updates: Fermented Roti Canai project will be held on September, we try not to delay since the ideas are all out. While idea generating month (June) ended, we step into July and August where we start rehearsing and producing.

Rather quirky, the range of theme we will be tackling is wide and arbitrary, for instance, Tan Zi Hao will produce 3 totally different performances - one about the philosophy of mind, another one which is quite conceptual...and flattering, and also a socio-political commentary cum musical. He will too exhibit some visual works (drawing) related to his performances. Ng Chin Ang will direct a short film based on family values, also at hindsight commenting on the current political situation, somehow insidious.

Here's the confirmed list of artists (a loose term herein, of visuals, film, performance, music etc) involved:

Lau Mengq Yek

Ng Chin Ang

Simone Chong Sze Mun
Suman Moganasingam

Tan Zi Hao

*The confirmed list of works will be shown on the next post.

We were also discussing about Mark Teh's workshop and see when will be the best time for all, and have analyzed our past performances to see our lacks, thereby propose to Mark our idea. After that, as usual, a film screening session! This time we have Amir Muhammad's Apa Khabar Orang Kampung. It was beautifully composed.

Film still from 'Apa Khabar Orang Kampung' directed by Amir Muhammad.

Da Huang's Audition for Grabs

So one of the actors in Logamaya actually went for the Audition for Grabs organized by Da Huang Pictures during the art bazaar event - Art for Grabs. The event was tremedously happening, Fahmi Reza was there, Silverfish was there, many people of the crafts were there, and all selling their goods under RM 100 (now this is something we should inspect, Malaysian art scene is entering a movement of publicizing art, is that any good? or somehow an ad hoc solution, to surmount the bleak situation thereof?).

Yes, but for one thing good, contemporary art is for everybody in Malaysia. Back to that audition:

Mengq Yek went for it and the topics for the audition - if you could hear from his speculation, zanny and witty - was truly some themes that would challenge your acting skill and most of all your creativity; offer condom to a rapist, waking up after a 3-year comma, while noticing your arms have been amputated (you have a mosquito on your face, darn!).

Yes, enough peculiarity, Mengq Yek acted two of that and he later received a mail saying that he was the best performers of the Audition for Grabs. He got RM 100 for online purchasing in Da Huang site, and maybe got his name down on their database.

Hereby congrats him!

Fermented Roti Canai Update 01

Simply an update. We have finished one script. A semi-musical with elements of tragedy, monologue, performance art, video and sound art. Yes, an awkward hybrid!

I will see what sort of aliens I can produce later on, still studying, still exploring the theatrical structure and the rooms for manoeuvre and manipulation, yummy.

We still need works and ideas, any of you can send in ideas regarding FRC - do affix to your mind the 'experimental'. And we need male singer, violinist, trumpeter and a percussionist to participate in our musical act (volunteers with minimum allowance). Just show us your existence by dropping down some words here...if any.

Thanks.

Expectation

Expectation is to suppose, to anticipate, to look forward in things, with a certain degree in mind, it holds a pre-judgmental value. The reason why I must write this and emphasize 'expectation' is because I believe I must explain to those, who deem Logamaya pessimistically convulsive, absurd (or stupid) and amateur.

They are correct, afterall, Logamaya was founded in 2007. We are without a doubt amateur, but always assert ourselves to best, then it's up to your judgement again (relatively). But about being absurd, I am not very comfortable with the word. Most of our works are social commentary, the execution is humanistic, there exist too devoid of humanly sense, to some people some of the works are foolish and nonsensical. Though, since when we are not foolish?

I myself am not a theatre practitioner, I do not work in accordance with theatre conventions; and as a visual artist I study more of history of art rather than the whole general history of theatre/film. But the contemporary era is about breaching the limits, and I am passionate in performances too, disregarding theatre or even performance art itself; one thing for sure is I see my theatrical works as an articulation of what I suppose to speak. It is expression.

The clear-cut for performance art and performing art is fading in contemporary era, but I remain my absolute discreetness in my own, the advantage that I perceive in Logamaya is a cross-culture in between performing and performance, only by fostering the proximity but not merging them, and this is what that makes Logamaya particular and unique, I suppose.

Still, what's your expectation?

PS: Logamaya is currently planning on Fermented Roti Canai project. It will not be a theatre event, but an art event wholly. We are gathering young art practitioners to work with us.

..and the Images and Words of After Jubilee

After few months of hectic rehearsals and preparations, the tussle, the plight, the efforts had finally come to an end. The event was held in Art Street Studio, the place is small but the group was fortunate to get a venue within the last minutes after our proposal which beforehand approved had been neglected because of the nomination day, which of course we can't complain since that is about the nation.

Enough for the unsatisfactory regarding the inadequacy, we are still reluctant to justify our position in that case, whilst having the audience which we must thank a thousand sufferred for such deficiency. Complaints of such the small stage, prolonged intervals, unbearable seats positioning. We hitherto apologize.

The show ran rather smoothly, the backstage was feverish. Logamaya was obviously lacking of people to manage the paraphernalia, stage manager had enough work setting up and ensuring the fluent current of scene changes. Though the group did learn a lot - but somewhat a bitter lesson back there.

It started at around 9pm, with Untitled (For the Love of Malaysia II). Whereby the director submitted an introductory speech in a form of theatre. Later, Government & Friends I, depicting how a citizen may play a crucial role in shaping a responsible society. Followed up was "Not Now, Still Alive" - how the government procrastinates in execution and reparation and neglects the complaints from the authority until accidents happen where they will then begin their projects as part of a belated apology. A Tragedy began right after that, satirized the irresponsibility of the National Service's committees, but at the end hinting a hope that we anticipate in future. Mamula Moon kicked in with a dance choreographed by Simone, not long after the dancers indulged in their arts, two policemen entered and pushed them off stage -followed by some atrocities - a play discusses about the genuinity of Negaraku; comparing Negaraku with Mamula Moon, and Negaraku with the infamous Negarakuku, also a metaphor on how Malaysians was suppressed - a certain fear of revelation that by prediction will cause trauma in local society, we have that draconian ISA. Then we have Government & Friends II, evincing the similarity between the oppress and the oppressed, how we subconsciously form an independent mutual relationship, which we hate too admit but love to be part of it - part of our tendency in survival, human nature? Lastly, Dogs Run Happily which evoked perplexity and bewilderment, seeing a theatrical formal conversation with side scenes of thespians acting as dogs. Probably the most conceptual amongst the whole series, reminding ironic infamy happened yesteryear.

On the way to exit, an experimental black metal band, 14120912519 was selling their cds, just released their third EP entitled 'Koleksi Anak-anak Patung'; an album about the kitschy image of black metal, despising anything in any form, tackling local issues of culture, metaphysics, and politics. Tan Zi Hao, the director himself was launching a series of sound art entitled 'Urbanization', showcasing his first attempt on new media art, voicing out his disappointment on modern community which is self-centered, mentally poor, emotionally reluctant and severely indulge in the pursuit of perfection and materialism. Placing abreast was some greeting cards hand-made by him, a series of greetings (whereby everything is on the last page while the first few are plain empty) entitled 'Suffocation of Nature'. On par was Lau Mengq Yek's After Jubilee's postcards, an awesome souvenir for the event. All the works mentioned were of the We Have Durian Heads visual communication group, which is currently inviting visual interlocutors to join in.

Right after the staircase leading the audience down, we have a performance art performed by Suman entitled 'Remedy?' With a stethoscope, checking on the throbs of a curry puff (if you get to recall 'Untitled', the curry puff was a metaphor of greed and selfish). That explains the peculiar poster, and how we see Sharon Chin's 'How to Talk to Strangers - A Strategy' as a potential remedy for Malaysians - to listen and to understand each other.

Alright, here are the photos:

Nurhani as the Emcee in Untitled.

Yun Cheak as a small kid with his Father played by Chin Ang in Government & Friends I.

Kwan Yew standing on the table, watching the gruesome chase.

Nice theatrical composition huh? A Tragedy!

Simone starting the dance for Mamula Moon. The music was played.

Chin Ang acting as Chin Ming, Suman as Khumarh; Ilang as Policeman, Yun Cheak at the back as Uncle Tan. Chin Ming and Khumarh begging for an affordable price to pay.

Daniel on the left, acting as PL (whoever appear in your mind); Zi Hao as citizen on the right, speaking fervently and penetratingly in Dogs Run Happily.

... not to forget the dogs.

Director giving a brief explanation. Followed up by a Q & A session.

A glimpse of the audience.

Suman in 'Remedy?' A performance art reminiscent of Sharon Chin's How to Talk to Strangers - A Strategy.

Unfortunate to tell that the recording camera's battery malfunction after few minutes of recording. Seemingly, a strand of hapless events due to wrong timing, we didn't get to impart, or to execute totally of what we had planned initially. Logamaya has thought of performing the whole series in some other places, only if chances allow. For now, the director is working on the coming up Fermented Roti Canai project.

ATTENTION - After Jubilee's venue changed

Since our prime minister announced the date for nomination and election, most of the community halls in Seri Kembangan can't be accessed by public, and will temporary close. This to me is never beneficial, now I need to reinform all the invited guests the new venue.

Thanks to my art teacher, Hew Tze Kien for allowing me to perform in his art studio. A proper art space, although not as big as the Community Hall, I am gladful enough to have a venue to perform...for when prime minister announced the date, there's only one week left, to find another place, this and that, meanwhile all the posters and invitations were printed.

'After Jubilee' will not be postponed, here are the details:

Venue: ART STREET STUDIO (3RD FLOOR), JALAN BESAR, SERI KEMBANGAN
date: 23rd February 2008
time: 8.30pm
admission: RM 3, FOC for children below 12

Here's the new map (click to enlarge):

* Park your car in Dewan Serbaguna MPSJ (FOC), once you walk out from the car park entrance, you will see a small street in front of you, that is the street to Art Street Studio - you will get to see DAP office there - continue walking until you see stairs leading you up, Art Street Studio is at the third floor.

Any enquiries, call me @ 017-2604739.

Thank you.

logamaya_002a - After Jubilee

the posters for the event - After Jubilee, 2 different designs, 4 different taglines

the invitation (click to enlarge the map )

logamaya_002a - After Jubilee; a series of social commentaries consists of art plays, satires and performance art written in conjunction with the 50th Independence Day of Malaysia:

1. Untitled (For the Love of Malaysia II)
2. Government & Friends I
3. "Not Now, Still Alive"
4. A Tragedy
5. Mamula Moon
6. Government & Friends II
7. Dogs Run Happily

venue: Section 7 Community Hall, Seri Kembangan, Selangor
date: 23rd February 2008
time: 8.30pm
admission: RM 3

After the golden jubilee celebration last year, we had in hand abundance of playful issues regarding the nation. The 50 years do worth a slot, if not for arbitrary gossips, for the group to have some manoeuvres in art. It came an exigency, the jubilee became an impetus, a stimulus for national assertion. Efforts done to elevate the image of modern Malaysia; a sensation? That, we need to rectify by questioning the integrity of politics. In common parlance, it is worthwhile for reputation and patriotism; but does it hold any effects on our inner mentality?

Years after years for 50 years, Malaysia has been celebrating it on 31st of August, repeatingly, congruously - high hung be the Jalur Gemilang, events and celebration with patriotism aloud, opportunists use methods making mutual ways, all these in conjunction with the Merdeka - all these flamboyancy - are in such sort that obviating the aim of the true meaning of Merdeka.

Is Merdeka celebrations merely fashionable resurfaces, or 'tis more a hope? or an opportunity to change? Undoubted that Malaysia has developed well, though we are not to rebuke any, but to question the who, what, why, and how...for after 50 years, where is our awareness on this very land?

credits:
director: Tan Zi Hao
co-director: Ng Chin Ang, Lau Mengq Yek & Simone Chong
playwright: Tan Zi Hao
stage manager: Ng Chin Ang
lighting designer: Ng Chin Ang
lighting operator: Choo Ping Hao
graphic designer: We Have Durian Heads

casts:
(untitled) - main: Tan Zi Hao, Nurhani; supporting: Suman; extra: all others of Logamaya
(government & friends I) - main: Haw Yun Cheak; supporting: Ng Chin Ang, Simone Chong; bit part: Tan Zi Hao, Suman
("not now, still alive") - Tan Kwan Yew, Lau Mengq Yek, Ilangkumanan
(a tragedy) - main: Lau Mengq Yek; supporting: Tan Kwan Yew, Kwee Jooi Theng; extra: Choo Ping Hao, Carrel Leong
(mamula moon) - main: Simone Chong, Tan Zi Hao; bit part: Suman, Ng Chin Ang
(government & friends II) - Ng Chin Ang, Suman, Ilangkumanan, Haw Yun Cheak
(dogs run happily) - main: Tan Zi Hao, Daniel Lee; side: Lau Mengq Yek, Ilangkumanan, Ng Chin Ang

For more info, contact Tan Zi Hao @ 017-2604739 or nerage_69@hotmail.com or aoa.logamaya@gmail.com. Hope to see you there!

Article: Showcase of raw talent at The Platform by Chua Sue-Ann‏

Showcase of raw talent at The Platform
Chua Sue-Ann Jan 16, 08 5:11pm

Kuala Lumpur Performing Arts Centre's (KLPac) The Platform kicks off another exciting year for the Malaysian art scene!

The Platform, an open-mic session for theatre, gives centre stage to new talent. Performers have full creative control over their work making this a truly showcase of raw, unseen work. Established performers are also welcomed to toy with new ideas in this space provided they venture outside their comfort zone.

The Platform is the brainchild of director Gavin Yap who organised similar sessions with some friends during his university days in London."There are some brilliant (works), some not so brilliant but it doesn't matter. At a basic level, you just appreciate that someone is sharing," said Yap.

The Platform is a chance for new talent to perform their work, experiment and obtain feedback, said Yap at this year's first session last Monday.

"This fits perfectly with what we're trying to do here (at KLPac) - nurturing writers and performers," said Joe Hasham KLPac's artistic director.

The first session of 2008 showcased three spectacular, never before seen performances: Painted Faces, WoffiCe and Pity the Black who Pities the Green.

Painted Faces: The first performance of the night, Painted Faces, was written and performed by 19 year-old Shangari Subramaniam.

The witty monologue tells of a woman's dilemma when her family and new husband expects her to leave her successful law career to be a housewife.

"Housewife? What a term! It's like I'm married to the house," she laments amidst thunderous laughter from the audience.

She remains adamant about keeping her job after marriage.

"I will not give in."

But she did and six years later she still wears make up at home "for a reason."

Her once-charming husband slowly reveals his darker side until a confrontation where Shangari's emotionally-charged monologue explodes into a confronting one-woman performance of domestic abuse.

The stunning performance ends quite simply, "There's a good reason I still wear makeup."

"This is a middle class example of domestic violence. It's not just the poor. Its around us," explained Shangari during the post-performance Q&A session.

Shangari, who has been involved in stage productions in high school, promises "You'll be seeing more of me."

WoffiCe: The second performance of the night was quite surprising.

At such talent showcases, one typically expects to see young, eager talents. Imagine my surprise when two fifty-something-year-old men got up on stage to perform. Preconceived notions corrected. Expect the unexpected at The Platform.

WoffiCe, performed by John Lim and Lim Yoke Kiaw is a very short piece about an employee stealing time off work.

John sits in a toilet cubicle and reads the papers. He also chats on the phone to his wife nonchalantly about how laid-back his job is and passes unflattering comments about his "son of a gun" boss.

Needless to say, his boss is waiting outside the toilet and overhears everything.

"You are fired."

The story behind the culmination of the performance, in a way, makes up for the brevity and the predictability of the piece.

Lim, a retired teacher, wrote this entry when he saw The Platform's call for submissions in the newspapers. He submitted it without reading the rules, later discovering that the script needed to be performed.

A day before the scheduled performance, Lim met John by chance and decided that he had found his actor. What if they had not met?

"I think I would have dragged my son. I'm not so interested in acting," Lim said.

Pity the Black who pities the Green: This abstract play is brought to life by Tan Zi Hao and Lau Mengq Yek who exudes a strong stage presence.

Written by 18 year-old Tan Zi Hao, the title of the play alone invokes curiosity.

It starts off with a simple assertion - Tan's character, Joe, only likes red apples. He rejects a gift of a green apple which sends Lau's character, Hao, into a frenzy to please Joe.

Joe hates green apples. Maybe I can paint it red, thinks Hao. But there is no red paint. Will Joe mind an apple painted a shade of brownish red?

Hao soon decides that brownish red will make a more natural shade and proceeds to bleed himself. Lau delivered a powerful self-mutilation scene with his magnificent performance and clever use of props.

Judging from audience responses, this moody play was a clear favourite.

This beautifully-written, almost poetic play is one of the four pieces Tan submitted to The Platform. He explained that this is not a homoerotic piece but sought to express observations on human nature through the use of colours and apples. This is a portrayal of the struggle between pain and love as well as the delicate tension between greed for love and restraint.

He added that The Platform was just what he needed to showcase his work and gain exposure.

Queens: Audiences were also treated to a short play written by prolific playwright Mark Beau de Silva. Seasoned performers Johann Lim and Kelvin Wong joined de Silva in Queens, a humourous play about gay men in Kuala Lumpur.

With minimal props of a table and a chair, the performers brilliant voice acting brings to life scenes in a shopping mall and sauna.

The dialogues pack quite a punch, with a delightful balance of hilarious remarks and thought-provoking questions. A host of gay issues are briefly mentioned - from the queer community's dance obsession to potato queens, finding love, massage parlours and why one might call a stranger 'sayang (darling).'

These established talents were invited by KLPac to perform and before night ended, Hasham announced that KLPac had asked de Silva to develop Queens into a full-length play.

This playful performance is definitely something to watch out for!

Year end Platform

The greater motivation, besides the opportunity to showcase their work, is The Platform's year-end production. Every month, Hasham and Yap will select one piece to collaborate on that project. The chosen performance will be announced at next month's showcase.

Although only twelve pieces in total will be selected, Hasham does not discount the possibility of nurturing new talent for purposes other than the year end project.

Yap reminded that "This is not a competition. Just focus on sharing (your) pieces and just enjoying each other's work."

According to Hasham, decisions will be based on the potential of a performance either in terms of performance, writing, directing and the concept behind a script. He added that audience responses will also be taken into account.

"It does not have to be brilliant but it is important that you think it has potential," said Hasham.

Visit KLPac's homepage for more information on submitting your masterpiece.

Come along on the first Monday of the month all year, 8.30pm, IndiCine Level 2, KLPac. Admission is free.

Fermented Roti Canai project

"There will be no shortage of roti canai at least...that I can assure you."

- Datuk Shafie Apdal (Minister of Domestic Trade and Consumer Affairs)
The Star, 9 January 2008

What a quotation! The shortage of cooking oil few days back then, with some fraudulent reports saying that there would be shortage of flour, in which that caused tension; that caused our minister to make that peculiar statement (the fact is that the millers were producing more non-general-purpose flour to suffice the increasing needs hence the negligence on general-purpose flour). Rationally when roti canai is made out of flour, in this case, general-purpose flour and cooking oil, the minister needs to clarify the situation by stating such sort paradigm, it is funny to speak as if Malaysians can't live without roti canai. The statement did opine a confession though, despite us being ascetic to our gluttony, mamak denizens like us really can't survive without roti canai.

Considering Stanislavski's Magic If and being severely imaginative: what If there is a serious shortage of roti canai? That is where Fermented Roti Canai project came about. The project aimed to cultivate a new experimental local theatre scene. Logamaya as a sub-group of AOA, we too aimed to create new structure and context in theatre, experiments are then pivotal. We are searching for new innovations, new movements and new nomads who are still wandering in the infinite expanse of theatre and gather up all to ensemble a new casts for Logamaya. The method is what you will do if theatre is no longer a presentation of formal artistry as we have experienced before? In Plato's Allegory of Cave, experience is of senses, and senses can be deceiving and not convincing, and that our knowledge is shadow adhering the provisional universe. So our knowledge has been regarded as an orthodox, and now we ought to 'change' that orthodox. Fermented Roti Canai is then a casual innovation for roti canai! It is a project open up for unwanted innovations.

So, we need any of you readers, if you have a 'fermented' unwanted plot, do submit it to aoa.logamaya@gmail.com, we will then discuss about its credibility and value before putting it on the performance list. The project is currently a trial for us as well, we try to explore inwardly, and also outwardly by exposing ourselves to both beginners and professionals in this scene. In this project, no matter who you are - you be the director, we be the thespians. Your source can be anything, or even nothing; from performance art, performing art to video art; make sure it is worth the Fermented Roti Canai!

PS: This project can be held anywhere, it is possible. We do not suggest any platform, the scripts submitted will be gone through by the director and will then discuss together on the where, what, how and why.

After Jubilee - report 03

Just have a meeting and apparently oblivious of not remembering how glad to have all the casts in After Jubilee attending it, or be it an intuition after weeks and weeks of unattended rehearsals; do I feel content enough, or do I have to? Thanks to their busy schedules and I know I keep restating the troublesome issue that I can't help it, but frankly for young adults like us, what not to be busy? And the result of it - postponement of 'After Jubilee'.

We re-scheduled the rehearsals, under every thespians' consent and my acquaintance, it will be enacted next week.

23rd February is the golden date. We have several weeks to get ourselves prepared but still I think inadequate for such an event, comprised of 7 plays and not just that, AOA's subgroups: We Have Durian Heads and III have something else to be done. I guess my indulgent wit slowly affix to such rote of serious living, prosaic but I ought to know the furthest and the further I can go, I will go, the matter is my fortitude.

I brought the group to the actual spot, Chin Ang said the place might not be suitable for a very good lighting effect for we have to make it low and then the spotlights will be directed to the level of face, facial features can't be at all interesting if to show too much, just imagine how a direct flash light disregards physiognomies and flattens aquilines, and the direct cast shadow will obfuscate a person if overlapping consequences appear. Those technical problems.

Regarding that, me and Chin Ang will take a one day trip to get suitable lighting equipment (Chin Ang, give me a date, and we should really watch 'Flower in The Pocket', so make it early). Meanwhile, rehearsals continue.

Logamayas in KLPAC (The Platform)

3 members of Logamaya (Tan Zi Hao, Lau Mengq Yek and Ng Chin Ang [lighting operator]) just had a wonderful night on 7th January, having performing in KLPAC for the event called 'Platform', initiated by Gavin Yap and Joe Hasham, aimed to unearth young talents and also to cultivate a creative and experimental theatre scene.

The play presented was 'Pity the Black who pities the Green', a conceptual play from the series 'Theory of Apple'. Kudos to KLPAC for such a provocative event; as for all the playwrights out there, submit your scripts and grab a slot!

kakiseni's article by Zedeck Siew & Yasmin Zetti Martin:

http://www.kakiseni.com/articles/reviews/MTI0NQ.html#top

for more info regarding the event:

http://www.klpac.com/Welcome.asp?c=whatsonpromotionsview&promoID=37&promocatID=5

(pictures by Yue May) :

Mengq Yek (left) acted Hao, Zi Hao (right) acted Joe; that was the green apple 'as sweet as manna, and as sweet as you (whoever you may be), loving the sweetness itself'.

Hao inflicting pain on himself.

Theatre aficionados and supporters made the audience, whose reactions made the Platform a night of humble splendour.

Zi Hao speaking about his play during the Q & A session, explaining the apples as a pictorial medium to articulate, and the characters being metaphors of human nature. (psst, The Oral Stage was on the left)