Creation through International Collaboration
Beautiful Trauma -Behind the Seen-
A program that presents a full-size work developed from a small work originally produced as part of the previous year’s international collaborative workshop. Beautiful Trauma -Behind the Seen- by Indonesian director Yustiansyah Lesmana, created under the theme of “makeup”, will be presented.
This program has been closed. Thank you very much for coming.
Date: Nov. 9 (Fri) at 19:00- / Nov. 10 (Sat) at 13:00-
Venue: Tokyo Metropolitan Theatre, Theatre West
Duration: 60 min.(TBD)
Admission Free, Reservation Required
【Reservation】Please click desired date and time.
Nov. 9 (Fri) at 19:00-
Yustiansyah Lesmana (Indonesia)
Yustiansyah Lesmana, usually called Tian, is one of the young art directors in Indonesia. He embarked on his career in theater in 2003, while still in school. Later, he joined the Teater Ghanta and produced a theater performance in 2009.That year, he was presented with an award for the best art director at the College Students National Theatre Festival. He also received an award for the best art director at the Jakarta Theatre Festival (2013-2014). In 2014, he participated as a young art director in the Imagine Festival against Racism, an international youth campaign against violence held in Basel, Switzerland. He now works as an art director at Teater Ghanta and is preparing a collaborative art work in the theatre archives project called “No Microphone for Takdir” (original title: “Tidak Ada Mikrofon untuk Takdir“), based on an audio recording of a discussion with Sutan Takdir Alisjahbana (1969), to be premièred at the National Theatre Week in Jakarta in October 2018. This year will be the second time that Tian is participating in the Asian Performing Arts Forum (APAF). Last year, he presented “Beautiful Trauma” in collaboration with performers from various countries in Asia.
It is a privilege to be included for the second time in the invitation for international collaboration with APAF. In a meeting among different countries, many things can happen, where differences both in the concentration of art and ways of creative thinking are vindication for dramaturgy to be present and at work. Awareness of mapping networks of ideas through to making of artistic decisions represents a kind of tension that fosters confidence in one another, that art can be born from the reflections of multitudinous sources of illumination. As a collaborator, I imagine that emerging ideas will be more progressive, that they will discover many perspectives of themes and be given maximum latitude for reworking in the creation of stage aesthetics. This experience will provide me with a broader working understanding that performances are none other than a process of dialogue involving so many questions and unknowns. This is something I enjoy, like swimming in the ocean and riding the waves. My heartfelt gratitude to APAF and all its member associations.
The Concept for Beautiful Trauma -Behind the Seen-
In this process we sought to find ways to relate the word army to the lives of modern civil society today. The word found is fashion. Military as a Fashion!
One thing from the military that can be considered important and strongly connected with the theme of make-up is the history of camouflage. We know how cubism has set it back, and made a definite connection between art and war in the history of our lives. Andy Warhol’s “Camouflage” painting series(1987) has inspired us that camouflage has become great in pop culture. Warhol’s great idea of how camouflage can look sophisticated and aesthetic, could be seen everywhere in the cities of 21st century.This show is designed together through collective texts and thematic improvisations from things that are around us. In everyday life, something that is close to us however we may not be aware of. Unseen things -or what we don’t want to see. That is no difference from when you go into battle, to become others, to become death. Today, as Warhol foresaw, camouflage pervades our everyday life. War has crept into our wardrobes, and even into our subconscious.
Abner T. Delina Jr. (The Philippines)
Miyuki Mikata (Japan)
Kei Namba (Japan)
Pathavee Thepkraiwan (Thailand)
Kotaro Yagi (Japan)
*In Alphabetical Order
Stage Manager: Kouki Ura（Stage Work URAK）
Assistant Director: Tamami Sakakura
Sound: Masashi Wada
Lighting: Yuho Shimada（LST）
Costume: Sakura Fujibayashi
Photography: Kazuyuki Matsumoto
Video Documentation: Kazuomi Furuya
Interpreters: Keiko Kimura, Arisa Kobayashi, Eriko Shibata (TOP Language co.,Ltd.), Emi Takahashi (TOP Language co.,Ltd.), Minori Takahashi (TOP Language co.,Ltd.)
Production Coordinators: Saoko Ikuno, Yuko Uematsu, Fumie Nakashima, Miyuu Kamikawa