Patravadi Theatre has successfully raised more than a million thai baht for its Performing Arts Development Fund on artistic director Patravadi Mejudhon’s 60th birthday party. Former students, celebrities, family and friends have all joined in to fill out the Patravadi Theatre to celebrate this special occasion and contribute to this charitable course.

A sum of 100,000 baht of the fund raised will be used for supporting Rajanikara Kaewdee, the acrobat team leader/performer of Patravadi Theatre, for his study with the National School of Circus in Montreal.

Rajanikara Kaewdee has joined Patravadi Theatre since 2004. Apart from learning acting, modern dance and singing at the theatre, he was was provided with various opportunities to learn various performing arts from different masters and artists, such as Khru Wongsawang (Northern Thai Classical & Folk Dance), Khru Kridsada Sodprasert (Thai Boxing), Claude Saint Dizer (Tissue Techniques), Claudel Doucet (Advanced Tissue Techniques), Lena Ries (Aerial Hoop & Contortion) and his acrobat mentor/teacher James Tanabe (Acrobatics & Physical Theatre).

Patravadi Theatre is a ground to train and to nurture talented Thai artists. Through its Performing Arts Development Fund, it provides opportunities in training and education in various forms of arts. To contribute to this charitable course, please contact patravadi@patravaditheatre.com .

เตรียมพบกับละครสร้างสรรค์สังคม

La Fête 2008, the annual cultural festival organized by Alliance Francaise and the French Embassy, will bring troops of hip-hop dancers from France, Laos and Thailand to Patravadi Theatre to celebrate the dance! Apart from performances, the series also features an audition which leads to workshop and a French-Thai co-production which will be staged as part of the public performance. For more information check out:

http://www.patravaditheatre.com/ or http://www.lafete-bangkok.com/

เมื่อวันพฤหัสบดีที่ 8 พฤษภาคม ที่ผ่านมา Patravadi Theatre ร่วมกับ บริษัท ShowNOLimit จำกัด ได้เปิดตัว น้ำหอมที่สะท้อนตำนานแห่งความสำเร็จของสุภาพสตรีระดับบรมครู ที่เป็นที่ยอมรับในระดับนานาชาติ ซึ่งปัจจุบันยังคงงดงาม เปี่ยมพลังการสร้างสรรค์ ให้แรงบันดาลใจและไร้กาลเวลา ด้วยกระบวนการคัดสรรวัตถุดิบที่พิถีพิถันจาก Charabot S.A. แหล่งผลิตน้ำหอมชื่อดังจากประเทศฝรั่งเศส พร้อมด้วยบรรจุภัณฑ์ที่ได้รัยการออกแบบสร้างสรรค์ดโดย Mr. Robert Bourgrain Dubourg ศิลปินผู้อนุรักษ์ศิลปะไทยจาก RSF Institut และลายเซ็นภัทราวดี ยังได้รับการยอมรับการออกโดยแบบโดย อาจารย์จักรพันธ์ โปษยกฤต ศิลปินแห่งชาติสาขาทัศนศิลป์ (จิตรกรรม) พ.ศ. 2543

ขนาด 30 มิลลิลิตร ราคา 5,999 บาท (จำนวน 1,000 ชุดเท่านั้น)

สถานที่จัดจำหน่าย

1. แผนก Red Carpet by ShowNoLimit

บริษัท ShowNOLimit จำกัด 02-665-6991-4

หรือ คุณศรีสุพร สุขพานิช (คุณซูซี่) : 086-988-2939

2. โรงละคร “ภัทราวดีเธียเตอร์”

02-412-7287-8

หรือ คุณอนุรักษ์ แพรโรจน์ : 081-843-1598

คุณลักษณ์นารา จรัญยานนท์ (คุณกิ๊ก) : 084-014-2476

รายได้ส่วนหนึ่งจากยอดจำหน่ายทั้งหมด จะมอบให้กับกองทุนเพื่อการศึกษาศิลปะ และทุนการศึกษานักเรียนการแสดงที่ Patravadi School of Performing Arts (PSPA) อ.หัวหิน จ.ประจวบคีรีขันธ์

Artistic Director of Patravadi Theatre, Patravadi Mejudhon, has launched her new signature fragrance, “Timeless by Patravadi” on 8 May 2008, as part of her 60th birthday celebration. “Timeless by Patravadi”, characterized by a top note of Jasmine, is developed by the Charabot S.A., an esteemed fragrance house in Grasse, France, which owns a 200 years of perfume-producing experience.

Income from the sales of the perfume and related products (body lotion and shower gel) will go to the Patravadi Performing Arts Development Fund, and for the scholarships in Hua Hin’s “Patravadi School of Performing Arts”.

“Timeless by Patravadi” perfume is available in a limited edition of 1000 bottles, each with its own serial number. The fragrance is available at 5,999 baht (special serial number are marked with different prices, please call for detailed information. Together with the launch of “Timeless”, a Concentrated Jasmine Golden Shower Gel (235ml, 1450 baht), and a Concentrated Jasmine Therapy Body Lotion (235ml, 1450 baht) are also available.

To order and purchase this line of products, please contact:

1. Red Carpet by Show No Limit: 02 665 6991-4/ 086 988 2939 (Khun Susi) / 086 821 8412 (Khun Phu)

2. Patravadi Theatre: 02 412 7287-8/ 081 843 1598 (Khun Rak) / 084 014 2476 (khun Kik)

รอบแสดง: 14, 21 มีนาคม, 3, 4, 11 เมษายน, 9, 16, 23 พฤษภาคม
สำรองที่นั่ง และสั่งอาหารล่วงหน้าได้โทร. 02 866 2144

@Studio 9 Dining Theatre by the River, Patravadi Theatre, Bangkok

Dates of performance: 14, 21 March, 3, 4, 11 April, 9,16, 23 May 2008 (7.45 pm Friday) Admission FREE. Patrons only need to have dinner on performance nights at Studio 9 to enjoy the show. Reservation recommended.

Tel. 02 866 2144/ 02 412 7287

ภัทราวดีเธียเตอร์ ศิลปะสถานเพื่อการละคร ขอเชิญท่านร่วมการแสดงชุดพิเศษต้อนรับขวบปีที่ 2 ของสตูดิโอ 9 Dining Theatre by The River กับละครชาตรีร่วมสมัยเรื่อง สังข์ทอง (ร่ายพระไตรปิฎก 7) อ้างอิงจากบทพระราชนิพนธ์ดั่งเดิมในล้นเกล้าฯ รัชกาลที่ 2 ในการประพันธ์บทพูด และคำร้อง เล่าเรื่องผ่านหุ่นละคร หน้ากาก และการใช้ภาษาของวรรณคดีประกอบการเล่าเรื่อง

นำแสดง และกำกับโดย มานพ มีจำรัส ผู้อำนวยการสวนศิลป์ บ้านดิน เจ็ดเสมียน ราชบุรี ร่วมด้วย ครูเล็ก ภัทราวดี มีชูธน รับแสดงเชิญ ร่วมกับนักแสดงของภัทราวดี เธียเตอร์ เพื่อจัดหารายได้สมทบทุน “มูลนิธิละครธรรมะ ในพระสังฆราชูปถัมภ์” โดยจะเปิดทำการแสดง ในวันศุกร์ เริ่มตั้งแต่วันศุกร์ที่ 14 มีนาคม พ.ศ. 2551 เวลา 19.45 น. ณ สตูดิโอ 9 Dining Theatre By the River (ตรงข้าม ภัทราวดีเธียเตอร์) ด้วยรูปแบบของการรับประทานอาหารในบรรยากาศ ริมแม่นำเจ้าพระยาพร้อมชมการแสดง และดนตรีแบบร่วมสมัย

Present by Patravadi Theatre at Studio 9 Dining Theatre By The River, “Sang Thong – Part I” is the collaboration between legendary veteran artist Patravadi Mejudhon and Silapathorn award-wining artist Manop Meejamrat. Sang Thong tells the story that a queen one day miraculously gave birth to a conch shell – which later became the little protagonist Sang Thong. The little boy prince’s journey is one full of adventures, magical happenings and self-discoveries not unlike that of Harry Potter, yet infused with mythical colours of Thai traditions.

By combining puppetry, mask, songs, music, dance and drama, the performance of “Sang Thong” gives a new look to the Thai lakorn chaktri musical play, conjures a magical and beloved theatrical journey for all ages.

หลังจากการแสดงอันโดดเด่นของเขาในพิธีเปิดงานเทศกาลละครนานาชาติกรุงเทพฯ ปี 2008 ในการแสดงชุด ‘Osmosis’ กำกับโดย  Jerry Snell นักแสดงกายกรรมดาวรุ่งของภัทราวดีเธียเตอร์ ราชนิกร แก้วดี หรือ เล้งได้เดินทางไปแสดงผลงานของเขาต่อ ณ โรงละคร TOHU เมือง มอนทริโอ ประเทศแคนาดา โดยใช้ชื่อในการแสดงชุด FLASH

การแสดงชุด FLASH ได้สร้างความประทับใจ และเป็นที่ชื่นชอบต่อผู้ชม รวมไปถึงสื่อมวลชนในประเทศ:

“การแสดงโหนผ้าของราชนิกรนั้นน่าประทับใจ เหลือเชื่อ และมหัศจรรย์ ในระหว่างการปีนผ้าสีแดงสด ราชิกรได้โชว์ลีลาในการบิดผ้าให้เป็นเกลียว ม้วน ทำให้เหมือนเกลียวคลื่นซี่งคล้ายกับการลุกของเปลวไฟ”

และนอกจากนี้ การแสดงชุด Osmosis ในพิธีเปิดเทศกาลละครนานาชาติกรุงเทพฯ ปี 2008 ยังเป็นที่กล่าวขานอีกด้วย: 

“ราชนิกรเป็นนักแสดงที่มีความสามารถ ท่านที่ได้เห็นการแสดงของราชนิกรในการแสดงที่สตูดิโอ 9 Dining Theatre ก็คงจะเป็นที่ทราบกันดีว่า ลีลาท่าทางกายกรรมของเขานั้น ไม่เพียงเป็นแค่การทำให้เกิดความตื่นเต้นเหมือนการแสดงในคณะละครสัตว์เท่านั้น เขายังสามารถสื่อ และนำพาผู้ชมเข้าถึง ความรู้สึก และอารมณ์ ตั้งแต่ความเงียงสงบไปถึงความตื่นเต้นเร้าใจ”

 ในขณะนี้ราชนิกรกำลังจะมีผลงานชิ้นใหม่ที่จะนำมาแสดง ซึ่งเชื่อว่าเขาจะทำให้พวกเราประทับใจไม่แพ้การแสดงชุดก่อนๆของเขาได้อีกแน่นอน

Patravadi Theatre’s rising acrobat star, ‘Leng’, after giving his stunning act “Osmosis” (directed by Jerry Snell) as the opening performance of 2008 Bangkok Fringe Festival, went on his international journey to perform in one of the world’s largest site for circus arts-TOHU, in Montreal, Canada, in the production FLASH, also a collaboration with Jerry.

His performance in FLASH has amazed the local media:

“Kaewdee’s aerial silk routine was fabulous. Scaling a length of blood-red silk, he twisted, spun and undulated like a flickering flame.

Urban circus is back in town

And let’s not forget an earlier praise for his performance in the 2008 Bangkok Fringe Festival:

Rajanikara is a consummate performer, as those who have seen him as Studio 9 already known, and his artistic acrobatics are far from mere circus thrill as he guides the audience’s emotions from serenity to rage and reminds us of our willingness to take risks.

1st WEEK of BANGKOK FRINGE FESTIVAL 2008

‘Leng’ is currently working on the creation of a new piece, we will be looking forward to seeing him to yet surprise us with another exciting performance.

An extraordinary collaboration between Dutch-Indonesian theatre maker, Gerard Mosterd, and world renowned, Bessie Award-winning Sumatran choreographer, Boi Sakti.The world was a paradise.

In this paradise women ruled.

There were no possessions, no war and violence.

Eroticism was not a taboo and there was freedom and tolerance.

Venue: Theatre-in-the-Garden, Patravadi Theatre

Date/ Time: 15 & 16 September 2007 (Friday & Saturday) 8pm

Tickets: 600 baht, 400 baht (Full-time student half-priced tickets available)

Booking: 02412 7287 – 8/ patravaditicket@gmail.com , or come in person at Patravadi Theatre.

he performance in Bangkok is supported by the Embassy of the Kingdom of Netherlands Bangkok.

For more information, pleaese visit:

http://www.gerardmosterd.com/

http://www.gumarang-sakti.com/

Online Album

Concept: Gerard Mosterd, Boi G Sakti

Conceptual assistance: Karolien de Pauw, Andreas Jacobs

Choreography: Boi G Sakti, Gerard Mosterd

Assistant to Boi G Sakti : Davit

Video/set/costume design: Wilhelmusvlug Music: Leon DeLorenzo, Dony Irawan, Paul Goodman

Light: Boi G Sakti, Sonny Soemarsono, Ignatius Sugiarto, Gerard Mosterd

Dance: Davit Mislam Verawaty Eka Masako Ono Amaranta Velarde Gonzalez Leonor Carneiro

Production: Nieuwe Huizen Foundation Netherlands/Anneke Huilmand, Gerard Mosterd Gumarang Sakti Artcomm/Yessy Apriati Co-production with Theater de Lieve Vrouw, Amersfoort, Netherlands

Main sponsors: FAPK, HIVOS, Dutch Embassy Jakarta, Singapore, Kuala Lumpur and Bangkok, Prins Bernhard Cultuurfonds, KF Heinfonds, Gemeente Amersfoort, Provincie Utrecht, ABN Amro Malaysia

PATRAVADI THEATRE BANGKOK

Some of the better journeys are taken within. I know nothing about contemporary dancing, Japanese or otherwise. Which was why I was keen to explore it. There was my concern that I may find it boring but I considered that to be adequately balanced by my upcoming education. So I convinced a couple of friends to join me for “We’re Gonna Go Dancing!!”.

I always liked the Actors Studio because of its close proximity with the performers enabling me to clearly see facial expressions. This, I feel heighten the appreciation especially of the first performance – where facial expression played a big role in bringing out the interaction between the two dancers and connections with the audience. And what interactions they were – seamless, playful, passionate expressing many variations of acceptance and rejection, indifference and love. They expressed to me most, the innocence of two children in play.

I’ve no understanding of the subtleties of dance movement or the messages they were trying to convey. Nor will I pretend to. From the first dance, I’ve decided to just feel the dance as it spoke to me even if that is the ‘wrong’ or unintended message by the dancers. I just want to lose myself in the beauty of the movement and passion. Ho Ho-Do danced as if there were no audience, just the two of them frolicking on stage. They were convincing.

It is said “their work (Mira Arashiki and Mari Fukutome) is created through their delicate sensitivities and impulses they feel in everyday life. They adapt not only ordinary dance techniques but also small trivial gestures from daily life as motifs of movement to create pieces showing their poetic world-view.” That is a mouthful and what I read in the synopsis before the show. I didn’t remember any of that when the show started or did I tried to. I did not see dance techniques or trivial gestures, together or combined because I’m an uninitiated. What I did see was running, skipping, jumping, pulling, pushing, dancing, parallel and synchronized movement, separate and individual movement that recombined, playful and joyous movement, imitation movement from one to another creating new movement for imitation coming all together into one seamless, poetic whole. What I saw were children in play, constantly evolving through affection, pretended indifference, imitation, exploration, adventure, discovery and growth.

My take was probably wrong. I told myself – forget trying to be right, just soak it in and enjoy. Any interpretation should be spontaneous and natural. As long as I’m touched, the dancers have done their part. With this attitude, this unabashed neophyte absorbed the rest of the show and enjoyed himself tremendously. The next act was disturbing. It was choreographed by Malaysian Amy Len, artistic director of Youth Studio of Dance and Kwang Tung Dance Troupe and performed by Amy, Tan Bee Hung and Foong Siew Ching. In the stage interview at the end of all dances, Amy said she drew her inspiration for this dance from the pleasure of rolling comfortably, leisurely on her bed! Oh-oh, I thought. How could her inspiration of leisure comfort contrast so much with my impression of hell on stage. That is revealing. I would love to ask her that question but never got the chance.

It was a very powerful piece. Right from the start when a naked leg first protruded into the spotlight shot against the wall with the rest of the stage pitch dark. Then a contorted female shape with long hairs and black pajama shirt twisted and rolled in slow motion along the wall. Followed by another. They seemed to be in agony, desperately trying to find an escape but hopelessly trapped. And as the tempo increased, their struggle became more frenzied till they were literally throwing their body against the barrier that hemmed them in. It was horrible. It was good. I thought I had the interpretation all stitched up until the interview at the end. I will stick to my interpretation. That was hell. And any wall that constricts our freedom is hell. I did not know how to react to the next performance. Yutaka Joraku and Masato Takeuchi made a powerful entry in their Japanese loin cloths. What an impact naked bodies have. And it is nothing remotely erotic. They bring out sincerity of movement when there were no clothes to hide the rippling of muscles. This was especially evident in the last act of the night (will come to that later).

While Ho Ho-Do added to their dances with expressive yet indifference faces, Shintai Hyogen Circle cemented theirs with their blank, stoic masks. Movements are strong, solid and physical and the dancers responded powerfully to each other. So powerful it made me winced and go silently “ouch! That must have hurt.” When the first open palmed blow by Joraku smacked on Takeuchi’s shaved head, it was funny and I almost gave away a laugh which I stifled immediately. It felt natural but are we supposed to laugh at contemporary dancing? Wouldn’t we be insulting the dancers? Or are we insulting the dancers by not laughing? Oh boy, don’t know the protocol. A few funny painful smacks later, one brave or better informed or less sensitive soul laughed. After that, everyone laughed at each funny painful smack. I learned something that night – you are meant to laugh when it is funny even it is a serious dance performance.

I paid tributes to these two performers for the sacrifices they made for their art. For the blows were real, you can hear them and see their marks left on their pale bodies. It is a bit troubling that we enjoyed, found it funny when two bodies are whacking each other. How very Asian. How very human. When Joraku was asked, “What were the messages you were trying to convey?” He answered, “There was no message. It was enough that the audience enjoyed the act. That was the reason for the performance.” I loved that. When the lights came up for the intermissions and people were standing up and moving, I remained seated as I was still absorbing the performances. Then I remembered I got to out for a release. To be continued…..

Ghost Walk: An Uninitiated’s Take On “We’re Gonna Go Dancing!!” (Japanese Contemporary Dancing).

“Remember… what you have done in 24 hours?” is a contemporary dance project initiated from the will and desire of a group of Thai artists with international experiences, among which include Sarawanee Taratanit, a young Thai professional dancer who works with the world-famous American Ballet Theater. They share the same vision of making use of their rich experiences to develop a master dance piece in their home country, to make a difference in the local contemporary dance scene. An exciting dance theatre… “Remember… What You Have Done in 24 Hours” is a dance theatre piece that goes beyond the usual distinction between theatre and dance – with its inspiration drew from our daily acts which are, at the same time, banal and interesting, familiar and intriguing. Movements, sounds, words and music are choreographed into scenes after scenes of rhythmic actions on stage. An international, cross-discipline collaboration… Renowned artists from film, fashion and music and first-class dancers from overseas and Thailand are rallied to join the show. Participating artists include award-winning film director Tanon Sattarujawong (as visual director), Swiss young prize-winning fashion designer Marco Steiner (costume and graphic designer), professional glass harpist Weeraphong Thaweesak (musician who made magical sounds with glasses). Dancers of international experience, including Sarawanee Tanatanit (from American Ballet Theater) will team up to deliver an impeccable performance.

PATRAVADI THEATRE BANGKOK

The ESU (English Speaking Union) Thailand collaborates with Ministry of Education, British Council and Patravadi Theatre to provide the opportunities for young Thai students through “The ESU Drama Competition 2007”, the best way to learn to communicate and express themselves in English. Now the rehearsal is taking place at Patravadi Theatre and the competition will be on August 30th. Let’s support the young generation!!!