MARKINGS OF THE CARTWHEEL
In Myanmar Community, people believe that the idea of reap what you sow. There are two individual corpses in wrap with mat. When the bronze barrel rings, the corpses try to escape from their position. They meet and greet each other and find out their current position. They ask each other and response the questions. Their answer consists things they did in their past life. But they don’t exactly know which kind of status they will get in current life. At the same time, the audience will guess which kind of life they will deserve. Who knows the right answer. Everyone cannot erase their footsteps in the cycle of life.
Performance
MARKINGS OF THE CARTWHEEL
Producer : Zun Ei Phyu
Director : Thila Min
Actors : Soe Moe Thu, Rifka
Language : Myanmar and Indonesia
[Overview]
Date / Time :17 and 18 January 2025 / 19.30-20.30
Venue : Cianjur Creative Center (2F)
Artists
Zun Ei Phyu
Zun Ei is a medical doctor and multidisciplinary artist. Zun Ei’s primary interest concerns public participatory art works and community art projects. Main themes of her works are social and ecological issues related to children and elderly people. During the different crises in her country and around the world, her works become involved in peace, justice and psychosocial rebuilding toward resiliency. Her artworks are collected not only locally but also internationally.
She has been involved in many international art projects and worked with different communities across South East Asia and some European countries. She is currently a fellow of Mekong Cultural Hub.
She has been involved in many international art projects and worked with different communities across South East Asia and some European countries. She is currently a fellow of Mekong Cultural Hub.
Thila Min
Thila Min, co-founder and artistic director of Thukhuma Khayeethee Theatre (TKT) created a theatre group composed of young people interested in theatre and working in collaboration with local and international artists. He has participated in many international festivals as Director and Performer, such as Theatre and Performance Art Meeting (Japan, 2017), Asian Performance Art Forum (Japan, 2016), Bangkok Theater Festival (2011) and the Stockholm Arts Festival (2010). He also participated in the Cultural Visitor Program organized by the US Department of State in 2009. He received an Asian Cultural Council (New York) Fellowship award in 2012. He writes, directs and performs participatory plays with his theatre company, and tours throughout Myanmar questioning the current condition of community.
Soe Moe Thu
Performer and Theater Trainer of Thukhuma Khayeethe Theater (TKT). He has participated in many international festivals as Performer and Trainer, such as the Stockholm Arts Festival (2011) and Bangkok Theater Festival (2011). He also participated in the Under, After and In Between Program (Indonesia) organized by Empty Space Theater (Thailand). He worked on the Theatre for Civic Engagement project at the Bond Street Theater of New York and took part in the Theatre and Performing Arts Meeting (TPAM) in Yokohama, Japan. He has much experience creating community theater in Myanmar. He writes and performs original plays with his theater company.
Rifka Audria
Rifka Audria is an accomplished actor, realism director, and theater researcher with over a decade of experience in the performing arts. She is actively involved in various aspects of theater, including translating classic scripts and participating in festivals such as the Djakarta International Theater Platform, Festival Komunitas Seni Media's performance Indonesian Dreams, and Performing Arts Incubation Trajectory.
In 2016, Rifka began to focus on theater research on history and historiography, with an interest in exploring new possibilities of knowledge in the world of theater. In both theory and practice, Rifka seeks to make new contributions through studies that enrich the understanding of performing arts, and bridge old theories with contemporary theater practice.
Rifka has a vision to develop theater not only as an entertainment art, but also as a means for intellectual, social, and cultural exploration. Her dedication to theater research is also evident in her commitment to fostering a deeper understanding of the dynamics of performing arts in modern society.
In 2016, Rifka began to focus on theater research on history and historiography, with an interest in exploring new possibilities of knowledge in the world of theater. In both theory and practice, Rifka seeks to make new contributions through studies that enrich the understanding of performing arts, and bridge old theories with contemporary theater practice.
Rifka has a vision to develop theater not only as an entertainment art, but also as a means for intellectual, social, and cultural exploration. Her dedication to theater research is also evident in her commitment to fostering a deeper understanding of the dynamics of performing arts in modern society.