Created and performed by Kerensa Dewantoro, Yayan Kath and Sugiyanti Ariani, she offers up a pastiche of theatrical styles in a postmodern performances about making theater and making revolution – both the personal and the social.
“The struggle in her story and the struggle as performer in telling it, combine the best elements of Grotowski and Artaud. The actor sacrifices herself for a total theater.” Catherine Hassall, Centre for Australasian Theater Studies.
Dewantoro has performed her work at and held workshops at the Esplanade in Singapore, Hong Kong, Australia and Japan. She is a founding member of DarahRouge, an arts collective committed to developing relevant new trans-cultural theater to the Indonesian stage.
” Delivered according to high expect ions with more fabulous chair business than one could poke the proverbial stick at . Loved the words which seemed to echoed the moment every time I flicked my eyes to a strut of chair or back at the wall.”
” Engaging from the very start, an explosive ride that doesn’t let up until the last moments, Staging, lights. audio fabulous. Audience participation was entertaining. Impossible to pick the best moments.”
“Loved it. Was a great show, great concept, a wonderful show for
theatre makers! It really spoke to me, many moments of revelation ( an inner revolution??) and epiphany, was a show that got me thinking on many levels, answered some questions I’ve been asking of myself, very liberating, great
Proposal: Sewing Marat Sade
“The choreography especially the use of the chair, WONDERFUL SET! loved the marriage of ” old school and new”, bahasa and English, of intellectual philosophical rumination and personal reflection! Thank you Strong moment was ” see how day it is to utilise masses in a vicious cycle//”
“Such a great inner journey.. Where worlds meet in a humble ( but not so humble).. philosophy, history, culture. Wonderful” Peter Cleary.
“The struggle in her story and the struggle as performer in telling it, combine the best elements of Grotowski and Artaud. The actor sacrifices herself for a total theater.” Catherine Hassall, Centre for Australasian Theater.