‘Small, but Big’

Last year, four theater groups got together to plan how to make an impact on the Thai contemporary theatre scene. Now, the plan is in operation, and a number of small theatre spaces have emerged around Bangkok. The question is: How big will this impact be? Paul Chen finds out.

BANGKOK, Jul 11 - It looks like something out of a cabaret show: A lady in a dress sings a jazzy rendition of a Thai folk song as three other garishly costumed characters prance about the stage, spinning with tango flourishes. Coloured lights flash and music plays. As one watches this scene from the comedy play ‘Saphan Kwai… My Love’, it does not feel like the theater only holds an audience of 50.

The play was performed in the heart of Saphan Kwai, at Makhampom Studio’s opening on June 14, 2007, the second theatre space opening in Bangkok this year. Crescent Moon Space, the home of Crescent Moon Theatre at the Pridi Banomyong Institute, opened at the end of April.

It would seem like a coincidence that two relatively small theatre spaces materialised only two months apart from each other, but this was a movement planned by four theatre groups in Bangkok.

“It didn’t happen suddenly. Now, there is Crescent Moon, 8X8, Chang Theatre and Makhampom. Four of us planned this together last year. We set up a meeting, and we planned that this year we would open four spaces together to make an impact in society,” says Pradit “Tua” Prasartthong, secretary general of Makhampom Theatre Group.

Makhampom Studio was created because of three reasons. “The first reason is to link with friends and public and to present our work to the public. The second is to create a community arts space for the locals in the area; we have community theatre workshops and also some others like painting, dancing, music and poetry. The third reason is to support the Thai contemporary theatre movement, because we believe that small spaces are good for the beginners since they don’t have big budgets,” says Tua.

Crescent Moon Space also has a multi-role function. “We use it to create our work, to have rehearsals, to have discussions and also for workshops, some for our group and some open workshops for the members of the public. We even have a ‘Yoga For Health’ workshop,” says Sineenadh “Nad” Keitprapai, director of Crescent Moon Theater.

The third theatre space, 8X8 Corner, opened two years ago. It spans three stories, the first being a café and chillout area that also has a Thai massage service, the second which serves as home to 8X8’s director Nikorn Saetang, and the third floor is the theatre space itself.

Chang Theatre, by Pichet Klunchun’s LifeWork Company, is relocating to another location in Thon Buri.

Following this trend, Monthathip “Tip” Suksopha, artistic director of The Wandering Moon Performing Group and Endless Journey in Chiang Mai, sought a grant from the Asian Cultural Council (ACC) to conduct a research and networking trip in New York this October. She plans to find out the advantages and challenges of small theater spaces as well as create channels for possible cross-cultural programmes regarding theatre in small spaces. Also, the research will aid her in starting up The Wandering Moon’s own theatre space.

“It's not only about administration but also marketing which is related to the area; and creativity. I already have some connections there and I’m looking forward to something more in the puppetry field. I want to bring more puppeteers to Thailand since the Thai Theatre circle has less focus on puppet theatre,” Tip says. Wandering Moon is a troupe that performs contemporary shadow theatre, which is related to puppetry, hence the focus on puppet theatre.

Comparing one of these spaces to a traditional theatre would be like comparing an iPod video to a widescreen television. In both instances, the former will have a smaller audience, a smaller stage (or screen) and a lower price. The quality of the performance stays the same, even though it has been scaled down. The distance between audience and performer also decreases immensely.

“It is more intimate. It gives me a sense of warmth, and when I write something I think of how to play with the space, and how to use a wider imagination, “ says Nikorn of 8X8 Theatre. “Another good thing is that when not many people come, it feels like you have hit your target. In a big theatre that holds six hundred, if twenty people come, you will feel like there is no audience.”

Nad prefers the homely feel of having her own space. “I like the atmosphere before and after the show, because we don’t want to create the space just for the performance but it is also a space where people who love theater can come to see each other, to share their feelings.” With regards to producing work, she says that since the space is limited, she has to use just a few characters in a simple setting.

Nikorn sees it differently. “I don’t count the space as a factor to limit myself, because each of my productions tend to vary with the space.”

It is a similar situation for Tua. “It limits, and it is also not a limit. It is a limit because of the space, but it challenges me. At the same time, if I want to do a bigger production, I can use another place.” He also says that a small theatre will be good for a new director with a small budget.

With regards to audience, a small space does indeed have its shortcomings.
“Nad says that since they can only accommodate about thirty, covering their cost becomes an issue. “Our ticket price is 250 baht, and some people compare it with the movie ticket price, which is about 100,120 baht. That is why we have to make sure we give a good performance.”

For Tua, aside from the size constraints, it is a matter of getting people to come. “Basically, the local people who have no experience in theatre before, they don’t come. This space looks like a pub where people drink and dance. We have to invite them to come.”

Like portable video devices gaining popularity, one might expect the small spaces trend to grow.

“That is our plan, and our dream. We don’t want bigger spaces, but we want more small ones,” says Tua. Two groups from Chiang Mai have already contacted him with regards to starting their own theatre spaces.

Nad thinks that it would be difficult, since running a space would require some money which is what many theater groups do not have. “Some have to rehearse at some friend’s house or get a permit to rehearse at another place. It is difficult, but I think that everybody wants a space.”

“That is the second step,” says Nikorn, “the first step is to make sure that they will make theatre their art. If they have not decided if they want to do that seriously, then they don’t need a space. For me, space is not as important as their feeling.”

With this in mind, Tip feels the need to make a calculated choice. “I want to see how to make it a sustainable investment, so it would be better to study it first. I believe that every theatre has its own nature and character. If we just build it up because it's a trend, I don't think it will be a good idea to launch it.”

Being in the alternative theatre scene, the importance of having a space stems from the same motive: “So that people know we exist.” They hope that Thai alternative theatre will grow.

“We need to expand our space, and expand our audience. Maybe, in the beginning, we have a little spot in Bangkok. But in the future, maybe we can expand,” says Nad.

Still, the road is long, and there are many challenges along the way. Tip sums it all up thus: “This is the world of theatre people in Thailand where government is not concerned. This is a good strategy, even though we don't know how far we can go like in Europe, but we can learn and apply in our own way. In this alternative generation, we need more choice, more variety otherwise we can't fight with the mainstream. I believe that a small doesn't mean not good. Small things have always inspired us and touched our hearts. Have you ever heard, "small but big?" I wish to have this.”