Tuesday, September 21, 2010

SINOGRAFER "BANDUAN AKHIR DI SEL AKHIR": Yusman Mokhtar


Yusman Mokhtar is a graduate from the Akademi Seni Budaya dan Warisan Kebangsaan (ASWARA) in theatre majoring in scenography. Started doing theatre in 2001 and has done work both on stage and off stage. Among his designing credit includes Butterflies Are Free (TAS), Coffee & Toast (Aroma), Tat Nenas (Aroma), Teater Kanak-Kanak Debunga Setia, Teater Kanak-kanak Wa, Wa… Tu Bulan, Opera Cina Si Yatim Chao, Jalan Mati, Short Eyes, Muzikal Tun Razak (ASWARA), Kisah Gadis (TAS), What Does It Mean To Be Malaysian, Bottom Top, Belacan Geragok And Other Prawns, Oh My God!, Kaki Blue The Musical, Rosencrantz and Guildenstern Are Dead, Hamlet (KLPAC), DanSing Thru Broadway (Farah Sulaiman) and Projek KoKen’s Teater Kompilasi Vol. 1 and Teater Kompilasi Vol . 2. He was also part of the original directing team from the first staging of Tanda.

Keterangan lanjut mengenai pementasan ini, sila layari di sini.

Monday, September 20, 2010

PEMBANTU SINOGRAFER "BANDUAN AKHIR DI SEL AKHIR": Amar Asyrat



Sungguhpun masih berusia 23 tahun, Amar sudah pun diberi kepercayaan untuk melibatkan diri dalam Projek KoKEN dalam menyumbang skrip dan arahannya.

Anak kelahiran Melaka ini mula melibatkan diri dalam kerja-kerja pementasan sejak 2007 bilamana beliau mengambil keputusan untuk melanjutkan pelajarannya di ASWARA. Dengan bertindak sebagai juru tatacahaya semasa Projek KoKEN vol 1 (2008), Rumah Anak Teater sudah menganggap beliau melepasi tahap minima dan berupaya menyumbang di dalam Projek KoKEN vol 3 ini.

Selain daripada bergerak aktif dalam pementasan ASWARA, Asyraf juga pernah berlakon watak utama di dalam Telemovie “Rampas” (2009) terbitan Green Light Production.

Beliau berharap karyanya ini dapat diterima masyarakat dan mesej keamanan yang dibawanya dapat memberi sumbangan kepada pembangunan negara.

Keterangan lanjut mengenai pementasan, sila layari di sini.

Sunday, September 19, 2010

PENGARAH ARTISTIK "BANDUAN AKHIR DI SEL AKHIR": NAM RON


NAM RON atau nama sebenarnya Shahili Abdan (40 tahun) merupakan seorang pengarah, penulis, pelakon teater, tv dan filem. Di arena teater beliau mula terlibat dengan aktiviti ini bermula dari tahun 1989. Pada tahun 2000, selepas tamat pengajian di Akademi Seni Kebangsaan beliau menubuhkan Alternative Stage dan menjadi pengarah artistik hingga kini. Selain dari penggiat seni beliau juga turut menyumbang tenaga sebagai pensyarah sambilan. Beberapa karyanya telah tercalon ke peringkat akhir di Anugerah Seni Cameronian sebagai pengarah, pelakon dan penulis antaranya adalah Lembu, Matderihkolaperlih, Laut lebih Indah dari Bulan dan VV(WIP). Pada tahun 2003 Matderihkolaperlih memenangi ketegori skrip bahasa melayu terbaik pada anugerah tersebut. Pencapaian beliau yang lain adalah apabila menerima anugerah graduan cermerlang bagi ketegori teater oleh ASWARA pada tahun 2007. Nam Ron juga adalah salah seorang ahli dalam pertubuhan Lohan Journey, sebuah pertubuhan teater antarabangsa yang bertapak di Tokyo.

Nam Ron or his real name is Shahili Abdan (40) is a director, theatre players, film and tv actors by profession. He started his theatre activities from 1989. In 2000, he finished his studies in Akademi Seni Kebangsaan and later on formed Alternative Stage and became artistic director since then. Besides art, he also lectures. Some of his works have nominated to the Cameronian Awards as director, cast and actors like in Lembu, Matderihkolaperlih, Laut lebih Indah dari Bulan dan VV(WIP). In 2003, Matderihkolaperlih won the best malay script. He also the received the best students awards in theatre (ASWARA, 2007).Nam Ron is also a member to Lohan Journey, an international body in theatre base in Tokyo.

Keterangan lanjut mengenai pementasan, sila layari di sini.


Saturday, September 18, 2010

PELAKON "BANDUAN AKHIR DI SEL AKHIR": Saiful Razman


Since graduating with BA in Fine Art from UiTM in 2003, participate in various exhibitions in Malaysia, Indonesia and Australia. Featured in Valentine Willie Fine Art's Three Young Contemporaries in 2004 and was selected for the artist-in-residence program at Rimbun Dahan in 2004/2005. Had a first solo show at The Annexe Gallery Kuala Lumpur entitled Pelan-Pelan & Bilik Gerakan in June 2008. Aside from arts, was involved as a committee member of Notthatbalai, the annual fringe arts festival held at Lost Generation Space.

Sejak tamat pengajiannya dalam Seni dari UiTM pada tahun 2003, beliau sudah mengambil bahagian dalam pelbagai pameran lukisan di Malaysia, Indonesia dan Australia. Beliau pernah dijemput untuk mempamerkan karya lukisan di Valentine Willie Fine Art's Three Young Contemporaries pada tahun 2004 dan dipilih sebagai artis residen di Rimbun Dahan pada tahun 2004/2005. Pameran solo pertamanya di Galeri Annexe Kuaa Lumpur bertajuk Pelan-Pelan & Bilik Gerakan pada Jun 2008. Selain aktiviti seni, beliau juga ahli jawatankuasa untuk Notthatbalai, sebuah festival seni tahunan yang diadakan di Lost Generation Space.

Saiful Razman
memain watak warden.

http://saifulrazman-artworks.blogspot.com

Keterangan lanjut mengenai pementasan, sila layari di sini.

Thursday, September 16, 2010

PEMENTASAN BANDUAN AKHIR oleh RUMAH ANAK TEATER

'One death can save the lives of many'

What worries me most now is the seemingly pervasive opinion among Malaysians that only tough measures can deter drug offences, and that the Singapore president must not show compassion on Yong and risk... opening the floodgates. These death penalty advocates are convinced one death can save the lives of many.

Can it?

It has been nearly three decades since Malaysia first launched its anti-dadah campaign, but the country is confronted with more drug-related social ills today. Dozens, if not hundreds, have been hanged, including foreigners, over the years, and the effectiveness of these deaths is negligible.

Corruption, a cracking education system, uneven economic development, lack of social welfare support, and the appalling and dehumanising institutions such as prisons and rehabilitation centres are the core factors why the anti-dadah campaign has become a futile exercise.

Even in Singapore, drugs continue to flood in. While better managed and under control, the numbers of drug users rose by 600% between 2006 and 2007 according to a Straits Times report in January 2008.

All this brings me to ponder on the question of restorative justice, and I am indebted to a death penalty abolitionist from Taiwan who enlightened me to the practice at a recent forum.

While retributive justice focuses on the offender, with laws and punishment being the core values, restorative justice emphasises on the offender, the victim and the wider community.

In countries like Germany, Australia and New Zealand, mechanisms are already in place to apply restorative justice, encouraging the offender to repent and to seek forgiveness from the victim. In return, the victim and the general public are counselled to forgive and to assist the offender in rehabilitation and reintegration so that he or she may become whole again psychologically.

Not based on vengeance and punishment

This is a justice that reconciles and heals, and is based on the principles of forgiveness, atonement and restitution, rather than vengeance and punishment.

Hannah Arendt, a German political theorist of Jewish origin, said in the aftermath of the Second World War that “the problem of evil will be the fundamental question of postwar intellectual life in Europe. She was right.

Fully aware of their own inertia and failure to prevent the massive killings exacted by the Nazi regime, many European countries went on to introduce laws that would protect future refugees. The death penalty was also abolished in the latter years to minimise miscarriage of justice.

Most importantly, the darkest chapter in the modern European history prompted many to confront self-righteousness, and started to look into ways to ensure the state would safeguard and enhance the interests of even the most insignificant weak minorities in society. Are we surprised that in cities like Munich and Vienna, cases of murders and rapes are rare despite the lack of the death penalty?

One may condemn Yong to one heart's content, but we must be careful not to become so self-righteous, legalistic and overwhelmed by our moral certitudes, and think that the underlying factors that contributed to the misdeeds of people like Thiru Selvam, Rozman and Yong did not matter. Without a holistic approach, both Singapore and Malaysia will only continue to hang the “mules” and let go of the real kingpins.

When meting out punishment, we must bear in mind justice is supposed to be a power that heals, restores and reconciles, rather than just hurts, punishes and kills.

Yong has clearly expressed his remorse, and all that I humbly ask is a chance for him to be spared the ultimate punishment. The Singapore authorities can still keep him in jail and monitor his behaviour for the longest period possible, but I am certain a life-changing process on the part of Yong will touch many more lives, the draconian, degrading and spiritually dark conditions of the prison notwithstanding.

Yong is ready to reconcile with the people of Singapore and his fellow Malaysians, are we willing to show him compassion and restore the broken relationship?

The prison authority in Singapore also says it will not allow the heart sutra written by Yong to see the light of the day even after execution. Why? Is it afraid that these religious writings may awaken more people that an alternative measure to death penalty is possible, as some Singaporeans have been bravely campaigning for?


Unuk keterangan lanjut tentang pementasan dan RSVP sila ke laman facebook ini.

Berikut ialah maklumat lain tentang kempen ke atas Vui Kong:

http://savevuikong. blogspot. com/

http://2ndchance4yo ng.wordpress. com/

http://www.facebook.com/SaveVuiKong



Wednesday, September 15, 2010

Amnesty International Malaysia dengan kerjasama Rumah Anak Teater mempertunjukkan:

“Banduan Akhir” ( synopsis )


...“Banduan Akhir” is a story inspired by the real story of Yong Vui Kong, a Malaysian boy who is facing the Death Penalty in Singapore. In 2007, the 18 years old boy from a broken family in Sabah was arrested with 47 grams of heroin and sentenced to Mandatory Death Penalty. Since then, Vui Fung, a Malaysian girl is struggling for her brother, Yong Vui Kong from the Death Penalty. For more than 3 years, she's facing with a lot of difficulties from the authorities to save her brother. Nevertheless, with Ravi, the prolific Human Rights lawyer in Singapore, both of them 'believe' that something can be done to save Yong Vui Kong's life. This 50 minutes drama will potray the dark hours of Yong Vui Kong facing the cruel Death Penalty.


Banduan Akhir ialah sebuah penceritaan yang diinspirasikan daripada kisah sebenar yang dilalui oleh Yong Vui Kong, seorang remaja Malaysia yang berhadapan dengan Hukuman Gantung di Singapura. Pada tahun 2007, remaja lelaki Sabah berusia 18 tahun yang datang dari keluarga yang berpecah ini ditahan kerana memiliki 47 gram heroin dan dijatuhkan Hukuman Mati Mandatori. Sejak itu, Vui Fung, gadis Malaysia mulakan perjuangannya bagi membebaskan abangnya, Yong Vui Kong daripada tali gantung. Dalam jangka masa tiga tahun, gadis tersebut melalui banyak dugaan – berhadapan dengan pihak berkuasa bagi membebaskan abangnya. Sungguhpun demikian, bersama Ravi, seorang peguam hak asasi manusia di Singapura, kedua-dua mereka ‘percaya’ bahawa sesuatu boleh dilakukan bagi menyelamatkan nyawa Yong Vui Kong. Drama 50 minit ini waktu-waktu gelita Yong Vui Kong berhadapan dengan Hukuman Gantungnya.

Penerbit: Nora Murat

Penerbit Eksekutif: Faisal Mustaffa

Pengarah Artistik: Nam Ron

Pengarah / Penulis Skrip: Moizzis RCong

Pelakon: Xavier Fong, Dira Abu Zahar, Mardiana Ismail, Tuan 'Tapai' Faisal, Saiful Razman.

Sinografer: Yusman Mokhtar / Amar Asyraf

Multimedia: Fairuz Sulaiman

Sumbangan minima: RM10

Tempahan / Keterangan lanjut: 03-79552680 / amnestydptheatre@gmail.com

Peta lokasi pementasan http://bit.ly/aiMkIS

Keterangan lanjut / RSVP, sila layari di sini.

Monday, August 9, 2010

Understanding the craft

Live The Moment by DAWN JEREMIAH (The Star)

Eye-opening experience in acting class by popular actor Nam Ron

IF someone had told me that I was going to be acting on television and film five years ago, I would have laughed.

Of course, we all dreamt of gracing the silver screen, winning an Oscar and strutting down the red carpet at one point of our lives.

I wanted to become an actress when I was six years old and was excited when I got called to be in my first television commercial.

I thought it was going to be all fun and games, but once I got on set, it was all about heavy makeup, intoxicating hairspray, super hot lights, adults fussing over everything you did, ate and wore, wires that made me trip, production crew barking instructions all over the place, everyone wanting you to act cute 24/7 (if only I had learnt to roll my eyes then) and long hours that went past midnight (which was unheard of when you’re in kindergarten). I felt miserable and begged to go home.

My so-called dream ended right there, lasting a whole two weeks.

So I went on with life and pursued what I had set out for — a “real” career in the broadcast media.

I still did TV commercials, because they proved to be much easier to handle once you’re no longer a kid.

Plus, most of the commercials I did, did not require much skill and they were more modelling than acting.

Yet there I was, in late 2007, on the set of Sadiq & Co., the first television series I appeared in.

I was excited, but I wasn’t ready – as I was the sort of person who needed to learn something thoroughly before taking a leap and if I were to be hired as an actor, I wanted to make sure I acquired the proper acting skills to do the job well.

However, every actor I spoke to said none of them were ever prepared anyway and our industry is such where most of the top actors here today never took a single acting class in their lives. They told me the best way was to learn through experience.

Then came the next series, and a film, and another series, and another movie, and another, and another.

As the months and years passed, I still felt as though something was missing, and I knew that deep down, not only do I need to improve my Bahasa Melayu, I still needed to understand the actor’s craft and the ability to create a character.

So when actor Riz Ainuddin (Arjuna, Putera Pura) told me about an acting class that Nam Ron (Shahili Abdan) was planning to have under RAT (Rumah Anak Teater), I jumped at the opportunity.

For the uninformed, Nam Ron happens to be one of the most accomplished theatre and film actors locally today, having acted in Gubra, Paloh and Histeria among many more. With a fondness for visual symbolism and interest in social politics, he also made several short films, tele-movies and one independently-funded movie, Gadoh. I first heard of him when I watched the theatre production Aircon and was wholly impressed.

Now back to my class. Not only was Nam Ron going to teach everyone himself, the workshop also had my co-stars from the film Hooperz, such as Riz and Fikhree Bakar (Puteri Gunung Malaya, Arjuna) and was held during weekends.

We learnt many basic things, such as breathing and limb exercises to loosen the body and relax our minds.

Those skills sound extremely simple and are normally taken for granted, but they are imperative as they allow our performances to remain fresh.

I found out that apparently, I wasn’t breathing right for acting and within two seconds, he could see that my mind was hardly relaxed.

Nam Ron taught us the art of eye contact, voice projection, posture, walking and the differences in using them for theatre and film. I also found out that my eyes tend to get shifty if I’m unsure about a certain situation. He also taught us how to act with props, to hold and visually display our relationship with that particular prop without having to say anything.

One of the most challenging lessons to-date was learning how to channel feelings from our hearts that could be reflected through our eyes. We were not allowed to move a single muscle on our faces (because if I smiled, then obviously I’m feeling happy, right?).

So yes, after having trained some of the biggest newcomers in local television, Nam Ron wasn’t letting us off the hook that easily.

We first had to guess what each other was feeling and then reply with eye contact in response to whatever our partner was feeling.

We’re only halfway through our class, but I must say, it has been an eye-opening experience for me. Now everything makes sense and I sure hope whatever we learnt will translate smoothly on camera.

Our future classes will have elements of the Stanislavski Method and the Meisner techniques, well-known methods practised by both film and theatre actors around the world. I can’t wait!

*Penangite Dawn Jeremiah has always been inquisitive about her surroundings. Armed with a passion for television and journalism, she is a senior marketing executive at a high definition lifestyle channel. An actress part-time, this 1st runner up in the Miss Malaysia World 2007 pageant can be seen in the coming-of-age television series K.I.T.A., every Monday at 8pm on Astro Ria.

Saturday, August 7, 2010

Rumah Anak Teater, Street Theater: RAGUT



Amnesty International Malaysia's "Women Reclaim the Night" on 9 March 2010 to celebrate International Women's Day 100th anniversary.

RAGUT, a street theater by Rumah Anak Teater held true to the intention of the event:

Women on a daily basis were forced to negotiate their fundamental rights to movement and personal security due to the climate of impunity, discrimination and lack of gender consideration in development issues.

Women continue to find themselves left out and be reminded that the Night is not a time for Women to be on the Street due to the risk of personal safety and violence. We choose to end this circle of Discrimination and the Culture of Fear that women are raised into and threatened by the possibility of violence to walk the streets at Night.

http://aimalaysia.wordpress.com/2010/...
http://hicsuntdracones.wordpress.com/...

Friday, August 6, 2010

ZAHIRIL ADZIM DALAM "SHORT EYES" Sabtu dan Ahad ini



Keterangan lanjut sila layari di sini.

Thursday, August 5, 2010

Rumah Anak Teater Stages 'Short Eyes' at PJ Live Arts



by Kusha Basir (
Malaysian Digest)

KUALA LUMPUR, 5 AUG, 2010: Rumah Anak Teater (RAT) in collaboration with Selangor Tourism will be staging a drama depicting the life of the minority community set in a prison entitled Short Eyes.

According to its director, Fared Ayam the play has its own uniqueness that would appeal to the interests of a wide range of audiences.

“I believed that each theater is unique, however, there are some differences in this show. The storyline is rough, realistic and close to the community. Apart from that, a strong script also makes a huge difference in this theater, “said Fared.

Other members of the production team for Short Eyes also include Nam Ron, who is artistic director and actor for the show, as well as Zahiril Adzim who’s been casted as its main actor.

“Short Eyes is not just a theatre about life in prison. It is an actual reality of based on real-life about the world unknown to many,” said Nam Ron.



..The characters for the show are made up of African-American, Puerto Rican and Caucasian prison detainees who attempts to find a way to escape from the madness of prison life through love, religion, terrorism, faith and drugs.

“This theater shows the dark reality rarely seen in any theatre. In addition, there’s honesty of the actors portraying their characters,” said Zahiril.

Short Eyes, which will be performed in Malay, will be staged from today until August 8 at PJ Live Arts in Petaling Jaya.

Monday, July 26, 2010

SHORT EYES TRAILER (urban theatre)

shorteyes trailer.av.mp4

Short Eyes part 2



Film & Play by Miguel Pinero called Short Eyes,in this segment El Raheim and Murphy get into a conflict,when Raheim tells him(Murphy) about his history and Yacub.

SHORT EYES VIDEO CLIP

A CLIP FROM THE RARE MOVIE/PLAY BY "MIGUEL PINERO". ONE OF THE GREAT LATIN(Nuyorican Poets)OF THE 1970'S. IT WAS A DOUBLE FEATURE WITH "SATURDAY NIGHT FEVER".


Friday, July 23, 2010

SIDANG MEDIA "SHORT EYES"


Rumah Anak Teater (RAT) akan mengumumkan projek terbaru mereka melalui pementasan teater SHORT EYES karya Miguel Pinero.

Pementasan yang berbahasa Melayu ini arahan Fared Ayam dan Pengarah Artistiknya ialah Nam Ron.

Antara pelakon-pelakon yang akan menjayakan teater ini ialah Zahiril Adzim, Beto Kusyairy, Taiyuddin Bakar, Nam Ron, Amirul Affendi, Tayanithi, Khairunadzwan Rodzy, Khairil Ridzuan K'N, Kirin Muhamad, Hafizee Hatta dan Xavier Fong.

Maklumat lanjut mengenai pementasan ini boleh diperolehi di http://www.facebook.com/home.php?#!/event.php?eid=126792327352590

Sebelum sidang media, RAT melalui Projek Komuniti Kental (KoKen) akan menayangkan sebuah tayangan pementasan TANDA yang pernah diadakan di Kuala Lumpur Februari lalu.



Justeru itu, kami ingin menjemput pihak media untuk datang membuat liputan mengenai tayangan pementasan itu yang pernah menimbulkan kontroversi buat seketika waktu.

Butir-butir pementasan:

Tarikh : 24 Julai 2010

Tempat : Galeri Annexe, Pasar Seni, Jalan Hang Kasturi, KUALA LUMPUR

Masa : 4.00 petang - 6.00 malam



Persembahan teater ini berkonsepkan kolaborasi yang mengabungkan enam orang pengarah untuk mementaskan sebuah persembahan. Setiap pengarah akan mengarahkan sebuah cerita yang berkaitan dengan tema; iaitu alam sekitar dan kemusnahan alam yang berdurasi 15 minit setiap satu.

Setiap cerita pendek ini akan bercantum dengan teras utama cerita yang disampaikan dalam bentuk persembahan ensamble secara fizikal.

Pengarah Artistik bagi pementasan ini ialah Nam Ron.

Teater ini akan diarahkan oleh lima pengarah. Pengarah artistik bagi pementasan ini ialah Nam Ron.

Lebih daripada 20 pelakon akan menjayakan pementasan ini. Antaranya ialah Zahiril Adzim, Beto Kusyairy, Noris Ali, Dira Abu Zahar, Ameerul Affendi dan ramai lagi.

Maklumat lanjut berkaitan dengan pementasan ini boleh diperolehi daripad pautan http://www.facebook.com/home.php?#!/event.php?eid=110929445620031

Sebelum tayangan pementasan ini juga akan diadakan persembahan dari kumpulan Noris & The Bliss.


Sebarang pertanyaan boleh menghubungi Faisal 019-2232002.