If you ask me about my residency in ComPeung, it’s really wonderful. Although I didn’t create a specific work, I did develop ideas for two projects and kept working on FaceTime with my colleagues. The environment, including the cool pets, was perfect working and living environment. We all learned a lot from each other. In other words, the tiny community of international artists was highly inspiring, friendly, and helpful. Everything is memorable.Portrait of Chong Wang by P.Siraphisut 2016
In Chiang Mai, I will write the script for this project.
Movie 2.0 investigates the act of watching movie.
A guy watches a movie on the TV, with its back to the audience. The audience can see he is watching, but they are not able to see the front of the TV. The guy’s facial expression is shot by several video-cameras and projected on a silver screen above the stage. We can see in the darkness, his face is lighted by the light from the movie. He laughes; he cries.
We are watching how he watches the movie.
Since he wears earphones, we are not able to hear any sound from the movie either. However, he constantly describes to his wife what the movie looks like, how it sounds like, and how it develops.
We are hearing how he describes the movie to his blind wife. This is a family routine. Gradually, we know they lost their daughter in a recent car accident and she lost her sight. Their son sleeps upstairs.
And the movie seems to be the most impossible extravaganza in the film history, not only because tons of stars from all over the world star in it, but also because it is a combination of many genres: romance, history, war, sci-fi, sports, erotica, film noir, samurai, kung-fu, Bollywood, animation, you name it. We are going to experience in theater how they experience a movie that is not existent in the real world. This movie is a journey of a father searching his missing daughter.
It is a video-theater work that is about movie and movie-watching.
Wang Chong, founder and artistic director of Beijing-based performance group Théâtre du Rêve Expérimental, is the leading force of Chinese experimental theatre. Wang was born in Beijing in 1982. He received his bachelor degree in Law and Economics from Peking University, M.A in Theatre from University of Hawaii, and Doctoral study from University of California, Irvine.
In 2008 Wang founded Théâtre du Rêve Expérimental. In 2012 he started the Chinese New Wave Theater Movement by presenting a series of new performances with innovative use of live video and sound. This ongoing movement gained critical and popular acclaims. UK-based magazine International Arts Management notes “Taking a radical approach to both form and text, Théâtre du Rêve Expérimental has been changing the face of China’s theatrical landscape.”
Wang’s works have been invited to festivals in 12 countries, including: Taipei Arts Festival, Festival/Tokyo, Toga Asian Theater Directors Festival, Seoul Asian Theater Directors Festival, Singapore International Festival of Arts, Adelaide OzAsia Festival, Rotterdam Festival de Keuze, and Oslo International Ibsen Festival. His productions include: The Warfare of Landmine 2.0, winning 2013 Festival/Tokyo Award; Thunderstorm 2.0, noted by The Beijing News as one of the best 10 little theater works in China from 1982 to 2012; Ibsen in One Take, noted by Literary Life Weekly as one of the top 10 performances in China in 2012.
Wang is noted by The Beijing News as Experimental Artist of Year 2012. He received Saison Foundation Fellowship in 2015, Asian Cultural Council Fellowship in 2013, and Han Suyin Award for Young Translators in 2007.