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Where are the Thai Producers in Performing Arts? [Presentation/JTD]


18 November, 2018 15:00 - 17:00 hrs. 18 āļžāļĪāļĻāļˆāļīāļāļēāļĒāļ™ 2561 āđ€āļ§āļĨāļē 15:00 - 17:00 āļ™.

Venue: Room 301, Chamchuri 10 Bldg., Chulalongkorn University [click for map]

āļŠāļ–āļēāļ™āļ—āļĩāđˆ: āļŦāđ‰āļ­āļ‡ 301 āļ­āļēāļ„āļēāļĢāļˆāļēāļĄāļˆāļļāļĢāļĩ 10 āļˆāļļāļŽāļēāļĨāļ‡āļāļĢāļ“āđŒāļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒ [āļ„āļĨāļīāļāđ€āļžāļ·āđˆāļ­āļ”āļđāđāļœāļ™āļ—āļĩāđˆ]


JUNE TAN DIRECTION

Featured Presentation 3. Where are the Thai producers in performing arts? āļžāļĢāļĩāđ€āļ‹āļ™āđ€āļ—āļŠāļąāđˆāļ™ : āđ‚āļ›āļĢāļ”āļīāļ§āđ€āļ‹āļ­āļĢāđŒāđ„āļ—āļĒāļŠāļēāļĒāļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āļĨāđˆāļ°āļ­āļĒāļđāđˆāļ—āļĩāđˆāđ„āļŦāļ™?


This session examines the role of a producer in a Thai context. What are the existing ideas of the role of the producer? Should these roles be expanded? What are the possible models and support required for independent Thai producers, enabling both the pressures of production and creativity be managed effectively at the same time?

āļāļēāļĢāļ™āļģāđ€āļŠāļ™āļ­āļĄāļļāđˆāļ‡āļŠāļģāļĢāļ§āļˆāļ•āļĢāļ§āļˆāļŠāļ­āļšāļšāļ—āļšāļēāļ—āļ‚āļ­āļ‡āđ‚āļ›āļĢāļ”āļīāļ§āđ€āļ‹āļ­āļĢāđŒāđƒāļ™āļšāļĢāļīāļšāļ—āļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āļ‚āļ­āļ‡āđ„āļ—āļĒ āļ­āļ°āđ„āļĢāļ„āļ·āļ­āđāļ™āļ§āļ„āļīāļ”āđ€āļāļĩāđˆāļĒāļ§āļāļąāļšāļšāļ—āļšāļēāļ—āļ‚āļ­āļ‡āđ‚āļ›āļĢāļ”āļīāļ§āđ€āļ‹āļ­āļĢāđŒāļ—āļĩāđˆāļ”āļģāļĢāļ‡āļ­āļĒāļđāđˆ āļšāļ—āļšāļēāļ—āļ‚āļ­āļ‡āđ‚āļ›āļĢāļ”āļīāļ§āđ€āļ‹āļ­āļĢāđŒāļŠāļēāļĄāļēāļĢāļ–āļ‚āļĒāļēāļĒāđ„āļ›āđƒāļ™āļ—āļīāļĻāļ—āļēāļ‡āđƒāļ”āđ„āļ”āđ‰āļšāđ‰āļēāļ‡ āļ­āļ°āđ„āļĢāļ„āļ·āļ­āļĢāļđāļ›āđāļšāļšāđāļĨāļ°āļāļēāļĢāļŠāļ™āļąāļšāļŠāļ™āļļāļ™āļ—āļĩāđˆāļˆāļģāđ€āļ›āđ‡āļ™āļŠāļģāļŦāļĢāļąāļšāļœāļđāđ‰āļœāļĨāļīāļ•āļ‡āļēāļ™āļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āļ­āļīāļŠāļĢāļ°āđ€āļžāļ·āđˆāļ­āļāļēāļĢāļˆāļąāļ”āļāļēāļĢāļāļąāļšāļ„āļ§āļēāļĄāļāļ”āļ”āļąāļ™āļ—āļĩāđˆāđ€āļāļīāļ”āļˆāļēāļāļāļēāļĢāļœāļĨāļīāļ•āđāļĨāļ°āļ„āļ§āļēāļĄāļ„āļīāļ”āļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒāļ­āļĒāđˆāļēāļ‡āļĄāļĩāļ›āļĢāļ°āļŠāļīāļ—āļ˜āļīāļ āļēāļž


Panelists

1) Pavinee Ae, producer with Democrazy Theatre

2) Sojirat Singholka, producer with Chang Theatre

āļœāļđāđ‰āļĢāđˆāļ§āļĄāđ€āļŠāļ§āļ™āļē 1) āļ āļēāļ§āļīāļ“āļĩ āļŠāļĄāļĢāļĢāļ„āļšāļļāļ•āļĢ āđ‚āļ›āļĢāļ”āļīāļ§āđ€āļ‹āļ­āļĢāđŒāđ€āļ”āđ‚āļĄāđ€āļ„āļĢāļ‹āļĩ āļŠāļ•āļđāļ”āļīāđ‚āļ­

2) āđ‚āļĻāļˆāļīāļĢāļąāļ•āļ™āđŒ āļŠāļīāļ‡āļŦāļĨāļāļ° āđ‚āļ›āļĢāļ”āļīāļ§āđ€āļ‹āļ­āļĢāđŒāđ‚āļĢāļ‡āļĨāļ°āļ„āļĢāļŠāđ‰āļēāļ‡


Moderated by June Tan

āļ”āļģāđ€āļ™āļīāļ™āļĢāļēāļĒāļāļēāļĢāđ‚āļ”āļĒ āļˆāļđāļ™ āļ—āļąāļ™


Pavinee Samakkabutr has been working in the fields of theatre and performing art as an actress, lighting designer, and producer with many theatre groups in Thailand to pursue her passion for performing arts and develop her skills for art profession since 2000, after graduated from Thammasat University in major of Drama, and from Chulalongkorn University in major of Speech Communication & Performing Arts,

She is a founder and a co-artistic director at Democrazy Theatre Studio, Bangkok, Thailand, the progressive and independent studio founded in 2008, that produces a wide range of theatre works, events, and international festivals.

In collaboration with Arts on Location and Democrazy Theatre Studio, She was responsible as a producer, organised the Bangkok International Children’s Theatre Festival (BICT Fest), the first international theatre festival for young audiences in Thailand.

āļ āļēāļ§āļīāļ“āļĩ āļŠāļĄāļĢāļĢāļ„āļšāļļāļ•āļĢ āļœāđˆāļēāļ™āļ‡āļēāļ™āļĄāļēāļĄāļēāļāļĄāļēāļĒāđƒāļ™āļŠāļēāļĒāļāļēāļĢāļĨāļ°āļ„āļĢāđāļĨāļ°āļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡ āđ„āļĄāđˆāļ§āđˆāļēāļˆāļ°āđ€āļ›āđ‡āļ™āđƒāļ™āļāļēāļ™āļ°āļ™āļąāļāđāļŠāļ”āļ‡ āļœāļđāđ‰āļ­āļ­āļāđāļšāļšāđāļŠāļ‡ āđ‚āļ›āļĢāļ”āļīāļ§āđ€āļ‹āļ­āļĢāđŒ āđāļĨāļ°āđ€āļ˜āļ­āļĒāļąāļ‡āļĢāđˆāļ§āļĄāļ‡āļēāļ™āļāļąāļšāļāļĨāļļāđˆāļĄāļĨāļ°āļ„āļĢāđ€āļ§āļ—āļĩāļĄāļēāļāļĄāļēāļĒāđƒāļ™āļ›āļĢāļ°āđ€āļ—āļĻāđ„āļ—āļĒ āļŦāļĨāļąāļ‡āļˆāļēāļāļ—āļĩāđˆāđ€āļ˜āļ­āļˆāļšāļāļēāļĢāļĻāļķāļāļĐāļēāļˆāļēāļāļ āļēāļ„āļ§āļīāļŠāļēāļāļēāļĢāļĨāļ°āļ„āļ­āļ™ āļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒāļ˜āļĢāļĢāļĄāļĻāļēāļŠāļ•āļĢāđŒ āđāļĨāļ°āļ āļēāļ„āļ§āļēāļ—āļ§āļīāļ—āļĒāļēāđāļĨāļ°āļŠāļ·āđˆāļ­āļŠāļēāļĢāļāļēāļĢāđāļŠāļ”āļ‡ āļˆāļļāļŽāļēāļĨāļ‡āļāļĢāļ“āđŒāļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒ āđƒāļ™āļ›āļĩ 2000 āļ āļēāļ§āļīāļ“āļĩāđ€āļ”āļīāļ™āļ•āļēāļĄāļ„āļ§āļēāļĄāļāļąāļ™āļ‚āļ­āļ‡āđ€āļ˜āļ­āđƒāļ™āļŠāļēāļĒāļ­āļēāļŠāļĩāļžāļĻāļīāļĨāļ›āļ°āļāļēāļĢāđāļŠāļ”āļ‡āđāļĨāļ°āļĄāļļāđˆāļ‡āļĄāļąāđˆāļ™āļžāļąāļ’āļ™āļēāļ—āļąāļāļĐāļ°āļŠāļģāļŦāļĢāļąāļšāļŠāļēāļĒāļ­āļēāļŠāļĩāļž āļ āļēāļ§āļīāļ“āļĩāđ€āļ›āđ‡āļ™āļœāļđāđ‰āļāđˆāļ­āļ•āļąāđ‰āļ‡āđāļĨāļ°āđ€āļ›āđ‡āļ™āļœāļđāđ‰āļ­āļģāļ™āļ§āļĒāļ”āđ‰āļēāļ™āļĻāļīāļĨāļ›āļ°āļĢāđˆāļ§āļĄāļ‚āļ­āļ‡āđ€āļ”āđ‚āļĄāđ€āļ„āļĢāļ‹āļĩ āļŠāļ•āļđāļ”āļīāđ‚āļ­ āļāļĢāļļāļ‡āđ€āļ—āļžāļĄāļŦāļēāļ™āļ„āļĢ āļ—āļĩāđˆāļœāļĨāļīāļ•āļœāļĨāļ‡āļēāļ™āļĻāļīāļĨāļ›āļ°āļŦāļąāļ§āļāđ‰āļēāļ§āļŦāļ™āđ‰āļēāļ—āļąāđ‰āļ‡āđƒāļ™āļĢāļđāļ›āđāļšāļšāļĨāļ°āļ„āļĢāđ€āļ§āļ—āļĩ āļ­āļĩāđ€āļ§āđ‰āļ™āļ—āđŒ āđāļĨāļ°āđ€āļ—āļĻāļāļēāļĢāļĻāļīāļĨāļ›āļ°āļĢāļ°āļ”āļąāļšāļ™āļēāļ™āļēāļŠāļēāļ•āļī āļ™āļ­āļāļˆāļēāļāļ™āļąāđ‰āļ™āļ āļēāļ§āļīāļ“āļĩāļĒāļąāļ‡āļ—āļģāļŦāļ™āđ‰āļēāļ—āļĩāđˆāđ€āļ›āđ‡āļ™āļœāļđāđ‰āļˆāļąāļ”āļ‡āļēāļ™ āđ€āļ—āļĻāļāļēāļĨāļĨāļ°āļ„āļĢāļ™āļēāļ™āļēāļŠāļēāļ•āļīāļŠāļģāļŦāļĢāļąāļšāđ€āļ”āđ‡āļāđāļĨāļ°āđ€āļĒāļēāļ§āļŠāļ™ (BICT Fest) āļˆāļąāļ”āđ‚āļ”āļĒāļ­āļēāļ—āļŠāđŒāļ­āļ­āļ™āđ‚āļĨāđ€āļ„āļŠāļąāđˆāļ™āđāļĨāļ°āđ€āļ”āđ‚āļĄāđ€āļ„āļĢāļ‹āļĩāđˆ āļŠāļ•āļđāļ”āļīāđ‚āļ­ āļ­āļąāļ™āļ–āļ·āļ­āđ„āļ”āđ‰āļ§āđˆāļēāđ€āļ›āđ‡āļ™āđ€āļ—āļĻāļāļēāļĢāļĨāļ°āļ„āļĢāđ€āļ§āļ—āļĩāļ„āļĢāļąāđ‰āļ‡āđāļĢāļāļŠāļģāļŦāļĢāļąāļšāđ€āļĒāļēāļ§āļŠāļ™āđƒāļ™āļ›āļĢāļ°āđ€āļ—āļĻāđ„āļ—āļĒāļ­āļĩāļāļ”āđ‰āļ§āļĒ




Sojirat Singholka graduated with BA (Second Class Honors) from Faculty of Communication Arts, Chulalongkorn University in 1995. After graduation, she spent a year with intercultural learning program called “Up with People” to learn more about different cultures and customs through music, volunteerism, international travel, and host family stays. With the experience from the program, Sojirat became more interested in intercultural communication and intercultural management. She then continued her master degree in “Intercultural Management” from School for International Training (SIT) and finished the study in 2002. Then, Sojirat started to work as PR officer at Sasin Graduate Institute of Business Administration of Chulalongkorn University until 2012. During the same time, she started to work as Pichet Klunchun’s manager and later as the manager and producer of Pichet Klunchun Dance Company. She has produced 4 pieces of the company’s work: Chui Chai (2010), Black and White (2011), Tam Kai (2012), and recently Dancing with Death (2016). Apart from a role as manager, Sojirat is also working as a director of “Chang Theatre”.


āđ‚āļĻāļˆāļīāļĢāļąāļ•āļ™āđŒ āļŠāļīāļ‡āļŦāļĨāļāļ° āļˆāļšāļāļēāļĢāļĻāļķāļāļĐāļēāļĢāļ°āļ”āļąāļšāļ›āļĢāļīāļāļāļēāļ•āļĢāļĩ (āđ€āļāļĩāļĒāļĢāļ•āļīāļ™āļīāļĒāļĄāļ­āļąāļ™āļ”āļąāļšāļŠāļ­āļ‡) āļˆāļēāļāļ„āļ“āļ°āļ™āļīāđ€āļ—āļĻāļĻāļēāļŠāļ•āļĢāđŒ āļˆāļļāļŽāļēāļĨāļ‡āļāļĢāļ“āđŒāļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒ āđƒāļ™āļ›āļĩ 1995 āļŦāļĨāļąāļ‡āļˆāļēāļāļˆāļšāļāļēāļĢāļĻāļķāļāļĐāļē āđ€āļ˜āļ­āđƒāļŠāđ‰āđ€āļ§āļĨāļēāļŦāļ™āļķāđˆāļ‡āļ›āļĩāđ€āļ‚āđ‰āļēāļĢāđˆāļ§āļĄāđ‚āļ„āļĢāļ‡āļāļēāļĢāđāļĨāļāđ€āļ›āļĨāļĩāđˆāļĒāļ™āđ€āļĢāļĩāļĒāļ™āļĢāļđāđ‰āļĢāļ°āļŦāļ§āđˆāļēāļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄ “Up with People” āļ—āļģāđƒāļŦāđ‰āđ€āļ˜āļ­āđ„āļ”āđ‰āļĄāļĩāđ‚āļ­āļāļēāļŠāđ€āļĢāļĩāļĒāļ™āļĢāļđāđ‰āļ„āļ§āļēāļĄāđāļ•āļāļ•āđˆāļēāļ‡āļ”āđ‰āļēāļ™āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāđāļĨāļ°āļ›āļĢāļ°āđ€āļžāļ“āļĩāļœāđˆāļēāļ™āđ€āļžāļĨāļ‡ āļāļēāļĢāļ—āļģāļ­āļēāļŠāļēāļŠāļĄāļąāļ„āļĢ āļāļēāļĢāļ—āđˆāļ­āļ‡āđ€āļ—āļĩāđˆāļĒāļ§ āđāļĨāļ°āļāļēāļĢāļ­āļēāļĻāļąāļĒāļ­āļĒāļđāđˆāļāļąāļšāđ‚āļŪāļŠāđāļŸāļĄāļīāļĨāļĩāđˆ āļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āđŒāļ„āļĢāļąāđ‰āļ‡āļ™āļĩāđ‰āđ€āļ›āđ‡āļ™āđāļĢāļ‡āļ‚āļąāļšāđ€āļ„āļĨāļ·āđˆāļ­āļ™āđƒāļŦāđ‰āđ€āļ˜āļ­āļŠāļ™āđƒāļˆāđƒāļ™āļāļēāļĢāļŠāļ·āđˆāļ­āļŠāļēāļĢāđāļĨāļ°āļāļēāļĢāļˆāļąāļ”āļāļēāļĢāļ‚āđ‰āļēāļĄāļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄ āđ€āļ˜āļ­āļ•āļąāļ”āļŠāļīāļ™āđƒāļˆāđ€āļ‚āđ‰āļēāļĻāļķāļāļĐāļēāļ•āđˆāļ­āđƒāļ™āļŠāļēāļ‚āļēāļāļēāļĢāļˆāļąāļ”āļāļēāļĢāļ‚āđ‰āļēāļĄāļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļˆāļēāļ School for International Training (SIT) āđāļĨāļ°āļŠāļģāđ€āļĢāđ‡āļˆāļāļēāļĢāļĻāļķāļāļĐāļēāđƒāļ™āļ›āļĩ 2002 āļŦāļĨāļąāļ‡āļˆāļēāļāļ™āļąāđ‰āļ™āđ€āļ˜āļ­āļ—āļģāļŦāļ™āđ‰āļēāļ—āļĩāđˆāđ€āļ›āđ‡āļ™āđ€āļˆāđ‰āļēāļŦāļ™āđ‰āļēāļ—āļĩāđˆāļ›āļĢāļ°āļŠāļēāļŠāļąāļĄāļžāļąāļ™āļ˜āđŒāļ—āļĩāđˆāļŠāļ–āļēāļšāļąāļ™āļšāļąāļ“āļ‘āļīāļ•āļšāļĢāļīāļŦāļēāļĢāļ˜āļļāļĢāļāļīāļˆāļĻāļĻāļīāļ™āļ—āļĢāđŒāđāļŦāđˆāļ‡āļˆāļļāļŽāļēāļĨāļ‡āļāļĢāļ“āđŒāļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒ āļˆāļ™āļāļĢāļ°āļ—āļąāđˆāļ§āļ–āļķāļ‡āļ›āļĩ 2012 āđƒāļ™āļ‚āļ“āļ°āļ—āļģāļ‡āļēāļ™āļ—āļĩāđˆāļĻāļĻāļīāļ™āļ—āļĢāđŒ āđ€āļ˜āļ­āļĒāļąāļ‡āļ—āļģāļŦāļ™āđ‰āļēāļ—āļĩāđˆāđ€āļ›āđ‡āļ™āļœāļđāđ‰āļˆāļąāļ”āļāļēāļĢāļ‚āļ­āļ‡āļžāļīāđ€āļŠāļĐāļ āļāļĨāļąāđˆāļ™āļŠāļ·āđˆāļ™āđāļĨāļ°āļāļĨāļēāļĒāļĄāļēāđ€āļ›āđ‡āļ™āļœāļđāđ‰āļœāļĨāļīāļ•āļ‚āļ­āļ‡āļžāļīāđ€āļŠāļĐāļāđāļ”āļ™āļ‹āđŒāļ„āļ­āļĄāļ›āļēāļ™āļĩāđƒāļ™āđ€āļ§āļĨāļēāļ–āļąāļ”āļĄāļē āđ‚āļĻāļˆāļīāļĢāļąāļ•āļ™āđŒāļĄāļĩāļœāļĨāļ‡āļēāļ™āļ”āđ‰āļēāļ™āļāļēāļĢāļœāļĨāļīāļ• 4 āļŠāļīāđ‰āļ™āļ­āļąāļ™āđ„āļ”āđ‰āđāļāđˆ āļ‰āļļāļĒāļ‰āļēāļĒ (2010), Black and White (2011), āļ•āļēāļĄāđ„āļāđˆ (2012), āđāļĨāļ°āđ€āļĄāļ·āđˆāļ­āđ„āļĄāđˆāļ™āļēāļ™āļĄāļēāļ™āļĩāđ‰ Dancing with Death (2016) āļ™āļ­āļāļˆāļēāļāļšāļ—āļšāļēāļ—āđƒāļ™āļāļēāļ™āļ°āļœāļđāđ‰āļˆāļąāļ”āļāļēāļĢāđāļĨāđ‰āļ§ āđ€āļ˜āļ­āļĒāļąāļ‡āļ—āļģāļŦāļ™āđ‰āļēāļ—āļĩāđˆāđ€āļ›āđ‡āļ™āļœāļđāđ‰āļ­āļģāļ™āļ§āļĒāļāļēāļĢāļ‚āļ­āļ‡āđ‚āļĢāļ‡āļĨāļ°āļ„āļĢāļŠāđ‰āļēāļ‡āļ­āļĩāļāļ”āđ‰āļ§āļĒ



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