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Pan Asian Repertory Theatre” Get to Know Them with Theatre Development Fund


Needing to have meaning and purpose, and that is very important all of an Asian’s works have purpose. We specialize in the story sell them told, from various countries. All the countries in Asia but many of them are totally unknown. The stories are unknown, for instance Cambodian in genocide. Vietnam status of women, Japanese internment, China’s revolution. So, I think these our stories of transformation and discovery that American audiences have not, have a chance to see.

Because our artists coming from so many different countries. And because of our focus, on stories seldom told stories from country’s large and small, we have the benefit of utilizing the theatrical techniques. From so many different cultures I tend to utilize music, movements, and dance. They are very important ingredients, but we feel so fortunate, because we have a canvas, pallets to work from the entire Asian spectrum. Dole George in may for instance, will allow us to take revered Japanese classic dance drama about two lovers. They are the Romeo and Juliet in Japan, but for us to that transport and embrace the anime world.

It is about this folktale that is pretty well known in Japan. But I have never heard this story before and it is really weird and cool in the way that I am you know encountering this thousand you the story in New York City. Many of us, were born in a foreign country in Asia. I was born in China, I came here as a very young child. We have actors who are from the Philippine, Japan, Tibet, Vietnam, so it is not Asian-American almost multicultural Asian company of artist. We are so proud of the solidarity in our work that we can all work together.

While are native countries may not always be so politically aligned. But here we in the artistic crucible, I think many of those difficulties are not present. They are providing a playground for actors with different kind backgrounds, to have a voice. We did a piece called Cambodian agony stays, about the genocidal years in the seventies in Cambodia. And he was a music theatre work, that was about as close to opera. As we came and we toured it to Cairo Egypt, Johannesburg major cities in the United States, and it was kind of goodwill tour that we did but I felt it was also a very much about discovery and healing.
I am going to get a little emotional, when I talk about going to Cairo and Johannesburg. But Johannesburg when we within 1995 Munda had just become president and so apart I was officially bed, but we did two performances for two different audiences.

The matinee was for largely white audience. Another performance, was for all the different tribal African people’s. And I cannot tell you how differently our play was received. They have a lot of shows that are very different. From each other many different styles, but they do have dislike ongoing theme and philosophy that is very strong. It makes the work, so much more meaningful. When we can really address issues that are important and relevant, and that perhaps can elicit some change for the better. You see that gives our work so much value, and gives me as an artist I mean I have been running the company now for 35 years. And it has to be fresh it has to be exciting it has to be meaningful.

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