SAGA SEED THEATRE
ASSOCIATE DIRECTOR
Thong Pei Qin is an independent theatre director and educator with a passion for creating devised, physical and experimental original works of critical social relevance. She holds two degrees from the University of Essex, East 15 Acting School London (M.A. Distinctions in Theatre Directing) and the National University of Singapore (B.A. Honours in Theatre Studies). Some of her recent directing credits comprise Playground Entertainment's "State of Mind", Saga Seed Theatre’s “Seedy Stories” (Singapore Night Festival 2016) and "POPup Plays" series, Centre 42’s “Understudy” (The Vault), TheatreWorks’ “Between Consciousness”, Natalie Hennedige’s “Nothing”, Esplanade The Studios: fifty’s “Family Relations in Singapore Theatre”, David Schneider’s London premiere of “Making Stalin Laugh”, Michelle Tan’s “A Fairytale Ending” and the devised site-specific “Re: Almost Left Behind” (Singapore Arts Festival 2011). She currently teaches drama courses and workshops in Singaporean varsities and other communities. She is contactable at (E: thongpeiqin@gmail.com) and (W: thongpeiqin.wix.com/livingtheatre).
DIRECTOR'S STATEMENT
Saga Seed Theatre is my dream farming community, in which theatre practitioners are free to collectively cultivate and harvest stories. My role is that of a farmer, and what this farmer is interested in sowing, are ways to examine the human species in all multitudes of shapes and sizes. What this farmer eventually wishes to reap, is the bringing of people together through theatre to spark off meaningful conversations, and the creation of common lived experiences through truthful stories told in a shared space. And the more everyday Singaporeans enter into this shared space with us as audience members, the richer our conversations will be.
In my own search for the meaning of life in Singapore today, I often ask the questions of what essentially makes us human. Where did we come from? Where are we now? What do we dream of? What do we fear? What are our insecurities and flaws? What are our desires? What are our regrets? What makes us friends, enemies, family, strangers? What binds us together, and what divides us? Who has power, and who doesn't?
What fascinates me is the connect and disconnect between human beings and their surrounding spaces and objects, or with fellow Homo-sapiens. Site-specific spaces infused with oral histories and narratives also speak to me on a personal level. On a fantastical level of story-telling, my monkey mind often entertains the transgressive "what-if" situations of human characters morphing into, or hybridising with animals, insects, aliens or machines. These supernatural imaginings allow me to strip away the constructs of civilisation, and take a good look at human beings who are no longer expected to behave according to society's rules and regulations. As such, there is a degree of self- reflexivity in some of my works, or works I'm intrigued by.
I am particularly interested in conversations that ask tough questions, challenge the status quo, and reimagine alternative possibilities to widely accepted norms. My creations seek to encourage a playful subversion of conventions, and offer differing points-of-view from the disenfranchised and the marginalised. I also have a tendency to marry the grotesque to the beautiful, in my belief that clumsiness, vulnerability and awkwardness are to be celebrated as parts of the human condition. This notion could translate in the original writing and devising of the play, how rehearsals are carried out, as well as the shaping and final delivery of the performance. Plays could be realised through a fusion of different art forms, cultural influences and genres of theatre.
Works with compelling characters which unflinchingly seek to explore what binds people; observe human interactions and relationships; unearth the kinds of language or vocabulary people share; honestly lay bare fundamental human flaws, insecurities and struggles; understand our differences through a diversity of perspectives and cultures; and celebrate the human spirit, strengths as well as unsung superheroes in ordinary people, are the seeds of stories I wish to come in touch with. An honest voice with a genuine curiosity in a subject matter is ultimately what I seek to cultivate with my farming buddies.
This farmer looks forward to welcoming more people to join our Saga Seed Theatre community. We are committed to nurturing long term relationships and collaborations with fellow creators and audience members alike. With patience, care and mutual trust in our collective farming, who knows what fruits we will bear?