1969:A Space Odyssey?Oddity!
1969:A Space Odyssey?Oddity!
1969:A Space Odyssey?Oddity!
1969:A Space Odyssey?Oddity!
1969:A Space Odyssey?Oddity!
1969:A Space Odyssey?Oddity!
1969:A Space Odyssey?Oddity!
1969:A Space Odyssey?Oddity!
1969:A Space Odyssey?Oddity!
1969:A Space Odyssey?Oddity!
1969:A Space Odyssey?Oddity!
1969:A Space Odyssey?Oddity!
1969:A Space Odyssey?Oddity!
1969:A Space Odyssey?Oddity!
1969:A Space Odyssey?Oddity!
1969:A Space Odyssey?Oddity!
1969:A Space Odyssey?Oddity!
1969:A Space Odyssey?Oddity!


June 7 2018


Venue: Teatrul Tony Bulandra

November 23 – 25 2016


Venue: CJ azit

April 30 – May 8 2016

Venue: Thong Lor Art Space

October 22 - 24 2015

Carthage Theatrical Days Festival
/Les Journées Théâtrales de Carthage

Venue: Le Carré d’Art El Teatro

February 11 - 15 2015

TPAM 2015

Venue: Small Theater Rakuen

July 4 - 26 2015

Festival d'Avignon


Venue: Théâtre les Ateliers d’Amphoux Salle Pierres

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An absurdist Japanese performance is both enjoyable and comprehensible

THANKS TO ITS welcome diversity in programming, Thong Lor Art Space is a great place to visit on a regular basis. Just like the vibe from the restaurants, bars and nightspots for which this neighbourhood is famous, TLAS keeps its lights on, its curtains up and its vibrancy throbbing all year round.

Last month, Thong Lor Art Space hosted “Suk-ka-sak-ka-raj”, an interdisciplinary performance in which cellist Yui Cello shared the stage with an actress/illustration drawer, a ghost writer, a physical theatre artist, a contemporary dancer, independent musicians, a sound designer and a documentary filmmaker. Although they didn’t have time to work across fields, the fact that artists from so many disciplines could be seen in one work was a rare treat in this country.

Now, it’s the contemporary Japanese performance “1969: A Space Odyssey? Oddity!” by Kaimaku Pennant Race (KPR), making its Southeast Asian premiere. From the title, which was drawn from Stanley Kubrick’s masterpiece “2001: A Space Odyssey” and David Bowie’s song “Space Oddity” released in 1969, and the fact that the show was at Avignon OFF Festival, audience members were expecting either a dance performance or non-verbal comedy with plenty of music. We were all caught by surprise.

Three performers in white unitards, namely Takuro Takasaki, GK Masayuki and Yuri Morita occupied the stage while playwright and director Yu Murai, in street clothes and with a globe attached to his hat, remained downstage watching in front of his sound effects control board. Occasionally during the show, Murai poured milk from a jar and drank it from his glass. Towards the end we could see a spaceman miniature at the bottom of the jar.

Among many scenes dwelling on absurd situations, there was one in which two performers argued about a new pair and a worn-out pair of white shoes. In another – compulsory audience participation is enforced by keeping the full house lights on – all three of them, wanting to cross the border, walked into the audience stand and asked us, in Thai and English, which direction was south. We pointed them in various directions.

The show was heavily text-based and yet, thanks to the English and Thai surtitles on the four monitors placed on four corners of the stage and visible to all in the audience stand at all times, we could all understand what they were talking about. I noticed that Japanese audience members or Japanese-speaking Thais laughed more than us, so this was perhaps another case of slightly lost in translation.

The whole experience brought back a fond memory of watching Samuel Beckett’s absurdist drama masterpiece “Waiting for Godot”, which, brought me many more smiles and laughter when I was in my early 30s than it did when I was in my late teens.

“1969: A Space Odyssey? Oddity!” pleasantly reminded me that I was born and raised in the space exploration era, when there was neither Internet nor smartphones. I recalled how excited I was to watch “Star Wars” and “Star Trek” at the cinema. I also remember how my Grade 7 classmates were impressed with my class presentation on the space shuttle, using a toy my cousin brother brought for me from the US.

But I don’t think the purpose of this show was to remind me that I am now middle-aged.

In fact, while in no way political, it made me realise that in much the same way as space exploration during the past half century hasn’t progressed very much and man’s landing on the moon remains the most exciting moment, our country has been led by one military prime minister after another, with several coups in-between. Of course, we have Internet and smartphones now, but our democracy hasn’t progressed that much. Could the new constitution be a way out or would it be 1932 eternally?


– “1969: A Space Odyssey? Oddity!” by Kaimaku Pennant Race runs until Sunday at Thong Lor Art Space, a five-minute walk from BTS: Thong Lor. Shows are at 7.30 nightly with a 3pm matinee on Sunday. It’s in Japanese with Thai and English surtitles. Tickets are Bt500 (Bt450 in advance, Bt350 for students). Call (095) 924 4555 or go to Line ID “@lvj7157z”.

– June will have Pattarasuda Anuman Rajadhon’s staging of Josh Ginsburg’s “Stick Figures”, with Thai- and English-speaking casts alternating. For more details, Facebook.com/ThongLorArtSpace.

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in Tunisia 2015


French ver.
Actualités : Culture
A Space Odyssey? Oddity aux JTC
Entre ciel et terre

Le Carré d’Art d’El Teatro a eu du mal à contenir le public jeudi 22 octobre, à l’occasion de la présentation de la pièce japonaise A Space Odyssey ? Oddity, produite par KPR — Kaimaku Pennant Race, mise en scène par Yu Murai et interprétée par Taka.o.k.a.saki Takuro, G.K. Masayuki, Nene Okubo et Akihiro Kohama.

L’affluence massive du public pour cette pièce est un indice sur le degré élevé de la curiosité du public des JTC à l’égard du théâtre japonais, dont les expériences sont aussi nombreuses que riches. Dès le début de la pièce, le ton a été donné. Une atmosphère surréaliste, trois postes de télévision déroulant à la fois la traduction en anglais du texte et des images indéchiffrables.

Trois cosmonautes, que rien ne rassemble, sont perdus entre ciel et terre, confrontés à leur solitude et l’incommunicabilité et à la perte certaine. Une situation de huis clos où le sens du moment n’est perceptible qu’à travers les gestes chaotiques des protagonistes. La civilisation est perdue, ce qui plonge les personnages dans un univers existentialiste où la mémoire semble incapable de restituer les clés de la connaissance.

1969, c’est l’année de la consécration de l’épopée de l’espace. On est sur la lune et bien au-delà de cette planète tant convoitée. La Terre est derrière nous, loin de nous. Il ne reste rien du passé sauf quelques miettes de souvenirs épars que les protagonistes s’entêtent à réorganiser comme des pièces de Lego.

Mais sommes-nous sur Terre ou dans l’espace ? C’est l’un des paradoxes de cette pièce où les comédiens se mélangent avec le public à la recherche d’un Sud perdu. Mais faut-il chercher le Sud ? Y a-t-il un Sud ? A défaut d’une réponse, chacun devra trouver son propre Sud, une métaphore d’une grande puissance sur le sens de la vie, de la vérité absolue… A Space Odyssey est une pièce théâtrale moderne interprétée par des monstres d’acteurs.

Auteur : A.D.
Ajouté le : 25-10-2015

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in France 2015

La Provence by Johan Barthélemy 


English ver.
JAPOOON! All you ever wanted to know about space but were afraid to ask! For their first visit to the festival, the Japanese company Kaimaku Pennant Race presents a real UFO. 1969: A Space Odyssey? Oddity! is inspired by Sartre’s Huit clos, in space! Director Yu Murai chose to adapt Sartre work especially for Avignon. After the company’s success in New York, it now hopes to embark on a European tour after the festival with this performance.
1969: A Space Odyssey? Oddity! features three performers in tight-fitting white suits who repeat in unison the events of the first Moon landing in 1969. In a very modern choreographed version of 2001: A Space Odyssey, the actors try to respond vigorously in Japanese (surtitled in English) to the question: Has science surpassed history? Unclassifiable, surreal, this Tokyo show is a truly artistic experience.

French ver.
JAPOOON ! Tout ce que vous avez toujours voulu savoir sur l’espace sans jamais oser le demander ! Décapant, pour leur première venue au festival, la compagnie nippone Kaimaku Pennant Race nous présente un véritable ovni. 1969: A Space Odyssey? Oddity! est inspiré du “Huis clos” de Sartre, mis en scène dans l’espace ! Le metteur en scène Yu Murai a choisi l’œuvre de Sartre spécialement pour Avignon. Tout un programme donc pour cette compagnie qui a déjà connu le succès à New York et qui souhaite se lancer dans une tournée européenne après le festival. 1969: A Space Odyssey? Oddity! met en scène trois acteurs dans leur combinaison moulante blanche qui répètent à l’unisson les évènements du premier alunissage de 1969. Dans une chorégraphie moderne très « 2001, l’Odyssée de l’espace », les acteurs tentent de répondre énergiquement et en japonais – surtitré en anglais – à la question: est-ce que la science a dépassé l’histoire ? Inclassable, surréaliste, ce spectacle tokyoïte est une vraie expérience artistique.

Johan Barthélemy 

Théâtrorama by David Simon

English ver.
1969, a cosmic year. Man crossed the final frontier by setting foot on the Moon…

2001: A Space Odyssey by Stanley Kubrick was a triumph and Space Oddity, one of the most iconic songs of David Bowie, reverberates over the radios waves. Forty-six years later, witness Sartre’s Huis clos recreated in space by an uninhibited Japanese company, blithely venturing beyond the rules of live performance.
Let’s remember. The protagonists of Sartre’s play, isolated in a room closed to the outside world, had nothing in common and tried to understand the reason for their situation. Kaimaku Pennant Race decided to appropriate the text in order to break down barriers better. This indescribable postmodern theatrical experience is even more fascinating. Three astronauts dressed in skin-tight white jumpsuits shout out dialogue while moving around and contorting their bodies, on a stage surrounded by screens showing video and English surtitles. There do not seem to be any limits or boundaries to the territory they roam, to the point that they do not even hesitate, in one surreal scene, to climb over the audience seating to ask you repeatedly in which direction south lies.
It is then you understand instantly that the astronauts/actors are desperately seeking a compass that indicates the presence of even the smallest marking. The reason is that they are trying to regain a semblance of structure, as space and time have become incomprehensible, their minds having lost sight of all grounding or markings: in other words, they need to restore existence itself. Even a flashlight directly embedded in their mouth guides them nowhere.

Behind each door, another

Through their impressively rehearsed movements, the actors give you the feeling of being lost again, of having become children desperately calling for their mother. This return to the primitive state, symbolized by the appearance of Australopithecus and the monolith at the back of the stage from 2001: A Space Odyssey, gradually makes the situation deteriorate through the influence of empty repetition and illusory liberations. In this fragmentation and in the reconfiguration of the fragments there is much being examined. When a disco ball hanging from the ceiling bursts, it releases a myriad of fragments, with the organisms/ astronauts rushing onto the heap of objects, though they are unable to reconstruct anything. All hope is in vain and nothing can be rebuilt into any semblance of a framework. The big question – does science surpass history? – remains unanswered.

This is a real laboratory experience. The three actors exude a phenomenal energy and never slacken for a moment. You quickly lose track of how to respond but your attention never slips. The staging by Yu Murai (founder of the company), combined with the beautiful lighting by Taro Nishimura that alternates between cold blues and bright reds, maintains an inexorable fascination through its plethora of deranged ideas, such as the game of slow-motion tennis with neither racquet nor ball! During the course of what can only be described as an insane performance, you are taken to the very edge of the known universe – and your own limits – like a guinea pig. After the short time of less than 60 minutes, you will have forgotten what reality is. I should warn you in advance: your landing may well be bumpy.


French ver.
1969, année cosmique. L’homme franchit l’ultime frontière en posant le pied sur la lune…

2001 : A Space Odyssey de Stanley Kubrick remporte un succès triomphal etSpace Oddity, un des morceaux les plus emblématiques de David Bowie, fait vibrer les radios. Quarante-six années plus tard, vous allez assister à la transposition du Huis-clos de Sartre dans l’espace par une troupe nippone décomplexée, s’aventurant allègrement au delà des codes du spectacle vivant.

Souvenez-vous. Les protagonistes de Sartre, isolés dans une pièce imperméable et close, n’avaient rien en commun et tentaient de comprendre le pourquoi de leur situation. La Cie Kaimaku Pennant Race décide de s’approprier le texte pour mieux le décloisonner. Irracontable, cette expérience théâtrale post-moderne n’en est que plus fascinante. Trois astronautes vêtus d’une combinaison blanche moulante gesticulent et se contorsionnent en s’époumonant, sur un plateau cerné par des écrans qui diffusent des images et des textes en anglais. Il ne semble pas y avoir de bornes ni de limites sur le territoire qu’ils arpentent, à tel point qu’ils n’hésitent pas, lors d’un passage surréaliste, à monter parmi vous sur les gradins pour vous demander avec insistance où se trouve le sud.

Vous comprenez alors très rapidement que les astronautes/comédiens cherchent désespérément une boussole qui leur indiquerait la présence du moindre petit repère. Car il s’agit bien ici de parvenir à reconquérir un semblant d’organisation, donc d’existence, dans un espace-temps devenu incompréhensible à un cerveau désorienté par le manque de références et de balises. Même une lampe torche directement greffée dans leur bouche ne les guidera nulle part.

Derrière chaque porte, une autre

Par un impressionnant travail du corps, les comédiens vous donnent le sentiment d’être redevenus des enfants perdus en appelant désespérément à leur mère. Ce retour à l’état primitif, symbolisé par l’apparition de l’australopithèque de 2001 sur une TV et d’un monolithe au fond du décor, voit la situation se dégrader progressivement à force de vaines répétitions et d’illusoires libérations. Il est beaucoup travaillé sur la fragmentation, la reconstitution des morceaux épars. Quand une boule disco explose et libère une myriade de petites pièces, les organismes/astronautes se précipitent sur le tas d’objets mais ils n’arriveront à rien recomposer. Tout espoir est vain et rien ne viendra rebâtir un semblant d’ossature. La grande question : « la science a t-elle dépassé l’histoire ? » restera sans réponse.

C’est une véritable expérience de laboratoire que vous allez vivre. Les trois comédiens dégagent une énergie phénoménale sans jamais fléchir un instant. Vous allez très vite perdre pied mais vous ne relâcherez jamais l’attention. La mise en scène de Yu Murai (fondateur de la Cie), fusionnée avec la superbe lumière de Taro Nishimura qui alterne entre le bleu froid et le rouge vif, entretient une inexorable fascination grâce à une pléthore d’idées délirantes comme cette partie de tennis au ralenti sans raquette ni balle ! Vous allez, tels des cobayes, atteindre les lisières de l’univers connu, donc de vos propres limites, dans ce qu’il faut bien qualifier de performance insensée qui parvient, le temps d’une petite heure à vous faire oublier l’existence du monde réel. Autant alors vous prévenir de suite : votre atterrissage risque d’être mouvementé.

David Simon

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Director’s Note

If within the arts, theatre represents the spectacle of our bodies, it means it takes on an individual aspect and transcends the space on the stage as well as the language furnished by the play, and connects with a broader universe. Audiences for this performance will experience the expanse of this universe through seeing three performers’ bodies decaying by a repetition of repression and release, like how light from a collapsed star reaches us millions of light years later. Together we arrive at the horizon of this universe, where the audience will surely be able to find their own origins. You never notice your own wonder because you are too close.

1969:A Space Odyssey?Oddity!

“1969: A Space Odyssey? Oddity!” transfers Jean-Paul Sartre’s “Huis clos” (No Exit) to outer space in the near future and reconstructs an entirely new story. It is the year 1969, when human beings have put their first steps upon the surface of the Moon. “Does science outlive history?” Can our three astronauts heroes find an answer to this ultimate question? And if they can, what kind of answer will it be? Known for its highly energetic, surrealistic and evocative performances, Kaimaku Pennant Race presents its newest work, especially devised for overseas audiences.

in Thailand 2016


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