A scene from Somtow Sucharitkul’s 10-part opera epic ‘DasJati’. Photo/Siam Opera
July 18, 2016 1:00 am
Work proceeds on history’s most ambitious opera cycle, and there’s every indication of glorious success
Ii seems to have happened overnight, but Somtow Sucharitkul is at the halfway point in composing his 10-opera epic “DasJati” (“Tossachat – Ten Lives of the Buddha”), collectively touted by trade publications as the “biggest opera of all time”. It will be, too – provided that the composer survives to realise his extraordinary ambition.
Opera Siam’s compilation of scenes from the first five installations in the cycle – staged at the Thailand Cultural Centre on June 25 and 26 in honour of His Majesty the King’s 70th year on the throne – afforded a wonderful opportunity to revisit some of the more unusual highlights from Somtow’s fevered imagination.
Presented once again in wondrous fashion were the shipwreck and angelic rescue scene from “Mahajanaka”, the animals in the forest mourning the death of “Sama: The Faithful Son”, and the temptation of the Death-God from “The Silent Prince”, as well as the wittily electrifying Baby Dragon Dance from “Bhuridat”.
These musical dramas were performed in Bangkok over the past four years, but most interesting of all was the “sneak preview” of the next entry, “Chariot of Heaven”, from which the audiences at the Cultural Centre were treated to the scene “Tavatimsa Heaven”.
One of the problems in setting these 10 beloved Jataka tales of the Buddha’s incarnations to music is the sheer variety of storytelling techniques involved. Some of the stories are intimate and simple. Others have complicated, generation-spanning plots, and “Chariot of Heaven” derives from one of the latter. It’s based on Nimi Jataka, the story of King Nemiraj, who was so noble that the gods invited him to preach to them in Heaven. Continue reading
The Times of India
Paulami Sen | TNN | Apr 5, 2016, 12.00 AM IST
Kathak guru Shovana Narayan’s goosebump inducing production, Wisdom and Compassion: The way of Buddha, staged at Ravindra Bharathi on Sunday, was different from the word go. Staying true to the eclectic style she is famous for, Shovana merges the tatkars of her dance troupe with the soothing chants of Buddhist monks, and the effect is spectacular. Divided into five acts, the production, which draws heavily from the teachings of the Buddha, was magical to say the least. The music, lighting schemes, the chants of the monks from the Drete Dhargon Monastery and the harmonious music transported the audience into a magical realm for 90 minutes. Some in the audience were even moved to tears — especially at that part where emperor Ashoka is thoroughly disillusioned after watching the perils of war, bloodshed and grotesque bodies. The show concluded with a segment of meditation initiated by the Buddhist monks. Post the show, Shovana was surrounded by her admirers in the dressing room — while one of them spoke eagerly about how much she loved the performance, another reminded her of yet another stellar show in Delhi way back in 1994. Shovana herself had some nice things to say about the Hyderabadi audience: “The reception of my dance in the city is always so excellent! It feels wonderful to perform here, people are so warm, they come up to me and tell me so many things about my dance. The first time I came to perform here was way back in 1980 and it has been a great relationship with Hyderabad since then. Look, so many people turned up this evening, despite the World Cup T-20 finals. I will come here again and again to perform, whenever Hyderabadis beckon.”
King Tran Nhan Tong was honored as King-Monk when he ceded his throne to lead a religious life and became the founder of Vietnamese Zen Buddhism.
A Cai Luong or reformed theatre play dedicated to King-Monk Tran Nhan Tong is expected to debut in December this year to commemorate the 707th anniversary of his attainment of Nirvana.
The play, entitled “Buddhist King” and performed by the Vietnam Cai Luong Theatre revisits the most glorious historical period in Vietnam. During this period, Vietnamese people under the leadership of the Tran Kings in the 13th and 14th century, defeated Mongolian invaders 3 times, gaining national peace.
Script-writer Bui Huu Duoc, who has spent decades learning about Buddhism, wrote the script for the “Buddhist King” play. He said the play features King Monk Tran Nhan Tong as a clear-sighted King as well as a religious figure.
Dr. Bui Huu Duoc noted, “During his reign, King Tran Nhan Tong led the Dai Viet people to defeat Mongol invaders twice. He became religious at a very young age. Though he was a King, he had the heart, mind, and views of a monk”. Continue reading
Saturday, January 09, 2016 9:00 AM – 4:00 PM
Atlanta Soto Zen Center
1167 Zonolite Place NE
Atlanta, Georgia 30306
Registrar: Tom Pongratz
“Thirst: The Nature of Craving”
Between periods of Zazen and chanting the day will be divided into three “Acts”.
Act 1 – What We Crave
In this section we will discuss what it is we crave when we crave. Beyond the obvious sex drugs and rock & roll, what is it we are actually craving? Is there something else? Something deeper? Or do we just dig the high.
Act 2 – How we Crave
The phenomenon of craving – as experienced – is not reducible to standard, common, prosaic language. Ordinary rational language is not sufficient. Something is always lost, missed, or harmed in the telling. Thus in Act 2 we will attempt to understand the phenomenology – the experience as experienced – of craving by sharing its expression through non-prosaic forms. Continue reading
Sitting monk: Thousands of pilgrims attended the unveiling ceremony of a bronze statue of the King-Monk Tran Nhan Tong in the Yen Tu religious and historical site in Quang Ninh Province on December 3, 2013. A cai luong play dedicating the King-Monk, who is founder of Vietnamese Zen Buddhism, is expected to debut in December – Photo: VNA/VNS
VietNamNet Bridge – A cai luong (renovated theatre) play dedicated to the King-Monk Tran Nhan Tong – founder of Vietnamese Zen Buddhism – is expected to debut in the 11th lunar month, December, this year.
Entitled Vua Phat (Buddhist King), the play commemorates the 707th anniversary of his attainment of Nirvana.
The play will be staged by students at the Ha Noi college of cinematography and theatre, members of the Kham Pha dance troupe and monk students of the Viet Nam Buddhism academy.
The Buddhist King is about the life of Tran Nhan Tong (1258-1308), the third king of the Tran dynasty. Continue reading
FO GUANG SHAN Philippines in cooperation with the Buddha’s Light International Association will restage Siddhartha: The Musical at the Main Theater of the Cultural Center of the Philippines on July 17, 2 and 8 p.m. Directed by Sarah Mae Enclona-Henderson and with musical direction by Jude Gitamondoc, Siddhartha: The Musical tells the story of Siddhartha, the prince who renounced his royal status to seek enlightenment, eventually becoming the Buddha. The musical is based on the book The Biography of Sakyamuni Buddha by Venerable Master Hsing Yun, the founder of the Fo Guang Shan Buddhist order. Most of the songs used in the musical are also based on the writings of the Venerable Master. All proceeds of the restaging of the musical will benefit Guang Ming College in Manila for the training of scholars from financially challenged families around the country in the fields of Performing Arts and Buddhist Studies. For ticket inquiries, call the Fo Guang Shan Mabuhay Temple at 559-9540.
Guan Yin Pu Sa: A Musical tells four stories through song and dance in imparting universal life lessons on love, compassion, joy and equanimity.
The Star Online
Sunday January 11, 2015 MYT 12:00:00 AM
BY ROUWEN LIN
In this musical, it’s entirely possible for pink lotus flowers to stretch on for all eternity in high definition, if the producer so desires – thanks to an impressive virtual reality stage set-up.
Painstakingly created by the folks at the Shanghai Virtual Performing Art Lab at the Shanghai Theatre Academy in China, this production integrates artistic content with scientific and digital technology, presenting a virtual reality stage in breathtaking 3D magnificence.
“Having a virtual reality stage really enhances the experience of watching the musical,” says Datuk Tan Swee Lai, producer of Guan Yin Pu Sa: A Musical, during a chat ahead of the musical’s opening.
“With these beautiful 3D effects, it feels like you are actually part of the scene. It feels very interactive. It is a big difference compared to when you utilise just props and conventional multimedia as we did in our previous productions,” she explains. Continue reading