‘One Table Two Chairs’ Descends to Singapore ‘One Table Two Chairs’ Descends to Singapore ‘One Table Two Chairs’ Descends to Singapore

Inspired by the foundational stage design of traditional Chinese opera, ‘One Table Two Chairs,’ conceived by Danny Yung, utilizes a table and two chairs to symbolize the relationships between space, individuals, and social classes in various scenarios. Since its inception in 1997 with Danny Yung’s curated ‘Journey to the East,’ ‘One Table Two Chairs’ has evolved into a framework for cross-cultural dialogue, creative collaboration, and dialectical thinking. 

Danny Yung’s work, dedicated to commemorating Singapore’s ‘Father of Theatre,’ Kuo Pao Kun, is titled Legends According to Lao Jiu. The piece interweaves diverse elements, including Malaysia’s traditional Makyong performance, Cantonese Nanyin music, and the Singaporean casino scene. Throughout the performance, a figure shrouded with an A4 white paper covering its face continuously occupies the stage.

Created in 2012, this work retains immense interpretative space today. The deconstruction and reconstruction of Makyong dance and Nanyin music not only resurrect traditional art from neglect and erasure but also signify the boundless creative possibilities arising from the convergence of two distinct cultural landscapes. The work also delves into the challenges that commercial markets and technological advancements pose to the performing arts. The elements of the casino unfold within the constantly shifting text at the back of the stage, simultaneously challenging the audience’s visual and interpretative experiences while questioning the relationships between the market and theatre. The blank paper serves as a symbolic medium carrying text, culture, and civilization, representing an incessant pursuit of information and technology, akin to the obscured vision of the faceless figure. 

In Mathias‘ Tao of Water, cutting-edge theatrical technology, including motion capture techniques, is employed. The content draws inspiration from the Tao Te Ching and a classic interview with Bruce Lee regarding the concept of ‘water.’ The dialogue incessantly explores the relationship between water and nature, while also delving into the interplay between authentic expression and the relationship of style or form. The juxtaposition of these discussions with a myriad of technological elements creates vast spaces for contrast and irony. Technological simulation reveals the dance of bones beneath the skin, stripping away the superficial performance and expression. However, conversely, technology prompts a heightened focus on elements beyond the body, enveloping human emotions in digitization.

The work, on one hand, offers audiences a novel theatrical experience, while the dialogue continually underscores the core spirit of communication for the audience. The bombardment of popular songs from different eras underscores how popular culture shapes collective memory and even oppression, reminding us that technology has always been a constant presence. The significant contemplations presented in this work revolve around the coexistence of humanity and technology, and the intricate interplay and fusion of art and technology. 

Liu Xiaoyi chose to craft the piece School of Thought in conjunction with the imminent establishment of the University of the Arts Singapore, embarking on a novel exploration and inquiry into art education and its institutional frameworks. On stage, the collaboration features the 59-year-old Japanese contemporary dancer, Matsushima Makoto, and the 69-year-old Indonesian traditional dancer, Didik Nini Thowok.

By retrospectively delving into the embodied memories and training histories of these two artists, the work seeks to unravel the genesis of an artist. Both performers did not undergo conventional artistic training or graduate from art institutions; instead, they cultivated themselves through self-study and sought diverse opportunities for interdisciplinary exchanges, thus evolving into accomplished artists. In a sense, they embody the products of cross-cultural fertilization. Simultaneously, despite achieving fame in their respective cultural backgrounds, the two artists, on stage, reenact their journey from mutual acquaintance to observation, mutual learning, and harmonious or discordant coexistence. This hints at the possibility that the future of art education lies in blurring the boundaries of artistic forms, breaking down categorizations, and emphasizing individual and personal development. 

Zuni Icosahedron’s engagement with NAFA not only involved presenting three works but also included a series of workshops, lectures, and seminars. Both parties formalized their collaboration through a memorandum, setting the stage for future in-depth collaborations in the realms of art, creation, and technology, particularly in the context of NAFA’s upcoming Bachelor of Arts (Honours) Contemporary Chinese Theatres Programme. NAFA is affiliated with the soon-to-be-established University of the Arts Singapore. The birth of a new institution often serves as a pivotal moment for critique and reform. NAFA strategically inviting Zuni Icosahedron signifies an openness to creative critique from external forces regarding the school’s inherent systems, facilities, and educational content, showcasing the vision of the institution to broaden its international exchange network. 

At the core of the ‘One Table Two Chairs’ project is the emphasis on cross-disciplinary exchanges on stage, extending to a critical examination and evaluation off-stage. The three productions of ‘One Table Two Chairs’ presented new inquiries to NAFA and the Singaporean audience, touching on challenges in the Singaporean cultural environment, advancements in theatrical technology, and the essence and future of art education. During the performances, Danny Yung, Mathias Woo, and Liu Xiaoyi held meetings with decision-makers at the University, including faculty from various departments at NAFA, exploring potential future collaborations—from specific disciplinary partnerships to establishing foundational infrastructure for art and technology labs, and further developing brand alliances and international networks. 

Frontline arts organizations and art educational institutions should strengthen their communication and collaboration. Arts organizations should not solely focus on staging performances, and art educational institutions should not only produce service-oriented talents. Both parties should leverage their strengths in research and planning for talent cultivation, as well as in the establishment of platforms and networks. Only through mutual supplementation and collaboration can they contribute to the long-term development of a vibrant cultural environment.