Titus Andronicus 2.0 is a bold and revolutionary attempt to explore the unreleased potentials of Shakespeare’s play by rewriting it into a narrative and physicalizing the act of story-telling in various non-representational ways.
Focusing on the very essence of theatre – bringing actors before spectators – with just a bare stage, live music, seven chairs and seven actor-narrators who switch between narrating the action and embodying the characters with intense physicality, Titus Andronicus 2.0 leads audiences through the black hole of the human psyche into a world of primal energy, boundless imagination, self-reflection, self-discovery and cathartic peace. It is an adventure for possibilities of theatre through a journey to the source, returning to the origin of both Eastern and Western theatre in which stories were told and performed.
The performance in Titus Andronicus 2.0 comes from an organic process of creation through intensive ensemble disciplinary training and improvisational experiments which evolve into different forms of story-telling. All these forms are containers of the actors’ energy springing from their inner lives and embodying through their physicality. Their heightened physical energy moves audiences intuitively beyond the cognitive consciousness. The experience is uplifted to a socially reflective and spiritually penetrating level; blood and tears are put into a passionate meditation as well as an unbiased contemplation: why do we still do theatre today?
The entire audience is led to the inner world of the text by a powerful eddy of narration and physical acting
Cup Magazine, (Hong Kong)
This work clearly demonstrated that the most effective theatrical language is the body of an actor
United Morning Post, (Singapore)