#HelloTFP: Ong Kian Sin

#HelloTFP is a series of anecdotes where we introduce and share more about the members of the TFP family; from core team members to office interns. In this latest #HelloTFP feature, we approached one of the co-founders, Kian Sin, and got him to share his thoughts about the fledgling years of TFP, its journey over the past 20 years, and the things he loves the most about theatre.

The Finger Players first started out in 1996 as a children’s division specialising in traditional Chinese hand puppetry under The Theatre Practice. The late drama doyen, Kuo Pao Kun, enrolled the key original members comprising of Tan Beng Tian and Ong Kian Sin to spearhead and promote the art of puppetry among the young. And in 1999, The Finger Players left The Theatre Practice to establish itself as a separate entity with the initial mission to create a puppet theatre that promoted the legends and myths from the Asia Pacific.

“十指帮是在实践和郭生的庇护下成立的，我当时完全是剧场的新鲜人，没有接受过任何表演艺术的基础训练，也对艺术工作内容一窍不通。所以当知道必须自立门户时，我非常迷惘，心里总在想：我是不是该转行另行高就？……那如果继续坚持下去，十指帮接下来应该怎么营运？应该何处落脚？……而最最恐惧的是，我们的还有机会演出吗？我们还有机会可以继续创作、实验、制作和排练，享受一出戏完成的美好和愉悦的过程吗？现在回想起来，那还真的是即“可怜”又“美丽”的挣扎！

“The Finger Players was founded under the nurturing space of The Theatre Practice and Kuo Pao Kun.

Prior to the establishment of TFP, I was completely new to theatre, with no prior foundational training in performance, and no knowledge of artistic practices. So when I found out we had to break away from The Theatre Practice and become independent, I found myself at a loss, thinking – should I pursue a different career track? If we go down this path, how is The Finger Players going to continue operating? Where would I position myself? And the most pressing concern was, would we still have opportunities to perform? Would we still be able to continue creating, experimenting and making, and enjoy the process of putting on a good show? Thinking back now, that was a wretched yet beautiful period of struggle!

十指帮这二十年经历了不同阶段的蜕变，从一个本来只为儿童而演出的剧团，到一个培育艺术工作者的创作温室，到如今成为一个相信“艺术共享”的有机艺术空间。我想这一路来，最难得是我们一直坚持了“原创”，“取材本土化”、“实验创新国际化”和“人文探索和关怀”这个几个重点精神，而我们才能渐行渐远。我期待，这也许对很多人来说太冠冕堂皇的概念，这样的艺术态度和精神能继续一代传一代；我也常常觉得，在为观众完成一出戏的过程中，也完成了某部分的自己。这样的快乐和简单，也可以长长久久。

Over the past 20 years, TFP has transitioned through many different stages, from a troupe originally intended for children’s theatre, to an incubator that nurtures artistic development, to what it is today – an organic space that believes in the value of the collective and shared artistry.

After all this time, it is remarkable that we have managed to hold onto our belief of creating original, local works, collaborating with international groups, and pressing on in our exploration of human nature and empathy. It is with this spirit that the company will be able to go further in future. My wish is for such a culture to last through the generations, though some might think this is too lofty an ideal. I also often feel that in watching a production, the audience ends up finding themselves in it. This happiness, though simple, can be of the enduring sort.  

剧场是一个集体创作的空间，我最享受的就是能结集所有不同载体于一体（演员，灯光，音效，舞美，偶艺……等等），在不同艺术元素的互相撞击中，磨合一个表演成品，建构一个“非小我而大我”的华丽想象世界。

我在不同工作领域中，总在发现和领悟，我享受这些过程。在每一个不同的制作中，找到创作的另一种可能性。而在每一次不同的任务中，告别之前的“乏味可陈”。也许，个性使然，毕竟不同的身份和工作，让我可以不断的自省和反思，抽离和沉淀……积攒自我生命的存在价值吧！所以回到问题，没有一个，它们每一个在当下，都给我极大的满足感。”

The theatre is a space for collaborative work, and I love that it pulls together so many artists from their respective disciplines (actors, lighting and sound designers, choreographers, puppeteers, etc), creating a performance piece in the world of our imagination, out of the collision between these different artistic practices.

In all my various different areas of work, I very much enjoy the process of continually learning new things and making new discoveries. In every production, I discover a different possibility of creation. The different positions I take on in theatre-making allow me time to reflect, space to pull away and settle down, and is ultimately an accumulation of my life experience.”

Kian Sin often designs and constructs puppets. His puppet creations were seen in Furthest North, Deepest South, First Family, Wong Kar Wai Dreams, Twisted, Flare and suitCASES. In 2007, he staged 0501, a site-specific production that won two technical awards (Set and Sound Design) at the 8th Straits Times Life! Theatre Awards, as well as a President’s Design Award. 

He is currently directing a restaging of TFP’s earlier work – “Love Is The Last Thing On My Mind” as part of “The Present/Future Season” 2020 presented by TFP in collaboration with NAFA.

Performed by the graduating students of NAFA Diploma in Theatre (Mandarin Drama) 2020, “Love Is The Last Thing On My Mind” will be streamed LIVE this Friday 30 October, 8pm, with a continued broadcast till Sunday 1 November 2020, 2359 via SISTIC Live. Click here to find out more.