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Ma Ma Ma Mad

机译：妈咪妈咪

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摘要

Ma Ma Ma Mad is an autobiographical work, written and performed by Singaporean-Australian theatre maker Merlynn Tong. This production, presented at the Brisbane Powerhouse in December 2015, was a multi-genre work incorporating aspects of Butoh, physical theatre, cabaret and contemporary monologue. More than an experiment in mixed performative forms, however, this particular production was also an exercise in inter-cultural collaboration as well as gender in (and of) performance. Heavily influenced by the creator's experiences growing up in urban Southeast Asia, the director's specialisation in contemporary Australian theatre and experience telling uniquely Australian stories worked to manipulate the form in an endeavour to succinctly speak to local audiences, without pandering to entrenched stereotypes or diluting the underlying Chinese-Singaporean themes. The success of this production was also somewhat of a personal challenge for the creatives, after being told by some of Brisbane's most influential theatre venues and festivals that they would rather not support the work because a) it was a one woman show, and b) it was a one woman show about an Asian woman; and therefore would not sell well. One very influential local producer even said that he already had a one-woman show about an Asian person programmed, so he couldn't possibly program another. Operating in such a biased and out-of-touch artistic environment was seen as an easy challenge for the artists involved, which resulted in a highly successful and critically acclaimed sell-out run of Ma Ma Ma Mad, followed by offers to tour the work nationally and internationally. As such, this production also stands as a practical example of the ingrained and patriarchal structures of the Australian arts scene, and how art can work to break down the very barriers that it has helped to construct through a lack of vision and diversity amongst its leaders.
机译：Ma Ma Ma Mad是一部自传作品，由新加坡-澳大利亚戏剧制作人Tong Merlynn Tong撰写和表演。该作品于2015年12月在布里斯班电影院上映，是一部多风格的作品，融合了Butoh，体育馆，歌舞表演和当代独白等方面的内容。然而，这不仅仅是混合表演形式的实验，而且还是跨文化合作以及性别（和表演）中的一项练习。导演深受创作者在东南亚城市地区成长的经历的影响，导演对当代澳大利亚戏剧的专长以及讲述独特的澳大利亚故事的经验可以操纵表格的形式，以期与当地观众进行简洁的对话，而又不至于根深蒂固的刻板印象或淡化底层人物中文-新加坡主题。布里斯班一些最有影响力的剧院和节日告诉他们，他们宁愿不支持该作品，因为a）这是一场单身女性表演，b）制作成功对创作者来说也是个人挑战。这是一个关于一个亚洲女人的女人秀。因此卖得不好。一位很有影响力的本地制作人甚至说，他已经有一个关于亚洲人的节目单人节目，所以他不可能再为另一个人节目。在如此有偏见且脱节的艺术环境中开展业务被视为对所涉及艺术家的简单挑战，这导致了Ma Ma Ma Mad取得了非常成功且广受好评的售罄，随后提供了参观作品的机会在国内和国际上。因此，这种作品也代表了澳大利亚艺术界根深蒂固的父权制结构，以及艺术如何发挥作用，打破了领导者缺乏远见和多样性所造成的障碍。 。

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    Pike Shane; Tong Merlynn;

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