Dream Country was based on your 1988 work, the Urn Piece. How has it evolved since then?
Marion D’Cruz: The original was for three performers. This is for 35. We started with the idea of 100 but this was not possible logistically and financially. We came down to 50 and then now 35, which is significant because this is the 35th year of the Singapore Arts Festival.
What’s the symbolism of the urn in this piece?
Anne James: The urn is ubiquitous in South East Asia. It is part of our past and present. It brings to mind images of life, birth, death and much more, both commonplace and profound.
How did you find and recruit the cast of female performers?
AJ: We engaged four directors who are working with eight to nine performers each. Some people were invited by the directors; others were selected at an open call. It was an unusual audition process. Participants were asked to bring swimwear, be ready to get wet and to bring towels. They were literally asked to plunge into the urns. Then, the directors chose whom they wanted to work with. All of the performers had to agree to get thoroughly wet, wear sack-cloth and get dirty!
Does working in an open air space affect the performance?
MD: The piece can work anywhere. I have done it indoors and with good lighting it was quite magical. But outdoors, there is an organic relationship among the urns, water, sacks, earth, sky, sun, moon, stars and trees. There is a greater sense of expanse.
What are your personal hopes and dreams for the show?
AJ: I hope the performers have a blast just playing with water, urns, sacks and the ground. I hope the viewer feels the desire to jump into the urns and play too—be a child again—and create their own stories and journeys.
Dream Country runs May 31-Jun 1, 8pm at the Esplanade Park.
