《前浪风云，后浪之思》Forefathers and Storms

《前浪风云，后浪之思》Forefathers and Storms

《一名左翼青年父親的秘密抽屜與一名政治扣留犯父親的求情書》The Secret Drawer of a Father Who Was a Leftist in His Youth, and the Plea Letter of a Political Detainee, Father –  A reimagining with Ling Tang and Lim Tiong Wooi.

Two dramatists, both from leftist families, draw from two deeply personal yet historically resonant family memories: one, a secret drawer that "cannot be opened" – a space strictly forbidden to be touched by the father, a source of both fear and enlightenment for the child; the other, an archive consisting of nearly 60 official documents and application letters, ranging from a detention order of 1964 and a banishment order of 1967 to countless applications, rejections, and temporary entry permits spanning more than two decades.

These seemingly hidden yet indelible objects contain the ideals, beliefs and attitude towards life of their parents. They also invisibly permeate their growth and shape the texture of the family life.

Through narrative and archival re-enactment, the two performers will explore obscured histories and how their fathers' backgrounds flowed into their descendants' bodies and bloodlines, influencing their identities and aspirations as children and artists. This is both a search for "the secrets of our fathers" and a dialogue across past and present: a dialogue between historical memory, political legacy, and personal identity.

This performance invites the audience to step into the memories of two families and listen to the voices that have never faded. It also reveals the spirits of 1960s leftist theatre—from the parents' encounter on the stage to the intertwined destinies of art and resistance. These stories, like echoes of their time, still resonate today.

The performance will also introduce the works of 1960s playwright Lim Being Chew aka Shi Keyang (1937-2005).

兩位同樣來自左翼家庭的戲劇工作者，從兩段私人卻深具時代性的家庭記憶出發：一個「不能被打開」的秘密抽屜——父親嚴令不可觸碰的空間，對孩子而言既是恐懼的來源，也是啟蒙的起點；另一個，則是由近六十份官方文件與申請信函組成的檔案，從1964年的拘留令、1967年的驅逐令，到跨越二十餘年的無數申請、駁回與短暫入境許可。這些冰冷的文字與日期，承載著一個家庭的等待與掙扎。

這些看似隱密卻無法消失的物件，蘊藏著父輩的理想、信念與生命態度，也在無形之中滲入她們的成長，形塑了家庭的日常風景。

兩位呈現者將透過敘事與檔案再現，追索那些被遮蔽的歷史，以及父親的背景如何流入後代的血脈，影響她們作為子女與創作者的身份與追求。這既是一場對「父輩秘密」的探尋，也是一次橫越過去與當下：對歷史記憶、政治遺緒與個人情感的對話。

這場演出邀請觀眾一同進入兩個家庭的記憶現場，傾聽那些未曾消失的聲音。同時，亦將呈現60年代左翼戲劇的精神脈絡——從父母相遇於劇場，到藝術與抗爭交錯的命運。這些故事，如同時代的迴音，至今仍在呼吸。

（註）演出亦將介紹六〇年代劇作家林明洲（又名：史可揚1937-2005）的作品。

《縫製記憶 - 漁島風雲》Storm Off A Fishing Village – a lecture performance by Usen Leong 

檳城、劇場與1960年代的跨文化想像

Stitching Memory - Penang, Theatre, and the Cross-cultural Imagination of the 1960s

Born in Penang and active in school theatre during her teenage years, Usen Leong embarks on a personal journey sparked by a nearly forgotten 1960s school play — Storm on the Fishing Island, written by playwright Yeap Thye Hoon for Han Chiang High School. The play’s portrayal of ethnic tension would later, perhaps unintentionally, echo the real-life trauma of the 1969 May 13 Incident.

This discovery leads her to University Youth, a student magazine from Nanyang University in Singapore, where the play was first published. The magazine featured not only Yeap’s script but also a translation of Usman Awang’s Merdeka Night, a modern Punjabi play, and a cover title printed in Jawi script, all pointing to an era where cross-cultural and multilingual creativity was not merely imagined, but actively practiced.

Before the walls went up, there was a moment when languages, bodies, and stages crossed lines with intention and care. Might these forgotten crossings still offer us courage today?

出生於檳城，中學時期活躍於戲劇社團的梁友瑄，從一齣寫於1960年代、幾乎被遺忘的校園劇本《漁島風雲》出發，展開她對歷史與劇場的追尋。劇作家葉苔痕筆下的社會矛盾意外呼應了1969年的五一三事件，而劇本亦曾發表於南洋大學學生刊物《大學青年》。從中文劇本、馬來劇作到旁遮普戲劇，乃至爪夷文的出現，這些跨文化痕跡，見證了一個曾真切實踐多元與想像的年代。

而今天，當我們回望，在邊界尚未築起之前，那些我們曾經想像、並努力實踐過的跨越經驗，是否依然能給我們勇氣，去回應當下的現實？

Followed by a conversation between the artists.

Ling Tang, born in Kuala Lumpur, is a versatile theatre practitioner with a rich and diverse background. She holds a Bachelor of Literature(Theatre Directing) from The Central Academy of Drama(Beijing) and received training at prestigious institutions such as Ecole Philippe Gaulier and École Internationale de Théâtre Jacques Lecoq in France. 

Her directorial portfolio spans a wide spectrum, from commercial shows to experimental performances. Notable among her directorial credits are "Ibu" and "Dong Di Yin 2017: Gari, Cari, Lari…".  Beyond directing, Ling's talent as an actress has captivated audiences both on stage and screen.  Ling's artistic journey is marked by a rich tapestry of international collaborations, residencies, and festival experiences. such as Avignon Fringe Festival, Kunsten Festival de Arts,, Brighton International Arts Festival, The Taiwan International Festival of Arts and Gwangju International Performing Arts Festival among others. 

Lim Tiong Wooi started acting on stage at a young age; her parents’ background in theatre fostered a keen interest in it. In 2003, she enrolled in the Hong Kong Performing Arts Drama Department, pursuing a Diploma in Acting. In 2005, she returned to Malaysia and began participating in local theatre performances. She is also a script writer and yoga instructor.

Theatre production involved: The bed time story , Ah man Return , Little Mission Impossible, Water Closet, Rose Rose I love you, Animal Farm, Oink, Brenda Alba, Sexuality Merdeka- Family Outing, After Sunset before Sunrise, Time~Distance~White Crow.

Usen Leong teaches in the Drama & Visuals Department at New Era University College. Her work focuses on visual literacy and documentary practice. She also serves as a content consultant for Hi!Lighter, a knowledge-based YouTube channel, and contributes critical writings to media platforms such as Malaysiakini and Sin Chew Daily.