Performing Arts

All of my knowledge gathered pertaining to the field of performing arts! Whether it’s from a course I’ve completed, a workshop I’ve attended, or even through my own research, this is where I share my findings.

Performing Arts

BETAS

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Bestari English Theatre Appreciation Showcase In January 2018, I got to act in a short play within University Malaya’s signature annual event called ‘BETAS’. This stood for “Bestari English Theatre Appreciation Showcase”. During my time in Taylor’s University, I was an active member of the Taylor’s Society of Performing Arts. As a member, I got the opportunity to audition for University Malaya’s event ‘BETAS’. Upon a successful audition, I got to act in a short played called “Chicken Soup For The Soul”. I got the father role. Using inspiration from a previous role for BETAS From rehearsals, the father role eventually drew inspiration from another character from a different play. That character was Benjamin, the starring role I played in ‘Despair‘. One of five plays during Sparties Shorties 2016, a collection of short plays by the Taylor’s University Performing Arts Society. Benjamin was a jaded, under-appreciated corporate slave living with his partner. Similar to Benjamin, the father role too was jaded, and lived with both his wife and children. Drawing from a character I’ve already embodied, it was only natural to achieve similar results with the new father role. Of course, the role of the father came with new emotional nuances I had to honour. Unlike in Despair, where my only scene partner was the girlfriend—requiring direct, spoken interaction—the father’s dynamic was more complex. There was a silent tension with his wife, which allowed me to ignore her presence while shifting my focus toward the children. The performance relied more on subtext and presence than dialogue. Much of the father’s performance hinged on what wasn’t said, maintaining silence and playing with eye contact. I had to express exhaustion, frustration, anger, sadness, and resignation. Characters like this father and Benjamin are the first of their kind in my acting journey, and certainly won’t be the last. I carry the lessons from these roles with me as I continue to explore complex character nuances in my evolving acting career. Enjoyed reading what I learned? You can find more performing arts related learnt content on my blog here, do check it out and learn what I’ve learned too!

Performing Arts

Foundations of Acting II by Pat Chan

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Foundations of Acting II by Pat Chan is a university elective I completed during my enrolment in Taylor’s University Lakeside Campus. Additionally, this is the follow-up course to Foundations of Acting I. This post highlights my completion of the follow-up course. “Walk-about-character” on campus One of our assignments in order to complete the course was to identify a type of busker character and act as that character around campus. Being the cheeky personality that I am and Ms. Pat knowing this after mentoring me fairly closely from Foundations of Acting I & ‘A Flower’s Promise’, industry player Pat Chan decided to allow me a difficult role: a male stripper. Within bounds, of course. I needed many layers of clothing to work with, as it was a public performance after all. What’s more, this was in Malaysia. Surprisingly, not only were there sufficient customers, the money was good too. Though, it was more of the male patrons buying my service for their female friends, rather than the females coming to me on their own accord. Nevertheless, a successful busk it was. Showcase for Foundations of Acting II by Pat Chan: Saya Anak Malaysia (Baru) As a Summer Semester elective, we had 9 weeks to pull off a show. Plus, we did this on top of our “walk-about-character” assignment. Besides industry veteran Pat Chan, the finale showcase also had another industry player involved in its process. Playwright Ridhwan Saidi. He helped with the finale show script. Pat Chan directed us. Pulling this show off was our final exam. Below are some pictures from the show. Rehearsal feedback during Saya Anak Malaysia (Baru) I was one of the main characters, which meant learning to place faith in myself doing the role. This held some weight for me, as it was my second time ever playing as the lead role in a play. The first time being SPARTIES SHORTIES 2016. I had to believe in my acting capabilities and not allow self doubt hold me back. Being in a lead role wasn’t familiar to me. Luckily, I turned out to be a natural and didn’t have to worry too much. I focused on acting to the best of my capability, instead of allowing my self doubt get to me. One rehearsal, Ms. Pat gathered us for announcements. She told the group what she needed for the play to be successful. For some, it was to focus more. For others, it was to not allow their insecurities to hold them back. Then came me. She said I was too concerned about the performance of my classmates. Apparently, I was busy giving energy and helping them on scene. This stopped me from putting energy and focus on to myself, which held back my own performance for the entire play. Essentially, she pointed out that because everyone else in the team was lacking in performance, I’ve been pulling myself back to carry everyone else. This comment struck me. Ms. Pat had then told me to not worry about everyone else, and to focus on my own acting. She had also mentioned that instead of trying to help everyone else achieve the same level as me, I should instead strive for the highest level I can reach and set an example for them to strive towards as well. My reflection learning from Foundations of Acting II by Pat Chan This proved to me that I had nothing to worry about regarding my own acting capabilities. However, it also proved to be a lesson where I need to achieve moderation when acting with those that are not at the same level as I am. Instead of always giving my energy and focus onto the others to help them achieve my level, I should instead focus on myself. Do my best. Set the bar higher so that they achieve levels that not only beat their personal best, but also my previous best. Additionally, I should also keep in mind as to not deprive my fellow actors of my energy on stage. While performing, actors also bounce energy off of each other. It isn’t about fully focusing on myself. Nor is it to fully give them your energy the way I did. It is about learning when to do what. Both serve critical roles when done correctly. Hence, rehearsals for acting are also rehearsals for learning how to exchange energies right. Enjoyed reading what I learned? You can find more performing arts related learnt content on my blog here, do check it out and learn what I’ve learned too!

Performing Arts

Foundations of Acting I by Pat Chan

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Foundations of Acting I by Pat Chan is a university elective I completed during my enrolment in Taylor’s University Lakeside Campus. Furthermore, it is a prerequisite course in order to take Foundations of Acting II. This post highlights my completion of the prerequisite course. My first formal training in the arts As a Fall Semester elective, we had 14 weeks to learn the foundations. One of the things we learnt was the Live Statue exercise, where we did our first public performance holding poses around campus. That and amongst many other fundamental acting exercises, Pat Chan laid the foundations of acting for her students. It was a great first “formal training” in to the performing arts. I thought it was so good, I decided to go for the successor course, Foundations of Acting II. After completing all the exercises, one critical contribution was necessary to pass the class: performing as a group. Our theme of the performance was “Colour of our skin”. We had to perform as a group following the theme and presenting it to Pat Chan was the final exam. Competition to conclude Foundations of Acting I by Pat Chan In order to graduate Foundations of Acting I by Pat Chan, students have to undergo a group final exam and public performance. The cherry on top? The public performance is in the form of a competition, where audience members can vote for their best group performance. Of course, passing the group final exam and doing the public performance was all that was needed to pass the elective. Winning the ‘Audience Choice Award’ is a separate, additional certificate, like the one below; Thanks to my teammates, our group performance stole the hearts of the audience and we won the Audience Choice Award. Unlike Ms. Pat’s evaluations which are qualified, I wonder what it was that made audiences vote for our performance. A wonder that will remain. Upon completing the course, I asked some of my classmates if they were going to continue to Foundations of Acting II. One of them said they weren’t, and that prompted me to ask “Don’t you want to be an actor?”. Then they replied with “Aren’t we already acting? Where ever we go, we act differently with different people. With family, friends, teachers, we don’t act the same in front of them.” That, for me, stuck with me as a philosophical question regarding acting. Enjoyed reading what I learned? You can find more performing arts related learnt content on my blog here, do check it out and learn what I’ve learned too!

Performing Arts

THE FEVER KINETIC (2025)

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Advanced Actor’s Training in Physical and Devised Theatre by THE FEVER KINETIC (2025) I underwent a 4 day theatre training in January 2025 facilitated by Tristen ZiJuin, focusing on devising and physicality techniques. This post will cover my biggest takeaway I’ve learnt as a stage performer from those 4 days. Thank you to THE FEVER KINETIC (2025). Danniel’s personal lesson from THE FEVER KINETIC (2025) During one of the four days, my partner and I were tasked with devising a physical movement piece. At the end of that piece, my partner pushes me and I added with jumping away. The below video demonstrates that. My intentions were to put what I had to offer as an artist in to the work. To give my all. To not be lazy, essentially. However, these intentions were not translated, as later Tristen described my input as unnecessary. He then explains to me that as artists, we don’t need to add on things unnecessarily. The more you add, the more muddled your message becomes. What is bare already has a story to tell. I replaced my jump with instead an authentic response from the push from my partner. Here’s what that looked like. I don’t know if it’s just me (since art is subjective), but for me, this version felt more depth in terms of storytelling. Everything else learned from that four day workshop was knowledge and practice. But this was my personal lesson; the bare already has a story to tell, adding unnecessarily, unintentionally, can muddy the message. Everything else learned from THE FEVER KINETIC (2025) There were a lot of things covered in those 4 days, so below are just some of the highlights taught by Tristen ZiJuin. Ensemble training As an ensemble, we’re taught to move as a single organism, as opposed to multiple organisms moving as one. To work towards this, we underwent a number of ensemble building activities together. A clear Devise process As an ensemble, we reflected on what ‘community’ meant to us. Using each of our individual iterations, we composed an entire physical piece based on those reflections. The process was clear. From what I gathered, it was giving input regarding the theme. Then, using those inputs to inspire physical movements. Lastly, sew those movements together to form a piece that represented our theme. Introduction to the Suzuki Method On the fourth day, Tristen introduced us to the main Suzuki stomp. He explained that there are several Suzuki stomps, and that the stomp was to give and receive energy from the floor. It wasn’t a glide or a slice forward, but rather a clear up and down energy transfer to and from the floor. This was a gruelling exercise not just for the legs, but the torso and core as well. Non-verbal Communication In theatre training, we normally learn that there’s a lot of non-verbal communication and that they’re normally with the eyes. In this workshop, Tristen took it one step further. It wasn’t just the eyes. It was also sensing and perceiving your ensemble mates. It’s not just seeing their body language. It’s also reading it. That encompasses understanding, interpreting, and anticipating them. We did a slew of exercises to practice this. And then with that information, we as stage performers adapt accordingly. One exercise we did was holding sticks as a group and trying to not drop them as we moved around the room. How I’m feeling after THE FEVER KINETIC (2025) This Advanced Actor’s Training in Physical and Devised Theatre was my first experience of it’s kind. It was an intensive 4 days and I’m feeling ready to take on more advanced courses such as this one from now on. At first I felt I wasn’t ready, but now I know I can do advanced stuff now. Enjoyed reading what I learned? You can find more performing arts related learnt content on my blog here, do check it out and learn what I’ve learned too!

Performing Arts

Weekend Drama School in 2024

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In January 2024, I signed up for Monday Show School’s Weekend Drama classes and attended classes until completion in December 2024. Huge thanks to Monday Show School and Dominic Lucien Luk for the Weekend Drama School experience in 2024. Attending Weekend Drama School from January to December is a lot to write in this single post. So this post will only cover my biggest takeaway I’ve learnt as an actor thanks to these classes. Improv game leading to a reflection of my amateur mistake One class we played an improv game where two players are on stage for a scene, and as the scene progresses, students offstage have to find a moment to shout “Freeze!”, causing the two actors to freeze in that moment of the story. The shouter then gets to tap any of the frozen actors to switch in with them, while the tapped joins the rest offstage. The new player then starts off a new scene with the untapped player. My turn and I chose to play a character that had to exert a lot of physical energy with my scene partner. Obviously, this choice was high in energy, but I also did it in a loud way. As the scene progressed, someone shouted “Freeze!”, and my scene partner was tapped out to be replaced. In this next scene, my new scene partner chose to be a dying character. To “Yes, and”, I went for a wailing character mourning for their slow death. My interpretation was high energy, but again, loud. Later after the game we had a group reflection, and one of the things mentioned is that even though the audience got two very different scenes, it felt like they were watching the same character when it came to me. This was when I realised; I lacked versatility and nuance. Versatility would have led me to go for a low energy character. Nuance would have allowed me to stay high energy, but execute it differently to offer a new character portrayal to the audience. My biggest takeaway from Monday Show School’s Weekend Drama School in 2024 There is a difference between being high energy and looking high energy. That class, I did both things in the two scenes consecutively. Being aware of my state of being showcases versatility, and how I make that state of being come across showcases nuance. Let’s use the example mentioned earlier for my wailing mourning character. (A) Versatility could have led me to be in a state of shock, a state of being low energy. Consequently, it would have also made me look low energy. (B) Nuance could have led me to mourn quietly, but intensely. This is a state of high energy, but I would have looked low energy. In both instances, I would have given my audience a contrasting character experience, especially since my previous scene was me both being and looking high energy. If my versatility strengthened, I could open possibilities into the unknown and make fresh bold choices. If my nuance masterful, I could stay high energy internally as a character but portray outward varying levels of energy. *Note: ‘Small Stage’ is a series of shows being staged at the end of every term. Enjoyed reading what I learned? You can find more performing arts related learnt content on my blog here, do check it out and learn what I’ve learned too! Credits Written by Danniel IskandarProofread by

Performing Arts

Bright Ong Workshop 2024

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This post is my recollection of learnings I had gathered from the time Monday Show School invited Bright Ong for an ‘Ensemble Movement and Devising’ workshop back on May 11th, 2024. This article is comprised of two parts; (1) the objective content, where I recall the things Bright Ong had taught the students, and (2) the subjective content, where I provide my own interpretations, reflections, and personal understandings regarding the objective content learnt. Objective Content from Bright Ong Theory by Bright Ong  (A) The secret to a successful ensemble is; Saying yes to each other. When your ensemble mates make an offer, accept and run with it. The Improv rule “Yes, and” applies to this context. Having empathy. Actors are humans, and humans are all unique from one another. As a result, all actors will “come from” & as well as “access the work” from different places. (B) The leads are the main meats, the ensemble is the gravy. Imagine a full course meal. The lead actors are like the main dish, the star of the show. The ensemble is the gravy—if it’s bad, it can ruin the whole meal, but if it’s great, it enhances the entire experience. Similarly, a strong ensemble can elevate a performance, while a weak one can bring it down. (C) Contextualize for every show. Every show is unique, different. Not just when they change directors and casts, but every show is also operating in a different time and space. As long as you make it make sense, not in your mind, but in your heart as well. This helps to discover new things and keep things fresh. (D) Saying “yes” to each other (extended). This is not limited to just the actions offered to you, but extends to the energy and allowing for your senses to be immersed into the environment. (E) Be aware and receptive. Don’t do things just because “this is how we do things”. What has worked previously worked previously, but that was in a different time with different circumstances. Take the step to find out what works for you now with your current circumstances. Radiating (F) Acting the feeling Vs. Radiating. One common approach to the work is “acting the feeling”, which is feeling it inside of you. Bright Ong’s workshop proposed another approach, which was “radiating”, originated from Phelim McDermott who taught this particular skill. In other words, it was “pushing the feeling in to the space”. By extension, Bright also introduced ways to “radiate”, which is down below; Molding Heavy movements, as if you’re moving through thick sludge. High resistance against your body, and your centre of gravity is in your lower body. Floating Light movements, as if there is a column of air through your vertebrae. You are light and floaty, and your centre of gravity is always moving. Flying Quick, fast, sharp movements. Characterised as similar to Hummingbird movements, and you’re constantly moving. Your centre of gravity is in your chest. Impel Make those around you come to you. Compel Stay out, compelled to stay. Repel Opposite directions. (G) Final Thoughts What makes “radiating” even more interesting is when you do a combination of saying one thing but doing something different, at the same time. For example, two performers saying yes to each other even though both are going in opposite directions, which gives you contrast. However, remember to highlight everyone to the best of their capability. If you want the job right, use the right tools. Similarly, understand how to use your tools (the performers), the right way. Eg. You wouldn’t use a hammer as a screwdriver. When in play, follow your instincts, your body knows. Subjective Content by Danniel Iskandar (1) Differences in the work: Not only is there a technical difference in the work (visually through levels, speed, etc) but also the quality behind the movements and the entirety as a whole (the story seen, the quality, etc) (2) Complexities provide opportunity but simplicities provide understanding: Humans are creative, even in the mess of complexities, they will find ways to not only work around them, but even use these complexities as a form of launchpad for their creative solutions. Yet, what is often forgotten but is equally needed, is simplicity in order to facilitate understanding from all parties involved. (3) “Yes and” has to be reciprocated: Having ensemble mates saying yes to me is one thing, but having me also saying yes to them is just as needed in order for the play (verb) to be a success. Even extending to me saying yes to them saying yes to me, as opposed to me staying stagnant/neutral as they run with my offer. It has to be built upon, to be run together, and to discover the unknown together. Enjoyed reading what I learned? You can find more performing arts related learnt content on my blog here, do check it out and learn what I’ve learned too! Better yet, learn from the man himself, at https://www.brightong.net/ or follow him on Instagram for updates at his Instagram account here! Credits Written by Danniel IskandarProofread by