{"id":1097,"date":"2025-07-25T08:00:00","date_gmt":"2025-07-25T07:00:00","guid":{"rendered":"https:\/\/sites.exeter.ac.uk\/hasspgrblog\/?p=1097"},"modified":"2025-07-19T08:41:34","modified_gmt":"2025-07-19T07:41:34","slug":"unsilentmode","status":"publish","type":"post","link":"https:\/\/sites.exeter.ac.uk\/hasspgrblog\/2025\/07\/25\/unsilentmode\/","title":{"rendered":"Unsilent Mode"},"content":{"rendered":"\n

Kelvin Wong, a theatremaker and PhD student in Drama at Exeter and Bristol, tells us about his ‘translocal’ globe-spanning project<\/em><\/strong><\/p>\n\n\n\n

Hi Kelvin. Your research project has many global connections! Where are you as we interview you?<\/strong>
I\u2019m back in Kuala Lumpur, Malaysia right now for a quick break. I just spent a month in Chiang Mai, Thailand, working on the first iteration of\u00a0Unsilent Mode: Vol. II<\/em>, which premiered last weekend. In a few days, I\u2019m off to Singapore for a theatre education conference, then back to Kuala Lumpur for another week before heading to Set\u00fabal, Portugal at the end of July \u2013 that\u2019s when the second iteration kicks off. It\u2019s nice to be home for a bit \u2013 getting stuck in traffic, eating food I\u2019ve missed, and catching up on what my local theatre colleagues have been up to.

Your work investigates \u2018translocal dramaturgy and sustainable devising practices with and for a digital generation.\u2019 Can you translate that for our readers who are not familiar with theatre?<\/strong>
Sure!\u00a0Unsilent Mode<\/em>\u00a0involves emerging theatremakers from across the globe, but no one \u2013 except me \u2013 physically travels. Each performance features a physical performer in the space, joined by digital collaborators who appear live or through pre-recorded media. We use different forms of live and mediated performance to bring these remote collaborators into the same tangible environment.

During the creation process, these forms intersect, collide, and sometimes combust \u2013 and that\u2019s how the work gets made. When the project moves to a new location, the collaborators rotate between physical and digital roles. So, in that sense, international collaboration becomes possible \u2013 without the usual hassle of immigration, documentation, accommodation, transportation, or carbon footprint.

Because the performances shift from place to place, it\u2019s never a simple copy-paste from the last version. Even though we\u2019re telling the same core story, we have to respond to new bodies, new spaces, constantly shifting social and political contexts, and topical media. More importantly, this shift also includes the audiences \u2013 their shared and personal histories, collective and individual knowledge, language, and expectations.

For example, during the making of\u00a0Unsilent Mode: Vol. II\u00a0<\/em>in Chiang Mai, we performed in a venue that\u2019s often used by social activists. That influenced how we saw and shaped the work \u2013 it naturally took on a more subversive slant. We didn\u2019t have to be too on-the-nose when exploring borders, migration, and the idea of home in flux \u2013 the space and the audience already carried that resonance. Nestled in lush rainforest surroundings, we wove dried leaves and stones into the visual storytelling and spatial design.

When the work moves to Portugal next, it will continue to adapt \u2013 translocally \u2013 to a new time, space, context, and audience.

What does your audience see when they come to see a performance of \u2018Unsilent Mode\u2019?<\/strong>
In the first volume, which was presented in Yokohama, Kuala Lumpur, and Exeter last year, audiences experienced three narratives unfolding simultaneously within a modular structure set in a dynamic media environment \u2013 think of it as an immersive, theatrical version of scrolling through a social media newsfeed, with live performers both physical and digital from across the globe. The audience was sometimes implicated in the experience \u2013 they appeared on screen, and the fourth wall was often challenged. In Kuala Lumpur, for example, an audience member even got a foot bath midway through the performance.

In\u00a0Vol. II<\/em>, the same dynamic environment took place, but the audience had more collective agency. They were invited to participate \u2013 using sticky notes that were captured on a Zoom screen; sending personal confessions via their phones from their seats; and in the finale, voting on a solution to an imaginary (but highly probable) local crisis. I found it fascinating that in Thailand, we had three different outcomes across three performances. In this sense, the audience became co-authors of the theatrical experience \u2013 not just passive viewers.

The goal of\u00a0Unsilent Mode<\/em>\u00a0is to reconstruct the theatre experience for a digital generation of audiences \u2013 and I imagine the final project involving even greater authorship on their part. Think of it like a game with stakes, unfolding both physically and digitally, but played by a live community sharing the same space \u2013 performer, audience \u2013 or perhaps, no distinction at all.

Where we do our PhDs is shaped by supervisors, funding, and many other practicalities. How has it worked for you as an international theatre-maker to land in Exeter?<\/strong>
I grew up in Kuala Lumpur, with my formative theatre years rooted in that soulful, chaotic city. I then spent four years in dynamic Chicago pursuing my MFA. Moving to Exeter for my PhD took a little getting used to \u2013 the scale is smaller, the pace is slower, and making food that reminds me of home has been a challenge.

But when I reflect on the quality of support and supervision I\u2019ve received from my three supervisors \u2013 alongside the wealth of resources and research available at my fingertips \u2013 my concerns about living in a small town are close to none. Exeter has grown on me. I wouldn\u2019t have been able to write and reflect on my work as critically anywhere else \u2013 anywhere bigger would have been too distracting.

The funding I\u2019ve received from the AHRC SWWDTP has allowed me to travel across the world, network and collaborate with diverse performance-makers, and bring the kind of theatre I imagine to vastly different communities. It\u2019s become a springboard for the international collaborations I see myself continuing long after my doctoral studies. And I\u2019ll remember Exeter \u2013 both the University and the town \u2013 as the place where it started.

And when I miss my family, friends, and community of theatremakers back in Kuala Lumpur, there\u2019s always Zoom \u2013 and a small network in London, just three hours away.

Practice-based PhDs can feel very different to those based in labs or archives. Have you found good ways to be part of the wider PGR community?<\/strong>
The Communications, Drama, and Film Department has been organizing events that bring together PGRs, which I\u2019ve found really helpful \u2013 especially since practice-based PhDs can sometimes feel like you\u2019re in your own little bubble. These gatherings have created spaces to exchange ideas, share frustrations, and celebrate small wins across different disciplines.\u00a0

Because my output is in the form of live performances, many colleagues have attended my projects \u2013 which I\u2019ve really appreciated. I\u2019ve also connected with practice-based PGRs who\u2019ve graduated from Exeter, as well as others from different universities. Their support and wisdom have made a big difference in how I approach my work. Now, I make it a point to reach out to newer practice-based PGRs too \u2013 to offer the same kind of support that I\u2019ve received.

Theatre practice was profoundly impacted by the Covid-19 pandemic, and it holds deep challenges for environmental care. How do you see research projects like yours playing a part in the future of the industry?<\/strong>
Living in a hypermediated world, technology, digital connectivity, and AI are like the air we breathe \u2013 and the pandemic has reinforced how much we rely on them to maintain some semblance of normalcy. It\u2019s subtly changed the way we take in, process, and respond to information.

I see my research as a small droplet in an exponentially expanding sea of adaptive methodologies \u2013 but more importantly, I hope it plays a role in reversing the crisis of empathy. We\u2019re dealing with a lot of uncertainty, and the notion of home has become a lot more fragile. The challenge now is to create work that doesn\u2019t just reflect this fragility but invites people to sit with it, and respond to it together.

As for environmental care, I see the project as a small suggestion for more sustainable theatremaking practices. I\u2019m aware that digital connectivity still consumes vast amounts of energy \u2013 but compared to constant international travel, its footprint is significantly smaller. It\u2019s not a perfect solution, but it opens up ways to rethink how we collaborate globally while being mindful of impact.

If you could go back to the start of your project and change one thing, what would it be?<\/strong>
To embrace the subversive spirit in the making of my work \u2013 earlier. In the beginning, I was holding on to certain structures and conventions, trying to make the work legible in specific ways. But Unsilent Mode really comes alive when it disrupts, challenges, and unsettles.\u00a0

Finally \u2013 can you recommend a theatre piece (in-person or digitally mediated) for other PGRs to enjoy over the summer?<\/strong>
I\u2019d recommend\u00a0Deaf Republic<\/a>\u00a0at the Royal Court Theatre in London (August 29 \u2013 September 13) \u2013 a powerful, politically charged performance that fuses poetry, British Sign Language, live cinema, and puppetry to explore silence as a form of resistance.

If you\u2019re in Set\u00fabal, Portugal,\u00a0Unsilent Mode: Vol. II<\/em>\u00a0goes up on August 22 as part of the Set\u00fabal International Theatre Festival. And if you\u2019re in Bristol, the third iteration plays from September 18\u201319 at the University of Bristol\u2019s Wickham Theatre. For more info, visit\u00a0unsilentmode.com<\/a>.<\/p>\n\n\n\n

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Kelvin Wong is a Malaysian theatremaker, producer, and educator. He was a Resident Director at The Kuala Lumpur Performing Arts Centre and the Artistic Director of Theatresauce, a director-focused collective he founded in Kuala Lumpur. He holds an MFA from The Theatre School at DePaul University, Chicago, and has taught at Sunway University, Malaysia. Kelvin is currently a second-year PhD candidate at the Universities of Exeter and Bristol. His practice-based research is funded by the UKRI Arts and Humanities Research Council (AHRC) South, West and Wales Doctoral Training Partnership (SWWDTP).\u00a0k.wong2@exeter.ac.uk\u00a0<\/a><\/p>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

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