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N Y T E

About Nine Years Theatre Ensemble

Led by artistic director Nelson Chia, NYT Ensemble is an attempt to build a company of ensemble actors who train regularly, in a systematic way, and create together over an extended period of time. Its main activities are divided into: regular training, creation and performance. For regular training, the ensemble uses the Suzuki Method of Actor Training (SMAT) and Viewpoints as its core systems to develop the art of the actor. Other trainings include Voice, Speech and Dramaturgy, etc.. The creation process draws on the synergy that emerges from these trainings over time. The ultimate aim of the ensemble is to develop a sustainable group of company actors that accumulates its strengths through the ensemble environment to create works that are consistent, grounded and integral.


The Idea of a Company Ensemble

The idea of a company ensemble is not new to many mature theatre cultures around the world. We see examples of this model in companies such as Bertolt Brecht's Berliner Ensemble, Eugenio Barba's Odin Teatret, Peter Brook's Theatre Bouffes Du Nord and Ariane Mnouchkine's Theatre du Soleil, Theater Mandiri led by Indonesian director Putu Wijaya, Suzuki Company of Toga by Tadashi Suzuki, and SITI Company by Anne Bogart, to name a few. Furthermore, the essence of the ensemble model is cross-disciplinary as we see how major dance companies largely rely on a core group of dancers who train together over extended period of time in order to produce quality works.

NYT believes that there are unique qualities in an ensemble model and that these qualities, which are at this moment under-explored in our local theatre scene, are in fact the factors that will propel us towards higher standards in our work. These are the reasons for the initiation of the NYT Ensemble.

On Training and Creation
Q: Why do we train?
A: We train for many reasons. But generally it is to
  • become a more capable, and hence a more creative actor.
  • constantly return to a “zero” state, so that we may see, experience and feel with refreshed perspectives.

  • Q: Why do we train together?
    A: It is to build a common language and synergy that allow us to create works that are consistent, grounded and integral.

    Q: What are the characteristics of NYTE productions?
    A: They are:
  • Consistent in the world presented, the delivery of this world, and in overall standard.
  • Grounded in the actors' craft and art, and in the accumulated experiences of the ensemble.
  • Integral because we exercise sensibility in all aspects of the production.
  • Mia Chee

    Mia Chee

    Founding & Core Member

    Mia is an actor, producer and theatre educator.

    She started performing at 9 years old when she joined Rediffusion Singapore's children group and eventually graduated with a BA in Theatre Studies and Chinese Language from the National University of Singapore. In addition to that, she studied Viewpoints with SITI Company (New York) and Suzuki Method of Actor Training with SITI and Suzuki Company of Toga (Japan). Recent works include Lear Is Dead, Pissed Julie, Cut Kafka!, Art Studio, Red Sky, Red Demon, The Lower Depths, Tartuffe, An Enemy of the People, The Bride Always Knocks Twice and Who’s Afraid of Virginia Woolf? (Macau Arts Festival 2013).

    Hang Qian Chou

    Hang Qian Chou

    Founding & Core Member

    Qian Chou first worked with Nine Years Theatre on Twelve Angry Men as Juror #2 and subsequently became a Founding and Core Member of the NYT Ensemble. Since then, he has appeared in most of NYT’s productions, including taking on Kuo Pao Kun's monologue No Parking on Odd Days in Cantonese; playing Gloucester in Lear Is Dead, Jean in Pissed Julie; Old Zhou in Cut Kafka!; Big Beard in Art Studio; Mr Lee's son in Red Sky; the titular role in Red Demon and Tartuffe; the Pot-mender in The Lower Depths; and Peter Stockmann in An Enemy of the People. He graduated from NUS Theatre Studies and the pioneer cohort of W!LD Rice's actors' training programme young & W!LD. He also attended summer workshops at Anne Bogart’s SITI Company (Saratoga Springs, US), Ecole Philippe Gaulier (Paris, France) and David Diamond's Theatre for Living (Vancouver, Canada).

    He has won Best Ensemble five times at The Straits Times’ Life! Theatre Awards, for Art Studio, Red Sky, Twelve Angry Men, Lao Jiu: The Musical 2012 and Mad Forest; and was similarly nominated for Lao Jiu: The Musical 2017, Own Time Own Target and The Hypochondriac.

    Neo Hai Bin

    Neo Hai Bin

    Founding & Core Member

    Over the years, he experienced the theatre’s power to develop social awareness and empower communities. He started off as a member of "ARTivate", the youth wing of Drama Box. Now a freelance theatre practitioner, he receives long-term, regular and systematic training in Nine Years Theatre. In 2014, he attended and deepened his understanding of “Suzuki Method of Actor Training” in Suzuki Company of Toga, Japan. He attended the SITI Company Summer Workshop 2018, New York, to further his practice of “Viewpoints”.

    He is part of "微Wei Collective". He keeps a blog at:
    http://thethoughtspavilion.wordpress.com.

    Timothy Wan

    Timothy Wan

    Core Member

    Timothy is an actor, and musician. He graduated from the theatre studies programme in the National University of Singapore. Since then, he has been actively involved in both the local English and Mandarin theatre scene. He has undergone training programs with SITI Company in Saratoga Springs, as well as with the Suzuki Company of Toga, in Toga, Japan.

    Stage credits include: Army Daze, Glass Anatomy, High Class, Red Riding Hood, Firecrackers & Bombshells, Romeo & Juliet: The Musical, Hansel & Gretel, The Nightingale (in both English & Mandarin), Junior Claus, Titoudao, The Tempest, December Rains, White Soliloquy, Beauty World, Red Demon, Kumarajiva, Red Sky, Fundamentally Happy, Girl in the White Sandbox, Art Studio, Cut Kafka!, Sometime Moon, Pissed Julie and Lear Is Dead.