by Holly Johnson
Oregonmusicnews.com
July 3, 2012
Portland actress Helena de Crespo was travelling through Cambodia about four years ago, when an accidental encounter changed her life.
After visiting the famed temples of Angkor Wat
in that battle-scarred country near Siem Reap, she headed down a road
with her interpreter. There on the side of the road was an ornate
traveling theater. De Crespo, born in Spain and raised in Britain, was
familiar with outdoor theatre, as years ago she had traveled in South
America, performing with a troupe that mounted shows in various venues,
some of them outdoors.
But she hadn’t seen anything like this, especially amid the poverty of the land.
“I told my interpreter ‘Stop the car, I want to meet them,” de Crespo
recalled. The Cambodians along the roadside accepted her visit calmly.
She urged her interpreter to ask them who they were and what they did,
and in turn, to tell them that she was an actress. When they found out
she was involved in theater, they welcomed her openly. They offered her
what little food they had, and invited her to take photographs.
They showed her how they powered the stage lights with an old
generator run by a car engine. They showed her their costumes, and how
they lived under the stage. Amid dire poverty and life in substandard
conditions, they were performing live theater in Khmer (Cambodia’s
official language) regularly to local audiences, who regularly number
over 1,000 at a single presentation.
After more than two hours had passed, she had had animated discussions with company director Len Chouen,
and she learned his amazing story. Len Chouen had come from a theater
family who performed the ancient art form of Bassac, a mix of opera,
theater, music and dancing dating back 4,000 years, disciplines he
learned as a child. When all artists in Cambodia were slated to be
killed during the Khmer Rouge, his family members were wiped out by Pol Pot’s
soldiers, but because he was small he was hidden under their dead
bodies, and was able to escape. De Crespo learned that Len Chouen had
formed his company, about 86 members in all–including orphans wandering
the countryside–in order to preserve Bassac. As she was about to leave,
he begged her to help the company, which is titled the Reasmey Ankgor
Bassac Theater Troupe.
“I was leaving the next day,” de Crespo said. “All I could think
about was them. I was really ignorant. I didn’t know anything about
Bassac. All I could see was those people suffering. I thought, ‘What can
I do? Where can I turn?’ Bassac, she learned, is an ancient art form
originating from India, using many of that country’s mythological
characters, and was inspired by the Ramayana, an ancient Sanskrit epic
that is an important part of the Hindu canon. Ramayana thematically
explores human values and the idea of dharma, the principal or
law that orders the universe. So many people were unable to read, so
through traveling theater they learned about the gods and their
traditional stories through theater.
When she returned to Portland, de Crespo started contacting various
social service agencies to help raise money. No one in America answered
her request, but through her connection with England’s Actors Equity,
she found International Performance Aid Trust (IPAT),
a group operating out of Britain and Belgium. Eventually, their funding
enabled the Bassac company to purchase land for their theater center.
Other improvements are in the works, including a water pump, health
center, school and a more permanent theater space. “They’ve got some
pigs and chickens and a pond for fishing, and papaya trees have been
planted,” de Crespo said. But she said there is much more that they
need. During the monsoon season, she added, the theater group members
are forced to move elsewhere due to lack of shelter.
De Crespo and a group of other Portland people sympathetic to her
cause have recently formed a not-for-profit group titled Save World Art.
The Cambodian project, originally called “Cambodian Treasures–The Bassac Project,”
will be the inaugural effort of this fund-raising group. And to raise
money de Crespo has launched her own money-raising project, the
performance of a chilling, dryly funny one-woman play titled “Elective
Affinities” by Syrian-American playwright David Adjmi.
A site-specific playlet about a wealthy woman with no humility, it is
designed to be performed in opulent private homes, and is by invitation
only, although de Crespo says that could change. She has performances
slated in the Portland area and in Ashland this summer.
“Many people in Cambodia are still struggling to say alive,” de
Crespo said. “Between 1975-1979, two million Cambodians perished during
the genocide. Even after 30 years their infrastructure is still very
bad.” She added that Save World Art is geared toward helping with
buildings, health, sanitation and self-sufficient food production. But
it’s also aimed at something more that could help the entire
country–reviving an ancient art form that can enhance tourism as well as
the quality of life for Cambodians.
“Who would have thought,” de Crespo said, ” that my stopping a car
and walking out to meet a group of people in the Cambodian countryside
would have such a great effect on my life?”
Watch “Cambodian Treasures: Preserving Bassac Theatre”
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