Selected works across three decades, grouped by the strands that run through the practice: masks, sacred places, collaborations across borders, and lives told first-hand. The full chronology is in the CV.
A mask performance directed by Nikorn Sae-Tang from a script by Pradit Prasartthong: the demon Sukhahajara chooses to give himself up so that peace can hold. Kop performed in the mask in Bangkok and Chonburi.
The bone-white face under stage light is the closest thing her archive has to a signature image.
Her most recent mask work, directed for the Len Yai Program at Haan Studio in October 2025.
Noda Hideki’s Japan–Thailand collaboration put her inside one of Japan’s landmark contemporary plays — the story of an outsider the village calls a demon. She performed it in Tokyo at the Setagaya Public Theatre, in Bangkok, and at Bunkamura.
The red brush-face of its poster still sets the temperature for how her graphic work looks and feels.
For one December, sacred music had a whole city. More than a hundred musicians from ten countries performed at Wat Suan Dok, Chiang Mai University, Payap University and the Dharma Park in Lamphun — a festival inspired by the Dalai Lama and supported by the Prince Claus Fund.
Site-specific theatre made for a forest temple on the slopes of Doi Suthep: the audience walks the temple path through a story of life, death and what remains. Made within TERASIA and restaged at Selasar Sunaryo Art Space, Bandung, in 2024.
The work lives in its documentation — watch it on the Performances page.
Sixteen artists from across Asia — directors, actors, playwrights — spent three years inside the Setagaya Public Theatre’s Asian Contemporary Theatre Collaboration Project, workshopping in Tokyo, Bali, Kawaba and Yamaguchi. Hotel Grand Asia was where it arrived, on the Theatre TRAM stage in March 2005.
Commissioned for the Singapore Arts Festival by The Necessary Stage, Mobile put nine performers from four countries on stage to follow migration through Southeast Asia. Kop is credited twice — among the writers and in the cast.
Conceived by Alvin Tan, directed by Alvin Tan and Tatsuo Kaneshita, with head writer Haresh Sharma. It played Singapore and Kuala Lumpur in 2006 and Theatre TRAM, Setagaya, in 2007.
Two years of residencies moving along the Mekong with artists from across the region — Chiang Mai and Luang Prabang in 2003, Cambodia in 2004. A Dance Theatre Workshop (New York) project funded by the Rockefeller Foundation.
An Art Network Asia grant carried the work across Indonesia — Jakarta, Bandung, Yogyakarta, Surakarta, Bali — directing and performing stories of women warriors and indigenous heroines.
From workshops with the performance artist Dan Kwong in 2001 she built a method: performers write their own lives, then perform them. It travelled.
The method became a play in Taiwan: written and directed for The Little Festival in Taipei and Kaohsiung in 2005, then restaged at the Virgin Labfest in Manila in 2007, directed by Jaime del Mundo.
With Spring Wind Theatre in Kaohsiung she turned autobiographical workshops with women — among them aboriginal Taiwanese performers — into a staged work. Its calligraphic poster remains one of the strongest graphic identities in her archive.
Some dates and photographer credits are still being confirmed against the archive; until then they appear as marked gaps, not guesses.