Shaunnee Pilapil: Set Designer, Make-up Artist, and Performer [TCL 17]
The Creative Life is a mini series where I sit with emerging creatives and seasoned professionals to know and share their stories. They show a side of the creative life that we don’t often see: vulnerability, mistakes made, questions about the way their industries work, and lessons they’ve learned, both the painful and the eureka moments.
I first met Shaun with her partner, Egan Seccion, at a Christmas bazaar two years ago where they sold custom designed Vans and T-shirts fit to give as presents. Devoted to theatre and the arts, she works as a makeup artist, performer, and set designer.
How did you start out as an artist/designer and when did you and Egan start working together?
I’m not really sure, but my family told me that when I was a kid, they would record me singing “Name Game” on a tape and they remember me dancing to Madonna’s songs.
I must’ve really been entertaining to them because my mom would then enrol me in every summer workshop that involved arts. I didn’t know or call myself and an artist then. But at that time I was drawing, painting, cooking, playing the guitar, dancing, re-enacting what I have seen on music videos, re-enacting fighting scenes that I have seen on action movies, and practicing my crying scenes like in the drama movies. Non-stop. I would get in trouble because I refused to sleep in the afternoons or sleep early in the evenings because I was hooked to all these things I could possibly do.
Egan and I met in 2007 thru Circulo de Arte (CdA) projects in college. We created designs, made stage sets, and painted backdrops.
How did you extend to theatre and performance?
Performing was what I have always wanted.
In grade school and high school, I was into different arts. I even applied for UP Theatre Arts and passed. But I didn’t fight for it when my parents said no.
After that, I almost gave up on it because I didn’t know any venue where I could practice. Until I saw a theatrical play by one of the batches of DevCom. I shifted courses after that semester.
While in school, I also became part of a fire/poi dancing group called PoiCDO Fire Spinners. So that too became a venue for me to perform.
After graduating, I joined Dulaang Atenista as an alumna actor, set designer and makeup designer. And since 2013, I have been a part of VDAY CDO. So that too became a venue for me to perform.
Who or what inspires you and/or influences your work?
It used to be my surroundings, but nowadays I try to filter heavily what is necessary for me, especially if I need to portray characters in the performances I am in.
As for who inspires me, Cirque du Soleil. Saw them perform dreams. Changed my life.
On your creative process: How do you approach and execute a creative project from start to end? How do you translate vision, whether yours or your client’s, into art?
Research, and hard work. When you understand the project, it always shows.
Do you have a piece of work or a project that you consider particularly significant, that you have an emotional relationship with?
I usually get so attached to the projects I am in. But for this, I would choose the most recent one and most relevant one, LIMA The HIV Monologues — real stories based on five Kagay-anon persons affected by HIV.
I portray Portia, a transwoman living with HIV (PLHIV). I was a big responsibility as I portrayed a role of a real live person. I’ve met her and talked to her about their struggles. But another responsibility (together with portraying the role) was to talk to an audience to help eliminate the stigma on HIV/AIDS. It was a theatre project that I had to be really involved in and be educated about, because a lot of people were asking questions.
What do you think contributes to a successful collaboration?
Communication.
Discuss the purpose, try to explain details, share what you like and don’t like, and listen to whoever is sharing.
What is your biggest struggle or fear as an artist? More importantly, how are you able to manage?
I fear not being understood. In theatre, every aspect has to have a meaning or purpose.
For example, characters have design — face, costume, mannerisms, expressions, talk, walk, etc. That’s why I always ask people after a show, “Nakasabot ka sa character? Sa design?” (Do you understand the character? The design?). If they don’t, I usually ask why they didn’t understand. Later on, I would explain, then ask for suggestions or discuss options.
Many creatives struggle with is finishing what they’ve started. What are your best tips to starting and finishing a project?
I also struggle in this to be honest. But I think one tip would be to go back to remembering why you worked on it in the first place.
Sharing one’s talent and work with others is, for most, an artist’s duty. How are you able to gain support and imminently grow an audience around your work?
In theatre, we have a saying that goes “Make it real.”
What is the most important thing people should know about you as a creative?
People need to know that I am working on my craft because it is what I want to do.
What advice can you give to the young creative starting out?
Respect people.
What book would you recommend to fellow creatives?
I haven’t finished it yet but I am liking It’s Not How Good You Are, It’s How Good You Want To Be by Paul Arden.
How can the community best support you and your work?
Maybe a venue to show off our work would be nice. A venue to play and invite others as well.
