Backstage

PLUS!

BACKSTAGEGO BEYOND THE LIMELIGHT April 2009 Issue

Take a seat!We time travel to give you the

Inside scoop!

The Esplanade ControversyWhat is your take?

REMEDY THAT HELPED CRIPPLED THEATRE- ENGLISH!

local playwrights of 1960s

POW-WOW

Theatre today:Locals speak

- - - - - - - - - - - - - - -- - - - - - - - - - - - - - -

Ehh, You Speak English?

Hey Guys!

Yue Yun

Wan Ting

As we know it today, the local English Language theatre scene is

vibrant,well established and satirical. Lo argues that in "the past

decade or so, theatre has been increasingly recognised as a critical

resource for the study of wildly competing discourses about the

nation." (Lo 2004) Indeed, theatre has become a prominent space

where alternative narrations to nation building can be exhibited to

an audience. Although subjected to state approval and censorship,

an audience. Although subjected to state approval and censorship,

such laws have increasingly been relaxed in Singapore's effort to

become a 'Renaissance City'.

However, a glimpse into Singapore's history since her unexpected

independence tells us that this has not always been the case.

"In the immediate years after independence, arts and literature were

perceived as being of secondary importance to the more urgent needs of

economic survival." (Lo 2004:38) Yet, despite its relatively short history,

economic survival." (Lo 2004:38) Yet, despite its relatively short history,

the local English Language theatre has undergone a complete face lift

since independence.

In this issue, we time travel to uncover the unintended effects that

post-independence nation building had on the local English

Language theatre scene. What did the promotion of English-medium

schools and the global search for skilled individuals ("foreign talents")

do for the flourishing of English Language theatre in Singapore?

do for the flourishing of English Language theatre in Singapore?

Read on to find out!

act One

act Two

Education Policies

EL Theatre

- - - - - - - - - - - - - - -

S.1

S.2

S.1S.2

S.3

Excuse me, do you speak English?

Engrish lessens, English lessons

Victory outside the Victoria?

Say what?

A Singaporean Stage

Be Scene

act Three

act Four

Economic Policies

Esplanade Controversy

50% economics, 50% arts, 100% nation building

The Science of Arts

Any of your business?

Sizing it up

Local sentiments

Enough ‘durian’ for everyone?

Write in to us!

- - - - - - - - - - - - - - -

S.1S.2

S.3S.4

S.1S.2

S.3

1 Backstage > April

SCENE 1

2 Backstage > April

SCENE 2

3 Backstage > April

SCENE 1

Furthermore, the English used was very much tied to a colonial past. It was said to be "mainly in stilted grammatically perfect English or an overcompensated orientalised version of English" Wong 1999). Attempts by early local playwrights did serve to tap into some form of national consciousness with its contents, such as in Lim's A White Rose At Midnight and Mimi Fan, which was abut the "problem of an English speaking Asian person's identity" and Discovery of Singapore by Dilip KKumar, which "dealt with the arrival of immigrants in Singapore" (Wong 1999). However, it was difficult to go further as it was difficult to sound "authentically Singaporean on stage", not to mention that theatre at that time was crippled by a small group of talent.

Local writings, which began in 1960s, was short lived when Lim Chor Pee and Goh Poh Seng stopped writing for the stage. Furthermore, the period in 1970s was notconducive at all for English language theatre to move ahead, unlike other art forms. TThis was because "non-linguistic art forms like music or dance had a more obvious place in the national agenda", which the government had actively promoted. For example, the Ministry of Culture formed the National Dance Company, and the The National Theatre present "Chinese opera, ballets and modern dance groups like the Martha Graham Dance Company instead of English drama." On top of this, it was this period that the government targeted men with long hair in its anti-hippie drive, something that indicated danger of "individualist" Western influence. English d English drama, having its roots from the West, was not spared from this association.

non-linguistic art forms like music or dance had a more obvious placein the national agenda

“”4 Backstage > April

SCENE 2

5 Backstage > April

SCENE 3

6 Backstage > April

SCENE 3

7 Backstage > April

100% nation buildin

g

Scene 1

8 Backstage > April

50% economics

50% arts

Scene 1

9 Backstage > April

Scene 2

BG George Yeo: We want talent from all over the world to meet here, to work here and to live here. They must enjoy being here - the people, the food, the music the cosmopolitan air. We cannot work the magic without the arts. This is why we will be spending quite a lot of money - about a billion dollars - over the next five years building new cultural facilities and expanding. (as cited in Chua new cultural facilities and expanding. (as cited in Chua 2004:318) ”

“

10 Backstage > April

Scene 3


Scene 1


Scene 2

"While Singaporeans have warmed to the idea of international arts events, awareness and interest in Singaporean/indigenous arts are still low." (Chang & Lee 2003:135)


Scene 3

Scene 3


Birch, David. Singapore English drama: a historical overview 1958-1985. IN Krishnan, Sanjay, ed. 9 lives: 10 years of Singapore theatre, 1987-1997: essays commissioned by the Necessary Stage. Singapore: Necessary Stage, 1997. Pp. 22-52.

Chang, T. C. & Lee, W. K. "Renaissance City Singapore: A Study of Arts Spaces". Area, Vol. 35, No. 2 (Jun., 2003), pp. 128-141Grice, Kevin & Drakakis-Smith, David. "The Role of the State in Shaping Grice, Kevin & Drakakis-Smith, David. "The Role of the State in Shaping Development: Two Decades of Growth in Singapore". Transactions of the Institute of British Geographers, New Series, Vol. 10, No. 3 (1985), pp. 347-359

Chua Beng Huat. "Theatre, Social Critique and Politics" IN Ask Not: The Necessary Stage in Singapore Theatre edited by Tan Chong Kee & Ng, Tisa. Singapore: Times Edition, c2004

Kon, Stella. Remembering Singapore Theatre. September 1998.Kon, Stella. Remembering Singapore Theatre. September 1998.http://www.emilyofemeraldhill.com/SK%20Remembering%20Singapore%20Theatre.html (accessed April 4, 2009).

Lo, Jacqueline. Staging Nation: English Language Theatre in Malaysia and Singapore. Hong Kong University Press, 2004.

Oon, Clarissa. A History of English-Language theatre in Singapore through The Straits Times (1958-2000). Singapore: Singapore Press Holdings, 2001. Wong, Kwang Han. English Drama In Singapore - The Colonial Inheritance. 1999.http://www.geocities.com/SunsetStrip/Studio/6728/eng_drama_sp.htm (accessed March 29, 2009).

Wee, C. J. W. -L. . "Creating High Culture in the Globalized "Cultural Desert" of Singapore". TDR (1988-), Vol. 47, No. 4 (Winter, 2003), pp. 84-97 pp. 84-97

Year Book of Statistics. Singapore: Department of Statistics, Ministry of Trade and Industry

Curtain Call

Documents

Backstage