Features
William Teo; When independence meant something …
What does it mean to be a truly independent theatre practitioner? Perhaps an old question that warrants reflection, or, to most people, a dated one that is futile to discuss upon: every theatre practitioner is an independent individual anyway. To the critics having the view of the latter, it is attempt to evade the question that might question their credibility, or not to provide a concrete answer to it in fear of losing to the criticism of subservient associations and affiliations that undermine independent voices; the co-option of one’s body by a larger hegemonic body. This phenomenon is not uncommon in the Singapore theatre scene, for soft power levied by larger, well-funded, monetary-resource endowed companies in terms of providing ready employment to theatre-practitioners, their abilities to provide a sense of artistic identity, their abilities to provide constant employment on a long-term basis, strong reassurance of longevity in regular income; as what the person who coined the term Joseph Nye referred to as primary currencies the institutions’ values, culture and policy practices that can repeal and attract theatre-practitioners to want what they want” (1) (Nye).
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《死亡纪事》，一场死亡叩问的荒谬之旅»
我们常常以为，还有什么事情比死亡更能终结一切？人一旦死了，便什么都没有了，身前的荣辱皆如浮云消散，哪怕是十恶不赦的坏人，也该让他/她安息。只是…世界还在继续，“了解到死亡，但这并不等于就能看透了活着的时光”，尤其是那些困扰着生命的问题，对于那些尚且活着的人们，那个总是向前奔跑着的世界，依然沉重。来自禾剧场（台湾、马来西亚）的《死亡纪事》，便是一个连死亡都无法终结的故事，在作品宣传页上，艺术总监，同时也是本剧的主演高俊耀写到这是“一场死亡叩问的荒谬之旅”。
Nyoban Kan Butoh Festival 2011»
This is a reformation of social and culture, a unique behaviour performance, which created by the Japanese as a result of searching the meaning of humanity after the World War II. This uncompromising performance method and concept have deeply influenced many artists around the world.
A Piece of Intricate English Language Theatre in Kuala Lumpur | What’s Will Break You and Apocalips»
Keeping to the tradition of good drama, wonderful lines, and great acting, Malaysia’s Big-Eyed Catwoman Production has intended Double Bill What’s will Break You and Apocalips to bring to Malaysian audiences the beauty of language presented in a form of good writing and narration. However, such an exercise could easily fall into the trap of good drama enjoyed by a selected few, commonly among the elites within a specific community. English theatre in Malaysia is rather similar to some where I come from – Singapore, mainly those with an Old Vic English drama sensibility. They appeal to English Language practitioners, not to mention English teachers teaching English literature in schools.
久违了的澳门舞蹈»
也有很长时间没有走入剧场看澳门舞蹈了，没有很特别的原因，只是没有去看。难得有个老朋友邀请，难得演出的时间我没有特别事做，难得有个要好的朋友陪同，有时就这样地难得才会做一件事。
可惜，我们都是迟到了，最近几年只有这一次，可能是因为难得吧！
Nyoban Kan Butoh Festival 2011»
This is a reformation of social and culture, a unique behaviour performance, which created by the Japanese as a result of searching the meaning of humanity after the World War II. This uncompromising performance method and concept have deeply influenced many artists around the world.
《死亡纪事》，一场死亡叩问的荒谬之旅»
我们常常以为，还有什么事情比死亡更能终结一切？人一旦死了，便什么都没有了，身前的荣辱皆如浮云消散，哪怕是十恶不赦的坏人，也该让他/她安息。只是…世界还在继续，“了解到死亡，但这并不等于就能看透了活着的时光”，尤其是那些困扰着生命的问题，对于那些尚且活着的人们，那个总是向前奔跑着的世界，依然沉重。来自禾剧场（台湾、马来西亚）的《死亡纪事》，便是一个连死亡都无法终结的故事，在作品宣传页上，艺术总监，同时也是本剧的主演高俊耀写到这是“一场死亡叩问的荒谬之旅”。
11.24 星期三酒吧- 新加坡劇場裡的小型劇場 Host_蔡兩俊( 赤店當代劇場創辦人)8pm»
藝穗二字來自西方，更確切的說是愛丁堡藝術／藝穗節之模式。新加坡似乎有”藝穗節“，但是在華人地區小劇場文化的語境裡，新加坡的“藝穗”是不同的。而在新加坡的劇場環境當中，“藝穗”也是個問題。蔡兩俊將試圖將“藝穗”與“主流”來向華人地區介紹新加坡劇場裡的小型劇場。
