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|Title:||ALTERNATE STAGE SPACES IN SINGAPORE||Authors:||KRISTINE ANN OEHLERS||Issue Date:||1997||Citation:||KRISTINE ANN OEHLERS (1997). ALTERNATE STAGE SPACES IN SINGAPORE. ScholarBank@NUS Repository.||Abstract:||My thesis title refers not only to the forms of alternate stage spaces in Singapore but also to the dynamics within these performance spaces; namely the interaction between space, performer, audience and audience members. The introduction considers the basic elements of theatre - space, performer and audience - and traces, from Greek theatre to the present, the separation of the audience from the performance space. Examples of alternative stage spaces in Singapore, which have maintained the audience as an active participant, are discussed. The second chapter considers how Happenings, Performance Art, and the theatres of Brecht, Artaud, Grotowski and Schechner move theatre away from the constraints of traditional auditoriums and attempt to reactivate a level of interaction between the performer and the audience. The third chapter looks at past theatre productions in Singapore that were staged in an alternate stage space. Early forms of alternate stage spaces were held outdoors, with the audience separated from the performance area. Recently, however, productions by Theatre Works and Theatre Ox have created performance spaces where the audience interacts directly with the performers and the alternate stage space. The fourth chapter considers how people and production elements interact to create and affect alternate stage spaces. Schechner's notions of 'transportation' and 'transformation' of participants at a theatrical event are also discussed with reference to the interaction between the performers and the audience. The conclusion evaluates alternate stage spaces in Singapore and considers how theatre and government authority constantly intrude upon and attempt to regain each others’ spaces. This cycle relates directly to balance of opposing forces in life. Theatre cannot remain illusionary or representational, or it will disappear. It is necessary for theatre to move out from its traditional conventions in order to be relevant to its society||URI:||https://scholarbank.nus.edu.sg/handle/10635/153186|
|Appears in Collections:||Bachelor's Theses|
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