THEATRE IN CHINATOWN

Abstract

Singapore's structure of national development has had a homogenizing effect on the society Intrinsic socio-cultural forms only find expression in scale once a year when the communities celebrate their new years and few other significant events. The temporariness of this communalism is indicated by denial in the architectural text of the city which speaks permanently of simplicity, continuity and repetition. But the vibrant pockets of communities which still carry the torch of tradition, because it is intrinsic in their lifestyle, and other marginal practices of the society, do contribute to the overall character of the city. And especially where such practices have direct access to our lifeworld1, these should be given into existence in forms created out of and for their continued performance. In Singapore, especially here in Chinatown, traditional Chinese opera is an example which have such direct access to our lifeworld. Whilst on the other hand, experiments being carried out by contemporary theatre has the potential to be utilized to alter or renew the elements of the cultural construct abstracted into the traditional opera. The thesis proposes to allow for this exchange and cultural renewal to occur on a site in Chinatown, today still a rich repository of cultural heritage in Singapore. The form thus genesized is responsible for the continuity of the community identity within the city. The architecture resultant from such a brief effectively contributes to an identity of diversity in the city. And through the people-gathering prowess of theatre-related activities the urban space of Chinatown may be renewed with a new sense of community it once had before the destruction caused by economic and political forces.