STAGECRAFT

Abstract

As the Covid-19 pandemic swept across the world, many countries including Singapore clambered to get the situation under control. In April 2020, the Republic implemented a nationwide ‘Circuit Breaker’ with the aim of curbing the spread of the virus. Sectors across all industries scrambled to adapt to the new situation. For the most part, many companies and organisations were able to continue their daily operations, with their employees being able to work from home.

However, not all industries fared as well as others. The Arts and Entertainment sector was one of many that have been hit hardest by the pandemic. Even as the country gradually exited the ‘Circuit Breaker’ and transitioned into a gradual reopening in different phases, Arts and Entertainment groups have continued to be put on hold indefinitely. The outbreak and responses to the situation have revealed many flaws and gaps in the industry.

This thesis explores the challenges and impacts the live entertainment industry has faced and is facing during the Covid-19 pandemic. It also investigates and analyses the efficacy and efficiency of existing live entertainment venues and whether such venues should continue to be the default model. Ultimately, the thesis speculates on the future of the live entertainment industry through the lens of ‘Anti-fragility,’ a concept and framework established by author Nassim Nicholas Taleb (2012).

The thesis hypothesises that in order for live entertainment to thrive during a pandemic it requires two key components. The first being hardware, or infrastructure to support arts and entertainment groups to be able to continually produce high quality shows when resources are strained in uncertain times. It also proposes the introduction of a second component, the software to engage the community so that live entertainment can be perceived as an integral part of daily life. With both components, only then can live entertainment truly withstand the immense unforeseen challenges of the future.