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Feed Your Imagination 2023: Survivor Singapore by The Necessary Stage
An Esplanade Commission
4 - 7 July 2023, 2.30pm & 5.00pm
Esplanade Theatre Studio

A group of students have been assigned a project on the theme of National Education. They wrack their brains to find out what they can do that will really make a difference.  

Instead of going on field trips to the Parliament House or performing a multiracial dance, they decide to create a project that will make all young Singaporeans value life and not take their comforts for granted.  

They decide to create Survivor Singapore. But...have they gone too far to prove a point?  

Previously staged by The Necessary Stage in 2003 and 2007. 

A terminally ill woman hires a digital legacy company to record video greetings for her children to watch long after she is gone.

In our technologically accelerating world, this scenario of social media legacy planning has become a reality. In the digitised future, memories can be made immortal. Our data can be turned into bots. Protests can happen from the comforts of our own homes. Humans, androids and robots are all adrift in cyberspace.

The Necessary Stage continues its 30th anniversary season with another provocative work—Sanctuary, an international collaboration with HANCHU-YUEI, one of Tokyo’s most innovative theatre companies.

It presents assorted characters—from social media influencers to virtual personal assistants—through the lens of hot-button issues of the day such as surveillance, alternative fact and post-life.

Sanctuary investigates the fragility of the human condition, at a time when technology is eroding our humanity. We are the data, but the data is never ours.

　

範宙遊泳は、2015年から、シンガポールの劇団THE NECESSARY STAGE（TNS）と共同制作を行っています。

共通の知り合いである通訳者の鈴木なお氏の提案から、いち劇団同士がお互いに興味を持ち対話を重ね、資金繰りから広報活動までのすべてを自発的に行う、インディペンデントなコラボレーションです。

​創作過程はTNSの方法にのっとり、範宙遊泳がシンガポールでリサーチとWSを行う＜phase1＞、TNSが来日し稽古と小作品の発表を行う＜phase2＞、シンガポールでの滞在制作と両国での上演を行う＜phase3＞と3つのステップを踏み、長い時間をかけてお互いの理解を深めてきました。

​脚本は、両国の劇作家、山本卓卓とハレーシュ・シャーマが共同執筆し、シンガポールと日本が抱える監視社会の問題や、未来の生活のあり方、デジタルアーカイブ、SNSセレブなどをテーマにディスカッションを重ね、がそれぞれ書いた脚本を、ひとつの物語に結合させました。

音楽家でありエンジニアでもあるバニー・ハイカルが手がける音楽と、範宙遊泳のアートディレクターたかくらかずきが手がける映像とのコラボレーションも、見どころのひとつとなっています。

​範宙遊泳は10月1日からシンガポールに渡航し、山本卓卓とTNSの演出家アルヴィン・タンとの共同演出で、シンガポール公演は大盛況で幕を閉じました。

A terminally ill woman hires a digital legacy company to record video greetings for her children to watch long after she is gone.

In our technologically accelerating world, this scenario of social media legacy planning has become a reality. In the digitised future, memories can be made immortal. Our data can be turned into bots. Protests can happen from the comforts of our own homes. Humans, androids and robots are all adrift in cyberspace.

The Necessary Stage continues its 30th anniversary season with another provocative work—Sanctuary, an international collaboration with HANCHU-YUEI, one of Tokyo’s most innovative theatre companies.

It presents assorted characters—from social media influencers to virtual personal assistants—through the lens of hot-button issues of the day such as surveillance, alternative fact and post-life.

Sanctuary investigates the fragility of the human condition, at a time when technology is eroding our humanity. We are the data, but the data is never ours.

A medley of songs where the audience can join in to clap and sing along.

This 90-minute interactive Forum Theatre programme has been specially created for Principals and Vice Principals of the West Zone.

Participants will go through a pedagogical experience via a programme that will motivate them to reflect on issues of school, education and curriculum, in the larger context of behaviour, acceptance and values.

Singapore. Singapura. Temasek. When does a name begin? When does a country begin? TNS examiens present-day Singapore by bringing historical characters to life. Factual and fictional characters merge with real and imagined events to create a theatre that makes the impossible possible. Looking at the themes of Migration, Harmony and Identity, Singapore probes deeply into a counry's history and, along the way, the psyche of the people occupying it. Featuring a very politically-correct multi-racial cast, the play is seriously funny, bluntly cutting and deceitfully truthful.

Lisa was a very happy and cheerful little girl. But her life changed when her parents met with a car accident and were hospitalized. During this period, Aunty May came to care for Lisa.

Soon, things started to change – Aunty May was no longer the caring and doting Aunt that Lisa knew. She would get upset and angry over the smallest things as she was trying her best to support the family financially.

Lisa would get scolded and beaten for making too many mistakes in her homework and Lisa would often go to bed feeling hungry when Aunty May went to work. All these left Lisa feeling depressed. She couldn’t eat or sleep well and her grades were slipping.

Lisa was faced with a dilemma of whether she should tell her friends about her problems but she feared Aunty May’s reaction if she were to find out.

A wizard appeared one night in her room, offering to help her solve her problems with Aunty May and advised her to ‘tell someone’ about her problems.

Lisa heeded his advice and told her teacher, Miss Tay, about her problems. By telling someone, her teacher in this case, Lisa was able to get help for herself and Aunty May, who was having a tough time coping with everything at home on her own. They now live happily together.