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Workshops

Until We Walk

Until We Walk takes its cue from the recently-renewed conversations surrounding the death penalty as both a transcendent and pragmatic approach. Following a week-long process of of intensive workshopping and exploration, the lab culminates in an audio trail incorporating a relay system mechanism in hopes of furthering dialogue on the topics of the death penalty, morality, justice, and beliefs.

 

Songs featured:

(Lyrics adapted from poems written by Pannir Selvam)

Arah Tuju (Where We Are Going)

Bukan Sekadar Hikayat (Not Just A Story)

Di Sebalik Pintu Besi (Behind the Iron Gates)

 
2022
 -
Singapore
 

Staging

Underclass

In 2016, Drama Box and The Necessary Stage presented the groundbreaking sold-out production Manifesto, that delved into the relationship between art and politics.

This year, the two companies collaborate once again on a brand new work that explores poverty, inequality and human dignity in Singapore.

Underclass tells the story of Xinyi, who finds herself in a downward spiral after losing her job and her flat. When she moves into a rental unit, she meets Johari, and they strike up an unlikely friendship. Will they be able to get out of their disadvantaged status with the help of well-meaning friends, entrepreneurs, civil servants and politicians?

Whose responsibility is it to provide assistance for those who fall through the cracks? Can we make a difference and address imbalance in our society? Why should we?

Underclass asks urgent questions about the widening class divide in Singapore today. Who speaks up for the marginalised in society? Or will they be airbrushed out of our national narrative of prosperity and progress?

 

2016年，戏剧盒与必要剧场联合呈现座无虚席的创新剧场体验《宣言》，探讨艺术与政治之间的关系。

两个剧团再次合作，呈现崭新原创剧，探讨新加坡的贫困、不平等议题，以及人性尊严。

《贱民》讲述欣怡的故事。失去了工作和房子，欣怡的人生急转直下。当她搬进租屋单位，她遇见了Johari，两人发展出一段“不太可能”的友谊。他们能否在朋友、企业家、公务员、政客的帮助下，脱离困境？

谁有责任为弱势群体提供帮助？我们能否做些什么，为社会的不平等声援？我们有必要那么做吗？

《贱民》针对新加坡日益扩大的阶级鸿沟提出重要的问题。谁会帮弱势群体发声？他们是否会在宏大的国家论述下被消声？
2018
 -
Singapore
 

Productions

Underclass

In 2016, Drama Box and The Necessary Stage presented the groundbreaking sold-out production Manifesto, that delved into the relationship between art and politics.

This year, the two companies collaborate once again on a brand new work that explores poverty, inequality and human dignity in Singapore.

Underclass tells the story of Xinyi, who finds herself in a downward spiral after losing her job and her flat. When she moves into a rental unit, she meets Johari, and they strike up an unlikely friendship. Will they be able to get out of their disadvantaged status with the help of well-meaning friends, entrepreneurs, civil servants and politicians?

Whose responsibility is it to provide assistance for those who fall through the cracks? Can we make a difference and address imbalance in our society? Why should we?

Underclass asks urgent questions about the widening class divide in Singapore today. Who speaks up for the marginalised in society? Or will they be airbrushed out of our national narrative of prosperity and progress?

 

2016年，戏剧盒与必要剧场联合呈现座无虚席的创新剧场体验《宣言》，探讨艺术与政治之间的关系。

两个剧团再次合作，呈现崭新原创剧，探讨新加坡的贫困、不平等议题，以及人性尊严。

《贱民》讲述欣怡的故事。失去了工作和房子，欣怡的人生急转直下。当她搬进租屋单位，她遇见了Johari，两人发展出一段“不太可能”的友谊。他们能否在朋友、企业家、公务员、政客的帮助下，脱离困境？

谁有责任为弱势群体提供帮助？我们能否做些什么，为社会的不平等声援？我们有必要那么做吗？

《贱民》针对新加坡日益扩大的阶级鸿沟提出重要的问题。谁会帮弱势群体发声？他们是否会在宏大的国家论述下被消声？
2018
 -
Singapore

Staging

untitled cow number one

Written and directed by Cultural Medallion recipients Haresh Sharma and Alvin Tan respectively, untitled cow number one is about the journey of a widowed cow. The play, which is divided into 12 sections and covers the 12 days of mourning, is strongly influenced by Hindu and Buddhist texts, images and myths. This monodrama is performed by Gloria Tan for the first time in Bahasa Indonesia. 

UCNO has been performed in Macau International Fringe Festival (2000) Asian Theatre Festival in Busan (2002), National Theatre Festival in New Delhi (2003), and M1 Singapore Fringe Festival in Singapore (2015). 

UCNO's script opens up opportunities that allow artist the freedom to reinterpret the piece in accordance to their own style. We will see for the first time how this monodrama interacts with different cultural backgrounds together with WAFT-LAB (Surabaya) as the main artistic collaborator who will work on the audiovisual installations.
2018
 -
Indonesia
 

Productions

untitled cow number one

Written and directed by Cultural Medallion recipients Haresh Sharma and Alvin Tan respectively, untitled cow number one is about the journey of a widowed cow. The play, which is divided into 12 sections and covers the 12 days of mourning, is strongly influenced by Hindu and Buddhist texts, images and myths. This monodrama is performed by Gloria Tan for the first time in Bahasa Indonesia. 

UCNO has been performed in Macau International Fringe Festival (2000) Asian Theatre Festival in Busan (2002), National Theatre Festival in New Delhi (2003), and M1 Singapore Fringe Festival in Singapore (2015). 

UCNO's script opens up opportunities that allow artist the freedom to reinterpret the piece in accordance to their own style. We will see for the first time how this monodrama interacts with different cultural backgrounds together with WAFT-LAB (Surabaya) as the main artistic collaborator who will work on the audiovisual installations.
2018
 -
Indonesia
 

Staging

untitled women

How do we exorcise the pain of loss? The Necessary Stage revisits 2 early works from its repertoire to explore the ways we deal with loss and how we rise above it. 

In untitled women number one, two women talk about their relationships, their past and future. Featuring Edith Podesta and Ethel Yap, the play looks at the notions of pain, death and interdependence, drawing from stories about gender, sexuality and womanhood. 

untitled cow number one is about the journey of a widowed cow through 12 days of mourning. Performed by Sharda Harrison and Bani Haykal, the play is influenced by Hindu and Buddhist texts, images and myths, and incorporates physical movement and soundscape.

Both plays have toured successfully to the Macau International Fringe Festival (2000), the Asian Theatre Festival in Busan (2002) and the National Theatre Festival in New Delhi (2003). 
2015
 -
Singapore
 

Productions

untitled women number one

How do we exorcise the pain of loss? The Necessary Stage revisits 2 early works from its repertoire to explore the ways we deal with loss and how we rise above it. 

In untitled women number one, two women talk about their relationships, their past and future. Featuring Edith Podesta and Ethel Yap, the play looks at the notions of pain, death and interdependence, drawing from stories about gender, sexuality and womanhood. 

untitled cow number one is about the journey of a widowed cow through 12 days of mourning. Performed by Sharda Harrison and Bani Haykal, the play is influenced by Hindu and Buddhist texts, images and myths, and incorporates physical movement and soundscape.

Both plays have toured successfully to the Macau International Fringe Festival (2000), the Asian Theatre Festival in Busan (2002) and the National Theatre Festival in New Delhi (2003). 
2015
 -
Singapore
 

Productions

untitled cow number one

How do we exorcise the pain of loss? The Necessary Stage revisits 2 early works from its repertoire to explore the ways we deal with loss and how we rise above it. 

In untitled women number one, two women talk about their relationships, their past and future. Featuring Edith Podesta and Ethel Yap, the play looks at the notions of pain, death and interdependence, drawing from stories about gender, sexuality and womanhood. 

untitled cow number one is about the journey of a widowed cow through 12 days of mourning. Performed by Sharda Harrison and Bani Haykal, the play is influenced by Hindu and Buddhist texts, images and myths, and incorporates physical movement and soundscape.

Both plays have toured successfully to the Macau International Fringe Festival (2000), the Asian Theatre Festival in Busan (2002) and the National Theatre Festival in New Delhi (2003). 
2015
 -
Singapore

Productions

untitled women number one

In untitled women number one, two women who are absolutely still throughout the play, talk about their relationships, their past and future. A highl exploratory play, the text is very opaque - the audience is given snatches of conversations/dialogue with long moments of silence in between. The dialogue makes no obvious reference to the two women's relationship. The audience is left to decide whether the actors are playing a range of characters, or just one character; whether time is moving forwards or backwards. The actors go through a rollercoaster of emotions - one minute they could be shouting and in pain, and the next they are serene, and the very next they are crying. Yet, throughout, they do not move at all. The text makes references to gender, quoting stories about women and talking about sexuality, but ultimately the play transcends its very title in its portrayal of pain, death and interdependence.
2003
 -
Ireland

Productions

untitled cow number one

untitled cow number one is about the journey of a widowed cow. The play, which is divided into 12 sections and cover 12 days of mourning, is strongly influenced by Hindu and Buddhist texts, images and myths. References are made to Krishna and Shiva, excerpts from the Dhammapada - The Sayings of Buddha - are read; and rituals are performed in this 30-minute play. The monodrama also features viewpoints of other characters. A friend tries to get the cow to move away from her husband's rotting body; the cow's child cires because of mother's lack of attention. In the end, the cow has an outburst, where she accuses the gods and at the same time begs them for help and direction. and with her final lines, another quotation from the Dhammapada, she finally moves on: "I want nothing from this world. And nothing from the next. I am free".
2003
 -
Ireland

Productions

untitled women number one

In untitled women number one, two women who are absolutely still throughout the play, talk about their relationships, their past and future. A highly exploratory play, the text is very opaque - the audience is given snatches of conversations/dialogue with long moments of silence in between. The dialogue makes no obvious reference to the two women's relationship. The audience is left to decide whether the actors are playing a range of characters, or just one character; whether time is moving forwards or backwards. The actors go through a rollercoaster of emotions - one minute they could be shouting and in pain, and the next they are serene, and the very next they are crying. Yet, throughout, they do not move at all. The text makes references to gender, quoting stories about women and talking about sexuality, but ultimately the play transcends its very title in its portrayal of pain, death and interdependence.
2003
 -
India

Productions

untitled cow number one

untitled cow number one is about the journey of a widowed cow. The play, which is divided into 12 sections and cover 12 days of mourning, is strongly influenced by Hindu and Buddhist texts, images and myths. References are made to Krishna and Shiva, excerpts from the Dhammapada - The Sayings of Buddha - are read; and rituals are performed in this 30-minute play. The monodrama also features viewpoints of other characters. A friend tries to get the cow to move away from her husband's rotting body; the cow's child cires because of mother's lack of attention. In the end, the cow has an outburst, where she accuses the gods and at the same time begs them for help and direction. and with her final lines, another quotation from the Dhammapada, she finally moves on: "I want nothing from this world. And nothing from the next. I am free".
2003
 -
India
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