Singlish and Multilingual Drama
David Deterding

1) How do different styles of speech reflect the educational levels of the various characters?
2) Do the characters vary their language according to the situation they find themselves in?
3) To what extend is there language mixing and switching, particularly between English and other local languages such as Malay?
4) Is there a development of styles between these two plays?

Out Of The Eclipse:
International collaboration, friendship and what devising theatre makes possible
Alvin Tan and Haresh Sharma

What was so pertinent about that moment in our theatre history was located in the site of collaborative, devising theatre-making. There, mutual respect hosted and nurtured the beginnings of cross-cultural exchange in the spirit of cultural diversity. A cosmopolitan environment in both countries, accompanied with a political will towards transformative exchange, became the perfect ground where the devising process allowed theatre practitioners from Glasgow to work on an equal footing with their counterparts from a Commonwealth country such as Singapore.

Off Centre: Experiencing the Other Side
Verena Tay

The most profitable hours were those at the Oasis Club, a meeting place for ex-mental patients. In the more informal environment of the Club, the TNS team could mingle with members more freely and for longer periods that its visits to the other institutions.

Subtext: Teenage Suicide
Theresa Tan

By bringing together young persons who have gone through these experiences and survived, by letting them share that with a seemingly "normal" audience, it is both an education for the players and the ones played to.

Self-Evaluation Exercise

Like Ann, have you been dissatisfied at your appearance, weight or other aspects of yourself? Why are you dissatisfied?

Do You Care Enough?
Emmy Alim

Whatever you want to call it, "Completely With/Out Character" is Paddy's way of showing us that no matter how much stigmatisation, marginalisation and discrimination he has faced since diagnosed with HIV, here is a man courageous enough to stand alone on stage, before the very society that has slammed him with unfair labels, and dismissed him through the taboos and fallacies surrounding HIV. He is not out to preach. He just wants to share. Don't judge him. Just watch him.

Thoughts on Playwriting
Haresh Sharma

It’s hard not to feel the pain and struggles of these people—these people whom I would not normally meet in my daily life as a full-time playwright, if not for these commissions. It’s hard not to tear, to cry along… to reach out and comfort. Whatever emotions I bottle up at these sessions, I channel into the plays I write.

In Retrospect: Break The Wind
Andrew Koh

Vicky in the anti-model was given the power of voice by several spectators each night MCP ran.

The Failure of Forum Theatre and Audience as Empowered Co-creator
Kok Heng Leun

An intervention empowers the audience to claim the play, take it over, make changes and affect the course of the action. Each intervention by a member of the audience represents a view, and a performance with many interventions can form a collective

Artistic Director
Alvin Tan

It's a humble beginning, but we have great hopes that readers will soon write in to contribute articles or views on theatre in Singapore. Theatre in Singapore requires constructive and sensitive feedback to help it along. Different audience responses—ranging from gut-level reactions to critical literary analysis—can be invaluable to the development of Singapore theatre.