We will devising a script from now till July. Rehearsals will be starting in July as the date draw nearer to our next show. It will be in the form of forum theatre. Hwee Peng had briefly mentioned about the topic that we are going to do for this show. Any ideas? I shall not mention what us the topic again. The above video shows a small segment of our devising this week. You will perhaps have some thoughts after watching the videos. We would love to know your thoughts, share it with us!
What you have seen in the video may not appear in the final product of our show afterall, but devising is all about trying out and working out ideas together. ARTivators love devising ( at least I love it). I felt that the process of working something out together is more important than purely achieving something at the end of the day. It is always a joy to work with ARTivators as we listen to each other's opinions and exchange our thoughts. This is more effective than working alone. Though we will be having a playwright team this time, the devising process provides them with the "foundation" of the script in terms of ideas and resources.
Look out for more details on the upcoming production. We will be updating it on blog very soon!
Due to the nocturnal nature of all ARTivators, we all end up looking like zombies in the morning, doing warm-up exercises lacking in creativity. So for once, QL could not bear the sight any longer and got us working on doing a handstand, headstand and even a shoulderstand (which we did not attempt in the end)!
The idea was to form a triangular “base” with three parts of your body – the head and both the hands. (For the shoulderstand, the “base” is formed with both the hands and either the left or right shoulder.) So long you are able to shift your centre of gravity within the triangle, balancing in whatever position would not be a problem.
Most of the ARTivators have done a handstand before but when we saw QL’s demo of a headstand, we were dumbfounded. (Unfortunately, we did not manage to take a picture of QL displaying his skills.) The conclusion was this: attempts at doing a headstand = painful head.
After that, we walked the space first in a neutral position and then in our respective character (father, mother or Xiaohui). We then presented out own 1 minute-long etude. Each ARTivator had to present his/her etude twice and end off with the ARTivator doing the same actions in his/her own capacity. This allowed the others to compare the differences between the character that is being portrayed and the individual ARTivator.
Wei Ting as the Mother
Myra as Xiaohui
Hwee Peng as Xiaohui
Kate as the Mother
From this exercise, it became very apparent that a small change can effect a large outcome. For example, by leading with your chest instead of your centre when walking, the footsteps, the way the body moves all changes almost completely. Furthermore, the direction of the body and the force exerted by each part of the body can be varied to give the character more depth. The different permutations available open us to endless possibilities.
After lunch, we started our devising process by briefly sharing the research we have done over the past weeks. Each of us also created our own tableau! This devising process would definitely be a long and arduous one but with such an interesting topic on censorship, I guess we’ll have much fun (:
QL had us walk in the space as actors. With the furniture (see above) around, we familiarized ourselves with the things in the space. QL also tested our memory of the exact positions of different objects by making us close our eyes and point to specific objects. This was to help us to be more precise so that as actors we know our performance space and also to use it well.
Next, we also tried out other actions as actors, such as touching the props, sitting, standing etc.
then for one part we were told to imagine the character moving in space. as we try to imagine how the character is like moving in the space, we externalise it by walking and trying out the different ways of moving.
Lastly, the 10.30pm exercise. this exercise requires us to think of a set of action for which we think the character may do at 1030pm in the house. we are to create an "etude" for this 10.30pm exercise and prepare it for the next lesson !
For this lesson, ARTivate continues with our Stanislavski's actor training, where we continue building the characters.
Besides searching for what the characters wear, use, read and go, we also look for an animal to signify our characters.
Through the behaviour of these animals, we can then relate and be inspired to create movements for our characters. However, do note that these are just resources and inspirations needed for creating and filling up the character. We should not be searching for an animal which fits the character exactly and end up playing the animal on stage.
The reason for choosing animals is that they are less socialised and retain a certain level of wildness (even for the domesticated animals). Hence they serve as good inspiration and allows imagination when creating a character.
Another important point is, try not to relate the psychological state of the character to that of the animal, as there should not be too much psychological analysis of the character.
It's because when building a character, it is unnecessary to know his emotions at those times. Instead, we should know what the character wants, what is blocking him from getting what he wants, what is his motive in this action, is it to persuade or to threaten?
Stanislavski's Magic "IF" is then important, as we look at "If you are the character, under that circumstances, what will you do?" instead of what you as an actor will do under those circumstances. To know what the character will do, we have to know his biographical data, how he looks at himself and how others looks at him etc.. So know you understand why it is so important to do those work when building a character!
(For the people who are not Mandarin speakers or users of the Chinese language)
The meaning of education in Singapore is probably "a process that develops new generations and prepare them for life in their society". The curriculum comprises of the knowledge and skills that are relevant to the world that we live in. Thus, I am under the impression that the direction of schools contain an element of uncertainty. The premise of education in Singapore seems to be constantly ready to be changed according to the changes in the world and our society. In such a constantly changing environment, even the fundamentals may give way.
I have always held the meaning of education to be a continuous process that encourages learning and provokes thinking. Teaching and learning constitutes a life-long development of the self rather than a mere experiment of life in the society. Hence, education is to inculcate knowledge and nurture character.
I was never taught that the meaning of education is to make the path of learning easier and smoother for the learners. It has similarly never occurred to me that it was actually possible for education to materialise based on the premise that "for those who can't, they can choose to opt out", less so for this premise to be applied to something as fundamental as one's mother tongue.
Language "is a system of communication by written or spoken words, which is a distinctive phenomena of human society". Language is also a distinctive cultural product, which is sometimes equipped to define a unique cultural identity. To me, language is definitely not equivalent to an English letter on a certificate.
In reality, not everyone is blessed with the "gift" of being effectively bilingual. However, a lack of "talent" for a particular language should not be sufficient to amount to the abolishment of or disrespect for that language. Indeed, in current times, it is enough for one to travel the world with a fluent command of English. However, it is precisely due to this universality of English that our Mother Tongue languages become vital in our bid to protect our identity, as well as our identification to our culture.
Yes, nobody has said anything (so far) about our Mother Tongue languages being unimportant. But are we going to be naive enough to believe that the kinds of adjustments we make to the system will not affect the people's mindsets? Are we going to hold on to the belief that after these adjustments are made, the people who originally disliked learning their Mother Tongue languages will begin to appreciate them?
It is already disheartening that some of us have to be forced into respecting our culture, our roots. Would it not be even more so if they are "encouraged" to release the "burden" of their Mother Tongue languages?
In my opinion, to reduce the weightage of Mother Tongue languages in the Primary School Leaving Examinations is fundamentally to disrespect and diminish the importance of culture, as well as to distort the meaning of education.
ARTivate - the youth wing of local theatre company Drama Box - is made up of a group of 12 passionate youths who aims to reach out to the community through the arts.
ARTivate was first established with the aim to provide a platform for youths who want to explore and gain all-rounded insight into theatre. Through a three-year program, ARTivate hopes to nurture a group of youths into cultured and socially aware theatre-practitioners in Singapore.
Using an O-A-O-R (Orientation-Artistic-Organization-Regeneration) model, these youths are trained not only artistically but also in organizational skills and production management. They will be exposed to different forms of theatre such as Forum Theatre and Newspaper Theatre. They will also be trained in other art forms such as music and multimedia.
Besides bringing awareness to the themes explored, ARTivators hopes to question, probe or even challenge minds. They want to engage audiences in discussion – to turn monologues into dialogues.
As 2012 will the last year of the pioneer batch of ARTivate youths, they will be putting up a piece of performance, Bus Stop, inspired by “Bus Stop” written by renowned playwright, Gao Xing Jian. This performance will be a collation of the trainings the youths had undergone for the past 3 years, as well as a critical perspective and evaluation of the script, in reference to the current society the youths are in.
许慧铃 Koh Hui Ling 艺术总监 Artistic Director
母性泛滥; 热爱人
着重于戏剧／剧场的应用与教学法
Overpowering maternal instincts
Loves Human(ity)
Aims at developing the use of applied drama / theatre
梁海彬 Neo Hai Bin
长着翅膀
在剧场里翱翔...
一个
鸟人。
The world's a stage...
I'm in the latecomer's queue.
I am currently an undergrad in NTU. My major is psychology and the most common question asked when I reveal that fact is whether I can read his/her mind. Honestly, I cannot lah. Currently, I am daydreaming about my future hoping to achieve 2 things i enjoy alot in life: Theatre and Psychology (:
Studying Accountancy in NTU and living a second life in theatre, where (fortunately) the former will end in 2012 May. Believes that there is a connection between numbers and the arts, or maybe, I am just living in denial all the time.
林慧萍 Lim Hwee Peng
法律系学生。
正在面临"刻年"危机。
志愿当长发公主。
Law student. Currently experiencing "quarter-life" crisis. Aspiring Rapunzel.
A post-graduate student from NTU Division of Chinese.
韩雪梅 Han Xuemei
热爱的东西太多，拥有的时间有限。
记性日渐退化，一年比一年老。
Carries an overwhelming amount of passion for an overwhelming number of things, coping with the limited amount of time.
Struggling against a degenerating capacity to remember, and aging year by year.
Like anybody else.
王放 Kate
在国大读书.
写这个东西简直比写任何论文还难！
An undergrad at NUS.
Coming out with this line is harder than any paper I've ever written.
谢秀彬 Entia Seah Siew Ping
南大中文系毕业。非常健忘，经常丢三落四。
热爱教育，喜欢和人接触。
Some people say that I look like an ah-lian when I’m quiet and sounds like an auntie when I speak.
I embrace all these comments and aspire to be an elegant ah-lian and intelligent auntie!
Graduated from “The Brainforest of Clementi” with an Honours degree in Life Sciences. As I am currently learning to write and direct plays properly, I do not have any work that is worthy of mention as yet.
We will devising a script from now till July. Rehearsals will be starting in July as the date draw nearer to our next show. It will be in the form of forum theatre. Hwee Peng had briefly mentioned about the topic that we are going to do for this show. Any ideas? I shall not mention what us the topic again. The above video shows a small segment of our devising this week. You will perhaps have some thoughts after watching the videos. We would love to know your thoughts, share it with us!
What you have seen in the video may not appear in the final product of our show afterall, but devising is all about trying out and working out ideas together. ARTivators love devising ( at least I love it). I felt that the process of working something out together is more important than purely achieving something at the end of the day. It is always a joy to work with ARTivators as we listen to each other's opinions and exchange our thoughts. This is more effective than working alone. Though we will be having a playwright team this time, the devising process provides them with the "foundation" of the script in terms of ideas and resources.
Look out for more details on the upcoming production. We will be updating it on blog very soon!
Due to the nocturnal nature of all ARTivators, we all end up looking like zombies in the morning, doing warm-up exercises lacking in creativity. So for once, QL could not bear the sight any longer and got us working on doing a handstand, headstand and even a shoulderstand (which we did not attempt in the end)!
The idea was to form a triangular “base” with three parts of your body – the head and both the hands. (For the shoulderstand, the “base” is formed with both the hands and either the left or right shoulder.) So long you are able to shift your centre of gravity within the triangle, balancing in whatever position would not be a problem.
Most of the ARTivators have done a handstand before but when we saw QL’s demo of a headstand, we were dumbfounded. (Unfortunately, we did not manage to take a picture of QL displaying his skills.) The conclusion was this: attempts at doing a headstand = painful head.
After that, we walked the space first in a neutral position and then in our respective character (father, mother or Xiaohui). We then presented out own 1 minute-long etude. Each ARTivator had to present his/her etude twice and end off with the ARTivator doing the same actions in his/her own capacity. This allowed the others to compare the differences between the character that is being portrayed and the individual ARTivator.
Wei Ting as the Mother
Myra as Xiaohui
Hwee Peng as Xiaohui
Kate as the Mother
From this exercise, it became very apparent that a small change can effect a large outcome. For example, by leading with your chest instead of your centre when walking, the footsteps, the way the body moves all changes almost completely. Furthermore, the direction of the body and the force exerted by each part of the body can be varied to give the character more depth. The different permutations available open us to endless possibilities.
After lunch, we started our devising process by briefly sharing the research we have done over the past weeks. Each of us also created our own tableau! This devising process would definitely be a long and arduous one but with such an interesting topic on censorship, I guess we’ll have much fun (:
QL had us walk in the space as actors. With the furniture (see above) around, we familiarized ourselves with the things in the space. QL also tested our memory of the exact positions of different objects by making us close our eyes and point to specific objects. This was to help us to be more precise so that as actors we know our performance space and also to use it well.
Next, we also tried out other actions as actors, such as touching the props, sitting, standing etc.
then for one part we were told to imagine the character moving in space. as we try to imagine how the character is like moving in the space, we externalise it by walking and trying out the different ways of moving.
Lastly, the 10.30pm exercise. this exercise requires us to think of a set of action for which we think the character may do at 1030pm in the house. we are to create an "etude" for this 10.30pm exercise and prepare it for the next lesson !
For this lesson, ARTivate continues with our Stanislavski's actor training, where we continue building the characters.
Besides searching for what the characters wear, use, read and go, we also look for an animal to signify our characters.
Through the behaviour of these animals, we can then relate and be inspired to create movements for our characters. However, do note that these are just resources and inspirations needed for creating and filling up the character. We should not be searching for an animal which fits the character exactly and end up playing the animal on stage.
The reason for choosing animals is that they are less socialised and retain a certain level of wildness (even for the domesticated animals). Hence they serve as good inspiration and allows imagination when creating a character.
Another important point is, try not to relate the psychological state of the character to that of the animal, as there should not be too much psychological analysis of the character.
It's because when building a character, it is unnecessary to know his emotions at those times. Instead, we should know what the character wants, what is blocking him from getting what he wants, what is his motive in this action, is it to persuade or to threaten?
Stanislavski's Magic "IF" is then important, as we look at "If you are the character, under that circumstances, what will you do?" instead of what you as an actor will do under those circumstances. To know what the character will do, we have to know his biographical data, how he looks at himself and how others looks at him etc.. So know you understand why it is so important to do those work when building a character!
(For the people who are not Mandarin speakers or users of the Chinese language)
The meaning of education in Singapore is probably "a process that develops new generations and prepare them for life in their society". The curriculum comprises of the knowledge and skills that are relevant to the world that we live in. Thus, I am under the impression that the direction of schools contain an element of uncertainty. The premise of education in Singapore seems to be constantly ready to be changed according to the changes in the world and our society. In such a constantly changing environment, even the fundamentals may give way.
I have always held the meaning of education to be a continuous process that encourages learning and provokes thinking. Teaching and learning constitutes a life-long development of the self rather than a mere experiment of life in the society. Hence, education is to inculcate knowledge and nurture character.
I was never taught that the meaning of education is to make the path of learning easier and smoother for the learners. It has similarly never occurred to me that it was actually possible for education to materialise based on the premise that "for those who can't, they can choose to opt out", less so for this premise to be applied to something as fundamental as one's mother tongue.
Language "is a system of communication by written or spoken words, which is a distinctive phenomena of human society". Language is also a distinctive cultural product, which is sometimes equipped to define a unique cultural identity. To me, language is definitely not equivalent to an English letter on a certificate.
In reality, not everyone is blessed with the "gift" of being effectively bilingual. However, a lack of "talent" for a particular language should not be sufficient to amount to the abolishment of or disrespect for that language. Indeed, in current times, it is enough for one to travel the world with a fluent command of English. However, it is precisely due to this universality of English that our Mother Tongue languages become vital in our bid to protect our identity, as well as our identification to our culture.
Yes, nobody has said anything (so far) about our Mother Tongue languages being unimportant. But are we going to be naive enough to believe that the kinds of adjustments we make to the system will not affect the people's mindsets? Are we going to hold on to the belief that after these adjustments are made, the people who originally disliked learning their Mother Tongue languages will begin to appreciate them?
It is already disheartening that some of us have to be forced into respecting our culture, our roots. Would it not be even more so if they are "encouraged" to release the "burden" of their Mother Tongue languages?
In my opinion, to reduce the weightage of Mother Tongue languages in the Primary School Leaving Examinations is fundamentally to disrespect and diminish the importance of culture, as well as to distort the meaning of education.
The Green Man is part of Drama Box’s community project on Environment.
Conceptualized and organized by ARTivate, the event consists of:
- ARTivate’s thought-provoking plays on environmental conservation
- “The Flames” musical performance by girls from Andrew & Grace Home
- A mini bazaar that promotes environmental conservation
Selfish, written by Lam Dan Fong, reveals a story about the decision of a daughter -
to escape into a perfect new world or remain in the world of self destruction.
Plasti-City Kills the Cat written by Ho Kian Tong, explores the harm brought about by plastics to the environment.
What Matters? is a package of one forum theatre play and three fringe activities which explores the issue of race with the youths of today.
Through the series of fringe activities and the Forum Theatre play, ARTivate aims to probe further into the awareness of racial issues with the youths of today and understand the true meaning of harmony between races.
Forum Theatre Play
3 students of different races set up an Adventure Club in school. As they prepare to go on a new adventure to search for fugitive Mas Selamat in their club room, an accident happened in the school and conflicts arose within the group.
*The play is performed mainly in English with some Mandarin and Malay
Fringe #1: Race in School – Stereotypes and Others
The youths were asked to move, play, think and discover, thus finding the way of dealing with racial issues in real life.
Fringe #2: Movie screening – To Kill a Mocking bird
Based on the novel by Harper Lee, this award-winning classic film present racial issues vividly on screen.
There was a discussion session after the screening facilitated by Mr. Danny Yeo.
Sharing by young actors of Class Enemy from Bosnia
Fringe #3: Survival Ethnic Conflicts in Bosnia – a Singapore Arts Festival programme
Sharing by young actors of Class Enemy from Bosnia on their personal experiences of the war-torn times and how they have learnt to cope with growing up in an environment filled with violence caused by racial and ethnic conflicts.
Speaker: Director Haris Pasovic and the cast of CLASS ENEMY (East West Theatre Company)
The Movie Screening is the second installment of Project Mending Sky: The Green Man, held in conjunction with Project Mending Sky: ME (补天计划之我).
Through movie screenings and post-movie discussion sessions ARTivate hopes to explore issues surrounding our Earth’s survival amidst the damages we are inflicting on her.
Documentary-Movie #1: Winged Migration
Teaching the audience how to make dustbins using flyers
Directed by Jacques Perrin, a noted actor and film producer in France, this Academy Award nominated movie records the flight of dozens of different birds from around the globe as they follow their navigational instincts and make the taxing journey to more temperate climates in the fall.
Documentary -Movie #2: The Greening of Cuba
Cuban farmers and scientists working to reinvent a sustainable agriculture based on ecological principles and local knowledge rather than imported agricultural inputs which remind us that developed and developing nations alike can choose a healthier environment and still feed their people.
The audience sharing
Documentary -Movie #3: The Power of Community
A follow-up to The Greening of Cuba 10 years later to see how the Cuban transitioned from a highly mechanized, industrial agricultural system to one using organic methods of farming and local, urban gardens.
Discussions facilitated by: Mr Danny Yeo and Mr Tay Lai Hock
*Language: English (with English subtitles)
Part of a double-bill during Singapore Drama Educators Association (SDEA) Celebrate Drama 2009
“CityS” is ARTivate’s first devised play. It is also ARTivate’s debut presentation following a year-round capacity-building process, during which the ARTivators underwent a series of training involving acting and playwrighting.
It is conceived and brought to satisfactory theatrical fruition by the collaboration of all ARTivators via a gradual process and accumulation of brainstorming and improvisation, under the guidance of devising facilitator Kok Heng Leun and director Koh Wan Ching.
“CityS” explores the concept of an inclusive city, in Singapore’s context, and in the context of our current highly integrated, globalised world.
In this play, stories from different aspects of a city are connected by a series of luggage sonatas which symbolizes a journey that questions the ideology constructed and perceived by majority of the society. Realities are confronted: autocracy, disharmony, discrimination, limitations, alienation, oppression and the likes. Does the decision of the majority always account for the minority? Will the elites ever consider the welfare of their downtown folks in this race to the top? Is that action you took out of free will or under the influence of others?
ARTivate hopes that audiences will reconsider the meaning of a truly inclusive city after watching the play and in turn, answer these questions for themselves.
Devised and performed by ARTivate Devising facilitated by Kok Heng Leun Directed by Koh Wan Ching
*Performed mainly in Mandarin. (English Surtitles provided)
This forum theatre performance is a wordless piece that comprises of 5 short pieces. Using a symbolic set design, and featuring live music accompaniment by ARCN TEMPL, this performance hope to transcend language and racial barriers, leading its viewers in discovering the power of censorship, with the aim of creating awareness in the communities about how censorship affects their daily lives.
However, just 3 weeks from our performance, MDA denied us of an outdoor performance license. The authorities gave an advisory for mature content due to the “sensitive nature” of the topics discussed, and claimed that we had to perform indoors in order to administer the advisory.
We stand by our position that the piece should be performed outdoors to reach as diverse a crowd as possible and believe that the issue of censorship should still be addressed. Therefore, we decided to withdraw the original piece from our programme, and replaced it with a new Forum Theatre performance, which discussed the problems of imposing silence and withholding information about important issues.
Devised and performed by ARTivate, this performance is the result of five months of training in Forum Theatre.
Comprising of five short pieces, imploring you to join us in discovering the power of censorship.
Directed by Kok Heng Leun, co-created with ARTivate Live music by ARCN TEMPL
Drama Box is Singapore's most prominent contemporary Mandarin theatre company. It is a professional non-profit company with charity status. Formed in 1990, it has since gained a respectable reputation for its acute sensitivity and perception in heightening social awareness and civic responsibility. Our productions remain fun and entertaining, yet thought-provoking and reflective.
Blanc Space
The Blanc Space was inaugurated in 2000 to provide a training platform for performers. In 2007, the company expanded Blanc Space to include programmes for budding directors and aspiring playwrights.
这个部分非常有趣，庆亮让所有饰演父亲和母亲的艺树人“见面”。当我们遇见和自己扮演同样
秀彬
母性泛滥; 热爱人
长着翅膀
我在南大念心理学科。心理学对我来说，跟戏剧的妙处不相上下。
就读南洋理工大学。
法律系学生。
正值后青春期的门槛状态。
热爱的东西太多，拥有的时间有限。
在国大读书.
南大中文系毕业。非常健忘，经常丢三落四。
在2009年毕业于新加坡国立大学的科学系。由于我目前还在学习编剧和导戏的工作，未能有值得一提的代表作。
爱与剧场牵手，与社会学接吻。
艺树人面试那一天，我告诉许慧铃："其实我想要做的是电影。" 
