裹着经济的艺术 ： 1985-1994年的新加坡同志文化产物 = Economy-centric arts : 1985-1994 Singapore’s homosexual cultural products

• Main Author: 陈贤馥 Chan, Denis Xian Fu
• Other Authors: Quah Sy Ren
• Format: Final Year Project
• Language: Chinese
• Published: 2015
• Subjects: DRNTU::Humanities::Language::Chinese
• Online Access: http://hdl.handle.net/10356/62288
• Institution: Nanyang Technological University

新加坡同志剧场于80年代末开始出现，成为推动国家经济的工具。同志课题在新加坡一直是较为敏感的课题，但在80年代末至90年代中的时间段，政府发布各种艺术政策与审查放宽的情况下，出现了以同性恋、双性恋、变性人、‘阿官’等为主题的同志剧。这些剧参与了国家经济的建设并且给予不同的贡献：为新加坡塑造良好的国际形象、将新加坡发展成艺术中心、重整旅游业、吸引海外投资者以及成为商业剧赚取利润。这使得同志表演参与者获得更大的权力，促使他们向审查制度挑战，创作更多剧为弱势的同志族群发声。然而，当同志表演脱离了推动经济的功能时，将受到禁止甚至处罚。通过社会学家，皮埃尔•布迪厄的文化资本理论，本文将试图揭示同志表演与国家的权力关系，并且政府如何通过资助艺术团体与审查制度掌控艺术场域，利用这一文化资本发展国家经济。Singapore homosexual theatre appeared in the 80s and became the tool in promoting economy. While homosexual is a sensitive issue in Singapore, it was observed that there was a variety of homosexual performances in the late 80s to mid 90s,comprising of themes related to homosexuals, bisexuals, transsexuals and ‘ah gua’, after the government introduced arts policies and loosened censorship rules. These performances took part in the construction of economy, and had provided different contributions: helping Singapore in creating a positive international image, to develop Singapore into an arts centre, reforming tourism, attracting foreign investors and earned profits through commercial performances. These gave homosexual performances participants more power, allowing them to extend the censorship borders, to produce more works to voice out for the sexual minorities. However, as these performances are detached from economic benefits, it will be banned or face severe punishments.Using sociologist, Pierre Bourdieu’s cultural capital theory, this paper attempts to reveal the power relations between homosexual arts and the state, and how the authority is able to control the arts field, through arts subsidizes and censorship, using this cultural capital to develop the country’s economy.