Coming never : using subversion to communicate theatrical resistance to censorship

Censorship of theatre in Singapore takes many forms - be it licenses not issued, dialogues cut, funding withdrawn, or unnecessary advisories required. While such acts are necessary in maintaining intercommunal stability, constant privileging of a dominantly conservative public over minority voices e...

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Main Author: Halim, Christy Stephanie
Other Authors: Ng Ee Ching Candice
Format: Final Year Project
Language:English
Published: 2019
Subjects:
Online Access:http://hdl.handle.net/10356/78028
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Institution: Nanyang Technological University
Language: English
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spelling sg-ntu-dr.10356-780282019-12-10T14:51:27Z Coming never : using subversion to communicate theatrical resistance to censorship Halim, Christy Stephanie Ng Ee Ching Candice School of Art, Design and Media DRNTU::Visual arts and music::General Censorship of theatre in Singapore takes many forms - be it licenses not issued, dialogues cut, funding withdrawn, or unnecessary advisories required. While such acts are necessary in maintaining intercommunal stability, constant privileging of a dominantly conservative public over minority voices expressed in theatre proves problematic in the long run. More than just leading to homogenous theatre content that merely entertains, the heavy policing of alternative views leads to a Singapore that is not politically mature enough to hold robust debates and differing opinions. Resistance to censorship is thus necessary. However, resistance to censorship does not equal resistance to the censoring government body (IMDA – Information and Media Development Authority), as IMDA in most cases acts merely as a ‘middleman’ in the interest of Singaporean citizens or occasionally certain groups of people who voices their grievances. Hence, censorship in theatre is primarily consequential towards citizens airing their objections. Its frequency demonstrates that the Singaporean public could potentially be unready for certain taboo contents and its censorship isn’t purely due to government intervention. As a response to this, this project Coming Never aims to ask and measure Singapore’s readiness towards taboo subjects in theatre. It also aims to document the history of resistance to censorship by local theatre practitioners in order to archive theatrical resistance that has been happening historically within Singapore. Coming Never consist of a website that contains a survey and a documentation of past censored theatre pieces in Singapore; and four posters that function as entry points for audiences to engage with the project. Bachelor of Fine Arts in Visual Communication 2019-06-11T05:01:38Z 2019-06-11T05:01:38Z 2019 Final Year Project (FYP) http://hdl.handle.net/10356/78028 en Nanyang Technological University 30 p. application/pdf
institution Nanyang Technological University
building NTU Library
country Singapore
collection DR-NTU
language English
topic DRNTU::Visual arts and music::General
spellingShingle DRNTU::Visual arts and music::General
Halim, Christy Stephanie
Coming never : using subversion to communicate theatrical resistance to censorship
description Censorship of theatre in Singapore takes many forms - be it licenses not issued, dialogues cut, funding withdrawn, or unnecessary advisories required. While such acts are necessary in maintaining intercommunal stability, constant privileging of a dominantly conservative public over minority voices expressed in theatre proves problematic in the long run. More than just leading to homogenous theatre content that merely entertains, the heavy policing of alternative views leads to a Singapore that is not politically mature enough to hold robust debates and differing opinions. Resistance to censorship is thus necessary. However, resistance to censorship does not equal resistance to the censoring government body (IMDA – Information and Media Development Authority), as IMDA in most cases acts merely as a ‘middleman’ in the interest of Singaporean citizens or occasionally certain groups of people who voices their grievances. Hence, censorship in theatre is primarily consequential towards citizens airing their objections. Its frequency demonstrates that the Singaporean public could potentially be unready for certain taboo contents and its censorship isn’t purely due to government intervention. As a response to this, this project Coming Never aims to ask and measure Singapore’s readiness towards taboo subjects in theatre. It also aims to document the history of resistance to censorship by local theatre practitioners in order to archive theatrical resistance that has been happening historically within Singapore. Coming Never consist of a website that contains a survey and a documentation of past censored theatre pieces in Singapore; and four posters that function as entry points for audiences to engage with the project.
author2 Ng Ee Ching Candice
author_facet Ng Ee Ching Candice
Halim, Christy Stephanie
format Final Year Project
author Halim, Christy Stephanie
author_sort Halim, Christy Stephanie
title Coming never : using subversion to communicate theatrical resistance to censorship
title_short Coming never : using subversion to communicate theatrical resistance to censorship
title_full Coming never : using subversion to communicate theatrical resistance to censorship
title_fullStr Coming never : using subversion to communicate theatrical resistance to censorship
title_full_unstemmed Coming never : using subversion to communicate theatrical resistance to censorship
title_sort coming never : using subversion to communicate theatrical resistance to censorship
publishDate 2019
url http://hdl.handle.net/10356/78028
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