Please use this identifier to cite or link to this item: https://hdl.handle.net/10356/14768
Title: Out-of-bounds markers in the local English theatre scene.
Authors: Foo, Evelyn Li Yin.
Sng, Suzanne Shu Min.
Tee, Hun Ching.
Keywords: DRNTU::Humanities::Drama
Issue Date: 1998
Abstract: Feature 1 Gives An Overview of Out-of-Bounds (OB) Markers OB markers are found to cover three main areas: sex, politics and raceheligion. Most interviewees also describe the markers as vague, but necessary in all countries. Conclusion, possible to nudge markers further, especially in portrayal of sexual themes. Feature 2 Examines the Impact of OB Markers on Artists’ Cominp and Going We began this feature with the hypothesis that the restrictive atmosphere here will cause brain drain. But surprisingly, home was found to be an important notion embraced by almost all local artists. Conclusion, OB markers play secondary role in artists’ decisions as lure of home is too strong. Feature 3 Looks at the Impact of OB Markers on Media Coverape Coverage here is not affected by OB markers per se. Instead, two types of coverage on controversial performances or themes surface: balanced reporting and the what-sells attitude. Conclusion, trend towards more critical and analytical reviews, especially with new technological media like the Internet. Feature 4 Profiles People and Acts that have Breached the OB Markers Most ran into problems with political markers such as Josef Ng, whose performance raised heckles as his political protest was deemed to be couched as art. The Government’s reactions caught most by surprise: “one step forward, two steps backwards” phenomenon conclusion, markers have shaped a unique art-making culture here. Editorial, our Stand Trend towards more leeway in sexual themes and portrayal and political commentary, but relaxation not reflected in spheres of race or religion.
URI: http://hdl.handle.net/10356/14768
Fulltext Permission: restricted
Fulltext Availability: With Fulltext
Appears in Collections:WKWSCI Student Reports (FYP/IA/PA/PI/CA)

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