The Arts Theatre of Singapore (新加坡艺术剧场) is a Chinese-language theatre company whose beginnings can be traced to 1955 when it was established as the Singapore Amateur Players (SAP).1 In 1995, the SAP registered itself as a non-profit organisation and switched its focus from realistic modern dramas to Mandarin educational theatre for children and youths. Subsequently, the group also changed its name to Arts Theatre of Singapore.2
Singapore Amateur Players
The SAP theatre company was founded by the alumni of the drama societies of several Chinese schools, including Chung Cheng High School, Hwa Chong High School and Nan Qiao High School in 1955.3 Some members of the drama society of Chung Cheng High School wanted to establish an amateur drama club that was not affiliated to any school so as to further develop the art of drama, and at the same time allow alumni members and individuals from other schools to join.4
After several months of meetings in 1954, the group decided to form the SAP. In early February 1955, the group applied to the Registry of Societies, and the SAP was officially established in April 1955.5
The SAP’s primary dramatic influences were Russian director and actor Constantin Stanislavski’s acting methods, which draw on the actors’ emotions. The SAP was also influenced by Chinese spoken drama (话剧; hua ju).6 The plays that they performed were generally realistic portrayals of society.7 On average, the SAP staged two to three productions a year.8
Early productions
The SAP’s first production was Ri chu (日出; “Sunrise”), a play written by Cao Yu, an eminent playwright from China. It was staged at the Victoria Memorial Hall in November 1955.9 At the time, the SAP had less than 30 official members, so the group recruited stagehands from various other schools.10
The SAP’s major productions during the 1950s were Ye dian (夜店; “Night Inn”) in 1956, which was an adaptation of Russian author Maxim Gorky’s Submerged, and Lei yu (雷雨; “Thunderstorm”) in 1957, another play by Cao.11 Lei yu was so popular that tickets sold out several days before the performance.12 In addition to plays, the SAP also staged several dance performances during the 1950s.13
Key developments
1960s and 1970s
In March 1960, the SAP participated in Pesta Kebudayaan (Cultural Festival), the first of such events in Singapore.14 It also marked the first time the company performed local plays, including Sheng dan cai shen (圣诞财神; “Christmas Fortune Spirit”), written by the SAP’s then director Lin Chen, and Zheng ren jun zi (正人君子; “An Upright Gentleman”), written by troupe member Lu Bai.15
Between 1962 and 1966, audiences for SAP productions dwindled.16 But interest was revived in 1966 with the staging of Cao’s play, Beijing ren (北京人; “Peking Man”). The play, which was a Chinese literature text for secondary four pupils, attracted many students. The SAP also organised an essay contest to complement and promote the play.17
The period after Beijing ren was marked by a general increase in audiences and ticket sales, particularly among the young. Qi shi er jia fang ke (七十二家房客; “The Seventy-two Families of Tenants”) in 1967 had full houses on two of its four-night run.18
The 1970s was a period in which SAP productions were well attended.19 During the decade, the SAP staged several dramas with scripts authored by troupe members. One of them, Ng Koon How, drafted the scripts for Di er ci ben (第二次奔; “The Second Escape”) and Qu chong (蛆虫; “Maggots”), both in 1973.20 The SAP’s scriptwriting team collectively wrote Liang ge meng (两个梦; “A Night of Two Dreams”) and Du (赌; “Gambling”), both staged in 1978.21 Du was, however, criticised by a reviewer for its lack of entertainment value, due to its focus on educating the audience on the evils of gambling.22
1980s
The SAP celebrated their 25th anniversary in 1980 by staging an adaptation of John Steinbeck’s novel-turned-play The Moon is Down.23 By 1981, the theatre company consisted of over a hundred members, but there were less than 30 active members. The decline in membership was attributed to the difficulty in attracting new members to the troupe, as well as waning interest in the dramatic arts among students.24
Despite the obstacles, the SAP continued staging about two plays a year to maintain members’ and public interest.25 The group was also a regular participant in the Drama Festival, performing plays such as Jin yu gang bian (金鱼缸边; “Chasing the Rainbow”) in 1981,26 Zhen xiang (真相; “The Truth”) in 1983,27 and Yan fei xiang (燕飞翔; “The Flying Swallow”) the following year.28
In the mid-1980s, the SAP was on the verge of closure due to financial problems brought about by high rental and dwindling membership, and ceased activities in early 1985 due to a lack of funds.29
The Ministry of Community Development (now known as the Ministry of Culture, Community and Youth) heard about the plight of the group, and offered to lease six classrooms in the old Telok Ayer Primary School on Cecil Street to the company at a nominal rental of S$60 per month (S$10 per room) under the then newly established Arts Housing Scheme.30 This was a significant reduction from the monthly rental of S$700 that the SAP had been paying for its previous premises at Yio Chu Kang.31 The SAP moved into its new home in October 1985.32 The school building became known as the Telok Ayer Performing Arts Centre in the same year, and began housing other arts groups.33
Despite the move, the company remained in financial straits. The SAP’s 1988 heavyweight production, Jie hun (结婚; “The Wedding”), not only strained the actors but also took a financial toll on the company, as it made substantial losses.34
Shift to children-centric theatre
From the mid-1980s, the SAP increased their focus on crosstalk (相声; xiang sheng) – a traditional Chinese performance based on puns and play on words – and began staging regular crosstalk performances from August 1986. They also staged occasional performances of multiple-act plays, such as a Chinese adaptation of the novel Gone with the Wind, which translates in Chinese as Luan shi jia ren (乱世佳人), in 1991.35
By the mid-1990s, the SAP began to face problems of increased competition from new drama groups, a lack of space for rehearsals and performances and a shrinking audience size. To facilitate a new phase of development, the SAP registered itself as a non-profit organisation on 26 January 1995.36
In April that year, the ATS established the Xiao yu dian shao er yi shu tuan (小雨点少儿艺术团; Little Raindrop Children’s Arts Troupe), which caters to children and aims to promote interest in the performing arts among children and adults. Since then, the company has mainly concentrated on children’s theatre, staging productions such as Chou xiao ya (丑小鸭; “The Ugly Duckling”) in 1998, Xi you ji (西游记; “Journey to the West”) in 2000 and San zhi xiao zhu yu xiao hong mao (三只小猪与小红帽; “The Three Little Pigs and Little Red Riding Hood”) in 2003 and Xiao mi feng te gong (小蜜蜂特工; “Worker Bee”) in 2008, among many others.37
The change in focus was also accompanied by a change in the group’s English name: It became known as Arts Theatre of Singapore (ATS).38 The company’s Chinese name remained the same.39
Training and programmes
The ATS conducts a variety of programmes and courses for children, from primary school to pre-tertiary levels. These include creative-writing, dance and acting courses and speech-and-drama workshops.40 The group has been hosting the annual Inter-School Short Play Competition since 1998.41 It also conducts speech-and-drama courses for local schools.42
The ATS currently stages three to four productions a year.43
Key members
In the 1980s, three leading members of the troupe were awarded the Cultural Medallion for their contributions to Singapore theatre. Lin Chen received the award in 1982, while founding members Low Ing Sing and Tay Bin Wee were honoured in 1985 and 1988 respectively.44
The current ATS president, Koh Chong Chiah (许崇正), joined the group in 1971 when it was then known as the SAP. He became the president of the group in 1986. After he retired from Citibank in 2010, he became the managing director of the ATS full-time.45
Selected plays
1955: Ri chu (日出; “Sunrise”).46
1956: Ye dian (夜店; “Night Inn”).47
1957: Lei yu (雷雨; “Thunderstorm”).48
1960: Sheng dan cai shen (圣诞财神; “Christmas Fortune Spirit”).49
1960: Zheng ren jun zi (正人君子; “An Upright Gentleman”).50
1966: Beijing ren (北京人; “Peking Man”).51
1967: Qi shi er jia fang ke (七十二家房客; “The Seventy-Two Families of Tenants”).52
1973: Di er ci ben (第二次奔; “The Second Escape”).53
1973: Qu chong (蛆虫; “Maggots”).54
1978: Liang ge meng (两个梦; “A Night of Two Dreams”).55
1978: Du (赌; “Gambling”).56
1980: Yue liang xia qu le (月亮下去了; “The Moon is Down”).57
1981: Jin yu gang bian (金鱼缸边; “Chasing the Rainbow”).58
1983: Zhen xiang (真相; “The Truth”).59
1984: Yan fei xiang (燕飞翔; “The Flying Swallow”).60
1988: Jie hun (结婚; “The Wedding”).61
1991: Luan shi jia ren (乱世佳人; “Gone with the Wind”).62
1998: Chou xiao ya (丑小鸭; “The Ugly Duckling”).63
2000: Xi you ji (西游记; “Journey to the West”).64
2003: San zhi xiao zhu yu xiao hong mao (三只小猪与小红帽; “The Three Little Pigs and Little Red Riding Hood”).65
2007: Hui gu niang (灰姑娘; “Cinderella”).66
2014: Wang zi he qi gai (王子和乞丐; “The Prince and the Pauper”).67
Authors
Vina Jie-Min Prasad & Jaime Koh
References
1. Xu Chongzheng 许崇正, Xinjiapo yishu juchang: Xinjiapo yishu juchang jin xi jinian tekan 新加坡艺术剧场金禧纪念特刊 50: 1955–2005 [Arts Theatre of Singapore Golden Jubilee Special Publication 50: 1955–2005] (Singapore: Singapore Arts Theatre, 20050, 34. (Call no. Chinese RSING 792.095957 ART)
2. “Cool or Fool: Audience to Give Opinion,” Straits Times, 15 May 1996, 8 (From NewspaperSG); “History,” Arts Theatre of Singapore, n.d.
3. Kevin J. Wetmore, Jr, Siyuan Liu and Erin B. Mee, Modern Asian Theatre and Performance 1900–2000 (London: Bloomsbury, 2014), 259 (Call no. RSEA 792.095 WET); Xu Chongzheng, Xinjiapo yishu juchang, 34; Kwan Zi, “But the Show Must Go On...,” Straits Times, 28 January 1981, 1. Retrieved from NewspaperSG.
4. Xu Chongzheng, Xinjiapo yishu juchang, 34.
5. Xu Chongzheng, Xinjiapo yishu juchang, 34.
6. Wetmore, Liu and Mee, Modern Asian Theatre and Performance, 259; K. Jit, “Kuo Pao Kun – The Man of the Future in Singapore Theatre,” in Kuo Pao Kun, The Coffin Is Too Big for the Hole...and Other Plays (Singapore: Times Book International, 1990), 11–12. (Call no. RSING 822 KUO)
7. Chua Leong-Kian, “Gambling Comes into Play,” Business Times, 9 October 1978, 6. (From NewspaperSG)
8. “Calling Drama Enthusisats,” Straits Times, 3 November 1982, 2. (From NewspaperSG)
9. Xu Chongzheng, Xinjiapo yishu juchang, 35.
10. Xu Chongzheng, Xinjiapo yishu juchang, 35.
11. Xu Chongzheng, Xinjiapo yishu juchang, 36; Chong Wing Hong, “Dramatic Heights,” Straits Times, 3 November 1982, 1. (From NewspaperSG)
12. Xu Chongzheng, Xinjiapo yishu juchang, 36.
13. Xu Chongzheng, Xinjiapo yishu juchang, 52–53.
14. Harry Chia, “300 Local Artists for State’s Pesta,” Singapore Free Press, 6 September 1960, 7. (From NewspaperSG)
15. Xu Chongzheng, Xinjiapo yishu juchang, 37, 52; “Yishu ju chang gongyan bendi chuangzuo dumuju san wan” 藝術劇塲公演本地創作獨幕劇三晚 [Amateur Players’ first performance of local plays will last three nights], Nanyang Siang Pau 南洋商报, 12 February 1960, 7 (From NewspaperSG); Chong, “Dramatic Heights.”
16. Xu Chongzheng, Xinjiapo yishu juchang, 39.
17. Xu Chongzheng, Xinjiapo yishu juchang, 39; “‘Beijing ren’ maizuo dingsheng zhong si xuesheng zuowen bisai ding yu ming wan juxing banjiang” ‘北京人’ 賣座鼎盛中四學生作文比賽訂於明晚舉行頒獎 [Prize presentation for the Beijing ren secondary four essay contest to be held tomorrow night], Nanyang Siang Pau 南洋商报, 3 October 1966, 14. (From NewspaperSG)
18. Chong, “Dramatic Heights”; Xu Chongzheng, Xinjiapo yishu juchang, 39.
19. Arts Theatre of Singapore, “Arts Theatre of Singapore Ltd 50 years in Singapore – Chinese Drama,” 23 July 2013, video, 00:50
20. Chong Wing Hong, “Probing the Japanese Woman’s Psyche,” Straits Times, 19 July 1988, 5. (From NewspaperSG)
21. “Chinese Drama,” Straits Times, 17 February 1978, 7 (From NewspaperSG); Xu Chongzheng, Xinjiapo yishu juchang, 42–43; Chua, “Gambling Comes into Play.”
22. Chua, “Gambling Comes into Play.”
23. “Xinjiapo yishu juchang ding qi gongyan ‘yueliang xiaqule’” 新加坡艺术剧场订期公演 ‘月亮下去了’ [Singapore Amateur Players to debut The Moon is Down], Nanyang Siang Pau 南洋商报, 14 April 1980, 23. (From NewspaperSG)
24. Zi, “But the Show Must Go On....”
25. Zi, “But the Show Must Go On....”
26. Xu Jin, “Glimpses of a Breakthrough?” Straits Times, 13 October 1981, 1; “81 Niandu xiju jie xinjiapo yishu juchang chengxian si mu huaju ‘jin yugang bian’” 81年度戏剧节新加坡艺术剧场呈献 四幕话剧 ‘金鱼缸边’ [Singapore Amateur Players to perform four-act play, Jin yu gang bian, at 1981 Drama Festival], Sin Chew Jit Poh 星洲日报, 3 October 1981, 29. (From NewspaperSG)
27. Chong Wing Hong, “Drama Groups Have Potential,” Straits Times, 3 October 1983, 1; “Yishu juchang xia yuedi chengxian bendi chuangzuo ‘zhenxiang’ san mu ju” 艺术剧场下月底呈献本地创作“真相”三幕剧 [Singapore Amateur Players to perform three-act play, Zhen xiang, at end of next month], Lianhe Zaobao 联合早报 , 29 August 1983, 7. (From NewspaperSG)
28. Goh Beng Choo, “Flying Swallow Takes Off,” Straits Times, 17 September 1984, 1. (From NewspaperSG)
29. “Xianru kunjing de wenhua tuanti,” 陷入困境的文化团体 [An arts troupe in a difficult situation], Lianhe Zaobao 联合早报 , 2 April 1985, 14 (From NewspaperSG); Arts Theatre of Singapore, “Arts Theatre of Singapore Ltd 50 years in Singapore”; Goh Beng Choo, “The Act Goes on for Amateur Players,” Straits Times, 7 November 1985, 43. (From NewspaperSG)
30. Irene Hoe, “5 Cultural Bodies Move into Telok Ayer School,” Straits Times, 1 January 1986, 10 (From NewspaperSG); Goh, “Act Goes on for Amateur Players.”
31. Hoe, “5 Cultural Bodies Move”; Goh, “Act Goes on for Amateur Players.”
32. Hoe, “5 Cultural Bodies Move.”
33. “From Classrooms to Restored Buildings,” Straits Times, 11 July 1999, 9. (From NewspaperSG)
34. Chong Wing Hong, “Evening of Music, Drama and Dance,” Straits Times, 24 November 1988, 5. (From NewspaperSG)
35. Xu Chongzheng, Xinjiapo yishu juchang, 46, 54; Guan Libing, “Kings of Crosstalk,” Straits Times, 8 January 1993, 14. (From NewspaperSG)
36. Xu Chongzheng, Xinjiapo yishu juchang, 47.
37. Xu Chongzheng, Xinjiapo yishu juchang, 56–59; Chin Soo Fang, “Young Talent from China and Singapore Team Up,” Straits Times, 24 August 1995, 14; “Huayu ertong ju ‘xiao mifeng tegong’” 华语儿童剧 ‘小蜜蜂特工’ [Children’s drama “Worker Bee”], Lianhe Zaobao 联合早报 , 4 November 2008, 14. (From NewspaperSG)
38. “Cool or Fool: Audience to Give Opinion,” Straits Times, 15 May 1996, 8. (From NewspaperSG)
39. “‘Beijing ren’ maizuo dingsheng zhong si xuesheng zuowen bisai ding yu ming wan juxing banjiang” ‘北京人’ 賣座鼎盛中四學生作文比賽訂於明晚舉行頒獎 [Prize presentation for the Beijing ren secondary four essay contest to be held tomorrow night], Nanyang Siang Pau 南洋商报, 3 October 1966, 14 (From NewspaperSG); Arts Theatre of Singapore, “History.”
40. “School Programmes: Primary,” Arts Theatre of Singapore, accessed 2014; “Nature of Business,” Arts Theatre of Singapore, accessed 2014; “School Programmes: Secondary/JC,” Arts Theatre of Singapore, accessed 2014; “Training,” Arts Theatre of Singapore, accessed 2014.
41. Li Liqun 李立群, “Qing jiaoyu bu geng gongping he linghuo xie” 请教育部更公平和灵活些 [Request for MOE to be fairer and more flexible], Lianhe Zaobao 联合早报, 1 June 2006, 14; Xu Chongzheng 许崇正, “Wenti daodui fasheng zai nali?” 问题到底发生在哪里? [Where is the problem, actually?], Lianhe Zaobao 联合早报, 22 June 2006, 20 (From NewspaperSG); “About Us,” Arts Theatre of Singapore Ltd, accessed 2014.
42. “Performing Arts Group – Arts Theatre of Singapore Ltd,” Tanoto Foundation Centre for Southeast Asian Arts at NAFA, n.d.; Arts Theatre of Singapore, “School Programmes”; Arts Theatre of Singapore, “Nature of Business.”
43. Arts Theatre of Singapore, “Nature of Business.”
44. “Cultural Medallion & Young Artist Award Recipients for Theatre,” National Arts Council, accessed 2012.
45. “Our Staff,” Arts Theatre of Singapore Ltd, accessed 2014.
46. Xu Chongzheng, Xinjiapo yishu juchang, 35.
47. Xu Chongzheng, Xinjiapo yishu juchang, 36; Chong, “Dramatic Heights.”
48. Xu Chongzheng, Xinjiapo yishu juchang, 36; Chong, “Dramatic Heights.”
49. Xu Chongzheng, Xinjiapo yishu juchang, 37, 52; “Yishu ju chang gongyan bendi chuangzuo dumuju san wan.”
50. Xu Chongzheng, Xinjiapo yishu juchang, 37, 52; “Yishu ju chang gongyan bendi chuangzuo dumuju san wan.”
51. Xu Chongzheng, Xinjiapo yishu juchang, 39.
52. Chong, “Dramatic Heights.”
53. Chong, “Probing the Japanese Woman’s Psyche.”
54. Chong, “Probing the Japanese Woman’s Psyche.”
55. “Chinese Drama”; Xu Chongzheng, Xinjiapo yishu juchang, 42–43; Chua, “Gambling Comes into Play.”
56. “Chinese Drama”; Xu Chongzheng, Xinjiapo yishu juchang, 42–43; Chua, “Gambling Comes into Play.”
57. “Xinjiapo yishu juchang ding qi gongyan ‘yueliang xiaqule’.”
58. Xu Jin, “Glimpses of a Breakthrough?” “81 Niandu xiju jie xinjiapo yishu juchang chengxian si mu huaju ‘jin yugang bian’.”
59. Chong, “Drama Groups Have Potential”; “Yishu juchang xia yuedi chengxian bendi chuangzuo ‘zhenxiang’ san mu ju.”
60. Goh, “Flying Swallow Takes Off.”
61. Chong, “Evening of Music, Drama and Dance.”
62. Xu Chongzheng, Xinjiapo yishu juchang, 46.
63. Xu Chongzheng, Xinjiapo yishu juchang, 57.
64. Xu Chongzheng, Xinjiapo yishu juchang, 58.
65. Xu Chongzheng, Xinjiapo yishu juchang, 59.
66. “Ertong wuju ‘hui guniang’” 儿童舞剧 ‘灰姑娘’ [Children’s performance, Cinderella], Lianhe Zaobao 联合早报, 14 April 2007, 13. (From NewspaperSG)
67. “Performances,” Arts Theatre of Singapore, n.d.
The information in this article is valid as of 27 November 2014 and correct as far as we are able to ascertain from our sources. It is not intended to be an exhaustive or complete history of the subject. Please contact the Library for further reading materials on the topic.
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