
<BR><small>Mikari in the title role of the KU NA'UKA Theatre Company's <I>Medea</I>. Picture by James Croucher</small><P>A kind of look-back at the Singapore Arts Festival:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>ARTS FEST DRAMA-RAMA<BR><B>Text-ing the limits</B> <BR>A closer look at the experiments in remaking classics at the Arts Fest provides an instructive lesson on why the classics have endured, says ONG SOR FERN <P>IT HAS been a veritable smorgasbord - 31 productions from 18 different countries at the Singapore Arts Festival. Now that it is over, bleary-eyed theatre-goers can sit back and take stock.<P>Which, for this theatre-goer at least, means looking at the ever-thorny issue of art-making in a post-modern world, an issue which contains within it eternal questions of the role of art in society and its relevance to theatre-goers.<P>Although it is impossible to draw a single conclusion from the wide array of works, there is one recurrent trend that provides an illuminating entry point for discussion: the preponderance of productions which remade classic texts.<HR></BLOCKQUOTE><P><A HREF="http://straitstimes.asia1.com.sg/story/0,1870,130480-1026079140,00.html?" TARGET=_blank><B>More</B></A><P>(Link will expire in 2 days.)<BR><p>[This message has been edited by Malcolm Tay (edited July 12, 2002).]