<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).]
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<p>[This message has been edited by Azlan (edited March 01, 2002).]
<BR>Most likely, two of us will be reviewing some of these for The Flying Inkpot, but that again depends if we are offered tickets to all the performances. And even if we are offered tickets, there might be some weird little mix-up at the front desk. Long story - if you want to know more, I'll e-mail you, heh.<BR>