Amidst the seemingly never ending daily grind of city dwelling, the past caught up with a widowed man and a widowed woman in their twilight years.
Reunited after decades in separate marriages, they found themselves confronted with an emotion tsunami surging from suppressed trembles in yesteryears.
Can they make up for the lost time?
Can they find peace before their flesh perish?
UNDER is a closeup study of non verbal communications between the hearts through the lens of video framing, at times w
Our arts collective ZOBO Company is made up of a group of young artists (Ella Wee, Teoh Jieyu, Vanessa Poh, Wang Ying Bei, Chng Yikai, Lim Ci Xuan) who are interested in having conversations about social issues with movement, visuals and non-conventional staging. The collective came together in Sept 2021 for the first phase of this joint project, marking a beginning of another journey after the graduation of ARTivate Batch 3, a three year youth training program by Drama Box, which most of our members have b
Tunjuk Arah/ இயக்குனர் is a developmental programme for directors of Malay and Indian theatre. It opens the space for them to reflect on their practice and grow, be groomed by various local and regional directors, and enjoy a structured learning environment made up of a series of masterclasses and workshops, and mentorship. Participants will practice directing engaging and affective works for Malay and Indian theatre, apply good directorial strategies and grow their confidence in developing and maturing the
Conceptualised by Jean Tay and Thong Pei Qin, Love Letters to 42 began as a repository of letters as tributes to Centre 42 for its 6 years of existence (also in conjunction with its 6th birthday) and each artist’s relationship to the space of 42 Waterloo street prior to mid-2020, at times even expanding to the larger Waterloo street precinct and the history of the space prior to Centre 42’s birth.
The letters reflected the sentiments of various artists, some being unhappy with
It has been many days since we last ate. We barely manage to find some scrap of food here and there. These people, my people, my… tribe. I really hope we survive together.
A Tiny Country is a thought-provoking, experiential, playful, and exciting collective role-playing experience. The audience plays dual roles—one as a member of a community living in a tiny country who is invested in the country’s fate, and another as a social scientist who impartially experiments with the people’s future. The
A night-hour safehouse for the troubled youths, dropouts, runaways and delinquents of the Malay community is run by a pair of ex-offenders. When external intervention looms, it will take their collective efforts to keep the walls of their home up. Or will they come tumbling down?
Written and directed by Nessa Anwar, Rumah Dayak is an unflinching look at the struggle to guard a home built out of circumstances surrounding poverty, deprivation and abuse. Rumah Dayak is the inaugural production by new collec
An actress (Sonia Kwek) and a dancer (Neo Yan Zong) meet in Happy Waiting, a new play written by Beverly Yuen, inspired by Samuel Beckett’s Happy Days and Waiting for Godot. Choreographer/ dance artist Bernice Lee is making her theatre directorial debut with Happy Waiting. This combination is exciting and creatively stimulating for a text-based physical theatre performance!
Vicky (Sonia Kwek) is trapped in a mound, but in a cheerful spirit, with only her limbs and head seen. In the mound, Vicky
“Because your dreams should not come with an expiry date.”
A Piece of Cake tells the story of Pat, a self-taught baker who finds herself at a crossroad in her 30-something life. While dealing with the challenging task of kick-starting a second career in her own bakery, Pat is faced with the parental pressure to start her own family with her long-time boyfriend, Thomas, and start it soon.
But that’s easier said than done, especially when money is tight. And now, niggling doubts start to cross
Neo Kim Seng grew up in Pasir Panjang on Neo Pee Teck Lane, a side road named after his grandfather, until he moved out in 1973. My Grandfather’s Road is a collection of stories of the familial haven that stood along the road, stories that have helped him reconnect with his idyllic childhood and his family’s history. It does not dwell in nostalgia but instead explores how personal stories make us who we are.
The latest iteration of My Grandfather’s Road includes new stories that were
ANGKAT: A Definitive, Alternative, Reclaimed Narrative of a Native subverts norms of genre and dramatic form to tell the intertwining histories of a mother and daughter, and a re-imagining of a young Singapura trying to find her footing amidst the rough seas.
Salma, an aspiring singer, is an adopted child whose struggle with identity is played out on a national stage.
Mak, a former islander, tries to process the loss of her home from the mainland, with a little help from some friends.
What relationship do we share with our possessions?
How can we orient ourselves to these things differently?
This intimate interactive performance takes the form of an artist lecture and dialogue where Zihan will share his experiences of staging his installation Queer Objects: An Archive for the Future (2016), an assemblage of objects for a hypothetical queer archive in Singapore. Through participatory activities, the audience will join Zihan in an examination of the fictional and factual, virtua
Start: October 2018
What kind of support will Centre 42 provide?
Up to 40 hours of rehearsal space support, of which 10 hours are dedicated to a mid or end-point sharing
Early access to venue booking with the Arts Resource Hub @ 42 Waterloo Street
Documentation support, subject to the availability of resources
Centre 42 may also provide marketing, logistical support and venue support for public engagement sessions (e.g. mid-point sharing) held as part of the Residency.
What is expected of Residents?
As the residency is catered to projects in more upstream stages of performance creation, Residents should open their projects up for one mid-point or end-point sharing of their process. In addition, they should provide one documentation piece, as well as one artist reflection to further chart the process of the creation.
How do I apply to be under the Creation Residency?
Centre 42 will open 2 seasonal calls per year for projects to be a part of the Creation Residency. Interested artists should submit a project proposal that articulates clearly the
concept or idea
artist’s motivation and voice
plan for development of the project during the residency period
desired outcomes from the process and at the critical reception
How does Centre 42 select proposals?
Evaluation of the submitted projects will be conducted by the Centre 42 team. External parties with the right expertise may be invited to provide an alternative perspective.
Priority is given to
Projects in their ‘upstream’ phases (ie ideation, research, drafts) and less so to productions that merely require rehearsal spaces
Artists who are ready to participate in the documentation of their incubation process with C42
Selection is also dependent on the availability of Centre 42’s resources during the proposed residency time frame (i.e. budget, space and manpower)
How often does this residency accept artists-in-residence?
Centre 42 will open 2 seasonal calls per year for projects to be a part of the Creation Residency. Up to 3 projects can be supported every season.