Liao Zhai Rocks! Souvenir Programme Booklet

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  The Complete Works of Kuo Pao Kun ③: Plays in Chinese (The 1990s)

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  By the 1990s, Kuo Pao Kun’s multidisciplinary, multilingual and multicultural approach to theatre made him a pioneering figure of contemporary theatre in Singapore. Even as he established art institutions like The Theatre Practice and The Substation, he continued to write and direct plays. Lauded for their pluralism and humanistic ideals, his works were performed numerous times in Singapore and overseas, to critical acclaim. 

  Scripts:

  Lao Jiu (1990), The Eagle And The Cat (1990), 0Zero01 (1991), The Evening Climb (1992), We Played Xiang Sheng That Night (1994), Descendants of the Eunuch Admiral (1995), Calling The East Wind (1996), Grandpa’s Meat Bone Tea (1997), Spirits Play (1998)

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  The Nursery Rhymes Project: Paint Our Songs

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  The Complete Works of Kuo Pao Kun ④: Plays in English

  Published Year 2020

  Theatre doyen Kuo Pao Kun broke the mould of single-language theatre when he wrote the draft of his first English play, The Coffin Is Too Big For The Hole in 1984. From that point on, he wrote plays both in Mandarin and Eng...

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  The Complete Works of Kuo Pao Kun ④: Plays in English

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  Theatre doyen Kuo Pao Kun broke the mould of single-language theatre when he wrote the draft of his first English play, The Coffin Is Too Big For The Hole in 1984. From that point on, he wrote plays both in Mandarin and English, frequently translating his works to reach both Chinese-speaking and English-speaking theatre goers. 

  Kuo Pao Kun’s multidisciplinary, multilingual and multicultural approach to theatre has made him a pioneering figure of contemporary theatre in Singapore. Lauded for their pluralism and humanistic ideals, his works have been translated into countless languages and performed worldwide to critical acclaim. 

  Scripts:

  The Coffin Is Too Big For The Hole (1984), No Parking On Odds Days (1984), Kopitam (The Coffee Shop) (1986), The Silly Little Girl and the Funny Old Tree (1987), Day I Met The Prince (1988), Mama Looking For Her Cat (1988), The Eagle and the Cat (A Monodrama)  (1990), Lao Jiu – The Ninth Born (1990), 0Zero01  (1991), The Evening Climb (1991), Descendants of the Eunuch Admiral (1995), Geylang People in the Net (1997), The Spirits Play (1998), Sunset Rise (1999), One Hundred Years in Waiting (2001)

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• 

  Two Plays by Kuo Pao Kun: Descendants of the Eunuch Admiral & The Spirits Play

  Published Year 2020

  Kuo Pao Kun (1939-2002) was born in Hebei, China. He came to Singapore in 1949, and he was educated in both Chinese and English. Kuo’s formal theatre training was undertaken in Australia. He returned from that country to ...

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  Two Plays by Kuo Pao Kun: Descendants of the Eunuch Admiral & The Spirits Play

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  Kuo Pao Kun (1939-2002) was born in Hebei, China. He came to Singapore in 1949, and he was educated in both Chinese and English. Kuo’s formal theatre training was undertaken in Australia. He returned from that country to Singapore in 1965 and dedicated his life to the development of theatre, the arts and culture in the city-state. Kuo was a playwright, director, teacher, cultural thinker and one of the most influential figures in Singapore’s arts and cultural circles. He was awarded the Cultural Medallion (Drama) in Singapore in 1990, and the Chevalier de L’Ordre des Arts et des Lettres (Knighthood of Arts and Letters) by the French government in 1996.

  This volume brings together two of Kuo Pao Kun’s later plays. These plays represent part of a new phase in his creative work, one that is characterised by an epic engagement with history. In Descendants of the Eunuch Admiral (1995) and The Spirits Play (1998), Kuo examines the vagaries of history to protest and resist the spiritual and cultural castration of the individual by harsh political regimes and the oppressive grand vision. At the same time, the plays also work at transcending specific historical realities in order to foster a deeply resonant but also discomfiting response in his audience, one that Kuo hoped would lead them to traverse comfortable boundaries so as to reach other states of perception.

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