90年代新加坡华文剧场中的审查隐喻 = Metaphors of censorship in Singapore Chinese theatre from the 90’s
杨洤斌 Yeo, Quan Bin
Date of Issue2017
School of Humanities and Social Sciences
审查制度一直都是政府用以限制和监督社会的政治管理机制，在90年代初为了经济发展则初次展现放宽的现象。当时的社会风气有自由化的趋势，虽然有利于文化艺术领域的发展，民间层面却没有因此摆脱官方的严格控管，继续在受限的环境与条件下完成90年代间的发展。剧场作为表演艺术的一种形式，自然拥有挑战主流的权利。隐喻的表现手法，更是能让剧场在不与官方正面交锋的条件下，替这权力局势里的弱势者发声，安全地进行有效反抗。本文将针对90年代上演的华文剧场作品，对照当时新加坡社会的审查现象与事迹，试图解读剧中所运用的隐喻机制背后的具体涵义。 Censorship has always been used as a political management tool by the Government to exercise control and supervision. Yet measurements to relax censorship was only first taken in the early 1990s for the ultimate sake of economic development. Though this form of liberalisation provides a better atmosphere for the growth of local culture and arts scene, it did not translate to the people’s domain. The Singapore society was hence still largely under the draconian rule of the Government, and will continue so for the rest of the 1990s. Theatre as a performing art, naturally possess the right to challenge orthodoxy. Theatre can even employ Metaphors as a medium to speak up for the weak within this power situation, thereby putting up an effective resistance via an indirect confrontation. This essay aims to look at plays staged during the 1990s by Chinese theatre groups, paired with the reading of local censorship events and phenomenon of the same period, so as to understand and decipher the meanings of the metaphors laced within these texts.
Final Year Project (FYP)
Nanyang Technological University