Due to the COVID-19 pandemic, Singapore went into lockdown—or what the government calls a “Circuit Breaker” period—from 7 April 2020. On 3 June 2020, we went into the first phase of easing of the restrictions. However, it was so minor that it was no different from a lockdown. On 19 June, we transitioned to Phase Two which meant that most activities can resume with minor conditions attached to them.
As such, I thought it would be interesting just to do an arts tally to highlight how the arts played a part to get us through the lockdown. The tally details the arts that I have consumed from 7 April to 18 June 2020.
One Man, Two Guvnors (2011) by National Theatre
An Enemy of the People <人民公敌> (2014) by Nine Years Theatre
Jane Eyre (2015) by National Theatre & Bristol Old Vic
Treasure Island (2015) by National Theatre
Emily of Emerald Hill (2019) by W!ld Rice
Rosnah (2016) by The Necessary Stage
Supervision (2019) by W!ld Rice
To Whom It May Concern (2011) by The Finger Players
Coronalogues: Silver Linings (2020) by Singapore Repertory Theatre
Harap (Hope) (2017) by Teater Ekamatra
Titoudao (2020) by Oak3 Films & Goh Boon Teck
The Field of Drama (2000) by Martin Esslin
How Learning Works: Seven Research-Based Principles for Smart Teaching (2010) by Susan A. Ambrose, Michael W. Bridges, Michele DiPietro
Song of the Outcast: An Introduction to Flamenco (2003) by Robin Totton
Arts Reviewing: A Practical Guide (2017) by Andy Plaice
Schindler’s List (1993) by Steven Spielberg
In total, I have watched ten screenings of past theatre productions, one television series, one film, and read four books.
This is a rather modest tally, but it would not surprise me if over a thousand people had a significant part to play for these works to come to fruition. It would have been a very different experience had these things and people not exist.
They are there not merely as a means to kill boredom, but I have derived instruction, conversation, and provocation from these works.