PUBLISHED April 10th, 2024 06:00 am | UPDATED July 25th, 2024 02:49 pm
Hidden gems and speakeasies captivate us, especially in the realms of cuisine and drinks. Yet, there’s an equally intriguing hidden gem in Singapore’s theatre education scene stirring up the drama world. Established in 2000 by the celebrated dramatist, the late Kuo Pao Kun, alongside current Director T. Sasitharan (Sasi), the Intercultural Theatre Institute (ITI), mirrors the allure of a speakeasy bar, along with its exceptional offerings and a cozy atmosphere.
Despite its low profile among the general public, it garners immense respect from local and international drama practitioners for its distinctive educational approach. This approach has nurtured talents such as Golden Horse Award recipient Yeo Yann Yann and Grace Kalaiselvi, among others. What does such a theatre institute bring to the table? Why is it under the radar? We speak with T. Sasitharan (Sasi), and Koh Wan Ching, ITI’s Head of Acting, to learn more about Intercultural Theatre Institute (ITI), the speakeasy of Singapore’s theatre education.
Quality in Craft from Embodied Learning
“Learning is done in the in-between spaces of uncertainty, dialogue and experimentation.”
Koh Wan Ching, ITI’s Head of Acting
“ITI’s vision is that of intercultural, embodied learning”, shares Koh Wan Ching. Training at ITI involves a dynamic exchange of ideas and knowledge between master teachers and students in deep experiential learning of Western Contemporary Acting and Asian Traditional Theatre forms, such as Noh Theatre from Japan, Beijing Opera from China, Wayang Wong from Indonesia and Kutiyattam from India. These immersions encourage students to explore the “unique aesthetics, dramaturgical strategies, and strict requirements” of each technique.
As Sasi describes, “Through training in Movement, Voice and Speech and Acting, ITI students recombine traditional and contemporary performance techniques into an original, distinctive psycho-physical method of acting.” To further support students in their experience, ITI includes Taiji as a paratheatrical module, which helps in mind and body training. This bespoke curriculum aims for students to realise the “vastly different sensitivities and sensibilities in their being”, giving them versatility and a broad repertoire to work with.
Theatre as Personal and Social Transformation
“They (students) are enabled to devise an individual professional practice routine, be critically aware, socially engaged, autonomous and work with agency.”
T. Sasitharan (Sasi), ITI Director
More than just a form of entertainment, theatre can foster personal and social change. Immersing in the rich traditions of unfamiliar cultures is a profound way to cultivate empathy, courage, and vulnerability.
“Students are constantly nudged into “safe spaces” where the intersection of the ‘contemporary’ and the ‘classical’, ‘technical’ and ‘creative’ and ‘structure’ and ‘spontaneity’ happen,” shares Sasi.
Through deep self-exploration and heightened self-awareness, transformation can be as subtle as noticing the shift of the breath or the embodiment of a ravaging demon by a young woman to inspire social change. Just as the father of the Theatre of the Oppressed, Augusto Boal, believes, “Theatre is knowledge; it should and can also be a means of transforming society.” These are all part of ITI’s ethos of fostering human understanding and raising social and cultural awareness through excellence in theatre education.
Rising to Challenges
Despite its intercultural approach and the successes of its alums, ITI remains under the radar in Singapore’s arts education scene. Besides a genuine lack of awareness, the demands of contemporary theatre – three years of dedication and discipline – present a challenge in today’s fast-paced and expensive times. Even though students will graduate with a robust set of skills, a performance portfolio and a Professional Diploma in Intercultural Theatre (Acting), it is still not a degree – something which local parents and aspiring actors prefer, according to Sasi.
Although the independent theatre institute faces a lack of recognition and understanding, it continues to focus on training and students, steering away from cultural policies that may overemphasise commercial and economic interests and outcomes. Despite being underfunded as an independent charity, the institute remains committed to its craft, raising limited financial support for enrolled students.
A Look to the Future in Arts and Theatre
“I feel that the arts remain vital to young people living in a world fraught with devastating crisis, destruction and injustice. That the arts offer a space to ask difficult questions and to care.”
Koh Wan Ching, ITI’s Head of Acting
Arts and theatre have always been a cornerstone of human existence, weaving stories, traditions and cultural heritage through the ages. So, yes, there’ll always be space for art in the world. In Singapore, the formation of the University of the Arts Singapore (UAS) points to a growing interest in higher learning for the arts. Wan Ching observes that while arts and theatre throb with vibrancy and diversity, it is getting somewhat fragmented. She credits local arts organisations like Drama Box for nurturing young and emerging tales with their Artivate and Camp O programs and The Necessary Stage for developmental programs in devising and playwriting, hoping that these will encourage the younger generation to find meaning in full-time arts education.
She also notes a growing need for spaces which support process-based work and long-term experimentation. Stepping up to fill this gap, ITI dedicated space for people from different disciplines to gather, dialogue, experiment and fail with their Residency at ITI program to facilitate independent practice research and experimental performance-making within the local community.
With its heart in the arts, ITI continues to carve out a unique space in Singapore’s theatre and arts scene. The 2024 graduating cohort will be putting up their graduation performance, And the Cats Dance by the Light, at Drama Centre Black Box from 2 to 4 May, 2024. This is a great opportunity to witness the culmination of their three years of dedication and discipline, and to support the future of Singapore’s theatre. Tickets are priced at S$27, with concessions for NSFs, senior citizens, and students. Get your tickets here.
Learn more about ITI here.
Top Image: Bernie Ng