Part I Changing Forms of Theatre and Drama

Notes

2 Modernity and the Self in Singapore: Emily of Emerald Hill 1. Peranakan, broadly speaking, means locally born, or descendant of immigrants to South East Asia. 2. ‘Singlish’ is a creole with its roots in English, but with a vocabulary comprised of Hokkien, Malay and Mandarin words as well as English. It also features a mixture of syntactical structures from the contributing languages. 3. For a comprehensive review of what was staged in the decades since independence, see David Birch (1997). 4. Towkay (Hokkien): head of the family; patriarch. A common term of address for men of high social standing in the Straits Chinese community.

3 Modern Drama and Postcolonial Modernity in Indonesia 1. The simple set and costuming and relatively straightforward political reference of the 1971 production accorded with the improvisational style and boldly critical political stance of Rendra’s work at the time. By 1976, Rendra had experienced increased government pressure and repeated bannings of his plays. His Hamlet production of that year expressed a conscious political caution, and used Javanese costuming and musical accompaniment in keeping with the embrace of a more local, traditional theatrical style, as discussed later in this chapter in relation to his 1975 play The Struggle of the Naga Tribe. Rendra’s portrayal of young prince Hamlet in the 1994 production, at the age of 58, was critiqued by some as vain and self-indulgent, while others found in it an added layer of political meaning – an aging actor in blue jeans waving a Javanese sword urging Indonesians to shake off their Hamlet-like vacillation and stagnation and recover their progressive culture (Winet, 2010: 151–6). 2. Such critiques range from reference to the recently deposed despot Sukarno and the atheistic dogma attributed to the reviled Communist Party in a production of a full translation of Camus’ play staged in late 1966, to the shared ‘madness’ of the late Suharto era in productions by Teater Sae in 1991, Teater Garasi in 1995 and Payung Hitam in 1996 (Winet, 2010: 156–62, 166–73). 3. Popular theatre continued to thrive through the first half of the twentieth century, with active involvement of and support from Eurasian and Chinese communities (Winet, 2010: 44–68). 4. Boedi and Margesti Otong, personal communication (see Hatley, 1995).

4 Hirata Oriza’s Tokyo Notes and the New Modern 1. In October 2009, Hirata was appointed as a counsellor in the former Prime Minister Hatoyama Yukio’s secretariat for culture, education and

222 Notes 223

international affairs. See: http://mainichi.jp/select/wadai/news/20091016k 0000m010104000c.html (accessed 8 November 2009). 2. Originally the play’s setting was 2004. The year is updated to keep the sense of something that has not yet happened. 3. This is a reference to a previous conversation where Yoshie recounts that Yûji will not buy battery-operated toys for their child because batteries always run out and the toy becomes useless.

Part II Mobile Performance and Fluid Identities

5 Solid and Liquid Modernities in Regional Australia 1. For an extensive discussion of the role of kinship and moiety in the performance see Maryrose Casey, 2011. 2. The funeral is of the Chooky Dancer’s visionary mentor, Frank Garawirrtja. 3. Molloy is most likely based on the famous anthropologist, Alan Thorne (1939–2012), who used DNA testing on ‘Mungo Man’ and ‘Mungo Lady’ to reset the date for modern man’s presence on the Australian mainland to between 56,000 and 68,000 years ago. This predates the movement of Homo Sapiens out of Africa. Mungo Man, Thorne argued, probably evolved out of Asia (The Age, 2012: 18).

6 Staging Indonesian Modernity After Suharto 1. The original charter for the establishment of the Special Region of Yogyakarta, consisting of the city and four surrounding districts, provided that the positions of governor and vice-governor be held respectively by the reigning sultan and the head of the junior royal house of Yogya. The current sultan thus also holds the position of governor. The fact that the renewal of this charter, including the conditions of the governor’s position, has been the subject of drawn-out government deliberation and vigorous public debate gave added suggestive- ness to the sultan’s contribution to, and representation in, the parade. 2. See Barbara Hatley (1982, 2008) on the performance of nation and community in Independence Day celebrations over time. 3. The Jember Fashion Carnaval, an initiative of local fashion designer Dynand Fariz, in which hundreds of local young people create and display spectacular costumes, on new themes each year, has been held annually since 2003. For the event’s history see its website, http://www.jemberfashioncarnaval.com/ main.php?com=about. 4. See Barbara Hatley (2012) and Paul Mason (2008) for examples from Java and West Sumatra respectively. 5. Religious proselytizing sessions by skilled religious orators are very popular among these social groups. The monthly gatherings of the Maiyah movement, led by the renowned religious and cultural figure Emha Ainun Nadjib, consisting of prayers, religious talks, open discussions and innovative musical performances by Emha’s gamelan group, kyahi kanjeng, give a strongly performative cast to such sessions, which move ‘back and forth between artistic performances, sacred spiritual expressions, and pragmatic meditations and discussions of worldly affairs’ (Daniels, 2009: 138). 224 Notes

6. See Ariel Heryanto (2009) on the Inul story in its connections with key divisions in contemporary Indonesian society, and Ceres Pioquinto (1995), Susan Browne (2000) and Andrew Weintraub (2010) on dangdut. 7. On the issue of the anti-pornography law and resistance to it, see Pam Allen (2003); for discussion of the local-level impact of its eventual introduction in 2008, see Jennifer Lindsay (2011). 8. ‘Susah emang punya bini cakep. Kalo sering ditinggal mulai gatel-gatel tuh… diba- wah, Mending cari bini yang biasa-biasa aja, Di luar boleh cari yang semok-semok. Di rumah, cari isteri yang soleh.’

7 ‘Youth is not the only thing that passes at sonic speed’: Speed and Private Lives in Okada Toshiki’s The Sonic Life of a Giant Tortoise 1. Reading Sonic Life in connection to Noh was suggested by performance theorist Stanca Scholz-Cionca.

8 Dramaturgy of the Liquid: Cargo Kuala Lumpur–Singapore 1. The former British colonies of Malaya, Singapore, Sabah and Sarawak were formally merged on 16 September 1963 to form the new nation of Malaysia. The merger was short-lived, however, and Singapore was expelled from the federation in 1965 and forced to form its own sovereign state. The two nations share more than a history as British colonies. Both are multi-ethnic. Malay, Tamil, Punjabi, English and various Chinese dialects are spoken in both countries and cross-border traffic is constant. 2. http://www.internationalpsa.com/factsheet/pdf/Singapore.pdf

Part III Beyond Regionality: The Asia-Pacific’s Global Reach

11 Performing ‘Authentic Indonesia’ Transculturally 1. Indonesian performing arts represented the colonial possessions of the Netherlands at international exhibitions held in Amsterdam in 1879 and 1883, Paris in 1889 and 1900 and Chicago in 1893 (Cohen, 2010: 10). 2. In 1988 Rendra’s Bengkel theatre group travelled abroad for the first time to perform his work Selamatan Anak Cucu Suleiman (A Ritual for Suleiman’s Descendants) at the first International Festival of the Arts in New York City. In 1990 Bengkel went to Japan to stage the same play within the Japan Foundation’s Contemporary Theatre programme. 3. See the example of an Australian-Indonesian collaborative hip-hop festival held in Yogyakarta and Jakarta in 2010 (Dewan, 2010; Richards 2010). 4. In an exception to this pattern, a review of the London production in the Guardian newspaper commends the fact that despite the Australian- Indonesian political frictions recalled in the anti-Suharto critique of the work, artists from the two countries have collaborated to ‘produce both a celebra- tion of theatrical craft and a scathing attack on unrestrained market forces and environmental destruction’ (Billington, 2001). Notes 225

5. The production was performed from 2004 to 2011 in Singapore, the Netherlands, Spain, France, Italy, New York, Jakarta, Melbourne, Taipei and Makassar. 6. From 1990 onwards Firman was involved as a volunteer artistic assistant in a university-led project compiling Bugis and Makassarese texts and is able to read and write the ancient Bugis script. 7. Titled Mencari Benua I La Galigo yang Hilang (Searching for the Lost Continent of the I La Galigo), the work involved a huge, tiered bamboo installation and depicted the tragic felling of the tree of life, the Pohon Walenreng, for human use, simply to create a boat for Sawerigalang to travel in. 8. Entitled Chenglong Spiral, this work consists of spirals of bamboo on the surface of a swamp, representing the branches of the genealogical tree of the characters in the epic. References

Plays cited

Bovell, A. (2000) Who’s Afraid of the Working Class?, in Melbourne Stories: Three Plays (Sydney: Currency Press). Bovell, A. (2001) Holy Day (Sydney: Currency Press). Bovell, A. (2009) When the Rain Stops Falling (Sydney: Currency Press). Bower, H. (2010) Grace. Adapted from the novel by Robert Drewe (Fremantle: Prickly Pear Playscripts). Davis, J. (1986) No Sugar (Sydney: Currency Press). Enoch, W. and D. Mailman (1996) The 7 Stages of Grieving (Brisbane: Playlab Press). Harrison, J. (1997) Stolen (Sydney: Currency Press). Hirata, O. (1995) Tôkyô No-to (Tokyo Notes) (Tokyo: Banseisha). Hirata, O. (2002) ‘Tokyo Notes: A play by Hirata Oriza, translated and introduced by M. Cody Poulton’, Asian Theatre Journal, Vol. 19, No. 1, 1–120. Kawamura, T. (2000) Hamuretto Kûron (Hamletclone) (Tokyo: Ronôsha). Kawamura, T. (2011) Hamuretto Kûron (Hamletclone), in P. Eckersall, Nippon Wars and Other Plays, ed. and trans. P. Eckersall (London and Calcutta: Seagull Books). Kon, S. (1989) Emily of Emerald Hill: A Monodrama (London: Macmillan). Malna, A. (1992) Biografi Yanti Setelah 12 Menit (Yanti’s Biography After 12 Minutes) (unpublished playscript). Okada, T. (2008) Zougame no Sonikku Raifu (The Sonic Life of a Giant Tortoise) (unpublished playscript). Paramaditha, I. and N. Srikandi (2011) Goyang Penasaran (The Obsessive Twist) (unpublished playscript). Rendra (1979) The Struggle of the Naga Tribe: A Play by Rendra, trans. M. Lane (St Lucia: Queensland University Press).

Performances cited

A Streetcar Named Desire by Tennessee Williams. Dir. Liv Ulmann. With Cate Blanchett. Sydney Theatre Company, Sydney Theatre, 5 September 2009. Anatomy Titus Fall of Rome: A Shakespeare Commentary by Heiner Müller. Trans. Julian Hammond. Dir. Michael Gow. Bell Shakespeare Company, The Playhouse, Canberra Theatre Centre, 8 October 2008. Baal by Bertolt Brecht. Trans. Simon Stone and Tom Wright. Dir. Simon Stone. Sydney Theatre Company, Wharf 1 Theatre, 7 May 2011. Biografi Yanti Seletah 12 Menit (Yanti’s Biography After 12 Minutes) by Afrizal Malna. Dir. Boedi S. Otong. Teater Sae, Taman Ismail Marzuki Arts Centre, Jakarta, 4 December 1992. Black Medea by Wesley Enoch. Dir. Wesley Enoch. Beckett Theatre, Malthouse, Melbourne, 27 April 2005.

226 References 227

Burning Daylight. Dir. Rachael Swain. Marrugeku Dance Company, Goolarri Outdoor Venue, Broome, 28 October 2009. Cargo Kuala Lumpur–Singapore by Rimini Protokoll. Dir. Jörg Karranbauer and Stefan Kaegi. With Ganes A/L Ramachandran and Ravindran A/L Muniandy. Esplanade Waterfront Carpark and sites around Singapore, 13 May 2012. Cendrillon by Les Ballets de Monte Carlo, 14th Shanghai International Arts Festival, 2009. Dogville adapted and performed by the Bavarian Theatre Academy, Germany, 14th Shanghai International Arts Festival, 2009. Doku Rai (you, dead man, I don’t believe you) by Black Lung Theatre and Whaling Firm, Liurai Fo’er and Galaxy. Dir. Thomas M. Wright. Darwin Festival and Arts House, Melbourne, 29 August 2012. The Dollhouse. Adapted from the play by Ibsen by Daniel Schlusser. Dir. Schlusser. Fortyfive Downstairs, Melbourne, 21 September 2011. Dream Regime by Gekidan Kaitaisha. Dir. Shimizu Shinjin. Various sites, 2004–12. Emily of Emerald Hill by Stella Kon. Dir. Jeremiah Choy and Margaret Chan. With Margaret Chan. National Arts Council and Orangedot Management for the 2010 Singapore Arts Festival, Victoria Theatre, 11 June 2010. Face to Face. Adapted from the film by Ingmar Bergman by Andrew Upton and Simon Stone. Dir. Stone. Sydney Theatre Company, Walsh Bay, 11 August 2012. Goyang Penasaran (The Obsessive Twist) by Intan Paramaditha and Naomi Srikandi. Dir. Naomi Srikandi. Teater Garasi, Studio Teater Garasi, 14–16 December 2011; Salihara Theatre, Jakarta, 19–20 April 2012. Grace adapted by Humphrey Bower from the novel by Robert Drewe. Dir. Chris Bendall. Deckchair Theatre, Victoria Hall, Fremantle, 11 February 2010. Gross und Klein by Botho Strauss. Trans. Martin Crimp. Dir. Benedict Andrews. With Cate Blanchett. Sydney Theatre Company, Wharf 1 Theatre, 19 November 2011. Hamuretto Kûron (Hamletclone) by Kawamura Takeshi. Dir. Kawamura Takeshi. Daisan Erotica, Asahi Square, Tokyo, 12 January 2000. Hedda Gabler by Henrik Ibsen. Adapted by Andrew Upton. Dir. Robyn Nevin. With Cate Blanchett and Hugo Weaving. Sydney Theatre Company, Wharf 1 Theatre, premiere 27 July 2004. Holy Day by Andrew Bovell. Dir. Rosalba Clemente. State Theatre Company of South Australia, Playhouse, Adelaide Festival Centre, 21 August 2001. I La Galigo adapted by Rhonda Grauer from Sulawesi myth. Dir. Robert Wilson. The Arts Centre, Melbourne, 26 October 2006. Irony is Not Enough: Essay on my Life as Catherine Deneuve based on the poetry of Anne Carson. Fragment31 Performance Collective, Arts House, North Melbourne, 16 November 2010. Je.ja.l.an (The Streets). Dir. Yudi Achmad Tajudin. Teater Garasi, Taman Budaya, Yogyakarta, 16–17 May 2008. Journey to Confusion by Not Yet It’s Difficult and Gekidan Kaitaisha. Dir. David Pledger and Shimizu Shinjin. Not Yet It’s Difficult and Gekidan Kaitaisha, Open Stage, Melbourne, 1999; Morishita Studios, Tokyo, 2000; Melbourne Next Wave Festival and Dance House, 2002. Kisah Perjuangan Suku Naga (The Struggle of the Naga Tribe) by Rendra. Dir. Rendra. Bengkel Teater, Kridosono Sports Stadium, Yogyakarta, 1978. The Lost Echo by Barrie Kosky and Tom Wright. Dir. Barrie Kosky. Sydney Theatre Company Actors Company, Sydney Theatre, 9 September 2006. 228 References

Ngurrumilmarrmiriyu (Wrong Skin). Dir. Nigel Jamieson. Performing Lines, Malthouse, Melbourne, 20 March 2010. Persona based on the film by Ingmar Bergman. Trans. Keith Bradfield. Dir. Adena Jacobs. Fraught Outfit in association with Theatre Works, Theatre Works, St Kilda, 18 May 2012. Sangatsu no Itsukakan (Five Days in March) by Okada Toshiki. Dir. Okada Toshiki. Chelfitsch, Superdelux, Tokyo, 2004. Tartuffe by Moliere. Adapted by Louise Fox and Michael Kantor. Dir. Matthew Luton. Malthouse Theatre, Melbourne, 15 February 2008. The Tell-Tale Heart adapted by Barrie Kosky from the story by Edgar Allan Poe. Dir. Barrie Kosky. Merlyn Theatre, Malthouse, Melbourne, 19 November 2010. The Theft of Sita. Dir. Nigel Jamieson. Botanical Gardens, Adelaide, Adelaide Festival, 2000. Thyestes after Seneca. Adapted by Simon Stone, Thomas Henning, Chris Ryan and Mark Winter. Dir. Simon Stone. The Hayloft Project, Tower Theatre, Malthouse, Melbourne, 16 September 2010. ’Tis Pity She’s a Whore by John Ford. Dir. Marion Potts. Malthouse Theatre, Melbourne, 1 February 2011. Tôkyô No-to (Tokyo Notes) by Hirata Oriza. Dir. Hirata Oriza. Seinendan, Komaba Geikjô, Tokyo, 1994. True West by Sam Shepard. Dir. Phillip Seymour Hoffman. Sydney Theatre Company, Wharf 1 Theatre, 2 November 2010. Tubuh Ketiga (The Third Body). Dir. Yudi Achmad Tajudin. Teater Garasi, Salihara Theatre, Jakarta, 11–12 October 2010. Uncle Vanya by Anton Chekhov. Adapted by Andrew Upton. Dir. Tamás Asher. With Cate Blanchett and Richard Roxburgh. Sydney Theatre Company, Wharf 1 Theatre, 9 November 2010. Visible Cities by Chay Yew. Dir. Giorgio Barberio Corsetti. With Ali Ahn and Gabriele Benedetti. Singapore Arts Festival and Napoli Teatro Festival Italia, in co-production with Fattore K., Drama Centre Theatre, Singapore, 22 May 2009. Waktu Batu (Stone Time) Dir. Yudi Tajudin. Teater Garasi, various sites, 2002–5. The Wars of the Roses. Adapted from Shakespeare’s history plays by Tom Wright and Benedict Andrews. Dir. Benedict Andrews. Sydney Theatre Company, Walsh Bay, 5 January 2009. The Women of Troy by Euripides. Adapted by Tom Wright. Dir. Barrie Kosky. Sydney Theatre Company, Wharf 1 Theatre, 22 September 2008. Yibiyung by Dallas Winmar. Dir. Wesley Enoch. Company B and Malthouse Theatre. CUB Malthouse. 30 October, 2008. Zougame no Sonikku Raifu (The Sonic Life of a Giant Tortoise) by Okada Toshiki. Dir. Okada Toshiki. Chelfitsch, Kanagawa Arts Theatre, Yokohama, February 2011.

Novels cited

Calvino, I. (1997) Invisible Cities (London: Vintage). Drewe, R. (2005) Grace (Ringwood: Penguin/Viking). Ginibi, R. L. (1999) Haunted by the Past (St. Leonards, NSW: Allen & Unwin). Wright, A. (2006) Carpentaria (Artarmon, NSW: Giramondo). References 229

Filmography

Bran Nue Dai (2010) Dir. Rachel Perkins. Prod. Robyn Kershaw and Graeme Isaac. Roadshow Films. Tôkyô Monogatari (Tokyo Story) (1953) Dir. Ozu Yasujirô. Prod. Takeshi Yamamoto. Shochiku.

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Page numbers in bold refer to figures.

A Beautiful Country (Chay Yew) ‘Arts and Culture Strategic Review’ 159–60 (Singapore Arts Festival) 210 Abe Kôbô 120–1 arts festivals 208–11 adaptation and adaptation theatre As If He Hears (Chay Yew) 158 13, 143, 143–57; Australia 143–57; Asialink 201, 201–2 and cultural economy 188; Asian Values, debate 4 definition 143; director’s cut Asia-Pacific region 14; colonial 187; dissimulation 154–5; history and 8; confidence 218; Eurocentrism 143–57; I La cultural environment 3–6; Galigo 177; Indonesia 13–14; epistemological shifts 5; impact intertextuality 150–1; Japan 14, of globalization 4; modernity 5, 186–97; limitations 155; 220; performance range 1; as motivated 145; motivation 147; performative construct 220–1 and the original text 144–5; asylum seekers 91–3 and originality 188; overt 189; audience: as active participants reflexive dramaturgies 195–7; 105–6; empathy 31; Tokyo Notes Shakespearean texts 144–5, (Hirata) 69 147, 189, 190–5, 191, 195–7, Australia: apology to Indigenous 211; Singapore 158–69; Australians 31; asylum spectacle of 189–95; theory seekers 91–3; closure 31; and practice 144–6; traditional colonial modernity 18, performances 170; and 19–20, 21, 31–2; contradictions transnationalism 149; turn within 18; convicts 19; to the Middle East 156–7; cosmopolitanism 13; and cultural updating 147; see also Women of exchange 202–3; culture 1; Troy, The development of drama 17; aesthetic education 204 dialectic of modernity 24–5; East aesthetic modernity 186, 187, 197 Arnhem Land 81–2; and East Air Conditioner (Ku-ra) (Okada) Timor 175; Elcho Island 81–2; 113 European inheritance 10, 220; alienation 11, 25, 31, 39, 47–8, 71, European realism 17; European 76, 114, 119, 159–60, 160, 164–6, settlement 18, 19, 20–5, 28; 169, 220 fluid identity 79–94; frontier alternative peripheries, growth violence 20, 20–5; historic of 217–18 Indigenous occupation 88–90; amateur theatre groups 36 history wars 20; imposition ambient dramaturgy 113–14 of modernity 87; Indigenous ambient music 119–20 actors 24; Indigenous culture Angewandte 83; Indigenous custodial rights Theaterwissenschaft 127 89; Indigenous dance performance Appadurai, Arjun 129, 136, 159 79, 82–7, 84; Indigenous

242 Index 243

dispossession 19–20, 20–5; Birch, David 36, 37 Indigenous politics 81–2; Black Lung Theatre and Whaling Indigenous theatre 18, 18–19; Firm 214–16 Indonesia as Other 176; Blanchett, Cate 146, 149 international collaborative Blue Dragon, The (Lepage) 211 productions 174–85; involvement body, the 119; child 118; in War Against Terror 156; construction of 214; female Kimberley region 79, 87–8; 106–10, 111; fetishized 194; and liquid modernity 11, 80, 90, language 118; marked 212; 94, 218; mining 80, 81, 94; subcultural 113–14 Northern Territory 79; Northern Boenisch, Peter 18, 147, 196 Territory Intervention 82, Bond, Joshua 79, 83 87; performance culture 3, borders 134, 135–6, 212 10; Perth International Arts Bovell, Andrew 10, 17, 18, 19, 21, Festival 79; reconciliation 24; 25, 26, 28, 145–6, 218; see also Holy re-examination of the past 18; Day; When the Rain Stops Falling. regional modernity 90; solid Brecht, Bertolt 120, 147 modernity 80; Sydney 2000 Brook, Peter 181 Olympic Games 18; symbolic Burning Daylight (Swain and framework 80; text-based Pigram) 88 drama 10, 17–32; touring Butler, J. 19 companies 143; transgenerational trauma 25–6, 32; unemployment Caligula (Camus) 50 81–2; see also Holy Day (Bovell); Call Cutta 130 Ngurrumilmarrmiriyu (Wrong Skin); Calvino, Italo, Invisible Cities 13, When the Rain Stops Falling 161, 166–7, 169 (Bovell) capitalism 55, 58, 70, 76, 213; Australia Council for the Arts 201 development of 34–5; late 39–40; ‘Australia in the Asian Century regional variations 4 White Paper’ (Australian Cargo Asia 130 Government) 202–3 Cargo Kuala Lumpur–Singapore 12, authenticity 59, 133–4, 159, 167–8, 218–19; background 129–30; 170, 171 border crossing 134, 135; Axis of Evil, the 156 context 126–9; dialogue 132; experts of the everyday 131–5; Baal (Brecht) 147–8 journey’s end 137–8; Jurong Bacalzo, Dan 159–60, 160 Penjuru Dormitory Balibo 214 136–7; migrant labourer Bangladesh 26, 28 sequence 135–7; moments of Bauman, Zygmunt 3, 6–8, 13, 19, encounter 134–5; Pasir Panjang 38–9, 45, 47, 48, 74, 76, 85, 86, Container Terminal 135–6; 87, 90–1, 126, 137, 146, 147, 156, performance 131–9; performance 162–3, 207, 217, 221, 1, 63 space 130, 131; route 134–5; Beck, Ulrich 44, 121, 133, 134, 162, spontaneity 134; start of the 207 journey 132 Bengkel Teater (Workshop Cargo Shangqiu–Shanghai 12, 130 Theatre) 53, 56 Cargo Sofia-X – A Bulgarian Truck Ride Bhabha, Homi K. 38, 48, 103, 201 through European Cities 12, 129–30 Bharucha, Rustom 204–5 Cargo Tokyo–Yokohama 12, 130 244 Index

Casey, Maryrose 18–19, 87 and national cultural agencies Castells, Manuel 129, 138 201–3; and national interest 202–3; Chatterjee, Partha 34, 34–5 value of 203 Chay Yew 13, 158–61, 218 cultural flows 2, 160–1, 218; global Chelfitsch 112–15, 119, 156, 197 129, 136; inward 183–5; Chenglong Spiral 25n8 managing 208–11; participation Chia, Adeline 168 201; traditional performance China 3, 94, 218 170–85 China Shanghai Arts Festival 208–9 cultural hybridity 103–6, 201 Chinese mothers, demanding 41–2 cultural identity 2, 159 Chooky Dancers 11, 82–7, 84, 218 cultural practice 1, 2–3, 8 Chua, Amy 42 cultural sector, engagement with the Chua, Beng Huat 16 Asia-Pacific 156 civilians, and war 153–4 cultural space, national 67 Clemente, Rosalba 22 cultural tradition 52; mobilization of climate change 26, 28 56–7 coercive modernity 212–14 culture: clashes 81–7; fluidity of 3; Cohen, Matthew 24, 172, 178, 179 traditional 85–6; vulnerability 86 Cold War 201, 51 custodial rights, Indigenous 89 colloquial theatre (gendai kôgo engeki) 64–5, 75–6 dance 11, 82–7, 84, 96, 100–1, 172, colonial condition, the 37 218 colonial modernity 18, 19–20, 21, dangdut singers 98, 101, 102, 103–6, 31–2, 34 105, 106–7, 106–10, 107, 111 colonial modernization 34 Davis, Colin 30, 39, 116–17 colonialism 3, 8, 36, 155, 218 defamiliarization 118 commodification and commodity dehumanization 162, 162 culture 166–8, 169, 216 Derrida, Jacques 30, 46, 116 communal bonds 86–7 deterritorialization 189–90 communication, access to 7–8 difference, highlighting 212–14 community, loss of 8 Dignam, John 150–1 community propaganda 9 Dindon W. S. 59 commuting 125 Djamil, Firman 184 Confucian pragmatism 34 Dogville 208–9 consumerism 6, 167–8, 169 Doku Rai (you, dead man, I don’t believe Corsetti, Giorgio Barberio 161 you) 214–16 cosmopolitanism 4, 13, 158, 205–6 Drake, Sir Frances 171 cross-cultural collaboration 214–16 Dream Regime 212–14, 216 cultural agencies, national 201–3 Drewe, Robert 11, 149; see also Grace cultural appropriation 13–14, 189 (Drewe) cultural exchange 201–8; and Drummond, Chris 25–6 Australia 202–3; cross-cultural Duchamp, Marcel 70 collaboration 214–16; Dream Regime 212–14; funding 201–2; East Timor 175, 176, 212, 214–15 and globalization 212–14; Eckersall, Peter 115, 187–8, 192, 194, highlighting difference 212–14; 207 as imperial domination 205; ecology, as theatre metaphor 124 managing 208–11; as a marker of Emily of Emerald Hill (Kon) 10, modernity 216; meanings 203–4; 26, 40; arrival of 37–9; Index 245

conclusion 46–8; family gendai kôgo engeki (colloquial theatre) disintegration 43–4, 45–6; first 11, 64–5 scene 34; language use 38; gender 90–1, 109 monologue 39–46; as national genocide 23–4 identity 48; personae 46–7; Gilbert, H. 156, 205–6 protagonist 34, 38, 39; reactions globalization 4, 6, 76, 206, 207, 220; to 47; setting 39–40; status and cultural exchange 212–14; 37–8; time out of joint 62 and liquid modernity 7–8; empathy 24, 31 recentring 189, 208; travel as Enjyoi (Enjoy) (Okada) 113, 121 119–20 Enlightenment principles 34 globalized Asia 207 Eno, Brian, Music for Airports 119–20 Gonsalves, Osme 215 Enoch, Wesley 18, 149 gothic horror 24–5 environmental destruction 174–7 Goyang Penasaran (The Obsessive Eurocentrism 13, 14, 94, 206; Twist) 12, 110–11; aims 109–10; adaptations 143–57 context 106; criticism 110; everyday, the 69–71; discourse ending 108–9; flashback of 132; and imagined worlds sequence 107–8; performance 4–5, 8–9; and perception 74–5; 106–10, 107, 108 representation 67–8, 71–5; Grace (Drewe) 11, 79, 93, 149, representing 64, 65 218; the asylum seeker 91–3; exclusion 4, 218; modes of 159 context 87–8; ending 92–3; Experimental Theatre Club 36 Molloy’s first lecture 88–9; experts of the everyday 128, 131–5 Molloy’s second lecture 89–90; exploitation 161–8, 169 narrative strands 87; opening sequence 88–9; stalker family, the: breakdown 43–4, 45–6, narrative 90–1 62–3, 71–5, 220; in Indonesia Grauer, Rhoda 177 61–3; liquefied 45; in Singapore Gross und Klein (Strauss) 146–7 35; size 44–5; as zombie institution 44, 162 Habermas, Jürgen 186, 187 Fariz, Dynand 223n3 Hamlet (Shakespeare) 49–50, 53, fashion trade 161–8 195 Featherstone, Mike 168–9 Hamlet: The Clown Prince 211 Five Days in March (Sangatsu no Hamletclone (Kawamura Takeshi) 14, Itsukakan) (Okada) 113–14, 118, 190–5, 191; comparison with 156, 220 Hamletmachine 195–7 fluid identity 11, 79–94, 97 Hamletmachine (Die Hamletmaschine) Forum Pembela Islam (FPI) (Forum of 190, 195–7, 196 Defenders of Islam) 98 Handke, Peter 50 Fukuyama, Francis 186 Harifuddin 183 funding, cultural exchange 201–2 Harootunian, H. D. 65, 70–1 Furiitaimu (Free Time) (Okada) 113 Haug, Helgard 127, 129, 133 Hauntology 30, 116–17 Galaxy 214–16 hegemonic intercultural theatre Gallasch, Keith 86, 147 (HIT) 181, 204–5 Garawirrtja, Frank 83 Hirata Oriza 11, 64–5, 65–8, Gates, Bill 126–7, 129, 133, 139 70, 222n1; see also Tokyo Notes Gekidan Kaitaisha 212–14 (Hirata) 246 Index history: fragmentation of 186–8; immigration, experience of 159–60, opposing versions of 21; 165 secularized 34; shared 24; and India 3, 94 spectacle 190 Indian Cinematographic history wars 20 Company 211 Holy Day (Bovell) 17, 18, 23, 29, Indigenous actors 24 146, 218; closing images 22; Indigenous custodial rights 89 and colonial modernity 21, Indigenous dance performance, 31–2; dialectic of modernity 24–5; Australia 79, 82–7, 84 frontier violence 20–5; gothic Indigenous peoples: culture horror 24–5; Indigenous actors clash 81–7; dispossession 19–20; 24; massacre at the riverbed 22, historic occupation 88–90; as 23–4; and nation building 21–2; victims 24; violence against Obedience 22–4; subtitle 20; 20–5; vulnerability 86 white travellers 22 Indigenous theatre, Australia 18, human condition, the 159–60 18–19 human relationships, strength of individualization 8, 44, 45, 85, 163, 139 217 Hutcheon, Linda 143, 145, 153 individualized subject, the 47–8 Huyssen, Andreas 17, 31 Indonesia: adaptation theatre Hwang, David Henry 158, 159 13–14; anti-pornography law 98; cultural hybridity 103–6; I La Galigo (Wilson) 14, 171, 174, cultural identities 1–2; 180, 184, 218; adaptation 177; cultural missions 172; cultural audience responses 178–9, 181–2; tradition 52; dangdut singers 98, Indonesian performance 179, 181, 103–6, 105, 106–10, 107, 111; 182–3; music 179; narrative democratization 218–19; Dutch 177–8; narrators 178; ownership impact 49–50; experience of concerns 181; premiere 179 modernity 59–63; the family I Made Sidie 175 in 61–3; identity 95, 97, identity 30, 106; 106; international collaborative Asian-American 159; productions 174–85; inward and belonging 85–6; performance flows 170; Japanese changing 41; clashes 12; occupation 50–1; jathilan conflicting 80; cultural 159; dance 96; liquid modernity dehumanization 162; fluid 11, 11–12; local-international 79–94, 97; group 110; collaborations 173–4; local ill-fitting 60; individualized 85; performance traditions 51–4; Indonesia 95, 97, 106; modernity 58–9; Muslim Japanese 67, 70–1, 73; Japanese population 98, 102, 110, 111; historical 112; in Je.ja.l.an New Order society 51–2, 59, (The Street) 99; loss of 11, 172–3; New Order theatre 110; 219, 59, 60–1; national 34, openness of expression 97; 44, 48; polarized 159–60; outward performance flows 171–4; postcolonial 103–6; search performance cultures 3, 10–11; for 37; Singapore Baba 33 performative protests 98; post- Ilbijerri Theatre 18 independence performance imagination, role 1, 8 flows 172–3; postcolonial imagined worlds 4–5, 8–9 identity 103–6; postmodern Index 247

performance 59–63; productions Mishima Yukio’s coup attempt of European dramatic texts 50, 191–2; and modernity 65, 53; Sita as metaphor for 174–7; 70–1; modernity 195, staging modernity 95–111; 196–7; modernization 188; Suharto regime 95, 102, 172, national cultural essentialism 175, 222n2, 49, 50, 51, 58, 63; (nihonjinron) 186–7; Noh plays Sukarno regime 172, 51; Taman 116, 188; performance cultures 3; Mini Indonesia (Beautiful Indonesia reconstruction 67; role of in Miniature Park) 172–3, 179, theatre in 187–8; sense of 181; Taman Ismail Marzuki 52; community 71; seppuku 191–2, text-based drama 10–11, 49–63; 193–4; shingeki (‘new’ theatre) 64, theatrical culture 97, 49–54, 63; 65–6; spectacle of adaptation diversification of performance 189–95; text-based drama 11, flows 173–4, 183–5; see also 64–76; theatrical culture 64, Struggle of the Naga Tribe, The 65–8, 220; Tokyo underground interculturalism 9, 12–13, 205–6 sarin attack, 1995 194–5; international collaborative Tsukiji Shôgekijô (Tsukiji productions, Indonesia 174–85 Little Theatre) 66; US-Japan International Year for the World’s relations 113; young people Indigenous People 19–20 112–13, 114–15; see also Sonic Life of intertextuality 144, 145, 150–1, 211 a Giant Tortoise, The (Okada); Tokyo Inul (dangdut singer) 98, 106 Notes (Hirata) Invisible Cities (Calvino) 13, 161, Japan Foundation 201, 202 166–7, 169 jathilan dance 96 Irama, Rhoma 109 Je.ja.l.an (The Street) 98, 99, 103–4, Iraq, invasion of, 2003 25, 113, 153, 173; commencement 100; 156 context 98–100; dangdut Islam and Islamization 3, 4, 109, singers 101, 102; energy 110–11, 157 and movement 102; and Iwabuchi, Koichi 208 identity 99; Mau kemana? (Where are we going?) 100, Jameson, Fredric 14, 25, 39–40 103; Muslim-identified Jamieson, Nigel 79, 83, 85, 174, figures 102; performance 100–3; 176–7 seni pertunjukan tari (dance Japan 94, 173, 218; adaptation theatre) sequence 100–1 theatre 14, 186–97, 188–9; Joseph, Kiru 36 avant-garde (angura, shôgekijô) Journey to Confusion project 212 66; constitution 113, 192; culture 1, 112; early Kaegi, Stefan 127, 129, 133 Shakespearean adaptations 195; Kapoor, Rajat 211 the everyday 69–71; and the Kara Jûrô 66 family 73; feelings of loss 114; Karrenbauer, Jörg 129–30 Hikikomori 112; historical Kaspar (Handke) 50 identity 112; identity 67, 70–1, Kawamura Takeshi 14, 186–97; 73; impact of history 65; kabuki adaptation context 188–9; theatre 188; kodomo shintai child comparison with Müller 195–7; bodies 118; Komaba Agora Gekijô Hamletclone 14, 190–5, 191; (Komaba Agora Theatre) 65; liquid processes of adaptation 187–8; modernity 12; militarism 66; reflexive dramaturgies 195–7; 248 Index

Kawamura Takeshi – continued local performance traditions 51–4 spectacle of adaptation 189–95; local connections 49–50 version of modernity 196–7 local-international Keating, Paul 19 collaborations 173–4 kinship 87 localization 50, 53 Kisah Perjuangan Suku Naga (The loneliness 47–8, 164–6 Struggle of the Naga Tribe) (Rendra) Lost Echo Parts 1 and 2, The 147 10–11 Love Suicides (Chikamatsu ) 149 Komedi Stamboel 50 Kon, Stella 10; see also Emily of Mahabharata 181 Emerald Hill (Kon) Mailman, Deborah 18 Korea 94, 218 Malaysia 134, 224n1 Korean War 201 male sexuality 106–10 Kosky, Barrie 13, 143, 146, 147, Malna, Afrizal 59, 59–63 149–50, 155 Malzacher, Florian 127, 129, 133–4 marriage 61–2 Lane, Max 56, 57 Marrugeku 87–8 language 35, 64, 67, 83; and the Marrugeku Dance Company 87–8 body 118; colloquial 75, 121; Marx, Karl 163 patois 132; Singapore English 37; Masakatsu Morita 191–2 switching 38; traditional 8; masculinity 194 translation 213 Massey, Doreen 166–8 law, traditional 86–7 Mastodon dan Burung Kondor Le Blond, Max 37, 38 (The Mastodon and the Condor) Lee Kuan Yew 44 (Rendra) 53 Lehmann, Hans-Thies 127–8 meaning, loss of 168–9 Lei, Daphne 181, 185, 204 Melbourne International Arts Festival Lepage, Robert 211 2011 Lim Hwee Hua 137 melting of the solids 7, 11 liminal modernism 123–4 Middle East, turn to the 156–7 linguistic pluralism 38 migrant labourers 135–7, 163–4, liquid dramaturgy 71–5, 126–39 218–19 liquid modernity 1, 3, 106, 213–14, minikata (literally minimally worded) 217, 221; Australia 11, 80, 90, 94, 53 218; blocks to 8; concept minority groups, theatre 36 6–8; dark side 168–9; and Mishima Yukio 191, 193–4, 194, 195 despair 26; globality as 65; and mobility turn, the 160 globalization 7–8; impact 14; modern realism 64 Indonesia 11–12; irrelevance modernity: aesthetic 186, 187, of space 87; Japan 12; limits 197; and arts festivals 209; of 139; and the past 90; and Asia-Pacific region 5, 220; performance 218; performing 13, blocks to 8; coercive 212–14; 158–69; Singapore 13; and Sonic colonial 18, 19–20, 21, 31–2, 34; Life of a Giant Tortoise 114–15; and colonial modernization 34–5; the stalker 90–1; and Tokyo Notes contradictions 110–11, 114; cost (Hirata) 76 of 21; cultural exchange as a Liurai Fo’er 214–16 marker of 216; cultural flows 2; Lo, Jacqueline 38, 156, 205–6 dialectic of 24–5; drama 17; local essentialism 103 drives 76; emergence of new 2; Index 249

European-Australian 29; America’ routine 85; Indigenous experience of 59–63; half-Western, dance performance 79; half-Asian 211; heavy 19; language 83; love story 84–7; hyper-advanced 2; imposition of modernity encounters 85; 87; individualised 85; opening sequence 83; origins 83; Indonesian 58–9; industrial 6; performance 82, 83; Programme Japan and 65, 70–1; Notes 83; tension 85; title 83 Japanese 195, 196–7; liquid, Niedermair, Martin 149 see liquid modernity; melting Ninagawa Yukio 189 powers 38; and narrative 8; outer 9/11 terrorist attacks 4, 91–3, 156 reaches 22; performance of Noer, Arifin C. 53, 59 59–63; postindustrial 6; privatized Noh plays 116, 123–4, 188 versions 163; reflexive 17–18, non-narrative style, see Je.ja.l.an 32; regional 1, 2–3, 90; and the (The Street) Self 10, 33–48; solid 11, 79, 80, non-representational theatre 94; spread of 5, 5–6; staging 133–4 95–111; and tradition 4; non-spaces 120 Western 5, 35 Northern Territory Intervention, moral authority 21–2 Australia 82, 87 Müller, Heiner 144–5, 190, 195–7 Not Yet It’s Difficult 212 multi-ethnic casting 49–50 nowhere spaces 120 Muniandy, Ravindran A/L 131–5 Nyungunyungu, Margaret 79 music 119–20, 150, 179 Music for Airports (Eno) 119–20 Okada Toshiki 12, 112–15, 120–1, 124–5, 220; see also Sonic Naples 164–5 Life of a Giant Tortoise, The narrative, and modernity 8 (Okada) nation building 21–2 Olympic Games, Sydney 2000 18 National Arts Council of oppression 160 Singapore 210 organized crime 164–5 national identity 34, 44, 48 orientation points 162 national interest, promotion of Osanai Kaoru 66 202–3 Other, the 137, 171–2, 176 national minorities 19 Otong, Boedi S. 59 nationalism 4 outcomes, evaluation of 210–11 naturalism 64, 75 Ozu Yasujiro 72 neocolonialism 3 neoconservatism 186–7 Pakistan 156 neoliberalism 65 Pan-Asian Festival 209 Neumayer, Eric 135–6 Paramaditha, Intan 106, 109–10 New Documentary theatre 129 Paris exhibition, 1931 171 New World, European expansion passivity 124–5 into 19 past, the: consequences arising from Ngurrumilmarrmiriyu (Wrong Skin) 11, 25, 29–31, 32; holding on to 42–3; 79, 218; Bollywood sequence 84; and liquid modernity 90; and communal bonds 86–7; re-examination of 18 context 81–2; creative team 79; Paterson, E. 115, 207 dialectical complexities 87; patriarchy 46 ending 86; ‘I Want to Live in perception 74–5, 117–18 250 Index performance 8–9; Asia-Pacific queer sexuality 194 regional range 1; and conflict 98; quiet theatre (shizuka na engeki) 71 and liquid modernity 218; local traditions 51–4; of racial exclusion 36 modernity 59–63; modes of Rae, Paul 210, 212, 216 2–3; postmodern 59–63; Rahayu Supanggah 179 site-specific 130; symbolic Ramachandran, Ganes A/L 131–5 framework 80; technique reality: loss of 168–9; scripted circulation 3; touring 94 133–4; super flat 118 Performance and Cosmopolitics (Gilbert realness 167–8 and Lo) 156, 205–6 reconciliation 24, 31 performance cultures 3, 10–11; see reflexive dramaturgy 18, 195–7 also theatrical culture reflexive modernity 17–18, 32 performance flows, traditional refugees 88, 137, 156, 213 170–85; audience responses 178–9, regional modernity 1, 2–3, 90 181–2; I La Galigo 171, 174, religion 106–10, 110–11 177–85, 184; international Rendra 10–11, 50, 53–4, 56, 58; see collaborative productions 174–85; also Struggle of the Naga Tribe, The inward 183–5; local-international representation: authorization of 155; collaborations 173–4; desire for 38; negotiation of outward 171–4; ownership 196–7 concerns 181; The Theft of Sita Riantiarno, Nano 53 170–1, 174–7, 175, 185 Rimini Protokoll 12, 127–8, 130, performance industry, global 3 133–4, 218; see also Cargo Kuala performance landscape 146–7 Lumpur–Singapore performance space 130, 131; the Robins, Gavin 79 street 95–8 Romeril, John 19, 149 performative protests 98 Rouse, John 144–5 permanence of transience 126–7 Rui An 138–9 Pigram, Dalisa 87–8 Pires Tome 171 Sangatsu no Itsukakan (Five Days in place, attachment to 133 March) (Okada) 113, 113–14, pluralist society 221 118 politics 118–19; and passivity Sawaragi Noi 115, 122 124–5 science, and traditional knowledge popular culture, Indigenous peoples 89–90 and 81–7 Second World War: fall of Porcelain (Chay Yew) 158 Singapore, 1942 33; war in the Port of Singapore Authority 136 Pacific 3; Japanese occupation of postcolonial identity 103–6 Indonesia 50–1 postdramatic theatre 127–8 Seinendan 67 postindustrial modernity 6 Sekda (The Regional Secretary) (Rendra) postmodernism 5 53, 54 postmodern performance 59–63 Self, the: crisis of 44–5; Poulton, M. Cody 67–8, 73, 121, definition 41–4; desire for 188 representation 38; and poverty 104, 169 modernity 10, 33–48; and power 106–10, 110–11, 189, 194, racial exclusion 36; search for 214; soft 203 identity 37; unsettling of 38–9 Index 251 self-actualization 59 Singapore Drama Festival 37 self-fulfilment 43–4 Singapore Stage Club, The 36 Sennett, Richard 126–7, 129, 133 Singing in the Rain (film) 84 seppuku 191–2, 193–4 site-specific performances 130 7 Stages of Grieving, The (Enoch and slow dramaturgy 115, 207 Mailman) 18 social forgetting 71 sexual desire 107–8 socialization 214 sexual oppression 160 Society of the Spectacle, The (Debord) sexuality 90–1, 110–11; male 190 106–10; queer 194 soft power 203 shadow puppet theatre 54, 56, 56–9, software time 207, 214 96, 174–7, 175, 54 solid modernity 79, 80, 94 Shakespearean texts, adaptations solidity, illusion of 39–40 144–5, 147, 189, 190–5, 191, 195–7, Sonic Life of a Giant Tortoise, 211 The (Okada) 12, 26, 112–25, Shimizu Shinjin 212, 213 122, 186, 197, 218; ambient shingeki (‘new’ theatre) 64, 65–6 music 119–20; and the body 118, Singapore: adaptation 158–69; Babas 119; characters 115–16; 33, 42–3; birth rate 44; capitalism comparison to Noh plays 123–4; 220; changing cultural environment context 112–15; design 122; 3–4; Chinese immigrants 33; dramaturgical flows 117; civil unrest, 1950s 33–4; colonial ending 125; lighting 122; liminal modernization 34; Confucian modernism 123–4; and liquid pragmatism 34; context 34–5; modernity 114–15; narrative cultural economy 136; cultural form 115–16; narrator flows 160–1; Experimental Theatre 117–18; and non-spaces 120; Club 36; fall of, 1942 33; the opening sequence 121; family in 35; as Global City for passage of time 117, 125; the Arts 209–10; housing 35; and passivity 124–5; and hyper-advanced modernity 2; I La perception 117–18; performance Galigo premiere 179; integration 117–19; performance style 120–2; into global modernity 33; Jurong and politics 118–19, 124–5; Penjuru Dormitory 136–7; signification 121; staging 121–2; kiasu 41–2; language 35; themes 112–13, 114, 115–17, liquid dramaturgy 126–39; 117–19; and travel 119–20, 125 liquid modernity 13; space: fragmentation of 166–8; Malaysia border 134; migrant irrelevance of 87 labourers 135–7, 164; and space of flows 129, 139 modernity 34–5; National Arts spectacle, the 190 Council of Singapore 210; spectrality 39–40 national identity 34, 44, 48; Spivak, Gayatri Chakravorty 3, 19, Nyonyas 33; Pasir Panjang 154, 155, 204, 216 Container Terminal 135–6; Srikandhi, Naomi 106, 109 performance cultures 3; rise stalker, the 90–1 of 173; text-based drama 10, state, the 134, 135, 157, 162, 164, 33–48; theatrical culture 36–7; see 169, 205, 210, 224 also Cargo Kuala Lumpur–Singapore; Steger, M. 161 Emily of Emerald Hill (Kon) Stolen (Harrison) 18 Singapore Arts Festival 209–11 Stone, Simon 147 252 Index

Strauss, Botho 146–7 Theft of Sita, The 13–14, 170–1, Street, The. see Je.ja.l.an (The Street) 174–7, 175, 185 street parades 95–8 third space 206 Struggle of the Naga Tribe, The 49, 53; tiger mothers 41–2 the chorus 57; the dalang 54–5, time: experience of 207; 57; depiction of noble figures 58; fragmentation of 166–8; out of divergences from wayang joint 46, 116; passage of 117, model 57–8; humour 58; 125 mobilization of cultural Tokyo Festival 209 tradition 56–7; narrative 54–6; Tokyo Notes (Hirata) 11, 26, 62, opening sequence 54–5; 64, 74, 188–9; audience 69; skirmishes 56; status 54; vision conclusion 69; context 75–6; of modernity 58–9; wayang dramatic tension 68–9; shadow puppet theatre model 54, and the everyday 69–71; 56, 56–9 family breakdown 71–5; suicide 101, 191–2, 193–4 lack of resolution 76; liquid Suzuki Tadashi 66 dramaturgy 71–5; and Swain, Rachael 87–8 liquid modernity 76; and Sydney Theatre Company (STC) 143, perception 74–5; setting 68; 146, 149, 150 synopsis 68–9; theatrical space 69; themes 64–5, 69; translator Tajudin, Yudi 99, 103, 106 68 Tan, K. P. 160 Tokyo Story (Tôkyô Monogatari) (film) Teater Garasi 11, 98–100, 102, 72, 188–9 110–11, 173, 218–19, 222n2; see touring 94, 172 also Je.ja.l.an (The Street); Tubuh touring companies 143, 149 Ketiga (The Third Body) tradition: mobilization of 56–7; Teater Sae 11, 59, 63, 222n2 and modern science 89–90; and Teater Koma 53 modernity 4; performance 51–4; Teater Kubur 59 reinterpreting 58 technology, access to 3, 218 traditional ceremonial Tell-Tale Heart, The (Poe) 149–50 performances 8 Terayama Shûji 66 traditional performance flows terrorism: 9/11 attacks 4, 91, 156; 170–85; audience responses 178–9, Tokyo underground sarin attack, 181–2; diversification 173–4; early 1995 194–5 171; I La Galigo 171, 174, text-based drama: Australia 10, 177–85, 184; international 17–32; European realism 17; collaborative productions 174–85; Indonesia 10–11, 49–63; Japan inward 183–5; local-international 11, 64–76; Singapore 10, 33–48 collaborations 173–4; outward theatre 8–9; transformations in 3 171–4; ownership concerns 181; Theatre of Cruelty 171 post-independence 172–3; sites theatrical culture: English- 171; The Theft of Sita 170–1, language 36; Indonesia 49–54, 174–7, 175, 185; transnational 63, 97; Japan 64, 65–8, 220; 170 Singapore 36–7; see also transgenerational trauma 25–6, 32 performance cultures transhipment hubs 135–6 theatrical realism 64 translation 213 theatrical space 69, 121–2 transnationalism 4, 13, 149 Index 253 travel: as globalization 119–20; as a Wijaya, Putu 53 spatial metaphor 125 Williams, Tennessee 146 Trier, Lars von 209 Wilson, Robert 14, 171, 177, 183, Tubuh Ketiga (The Third Body) 12, 99, 184, 207–8, 218; see also I La Galigo 103–6, 105, 110, 173 (Wilson) Winet, Evan 49–50 Uchino Tadashi 65, 118, 125 Winmar, Dallas 18 United Nations of theatre 211 Wirth, Andrzej 127 United States of America: Asian women: anger 62–3; power 194; immigrant experience 159–60; role of 46, 47 US-Japan relations 113 Women of Troy, The (Kosky and Wright) 13, 143, 153–4, Visible Cities (Chay Yew) 13, 154; adaptation 149–51, 218–19; background 158–61; 153–6; cast 150–1; change of blue dress 166–8; cultural frame 153–4; chorus 150, flows 160–1; and the dark side 152, 154; commissioning 147; of liquid modernity 168–9; intertextuality 151; language 161; performance 161–8, message 153; mise en scène 162, 165; premiere 158, 160–1, 150; music 150; opening 209–10; reviews 168–9; space-time sequence 151–2; performance envelopes 166–8; themes 158, 151–2, 153, 154; turn to the 160, 169; transnational, translocal Middle East 156–7 connections 161–5 workforce mobility 135–7, 163–4, 218–19 Waktu Batu, (Stone Time) 99, 173 Wright, Tom 13, 143, 146, 147, war, and civilians 153–4 147–8, 155 War Against Terror 156 Wrong Skin, see Ngurrumilmarrmiriyu wayang shadow puppet theatre 54, (Wrong Skin) 96, 174–7, 175, 54, 56, 56–9 wealth 42–3 Yanti’s Biography 59–63, 61 Wee, Wan-Ling 207, 209, 210 Yeoh, Brenda 208 West, the, delegitimization of 4 Yibiyung (Winmar) 18 Western modernity 5, 35 Yogya, Indonesia 95–7 Wetzel, Daniel 127, 129, 133 YouTube 82, 83 When the Rain Stops Falling (Bovell) young people 112–13; 17, 18, 20, 27, 91, 146, 218; closure alienation 114–15 31; and colonial modernity 31–2; youth culture 174, 220 and European-Australian modernity Yûkoku (Patriotism) (Mishima 29; narrative 26–31; opening Yukio) 191–2 sequence 26–7; themes 25–6; transgenerational trauma 25–6, Žižek, Slavoj 71 28–31, 32 zombie institutions 44, 133, 134, Whitlam, Gough 155–6 135, 162, 164–5