Centre 42 » Micromanage Overwork Exasperate https://centre42.sg Thu, 16 Dec 2021 10:08:35 +0000 en-US hourly 1 https://wordpress.org/?v=4.2.30 MICROMANAGE OVERWORK EXASPERATE (M.O.E.) | by Dark Matter Theatrics https://centre42.sg/moe-in-residence-basement-workshop/ https://centre42.sg/moe-in-residence-basement-workshop/#comments Wed, 28 Feb 2018 07:12:53 +0000 http://centre42.sg/?p=8366 bw-moe
SynopsisCreation ProcessCreative Team
Everybody’s an expert on education. Everybody’s started a sentence with, “Last time when I was in school…” at least once. And everybody – come on, admit it – everybody’s had moments where they felt someone else hadn’t been taught properly in school.

What would it be like, then, to step into the shoes of an educator? How do the people, whose job it is to teach our children, manage to uphold the standards that are set upon them – by society and by themselves? We are experts on our own education – should we also consider ourselves experts on educators?

Using material gleaned from interviews with a wide range of teachers – primary to secondary, in-service to retired, elite independent schools to neighbourhood institutions – Micromanage Overwork Exasperate (M.O.E.) seeks to explore the unspoken sides of education, and give voice to the true experiences, struggles and successes of some of our nation’s most invisible heroes – our teachers.

Micromanage Overwork Exasperate (M.O.E.) is based on interviews done with teachers regarding their teaching experiences in the Singapore education system. It will be staged in September 2016 by the theatre collective Dark Matter Theatrics, which aims to engage people from all walks of life with honest and impactful storytelling. The collective consists of playwright-director Christopher Fok, actor Lian Sutton and playwright Marcia Vanderstraaten. When they aren’t working together on plays they love, they are variously engaged in library work, report writing and drinking beer.

M.O.E. is a reworking of an earlier play written in 2014 on the same topic, called Micromanage Overwork Exaggerate. It is not considered a ‘restaging’, because about half of it is new material, based on new interviews and developments in the education scene. The process through which the new scenes will be written is directly connected to the physical spaces of Centre 42. It does, however, use most of the 2014 script, albeit in a different sequence. The scenes are roughly divided into

  1. monologues, and
  2. hyper-real imaginings of situations which teachers face regularly.

M.O.E. will be staged using the physical spaces of Centre 42, and not simply a black box as per the 2014 production; for this new script the collective is looking at a more site-specific experience, and how the physical spaces can be incorporated into the script.

Interview
Others

Playwright – Marcia Vanderstraaten

Director – Christopher Fok and Marcia Vanderstraaten

Performers
Jo Tan
Edward Choy
Shafiqah Efandi
Vignesh Singh

 Development Milestones 

Micromanage Overwork Exasperate (M.O.E.) was developed in residence at Centre 42’s Basement Workshop from July to October 2015.

31 July – 2 August 2014:
Micromanage Overwork Exaggerate was performed at Black Box, Goodman Arts Centre

27 September – 2 October 2016:
Micromanage Overwork Exasperate was performed at various spaces, Centre 42

 

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MICROMANAGE OVERWORK EXASPERATE by Dark Matter Theatrics https://centre42.sg/micromanage-overwork-exasperate-by-dark-matter-theatrics-2/ https://centre42.sg/micromanage-overwork-exasperate-by-dark-matter-theatrics-2/#comments Fri, 14 Oct 2016 07:10:08 +0000 http://centre42.sg/?p=6059

“这次,说话的是老师”

Reviewer: Neo Hai Bin | 梁海彬
Performance: 2 October 2016

常常,在课堂上,说话的是老师。这次,把老师带入黑箱,老师说的话可很不一样了。

还未入场,门外的工作人员就会在你登记后,给你一张贴纸,送你一句鼓励的话—— 就像上学时,老师给你贴纸奖励你那样。开场的前半部份,演员们以夸张搞笑的方式,通过一段段的独白,讲述老师们面对的问题和压力—— 家长、部门主任、甚至自己的孩子们。“玩游戏”是这部戏的前半段里重要的语汇。例如老师们见家长们时,会拿出灭火器、羽毛球拍等工具,跟不同的家长们“拆招”。老师要在六月假期请假陪孩子出国旅行。她向校方申请时,就一次次地投巨大的骰子玩蛇梯棋(Snakes and Ladders),看看自己能不能够“过关”,争取到和孩子们出国的机会。观众是在笑声中去理解剧中老师角色们的愁苦。

可是在中场休息前,戏的基调已经慢慢转换。老师开始对发生在自己(和其他老师们)身上的事感到不解、痛苦。我们看到了体制底下老师们的无力感,看见他们在学校制度、社会要求、家长态度面前的束手无策。

下半场,观众随着演员们走出了黑箱剧场,在Centre42 的排练室、阳台、和会议室里头看戏,最后又回到黑箱。戏中不断重复的是人与规则之间的关系。我们藉由剧中的“游戏规则”看到教育部(乃至社会)的“规则”。观众也在跟着剧组设立的规则拿贴纸、选座位、不得不走动看戏、最后还必须填上意见表…… 我们和剧中的老师们一样,因为种种原由,不能轻易遗弃规则逍遥离开,因而只能选择隐忍。

最后一部份,我们看着一名教师被迫承受制度中种种不公平的现象,却还得用制度的话语为制度说话。老师在临睡前和一名自杀学生(鬼魂)的谈话,把整部戏带入了另一层意境,可惜已经接近戏末,未能够为全剧提供更深层的发展。这段戏其实具备了很大的叙事潜力,若果编剧只着墨于这段故事,将之发展深化,其实也很深刻。该剧成功的地方,在于述说了老师们的心声、选择了人人都有共鸣的题材(大家都有上学的经历)、并选择了不寻常的角度(教师的挣扎),来体现个人在规则之下的无可奈何。

Do you have an opinion or comment about this post? Email us at info@centre42.sg.

ABOUT THE PRODUCTION

MICROMANAGE OVERWORK EXASPERATE by Dark Matters Theatrics
27 September – 2 October 2016
Centre 42

ABOUT THE REVIEWER

梁海彬目前是「九年剧场演员组合计划」的创建及核心组员。他写的文字亦收入在:thethoughtspavilion.wordpress.com。

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MICROMANAGE OVERWORK EXASPERATE by Dark Matter Theatrics https://centre42.sg/micromanage-overwork-exasperate-by-dark-matter-theatrics/ https://centre42.sg/micromanage-overwork-exasperate-by-dark-matter-theatrics/#comments Mon, 10 Oct 2016 08:26:37 +0000 http://centre42.sg/?p=6021

“Teaching 101 – a conflicted overview”

Reviewer: Jocelyn Chng
Performance: 30 September 2016

With a title like Micromanage Overwork Exasperate and its corresponding acronym MOE, this production immediately sparks my interest (MOE being also, and more recognisably, the acronym for the Ministry of Education in Singapore). This production is a reworking of an earlier version – the “E” being changed from “Exaggerate” in its previous incarnation to the current “Exasperate,” which perhaps more accurately describes life in the teaching profession, as we are soon to see.

I arrive early at Centre 42 and am directed into a holding room with motivational posters on the walls. I later notice on closer observation that the motivational posters are not quite what they seem – the “quotes” are actually sarcastic jibes, the first indication of the direction that the performance is taking. Once most of the audience has arrived, we are herded upstairs into the black box, where “facilitators” mingle with us and make small talk with individual audience members, ostensibly about their interest in becoming a teacher. We also receive a booklet with “pre-briefing instructions,” “facilitator profiles” and a “programme schedule,” which lists sessions such as “Communication Skills for Teachers” and “Exploring Issues in Philosophy of Education” – certainly exciting topics for new initiates into the teaching profession. After a short announcement by an “officer” wearing a lanyard, the next part of the performance begins.

From here onward, though, the entire performance frame falls apart.  The performers, who just a few minutes ago were interacting with the audience as “briefing facilitators,” suddenly cannot seem to decide if they are actors or facilitators. The lighting does cue us to a change in frame, and as the performers assume non-naturalistic poses, it becomes clear that from here on they are actually embodying stage personas. However, something about the switch from direct audience address to a more distanced presentational mode does not happen quite smoothly enough, making it feel disjunctive and disorienting.

Unfortunately, this confusion permeates the remainder of the performance. After the intermission, which is framed as a “recess” or break, we experience the requisite technological /logistical issue of a missing projector, and the professor who enters to deliver a session on “Educational Psychology II: Providing for Individual Differences in Learning and Teaching” ends up delivering a tirade against standardised testing. Another “facilitator” then enters to clean the whiteboard, but also cannot resist complaining about the system while she is at it.

To be fair, much of the content is heartfelt and well-described, judging by the laughter and bittersweet knowing nods from the many audience members who are obviously teachers. Teachers were interviewed and their trials and tribulations form the basis of MOE; this care taken in the research process shows. But to make it a truly powerful work, the framing of the performance as a briefing session, which holds much potential especially if the audience could be implicated further, needs to be tighter and more coherent.

Do you have an opinion or comment about this post? Email us at info@centre42.sg.

ABOUT THE PRODUCTION

MICROMANAGE OVERWORK EXASPERATE by Dark Matters Theatrics
27 September – 2 October 2016
Centre 42

ABOUT THE REVIEWER

Jocelyn Chng graduated from the Masters in International Performance Research programme, receiving a double degree from the Universities of Amsterdam, the Netherlands, and Tampere, Finland. She currently freelances and teaches at the LASALLE College of the Arts.

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