“脱了，然后呢？”

Reviewer: Zekson Tan | 陈迦笙
Performance: 5 January 2017

《Foreign Bodies》是本地难得一见的 Burlesque演出。Burlesque直译成中文是”滑稽戏”的意思。但若要更贴切的形容《Foreign Bodies》的话，Burlesque的另一个现代含义 — “脱衣舞秀”会更加适合。然而和”脱衣舞秀”都是由拥有六块腹肌的俊男或者身材曼妙的性感女郎担纲演出这一固有印象不同的是，《Foreign Bodies》找来了11位来自各阶层，拥有不同背景，性别、性向和身材各异的表演者配合著不同的音乐、主题和道具，通过把衣服一件一件的脱下，让观众在感受惊艳和惊喜的当下，去意识到自身对于性别、性取向和身体所拥有的自主权。

但这并不是《Foreign Bodies》主打的课题。根据演出简介还有场刊的介绍，这场”脱衣舞秀”可是开宗明义的针对着本地多元社会的现象而来，企图通过香艳的演出去探讨新加坡人面对那未来六百九十万人的人口政策和身分认同的矛盾与现象。

然而企图归企图，在演出里头呈现出来与否却又是另一回事。

除了表演者的海归和移民背景之外，我在整场演出里头找不到其他明显对于此一课题的诠释。以致于在演出结束之后，我只大略记得演出过程的欢愉以及一些精彩的呈现环节，差点就忘了《Foreign Bodies》可是在它的表演简介中写着针对新加坡未来的人口政策而来的。

而且像《Foreign Bodies》这种在本地属于非主流且游走于被禁边缘的表演艺术，尤其需要在内涵和意义方面下更多的功夫，才能渐渐的去改变本地观众和有关当局对于这样的表演形式所持有的刻板印象。整场演出透过”脱”这样的一个表演方式的确成功的让观众对于性别、性取向和身体自主有更加深刻的意识。例如演出接近尾声时两位表演者借着“Reflection”这首歌表达了对于认同自身性向的勇气等等。然而《Foreign Bodies》在表演内容的设定和呈现上，并没有针对本地人口政策和身份认同有明显的着墨甚至是引申。所以除了在场刊里阅读到，我在演出过程中很难发现有针对此一课题去做引申或者探讨的环节。

《Foreign Bodies》无疑让观众体验到了不太一样的表演艺术。但残酷的是，只要找来不同性别、性取向和不同身材的表演者，再搭配同样的表演形式，就能够大略复制出这场演出所带给观众对于性和身体自主的宣示。而平白浪费了本地人口的结构变迁和身份认同这一特别又能够让《Foreign Bodies》变得独树一帜的方向和主题。

“More Skin In The Game, Please“

Reviewer: Isaac Tan
Performance: 6 January 2017

Comprising expatriates and Singaporeans, Skin in SIN touts itself as a burlesque troupe with a socially progressive twist. In this maiden production, the company creates a tantalising encounter with the Other; the Foreign Bodies that are performing on stage.

To paraphrase Madge of Honor (the voluptuous host of the show): it is not so much the taking off, but how it is taken off. This tip for appreciating burlesque may refer to clothes, but the same can be said with regard to appreciating the significance of this new venture.

The fact that it is performed in a building that was originally intended to lure international acts; convince expatriates that Singapore is not boring; and show Singapore’s economic might to the world must not go unnoticed.

Despite this reviewer not being one to cheer at the slightest jiggle or shoulder shrug, I found myself constantly looking at the ten performers out of sheer curiosity. I wonder about their choice of personas, what their gender identities are, and why they choose this form of self-expression.

So it did make me think and question.

To top it off, the performances are not just mindless titillation. Consider Aloysius D’s political commentary, Hank Spank’s search for affection, and Patch Dogwood’s quirky scientist persona – these creative acts set out to show the possibilities of burlesque. For the admirers of camp, Lykie Liquour treats the audience with an impeccable lip-syncing act, while Aura Hahn teases with the classic conceal-and-reveal routine using feather fans.

That said, there are acts which provide neither risqué entertainment, nor food for thought. Datin Coconut Muffin’s lack of commitment to her saucy housewife persona as she walks around and poses tentatively is saved by the brief duration of her act: any longer she will incite scorn. While Kitty Padi being covered in shopping bags is fascinating, the novelty wears off quickly due to a lacklustre performance, and the awkwardness of not being able to remove one’s costume seamlessly.

While Foreign Bodies is an overall success, various questions remain: Where does Skin in SIN go from there? How does the company better bring out the socially conscious element in future shows? What is significant about the act of disrobing in performance? Repeating the mantra of vulnerability and empowerment will soon wear off, and there is a risk of future shows just being an exotic meat parade.

I applaud the performers for taking a first, and very brave step.

Now we need more skin in the game, in all senses of the phrase.