290:(PPAS) on 1 July that year, providing professional dance and drama courses. The founding date was also the day that Kuo married Goh. As public perception of Chinese drama during that era was that it had always been a part of cultural and mass political movements, many were unreceptive towards the charging of fees to teach drama. For many years, the dance wing subsidised classes in the drama wing. Despite the fact that the idea of professional theatre was not widely accepted then, Kuo noted that young people from all walks of life devoted themselves to theatre courses and remained highly involved in PPAS productions even after they had completed the drama course.
336:. Kuo spent four years and seven months in detention, during which the state revoked his citizenship. Kuo described the detention as "a moment of humbleness" and "a very sobering experience– you get cut down, you know that you don't know enough." The incident caused Kuo to undergo a major re-evaluation and reflection of his perceptions and thoughts. He was released in 1980 under restrictions in residence and travel, and resumed teaching drama at
244:) before moving him to Hong Kong due to the student unrest generated by politically activist Chinese high school and middle school students, largely out of concern for the political expedience of the unrest. When the student unrest ended in 1957, Kuo returned to Singapore to attend the English-medium Pasir Panjang Secondary School. Kuo attended a total of six schools in six years.
316:(1969), was written by Kuo to reflect the social turmoil resulting from rapid urban reconstruction and inflow of multinational investment, but its performance was banned by the authorities. Critics also noted that Kuo's early plays characteristically displayed a clear-cut distinction between the "good" (tradition and class unity) and the "bad" (exploitative capitalists).
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and contemporary
Western theatre, and implements the ideals and ideas in theatre training that Kuo accumulated and developed over his lifetime career. In the three-year course, students are trained in areas encompassing acting, performance, theatre theory and the practice of working across linguistic
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The PPAS was founded by both Kuo and Goh as the
Singapore Performing Arts School. It aimed to integrate dance, drama and music training, and create a symbiosis between creative performance and arts education. Kuo served as principal of the school until 2002. The PPAS has played an instrumental role
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Kuo is acknowledged by both locals and foreigners as the pioneer of
Singapore theatre, and was awarded the Cultural Medallion in 1990 for his contributions to Singapore theatre. His plays are characterised for their dramatic and social commentary, use of simple metaphors and multiculturalism themes,
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Singaporean
Chinese contemporary theatre in the 1960s and 1970s was highly politicised, given the field's roots in social movements, the turbulent state reforms of the local social and political environment after Singapore's independence, and the increasingly political and revolutionary environment
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to prepare the launch of the arts centre as "The
Substation – A Home for the Arts", and was appointed as its artistic director during its official opening in 1990. Kuo served this role until he resigned in 1995, to spend more time writing and directing plays. He also stated that he stepped down to
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In 1972, Kuo and his students and ex-students from PPAS launched the "Go into Life
Campaign" to experience life of labouring masses in Singapore and Malay Peninsula. Their guiding ideology was that "art came from life. Without knowing life firsthand and deeply, especially the life of the labouring
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promoted "rock culture", and that Kuo was being too lax in embracing any form of work as "art". Kuo's views remained unchanged by the criticisms; his primary concern was that "it is the process that counts. I am not interested in the end product, the finished piece. Where else will these budding
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in China, which began in 1966, impacted local
Singaporean Chinese in the 1970s. Many were influenced by its trend of thought, viewing art, literature and drama as weapons of struggle and tools of social change. Kuo's first plays, written from the late 1960s to the mid-1970s, were also "highly
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was invited from Hong Kong to join PTE as resident director. Besides initiating creative exchanges with the new theatres of
Northeast Asia and Southeast Asia, Kuo was also invited to foreign countries and international conferences, including the US, China, Germany, France, Japan and
544:'s orientation during the 1990s was as an inter-disciplinary, multicultural and pioneering arts space, particularly for experimental arts. With diversity, The Substation also provided a platform for young talent, who did not have the money or influence to mount their work elsewhere.
496:(PTE), based on a plan worked out in 1967 with Lim Kim Hiong. The company was later renamed The Theatre Practice in 1997. Kuo served as the company's artistic director until his death in 2002. Kuo mentored a number of local talents who worked with the Theatre practice, including
818:. He was diagnosed with kidney cancer in July 2001, and died on 10 September 2002, at the age of 63, from kidney and liver cancer. He is survived by his wife and two daughters. Goh currently serves as an artistic advisor at TTP, alongside Jian Hong as an artistic director.
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Kuo Pao Kun was born in Hebei
Province, China in 1939 to Kuo Fung Ting and Zhou Qiao. He moved to Beijing with his mother in 1947, and spent nine months in transition in Hong Kong before being called to Singapore at the age of 10 by his businessman father.
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accent in
English", and which advantaged him as a broadcaster. After Kuo finished high school in 1959, his experience in broadcasting and bilingual advantage from his education enabled him to secure a job as a translator/announcer in Melbourne with
274:. The course gave him a "strong, solid grounding" in many aspects of contemporary Western theatre and introduced him to Western classical theatre. During his studies in NIDA, Kuo also became engaged to choreographer and dancer
524:, with the aim of nurturing local artists and to serve as a community-funded, non-profit arts centre for workshops, concerts, lectures and exhibitions. He first visited the station in 1985, and, with advice from architect
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was not selected. He also wrote a monologue "No Parking on Odd Days" a story of a Singapore man who faced the fines he get from the traffic police. Kuo carried on to write the play in Mandarin, and staged it in 1985 with
528:, submitted a proposal to the Singapore government to set up an arts centre. The proposal was accepted. Kuo himself oversaw the renovation and design of the building's interior. In 1989, he formed a team with
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to perform the original English version. The performance was well received, and brought Kuo to the forefront of the English language stage in Singapore. Other plays such as Kopitiam was also recognised
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and English plays. He founded three arts and drama centres in Singapore, conducted and organised a number of drama seminars and workshops, and mentored Singaporean and foreign directors and artists.
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in response to the Singapore Arts Festival guest director's call to local writers to present sketches of Singapore life. Some of these submissions were incorporated into a performance entitled
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The growing force and increasingly political nature of Chinese theatre culminated into the 1976 massive leftist purge, where hundreds, including Kuo, were detained without trial under the
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about the closure, both responded with monetary donations. Sim made a S$ 2 million donation to the school in addition to offering the use of 12,000 sq ft (1,100 m) of
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masses, it would be difficult to write good artistic work". The campaign resulted in the proliferation of original works based on real-life stories of labouring people, including
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Kuo met with and invited many distinguished experts in the arts to Singapore to contribute to drama camps, seminars and workshops which he organised in Singapore.
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organised a tribute to Kuo by staging three of his plays. The plays were each directed and performed by people of different nationalities in their own languages.
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has since been adapted and performed numerous times both locally and internationally, in countries such as Malaysia, Hong Kong, China, Japan and France.
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257:. His early years in Hebei and Beijing had led to his acquiring of his trademark Beijing-accented Mandarin, which he once described as "like having a
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251:'s Mandarin radio play section at 14 years of age, (Lo) and worked as a broadcaster, in addition to performing and writing radio dramas and Chinese
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play performed in Singapore. Kuo and Goh's first daughter Kuo Jian Hong was born in 1967, followed by their second daughter Kuo Jing Hong in 1971.
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Tan, Beng Luan, Lao Da Han and Soon Lan Lim, Stitch a quilt of memories: Stories about Kuo Pao Kun. Singapore: Creative O Developers' Lab, 2003.
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was the result of Kuo's effort to create a training programme rooted in different classical Asian performance traditions. The programme covers
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Klein, Ronald D. "Kuo Pao Kun". Interlogue:Studies in Singapore Literature. Volume 4: Interviews. Vol. 4. Singapore: Ethos Books, 2001.
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Kuo, Pao Kun. Images at the Margins: A Collection of Kuo Pao Kun's Plays. Singapore: Times Books International, 2000.
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was initially criticised for its unsophisticated repertoire of new and young artists. There were also concerns that
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Practice Performing Arts Centre Ltd. Kuo Pao Kun: And love the wind and rain. Singapore: Crucible Pte. Ltd., 2002.
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Zhou, Wenlong (26 August 2008). "我不想梦见郭宝崑 (I don't want to see Kuo Pao Kun in my dreams)". LianHe ZaoBao (联合早报).
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Kuo, Pao Kun. The Coffin Is Too Big for the Hole ...and other plays. Singapore: Times Books International, 1990.
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Omar, Marsita. "Kuo Pao Kun." 6 June 2007. National Library Board Singapore: Singapore Infopedia. 18 April 2008
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and cultural boundaries. Its curriculum includes courses in Acting Approaches, Movement, Voice & Speech,
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Lo, Jacqueline. "Theatre in Singapore: an interview with Kuo Pao Kun." Australasian Drama Studies 23 (1993)
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Kwok, Kian-Woon. "Remembering Kuo Pao Kun (1939–2002)." Inter-Asia Cultural Studies 4.2 (2003): 193–201.
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Kuo resumed directing, producing and writing plays immediately after his release. His first production,
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and immersions in Theatre Traditions. Faculty members included both local and foreign experts such as
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Phan, Ming Yen. "Kuo Pao Kun quits as The Substation's artistic director." Straits Times 2 June 1995
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in 1956, his father transferred him to Kallang West Government Chinese Middle School (now
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TTRP. "TTRP Founders." 2006. Theatre Training and Research Programme. 18 April 2008 <
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Sasitharan, T. "Theatre doyen sells himself to raise funds." Straits Times 11 May 1994.
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Young Artist Award in 1993. He attended the school's second directing workshop in 1986.
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in grooming local talents, some of whom mentored under Kuo. Graduates of PPAS include:
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in 1981. The restrictions were lifted in 1983, and his citizenship reinstated in 1992.
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357:(1982), was written and directed by him on behalf of 14 Chinese drama groups at the
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Hong, Xinyi. "Tracing the life of Kuo Pao Kun." Straits Times 23 February 2006.
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Ariff, Shahida. "Putting S'pore on the world map." Straits Times 3 August 2002
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Devan, Janadas. "Kuo Pao Kun on plays and prisons." Straits Times 19 May 2000.
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In 1984, Kuo wrote the draft of his first English play, a monologue entitled
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Oon, Clarissa. "Once more with feeling." Straits Times 18 December 2002.
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Ee, Jaime. "Face to face with Kuo Pao Kun." Straits Times 11 March 2000
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Pandian, Hannah. "Crucible or Hotpot?" Straits Times 13 September 1991.
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politicised" and "critical of social issues." One of the plays, titled
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The Substation. "History." 2007. The Substation. 2008 April 2008 <
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Ho, Sheo Be. "Who's who from the school." Straits Times 27 June 1995.
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The Theatre Training & Research Programme (TTRP) at PPAS (2000)
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was the first Singapore play to be performed in French, alongside
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as one of the "finest plays in 50 years" alongside productions by
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were invited in the early 1990s to PPAS as guest lecturers, and
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was directed by Putu Wijaya and performed by Teater Mandiri of
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Kuo remained as the programme's co-director until 2002. Later,
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The Intercultural Theatre Institute (ITI) at Emily Hill (2013)
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was directed by Anuradha Kapur and performed by Dishantar of
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Upon returning to Singapore in 1965, Kuo and Goh founded the
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PPAS. Practice Performing Arts School. 2008. 18 April 2008
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a worthy failure is more valuable than a mediocre success.
1266:"About | Theatre school | ITI | Singapore"
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In his last years, Kuo devoted most of his energy to the
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Kuo's plays have been translated into German, Japanese,
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270:(NIDA) in Sydney, while working in technical theatre at
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company in 1986 as the bilingual, semi-professional
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788:In 2015, during the Singapore Festival in France,
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1066:"The finest plays in 50 years"
828:The Theatre Practice home page
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139:Excellence for Singapore Award
121:Culture Award, JCCI, Singapore
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484:The Theatre Practice (1986)
63:10 September 2002 (aged 63)
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1072:. Singapore Press Holdings
838:The Substation's home page
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672:and Leanne Ong Teck Lian.
296:The Caucasian Chalk Circle
1360:Dunman High School alumni
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1111:24 February 2008 at the
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401:Mama Looking For Her Cat
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518:Public Utilities Board
370:. Kuo later submitted
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879:20 April 2008 at the
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508:The Substation (1990)
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1135:4 April 2008 at the
609:donated S$ 400,000.
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247:In 1955, Kuo joined
234:Catholic High School
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620:'s headquarters in
618:Creative Technology
591:Creative Technology
577:The tertiary-level
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463:The Necessary Stage
322:The Fishing Village
309:Cultural Revolution
238:Chinese High School
182:traditional Chinese
163:Okorn-Kuo Jing Hong
41:Kuo Pao Kun in 1989
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1320:1939 births
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662:Kanze Hideo
593:'s founder
583:Middle Road
498:Ang Gey Pin
385:Zou Wen Xue
378:. Although
249:Rediffusion
230:High Street
170:Kuo Pao Kun
70:Nationality
25:Kuo Pao Kun
1314:Categories
1049:22 January
844:References
800:Stella Kon
791:The Coffin
762:The Coffin
666:Ma Huitian
654:meditation
645:Indonesian
502:Theatre Ox
394:The Coffin
380:The Coffin
344:After 1980
254:xiangsheng
220:Early life
200:Wade–Giles
195:Guō Bǎokūn
158:Daughters:
1298:24 August
1076:5 January
767:Indonesia
727:Li Jiayao
459:Alvin Tan
455:Ivan Heng
445:Han Laoda
399:In 2015,
81:1965–2002
73:Singapore
65:Singapore
1195:Archived
1133:Archived
1109:Archived
877:Archived
723:Stan Lai
706:Wong May
698:Yu Qiuyu
637:Japanese
603:Creative
451:W!LDRICE
376:Bum Boat
210:Mandarin
154:Children
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660:master
650:tai chi
633:Chinese
443:winner
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779:; and
750:French
715:Taiwan
641:Indian
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301:Brecht
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417:and
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60:Died
50:1939
47:Born
798:by
658:Noh
500:of
259:BBC
186:郭寶崑
178:郭宝崑
28:郭宝崑
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