Corrie Tan is a Singapore-based writer, editor and researcher who is into radical shifts in performance criticism – taking up the commitment of a critic as dramaturg, collaborator, archivist, ethnographer and shapeshifter, one who can invite the audience to extend their intimacy with a work. She is resident critic and contributing editor at ArtsEquator, where she co-convenes a critics' reading group and a performance criticism mentorship programme. She has also written regularly about theatre and performance for The Guardian, The Stage, Exeunt Magazine and The Straits Times. Corrie is a doctoral student in Theatre Studies on the joint PhD programme between the National University of Singapore and King's College London. She holds an MA (Dist) in Performance & Culture: Interdisciplinary Perspectives from Goldsmiths, University of London as a recipient of both the National Arts Council Arts Scholarship (Postgraduate) and the Goldsmiths International Scholarship.


Dr. Felipe Cervera is a Mexican theatre maker and academic based in Singapore since 2012. He writes about the interplay between science, technology,and performance, as well as about the crossroads between theatre and politics. As an actor and director, he has worked and toured extensively across The Americas, Europe, and Southeast Asia. He is a Lecturer in Theatre at LASALLE College of the Arts, and serves as the Associate Editor of Global Performance Studies.


Gee Imaan Semmalar is an activist, writer, theatre artist and filmmaker. He completed his postgraduate studies in Arts and Aesthetics from Jawaharlal Nehru University, New Delhi. He co-founded Panmai Theatre group along with Living Smile Vidya and Angel Glady in 2014.The debut production of Panmai theatre, Colour of Trans 2.0 , which was devised by the founders based on their own lives as trans people, toured many cities of North America and India. Gee directed one of the first films on trans men in South India, Kalvettukal [Sculptures] in 2012. In 2015, he co-directed and acted in a stop motion animation film, Won't the Real Transformers Please Stand Up?. In 2016, he acted in a road trip experimental film called Naked Wheels which covered the issues of trans people. His most recent performance was a collaborative piece with Raju Rage(London based artist) and Aryakrishnan R (Kerala based artist) at the Kochi-Muziris Biennale 2018. He uses art as a tool to explore identity, history, citizenship, caste and political action.


Janet Pillai served as an associate professor at the Department of Performing Arts in University Sains Malaysia until 2013 and founded Arts-ED (2007), a non-profit organisation in Penang which provides place-based culture education for young people. Pillai’s interests lie in the field of arts and culture education as well as research and publication. Pillai worked for most of her career as a theatre director with young people before moving into the more focused topic of community-based arts and cultural sustainability.

Pillai is currently an independent researcher and consultant in the area of cultural mapping, community-engagement and arts and culture education. Her work entails research, training and programming with parties (universities, NGO’s, local government agencies, artists and planners) interested in community-engaged projects and place revitalization through the arts.

Pillai has authored 5 books and numerous articles on arts, culture and heritage education and cultural mapping.  She also contributes as expert resource person in regional organisations such as UNESCO Bangkok, APCIEU Korea, and GETTY Foundation.

Janice POON is Senior Lecturer (Playwriting and Dramaturgy) and Academic Project officer at the School of Drama, The Hong Kong Academy for Performing Arts. She is also the Artistic Director of Hong Kong Dramatists and a veteran theatre artist and cultural practitioner engaged in play-writing, directing, dramaturgy, curating and theatre-making with specific focus on contemporary dramatic text and dramaturgy in cross-disciplinary and cross-cultural theatre making. Her works have been presented in major cities in the UK, Europe, the US, Canada, China, Taiwan, Singapore and other regions in Asia. And Then, I Float was awarded four major awards, nominated for the best play award at the Hong Hong Theatre Libre (2014), and also invited as part of the cultural exchange project at the Schillertage festival in Mannheim, Germany (2015); Small Waisted (2016) won the Multi-cultural Short Plays Competition organised by the International Theatre Institute of UNESCO.  Her curated project Dramaturgy and Beyond - Dance Dramaturgy series was nominated Outstanding Service Award at the Hong Kong Dance Award 2019.


Jean Tay graduated in 1997 with a double-degree in creative writing and economics from Brown University, USA. Plays produced include “Chinatown Crossings”, "The Shape of a Bird", "It Won't Be Too Long: The Cemetery - Dusk", "Senang", "Sisters", “Boom”, “Everything but the Brain”, “Plunge”, “The Knot” and “Water from the Well”.  Jean has also written the books for the musicals "The Great Wall: One Woman's Journey", “The Admiral’s Odyssey”, the NUS Centennial musical “Man of Letters”, and a children's musical “Pinocchio”.  She has written more than 20 plays and musicals, which have been performed in Singapore, the US, the UK, and Italy. Jean attended the month-long International Playwriting Residency in 2007, organised by the Royal Court Theatre in London and also participated in LaMama's International Playwrights' Retreat in Umbria, Italy in 2010.  

In 2000, her play “The Knot” was awarded 1st prize for Action Theatre's 10-minute Play Competition and selected as a finalist for the Actors Theatre of Louisville's 10-minute Play Contest. She has been nominated four times for Best Original Script for the Life! Theatre Awards, and won for “Everything But the Brain” in 2006.  For her fiction, she was awarded Weston Prize for Fiction from Brown, as well as the 1st and 3rd prizes for the National Arts Council's Golden Point Short Story competition in 1995 and 2001 respectively.  

Jean was attached to the Singapore Repertory Theatre (SRT) as resident playwright from 2006-2009, and helmed SRT's Young Company Writing Programme from 2012-2016. She is also an adjunct lecturer for playwriting at Nanyang Technological University and conducted playwriting masterclasses for Masters of Writing for Performance students at the Victorian College of the Arts (University of Melbourne).  Her plays “Everything but the Brain” and “Boom” have been published by Epigram Books, and have both been used as 'O' and 'N' Level literature texts for secondary school students. 

She was also the scriptwriter for the National Day Parade for both 2015 and 2018, and  for the 2017 Home Team Show and Festival.  Other corporate work include scripting short films for Temasek Holdings and the Ministry of Communications and Information.  Jean is the founding Artistic Director of Saga Seed Theatre, set up in 2015 to bring Singaporean stories to the stage, and provide a platform to showcase and nurture local talent. 


Jo Kukathas is an actor, writer and director of The Instant Café Theatre Company, where she has created some of her most iconic characters. She has done numerous one-person shows, sometimes written for her. She also writes and performs her own one-woman shows and poetry. She grew up and was educated in Malaysia, Australia, Hong Kong, India, and the UK where she studied politics and philosophy.


Jompet studied Communications at Gadjah Mada University in Yogyakarta. Originally trained as a musician, Jompet turned to the visual arts and went on to work within the local Yogyakata art community. In 1998 and continuing to the present day, he has worked with Teater Garasi, a multidisciplinary collective of artists. 

Jompet works across a diverse range of mediums including installation, video, sound, performance and theatre. His works explore Indonesia’s history and the complexities of contemporary life in a globalised world. His practice focuses on issues of politics, colonialism, power and mass mobilisation in the context of post-reformation Indonesia.

In 2014, Jompet garnered a major award for emerging Asian artists, the Prudential Eye Award, for his installation work.

Jompet has taken part in significant national and international exhibitions, including the Yokohama Triennale, 2008; Beyond the Dutch, Centraal Museum Utrecht, 2009; the 10th Lyon Biennale, 2009;  Phantoms of Asia, Asian Art Museum, San Francisco, 2012; Taboo, Museum of Contemporary Art, Sydney; 2012; RALLY: Contemporary Indonesian Art –¬ Jompet Kuswidananto & Eko Nugroho, National Gallery of Victoria, Melbourne, 2012; Taipei Biennale, 2012; Asian Anarchy Alliance, Tokyo Wonder Site, Tokyo, 2012; Asian Art Biennale, Taiwan, 2015; Sharjah Biennial 14, 2019, UAE.

Solo shows include Java’s Machine: Phantasmagoria, Osage Gallery, Singapore and Hong Kong, 2009 and 2010; On Asphalt, Nanzuka Underground, Tokyo and Project Fulfil Art Space, Taipei, 2012; Grand Parade, at Tropenmuseum, Amsterdam, 2014 and On Paradise, at MAC’s Grand Hornu, Belgium.


Ken Takiguchi is a theatre manager of Setagaya Public Theatre in Tokyo and a part-time lecturer at Tokyo University of the Arts. Formerly a research fellow at National University of Singapore, he obtained his PhD from NUS specialising in theatre translation, intercultural theatre and cultural policy.

Ken also works as a dramaturg, translator and producer. He started his practice when he was the Assistant Director of the Japan Foundation Kuala Lumpur in the early 2000s. He has actively participated in numerous intercultural productions since then, including Spring in Kuala Lumpur (2004, Five Arts Centre [Malaysia] & Pappa Tarahumara [Japan]); Reservoir (2008, TheatreWorks [Singapore]); Mobile 2: Flat Cities (2013, The Necessary Stage [Singapore]); and HOTEL (2015, W!ld Rice [Singapore]).

His recent publications include a chapter in Curating Live Arts: Critical Perspectives, Essays, and Conversations on Theory and Practice (edited by Dena Davida et. al., New York and Oxford: Berghahn Books, 2019) and Excavations, Interrogations, Krishen Jit & Contemporary Malaysian Theatre (co-edited with Charlene Rajendran and Carmen Nge, Kuala Lumpur: Five Arts Centre, Singapore: Epigram Books, 2018).


Zihan is an artist and academic working at the intersections of critical theory and performance. His performance work has been commissioned by the M1 Singapore Fringe Festival (2012, 2015 and 2019), the Singapore International Festival of Arts (2016), and Esplanade Theatres on the Bay (2017). He won Best Multimedia Design for Manifesto (The Necessary Stage and Drama Box) at the Life! Theatre Awards (2017). Zihan was also awarded the Young Artist Award (2015) and an Arts Postgraduate Scholarship (2017) by the National Arts Council of Singapore.

Zihan has a Master of Fine Arts from the School of Art Institute of Chicago, where he was supported with a merit scholarship and a graduate fellowship. He subsequently received his Masters of Arts in Performance Studies from NYU’s Tisch School of the Arts. His scholarship at NYU was recognised with a Performance Studies Emerging Scholar Award (2018). He is a contributor to arts media website ArtsEquator and has penned a chapter for Queer Asia, an edited volume published by ZED Books in 2019. He will be commencing his PhD in Performance Studies in Fall 2019, with a research focus on distended gestures of performative dissidence over time in Singapore. More information about his work can be retrieved from www.loozihan.com.

Mark is a dramaturg, producer and director trained at the VCA (Directing), PACT, and the University of Wollongong (Performance). His practice focuses on new writing, hybrid dramaturgy, and an investigation of ritual, narrative, and mythology in contemporary culture.

Mark is the New Work Manager & Resident Dramaturg at Malthouse Theatre (2014 – current), managing the company's new work development, artist development programs, and providing dramaturgical support across the company’s activities. Recent projects for Malthouse Theatre include: Atomic by Amelia Chandos Evans, Going Down by Michele Lee, Heart is a Wasteland by John Harvey (Brown Cabs), Little Emperors小皇帝 by Lachlan Philpott (AsiaTOPA), Edward II by Anthony Weigh, Turbine by Dan Giovannoni, Blak Cabaret by Nakkiah Lui (Sydney Festival), and Love and Information by Caryl Churchill.

With his partner Arie Rain Glorie, Mark established the Centre for Dramaturgy and Curation – a space for independent research and experimentation in these two connected fields of practice. 

Mark is also coordinator of new writing collective the New Working Group, with whom he has produced Anti-Hamlet by Mark Wilson (Theatre Works), GROUND CONTROL by Rachel Perks (Next Wave; Brisbane Festival), and Dream Home by Emilie Collyer (Darebin Arts), and directed Triumph by Louris van de Geer (fortyfivedownstairs). Mark was Co-Director/Dramaturg on Wael Zuaiter: Unknown (Theatre Works & Next Wave), and directed Amy Herzog's 4000 Miles (Red Stitch Actors Theatre). Mark is co-director of NO SHOW with Bridget Balodis, with whom he has co-created The Séance (LaBoite Indie, Melbourne Fringe), Unfinished Business (You Are Here Festival, Crack Theatre Festival), Outside Line (Pop Up Playground) and Shotgun Wedding (Next Wave). 

Mark is a recipient of the Mike Walsh Fellowship, a judge for the Green Room Association Awards' Independent Theatre Panel, and a participant in the Australia Council's Future Leaders Program.


Martyn Coutts creates public artworks which challenge an audiences understanding of space and place. He uses a multi-platform approach to work - using performance, technology and interactivity - to create specialised dramaturgy that engages and enlightens.

Martyn is a founding member of Field Theory, a nine-year-old artist collective which was named Cultural Leaders in Live Art by the Australia Council in 2012. He was co-project lead for the works The Stadium Broadcast, 9000 Minutes and Final Visions: Bunker.

He is a key member of The Unconformity festival’s Artistic Directorate, programming the 2016 and 2018 festivals. He also delivered the two large scale opening events for both festivals The Rumble (2016) and Tectonica (2018) with Ian Pidd.

With Sam Routledge he has created 3 works, one of which, I Think I Can, toured to 20 different locations across Australia, UK, USA, Canada, Netherlands and Taiwan.

Martyn co-directed SAC35 for Salamanca Arts Centre, created Wayfarer with Kate Richards, and 20 Questions for Wheeler Centre with Ian Pidd. In 2019 he will launch the expansive audio app Against The Tide for the Parramatta River in Sydney.

Martyn has also worked extensively as a dramaturg, video artist, producer, university lecturer and consultant.

Miguel Escobar Varela is a web developer, translator and theatre researcher who has lived in Mexico, The Netherlands, Singapore and Indonesia. He works as Assistant Professor of Theatre Studies at the National University of Singapore and Academic Advisor on Digital Scholarship at the NUS Libraries. He also directs the Contemporary Wayang Archive and convenes Digital Humanities Singapore. His main research interests are in Indonesian theatre and digital humanities. To find out more, please visit miguelescobar.com.


Ness Roque is a theater and film actor, performance-maker, dramaturg, and educator based in Quezon City, Philippines. She is a co-founder of ProdJx Artist Community, a collective of artists and researchers using art and science for community-based education and development with a ongoing project in rural areas in the Philippines, Indonesia, and Thailand. Nessa was a core member of Manila-based contemporary performance collective, Sipat Lawin Ensemble from 2009 to 2018. She co-curated the Idea Exchange Platform of Karnabal Festival 2016, a festival that supports the development of new devised-works in the Philippines. Nessa recently received an Honorable Mention-Elliott Hayes Award for Outstanding Dramaturgy 2018 from the Literary Managers and Dramaturgs of the Americas (LMDA) for her essay on Sipat Lawin’s Gobyerno. She was also a fellow of the recently concluded Next Generation: Producing Performing Arts 2018 by the Japan Foundation Asia Center. 

Recent performance works include Sipat Lawin's Gobyerno (TPAM-Asian Dramaturgs Network 2017; PETA Festival of Windows 2017 in Manila; Castlemaine Festival 2017 &  Darwin Festival 2016 in Australia, Festival Bo:m 2015 in Seoul, Honmoku Project 2015 in Yokohama) and Battalia Royale (Manila 2013-2014); and Raya Martin's How He Died is Controversial (Asian Arts Theater Opening Festival 2016 in Gwangju Korea). 

Leading performances for film include Raya Martin's How to Disappear Completely (Museum of Modern Art - MoMA 2017, Locarno 2013) and Now Showing (Cannes Quinzaine des Réalisateurs 2008).


Robin Loon is a dramaturg, academic and playwright. He currently teaches the Introduction to Theatre & Performance module as well as modules in Singapore English Language Theatre and Theatre Criticism at the Theatre Studies Programme, National University of Singapore.

Robin has consulted on many theatre projects as a dramaturg. He was Co-commissioning Dramaturg for Full Frontal (2007-2009), a directors’ incubation platform at the Singapore Arts Festival. Subsequently, he was appointed Commissioning Dramaturg for Open Studio (2010-2012), Singapore Arts Festival Platform for new works. He has also been writer and dramaturg in several projects, including Casting Back (2012, Esplanade’s 10th Anniversary), 男男自语 (2012, Singapore Arts Festival), and Blue Prince (2012, The Blue Statesmen).

Robin was also the head of Singapore's first Dramaturg Apprenticeship Programme under Centre 42's Garage initiative. The Garage is a programme conceived for fresh theatre graduates wanting to move into dramaturgy and for practitioners eager to do a mid-career switch to or emphasis on dramaturgy. It is a 12-to-18 months programme comprising theoretical and historical contextualising and two professional attachments to ongoing productions.

Robin has also represented Centre 42 at two international events : West Kowloon Cultural District's Producer's Network Meeting and Forum (May 2017) where he presented on Centre 42's content creation initiatives; and Taipei Performing Arts Centre's  Open Talk: Walking with New Talent (Nov 2017) where he and Centre 42's company Manager Ma Yanling delivered a joint key-note on Centre 42's approach to nurturing young talent.


Su Wen-Chi, is a choreographer, new media artist, lives and works in Taiwan. She founded YiLab. in 2005, an experimental group of new media and performance artists working on integrating new technology with the performing arts, and seeking to present new performing formats. Her works have been presented by Taiwan International Festival of Arts, Taipei Digital Arts Festival, Asian Arts Theatre (Korea), Arcadi Hors Saison (France), SCOPITONE (France), Kunstenfestivaldesarts (Belgium), Potsdamer Tanztage (Germany), InShadow (Portugal), Kalamata Dance Festival (Greece), La Bâtie (Switzerland), Performance Space (Australia). Recently, she gave workshop in West Kowloon Cultural District HK, Indonesian Dance Festival, Critical Path, and Center of Art and Technology TNUA. 


Uchino received his MA in American Literature (1984) and Ph.D. in Performance Studies (2001), both from the University of Tokyo. He was a professor of Performance Studies at the Graduate School of Arts and Sciences (1992-2017) and is currently a professor of Performance Studies at the Department of Japanese Studies, Faculty of Intercultural Studies, Gakushuin Women’s College. Uchino is a leading performance studies scholar, whose border-crossing between Japan and the US, Japan and Europe, and Japan and other parts of Asia, including India, has been critically acclaimed in various interdisciplinary quarters of academics, artists and activists. His publication includes The Melodramatic Revenge: Theatre of the Private in the 1980s (in Japanese, Tokyo: Keiso Publishing,1996), From Melodrama to Performance: The Twentieth Century American Theatre (in Japanese, Tokyo: U. of Tokyo P, 2001), Crucible Bodies: Postwar Japanese Performance from Brecht to the New Millennium (2009, London: Seagull Books) and The Location of J Theatre: Towards Transnational Mobilities (in Japanese, 2016, U of Tokyo Press).  Twice a recipient of the Fulbright Grant (1986-7, 97-8), Uchino has served in many Japanese academic societies, including the founding board member for the Society of Studies of Culture and Representation (06-18). He is currently a contributing editor for TDR and an editor for Dance Research Journal of Korea. His expertise is widely recognized in performance communities and is a member of board of directors for Kanagawa Arts Foundation, the Saison Foundation and Arts Council Tokyo, and of selection committee for Fukuoka Asian Culture Prize and a member of ZUNI Icosahedron’s Artistic Advisory Committee.