YAP Pau Eng 叶保应
Special Project,
Accession Number 001489
- Oral History Centre
Source
- 11
Total Reels
- Lu Wenshi
Interviewer
- 10:16:54
Total Running Time
- Mandarin
Language
Copyright Notice
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Reel/Disc 1 of 11
Metadata
- 17 Nov 2009
Recording Date
- 00:58:21
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*How interviewee joined National Theatre Trust as an assistant director in 1974. The job interviewing process. Interviewee’s experience in performing arts activities. His first day of work. The organization structure when he first joined National Theatre Trust. Objectives of the Trust. Trust’s effort in promoting the arts. Performing arts classes organized by the Trust. Publicity and the effort in recruiting students. Interviewee’s job scope in National Theatre Trust. Types of performances organized, including NHK Symphony Orchestra. Sponsorship for the performances. Ticket pricing for performances. Types of performances and audiences. Pricing for air tickets in the 1970s. Interviewee’s experience when Shanghai Acrobatic Troupe(上海杂技团) brought in a panda for performance in 1988. Examples of overwhelming responses for ticket sales, including the China Oriental Song and Dance Troupe (东方歌舞团). Why the best seats must be open to public for sale. Preparation work for a typical performance.
Remarks
Special Project on National Theatre
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Reel/Disc 2 of 11
Metadata
- 17 Nov 2009
Recording Date
- 00:58:01
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Efforts made by National Theatre Trust in the arrangements for accommodation, meals and transport for the performers. Places of attractions visited by the performers, including Sentosa and Singapore Zoological Garden. Special meal requirements of the different performing groups. How groups were invited by the Trust to perform in Singapore. The planning of a typical performance, including publicity and logistics. Post performance work. Incidents of unforeseen circumstances and how the Trust looked into such matters. How audiences’ needs were met by the Trust. Interviewee’s impression of the general audience. Why some quality performances were not brought into Singapore. Why there was an increase in number of audiences over the years. Places where foreign audiences came from. Requests from overseas audiences. Examples of unexpected or hilarious incidents that occurred during performances. Precautionary measures adopted by the Trust to minimize disturbances during performances. How audiences occupying the back rows were moved in the event of rain. How audiences were dressed when watching performances.
Remarks
Special Project on National Theatre
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Reel/Disc 3 of 11
Metadata
- 24 Nov 2009
Recording Date
- 00:58:22
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Interviewee’s experience in managing National Theatre. Brief introduction of the theatre’s history. Examples of performances held in National Theatre, including Rediffusion programmes. Financial status of National Theatre when interviewee first joined in 1974. Why rental rates were kept low. Expenses of National Theatre Trust. Staff strength of the Trust from 1974 to 1991. Why the Trust was relocated to Kallang Theatre. Schools’ emphasis on performing arts especially in the 1980s. Classes organized by the Trust and its objective. Ticket charges for local and foreign performances respectively. Preparations for the National Day Rally held in National Theatre between 1966 to 1982. Movie screening sessions in National Theatre from the late 1970s to early 1980s. Feedbacks received by the Trust. Efforts made in the maintenance of order among audiences. Types of behaviors displayed by fans. How the Trust promoted shows that required a boost in ticket sales. Limitations of National Theatre as a venue for performances. Price range of tickets that were in higher demand.
Remarks
Special Project on National Theatre
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Reel/Disc 5 of 11
Metadata
- 26 Nov 2009
Recording Date
- 00:58:32
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Challenges for interviewee when he first joined National Theatre Trust in 1974. Constant learning required to adapt to the changing theatrical environment, e.g. introduction of wireless microphones. Personal expenses when he was working in the Trust. His changing roles and responsibilities in the Trust over the years. The increased number of performances over the years. Rental rates of the theatre. Maintenance of the revolving stage. Comparison of stage settings in the past and present. Changes in the performing groups’ demands from 1974 to 1991. Salary adjustment within the Trust in mid 1980s and its implications. Revenues and expenses of the Trust. Interviewee’s long working hours. Welfare of the staff. Staff turnover rate. Why interviewee was usually present during performances. Appraisal of the staff. The Trust’s efforts in looking after the well-being of performers. Success of “liu san jie” (刘三姐) performances.
Remarks
Special Project on National Theatre
We will get back to your request within 5 working days
Reel/Disc 6 of 11
Metadata
- 1 Dec 2009
Recording Date
- 00:58:16
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Incidents that occurred due to cultural and language differences between foreign performing groups and local staff in the National Theatre Trust. Why some members of foreign performing groups fell ill. Differences in the turn up rate between popular culture and high culture performances. Duration of the performances organized by the Trust. Pricing of tickets for performances held in Singapore as compared to their home country, such as NHK Symphony Orchestra. Performers and their interactions with audiences. Increasing number of solo performances held. Number of performances held each year. Profit and loss of these performances. How the Trust managed funds generated from the performances. Expenses of a small scale performance and a large scale performance. How the Trust sourced for sponsorship. Trends in ticket sales for popular culture and high culture performances. Protocol in the invitation of VIPs. Regulations that should be observed by the audiences to minimize disruptions during performances. Personal expenses incurred by interviewee.
Remarks
Special Project on National Theatre
We will get back to your request within 5 working days
Reel/Disc 7 of 11
Metadata
- 1 Dec 2009
Recording Date
- 00:57:59
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*National Theatre Trust’s effort in promoting local culture. Individuals and their contributions, including Chang Kwai Ming (曾贵明). The lack of funding when interviewee initially joined the Trust. Trust’s effort in the sourcing of funds. Usage of the funds. Competitions and classes organized to promote local music and culture. National Theatre Club’s effort in organizing classes. Types of classes organized. Chang Kwai Ming’s contributions in promoting the performing arts in Singapore. National Theatre Trust’s role in events promotion and publicity. Library resources in National Theatre and the usage of these resources. Competitions held to encourage local compositions. Sponsorship of the prizes. The Trust’s role in the publicity of these competitions. Why ticket sales were usually good. Types of performing arts classes organized. Amount of fees payable for these classes. Class size and students’ background. Interviewee’s opinion on the salary of staff within the Trust. Why there were more students in elementary classes as compared to advanced classes.
Remarks
Special Project on National Theatre
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Reel/Disc 8 of 11
Metadata
- 8 Dec 2009
Recording Date
- 00:58:01
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*National Theatre Trust’s effort in cultural promotion. Role of the Impresario section. Why some performances were not brought in e.g. The Red Army Choir. How performances were scheduled. Interviewee’s experience in watching performances overseas as part of his job in the Impresario. Selection of programmes to be staged in Singapore. How a particular China trip was tightly scheduled. Time required to plan and prepare for a performance. Arrangements to hold a performance. The Trust’s role in upholding the image of certain actors. How interviewee was misunderstood when he was a judge during Singapore Youth Festival (SYF). Audiences’ interest level in other ethnic groups’ performances. The importance of promoting cultural appreciation. Why it was necessary to modify the contents of certain performances.
Remarks
Special Project on National Theatre
We will get back to your request within 5 working days
