Rebecca G., Author at ArtsEquator

Rebecca G. [they / them] is an interdisciplinary theatre director, writer, and critical practitioner. They are currently the artistic director of from (a)basement theatre collective, a company that strives to uncover what remains hidden between the lines in multidimensional conversations. Passionate about celebrating the diverse narratives around them, Rebecca's work straddles boundaries and borders. They have trained / collaborated internationally with theatres and organisations in Poland, Germany, Singapore, India, the Czech Republic, and the UK. With the act of reimagination at its core, their creative ethos is based on hybrid processes of excavation, empowerment, and experimentation — with a particular focus on site-specific physicality, the aesthetics of research, and expressionist multimedia performance.

Portfolio: https://linktr.ee/rebeccagoh

Image credit: Wild Rice (2022).

Reconsidering the Commandments with Wild Rice’s Animal Farm (2022)

In Wild Rice’s restaging of Animal Farm, Rebecca G finds a production that leavens the darker aspects of the text by drawing out the absurdities of the narrative.

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The character of Bolbola in project SALOME. Image Credit: Ceren Saner

project SALOME: A Shared Silhouette, Redressed

Rebecca G. is moved by director Ong Keng Sen’s project: SALOME which explores themes of reclamation, transformation, and perception.

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The Aesthetics Of Critique: An Act Of Creation

Rebecca G dissects the art of critiquing and the expansion of critical perspectives in the arts criticism. This article is published as part of the inaugural AE x Goethe-Institut Critical Writing Micro-Residency 2021/2022. I’m writing this with all possible biases in mind. I am myself a maker and critic / researcher of performance, which lands

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Redressing a shared silhouette: project SALOME at SIFA 2022

What is project SALOME? Who is Seah Loh Mei? Singapore theatre director Ong Keng Sen puts his own spin on the fantastical figure of Salome in this multidisciplinary multi-pronged performance which incorporates documentary film, live performance and even a pre-event social media component. Rebecca G. speaks to Ong Keng Sen and actor Janice Koh. First

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Bound Theatre

Screen. Shot. at M1 Fringe 2022: Starve a fire, feed a flame

Rebecca G. reviews Bound Theatre’s newest work, which explores the darker elements of our always-connected lives : cancel culture, fake news, and modified behaviours, in an interactive performance that involved the audience to varying degrees of success. Our journey into the all-too-real world of Screen. Shot. starts before any audience member has even stepped foot

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0.01 at M1 Fringe 2022: The Space Between

An estranged father, a disillusioned employee, a human case study, those behind the scenes – all yearning for more in a collective plea for help. A joint collaboration between graduating students from NAFA’s BA (Hons) Performance Making cohort and directors Rei Poh and Goh Shou Yi, 0.01 is a non-linear exploration of interpersonal possibilities. The

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Courtesy of FK Co-Lab

Diasporic Dispatches: “The Cardboard Kitchen Project” by FK Co-Lab

We step into the dimly-lit theatre of The Lion & Unicorn, a soft, almost dream-like blue wash over the noticeable emptiness of the stage – save for a skeletal cardboard cut-out resembling a door frame, carefully set stage left. There was nothing, yet everything to expect. Researching about The Cardboard Kitchen Project had been a

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