Juliet Chia

“Solidarity… is a radical posture.”

- Paulo Freire

What does it take to change a system? Or before that, a person? Or before that, a belief? 

This is a story about the most well-intentioned person you know, and about the moment they are confronted by the fine line between help and harm. It is a story about good people believing they are doing good things, about the way things are and have always been, about all the right ways to live, learn, and die.

A work-in-progress reading of the latest play by Michelle Tan. It is part of Centre 42's line-up at SIFA 2024: Tomorrow and Tomorrow.

Dramaturgs In Practice (DIP) is an intermediate-level course within Centre 42's Dramaturgs' Practice Development Programme. It focusses on professionalisation for prospective dramaturgs and is suitable for experienced / mid-career practitioners who are interested in expanding their dramaturgical skills, and/or moving towards becoming dramaturgs in the performing arts sector.

Facilitated by Juliet Chia, the 9-month long bespoke training programme provides participants a practice-led learning and training platform via work attachments, and encourages a self-critical and reflexive knowledge-building into the dramaturg’s practices. 

DRAMATURGS & is a new capsule series of roundtable conversations centering the work of and relationship between dramaturgs and their artistic collaborators. This edition explores the working relationship between dramaturgs and producers. What brings a producer and a dramaturg into a project together and how do they navigate their positionalities in an artistic collaboration? As multi-hyphenate practitioners who identify with both roles, how do they draw boundaries or ‘switch hats’, and is that necessary?

Join us in this exciting discussion facilitated by Juliet Chia, and hear from a panel of luminous producers Michele Lim, Melissa Lim and Fezhah Maznan.

A conversation between Centre 42 Writer-in-Residence, Michelle Tan and dramaturg, Juliet Chia, in which they reflect on charting the journey of a play after the first draft. What might the shape and goals of the revision process look like? How does the writer navigate obstacles or detours? What resources does the writer need along the way? When does she know she has arrived at a "final" or "finished" version?