What's going on around the globe As soon as the e-mail hit my screen I was intrigued: an invitation to a play for which admittance was as much or as little as I wanted. All I had to do was call a number and say which show - out of 12 performances - I wanted to attend. In Singapore, people will queue under a blistering sun at noon for a free loaf of sliced bread. So, would the phone line be jammed? Not quite. Play.Play is experimental theatre - not everybody's cup of tea. Down at the Stamford Arts Centre, in Waterloo Street, I'm greeted by doodles of a little man pointing to some stairs, adding to the mystery. The other patrons - mainly students and friends of the cast, from what I can gather - appear to be as clueless as I am. With the venue's maximum capacity of 25, the organisers clearly aren't expecting big crowds. Yet, the Poor Theatre show is worth the trip. Four performers (two female and two male - below) use their bodies to manifest settings, mime play activities and create weird sound effects - often to comic effect. The concept of Poor Theatre isn't new. In the 1960s, Polish actor Jerzy Grotowski coined the phrase to describe a theatre stripped of scenery and technicians - a theatre that relies on the actor's body and voice. For Play.Play creator, director and actress Kuo Jing Hong, a frugal creative environment and low production costs aren't necessarily bad things. 'It's all about scaling down and working with limited resources,' she says. 'But it's a good platform for practitioners to explore their creativity. Here, there's no extra burden of wondering whether we're going to sell tickets. We can investigate and explore whatever we want.' Joyce Yao, administrator for the Theatre Practice troupe, which put on the show, says they've had a lot of so-called walk-ins - 'people who've never seen any theatre, but don't feel any pressure because of the free tickets'. Theatre Practice launched the Poor Theatre series in 2003, and Yao says it hopes to continue in the coming years. The process is a way for the troupe to tighten its belt and focus its energies, while still creating quality work for the audience. Kuo says Play.Play was never intended to make money - and with average takings of $10 per head, the performers had better hold on to their day jobs - although breaking even would be nice. 'Our main objective is to create new, experimental work,' she says. Art for the sake of art - some thing often forgotten nowadays.