All the World’s a Stage
The Fringe had been established in 2025. Five years after the start of the COVID-19 pandemic, a deadly virus which had wreaked devastation everywhere. But even the darkest stormclouds had a silver lining. Trapped at home, behind the barriers of quarantine, people had turned to art. Books, movies, music and the traditional arts proved to be a welcome relief from the horrors of disease. Realising their value, the government introduced more financial support for the arts, leading to a small renaissance. Theatres and cinemas had been forced to close. But although the virus destroyed many things, it could not destroy creativity. Devoid of performing spaces, artists took to the Internet, broadcasting their shows online. Malaysians could now watch shows from Broadway, the West End and more: on the flip side, Malaysian art forms could be broadcast to a curious world. That was how Aisya had taken up Ulek Mayang. A theatre in Terengganu had been offering classes. Since they were held online, she could attend while living in Kuala Lumpur, over six hours away. And when holo-transmitters and VR dreamscapes arrived, they opened a whole new realm of possibilities. Now artists could project holographic images onto stages everywhere. Perform their hearts out, while maintaining social distance. “Done!” Mak held up the repaired outfit.”All ready?” “I don’t know,” Aisya confessed. Honestly, she was a little scared. Soon, her image would be projected onto the Fringe stage in London. While simultaneously livestreamed onto screens everywhere else. Tens of thousands would be watching her.
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