ABSTRACT The first plays Kuo Pao Kun (1939–2002) wrote after being released from detention in 1980 coincided with a concerted effort by the Singapore government to formalise the Confucian basis upon which it claimed that Singapore society and its increasing economic success were built. Kuo was no traditionalist, but The Coffin is Too Big for the Hole (1985), and No Parking on Odd Days (1986) can be interpreted as expressing — and producing – the lived experience of the ordinary in ways that are informed by a Confucian sensibility. In this article, I contextualise these plays with reference to the Singapore government’s “Confucian turn” in the 1980s, and then demonstrate how they provided an intermediate domain between the state and the individual for exploring the classical Confucian concerns of moral action and ritual within a rapidly modernising society.

中文翻译：

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被观看的感觉：郭宝坤1980年代中期的单剧中的儒家和戏剧性

摘要郭宝坤（1939–2002）在1980年被释放后写的第一部剧本，恰逢新加坡政府齐心协力，正式确立儒家基础，并声称新加坡是在此基础上建立自己的社会并在经济上不断取得成功。郭并不是传统主义者，但是《棺材对于洞洞来说太大了》（1985年）和《奇特的日子不准停车》（1986年）可以被解释为以儒家所知的方式表达和产生普通人的生活经历。感性。在本文中，我参考了1980年代新加坡政府的“儒家转折”，将这些戏剧背景化，