Theatre productions in Malaysia have been enacted in many performance spaces. A mega show will be performed on a cutting-edge technology stage, such as Istana Budaya. Some may also prefer an intimate room such as Stor Teater Dewan Bahasa dan Pustaka (DBP). These two productions are different when we discuss their visions in producing theatre. Their audience members also come from other types of people based on demographic, economy, and education. The paper aims to discuss the issues and viewership differences between both productions. This paper also aimed to compare the operational and production of both theatres -types of shows, technological possibilities and how productions solve limitations of space scale using creative performance concepts to perform a play. The researchers are focusing on contemporary theatre production from 2010 until today; the research may open a new spectrum of studies in making theatres in Malaysia. Using library research and qualitative in-depth interviews with theatre producers, managers, and performers will assist the research in finding relevant information about the studies. Alternative audience members mostly view small scale theatres. The audience members have more critical ideas and the desire to get more intimate experiences. In comparison, the show in Istana Budaya offers mainstream performances suitable for the masses since Istana Budaya is a national theatre in Malaysia. Therefore, the business model is also different in marketing and production.

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Objective: In the dramatic world, humour has been part of releasing tension for readers. Hatta Azad Khan is a renowned Malaysian dramatist who always addresses social issues in his writings. Mayat (1978) is one of his prominent writings that uses this technique by questioning capitalism and people, innuendo and money, and distrust using humour in the dramatic text. Post-1969, Sino-Malay sectarian violence, also known as the 13 May incident in Malaysia, has presented arts differently compared to early Malaysia's independence. Most writings in the post-13 May incident used symbolism and did not address issues literally. The writings also apply to Hatta's writings. The sensitivity of the racial tension has to be appropriately addressed since it resulted in a declaration of Malaysia's national emergency in the same year. Therefore, writing issues has to be done in some discreet inquiries. Methodology: This qualitative research will analyse dramatic text and use Mayat (1978) as a subject study. Techniques used by the dramatist in addressing issues and humour will be explored to learn the writer's thoughts about social studies using drama and theatre as a medium. Findings: Two main ideas in Hatta's writing are social space and social interpretation. The script is an imagination of the writer in a creative way discussing social issues. The intellectual discourse is done subtly in his writing without denying humour. Since both issues are always relevant, especially social space, Hatta's works are always performed by theatre productions even though the writing is done in the 70s. Implications: As a social critic, Hatta uses drama and theatre as a medium of expression. More writings about social issues with good writing like Hatta's works are needed in the future to open more forums since addressing them is usually evergreen.

Matinya Seorang Pahlawan (1992) was one of Malay language theatrical performances that has been performed overseas for non-Malay speakers in SOAS, London. Therefore, surtitles has been introduced in theatre world to overcome the language barrier issue. However, the production has not using surtitles on stage due to some reasons and budged constraint was one of them. This may be difficult for the viewers since foreign performances are alien for the audience members who do not speak the language and do not understand the culture. The research analyses factors and effects on avoiding surtitles on the production. A number of people that involved in the production -theatre makers and viewers were interviewed and documentations and writings about the production are also reviewed in order to get a deeper result on the research. This qualitative research used triangular method to identify and conclude either the production has achieved its main goal to promote Malay language and culture to the world or otherwise.

The improvisation in dialogue pronunciation will give significance based on the suitability of its application in teaching contexts. Copying, repetition, appreciation, action and reaction are the elements included in the techniques practised in acting. This study is fully dedicated to the implementation of dialogue pronunciation through improvisation technique which is often highlighted for the actors and actresses in acting. However, what goes unnoticed is the fact that the way a teacher delivers a lesson in a classroom has similarities in function and role as a stage performer. Voice is the main instrument which needs to be used during the whole lesson or performance. The problem statement in this study can be seen from the inability of the teacher to apply an effective dialogue projection technique in their lesson, causing a somber and gloomy classroom. Apart from that, understanding the teaching content alone is not enough if dialogue pronunciation is unclear throughout the lesson. Therefore, this study aims to give exposure on the techniques and introduction to voice mechanism so that the lesson can be delivered more effectively and interesting by the teachers. The process of this study leads towards qualitative form guided by observation and open interviews to review the current teaching methods as well as using suitable library and database references. The result of this study shows the importance of understanding the improvisation in dialogue pronunciation in teaching which can be implemented consciously in teaching and learning process in school.