Issuu on Google+

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME 深夜小狗離奇事件 THE DROWNED MAN: A HOLLYWOOD FABLE 淹沒者:好萊塢傳奇 TOUCHING TEXT: BRITISH NEW WRITING 那些讓我們心動的文字 CHINA NEW WRITING 中國新寫作 REWRITING THE NATION: BRITISH THEATRE TODAY 重述英倫: 今日英國劇場

ISSUE 09, 2014 INTERNATIONAL EDITION €15 / £10 / $17.50 / ¥ 100


古思特 简约的力量

古思特是劳斯莱斯的精髓所在,是最纯正的 劳斯莱斯血统,精益求精的技术和V12发动机 提供从容惬意的驾驶体验;同时,整洁的车内空间 呵护着每一位乘客,简约也许难以企及,但永远 值得尝试。

天津恒盈泰富贸易发展有限公司 劳斯莱斯汽车授权经销商 天津市和平区张自忠路162号 津塔公寓2号 300020 电话:+86 22 5836 5966 传真:+86 22 5856 5606 版权所有权归劳斯莱斯汽车有限公司2012,劳斯莱斯公司名称和标志是注册商标


熱點話題

HOT TOPIC 017

011 007 The Curious Incident of the Dog in the Night-time 深夜小狗離奇事件

009 Charlie and the Chocolate Factory 查理和巧克力工廠

011 Shed 戲棚

013 Michael Grandage Season 麥克爾·格蘭達格演出季

021 CASA Latin American Theatre Festival

卡薩拉丁美洲藝術節

015 Dance Umbrella

023 Book of Mormon

舞傘舞蹈藝術節

摩門經

017 The Drowned Man: A Hollywood Fable

025 The Magic Flute

019 Manchester International Festival

027 Silk Road

淹沒者:好萊塢傳奇

曼徹斯特國際藝術節

魔笛

絲路花雨

固定專欄

EXCLUSIVE COLUMN 117

111

Elegance in Half a Century

National Theatre 50th Anniversary 半個世紀的優雅

英國國家劇院50周年慶典

117

Metamorphosis of Lear 李爾的蛻變

125 131

Rewriting the Nation:British Theatre Today

135

Look Back in Anger

《重述英倫:今日英國劇場》

《憤怒中回首》


每期專題

SPECIAL FEATURE 031 029

An Introduction to New Writing

031

Touching Text - British New Writing

041

Royal Court Theatre: International New Writing

075

Hampstead Theatre: Grow with “New Writing”

049

Unheard Voices

079

Soho Theatre:All about Future

083

Write What You Think

釋義“新寫作”

069

專訪布什劇場文學部洛伯·德拉姆爾

皇家宮廷劇院:國際化的新寫作空間

An Interview with Ola Animashawun from Royal 未聞之音

An Interview with Rob Drummer 新寫作:一種對當下的琢磨

那些讓我們心動的文字

Court Theatre

New Writing: a Pondering of Present

漢姆斯德劇院:和“新寫作”一道蒸蒸日上

蘇荷劇院:有關未來的戲劇盛宴

專訪皇家宮廷劇院項目負責人奧拉·安尼瑪舒文

An Interview with Sarah Grochala from

053

Theatre503: Finding the Place You Belong to

寫你所想

057

We Are Always There

專訪英國皇家中央戲劇與演講學院的莎拉·古馳安拉

503劇場:找尋屬於你的位置

An Interview with Steve Harper from Theatre503 我們一直在這裡

專訪503劇場文學總監史蒂夫·哈珀

061

Royal Central School of Speech and Drama

089

中國新寫作

099

City Slices & Country Crumbs

An Interview with Grey & Green Theatre 城片國屑

Bush Theatre: Cradle of Newcomers and

專訪灰綠劇團

Greenhouse of Stories

布什劇場:新人的搖籃,故事的溫室

China New Writing

105

Yellow Earth Theatre

An Interview with Kumiko Mendl

黃土地劇團

專訪久美子·孟德爾


ISSUE 09 2013

ART.ZIP

ISSN 2050-4152

Publisher 出版人

Liu Chunfen 劉春芬 Editor-in-chief 主編 Harry Liu 劉競晨

Executive Editor 執行編輯 Michelle Yu 余小悅

Guest Editor 特邀編輯

Joanna Xiaoxing Dong 董一燃 Editor 編輯

Li Bowen 李博文 Olivia Xiao肖蘭

Contributor 撰稿人

Honour Bayes,Cheng Ying 程瑩,Du Xinxi 杜昕禧 Han Jiayi 韓嘉怡,Pinky Hong 洪子雲

Yen Ting Chih ,Sherry Zhao 趙丹鈺 ,Ke Qiwen 柯淇雯 Translator 翻譯

Jessica Chen 陳婷,Syndi Huang 黃煥欣 Shoran Jiang 姜嘯然,Yu Chang 于暢 IT Project Manager IT主管 Ace Xie 謝達明

Media Officer 媒體主管 Iris Shih 施孟慧

Advertising Manager 廣告客戶經理 Liu Tingting 劉婷婷

Creative Director 創意總監

Li Ye 李燁,Ye Xianghui 葉向輝 Art Director 藝術指導

Gao Xiaodan 高曉丹,Wu Nan武楠 Managing Director 運營總監 Shi Yuese 石約瑟

Visual Design 視覺設計 Bulletpin Studio


THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME 深夜小狗離奇事件 THE DROWNED MAN: A HOLLYWOOD FABLE 淹沒者:好萊塢傳奇 TOUCHING TEXT: BRITISH NEW WRITING 那些讓我們心動的文字 CHINA NEW WRITING 中國新寫作 REWRITING THE NATION: BRITISH THEATRE TODAY 重述英倫: 今日英國劇場

ISSUE 09, 2014

ISSUE 09, 2014 INTERNATIONAL EDITION €15 / £10 / $17.50 / ¥ 100

Thanks to 鳴謝

Bush Theatre 布什劇場

CASA Latin American Theatre Festival 卡薩拉丁美洲藝術節 Contemporary Legend Theatre 當代傳奇劇場 Taipei Representative Office in the UK 駐英國台北代表處

Dance Umbrella 舞傘舞蹈藝術節

De Nederlandse Opera 荷蘭歌劇院

Theatre Royal Drury Lane 西區皇家德魯裏巷劇場 Grey & Green Theatre 灰綠劇團

Hampstead Theatre 漢姆斯德劇院 Kate Morley PR 凱特·莫利公關公司

Manchester International Festival 曼徹斯特國際藝術節 Michael Grandage Company 麥克爾·格蘭達格公司 National Theatre 英國國家劇院

National Theatre Company of China 中國國家話劇院 National Theatre of Scotland 蘇格蘭國家劇院 Punchdrunk 眩暈劇團

Royal Central School of Speech and Drama 皇家中央戲劇與演講学院 Royal Court Theatre 皇家宮廷劇院 Soho Theatre 蘇荷劇院

The Cornershop PR 便利店公關公司 Theatre503 503劇場

Tian Qinxin Studio 田沁鑫工作室 Yellow Earth 黃土地劇團

Address 雜誌社地址

39 York Road, Elizabeth House, GCCD, SE1 7NQ, London, UK Website:www.artzip.org


EDITOR’S NOTE 主編寄語

Theatre is a collection of many art forms. Through a comprehensive presentation, we could deeply feel the blending and collision of various art forms, like literature, dance, performing

art, music, visual arts and etc. The development of British theatre occupies an important place worldwide, while its vigorous development momentum is also leading the trend of world theatre.

In this issue, we have invited PERFORMANCE INFINITY, a UK art consultant in performance

art, for a special feature on contemporary British theatre, mainly focusing on ‘New Writing’ in

London Theatres as a clue to discover contemporary theatres in London and drama creation.

戲劇藝術是集合了眾多藝術門類的集大成者。通過劇場的綜合呈現,我們可以深刻地感受到文學、舞 蹈、表演、音樂及視覺藝術各種藝術形式的交融和碰撞。當下英國戲劇的發展在全世界範圍內佔據著重 要的位置,其蓬勃的發展勢更是引領了全世界戲劇界的潮流。 在這期雜誌中,我們有幸邀請到英國表演藝術諮詢機構PERFORMANCE INFINITY來和我們一起為大家 呈現英國當代戲劇創作與劇院信息的一期專題內容,本期雜誌主要著力于介紹倫敦劇場的“新寫作”,並 以此為線索來為大家揭開倫敦當代劇場和戲劇創作的帷幕一角。

HARRY LIU 劉競晨

Editor-in-chief 主編


PERFORMANCE INFINITY, also known as PI, is a London based consultant agency for theatre performance. With a keen interest in both commercial and non-commercial performance practices, education and academic research, it was established with an aim towards

contributing to audience development and cultural diversity in the UK, while working towards the development of the Chinese performance industry.

PERFORMANCE INFINITY是設立在倫敦的專業表演藝術咨詢機構,成立於2012年。在英國,致力於倫 敦劇場的中國觀眾培養,支持中國藝術家在海外的戲劇實踐,促進文化藝術多元性;在中國,以多種 方式推廣英國表演藝術資訊、學術成果、劇場管理經驗等。在實現兩國資源互補的理想下,促進商業 演出、非商業戲劇實踐、學術研究和戲劇教育的平衡。


YINGMEI DUAN CAI YUAN 31.1.14 - 28.2.14

Cai Yuan, “Optimism” (2014) 11, St. Clement’s Street, Oxford | www.occa-art.com | T: 07976 373667

Yingmei Duan,”ONE YEAR PERFORMANCE' 1980-1981 by Tehching Hsieh” (2007)

OPTIMISM


THIS MAGAZINE LOOKS AMAZING #SINCE CREATIVE

Innovative design always since creative. | hello@sincecreative.com


The Curious Incident of the Dog in the Night-time 深夜小狗離奇事件 TEXT BY 文字提供 x ART.ZIP

IMAGES COURTESY OF 圖片提供 x

NATIONAL THEATRE 英國國家劇院

Mike Noble (Christopher Boone) and company ©Brinkhoff Mogenburg


The National Theatre’s highly acclaimed production, based on Mark Haddon’s award-winning novel, adapted by

Simon Stephens and directed by Marianne Elliott makes ‘a triumphant West End transfer’ – Daily Telegraph.

Winner of seven 2013 Olivier Awards, including Best New

Play, this thrilling new production has been hailed by The

Times as ‘a phenomenal combincation of storytelling and spectacle.’

Christopher, fifteen years old, stands beside Mrs Shears’ dead dog. It has bezen speared with a garden fork, it is

seven minutes after midnight and Christopher is under

suspicion. He records each fact in the book he is writing to solve the mystery of who murdered Wellington. He has an

extraordinary brain, exceptional at maths while ill-equipped to interpret everyday life. He has never ventured alone

beyond the end of his road, he detests being touched and

he distrusts strangers. But his detective work, forbidden by his father, takes him on a frightening journey that upturns his world.

Lighting and special effects will be adapted for the

performance, such as removing strobes and flashing lights and reducing very loud noises; and additional audience

movement and interaction will be expected. Parts of the Apollo Theatre foyer will be available as a quiet space to relax for those who need to leave and re-enter the

auditorium during the show. After the performance, the audience will be welcome to stay for a ‘Question and

Answer’ session with the actors who will be in costume but

Tips

小貼示

更多信息: www.curiousonstage.com

out of character.

《深夜小狗離奇事件》改編自馬克·海登(Mark Haddon)的同名暢銷 小說,在英國國家劇院演出時便受到觀眾和劇評人的一致好評。本年 初,該劇一舉奪得7項奧利弗大獎(Olivier Awards),轉至西區後征服 了更多的觀眾。這部作品故事情節其實非常簡單:一個特別有數學天 分的自閉症小男孩生活在他孤獨的世界裏,忽然有一天,發生了一樁 小狗謀殺案,為了洗清自己的嫌疑,他開始了一次偵探旅程。在偵查過 程中,他卻發現了一個更大的秘密,這個秘密也改變了他的一生…… 雖然故事似乎沒有什麽特別,但是原著中通過自閉症兒童特殊的世界 觀和視角來描述整個事件,令讀者見識到一個非同一般的偵探小說。 而怎樣把這樣的數學邏輯轉化成視覺語言搬上舞臺,是這部戲最值 得關注的地方。創作者下了很大功夫,通過燈光和影像的輔助來表現 這個立體的世界。特別邀請葆拉·康斯坦堡(Paule Constable)這位曾 經設計過《悲慘世界(Les Misérables)》25周年演唱會的燈光師量身 打造舞臺燈光,不僅舞臺效果別出心裁,舞蹈及肢體動作的加入也讓 這部劇更為生動。

Mike Noble (Christopher Boone) with ensemble ©Brinkhoff Mogenburg

Rakie Ayola (Siobhan) Mike Noble (Christopher Boone) ©Brinkhoff Mogenburg


Charlie and the Chocolate Factory 查理和巧克力工廠

TEXT BY 文字提供 x ART.ZIP

IMAGES COURTESY OF 圖片提供 x

THEATRE ROYAL DRURY LANE 西區皇家德魯裏巷劇場


Production still l-r back row Clive Carter Nigel Planer, Iris Roberts front Ellie Simons, Jack Costello, Douglas Hodge, Jay Heyman Photo by Helen Maybanks

Tom Klenerman (Charlie) in Charlie and the Chocolate Factory. Photo by Helen Maybanks

Tips

小貼示

更多信息: www.CharlieandtheChocolateFactor y.com

Olivier and Tony Award-winning actor Douglas Hodge plays Willy Wonka

in Roald Dahl’s Charlie and the Chocolate Factory, which opens at the Theatre Royal Drury Lane in this year.

When Charlie wins a golden ticket to the weird and wonderful Wonka

Chocolate Factory, it’s the chance of a lifetime to feast on the sweets he’s always dreamed of. But beyond the gates astonishment awaits, as down the sugary corridors, and amongst the incredible edible delights, the five

改編自1964年羅爾德·達爾(Roald Dahl)同名小說,這部全新音樂 劇日前亮相西區皇家德魯裏巷劇場(Theatre Royal Drury Lane )。 小男孩查理來自一個窮困的家庭,無意中中了糖果商威利·旺卡的 特別大獎,被邀請去參觀巧克力工廠,並且獲得夠吃一輩子的糖 果。工廠門後的世界讓人難以置信,一切都是由糖果做的,但是 背後的事實並不像看上去的那麽甜蜜。

lucky winners discover not everything is as sweet as it seems.

2013年6月這部作品在倫敦首演。創作者野心勃勃地要把這個風

Featuring ingenious stagecraft, the wonder of the original story that has

因《發膠(Hairspray)》獲得了格萊美獎的馬克·什馬(MarcShaima)

captivated the world for almost 50 years is brought to life with music by Marc Shaiman, and lyrics by Scott Wittman and Marc Shaiman (Grammy

winners for Hairspray; Smash), a book by award-winning playwright and

adaptor David Greig (Midsummer; Creditors; Tintin In Tibet), set and

costume designs by Mark Thompson (Mamma Mia!; One Man, Two

Guvnors) and choreography by Peter Darling (Billy Elliot; Matilda).

靡了世界近50年的故事首次呈現在戲劇舞臺上。創作陣容集合了 以及斯科特·惠特曼 (Scott Wittman)作曲填詞,優秀編劇大衛·格里 格 (David Greig)改編劇本, 《媽媽咪呀!(Mamma Mia!)》的舞臺及 服裝設計師馬克·湯普森(Mark Thompson)設計舞臺及服裝道 具, 《比利·艾洛特(Billy Elliot)》、 《瑪蒂爾達(Matilda)》的編舞彼 得·達林(Peter Darling)擔任編舞。


SHED 戲棚

TEXT BY 文字提供 x ART.ZIP

IMAGES COURTESY OF 圖片提供 x

NATIONAL THEATRE 英國國家劇院

The Shed is a temporary new venue in front of the National

Theatre that opened in April 2013 and will close in February 2014. This new venue celebrates work that is original,

ambitious and unexpected, created by theatre-makers

familiar to the NT as well as emerging voices and visiting companies.

為了替代因重新粉刷而關閉的小劇場,英國國家劇院在南岸搭了一 個外型奇特的紅色臨時戲棚,也大膽地邀請了一些更尖端、更具實驗 性、更富創造力的團體在此演出。有別於國家戲劇院一向較為傳統、 經典的風格 。

The Shed image by Philip Vile


Tips

小貼示

Performances in The Shed across the year will include Table, written

by Tanya Ronder and directed by Rufus Norris; Mission Drift, a piece devised by New York ensemble THE TEAM; The Hush, a project by

更多信息: theshed.nationaltheatre.org.uk

electronic musician and composer Matthew Herbert; Sea Wall by Simon Stephens and produced by Paines Plough; Home by Nadia Fall with a

team of musician and actors including Grace Savage and Shakka; new

plays from Nick Payne, debbie tucker green and Tim Price; an adaptation of the popular children’s book The Elephantom for young audiences

featuring puppets and Limited Editions in September that will celebrate the breadth of talent outside London.

The Shed was designed by architects Haworth Tompkins and

Charcoalblue theatre consultants and erected in just 18 weeks. Haworth Tompkins was responsible for the development of the National Theatre Studio and is also the project architect for National Theatre Future:

“Our ambitious redevelopment plan which will transform the facilities we offer audiences and artists, enhance our relationship with the

environment around us and place education firmly at the heart of our mission.”

在四月開演的《餐桌(Table)》,敘述一個百年家庭的故事,延續六 代的家庭、九個表演者、三十個小段落,全部圍繞在唯一一張桌子 而展開。這張桌子傳遞著一個關於家族傳承、身分認同以及家族 秘密的故事。本劇導演也在今年十月就任新的國家劇院藝術總監。 另外的演出還有在愛丁堡載譽而來,來自格拉斯哥劇場的《接子彈 (Bullet Catch)》。這不僅僅是一出獨角戲,更是一出帶著驚悚性 質的魔術秀。如果膽子夠大的話,在這樣一場特殊的表演中,觀眾 將會擁有非凡的戲劇體驗。 這個臨時的劇場季會持續到明年二月,票價也不太貴,建議大家有 空時不妨到南岸走走,去發現更多戲劇的可能性。


Michael Grandage Season 麥克爾·格蘭達格演出季

Daniel Radcliffe (Billy), Sarah Greene (Helen McCormick). Photo by Johan Persson

TEXT BY 文字提供 x ART.ZIP

IMAGES COURTESY OF 圖片提供 x MICHAEL GRANDAGE COMPANY 麥克爾·格蘭達格公司


For the Noel Coward Theatre, Year 2013 belongs to British director Michael

對於諾埃爾·科沃德劇場(Noel Coward Theatre)來言,2013年

directed by Grandage, together with many well-known British actors, were

從去年年底到今年年底一整年間,這位大導演編導的一系列與

Grandage. A full year from last year to the end of this year, a series of works performed in this great theatre.

是屬於英國導演麥克爾·格蘭達格 (Michael Grandage)的年度。 眾多英國知名演員合作的戲劇作品將在這個劇場高調亮相。

As an award-winning British theatre director and producer, Grandage

格蘭達格編制過近五十部的戲劇作品,內容包羅萬象:從古典的

and content were encompassing: from the Shakespeare Classics to the new

的嘉獎導演。譬如演出季的第二部作品《彼得與艾麗斯(Peter

prepared nearly fifty pieces of theatre production during the past years, plays have covered. For instance, Peter and Alice by John Logan with

Judi Dench and Ben Whishaw, is a new play depicts that enchantment and

reality collide as this brief encounter lays bare the lives of two extraordinary characters Alice Liddell Hargreaves and Peter Llewelyn Davies. Dench and

Whishaw in Logan’s first new play since Red, which went on to win 6 Tony

Awards in 2010.

In addition, staged works of 2013 also include The Cripple of Inishmaan

by Martin McDonagh with Daniel Radcliffe and two Shakespeare’s: A Midsummer Night’s Dream with Sheridan Smith and David Walliams followed by Jude Law as Henry V. All of these above-mentioned plays performed in the Michael Grandage Season.

莎士比亞到新編劇本都有所涉獵。他更是獲得過許多戲劇大獎 and Alice)》是一部新編劇作,它將兩個人們耳熟能詳的童話作 品人物串插在一起,雖然是一部正劇,沒有延續童話色彩,但是 作品中卻是把童話的人物性格作為劇中兩位主角邂逅的重要因 素。在此劇中,著名老戲骨茱迪·丹契(Judi Dench)和主演過電 影《香水》中的變態殺手的本·衛肖(Ben Whishaw)同臺共戲, 這也是延續他們二人在最新一集007系列電影中的合作。 2013年上演的作品還包括由丹尼爾·雷德夫(Daniel Radcliffe) 出演的《伊尼什曼島的跛腳人(The Cripple of Inishman)》、兩 部莎士比亞經典《仲夏夜之夢》以及《亨利五世》。尤其在《亨 利五世》里影星裘德·洛(Jude Law)也會重返舞臺。

MGC company picture


Dance Umbrella 舞傘舞蹈藝術節

TEXT BY 文字提供 x ART.ZIP

IMAGES COURTESY OF 圖片提供 x

DANCE UMBRELLA 舞傘舞蹈藝術節

Since 1978, Dance Umbrella has been bringing new dance to London.

Dance Umbrella thrives on the dynamism and openness of the city and brings together artists and events that

surprise and thrill audiences of all kinds. They commission, produce and present dance events and each year stage one of the world’s leading international dance festivals. Dance Umbrella opens out the dance experience by

presenting a range of affordable and free-to-view events in unusual spaces. They also identify, nurture, support and showcase the most exciting talent in new dance,

offering artists the benefits of long-term relationships and Marcelo Evelin PHOTO by CADDAH

identifying the most appropriate platform for their work.

始創於1978年,每年十月舉辦的倫敦舞傘舞蹈藝術節一直在努力把 最具創新性的舞蹈帶到倫敦。成立之初,是新舞蹈,或者說是當代 Trisha Brown Dance - TOSS 02 PHOTO Laurent Philippe

舞的一個展演。時至今日,它已經成為歐洲甚至世界範圍內首屈一 指的舞蹈藝術節。通過邀約、制作和呈現各類作品,舞傘藝術節為 英國的觀眾帶來了先鋒的舞蹈藝術體驗。除去劇場內的常規舞蹈演 出,藝術節期間還有很多免費的,或是票價很低的演出來吸引更多 更廣的觀眾和參與者。藝術節長期合作場地包括賽德勒斯威爾斯、 巴比肯、南岸中心等諸多頂級演出場地,同時也經常在當代藝術館, 舞蹈學校等地方演出。

Ivo Dimchev PHOTO by Tamas Katko


Tips

小貼示

更多信息: danceumbrella.co.uk


The Drowned Man: A Hollywood Fable 淹沒者:好萊塢傳奇

TEXT BY 文字提供 x ART.ZIP

IMAGES COURTESY OF 圖片提供 x

PUNCHDRUNK AND THE NATIONAL THEATRE 眩暈劇團/英國國家劇院

我們走進廟宇圖片工作室(Temple Pictures),這裡是好萊 塢的制作系統和電影行業邊緣上那些被遺忘的夢想者們相 遇的地方。在這兒,虛幻的夢想與絕望的現實融合在一起, 形成一個滿是幻覺的世界。 德國作家格奧爾格·畢希納(Georg Buchner)的遺作《沃伊 采克(Woyzeck)》沒有結尾,於是很多人試圖給這個故事 創造一個“結局”。在林林總總的猜測裡, 《沃伊采克》成為 德國劇場舞臺上的常客。這部作品的靈感正是來自《沃伊采 克》。原作品講述的是一位德國士兵的故事,而這部改編則 設置在60年代的電影工作室。在這個戲劇旅程中,觀眾將跟 著主人公在幻想與現實之間的懸崖邊行走。

Amidst the fading glamour of 1960s Los Angeles, stands Temple Studios – a crumbling monument to the

golden age of film, seducing wideeyed dreamers with the promise of wealth and fame. Here, movie stars mingle with hungry young

upstarts, while beyond the gates lies a forgotten hinterland where the

many rejected by the studio system scratch out a living.

Time Out Punchdrunk


Conor Doyle, Ed Warner, Omar Gordon, Tomislav English & Vinicius Salles. Punchdrunk. The Drowned Man A Hollywood Fable. Photo Birgit & Ralf

Sophie Bortolussi & Fionn Cox-Davies. Punchdrunk. The Drowned Man A Hollywood Fable. Photo Birgit & Ralf

Inspired by Georg Büchner’s fractured masterpiece Woyzeck, which is often seen

廣受褒獎的眩暈劇團(Punchdrunk)擅長營

darkness of the Hollywood dream. Celluloid fantasy meets desperate reality, and

制作精良的作品讓他們2000年第一次在德文

as “Working Class” tragedy, The Drowned Man: A Hollywood Fable explores the

certainty dissolves into a hallucinatory world. Finally, it is developed into an extraordinary theatrical adventure: a unique personal journey that unfolds across four levels of a vast central London location.

The award-winning Punchdrunk, is a British theatre company, formed in 2000, the

pioneer of a form of “immersive presentation citation needed in which the audience

is free to choose what to watch and where to go. This format is related to “promenade theatre”. In a typical Punchdrunk production, audience members are free to roam

the performance site, which can be as large as a five-story industrial warehouse. They can either follow the performers and themes, or simply explore the world of the

造擬真的戲劇環境。他們獨特的、史詩性的、 郡(Devon)亮相時就成功地讓觀眾們混淆了 戲劇與現實。之後,他們在倫敦一座廢棄的倉 庫中演出了歌德的《浮士德(Faust)》,並且 占據了巴特西藝術中心一年之久,上演愛倫坡 的《紅死病的假面舞會(The Masque of the Red Death)》。近年來,他們在紐約一座廢棄 的酒店演出改編自《麥克白(Macbeth)》的《無 眠(Sleep No More)》也成功贏得了當地觀眾 的芳心。

performance, treating the production as a large art installation. Punchdrunk’s successful

為配合演出宣傳,劇團在東倫敦設 計了一 個

adapted from Macbeth. All of these plays won the hearts and minds of the local

沒有刻意通知,只是告訴大家在金士蘭主街

productions include Faust, The Masque of the Red Death, and Sleep No More

audience.

To tie in with the play publicity, Punchdrunk designed a free ten-minute trailer, which is quite attractive to a lot experienced viewers.

免費的十分鐘的“預告片”,具體的地點他們並 (Kingsland High Road)的一家商店裏。體驗 過的觀眾都被深深地吸引進了故事中,迫不及 待看他們的全本。


Manchester International Festival 曼徹斯特國際藝術節

TEXT BY 文字提供 x ART.ZIP

IMAGES COURTESY OF 圖片提供 x

MANCHESTER INTERNATIONAL FESTIVAL 曼徹斯特國際藝術節

Tips

小貼示

更多信息: www.mif.co.uk

Manchester International Festival (MIF) is the

world’s first festival of original, new work and special events, and takes place biennially in

Manchester, UK. The Festival launched in 2007 as an artist-led, commissioning festival presenting new works from across the spectrum of

performing arts, visual arts and popular culture. Famous British Shakespearean actor and director British Branagh brings his Macbeth to the

Festival. Pioneering theatre director Robert Wilson returns to MIF with a new theatrical production,

The Old Woman. Developed with and starring dancer and actor Mikhail Baryshnikov, and costarring Willem Dafoe, The Old Woman is an

adaptation of the work of the same name by

Russian author, Daniil Kharms. Besides, India artist Nikhil Chopra presents his 65 hours performance

Coal and Cotton, which is an exploration of

Manchester’s industrial and historical bonds with India, as part of MIF. It is worth mentioning that on the first MIF at 2007.

Norman Bowman (Ross) in Macbeth at Manchester International Festival. Photo by Johan Persson


曼徹斯特國際藝術節是世界知名的原創及新作品藝術節。自 從2007年創辦以來,每兩年舉行一屆,希望藉以曼徹斯特工 業革命的歷史先驅性地位來推動和塑造曼城藝術先鋒的新 形象。遵從以藝術家為主導,採用邀請制的體系,融合了各 類表演藝術,視覺藝術,流行文化等跨界藝術作品。 英國著名莎劇演員兼導演肯尼斯·布拉納(Kenneth Branagh) 的作品《麥克白(Macbeth)》在全英部分電影院通過衛星電 視直播。先鋒劇場藝術大師羅伯特·威爾遜(Robert

Wilson)

攜手著名演員威廉·達福(Willem Dafoe)以及傳奇舞蹈演員 米哈伊·巴雷什尼科夫(Mikhail Baryshnikov)演出俄國作家 丹尼爾·卡慕斯(Daniil Kharms)的作品改編劇本《老嫗(The Old Woman)》。除去一般性的劇場作品,印度藝術家尼基 爾·喬普拉(Nikhil Chopra)帶來了一部長達65小時的演出, 來探索曼徹斯特這樣一個工業城市,它的煤炭和棉花之間 的關系。另外,很多音樂及電影作品也會在藝術節上亮相。 值得回顧的是2007年的首屆藝術節上,備受好評的英文音 樂劇《西遊記(Monkey:Journey To The West)》是華人藝 術家陳士爭的導演作品,邀請了四十位雜技及武術表演者 參與演出。

THE OLD WOMAN rehearsals 01 © Lucie Jansch

Nikhil CHOPRA © Shivani Gupta, costumes Sabine Pfisterer


CASA Latin American Theatre Festival 卡薩拉丁美洲藝術節

TEXT BY 文字提供 x ART.ZIP

IMAGES COURTESY OF 圖片提供 x

CASA LATIN AMERICAN THEATRE FESTIVAL 卡薩拉丁美洲藝術節

CASA Latin American Theatre Festival was created

in 2007 by Daniel Goldman to fill a gap that needed filling. While Latin American cinema, music, visual arts and literature were enjoying a great success

in the UK, theatre somehow had been left behind. CASA was set up to change this, to build bridges

between two incredible theatre cultures, to create regular opportunities for Latin American theatre and theatre makers in the UK.

This year the CASA Latin American Theatre

Festival, now in its fourth year, assumed a political

theme, boldly confronting a variety of topics, from imaginary dictatorships to the very real horrors

faced by Bolivian migrants. La Razón Blindada,

performed by Ecuador’s highly acclaimed

Malayerba theatre company, majestically steps

up to the task, illustrating one of the most brutal

periods of South American history, the Dirty War. Yet the play never makes explicit mention of the war, focussing instead on the daily lives of two

prisoners and their weekly performances of the Golden Age epic, Don Quixote.

創立於2007年的卡薩拉丁美洲戲劇節(CASA)如今已經舉 行了6屆。在拉美音樂、美術和電影在歐洲主流藝術領域都 有所成就的對比下,拉丁美洲深厚的戲劇傳統似乎被忽略 了。今年的演出集中了來自阿根廷、厄瓜多爾、智利等國家的 作品;演出場地更是有包括巴比肯在內的若幹重要劇場。

Pode de Papel By Alex Brenner


CASA Festival By Alex Brenner

The opening scene is a rather surreal choreographed dance, with Sancho Panza copying Don Quixote’s

measured limb-stretching, hand-twirling and neck-rotating. They are seated, and seem able only to explore the space

surrounding their chairs, immediately establishing a sense

of entrapment. Incidentally, the characters never leave their chairs and the prison’s four walls are deftly constructed by

this decision. We are then instantly thrust into a reinvented

narration of the epic tale of Don Quixote, interspersed with

snippets of conversation about their daily life – the hunger, loneliness, the restrictions which allow them only to meet on Sunday. The dialogue is initially rather confusing, and

further hindered by the awfully-timed surtitles, making it difficult to engage with either the ‘real’ conversations or the vivid narration of their chosen epic.

The line between the real and fictional elements of the characters becomes increasingly blurred, and this is

exactly where the strength of the play lies. It purposefully withholds all details about the brutalities of the political situation, never allowing us to pity the characters, but

instead drawing us deeper into the vivid fictional world Tips Mme Butterfly, The One Man Opera By Alex Brenner

the prisoners have created for themselves. It is only at

小貼示

the end that a short film is projected onto the back wall,

informing us of the camps in Patagonia where thousands were kept as political prisoners. Yet ultimately the play is

更多信息: www.casafestival.org.uk

not intended as stone-cold evidence of the horrors of the

Dirty War. It is a moving testament to the singular power of the imagination and man’s will to endure, even at the cost Noche de Verano Lejos de Los Andes By Alex Brenner

在巴比肯演出的這部來自厄瓜多爾的作品《防彈原因(LaRazón

Blindada)》充

斥著政治性的諷刺。阿根廷20世紀70年代專政時期,有兩個被因為賭球而被囚 禁的罪犯,他們被允許每周見面一小時,在這期間,為了逃離殘酷現實,他們便不 停地為彼此講述唐吉坷德和其隨從桑丘·潘沙的故事。被迫面對面坐在座位上的 六十分鐘說長不長,說短不短,他們因此恣意放任思緒隨著這位被西班牙作家米 格爾·德·塞萬提斯(Miguel de Cervantes)塑造出來的怪俠四處遊蕩,想象自己能 像���一樣,把風車看成巨人,把監獄當做天堂。這部來自厄瓜多爾的戲劇,由阿 裏斯蒂德·巴爾加斯(Arístides Vargas)撰寫,在阿裏斯蒂德·巴爾加斯(Arístides Vargas)和馬·德爾羅薩裏奧·法朗西斯(Ma. Del Rosario Francés)共同執導下,演 員格爾森·格拉(Gerson Guerra)及阿裏斯蒂德·巴爾加斯(Arístides Vargas)以如 彈似雨的快速對話和變化多端的道具來吸人眼球、同事也考驗著觀眾的想象極 限。劇場裏全程配有西班牙與英文字幕,即便所有人都被綁定在自己的位子上, 也一定能跟著情節,在腦海中塑造出只屬於自己的世界。

of his sanity.


Book of Mormon 摩門經

TEXT BY 文字提供 x ART.ZIP

IMAGES COURTESY OF 圖片提供 x

THE CORNERSHOP PR 便利店公關公司

The Book of Mormon London Company 5, The Book of Mormon London ©Johan Persson 2013

Sharon Wattis, Gavin Creel and Jared Gertner, The Book of Mormon London, ©Johan Persson 2013


Jared Gertner and Gavin Creel, The Book of Mormon London, © Johan Persson 2013

The show tells the story of two young Mormon missionaries who are

sent to a small town in Uganda to bring news of the Latter Day Saints. They are shocked at the cultural differences, as a War Lord threatens the local villages and controls the area by fear. Both missionaries attempt to share the scriptures with the local people, although

only one of them knows it well enough. Famine, poverty and AIDS

threaten the town, and the duo must battle their own beliefs in order to succeed and make a change.

This musical is one of the most eagerly anticipated new shows in

decades, and excitement has been building since early 2012. Since opening at Broadway’s Eugene O’Neill Theatre in March 2011, The

Book of Mormon musical has taken the modern musical theatre

world by storm. Conceived by Trey Parker, Robert Lopez and Matt Stone whilst working on the successful TV series South Park. The

trio’s interest in Mormonism and Joseph Smith, the founder of the

Mormon Church stemmed from their working together throughout

College and through the creation of South Park. After collaborating together on Cannibal: The Musical, they grew in confidence, and The Book of Mormon was born.

Tips

埃爾德·普萊斯(Elder Price)是一名熱情且敬業的傳教士,他的搭檔

小貼示

更多信息: www.bookofmormonlondon.com

傳教士埃爾德·坎寧安(Elder Cunningham)卻是個書呆子,而且總 The Book of Mormon London Company, The Book of Mormon London © Johan Persson 2013

是能讓兩人陷入窘迫的境地。他們被一同送往烏幹達,目的是讓那 裏的公民轉入摩門教。然而,當他們真正踏上非洲這片被艾滋病、貧 困和暴力困擾的土地時才發現,想在這裏傳教,可沒有想象中那麽 容易…… 《摩門經》被視作一部宗教題材音樂劇,劇本及詞曲由特雷·帕克 (Trey Parker)、馬特·斯通(Matt Stone)和羅伯特·洛佩茲(Robert Lopez)共同完成。其中,特雷和馬特曾一起創作著名諷刺動畫系列 片《南方公園(South Park)》,羅伯特則在2004年完成年度最佳音 樂劇《Q大道(Avenue

Q)》。如此優秀的創作、表演團隊成就了這

部出色的音樂劇——該劇在歷時7年創作之後,於2011年3月24日在 百老匯首演。開演後,該劇叫好又叫座。首年演出票房排在百老匯演 出前五強。此外, 《摩門經》在同年托尼獎上,得到14項提名,最終 斬獲最佳音樂劇、最佳音樂劇劇本、最佳詞曲創作、最佳導演等9項 大獎,成為當年最大的贏家。整部劇的主題包含了信仰與懷疑,敘述 的格調帶著些許調侃,而對於摩門教徒的刻畫依然是善良、樂觀,有 時也有些單純、脫俗。引用主創之一馬特的原話,這部劇其實是“一 個無神論者寫給神明的情書”。


The Magic Flute 魔笛 The Magic Flute 2 © De Nederlandse Opera, Matthias Baus

TEXT BY 文字提供 x ART.ZIP

IMAGES COURTESY OF 圖片提供 x

DE NEDERLANDSE OPERA 荷蘭歌劇院


The Magic Flute 3 © De Nederlandse Opera, Matthias Baus

Simon McBurney’s new production of The Magic Flute

is a darkly funny, dramatic and highly visual interpretation

of Mozart’s theatrical genius. In McBurney’s interpretation, music casts a visible as well as audible spell, with the

orchestra on view alongside breathtaking cinematographic projections, re-imagining Mozart’s rites of passage fairytale. Building on ENO’s co-producing relationship with De

Nederlandse Opera, The Magic Flute opened in December 2012 to great critical acclaim in Amsterdam. McBurney’s production received five-star reviews from the Dutch

press: “a feast for the eyes and the ears” (Het Parool) and

“Delicious!” (Trouw).

The Magic Flute continues the relationship between

English National Opera and theatre company Complicite, who are celebrating their thirtieth anniversary this year.

McBurney returns to ENO following his operatic debut and critical-success of A Dog’s Heart in 2010 (nominated for

a 2010 Olivier Award for Best New Opera Production). The

collaboration highlights ENO’s commitment to producing

opera that is fresh and relevant for contemporary audiences The Magic Flute 15 © De Nederlandse Opera, Matthias Baus

by working with talent from across the creative industries.

Tips

小貼示

更多信息:www.eno.org

莫 紮 特 的 經 典 歌 劇《 魔 笛 》可 謂 歷 史 上 最 偉 大 和 受 歡 迎 的 歌 劇 作品之一,此 次在英國國家歌 劇院上映的這一版本因為同謀 劇團 (Complicite)的參與讓人倍感興奮。導演賽門·麥克伯尼(Simon McBurney)對於原作創作的背景、靈感等做了深入地調研,這些都為 這一次的版本創新提供了多層次的可能性。無論是勒考克影響下的獨 特肢體語言,還是豐富的多媒體視覺呈現;人們期待著戴著這部經典 之作的翅膀去刷新原有的印象。這部與荷蘭歌劇院(De Nederlandse Opera)合作的作品,2012年年底在阿姆斯特丹亮相時便受到觀眾 和劇評人的一致好評。此版創作團隊中的視頻設計師芬·羅斯(Finn Ross)是英國目前最炙手可熱的多媒體藝術家之一,他的加入必將讓 整個作品更加值得期待。


Silk Road 絲路花雨

Resource: CAEG

TEXT BY 文字提供 x ART.ZIP

IMAGES COURTESY OF 圖片提供 x CAEG 中國對外文化集團公司


Tips

小貼示 被譽為“中國第一舞劇”的《絲路花雨》將在2014

更多信息:www.silkroadlondon.net

年新年伊始造訪倫敦。首創於1979年,經過三十 幾年的錘煉磨合,曾在全世界30余個國家400多 個城市演出多達2000余場。該劇被譽為東方藝

Staged by one of China’s most influential performance companies, this modern version of China’s most

術的奇葩,並被作為20世紀中國舞蹈經典劇之 作,載入中華民族藝術史冊。

eminent piece of historical dance-theatre comes to

《絲路花雨》作為中國對外文化集團推出的“中

world. Already performed in 30 countries and 400 cities

出去”的重要品牌。 《絲路花雨》在中國新年即將

London following 34 years of performances across the to audiences of more than four million, most recently

at New York’s Lincoln Center, this vibrant performance depicts a story of peace and friendship between Chinese merchants and foreign traders.

華風韻”系列演出活動的一部分,是“中國文化走 到來之際,為異國觀眾帶來了一抹東方味道,更 是希望通過“絲綢之路”的良好寓意,祝福中西經 濟交流的友好和共贏,文化交流的開明和繁榮。

Inspired by the landscape of the North Western

China’s Silk Road and the early Dunhuang murals and performed by a 47 strong ensemble, this exotic tale, one of China’s most significant dance productions,

merges Chinese classical and modern foreign dance, ancient folk songs and dazzling costumes.

Resource: CAEG


AN INTRODUCTION TO

NEW WRITING 釋義“新寫作”

TEXT BY 撰文 x JOANNA XIAOXING DONG 董一燃


What is “New Writing”? Before coming to UK, I have never

heard about the term. Yet, in 2012, the term has been given its

official corresponding Chinese translation, and has been widely

theatrical works of excellence are never lacking, “New Writing”

has burgeoned in its home, and left unlimited hopes for China.

accepted ever since. Thanks to the collaboration between

In our dearest hope, the content of this feature will spread

National Theatre Institute, the young playwright writing initiative

rosette of dandelion, allowing its seeds to find roots and

Scotland National Theatre and Director Qinxin Tian from China introduces the term “New Writing” to China. But exactly what

kind of work belongs to this genre of “ New Writing “? What new

the seed of “New Writing” all over China, much akin to a grow in new grounds.

writing theatres are there in the United Kingdom? Is there any

什麽是“新寫作(New

special feature attempts to address.

流傳甚廣。正是因為2012年蘇格蘭國家劇院和中國國家話劇院導演田沁

exciting new writing programs? These are the questions that our

Aleks Sierz, British theatre critic, once defined the term “New

Writing” in his Rewriting the Nation: British Theatre Today

(Plays and Playwrights), that “it’s a very British idea...it is new

not only to audiences but also to its directors, designers and

Writing)”?在來到英國之前,我從來沒有聽過這

個名詞。然而在2012年,對應這個名詞,竟出現了正式的中文翻譯,並且 鑫合作 發 起的青年作家寫作 計劃,“新寫作”這個名詞才得以被介 紹到中 國。可是到底怎樣的作品才算得上“新寫作”?英國有哪些新寫作劇場?有 什麽激動人心的新寫作項目?這正是我們在這一期專題裏試圖為大家解 開的答案。

actors. And although it can be more expensive to put on than

英國戲劇評論家阿萊克斯·斯爾澤(Aleks Sierz)曾在他《重述英倫:今日

British theatre has always staged new plays, but the history

對於觀眾是新概念,對於導演,設計師和演員而言同樣也是新的。比起演

revivals of classics, new writing is the heart of British culture.

of new writing is comparatively recent, and has always been involved in the project of rewriting our ideas about national identity.” In addition, Sierz also pinpointed some of the key elements of this genre: original and distinctive voice of the

writer, presentation of words with obvious significance, as well as greater emphasis on artistic value over its commercial value.

Based on the information above, I attempt to explain why “New

Writing” has been so rapidly accepted in China. Shakespeare was the first foreign theatrical practitioner ever introduced to China, and because of him, there has been a Chinese contemporary theatrical tradition, which places greater significance on play

writing. In the creation of “New Writing”, playwrights are often times young writers or had little prior experience with writing plays. China has enjoyed an accelerated rate of development,

given the policy orientation towards economic development.

In such context, theatrical culture was once in decline in China.

However, with current policies that encourage the development of cultural sector, more and more people have shared their

fanfare and concern for the once-forsaken art of theatre. With a plethora of new performance venues collectively built, the

relative lack of new scripts has contributed to the popularity of “New Writing”.

Furthermore, because professional background in theatre is not a necessary prerequisite for “New Writing”, such scripts can be a product of grassroots writers. In this era with countless creative talents hidden among the common folks, the wave of “New

Writing” provides a new window of opportunity. Born in the

United Kingdom, where theatre industry is highly mature and

英國劇場》一書中定義“新寫作”:“這是一 個非常英國的主意……不僅僅 出現有劇本或者改 編 劇本要昂貴很多。英國的舞臺經常演出新作品,但 是“新寫作”是一個很當代的概念。某種意義上,它的概念就是撰寫著我們 這個國家的身份認同于面貌。”於此同時,斯爾澤還給出了能夠被稱為新 寫作的幾個要素:作者的聲音要原創並且獨立;呈現鮮明的,有意義的文 字;重視藝術性多於商業性。 根據上述信息,我試圖尋找“新寫作”在中國能被如此迅速地接受的原因。 莎士比亞是第一 位被介紹到中國的外國戲劇家,這也就逐漸形成了中國 現代戲劇重視劇本的一種傳統。在“新寫作”的創作中,通常作者都比較年 輕,或者是 劇本創作的新手。在經濟發展為導向的政 策下急 速發展的中 國,劇場文化曾一度消沉,然而在當下鼓勵文化產業發展的政策下,越來 越多的人開始重新拾起對於劇場藝術的關注。面對那些集中興建的眾多 演出場所,新劇本的相對匱乏也為“新寫作”的流行創造了條件。更是由於 新寫作的“草根”性,專業的戲劇背景並不是必須的,在一個高手潛伏民間 的時代,這也為更多的人打開了一扇門。產生於擁有發達戲劇產業,優秀 劇場藝術的英國,“新寫作”在英國的蓬勃發展讓中國期待無限。 希望我們的這一期內容能像 一簇蒲公英一樣,讓“新寫作”的種子飛往中 國的土地並且生根,發芽。


TOUCHING TEXT BRITISH NEW WRITING

那些讓我們心動的文字 TEXT BY 撰文 x HONOUR BAYES TRANSLATED BY 翻譯 x YU CHANG 于暢 & MICHELLE YU 余小悅 IMAGE COURTESY OF 圖片提供 x HONOUR BAYES


Honour Bayes Honour Bayes is a theatre critic and journalist who have had work published in The Guardian, Time Out, The Stage, IdeasMag, Total Theatre, The Church Times and Exeunt Magazine. She is a regular columnist for The Stage focusing on Off West End and Fringe theatres with a particular interest on contemporary performance practice. In 1956 John Osborne’s ‘Look Back in Anger’ at the Royal Court

Theatre heralded a new era in British theatre and a genre was born: New Writing. While all playwrights start off as unknown

new writers, New Writing usually refers to those British writers who emerged in successive waves in the wake of Osborne’s explosive play. Each new wave has reinvented theatrical

language, often being contemporary in tone, urgent in theme and experimental in form.

Over the years rather than petering out this tide of new talent in

British theatre has gone from strength to strength. The end of the 20th Century was defined by what critic Aleks Sierz termed ‘In-

Yer-Face theatre’, a theatre that “grabs the audience by the scruff

of the neck and shakes it until it gets the message”. Personified by writers such as Sarah Kane, Mark Ravenhill and Anthony Neilson this was writing that was extreme, shocking and disturbing but

also poetic and acutely beautiful, both capturing the zeitgeist and questioning it.

昂納·貝葉斯 昂納·貝 葉 斯是 一名戲 劇評 論家和新聞工作者,曾在《衛 報》、 《閑暇》、 《舞臺》、 《思 想雜誌》、 《總劇院》、 《教會 時 報》和《退場》上發表 文 章。因為對當代舞臺表演有 著濃厚的興趣,她也擔任著 《舞臺》雜誌中倫敦西區外 劇院和邊緣小劇院欄目的定 期專欄作家。

It’s a movement that both stylistically and conceptually forms the basis of much of the new writing that we see on British stages today. But In-Yer-Face theatre was also of its time, defining an

era that’s been and gone. It is to the 1990s what absurdism was to the 1950s, or what kitchen-sink drama was to the Macmillan

19 5 6 年 在 皇 家 宮 廷 劇 院 上 演 的 約 翰 · 奧 斯 本

“what is New Writing now?”

Anger)》預示著英國劇院一個新時代的到來,同

years. As we move further into the 21st Century the question is

ENRON TIM PIGOTT-SMITH (KEN LAY) – CREDIT MANUEL HARLAN

(John Osborne)的《憤怒中回首(Look Back in 時也衍生出一個新流派:新寫作派。雖然所有劇 作家都是從不知名的新作家開始一步步發展的, 但新寫作派通常指那些緊隨奧斯本開創性戲劇 的英國作家。每一波新浪潮都重塑戲劇言語、使 用當代話語、選用緊張主題、創新新形式。


It is impossible to give one answer of course. The perspective

過去幾年,這 些 英國戲 劇的新人才隊伍不僅沒有失去 光芒,而是不斷壯

in new writing in a catchy title will only be possible in years to

這 種 戲 劇 用最直 接、甚至 有些 粗魯 的 方 式 讓 觀 眾明白作 者想 要 傳 遞 的

needed to neatly categorise and wrap up what’s happening

come. Perhaps even then, given the increasingly fractured nature of postmodern society, it will be hard. Yet from the wealth of

voices currently grabbing the spotlight there are some strands starting to take shape.

And just what is that shape? Well, the increasingly fluid

relationship between performance artists and writers; an

inversion of the traditional British State of the Nation play; a

rise in female playwrights; shifts in how plays are programmed and a new expansive confidence that’s seeing writers take on

大。評論家阿列克·齊爾茨(Alek s Sier z)將20世紀末稱為“直面戲劇”, 信息。莎拉·凱恩(Sarah Kane)、馬克·雷文希爾(Mark Ravenhill)和 安東尼(Anthony Neilson)等 作家的作品都很偏激、令人 震驚不安,但 同時不失詩意與美感,既抓住了時代的潮流,又實現了創新。 對於今天我們所看到的新寫作創造的英國舞臺戲劇,這項運動在風格和 概念方面為其奠 定了基礎。直面劇場 也是當年時代的產物,意味著一 個 時代戲劇的過去和消逝:從20世紀50年代的什麽是荒誕主義到1986年麥 克米倫時代的什麽是市井生活的嚴肅戲劇(kitchen-sink drama)。當我 們踏入21世紀後,隨之而來的問題是什麽是新寫作?

the epic. Moreover although the British stage still has a long

這個問題無法給出一 個確切答案。觀點統一一致、所 發事件標題朗朗上

as Artistic Director of the National Theatre could be about to

後現代社會越來越多地矛盾,滿足上述要求也很困難。不過,從人們關注

way to go to fully reflect its multicultural society, a new entrant change all that.

口吸引讀者,這些新要求只有在今後的幾年才可能實現。即使這樣,面對 討論的各種聲音中,一些潮流也開始漸漸體現出來。

Over recent years the breakdown of barriers between two

那這潮流都是什麽呢?表演藝術家與作家之間日益凸顯的順利合作的關

and playwriting - has been thrilling to watch. Not so long ago

編排方式進行了轉變;對表現 宏大場面的戲 劇,作家的信心逐漸增 加等

previously diametric theatrical opposites – performance art

performance artists would sit in studios and devise live art while playwrights would sit at desks writing plays. Never the twain

did meet. But over the last decade artists of both disciplines are

系;民族戲劇中傳統英國舞臺劇地位發生反轉;女劇作家數量增加;戲劇 等。此外,對於充分反映多元化的社會,英國戲劇任重而道遠,英國國家 劇院的新任藝術總監可能會改變這一切。

beginning to mix with rich results.

THE ENRON ENSEMBLE – CREDIT MANUEL HARLAN

LONDON ROAD PHOTO BY VIKKI PETER


Artists like Chris Goode, Caroline Horton, Tim Crouch and

近幾年來,作為戲 劇的兩個極 端,藝 術表演和劇本創作之間對立矛盾的

the juncture of both – text based devised pieces that are as

在演播室裏 創造生活藝 術,而劇作家則坐在書桌前編寫劇本 。這看似聯

companies such as Made In China are making work that is at experimental and avant-garde in form as they are story led.

This is thanks to institutions like the National Theatre Studio (NTS).

瓦解讓 人驚奇不已。而在這種瓦解發生的不久 之前,表演藝術家還是坐 系緊密的兩者卻從未接觸合作。不過在過去十年中,兩個領域的藝 術家 都開始相互合作並取得豐碩成果。

The development arm of the National Theatre, the NTS provides

一些藝術家像克裏斯·古德(Chris Goode)、卡羅琳·霍頓(Caroline Horton)、

and live artists can explore, experiment and devise new work

的連接兩者。在藝術家設計的作品基礎之上,劇作家的寫作正如這些作品所

an environment where playwrights, actors, directors, companies under one roof.

蒂姆·克勞奇(Tim Crouch)和一些公司如中國制造(Made In China)正努力 引領的一樣具有嘗試性和前衛性。

By placing so many theatre makers side by side the NTS has

這要歸功於像英國國家劇院這樣的機構。作為民族 戲 劇的發展機構,英

in collaborations that interrogate the previously restrictive

起探索、實驗和創作新作品的共事環境。

become a melting pot of ideas and inspirations resulting limitations placed around new writing and live art.

國國家劇院為劇作家、演員、導演、公司和現場藝術家提供了一個可以一


Just as a freedom from old fashioned categorisations is

這麽多的戲 劇制作人並肩作戰,英國國家劇院猶如一 個大熔爐,將他們

forms of programming. Theatres like the Royal Court and Lyric

的約束性限制。

affecting the shape of new writing so are new more flexible Hammersmith are experimenting with seasons that enable

的思想和靈 感融合,使 他們協同合作,突 破以前新寫作和現場藝 術創造

writers to get their work on stages through unexpected channels.

突破老式過時的分離創作方式正影響著新寫作派風格,並產生了新的形

Open Court saw incoming Artistic Director Vicky Featherstone

季,在不同季的作品中進行不同的嘗試,使作家們通 過 原 來沒 想 到的方

hand over the keys of the Royal Court to the writers that

have made it such a success. 140 playwrights, including Caryl

式 更 靈 活 的 編 劇方 式 。像 皇 家宮 廷 劇 院 和 哈 默 史密斯劇 院 等 將 作品分 式將自己的作品展現在舞臺上。

Churchill, Mark Ravenhill, Terry Johnson, Simon Stephens and

開放劇場(OpenCourt)新上任的藝術總監維姬·費瑟斯通(VickyFeatherstone)

cranny of the building.

功 。14 0 名劇 作 家,包括 卡裏 爾·丘吉爾(C a r y l C h u rc h i l l),馬克·雷 諾

Dennis Kelly, curated a festival that took over every nook and

Lost In Theatre saw ten writers write short plays to be heard

through headphones. Echoing a radio format these vignettes placed the audience at random points around the building,

將 皇 家 宮 廷 劇 院 最 重 要 的 環 節 交 給 這 些 作 家 ,並 取 得 了 很 大 的 成 德(M a r k R ave n h i l l),特裏 · 約 翰 遜( Te r r y J o h ns o n),西 蒙·斯蒂 芬 斯(Si m o n Ste p h e ns)和 丹尼斯·凱 利(D e n n is Ke l l y),他 們 一 起 策 劃 的 藝 術節把 整 個宮 廷 劇 院 都充分 運 用起 來 。

listening as the world bustled around them. They encouraged

在迷失劇院(Lost In Theatre),10位作家編寫的短劇是通過耳機來聽的。

breath outside of the proscenium arch and asked writers to write

他們鼓勵新寫作可以跳脫傳統的固定舞台形式去創作新的表現形式。

new writing to be perceived as something that can live and for such an environment.

Surprise Theatre saw a different surprise play performed

each Monday and Tuesday night. It created a unique one off

performance, which remained a mystery to its audience right up

觀眾站在劇場 任意一 個角落都會聽到不同的回響,事件就在耳邊發生。

在驚喜劇院(Surprise Theatre),每周一和周二晚上都會上演不同的驚喜 表演。這是一種很獨特的一次性表演,開場之前觀眾會一直身陷謎團,直 到燈 光暗去演出開始。每一 部劇只上演一次,這樣 劇作家們就有更 充裕 的時間去實驗。


until the lights went down. Written to only ever be performed

哈默史密斯劇院同樣鼓勵這種新劇創作的神祕性。藝術總監肖恩·福爾摩

had a much more immediate tone with the temporality giving

場”等直接命名,等待帷幕揭起觀眾才會知道是怎麼樣的故事。福爾摩斯

once, this method of programming meant the style of writing the playwrights the bravery to experiment.

Over at the Lyric Hammersmith secrecy is again being used

斯負責的秘密劇場(Secret Theatre)就是如此。表演以“第一場”、“第二 認為,這樣可以讓 劇作家擺脫 來自觀 眾的期望性壓力,不必顧 慮市場宣 傳期,可以盡情釋放創作團隊的創意。

to encourage risk and experimentation. Artistic Director Sean

這一 季演出囊括了兩部新寫作劇本,兩名劇作家進行了顛覆傳統劇本 框

tin. The shows are titled Show 1, Show 2 etc. and are kept a secret

然流暢、更具合作性的創意過程。

Holmes’ season Secret Theatre is doing exactly what it says on the from the audience until the curtain goes up. Holmes believes

架的新式文 風 創作,一 邊彩 排一 邊 進行劇本修改,讓寫作過程變 得更自

that this frees up the creative team to work without pressure of

卡羅琳·伯德(Caroline Bird)是秘密劇場的一位編劇,去年成功改寫了大門

that require artists to write about their shows months before

在著一個女劇作家群體,她們給英國舞臺表演帶來女性視角並改變新寫作

expectation. It also negates the long term marketing deadlines

they’ve actually made them - unhealthily crystallising them and making for stagnant theatre.

Including two pieces of new writing this season has enabled two playwrights to try out things stylistically that would be impossible within the old framework, changing things in

rehearsal and making the writing process a much more organic and collaborative process.

One of Secret Theatre’s writers is Caroline Bird, who did a superb

大劇院(Gate Theatre)的《特洛伊婦女(The Trojan Women)》。當今存 局面,卡羅琳·伯德就是這個群體的一員,而且該群體人數也越來越多。 這種激 烈的碰撞可能 對白人 男劇作家帶來巨大 影 響,但不得 不說,新寫 作已 經 越 來 越 多 的 傾 向 女 性 。致 力 於 新劇 作 的 劇 院 ,由年 輕 女 性 創 作 的充 滿活力、發 人 深 省且不失 黑色幽 默的劇 作激 增。在 過去五年 裏,波 莉·斯泰納姆(Polly

Stenham)、安雅·瑞斯(Anya

Reiss)、艾拉·希克

森(Ella Hickson)、佩內洛普·斯金納(Penelope Skinner)、尼娜·瑞恩 (Nina Raine)以及博拉·艾格拜吉(Bola Agbaje)都在票房與口碑上取 得了極大的成功。

adaptation of The Trojan Women at the Gate Theatre last year.

像勞拉·韋德(Laura Wade)和露西·柏寶(Lucy Prebble)等作家從倫敦西

are shifting the landscape of new writing by bringing a female

(Rebecca Lenkiewicz)為奧利維爾獎完成著作《裸露肌膚(Her Naked

She is just one of an increasing group of women playwrights who perspective to British stages.

The cannon may be the domain of dead white males but

區外的邊緣劇院成功躋身於倫敦西區劇院。2008年時,麗貝卡·蘭凱維奇 Skin)》,成為第一位受委任的在英國國家劇院能夠進行長期舞臺寫作的 女作家。

new writing is increasingly taking on a more feminine slant.

另一 位引以為豪的女 劇作家是 露西·柯 克伍德(Luc y

explosion in vibrant, thought-provoking and often darkly funny

( T in d er b ox)》給了那些自以為了解女作家 應 該 如 何寫作的人一 個 響

Everywhere, theatres dedicated to new writing have seen an

plays by young women. Polly Stenham, Anya Reiss, Ella Hickson, Penelope Skinner, Nina Raine and Bola Agbaje have all received both critical and popular success over the last five years.

Writers like Laura Wade and Lucy Prebble are making the leap

from Off West End hits to West End ones while in 2008 Rebecca

K ir k wo o d)。有

趣的是柯克伍德曾表示,她討厭被 定義為一 位 女編劇。她的劇作《聽 盒 亮 的 教 訓 。許 多 同 代 人甚 是 贊 同 她 的 寫作 方 式 。最 值 得 注 意 的 是 ,這 些 新 作 家并不只為女 性同 胞 寫作,也不只 局限 於女 性 題材。當 然,她 們 自身 的 經 歷 也會 對 她 們 看待 世界 的 方 式 產 生 影 響,這 在 本質 上 與 男性 視 角不 同 。這 些 女作 家 的 看 法 為 新寫作 領 域 增 添了多樣 性 ,而 英 國 戲 劇表 演相當缺 乏 這種多樣 性 。

Lenkiewicz became the first woman to be commissioned for a

博拉·艾格 拜吉曾對《每日電訊報》說:“當我意識到自己未曾創作過任 何

Naked Skin for the Olivier.

些黑人角色。”

main stage play at the National Theatre when she wrote Her

Another exciting female playwright is Lucy Kirkwood.

Interestingly Kirkwood has stated that she hates to be defined as

黑人 角色以後,我對自己說,“我不能光抱怨不寫啊”,然後我就好好寫了 她的成功對於展現多元文化社會這一目標又邁進了堅實

的一步。當然,這些還都是 遠 遠不夠 的,新寫作領域接納了女性作家,但 一些少數群體的聲音仍然被忽略了。

a female playwright, and wrote her macabrely comic, butcherset play Tinderbox precisely to trip up those who thought

they knew what a woman was ‘supposed’ to write. A number

of her contemporaries agree with her and it’s important to note that these writers are not writing solely for, or about, women.

ASHLEY ROLFE (CENTRE) AND THE TRADERS – CREDIT MANUEL HARLAN


However the way they view the world is undoubtedly coloured

本月初接替尼克·赫特納(Nick

of a man. Their voices add a shot of diversity to the world of new

斯其中的一個主要議題就是多樣性的發展,之前上演的作品也證實了這一

by their experience of it, which will be inherently different to that writing, a diversity that is often sadly lacking in British stages.

Bola Agbaje, speaking to The Telegraph, said “I think I realised

that there were no black roles and I just thought, “OK, I’m not

going to complain about it. I’m going to write the roles, I’m going to create it.”’ Her success is an exciting move towards a theatre

that fully reflects its multicultural society. But it’s still not enough

– the world of new writing may have opened its doors to women,

監的魯弗斯·諾裏斯(Rufus

Hytner)成為新一任英國國家劇院藝術總

Norris)註定成為改變現狀的關鍵人物。諾裏

點,比如《維農少年(Vernon God Little)》、 《盛宴(Feast)》、 《集市男 孩(Market Boy)》以及《阿門困境(The Amen Corner)》等,都體現出了 多樣性。在就職新聞發布會上,他說到:“現在談論具體項目細節還為時過 早,但我們都迫不及待想看看不受性別界限、充滿文化多樣性及普遍多樣 化的劇本能帶給我們怎樣的驚喜。”諾裏斯擔任著英國戲劇界舉足輕重的 角色,他的講話確實令人備受鼓舞,這意味著未來主流舞臺將充滿更為豐 富的創作聲音。“

but the voices of minority groups are still parlously absent.

人們更希望,在諾裏 斯的領導下,新寫作領域中的新 音樂 劇也會向前邁

This is all set to change under Rufus Norris, who earlier this month

諾裏斯指導的、艾力克·布萊斯(Alecky

was confirmed as Nick Hytner’s replacement as Artistic Director of the National Theatre. One of Norris’ main themes is diversity

- as proven by past productions including Vernon God Little,

進 。對於戲 劇中的音樂 力量,諾 裏 斯可謂理 解深 刻 。毫不誇 張的 說 ,由 Blythe)和亞當·科克(Adam

Cork)創作的音樂劇《倫敦路(London Road)》邁出了音樂劇史上的創 新第一步。希望這只是英國國家劇院眾多項目的其中一個。

Feast, Market Boy and The Amen Corner - and at the press

對於未來,我們無疑希望新寫作能帶來更前所未有的變化。正如《衛報》

to talk about specifics but in terms of gender balance, cultural

象的劇很 難 準確 定義 。鑒 於當今日益 後現代 、多元化的社會,通 過一 個

conference announcing his appointment he said “It’s too early diversity and general diversity it will be really exciting to see

where we can go.” It’s an encouraging sentiment from the man

戲劇評論家邁克爾·比林頓(Michael Billington)所說,現在代表國家形 簡單的故事敘述來折射出對國家對民族的認同已經幾乎不可能了。

who’s just taken on the most powerful role in British theatre. It

在反映社會現 狀方面,戲 劇具有不可思議的魔力。而新戲 劇寫作的形式

the future.

化社會的一部分,劇作家的抱負如同我們的眼界變得越來越大。

points to a richer range of playwriting voices on main stages in

現在變得也越來越壯麗宏大。互聯網已經使我們感到自身已經成為國際

It is even to be hoped that under Norris the vast area of new writing

隨 著 新興 劇 作 家 的自信心日益 增 添 ,新寫作涵 蓋 範 圍 也 越 來 越 廣 泛 。

move forward. Norris has a brilliant track record of understanding

L o n d o n)》和《13》恰 恰反映了這 種 趨 勢。巴特 利 特原 是 細 膩 心 理 劇

that perhaps needs the most work - new musical theatre - will

the power of music in theatre. It is not hyperbole to say that the

Alecky Blythe and Adam Cork’s musical London Road, which Norris directed at the Cottesloe Theatre, marks the first innovate step

forward musical theatre has made in a long time. One can only hope it’s the first of many at the National from now on.

Still for all this talk of future hopes if we look around us today it is doubtlessly true that new writing is more varied than it has

ever been before. So much so that what Guardian theatre critic

Michael Billington argued was a staple of 20th century British

邁 克·巴特利特(Mike Bar tlet t)編寫的《倫敦地震(Ear thquakes in 的作家,現在已經開始挑 戰 跨 越 國界 、穿越 時空、引發哲學思考的大 型 劇作。 出 現 這 種 現 象 的 原 因 可 能 是 多方 面 的 。在 魯 伯 特 · 古 爾 德( R u p e r t G o o l d)的 指 導 下,巴特 利特 編 寫的《倫 敦 地 震 》進 行了極 為大 膽 的嘗 試,而這種 創新也受到了國家大 劇院的全力支持。古爾德突 破了原有的 劇本,增添了更多情節使得劇本越來越豐滿。這是導演與劇作家合作創 造出更 宏大的戲 劇敘事的最好 例子,而就在這次合作過程中,巴特 利特 獲得新的靈感創作了《13》這部戲。

writing, the ‘State of the Nation’ play, is now perhaps impossible

古 爾 德 也 將 這 種 效 果 運 用 到 普 雷 布 爾(P r e b b l e)的 獲 獎 作 品《 安 然

one tidy narrative has become almost impossible given our

至恐龍道具出現的荒誕場面來表現整個經濟危機的混亂。普雷布爾和古

to define. The idea that you can refract national identity in increasingly post modern, multifarious society.

(Enron)》中。該 劇從一 個正常故事過渡到借用音樂劇的表現形式,甚 爾德在下一部熱門劇作《後果(The Ef fect)》裡也延用了這種風格。

In a reflection of theatre’s uncanny capacity to echo and encapsulate its surrounding society new writing is now

becoming much more epic in form. The Internet has made

the communities we feel part of international ones and as our horizons have grown bigger so have playwright’s ambitions.

THE ENRON ENSEMBLE – CREDIT MANUEL HARLAN


THREE KINGDOMS - PHOTO BY ENE-LIIS SEMPER


More and more pieces of new writing are now epic in scope as the confidence of emerging playwrights appears to have gone through the roof. Mike

Bartlett’s expansive Earthquakes in London or 13 are great examples of this

trend. Bartlett, previously a writer of intimate psychological dramas, has begun writing huge stories that spanned countries, decades and asked massive philosophical questions.

The possible reasons for this are suitably manifold. Bartlett’s Earthquakes in

London was given an audacious production by Rupert Goold when it first

appeared at the National. Goold exploded the script out, adding more and more and recollecting it in a much more expansive form. This was a case of director

and writer making something bigger together and it was a process that Bartlett took inspiration from when he wrote his next play, the equally epic 13.

Goold also had this effect on Prebble during the award winning Enron, a

spectacularly theatrical piece that in reherasal went from straight story to

multi-media spectacular that included dinosaurs and musical numbers while

concisely explaining the entire financial crisis. Prebble attributes much of this to her work with Goold and it is a theatricality she carried through to her next hit

The Effect.

Another possible reason for this shift is the so called ‘West Wing’ effect.

American TV now involves some of the best storytelling out there. Seasons with

over 20 episodes in each one are making it possible for writers to craft long term narrative arcs. These stories weave in many voices through long time periods and are able to explore both the personal and geopolitical at one and the

same time and in great detail. Playwrights are now trying to incorporate these

structures into their own practice as Kirkwood’s Chimerica or Simon Stephen’s

Three Kingdoms attests.

British theatre is experiencing a golden age of new writing. Years of healthy subsidy

and investment have meant that the work we are seeing now, while vastly different in style and content, is of a thrillingly high standard. Public funding may have

waned in recent years but it is to be hoped that this level of form continues, after all we’ve only just begun the 21st Century, a century that promises some of the most

dramatic technological, ecological and sociological change yet. I for one can’t wait to see what the writers within it are going to give me next.

產生這種轉變的另一個原因可能是所謂的“白宮風雲(The West Wing)”效應。現在美劇中 有很多很好的故事。每季20集可以實現更詳細的敘述,這些故事都通過不同的角度來探索 事件,個人差異和地理差異可以使事件更詳細地呈現在觀眾面前。戲劇作家現在也開始嘗 試融入這種結構來進行敘述,比如柯克伍德(Kirkwood)的《中美國(Chimerica)》或西 蒙·斯蒂芬的《三國(Three Kingdoms)》。 英國戲劇正處在新寫作的黃金時代。政府或私人機構對戲劇的補助及支持使我們現在看 到的戲 劇可以有各式的風格和豐富的內容,並且具有相當驚人的高水準。雖然近幾年來 公共資金已經削減,但我們仍希望高質量的戲劇形式可以延續,畢竟21世紀才剛剛開始, 這是一 個充滿翻天覆地的技術、生態和社會革新的世代 。我迫不及待地想看一看新劇作 家們會帶給我們什麽樣的新變化。


ROYAL COURT THEATRE: INTERNATIONAL NEW WRITING

皇家宮廷劇院:國際化的新寫作空間

INTERVIEWED AND TEXT EDITED BY 採訪及文字整理 x CHENG YING 程瑩 TRANSLATED BY 翻譯 x YU CHANG 于暢

IMAGE COURTESY OF 圖片提供 x ROYAL COURT THEATRE 皇家宮廷劇院


The Royal Court Theatre is Britain’s leading national company dedicated to new

work by innovative writers from the UK and around the world. The theatre’s pivotal role in promoting new voices is undisputed – the New York Times described it as ‘the most important theatre in Europe’.

The Royal Court receives and considers an extraordinary quantity of new work

and, each year, presents an ambitious programme in its two venues at Sloane Square in London. In recent years, the Royal Court has also staged productions in New York, Sydney, Brussels, Toronto and Dublin.

In addition to its high profile productions, the Royal Court facilitates international work at a grass roots level, developing exchanges which bring young writers

to Britain and sending British writers, actors and directors to work with artists around the world. The Royal Court Young Writers Programme also works to

develop new voices with a biennial festival and year-round development work for writers under 26.

The Royal Court’s success has inspired confidence in theatres across the world

and, whereas new plays were once viewed as a risk, they are now at the heart of a revival of interest among artists and audiences alike.

倫敦皇家宮廷劇院享有“倫敦最酷劇院”的美譽。這家坐落在斯隆廣場(Sloane Square) 的劇院擁有極為悠久的歷史,如今它致力於發掘英國和世界上富有創造力的新作者。在 發掘新生力量方面, 《紐約時報》甚至將其稱為歐洲最重要的劇院。 劇院前身是始於1870年的新切爾西劇院(New Chelsea Theatre),由教堂改建而成,坐 落在喬治低街(Lower George Street),於1871年更名為宮廷劇院(Court Theatre)。 劇院最終於1882年7月22日關閉,取而代之的是當今位於斯隆廣場東側的這座始於1888 年9月24日的新宮廷劇院(New

Court

Theatre)。這座新的建築按照意式風格,由紅

磚、模壓磚、和石頭門面建成。 作為一家“真正的國際化劇院”,皇家宮廷劇院早年間的重要劇目囊括了世界戲劇的經典 之作,包括塞繆爾·貝克特(Samuel Beckett)、布萊希特(Bertolt Brecht)、馬克斯·弗 裏施(Max Frisch)、讓·熱奈(Jean Genet)、尤金·尤奈斯庫(Eugene Ionesco)、阿瑟· 米勒(Arthur Miller)和沃萊·索因卡(Wole Soyinka)等國際戲劇大師的作品。 近年來皇家宮廷劇院的重要貢獻之一是促成“草根”作品的國際化。每年推出的新作品除 了在倫敦,還在紐約、悉尼、布魯塞爾、多倫多和都柏林上演;它將許多國際上的年輕作 家引入英國,也將英國的劇作家、演員和導演推向國際舞臺。劇院專門設置了雙年戲劇 節和年度作品計劃,致力於26歲以下年輕戲劇人的發掘。皇家宮廷劇院的成功極大地激 發了其他劇院的信心,新劇本的制作演出不再被看作是冒險行為,而是重新成為藝術家 和觀眾們的興趣核心。

PHOTOGRAPHED BY HARRY LIU


LITERARY SPECIALITIES

文學特色

The Royal Court Theatre receives about 3500 spontaneously submit

皇家宮廷劇院每年收到月3500部自發提交的劇本,並且已經擁有幾個頗

scripts each year, and has several distinctive Drama Festivals.

YOUNG WRITERS FESTIVAL The Young Writers Festival is a biennial event. The first Young Writers Festival was held in 1973. In the past 40 years, there have been many once writing novices become London

important dramatic power, say Nick Payne (Wanderlust ), Bola Agbaje (Off The Endz, Gone Too Far! ), Alia Bano

(Shades ), DC Moore (The Empire, Alaska ) and Molly Davies

( A Miracle ). The current writing instructor, playwright of

具特色的品牌戲劇季活動。

年輕作家戲劇節 年 輕 作 家 戲 劇節是 一 個 雙年活 動 。第一屆年 輕 作 家 戲 劇節活 動 舉 辦 於 1973 年 。近4 0 年來,已 經 有 許 多曾經 的寫作 新手 們 成 為倫 敦 重 要 的 戲 劇力量。從這個戲劇節走出的作家有:尼克·佩恩(Nick Payne),卜·巴諾 (Alia Bano),和莫莉·戴維斯(Molly Davies)等。皇家宮廷劇院現任的 寫作指導、劇作家利奧·巴特勒(Leo 蒂芬斯(Simon

Butler),以及奧利佛獎得主西蒙·斯

Stephens)的第一部重要作品,都是在這一戲劇節上面

世。2011年起,戲劇節開始接受26歲以下作者的創作,這股新生力量為皇 家宮廷劇院的戲劇舞臺貢獻了新的角色、故事和戲劇體驗。

the Royal Theatre, Leo Butler, as well as Olivier Award winner

戲 劇 節 還 專 為 倫 敦 8 -15歲 的 青 少 年 設 立 的 項目 — — “周六 短 劇

to the world in this Festival. In 2011, the Festival began to

和12-15歲)在戲 劇節上進行了表演。此外,戲 劇節還專門設置了故事工

Simon Stephens’s first important works, were presented

receive creation from authors under 25 years old, and this

new force for the Royal Court Theatre contributed new roles, stories and drama experience to stage.

The Festival also designed a project for 8-15 year olds in

(Saturday Shorts)”。該項目今年3月份選出了十部短劇分兩組(8-11歲 作坊、酒吧音樂演奏、年輕作家面對面以及100字戲劇等免費活動。

皇家宮廷年輕作家計劃

London, which is called “Saturday Shorts”. The project of this

該 計劃為18 -2 5歲的年 輕 作家全 年開放,旨在尋找 和培 養 年 輕 作家、給

11 years and 12-15 years old). These plays were also conducted

次,25歲以下的年輕作家可獲得50 -100鎊的優惠。每周的活動包括寫作

year selected ten short plays and divided into two groups (8into performance at the Festival. In addition, the Festival

features a series of free workshops, talks and late night events in the bar.

他 們 發掘潛 能 和向其他 作家學習的機會。該 計劃為 期12周,每年 舉行3 練習、小組討論、劇本閱讀以 及獲 得寫作 指導 和客座 劇作家與導演的建 議;在第12周的末尾,還將獲得所創作劇本的細節反饋。

THE ROYAL COURT YOUNG WRITERS PROGRAMME The plan for the 18-25 years old young writers is open year

round, to seek and train young writers, to explore their potential and to learn from other writers. The Programme lasts 12 weeks, and there are 3 times a year in total, young writers under the age of 25 can obtain a discount of 50-100 pounds. Weekly

activities include writing, group discussion, script reading, and

advisory talks on writing from visiting playwrights and directors. At the end of the twelfth week, young writers will also receive detailed feedback of their script creation.

PHOTOGRAPHED BY HARRY LIU


ROUGH CUTS Rough Cuts is the most representative experimental theatre

ROTIMI BABATUNDE AT ROYAL COURT THEATRE

rehearsal activities, this kind of cooperative, experimental and

Rotimi Babatunde is a poet, playwright, and fiction writer. His

has created many bold dramatic works. In 2010, the play Posh,

He is a fiction award recipient of New York’s Ludwig Vogelstein

activities of the Royal Court Theatre. Through script reading and informal activities offers a new way of working for artists, which which has won many five-star from various press critics including

Time Out, was born in the Rough Cuts workshop. The playwright

stories and poems have been widely published and translated.

Foundation and a winner of the AWF’s Cyprian Ekwensi Prize for

short stories. His story ‘Bombay’s Republic’ won the 2012 Caine

Laura Wade and the Director Lyndsey Turner met here and started

Prize for African Writing. Rotimi Babatunde’s plays have been

a series of research, important political figures interviews, and then

ICA, in London; at Halcyon Theatre in Chicago; at Riksteatern in

a subsequent 3-year cooperation, during which they completed of eventually turn the stories they heard and their creative ideas into such a large production with much acclaimed.

In addition, special events of the Royal Court Theatre are

launched in recent years, including “80 years old writer plan”

(specially aiming at people over the age of 80) and “Open Court” (six-week Festival, about 140 playwrights involved).

seen at the Young Vic Theatre, the Royal Court Theatre, and the Stockholm; and broadcast on the BBC World Service.

“My first involvement with the Royal Court took place in 2004, when I participated in the theatre’s International Residency programme. Two years later, I was commissioned to write a short play for Small Talk: Big Picture, an initiative that

commemorated the theatre’s 50th anniversary. The play was


“粗剪” “ 粗 剪 ”是 皇 家宮 廷 劇 院 頗 具代 表 性 的 實 驗 戲 劇 活 動 。通 過 劇 本 朗 讀 和 排演 活 動 ,這 項 合 作 性、實 驗 性 和 非正 式 的 活 動 給 藝 術 家 們 一 種 全 新 的 工作 方 式 ,從 而 創 作 出了許 多大 膽 的 戲 劇 作 品 。於2 010 年 首演 、獲 得包括《 T i m e

O u t 》在內的眾多媒體 五 星 劇 評 的《時 髦(Po s h)》就

起 源 於 “ 粗 剪”工作 坊。劇 作 家勞 拉·韋 德(L a u r a

Wa d e)和 導演 林 澤 ·

特 納(Ly n ds e y Tu r n e r)在 這 裏 相 識 ,並 進 行了長 達 3年 的 後 續 合 作, 其 間 完 成一 系 列 地 調 研、采 訪了諸 多重 要 的 政 治 人物,最 終 將 所 聽 到 的 故 事 和 原 創 創 意 匯 集 排演 成 為了《時 髦 》這 樣 一 部大 受 好 評 的 大 型 制 作。 此外,皇家宮廷劇院近年來推出的特別活動包括“80歲以上作家計劃” (專門針對80歲以上的作者人群)和“開放宮廷(Open Court)” (為期 六周的戲劇節,有大約140位劇作家參與其中)。

羅蒂米迪·巴布屯德 與皇家宮廷劇院 羅 蒂 米 迪·巴布 屯德 是 一 位 尼日利 亞 詩人、劇 作 家 和 小 說 家 。他 的 作 品 被廣泛地翻譯出版,其小說《孟買的共和國(Bombay’s

Republic)》在

2012年獲得了非洲文學凱恩獎(Caine Prize for African Writing)。其 戲劇作品在倫敦的青年維克劇院(Young Vic)、皇家宮廷劇院 (Royal Cour t)、當代藝術研究院(ICA)、芝加哥寧靜劇院(Halc yon)、斯德哥 爾摩的瑞典國家劇院等多家劇院上演。

DEBBIE CHAZEN (LELA), RYAN SAMPSON (SHOTA), JONJO O’NEILL (ROBERT) PHOTO BY HELEN MURRAY also broadcast on the BBC World Service. I was later

“ 我 和 皇 家宮 廷 劇 院 的 第一次 接 觸 是2 0 0 4 年,我 參 與了劇 院 的 國 際 作 家駐場 作家項目。兩年之後,我受資助爲”大畫:小說(Small Talk:Big Pic ture)” 項目寫了一部短 劇, 它是為慶祝 劇院50周年而定製的,這部 短 劇後來也在BBC播出了。這 之後,皇家宮廷 劇院 又 邀 請 我 加入 另一 部 戲《 盛宴(Feas t)》的創作,這部戲由皇家宮廷 劇院 和青年維 克 劇院在 2013年制作完成 。

approached by the Royal Court to be one of the

不管是在培育新作家還是在鼓 勵大膽有力的新寫作作品方面,皇家宮廷

Royal Court and the Young Vic. The play was staged at

的接觸,都充滿了啟發性。”

writers for Feast, a collaborative production of the

the Young Vic in 2013.

The dedication of the Royal Court Theatre to

nurturing the career of playwrights is as impressive

劇院都有令人印象深刻。我在劇院參與項目,與其他劇作家、演員和導演

Tips

小貼示

as its commitment to encouraging the creation of hard-hitting new writing for the stage. My interactions with fellow playwrights, actors,

directors, and other theatre professionals in the

course of my engagements with the theatre have been enriching.”

Royal Court Theatre 皇 家 宮 廷 劇 院 地 址 Ad d r ess S loa n e S q u a r e,L on d on S W 1 W 8 AS www.r oya lcou r tth ea tr e.com


PECA STEFAN AT 佩克·斯特凡 ROYAL COURT THEATRE 與皇家宮廷劇院 Peca won the DramAcum prize (the Romanian award for best new

佩 克 · 斯 特凡 在 2 0 0 2 年 獲 得 羅 馬 尼 亞 最 佳 新 劇 作 家 獎( D r a m A c u m

and he was one of the Royal Court International Playwriting

五部作品在羅馬尼亞的布加勒斯特上演,並有多部作品被翻譯為英語、

playwright) in 2002. His education includes New York University

Residents in 2005. Currently, he has productions of 5 of his plays in

Bucharest, Romania. His play Romania 21 is currently in production at the National Theatre in Timişoara.Peca Stefan is the founding

member of the BLA Theatre Company and has started the Scrie o piesă programme for high school playwriting. He is currently the

prize)。他畢業於紐約大學,曾在皇家宮廷擔任駐場國際作家。他目前有 法語、德語、土耳其語和意大利語,在紐約、倫敦、都柏林、柏林、威斯巴 登、巴黎、聖彼得堡、羅馬等地上演。佩克是BLA戲劇公司的創始人之一, 現在正爲電視連續劇《加州(California)》擔任製片。佩克真名原爲斯特 凡·佩克(Stefan Peca)是其真名,但作品署名時便改為佩克·斯特凡。

executive producer of the one hour drama TV series California

“我在20 05年時 曾是 皇家宮廷 劇院的駐場國際 作家之一。當時我22歲

way he signs his works is Peca Stefan.

重要的經 歷 。我 與 其他 駐場 作家見面並很快 成 為朋友,參與了一系列的

(Media PRO Studios, Romania). His real name is Stefan Peca, but the

“I was one of the 2005 Royal Court International Residence. At the age of 22 (I actually turned 23 on the last day of the Residency), it proved to be a vital experience for my playwriting. Meeting

with the other residence - very soon turned friends - an array of workshops and talks with top British playwrights (such as the

late Harold Pinter, David Hare, Tom Stoppard, Simon Stephens,

Stephen Jeffreys, my playwright’s pal Lucy Prebble), the former literary manager Graham Wybrow (the sessions with Graham

(項目結 束的最後 一天,我剛好滿23歲),這的 確 是我 寫作 生涯中十 分 工作坊,與英國最頂 尖的劇作家,如哈羅德·品特(Harold Pinter),大 衛·黑爾(David Hare),湯姆·斯托帕德(Tom Stoppard),西蒙·斯蒂 芬斯(Simon Stephens),斯蒂芬 ·杰弗里斯(Stephen Jef freys),露 西·柏寶(Luc y Prebble)等、以 及導演伊恩·里克 森(Ian Rick son)與 拉敏·格瑞(Ramin

Gray)進行交流,特別是與前任文學總 監格雷厄姆·

崴布朗(Graham

W ybrow)的交流 對後來分析劇本十 分有用,這些 名

字也成 為這段時期中的亮點。通 過伊 利斯·道奇森(Elyse Dodgson)在 此 項目中持 續 不斷的努力,影 響了很多國家的新寫作,尤 其 是 那些 過去 導演 起 主導作用的國家和地區。

were incredibly insightful to the script analysis process), or

這 是 羅 馬 尼 亞 的 情 況 ,很 多重 要 的 作 家 和 導演 ,例 如 安 德 列 亞·威 力恩

the names involved in my particular residency, were some of the

家,還有我本人,都或多或少受到皇家宮廷劇院哲學的影響。現在我所在

directors Ian Rickson and Ramin Gray - just to mention some of highlights of that time. The continuous work of Elyse Dodgson

for the residency has influenced and sometimes kickstarted new writing in countries used to a director-based approach.

(Andreea Valean)、基安妮亞·卡布納瑞(Gianina Carbunariu)等作 的羅馬尼亞戲劇組織,就是在安德列亞·威力恩從皇家宮廷劇院回來之後 成立的。基安妮亞·卡布納瑞的戲《 烤肉卷(Kebab)》,就是在皇家宮廷 劇院樓上劇場首演的一部羅馬尼亞作品。

This is the case of Romania, where now very important writers

皇家宮廷劇院在向倫敦觀眾引薦國際 作品方面是領跑者,希望在接下來

Maria Manolescu, Vera Ion, Theo Herghelegiu, Mihaela

和國際寫作緊緊聯系。”

and directors such as Andreea Valean, Gianina Carbunariu,

Michailov, and myself have had the chance to get in touch to

的幾年中可以繼續下去。在我看來,這也是劇場重要的財富:將英國寫作

the Royal Court philosophy. The group I’m part of in Romania, dramAcum, was inspired to start a revolution in reassessing

new Romanian playwriting in the early 2000s, after Andreea Valean’s Royal Court experience. Gianina Carbunariu’s play

Kebab was the one Romanian play to premiere at the Royal Court Theatre Upstairs in 2007.

Royal Court has been one of the frontrunners in introducing foreign playwriting to its London audiences, an effort that

hopefully will continue and expand in the following years. In my opinion, this is one of the Court’s most important assets: linking British and International writing.”

ANNA CALDER MARSHALL (MAXINE) PHOTO BY HELEN MURRAY


UNHEARD VOICES AN INTERVIEW WITH OLA ANIMASHAWUN FROM ROYAL COURT THEATRE

未聞之音 專訪皇家宮廷劇院項目 負責人奧拉·安尼瑪舒文


PI: PERFORMANCE INFINITY / OA: OLA ANIMASHAWUN PI: Could you please introduce this project to our readers?

PI: 您能向我們的讀者介紹一下這個“未聞之音”項目嗎?從哪一年開始?

How many different themes you have focused on? What’s the

題有何選擇標準?

Which year did it start? Why named it “Unheard Voices”? selecting standard of each year’s theme?

OA: The first Unheard Voices programme began in 2007. It is called Unheard Voices, because its chief aim is to identify a very specific cultural group and/or community who are

traditionally under-represented on the stages of the UK – in terms of plays written by members of these communities. Hence it is

as through these groups’voices, opinions, thoughts, comments

為什麼把它命名為“未聞之音”?其中集中了多少不同的主題?每年的主

OA: 第一期“未聞之音”開始於2007年。 將該項目命名為“未聞之音”,原因是這個項目的主要目的是將一個特殊的 文化團體或群體凸現出來,傳統來說這個群體在英國的舞臺表演方面人 數極少,而且是這些團體成員所著的戲劇更是少之又少。因此,關於“我 們是誰”和“我們現在如何生活” ,這些人對此表達的聲音、觀點、想法、 意見和分析我們往往 “聽不到”,他們缺乏一個表達自己觀點的平臺。

and analysis of who we are and how we live now, goes ‘unheard’.

迄今為止,我們曾與三個不同的群組合作過——年輕的穆斯林作家,中

To date we have worked with three distinct groupings of people

我們要求每一組新興的作家都要提交一部已經完成、即將登臺表演的簡

They are denied a platform from which to express their views.

– young Muslim writers, Chinese and East Asian writers and playwrights of Somali descent.

Each new cohort of writers is asked to submit a short piece of writing that has been written and to be performed on a stage. We then

國和東亞作家以及索馬里裔劇作家。

短作品。 然後,我們對每一部作品的戲劇風格、活力特點、想象能力以及通過對 話和行為表現故事的能力進行評估。

assess each piece in terms of its theatricality, vitality, imagination and

PI: 在與沒有經驗的劇作家合作方面,皇家宮廷劇院的慣例是什麼?這些

PI: What is Royal Court’s ritual in terms of working with the

OA: 每個小組都由一位專業的劇作家領導,並與劇院的一名副導演合作。

Court and what’s the schedule of this 11-week scheme?

每個星期各小組都會集中討論劇本創作工藝的不同方面,包括:從哪開

OA: A professional playwright in conjunction leads each group

結合參觀皇家宮廷劇院現正上演的戲劇,和各位作家、導演和設計師的

Each week focuses on a different aspect of the craft of playwriting

PI: 你覺得是什麼讓這些聽不到的聲音有別於英國甚至全世界的其他新

ability to tell a story through dialogue and behaviour.

inexperienced playwrights? Do they get trainings from Royal

with one of the Royal Court’s associate directors.

including: where and how to begin, dramatic action, genre,

structure, metaphor and storytelling – this is combined with trips to see the current shows at the Royal Court and input from guest creatives – writers, directors and designers.

PI: What do you think is unique that makes “Unheard Voices” different from the other new writing schemes both in the UK and around the world?

OA: It’s the first writers’ programme to target specific groups and to only consist of members exclusive to that group.

劇作家有沒有接受劇院的培訓?這個為期11週的行程安排又是怎樣的呢?

始、如何開始、戲劇動作、體裁、結構、隱喻以及故事的敘述——通過 創意。

寫作計劃、使其彰顯出獨特性?

OA: 這是第一次以特定群體為目標的作家寫作計劃,並且所有成員都是 來自這個群體。


PI: Will Royal Court stages the works from “Unheard Voices”? Or is there any successful case that the script developed

throughout this scheme has been staged somewhere else? OA: The Unheard Voices initiative has to date resulted in

productions here at the Royal Court for a number of award-

winning writers, including Alia Bano, Rachel de-lahay, and Amber Hsu. Elsewhere writers have enjoyed success and had their plays produced by companies such as Soho Theatre; Oval House Theatre; Kali Theatre and Yellow Earth.

PI: Do you think learning different communities’ culture also gives inspiration to the general programming process in

PI: 皇家宮廷劇院會上演這些由“未聞之音”所創作的表演嗎?或者說在其 他地方這個團體整體創作的劇本已經上演,有沒有這種成功的案例?

OA: 到目前為止,“未聞之音”在皇家宮廷劇院所創作的作品大都來自獲獎 作家,包括艾麗婭·巴諾(Alia Bano)、 瑞秋·德拉艾(Rachel de-lahay) 和徐愛博(Amber Hsu)。其他地方的作家也已取得一些成功,他們所在 的公司如蘇活劇院(Soho Theatre)、橢圓劇院(Oval House Theatre)、 卡利劇院(Kali Theatre)和黃土地大劇院(Yellow Earth)也創作出了許 多戲劇。 PI: 你認為學習不同團體的文化會對皇家宮廷劇院的創作過程帶來一些 啟示嗎?

Royal Court?

OA: 當然了。對於21世紀什麼是劇院、劇院應該是什麼樣的發展形勢等

OA: Most definitely. By diversifying the artists we work with it

新思想新觀念。

introduces the whole organization to a whole range of influence PI: What is the biggest challenge of “Unheard Voices”? What’s

問題,這些多元化藝術家的融入對整個組織產生了全方位的影響,帶來了

IP: “未聞之音”面臨的最大挑戰是什麼? 其未來計劃是什麼?

the future plan of this scheme?

OA: 資金問題。每次我們推出一個新的演出項目,社會反響總是相當積

OA: Funding. Every time we launch a new programme the

們繼續其他表演,或再表演一次,總之就是讓我們表演更多節目——欲

response from the community is overwhelming. We are always

over-subscribed and there is always a call from the communities to continue, and/or repeat the exercise and basically do more –

the appetite is insatiable. Which of course, makes the demand on resources considerable and the need to remain vigilant, creative and imaginative in terms of finding the necessary resources, increasingly pressing.

In terms of the future, we just want to keep going, continue working with the communities we have established a bond

and relationship with and consolidate all of that work – whilst simultaneously targeting new groups and uncovering and

empowering more Unheard Voices – to create a universal choir of entitlement.

DEBBIE CHAZEN (LELA), PAUL BHATTACHARJEE (PRESIDENT) PHOTO BY HELEN MURRAY

極。我們的演出訂單幾乎每次都爆滿,經常有來自各個社區的電話讓我 望總是無法滿足的。當然,這就需求相當大的資源,同時在尋找必要資源 的時候就要保持警覺、創造性和想象力,這也造成經費日益緊迫。


THEATRE503: FINDING THE PLACE YOU BELONG TO

503劇場:找尋屬於你的位置

INTERVIEWED AND TRANSLATED BY 採訪及翻譯 x CHENG YING 程瑩 & JOANNA XIAOXING DONG 董一燃 IMAGE COURTESY OF 圖片提供 x THEATRE503 503劇場

PHOTOGRAPHED BY HARRY LIU


ABOUT THEATRE503 Theatre503 is one of the distinguished theatres specialized

in new writing. The theatre is dedicated to the promotion of

works with groundbreaking significance. The year 2012 marks the thirtieth anniversary of Theatre503, originally named The Latchmere Theatre. For decades since it’s establishment,

Theatre503 has attempted to use innovative, sometimes even thrilling, visual stimulation to provoke audiences into thinking about their own places in the world.

“We opened the door, discovering new voices where nobody has ventured before.” Theatre503 has always passionately believed

the ability of next generation of British playwrights, in diversifying modes of play writing, in exploring a wider range of topics and ideas, in reflecting a more diverse mode of nation and society, and in looking into the world in which we live in a new light.

503劇院簡述 503劇場是倫敦以新寫作為專長的代表性劇院之一,定位于推崇具有突破 性意義的作品,2012年是503劇場(原名為The Latchmere Theatre)成 立30周年。在成立的幾十年裡,他們試圖用新鮮甚至驚悚的視覺體驗來 激勵觀眾思索自己在世界上的位置。 “我們打開門,在從未有人涉獵之處尋找新的聲音。”503劇場始終熱情地 相信,下一代的英國劇作家能夠將戲劇寫作的方式更加多樣化,涉足更加 寬廣的領域 和視 野,反映 比 以前更 加多元的民族和社會 模式,以新的眼 光,看待我們生活在其中的世界。

Tips

小貼示

Theatre503 T h e L a tch mer e, Ba tter sea P a r k R oa d L on d on S W 1 1 3 BW | C a pa city:6 3 sea ts www.th ea tr e5 0 3 .com


NEW WRITING POLICY AT THEATRE503 Unlike many other print organizations and theatres that set a

fixed deadline for the submission of plays, Theatre503 operates

For the family, helping young and talented people to have

the opportunity to fulfill their potential in life is the best way

to remember the lost son. The award opens for new round of applications in autumn 2013.

a year-round open submissions policy. Annually, about 2,000

SECOND LOOK

is limited, the theatre insists on carefully reading and examining

Theatre503 recently launched Second Look. It offers a chance

Literary Manager Steve Harper, Graeme Thompson and a panel of

emphasis, by writers from the 80s and 90s. The activity is held twice

unsolicited scripts are received. While the funding for auditing

every play submitted, and providing feedback in a timely manner. volunteer readers lead the program. The insistence on the policy stems from their dedication to providing the best opportunities possible for first-time writers.

The programs of the theatre foundation include “Rapid Write”, “The Lab”, “LabFest” and so on. In the past six years, these

programs have discovered more than a thousand new writers.

Theatre503 also encouraged these new writers to come back to 503 with their second, or even third work, to help the reinforce their reputation.

to review groundbreaking plays that were not given enough

every year. Anyone over the age of 35, who has their favourite

theatre memory from the Bush, the Traverse, the Abbey, and is

wondering why it was never revisited, can make suggestions to the theatre. Reviving a play that is old enough to merit revisiting but too young to be called a classic carries a certain risk. Theatre503,

however, wants to establish the future by igniting the past through this program. Jack Bradley, ex-Literary Manager of The National Theatre, curates the programme.

Also, in order to encourage new writers, Theatre503 has

PLAYWRIGHT PRESENTS

emerging playwrights are selected for collaboration with the

Theatre503 also launched Playwright Presents, another program

from the inception of initial draft to the completion of the first

called forth to promote the future generation of playwrights and

developed the “503 Five” program. More specifically, five

resident playwrights, lasting for eighteen months and spanning work. During the collaboration, the resident playwrights provide

newcomers with insights and help in all aspects, and they would

finish at least one work each. In addition, the resident writers also aid the theatre in achieving more avant-garde and ambitious

theatrical goals. Currently, the five resident writers included in the program are Brad Birch, Jon Brittain, Gemma Langford, Charlene James and Chris Urch.

503 NEW WRITING AWARD The 503 New Writing Award is a biennial national prize that

honours an emerging writer to present their excellent piece of work on stage.

The Richard Carne Trust generously funds the award. Philip

and Chris Carne established the award in honour of their son,

Richard Carne, a brilliant young man who died tragically at 18.

closely associated with new writing. Many esteemed writers are endorse their works with the potential of becoming the star of the future. An established playwright will present a rehearsed

reading of a new play by a young, undiscovered playwright. It will be curated by one of 503’s Associate Director, Tom Littler. This

is a demonstration of Theatre503’s position in the new writing

movement, that the theatre uses plays to document the tiny bits of changes of a modern world.

503劇場的新寫作政策 與其他出版機構和劇院不同,503劇場實行全年開放的劇本提交政策。劇 場一年約收到2000個劇本,盡管沒有足夠的資金支持,劇場仍然堅持仔 細審閱每一個提交的劇本並盡快給予反饋。除了兩位文學總監史蒂夫·哈 珀(Steve Harper)和格雷姆·湯普森(Graeme Thompson)外,其他的 審閱編輯都是自發的誌願者。而劇場之所以堅持這項事業,與他們“致力 於為第一次寫作的作者們提供最佳機遇”的宗旨密不可分。 劇院的基金會計劃包括“速寫(Rapid Write)”、“實驗室(The Lab)”、“實驗節


(LabFest)”等,近六年來,這些項目共發掘了1000余位新作家。劇院還鼓勵 新作家們將他們的第二部、第三部作品帶回503,幫助他們鞏固寫作聲譽。 此外,為鼓勵新人創作,503劇場常設五位“駐場作家”(503

Five)。這個

項目選擇5位戲劇寫作的新秀,從提交初稿到第一部作品面世,與他們進 行為期18個月的合作。合作期間,除為他們提供全方位的指導和幫助,至 少推出他們的一部作品,這些作家們也幫助劇院實現更加先鋒和現代的 戲劇願景。現任的五位作家為布萊德·伯奇、約翰·布列顛、婕瑪·蘭弗、查 琳·詹姆⼠和克⾥斯·爾奇。

503新寫作獎 503新寫作獎 是一 個雙年獎,這個獎項 支持新作家們將他們的優秀 作品 搬上舞臺。該獎項來自理查德·卡恩信托的慷慨資助。菲利普·卡恩和克瑞 斯·卡恩夫 婦為紀念他們18歲 就英年 早逝的兒子理查 德·卡恩資助了這個 獎項。對於他們來說,幫助年輕有才華的戲劇人來發揮自己的潛力,是紀 念他們兒子的最好方式。該獎項將在2013年秋季開始新一屆的申請。

第二眼 503劇場最近發起了一項被命名為“第二眼”的戲劇活動,重新回顧上世紀 8 0和9 0年代 具有突 破性但 是 並 未引起 足夠重視的戲 劇作品 。這項 活動 一年舉辦兩次,如果你年滿35歲,並曾在布什劇院(Bush),特拉沃斯劇 院(Traverse),艾比劇院(Abbey)有過關於某部戲美好的體驗,并一直 希望這部戲 能夠重新被搬上戲 劇舞臺,你就可以給劇院提 供建議 。重新 發掘那些有價值卻還未能真正成為“經典”的作品是一次具有冒險性的嘗 試,劇院希望能夠通 過這項活動回顧過去並思索未來。這項活動由國家 劇院前任文學總監傑克·布拉德利(Jack Bradley)負責。

劇作家出品 劇院發起的與“新寫作”密切相關的另一項活動叫做“劇作家出品”,號召當下 知名的劇作家推薦他們認為具有“未來之星”潛質的作品。每位知名劇作家 將和一位新興作家合作,指導年輕作家們排練他們的新作品。這項活動由 劇院副總監湯姆·利特勒(Tom Littler)負責,體現了503劇場作為“新寫作” 運動推動者的定位——用戲劇來紀錄現代世界的點滴變化。

PHOTOGRAPHED BY HARRY LIU


WE ARE ALWAYS THERE AN INTERVIEW WITH STEVE HARPER FROM THEATRE503

我們一直在這裡 專訪503劇場文學總監 史蒂夫·哈珀


Theatre503 is an interesting place, said the people who have been there. In both last year and this year, we had two interviews about Theatre503. No matter from the first meeting with Tim Roseman, former artistic director, or recent visit with Steve Harper, Literary Manager, the impression of Theatre503 is always simple, open and honest, which is its unique dramatic way to approach life and world themselves. PI: PERFORMANCE INFINITY / SH: STEVE HARPER PI: Please firstly give us an introduction of Theatre503 and the New Writing Project?

SH: Theatre503 is a very traditional fringe theatre in that, it is a 63-seat theatre above a pub. We specialize in new writing,

PI: 先為我們簡單介紹一下503劇場和新寫作計劃吧? SH: 503劇場是一個傳統的邊緣劇場,它一共有63個座位,就在一間酒吧 的樓上。新寫作項目是我們的強項,同時新的“第二眼”項目也是我們關 注上世紀80、90年代那些被遺忘的經典作品的復興計劃。我們有推廣新 寫作文化的傳統,同時一直保持與作家的聯系。目前還沒有固定的核心 資金支持。不過503有新寫作領域較為重要的獎項,最佳新劇獎(Olivier Award),也使得503成為重要的新寫作場域。我們一年有8到9部作品, 其中3部獨立制作,剩下的與其他團體或公司合作。對我而言,新寫作文化 的最特別之處,是支持剛剛起步的作家,陪伴他們從第一部作品到第二 部,直到更偉大的作品誕生。 PI: 503劇場是如何與作家合作的,慣常方式是什麼呢? SH: 503劇場合作的作家大致分為兩類。 第一類就是我們所說的“503五作家”。他們常駐劇場18個月,在劇場裡寫 作、探討、舉辦工作坊。目前劇場正在上演的《父輩的土地(Land of Our Fathers)》就出自其中一位作家。這也是503劇場與作家保持一種持續的 親密關系的表現。 除此之外,劇場與完全意義上的新作家進行合作。收到提交的劇本,閱讀 劇本並給予反饋。我們會邀請一些作家來劇場見面,請他們來看我們一 場主要演出,然後圍繞該劇來創作一個10分鐘的小短劇(這個項目叫做 “速寫回應”)。之後會單獨找一天,選擇我們感興趣的作品進行演出。

although we also now have a strand entitled “Second Look”,

只要新的作家們有才能,對戲劇感興趣,我們願意提供各種方式的支持,

1980/90s. We have a history of producing debut plays by new

作家之前的寫作經驗;而是努力觸及有才華的寫作新手們,努力為他們提

which consists of first time revivals of forgotten classics of the playwrights, but work to sustain relationships with writers

as they move forward in their careers. We are a non-funded

theatre organization in terms of core funding, but have been

並保持這種關系。我們的大門對每個想要寫作劇本的人敞開,並不在乎 供可能的資源。目前主秀的劇作家克里斯·阿奇(Chris Urch)就是從2011 年的“速寫回應”中脫穎而出的作家。

nominated for and won numerous awards including the Olivier Award for Best New Play (probably the biggest new writing

award) one year, which helped established our reputation in

the industry for producing high quality plays and productions. We produce 8 to 9 shows a year, 3 of which we produce solely as 503, with the rest being co-productions with incoming companies and individuals.

PI: In which ways you work with writers and help new writers to mature their ideas?

SH: We work with writers of all levels. The production we have on at the moment Land of Our

Fathers is the outcome of a scheme we run called “503Five”.

That is an 18-month residency with Theatre503 during which

the chosen 5 emerging playwrights will be offered mentorship,

503劇場 是 個 很 有意 思的地方,去 過的朋 友 總 是如是說 。去年 和今年,我們分別對 503劇場 進行了兩次 采訪。不管是 第一次 與前藝術總監蒂姆·羅斯曼(Tim Roseman) 見面,還 是 最 近 對 文學 總 監 史蒂 夫 · 哈 珀 (Steve Harper)的采訪,空間不大的503劇 場 和 僅 有 不 到 十人 的 團 隊 給 我 們 的 印 象 是:簡單、開放、坦誠 。可簡單並不代表無 趣,而是以503特有的戲劇性,接近生活和 世界本身。


advice and support, culminating in a first draft submission of a

brand new play with at least one of those plays being taken to full production. With those writers we have a very intense ongoing relationships.

Then we have the writers of all the main shows. We work with

many of those writers dramaturgically before, and once the play is confirmed.

What sets 503 apart are our pioneering schemes and initiatives wherein we work with completely new writers in an ongoing

way. We receive unsolicited scripts (scripts from writers that we have no knowledge of). We do get back to all of those writers: to some we offer feedback; others we invite in for a meeting or offer them an opportunity of writing or developing a play

sure of what kind of play they are about to watch, and we are

Rapid Write Response is an event in which we invite writers to

and again.

with us. One program we have is called “Rapid Write Response”. create a 10-minute short play, inspired by the main show. The

certainly not delivering the same play or the same style again

nature of the response is left entirely to the writers’ imagination

PI: What kind of audiences you will see usually in the theatre?

means there are a number of opportunities for our new writers

come back again and again to shows but we also have a bigger

and we choose the best responses to be performed. So, that

to meet with actors, directors and have feedback from 503. It’s open at ground level to anybody no matter how limited your

experience is. If we feel that you have the talent and an interest in getting involved, we will do our best in one way or another to give you support. The author of our current show Land of

SH: It’s a complete mixture. We have a regular local audience who audience community because of our established media profile

and our excellent reputation for high standard productions. We are known as an exciting theatre to go to if you are looking for

high quality productions of contemporary, quality new writing.

Our Fathers - Chris Urch - first came to our attention through a

PI: It must be difficult run a theatre without core funding. What

PI: How many scripts do you read per year?

SH: Indeed, we have no regular funding. We do receive some

SH: The theatre receives around about 1000 to 1500 unsolicited

certainly not every project. We also look towards a number of trusts

Rapid Write back in 2011.

scripts a year. We also receive scripts from the people we know,

for instance, people who work in the space. We also receive many

scripts from America, because of the success of The Mountain Top some years ago, so our reach extends far beyond just our little theatre in Battersea.

are the basic ways in which you are looking for financial support?

funding from the Arts Council for particular projects, but that’s

and foundations, as well as private sponsorships from individuals interested in supporting 503 or a particular production, and box

office takings are often fed back into future shows. We simply have to explore all avenues of potential revenue and be as creative as possible in our approach to this situation.

PI: This question is about the style of Theatre503. As audience,

PI: Many of our Chinese audiences have never been to London

us a “different” show from the previous shows we have seen

(for you) at 503?

sometimes we feel each time we walk into 503, you will provide here. While in some other theatres, we feel their productions

or watched a show here. Can you describe what’s a normal day

are, to some extent, quite similar. Can we say so?

SH: Well, I don’t know if there’s a normal day at 503 (laugh). For

SH: Yes, I would say, hopefully every time you come to 503,

senior members of the team to talk about the show we have on

what you see is a good show with a high level of quality writing. There is not a “503Style” play. We have produced musicals,

historical plays, a wide range of subjects…we feel that for the audience, it’s really exciting for them to come back not quite

me personally, it would involve maybe a meeting with other

and the upcoming shows (our weekly programming meeting.) Then I may have a literary meeting, where I’ll have a discussion

with the artistic director and other members of the literary team about new plays and projects that I have been looking at and


suggesting those that we should pursue. Then potentially there

PI: 劇場每年收到多少個個劇本?

general introductory meetings or ones related to a specific play.

SH: 每年大概收到1000-1500 個劇本。另外一部分作品來自我們熟悉的

team member I am also often asked to feed into.

品,我們還時常收到一些來自英國以外的國家,例如美國的作品。

PI: Any suggestions for the new writers?

PI: 我們總能感覺到503多變的藝術風格,好像每次來503看戲都有不同

SH: I think the most important thing is to not be scared of the

樣的嗎?

will be a few meetings with individual writers, which could be

Finally there may be other building related issues that as a core

writing. Not to be too self-critical too early; to write something

劇作家。因為劇場前些年的《山巔(Mountain Top)》這樣較為出名的作

的感覺。而不像其他一些劇院,具有較為統一的、可以預見的風格。是這

rather than think about writing something. Write about the

SH: 的確。我們沒有單一的風格。我們的作品類型涉及較廣,從音樂劇到

write them in. Be brave, and be confident about the quality

多種不同的體驗。對作家來說,更是要引導他們自己的興趣,寫出他們真

subject or the issues that interest you in the form you wish to of your writing. Everybody starts somewhere, and everybody

develops in different ways and at different rates, so be prepared

歷史劇都有。我們不想設定一個特定的風格。因為對觀眾來說,一定想要 正感興趣的話題。我們不會重復地為觀眾呈現同樣風格的作品。

to be thinking in the long term, not necessarily just about the

PI: 劇場一般觀眾的組成是怎樣的?

write. Be open to engaging with theatres in many different ways.

SH: 有本地的社區觀眾,他們也往往會常回來看戲。再就是我們劇場的聲譽

play you have written but the many more plays you intend to

Agreed interview time passed quickly. Steve chatted with us for

不錯,媒體的關注度也較高,能夠吸引更廣泛的戲劇群體。當然,可能每個 作品不同的風格,也會吸引不同的觀眾。總體而言,是較為混合型的觀眾。

ten more minutes about the opportunity of cooperation between

PI: 503劇場的資金來源是什麼呢?好像資金問題一直都是相對困難的方面。

said “I’m sorry that I need to pick up my children back to home

SH: 的確我們沒有一個常規的核心資金支持。某些特別的項目能夠收到

at his smile, I whispered in my heart: what is dramatic in the end?

持劇場或者劇場某個作品的觀眾。我們的票房收入也會再度回歸到作品

the UK and China, then he looked at his watch and smiled to us, from school now, and you are always welcome to 503.” Looking In Theatre503, dramatic can be daily fragments from ordinary people, and it can also be a significant event recorded in the

history. Next time, when we come into 63-seats Theatre503 built above a bar, what can we encounter? I cannot help expecting unforeseeable unexpectedness.

英國藝術委員會(Arts Council)的支持。我們有一些基金,來自願意支 中。確實,我們當下的確需要各種渠道來吸引資金。 PI: 很多中國觀眾目前都沒有來倫敦看過戲。能不能給大家介紹一 下,503劇場日常的一天。

SH: 我不知道我們有沒有“日常”(normal)的一天(笑)。我們的一天中, 可能會安排與管理團隊見面,了解現在的演出和討論未來一段時間的演 出計劃。再就是與新作家的會談。他們有時候會過來打個招呼熟悉劇院, 或者來商討為某個作品合作的事情。而作為文學方面的負責人,我要閱讀 收到的劇本,與藝術總監和文學團隊的人交換意見。此外,我還可能去趟 票房,了解收入情況等等。因為經營一家劇院,需要照顧這些方方面面。 PI: 對剛剛起步的新作家們,有什麼樣的建議? SH: 最重要的是,不要被寫作這件事嚇到。初期不要對自己太嚴苛。開始 寫而不要總是想著開始寫。以你想要的方式寫你感興趣的話題。勇敢一 些,自信一些,因為每個人都有起點,然後漸漸寫得更好。所以,現在開始 寫,發出去,設法得到回饋,然後繼續!

PORTRAIT OF STEVE HARPER - THEATRE503


BUSH THEATRE: CRADLE OF NEWCOMERS AND REENHOUSE OF STORIES

布什劇場:新人的搖籃,故事的溫室

INTERVIEWED AND TRANSLATED BY 採訪及翻譯 x CHENG YING 程瑩 & JOANNA XIAOXING DONG 董一燃 IMAGE COURTESY OF 圖片提供 x BUSH THEATRE 布什劇場


Speaking of Bush Theatre, its famous

neighbors are the first thing that comes to

mind. Take British Broadcasting Corporation.

Its acronym BBC definitely rings a bell, even if you are a newcomer. If the term shopaholic defines you, the local friends must have recommended Westfield, the massive

shopping centre located on west side of

London. Bush Theatre is in the same zone as BBC’s London Headquarter and Westfield,

within just 10 minutes of walking distance

from each of them. However, even if you have been here many times, or even live here, you may have hardly recognized Bush Theatre at the street corner. Hidden behind the trivial green-lettered signboard, such a lavish

theatre may be the last thing people may expect to discover.

提起布什劇場,我總愛先提起它著名的鄰居們。即使 初來乍到,你也一定對BBC這個名字耳熟能詳。如果 你熱愛逛街,那當地的朋友肯定會推薦這個位於倫 敦西邊的西田大型購物中心(WESTFIELD)。布什劇 場就和BBC倫敦總部以及西田百貨同處一區,距兩者 各約10分鐘腳程。然而,你即使從此地經過多次,甚 至就住在附近,也許也很少會註意到位於街角的布什 劇場。誰會想到那個不起眼的綠色字母招牌下竟會 藏著這樣一個驚艷的劇場呢?

PHOTOGRAPHED BY HARRY LIU


ABOUT BUSH THEATRE The origination of the name is a simple story. The Bush Theatre

CHARACTERISTICS OF THEATRE

is based in Shepherd’s Bush, in west London, and the name is

Bush Theatre is never short of unreserved recommendations and

upstairs in a local public activity centre. It used to be the dance

in 1972, Bush Theatre has established its significance as a theatre

simply taken from its location. The former Bush was situated

studio for Lionel Blair, English actor. Then, the bar downstair was expropriated, but Bush Theatre was retained. Climbing up the

one-meter-wide stairs, you will see the ticketing desk, and located up one more level is the actual performance stage. With its

popularity, the theatre only managed to squeeze eighty seats in the venue. In 2011, Bush Theatre was relocated to old Passmore

Edwards Public Library, about 200 meters away from the original site. In celebration of the move, Bush Theatre launched the

event “Sixty Six Books”, celebrating the 400th anniversary of the publication of King James Bible. Sixty-six writers were involved in the project, many of whom share an indissoluble bond with

Bush. Similar to many other theatres in London, Bush shares its

concern in the education and training of emerging young artists. The unique “Bushfutures” projects provide a variety of training opportunities for an array of different organizations. Tips

小貼示

praises from London theatricians and critics. Since its inception

for new writing, both within Britain and around the globe. Works that originated here have received more than a hundred awards and honors. The majority of plays represented in Bush Theatre

is produced by their own team, and when conditions allow, the

plays are toured around the country. Bush has its own professional literature team, dedicated to the discovery of excellent scripts

from both professional and amateur playwrights. On average, the team receive about 1,500 scripts annually, and they strive to read and reply to all of them. With solid foundation of good scripts,

the final representations are highly stylized with a distinct Bush signature. The word of mouths spreads, but in two directions.

More specifically, the highly stylized nature is an assurance of their consistent quality, leading to a stable base of audiences. However,

some colleagues critically see it as a disincentive for distinguishing characteristics, or even an incentive for playwrights to follow the

preferences of the theatre. However the critical views are, Bush is deeply concerned with plays based on real life, adding a human

touch that makes its plays more accessible to the general public. Bush Theatre | Capacity : 81 seats 7 Ux b ri d g e Road London W12 8LJ Ow n e d b y : Th e Al t er native Theatr e Company w w w.b us h t h e at re .co. uk

Amidst many small theatres in London that favour dark and

obscure themes, Bush is like a breeze of refreshment. In English, the word “Bush” can also suggest shrub. Among the many theatres in London, the name Bush suggests its humbleness. Diminutive, yet evergreen. Maybe that is how the theatre sees itself.

布什劇場簡述

劇場特色

布什劇場的名字來歷很簡單,因為地處倫敦西部 “Shepherd’s Bush” 地

在倫敦 戲 劇人對布什劇場的評價裡,充滿著絲毫不吝嗇的贊美。始建於

區,所以就地得名。從前的布什坐落在當地一個公共活動中心的樓上,曾

1972年的布什劇場,如今是英國,乃至世界重要的新寫作劇場之一。由它

經是英國演員萊昂內爾·布萊爾(Lionel Blair)的舞蹈工作室。後來,樓下

制作的作品,獲獎已經超過三位數。布什主要上演自己制作的作品,同時

被酒吧征用,而布什劇場卻保留了下來。從樓下一米來寬的小門上樓梯,

也在條 件允許的情況下在英國境內巡演其作品。布什擁有一支專業的文

來到票務臺,然後再上一層才是演出場地。即使布什劇場深受人們喜愛,

學團隊,全力挖掘各種背景的專業 及非 專業編劇的優 秀 作品,每年平均

當時的劇場也最多只能安排80個座位。2011年,布什劇場終於搬到了距離

收到1500部新人作品,且盡力做到全部閱讀並回復。在一 個好劇本的基

原址大約200米遠的舊帕斯莫爾·愛德華公共圖書館(Passmore Edwards

礎上,最終呈現出具有強烈“布什色彩”的作品。這一點上,讓布什擁有了

Public Library)。為了慶祝這次搬家,布什開展了主題為英王欽定版聖經

一種很矛盾的口碑,一方面,這種風格讓布什擁有了很有保障的質量,觀

(King James Bible)出版400周年慶典的展演活動“六十六本書(Sixty

眾源也很穩定;另一方面,一些同行也詬病其扼殺了編劇特色,或者是有

Six Books)”,六十六位作家參與了這個項目,其中很多人都是和布什有著

意誘導編劇投 其 所好。可是無論怎樣,布什對現 實生活題材作品的關注

不解之緣。與倫敦很多劇場相似,布什也十分關注教育和青年藝術家的培

讓它的作品十 分有人情味,也 較為被 大 眾接受。在倫敦偏黑暗晦澀 風 格

養。劇場獨創的“布什未來(Bushfutures)”項目為不同機構提供各種機會

的小劇場中無疑是一屢清新。“Bush”在英語中為“灌木”的意思,在林立的

的培訓。

倫敦劇場裏,布什劇場的名字正體現著它的一種低調。雖然矮小,但是常 綠,也許正是布什給自己的定位吧。


INSIDE OF BUSH THEATRE PHOTOGRAPHED BY PHILIP VILLE


LITERARY SPECIALITIES

progress of these candidate writers. The Initiative expands the

As mentioned before, Bush is a new writing theatre that

There are three functions of BushGreen. First of all, it accepts

Bush is Catherine Johnson, best known for her script for the

green just as its name suggests. All plays are uploaded to the

emphasizes scripts. Probably the most famous playwrights from musical Mamma Mia!. Many active British playwrights have an intertwined relationship with Bush Theatre.

The Masterclass, which focus on collaborated training, and the

BushGreen platform, are the two most famous literature projects of Bush Theatre.

The Bush/Kudos Initiative is a creative partnership between

Bush Theatre and Kudos Production Company. The Initiative accepts applications between March to June each year, and

around ten writers participate the three-day masterclasses held in September, led by some of the most talented contemporary

leading lights in the industry. Follow up activities will monitor the

career path for emerging playwrights and screenwriters.

play scripts, running on an online paperless platform, going

platform electronically for further reading. Secondly, it functions as a community of writers. Through the platform, writers

can read others’ works, and get in touch with fellow writers

and practitioners in the field. Thirdly, it reports on the recent progresses of other writing theatres.

Bush Theatre has specific and concrete requirements for the

selection of plays. For instance, it only accepts original writings, and excludes adaptations from other works. It only accepts full plays designed for an hour feature, or even longer duration. It

prefers plays based on contemporary stories. The list goes on. Currently, Bush Theatre also accepts incomplete drafts, and

encourage creative thinking for writers, in term of structure,


文學特色 如前文 提 到,布什是一家重視 劇本的新寫作劇場。從布什出名的劇作家 裡最出名的也許就是《媽媽咪呀!(Mamma Mia!)》的作者卡洛琳·傑森 (Catherine Johnson)。另外,很多活躍於英國文壇的劇作家也和這裏 有著千絲萬縷的聯系。 布什 最具特 色的文學項目有兩個:一 個是聯合培養的大師 班,一 個是布 什綠色網絡平台(BushGreen platform)。 布什劇場和榮譽電影製作公司(Kudos Production Company)聯合創 新開展的作家培養計劃為英國的劇場和電視作品創作人士拓寬了職業道 路。具體的活動包括:大約十名作家參與每年九月為期三天由當代最具才 華的行業翹楚引導的大師班,之後相應的跟蹤活動會持續支持這十名作 家的進展。該活動從每年3月到6月接受申請。 布什綠色網絡 平台的功能有三個,第一是接受劇作作品。和它的名字一 樣,這個 網絡的運營也是 綠 色無紙 化的,所有劇本都需要發 送電子版 到 這個平臺上接受下一步的閱讀。第二,是作家聯盟,通過這個論壇,你可 能閱讀他人作品,並認識更多其它作家和行業從業人士等。第三,就是��� 受其它文學劇場的動態周報。 布什劇場對於作品的選擇有著明確和詳細的要求。比如必須 是新寫作, 不接受改編作品;比如只接受60 分鐘以上的全本;傾向講述當今故事的 劇本等等。同時布什也接受沒有正式完成的草本,並且鼓勵作者在結構, 形式和劇場環境要求上的創新想法。作品傳到平臺上後會經過內部文學 隊伍的閱讀,這個階段大約為8周,之後,作者會接到進一步發展或者婉 拒的通知。在進一步發展的階段,導演等創作隊伍的成員會閱讀劇本,並

forms, and theatre environment requirements. Works are

uploaded to the platform, read by the internal literature team.

This process taking about eight weeks and after which, the writer receives either notification of further development, or polite

rejection. In the next stage, the creative team members, including the director, will read the script and communicate with the

writer about potential modes of development. Even if the script does not fit the requirement for Bush Theatre, the team will give advices on the script and recommend it to other theatres.

There is no temporal restrictions on the acceptance of plays for Bush. The theatre receives works year round.

INSIDE OF BUSH THEATRE PHOTOGRAPHED BY PHILIP VILLE

且和作 者溝通可能 地發展 形式 。即使 劇目不合 適布什的條 件,也會被提 以忠建,推薦到其他劇場等。 布什劇本的接收沒有時間限制,全年不斷。


ARTIST DIRECTOR MADANI YOUNIS

seating configuration, and that makes you wonder if this is the

Madani Younis is the current Artistic Director of Bush Theatre.

theatrical style of Bush Theatre.

He was the Artistic Director of Freedom Studios in Bradford, Yorkshire. His works tend to be site-specific. He has also

first time that you visit the venue. Probably this is the allure of the theatre, that it allows the conversion of the same venue

into different spaces. The rough brick walls kept the original

appearance of the building, and at the same time highlight the

worked nationally and internationally as theatre director, writer

THEATRE MENU

collaborated with the Bush Theatre through workshops in 2010.

Theatre Menu is another worth-mentioning feature of Bush

was screened at the Cannes Film Festival. He is also the winner of

but an ordinary coffee shop that opens business every morning,

and practitioner. His former employer, Freedom Studios, has

Before working in theatres, he was trained in films, and his film 2006 Decibel Award at the South Bank Awards Show.

Theatre. When no plays are scheduled, the theatre is nothing

not so much different from the usual coffee shops. However, the distinction arises just before the show starts every night. Theatre

SOURCES OF FUNDING

Menu is curated in accordance with each specific show. If there

Bush Theatre receives its majority of funding through three

London Pakistani Muslims, the menu will include typical Pakistani

sources, namely Arts Council of England, Hammersmith

and Fulham Council, and Jerwood Charitable Foundation.

Contributions from audiences and organizations also constitute a considerable portion of funding.

INTERIOR SPACE. As previously mentioned, the current site of Bush Theatre used to be a library. The leisure space of the theatre has a strong

is a new play every month, then the menu also changes every month. For instance, if the current play portrays the story of

dishes such as naan and different flavors of curries. The design

of the Bush Menu is also interesting. The pages are marked not

in numbers, but in terms of ACT ONE for the dish menu and ACT TWO for the wine list and so on, a humorous way to emphasize its theatrical features.

藝術總監⾺達尼·尤尼斯

sense of “Book Nature”. When you walk into the “Library” door,

布什現任藝術總監馬達尼·尤尼斯(Madani

collection. However, in order to highlight the casual atmosphere

地特殊性作品,他本人是一名全國性和國際性的戲劇導演、作家和劇場從

the left-hand side has completely preserved the library’s book of the theatre, this area is designed into a coffee store, with

wooden sofa, cotton cushions and non-uniform patterns. If you arrive early for a play, you can simply sit down comfortably and

read a chapter of some interesting stories. All plays produced by Bush can be found here, and some copies are even for sale. To

Younis)曾擔任過英國布拉

德福德自由工作室(Freedom Studios)的藝術總監。他的作品傾向於場 業者。他曾經的工作單位和布什劇場在2010年有過成 功的項目合作。在 從事戲劇工作前,馬達尼接受的是電影方面的教育培訓。他的作品曾在戛 納電影節展播。馬達尼也是2006年南岸分貝獎(Decibel Award at the South Bank Awards show )的得主。

Audiences can often find some rather less polished homemade

資金來源

door is the box office. Given that name, it has no real box, and

布 什 劇 場 的 資 金 主 要 來 源 於三個 途 徑 。第一 是 英 国 藝 術 委 員 会( A r t s

flyers for the programs, and copies of play program and scripts

還有傑伍德獨立慈善基金會(Jerwood Charitable Foundation)。一些

the right of the gate is the bar area, with same wooden structure. desserts displayed on the counter. Located directly opposite the neither is it a real office. Rather, it is just an office desk, with free for sale. All you need to do is to give your name, and the staff will

friendly hand you the printed tickets. To the right of the desk, you will inadvertently step into a theatrical stage. The open space is

surrounded by three rows of audience seats that are retractable in order to accommodate a variety of spatial needs for different productions. Almost every play in Bush has slightly different

Council of England),當地區政府(Hammersmith & Fulham council) 觀眾和組織的捐贈也是一筆可觀的資金。

INSIDE OF BUSH THEATRE PHOTOGRAPHED BY PHILIP VILLE


劇場內部空間 由於前文提到,布什劇場目前的地址為前圖書館,所以在休閑空間上有非 常濃厚的“書本屬性”。走進“圖書館”的大門,左手邊的區域完全保留了圖 書館的藏書,但 是為了體現 劇場的休閑氣 息,這個區域 被 設置 成了咖啡 館的樣子。木質的沙發,棉布的靠墊,不統一的樣式。如果來早了,完全可

許也是 戲 劇的魅力,把同一 個場地轉換成了不同的空間。粗礪的磚墻 保 持了建築的原貌,也凸顯著布什劇場的戲劇風格。

劇場菜單

以舒舒服 服地坐下來讀一章有趣的故事。布什自己出品的所有劇本在這

另外值得一提的是布什最新推出的“劇場菜單”。平時不演戲的時候,布什

裏也可以找到,有的還是出售的。大門右手區域是酒吧區,同樣是原木結

劇場就是一 個普通的咖啡館,從 每天早上開始 經營。和一 般的咖啡館區

構。櫃臺上還經常擺放著制作略顯粗糙的家常點心 。正對著門是票房。

別不大。但是到了晚上開演之前就有了不同。布什推出了一種配合每次演

作為BOX OFFICE這裏是即沒有BOX也不是OFFICE,只是一張辦公桌。上

出的“劇場菜單”。如果每個月上一 個新戲,這個菜單也每個月換一次。比

面放著免費的節目宣傳頁,還有供出售的節目單和劇本。只需報上你的姓

如這個月的演出是有關倫敦巴基斯坦裔穆斯林的故事,菜單就是很典型

氏,工作人員就會找到你訂好的票并友善地交給你。桌子的右側,不經意

的巴基斯坦菜肴,各式咖喱,饢等等。布什的菜單設計得也非常有趣,“第

間便步入一 個戲劇的“場”。開放式的空間,被三組觀眾席圍合,伸縮式的

一幕”就是“翻頁看菜單”,“第二幕”就是“看酒單”,十分幽默地強調著自己

坐位便於劇場適應各種演出的空間需要。幾乎每一次布什的戲都有著略

的戲劇特色。

有不同的觀 眾 席設置,有時 候甚至讓你懷疑自己是不是 來過 這裡 。這也


NEW WRITING: A PONDERING OF PRESENT AN INTERVIEW WITH ROB DRUMMER 新寫作: 一種對當下的琢磨 專訪布什劇場文學部 洛伯·德拉姆爾


Bush Theatre is based in the old Shepherd’s Bush Public Library,

just right cross the road from Shepherd’s Bush Market Tube Station. In the later interview, we found that those young people, holding

their computers thoughtfully and discussing warmly, in the library on the first floor might be the rising stars of Bush Theatre. Rob Drummer is Associate Dramaturg in the theatre. He

graduated from Royal Central School of Speech and Drama,

University of London. He was one of the first recipients of an

Artists’ International Development Fund from the Arts Council and British Council, travelling to South Africa to collaborate.

Although Rod is very young, there have been several directed or written by him on the stage in London.

PI: PERFORMANCE INFINITY / RD: ROB DRUMMER PI: Our special issue this time focuses on an introduction of

“New Writing”. Many of our readers in China are not familiar with the difference between “New Writing” and “New Play”. We hope to introduce the British theatre culture to Chinese

audience, as well as to find more opportunities of international cooperation in the field of new writing.

RD: There is a new real interest in this country about looking

at East Asian writers and narratives, and trying to explore more of their works on British stages. I have started to do an early

work with a Chinese British writer who is curating a group of writers (now at least 30) at Young Vic. At Bush theatre, a part of Shepherd’s Bush, we are trying to look at the diversity of

this community in a contemporary way. In the coming years,

we are looking at more diversified works and putting them on

stage, including new writing works from non-English speaking countries. I think we (certainly in the UK and London) have the

responsibility of putting more diversity on stage, responding to contemporary culture. I am excited about your project, just by

talking with Chinese audiences about theatre, about new writing. The form of new writing hopefully might become a way of

audiences who had never been here before. For instance, what is

the general process of producing a new play, from scripts to stage? RD: We are a new writing theatre, we only produce new plays in English from local, national or international writers. We received plays from a number of ways. We probably receive and read

about 2,500 plays. We receive plays (two rounds submission per

year: spring and autumn) from individual writers who don’t have agencies; that’s about 1,500 plays a year. These are usually works at the very early stages. We read those plays within three or four months and make a shortlist. We also receive plays for agents. They are writers who might have some previous experience in writing. And thirdly we receive plays from other theatres, directors or companies.

After reading all the works, then we decide to either seed-commission or full-commission a writer. Seed-commission is a small amount of

money to develop the idea, and look a bit further and then we can

meet and talk about the progress. A full commission is to fund a writer who has already a clear idea; they will provide a first draft and then

after receiving our feedback, a second draft. That could take from 6

months to a year. Then we consider that work for programming on main stage.

布什劇 場(B us h T h eat re)就 座 落 在 謝 菲 爾 德 布什市 場(Sh e p h e rd ’s B us h M a r ke t)地 鐵 站 的 斜對面,在 原 來 的 謝 菲 爾 德 布什社 區圖書 館 (Sh e p h e rd ’s B us h Pu b l i c L i b r a r y)裡 。在 後 來 的采 訪中,我們 才 知 道 劇 場 一層的 圖 書 室 裡 那 些 抱 著 電 腦 若 有 所思、或 者三 五 成 群 圍 坐 討 論 的年 輕 人 ,也許正 是布什劇 場 的 明日之 星 。 我 們 的 受 訪 對 象 洛 伯 · 德 拉 姆 爾 是 劇 場 的 文 學 編 劇 。他 畢 業 於 皇 家 中 央演講和戲劇學院(Royal Central School of Speech and Drama, University of London),曾受英国藝術委員会(Arts Council)的資助前 往南非開展新寫作 計劃,雖然 年紀 輕輕,已有好幾 部由他擔 任 編劇或者 導演的作品被搬上倫敦的舞臺。

storytelling, about the life we are living through. So this is Great.

PI:我們新 一期的雜 誌專門探討 “新寫作 ”話題,主要讀者是中國的戲 劇

At Bush, international work becomes a huge part of our

希望能就新寫作方面探討國際合作的可能。

ambitions here. This is inspired by the community. If you walk

觀 眾 。我們希望中國觀 眾有更多地機會了解 和參與 英國的戲 劇文化 。也

down the Bush Market, you would understand what and who the

RD:當然。在英國,目前有一個新的方向是對東亞作家及其作品的關注。

of Shepherd’s Bush, as well as national writhers from across the

和中國的觀眾探討英國的戲劇。新寫作這種關註當下的戲劇文化,也許可

community is. We are willing to develop works by local writers

UK, international writers. The three-week Radar festival is a good

example. This year there is a production from Spain, a new South

我們非常願意了解更多來自非英語國家的、亞洲文化背景的作品。也願意 以在未來的中國成為講述故事的新形式。

African play, and there are also stories about the local community.

布什劇場推行的新寫作文化,是國際的新寫作;來自國際的作品是我們工

PI: Please introduce the New Writing Plan at Bush Theatre to our

地社區的作品,又有來自南非、西班牙等世界各地的寫作新秀。

作中重要的一環。例如我們馬上到來的“雷達(Radar)”戲劇節,就既有當


Then we run the play for about six weeks. We produce four

Watch international cinema, visit art galleries, go to a walk to a

theatres. There are six plays a year.

plane journey somewhere on your own. Do experience the world

shows a year in house and then coproduce two shows with other

We believe the most valuable way to develop a writer is to

produce their play and get their play in front of the audience.

part of city you’ve never been to, go to a bar on your own, take a and document all of that, write it down and then work out how you are going to tell the story.

Every play under commission will have at least have a chance

Look outside the theatre, otherwise it will be a conversation

with directors and actors, the work becomes live before the

to outside contemporary world. Theatre in this country used to

of reading with the creation team. So through communicating playwright. The ambition is always to turn a seed commission

to a full commission, a full commission to production, and help writers to develop a longer career. We want to produce bigger

and bolder plays here, we want to create a type of storytelling, a type of narrative in our theatre and the best way to do that is to

between theatre makers. We need theatre makers committed

be quite literally the place for social debates. You would go to a

theatre to understand much more what’ s happening around you

and around the world. We are a country where theatre historically has made a lot more than having a nice night out.

keep on developing plays in house.

Read a lot of works. Go to see good plays and bad plays. Become

PI: What are the differences between staging a new writing play

is brilliant; don’t just read the Bible or Conrad, but go read

and a classic work? Does it mean more recourses and efforts? RD: Yes. It sounds like a long and lonely process and it means more time, more financial resources to spend. It also means

collaboration from an earlier point, because you are collaborating

an expert in theatre history, understand why Shakespeare

interculturally, works in translations from China, Japan, Australia etc. Not only engage with western or English literature, also

understand how Twitter works, and all these of things that we are living through help you create interesting and dynamic stories.

with the writer from the moment you read the first page.

About getting responses. I once worked in Geneva for an

If I would be directing Three Sisters, I don’t have the privilege

said that you need two types of critiques: the first is somebody

to have the writer in the room, therefore it sort of forces the

director to interpret what he/she thinks. When you put a writer in the process, it becomes a wonderfully exciting relationship.

For instance, the writers start being asked questions he/she has never been asked. The collaboration might take some more

time and becomes a more emotional process, but in the end

hopefully this relationship brings a stronger, more interesting, more exciting work.

international writing conference. There was a novelist who

you knows quite well, normally a friend or a parent. Give them everything you write and ask for their feedback; all they’ll tell

you is that you are great, your writing is amazing; that will keep on writing. Second type of critique should be someone who

has no emotional connection to you whatsoever, who can say

anything to you without upsetting you, and that feedback could be important for you to develop your work. These two types of critique are important for a writer.

PI: Do you have any suggestions for the beginners in new writing? Do you have any suggestions about training, courses or books?

R: Yes. The one thing I try to encourage the writers, is before they come to present the idea to us, make sure you live with that

idea. As storytellers, sometimes we can get lost in the technique of writing; you go to courses, workshops, get MA, MFA degrees, and all you concentrate on is the dialogue, character, details,

structure… The thing that I suggest is to sit down with your idea, go out to the world, listen to what’s people taking about, talk

to your family and friends and interrogate what for you is that

urgent story. And once you got that, you will then find the way of transiting that to your audience. So, think about the question you at the central of your play and how is everything else feed into that question.

ROB DRUMMER (MIDDLE) IN PROJECT MEETING


PI:請為我們介紹一下布什劇場的新寫作計劃。例如,一部戲從劇本寫就 到舞臺呈現的過程。

RD:是的,這個過程可能聽上去漫長孤單,也意味著更多的時間和花銷。 這是一種更早期的合作。如果我去導演像《三姐妹》這樣的作品,就沒有 能和作家進行交流的優勢了。在這個合作過程中,作家也可能會遇到以前

R D:我 們 是 一 個 只 排演 新劇 本 的 新寫作劇 院 。我 們 一年 總 共 收 到 大 約

沒想 過的問題,這也是最讓 人激 動也令人反思的過程。這個過程可能需

2500部作品。其中完全出自寫作新手的作品大約有1500部。我們可能要

要更多的時間,也會牽涉更多的情感交流,但是最後,這樣的合作也往往

花3到4個月的時間閱讀這些初期作品,從中選擇幾百個感興趣的作品進

能產生更加強烈、有趣、激動人心的作品。

行排表,然後在第二輪再選出六個作品,幫作者發展這些作品。此外,我 們也會從經紀人和其他劇院那收到一部分作品。 我 們 對感 興 趣 的 新寫作 作 家 主 要 有 兩 種 支 持方 式:種子 計 劃 和 完 整 計

PI:能否給那些沒有足夠的勇氣或不知如何開始的新手們一些建議? 沒有推薦的課程、相關的培訓或者書籍?

劃。完整計劃中,我們協助作家一起完成劇本的一稿、二稿;為他們提供

RD:當然,參加工作坊、接受相關學位課程,固然能 獲 得角色、細節、結

專門的排演空間和導演、演員、觀眾探討的機會;獨立制作4部作品,2部

構等技巧方面的培訓。但我的建議是首先,坐下來思考,理清你的想法,

與其他劇場或公司合作。我們相信發展新作家的最佳方式,是將 他們的

因為最關鍵的,是你的問題,那個處於整個作品核心位置、整天讓你起床

作品搬 到舞臺之 上,觀 眾面前。當然 我們的終極目標 是把所有列入種子

睡覺都為之神魂顛倒的想法。戲劇中心的疑問是什麽?我不希望聽到一

計劃的作品發展為完整計劃,將所有完整計劃的劇本變成舞臺作品呈現

個模糊搖擺的答案。所以 盡管參與課程很重要,但我的建議更重要的是

在觀眾面前。

感受世界,去城市裡未曾到達的地方散步,看展 覽,獨自去酒吧,乘飛機

PI:和處理經典作品相比,與新寫作的作家合作,有哪些不一樣的地方? 從你剛才講的過程來看,需要更多的精力吧?

去某個角落,將這一切記錄下來,然後思索如何架構和講述自己的故事。 在英國歷史上,戲 劇遠不至於一 個打發夜晚時光的愉快 方法,人們去劇 院也是為了更好地理解周遭和理解世界。


PI: Maybe one sentence to describe the special position of Bush Theatre in this new theatre culture?

RD: Bush theatre champions, nurtures, develops new writers at early stage of their career or encourages established writers to

work in a different way while responding to our contemporary

culture, promoting diversity of narrative, as well as the diversity of writers themselves. To be more ambitious of the stories we

tell, the way of telling them, and to be a lot more honest about

reflecting London and Britain that we are all part of, in our theatre on our stage.

For us, what are really characterizing our work now is: since moving into the old Shepherd’s Bush Library, we found

ourselves part of the Uxbridge Road, part of this thriving west London community, which is diverse in culture background,

in class, economic situations. And we want to celebrate that;

we want to keep our doors open to that. And we really want to

ensure that our new writers don’t become footnotes in our new writing ecology.

然後是廣泛的涉獵。閱讀好的和不好的作品,理解莎士比亞的偉大之處;了 解本土的、國際的、不局限於西方作品。自己去發現,例如推特(Twitter) 是如何運行的,故事有多豐富。努力成 為各個方面的專家:戲劇史,社會 史,經濟體制,社會辯論… 其次,到外面去,和更多的人探討自己的想法。接受更多地回饋。我在日 內瓦的時候曾經聽到這樣一種關於劇作家如何接受反饋的建議:劇作家 應該和兩類 人探討自己的作品,第一 類 是熟知你的人,第二類 是陌生的 人。前者,如家人朋友會告訴你有多棒,鼓勵你繼續下去,而後者,會給你 更中肯的建議,讓你變得更好。 之所以要向外看,是因為歸根結底,舞臺就是關於你周邊發生的事。這也 是我們熱愛戲劇的理由,它為你打開一 個新的世界。所以,新作家們,大 膽地思考吧。

It was noon when we left this building, we paid a purposely visit to Shepherd’s Bush Market on the corner, the market next to it. Many hawker stalls from all over the world and of all different colours had already set up their booths. In this long and seemingly endless lane, it is like somewhere else, or, more precisely, in an unusual London. What Rob has been always stressed seems to be clear, which is that new writing is to write the surrounding and write the moment. And this new writing in Bush Theatre can be so natural and logical. 在正午離開劇場的時候,我們特意拐彎去 了一趟 旁 邊的 集市— — 謝 菲 爾 德 布什 集 市。來自世界各地、各種膚色的小攤小販們 早就 擺好了攤 位;在 這長 長的、一眼 望不 到頭的街巷裏,就好像一下子置身別處,或 者更確切地說,置身一 個與平日裏不同的 倫敦。似乎明白了洛伯一直強調的,新寫作 是為了書寫周邊、書寫當下。而這種書寫在 布什劇場,可以如此自然而然、順理成章。

PI:能否用一句話總結布什劇場在新寫作中文化中擔當的角色? RD:布什劇場支持、滋養和發掘正處 於寫作生涯初期的作家,回應當代 文化,推崇敘事的多樣性,講述我們置身其中的倫敦和英國。 我們的特 色在於,自從搬 進位 於阿克斯布里奇(Uxbridge)路的謝菲爾 德 布什圖書館,我們就 感 到自己是 這個充滿活力的、多樣化社區的一 部 分;我們將以開放的態度來接納和推崇這種倫敦多元社區文化的發展。 我們認為,新作家在戲 劇生態裡不應 成 為別人的腳註,而應當是 這個時 刻的主流聲音。

INSIDE OF BUSH THEATRE PHOTOGRAPHED BY PHILIP VILLE


HAMPSTEAD THEATRE: GROW WITH “NEW WRITING”

漢姆斯德劇院: 和“新寫作”一道蒸蒸日上

TEXT BY 撰文 x CHENG YING 程瑩 TRANSLATED BY 翻譯 x HAN JIAYI 韓嘉怡

IMAGE COURTESY OF 圖片提供 x HAMPSTEAD THEATRE 漢姆斯德劇院

EXTERIOR OF HAMPSTEAD THEATRE PHOTOGRAPHED BY HARRY LIU


ABOUT HAMPSTEAD THEATRE Hampstead Theatre is in the vicinity of Swiss Cottage and

Belsize Park, in the London Borough of Camden. It specializes

in commissioning and producing new writing, supporting and developing the work of new writers.

opportunities for new and emerging writers. Skylines, a project leaded by Theatre Center, provided opportunities for new

writers to participate in a series of workshops to introduce them to writing for audiences of 4+, 8+ and 13+. This was a national

project, and Hampstead Theatre was their only London partner.

Moreover, Hampstead also cooperated with the Roundhouse. A group of local writers have been collaborating with a project at

the Roundhouse, writing a short radio play that will be produced and performed by young people this term.

In 2003, as a result of the immense generosity of the local

Like many other theaters, Hampstead is also facing funding

purpose-built 325-seat Hampstead Theatre building was

they use a variety of forms to get support from all sides and fields.

community and the Theatre’s supporters, the new and

completed in Swiss Cottage close to the site of the old studio theatre. In its new home, Hampstead has continued its

proud tradition of identifying the newest talent whilst also continuing to nurture mid-career and established writers.

LITERARY SPECIALITIES Hampstead Theatre received more than one thousand works

of theater every year, but it generally only accepts British writer submissions. As part of its commitment to developing new

writers and new writing, the theatre nurtures and commissions playwrights, and also hosts regular Start Nights, where extracts of new plays are performed to an audience who give their constructive feedback on what they have seen.

Hampstead Theatre consists of two main venues, the Auditorium and Downstairs Space. From the beginning of the 1960s,there

have been many well-known actors in the theatre, for example, Edward Fox, John Hurt and Rowan Atkinson in 70s-80s, Alan

Rickman, John Malkovich, Jude Law and Faye Dunaway in 80s-90s. The Auditorium provides writers with a site for making their works can be detailed reviewed by audiences, as well as offers chance for indirectly enhancing their potentials. The authors recently

introduced by Hampstead include Mike Bartlett, Simon Stephens, Mike Leigh, Nina Riane, Nicholas Wright and Steve Thompson. In addition to the Auditorium, Downstairs Space is a fully

equipped theatre with unreserved seating for approximately 80 people. The seating is also flexible to allow for different stage

layouts. It is generally seen as a manifestation site for new writers and artists, for instance, well-known Chinese artist Ai Weiwei has performed in Hampstead.

Hampstead Theatre is committed to collaborating with other arts organizations within the community to create developmental

problems. In order to ensure the development of the theater,

One of activities is “name you theater seat”, which means that

as long as a certain amount of funding provided, you can get a seat and enjoy the naming rights and other theatrical deals. To

celebrate the 10th anniversary of the establishment of the new

site, the theater reopened this activity. This is why when you walk

into the main theater, you may find the names engraved on some seats, with a special way to commemorate a loved one, family, or an unforgettable story.


漢姆斯德劇院簡述

文學特色

從瑞士小屋(Swiss Cottage)地鐵站出來,一眼就能看到這座精巧的玻

劇院每年收到超過一千部作品,但是一般只接受英國作家的投稿,並且希

璃建築。周末的午後,在漢姆斯德劇院的對面幾棵郁郁蔥蔥的大樹下,還

望看到作品有超越和挑戰劇場空間的“野心”。但這並非僅僅體現在作品的

有各色手工藝品的小攤 位 。劇院的設置 顯得簡單通 透,就像 他們在網站

形制上,無論製作規模大小,劇院都盡可能地為才華橫溢的新興劇作家們

上的宗旨一般,采取“黑白分明”的態度:漢姆斯德的文學部門一般傾向於

提供施展的舞臺。

對所收到的劇本直截了當地做出判斷,努力把最優質的資源給最優質的 劇本和最具才華的作者。

漢姆斯德劇院並不大,它包括兩個主要的演出場地。從60年代開始,有許多 知名演員曾在此演出,例如,80-70年代的愛德華·福克斯(Edward Fox)、

劇院於2003年遷到新址艾頓大道(Eton Avenue),緊鄰瑞士小屋公園

約翰·赫特(John Hurt)和羅溫·艾金森(Rowan Atkinson), 80-90年代的

(Swiss Cot tage Park)。從劇院的露臺能夠欣賞到優美的公園風景,

艾倫·里克曼(Alan Rickman)、約翰·馬爾科維奇(John Malkovich),裘

包括一處新建的照明水景,不失為享受安靜的夏日午後或者演後小酌之

德·洛(Jude Law)和費·唐娜薇(Faye Dunaway),主劇場為作家們提供了

夜的完美去處。

一個展示作品和接受觀眾細致“審查”的場所,為日後的創作提供了潛在的 更廣闊的可能性。最近推出的作家包括邁克·巴特利特(Mike Bartlett)、西 蒙·斯蒂芬斯(Simon Stephens)、邁克·李(Mike Leigh)、尼古拉斯·懷特 (Nicholas Wright)和史蒂夫·湯普森(Steve Thompson)。

INSIDE OF HAMPSTEAD THEATRE PHOTOGRAPHED BY HARRY LIU

除 主 劇 場 外,遠 離 媒 體 聚 光 燈 的 漢 姆 斯 德 的 樓 下 劇 場( D o w n s t a i r s Space)被看作是體現劇場靈活多變風格的主要場所,這裡也是新寫作作 家和先鋒作家們大顯身手的地方,例如,為國人所知的艾未未相關作品, 也曾在此 上演。經 驗不足的劇作家可以在此 通 過細致的推敲來了解自己 的作品,而更有經驗的劇作家可以在這裡改進和完善他們的作品。 在促 進 新寫作 方面,劇院 與許 多機構 合 作,采取多樣化的方 式 推出新作 家。例如,他們與戲劇中心公司“天際線”( Theatre Centre Skylines)項 目合作,尋找為年輕人和青少年創作劇本的新興作家。劇院還與回旋廣播 (The Roundhouse)合作推出年度廣播劇,致力於讓更多年輕人了解廣 播劇的制作方法。 和許 多劇院 一樣,漢 姆斯德 劇院 也面臨 著 經 費問題 。為了保 證 劇院 的 發 展,他們采用多種形式獲取來自各方面的支持。其中一項有趣的活動是“為 劇院座位命 名”。只要 提 供一定數額的資助,就可以獲 得座位的命 名權並 享受其他觀演優惠。為了慶祝新址建立10周年,劇院重新開啟這項活動。 這也是為何當你走進主劇場的時候,會發現有些座位上鐫刻著名字,大家 用特別的方式紀念著一個愛人、家人,或者一段難以忘懷的故事。

Tips

小貼示

Hampstead Theatre E ton Av en u e, S wiss C otta ge, L on d on N W 3 3 E U C a pa city : 3 2 5 sea ts www.h a mpstea d th ea tr e.com


SOHO THEATRE: ALL ABOUT FUTURE

蘇荷劇院: 有關未來的戲劇盛宴

TEXT BY 撰文 x CHENG YING 程瑩 TRANSLATED BY 翻譯 x HAN JIAYI 韓嘉怡

IMAGE COURTESY OF 圖片提供 x SOHO THEATRE 蘇荷劇院

EXTERIOR OF SOHO THEATRE, PHOTOGRAPHED BY HARRY LIU


ABOUT SOHO THEATRE Downtown lively bars and diverse styles of theater performances, making Soho Theatre become one of London’s must-see

landmark cultural landscapes. As the most acclaimed comedy and cabaret theatre in London, Soho Theatre is responsible

for initiating, nurturing and realizing the most insightful and groundbreaking new acts. It is the place where talented

emerging and established writers conceive, develop and realize their best work.

From New Compton Street to a basement at Soho Poly to the first ever purpose built theatre for new writing, Soho Theatre

Company has been making its mark on the streets of London for over 40 years. Nestled a few doors down from Karl Marx’s 1850s crash pad, just up from the infamous Colony Room, at the very address that Mozart played in 1764, 21 Dean Street has been Soho Theatre’s home for 11 years.

Soho Theatre owns its own Central London venue housing the intimate 150-seat Soho Theatre, our 90-seat Soho Upstairs and

our cabaret space, Soho Downstairs. Under the joint leadership of Soho’s Artistic Director Steve Marmion and Executive

Director Mark Godfrey, Soho Theatre now welcomes 167,000 people a year.

蘇荷劇場簡述 從新康普頓街(New Compton Street)到蘇荷保利(Soho Poly)的地下室, 再到現在的新寫作劇院,蘇荷戲劇公司已經有40年的歷史。劇院當下的地 址——迪恩街(Dean Street)21號,也是曾有諸多故事的地方,例如,僅僅幾 米之隔,就是馬克思在19世紀50年代的故居,而就在同一條街道上,還有大 名鼎鼎的“Colony Room”(曾是倫敦知名藝術家的私人酒吧和俱樂部), 相傳 1764年莫紮特曾在此演奏。 蘇荷劇院包括三個主要的演出場地:150座的蘇荷劇場、9 0座的樓上 劇 場 、和 新 建 的 位 於樓 下的 歌 舞 劇空間 。在 劇 院 藝 術 總 監 史蒂 夫 ·瑪 米 昂 (Steve Marmion)和執行總監馬克·戈弗雷(Mark Godfrey)的聯合指 導下, 蘇荷劇院每年接納的觀眾已接近17萬人。


TO&ST AWARD

TO&ST特別獎項

TO&ST Award will be given to the show the judges believe to be

TO& S T獎 是愛丁堡 戲 劇節(Edinburgh Festival Fringe)的獎項 之一,

the industry recognition the winner of the award will be offered a

周的展演,并獲 得T ime Out 雜誌的專 欄介紹。該 獎項的三位評 委包括

the best cabaret show at the Edinburgh Festival Fringe. As well as two-weeks run at Soho Theatre and will have a full feature about their show in Time Out. The short-listing panels are Time Out

Cabaret Editor, Ben Walters, Soho Theatre Comedy & Cabaret,

Producer, Steve Lock, and Artistic Director of the Glasgow Cabaret

為評選 最 佳 歌 舞 劇而設 。獲 得 該 獎 項 的 作品 將 在 蘇 荷劇 院 進 行為 期 兩 T ime Out歌舞劇編輯 本·沃爾特斯(Ben Walters), 蘇荷劇院戲 劇與歌 舞劇制作人 史蒂夫·勞克(Steve Lock) 以 及格 拉斯哥歌舞劇節藝 術總 監佛羅多·麥克丹尼爾(Frodo McDaniel)。

Festival, Frodo McDaniel.

THE WRITER’S CENTRE

作家計劃

The writer’s centre of Soho Theatre discovers and nurtures playwrights

劇 院 為戲 劇 創 作 的 新人們 提 供 各 種 資 源 ,並希望 從構思 創 意 到 排 練 制

production. It’s accessible range of resources offers writers across the

作品,他們也並不排斥這些劇作家後來的創作。

through a broad range of activities, developing their work towards

UK vital support at any stage of their careers. Soho wants to work with writers from conception to production and love to produce a writer’s first play and have no objections to their second, third or fiftieth.

Through commissions, residencies and attachments, readings

and workshops, Soho Theatre’s writer programmes enable them

to deepen their relationships with artists, forge conversations and develop ideas – all with the aim of creating unforgettable nights out on stage.

作,與作家進行全方位的合作。盡管蘇荷劇院鼓 勵制作劇作家的第一 部

蘇荷劇院與新寫作相關的另一特色是各種類型的寫作工坊。例如每月 一次的公開寫作工坊(Open Access Workshop)、專業級別的大師課 程(Master Classes)、給作者們提供修改建議和新靈感的“寫作診所” (The Clinic)以及促進英國作家之間合作的地區工作坊(Regional Workshop)。 通過鼓勵大膽的創意和深入的作品,蘇荷劇院為眾們帶來一 個又一 個的 舞臺不眠夜。


“ 無 論 你是 六 歲 ,六十歲 還 是六百六十六歲”,只要你熱 愛新 鮮、敢 於做夢,蘇荷劇 院都是你的夢想天堂。蘇荷 劇院的觀眾具有多樣化的特 點,這與劇院的宗旨和特色 密不可分。此外,劇院十 分 看中年輕的戲劇觀眾,為25 歲 以下的 年 輕 人 提 供 各 種 表演機會,甚至為10歲以下 的兒童開設表演俱樂部。 ADDRESS UNKNOWN - MAX (SIMON KUNZ) AND MARTIN (JONATHAN CULLEN ) SCRAFT SOHO THEATRE GODSPROPERTY32 CREDIT HELEN MAYBANKS

Tips

小貼示

Soho Theatre 2 1 D e an St re e t,London W1D 3N E Cap ac i t y : 1 5 0 s e at s w w w.s oh ot h e at re .com

“Whether you are six years old, sixty years old or six hundreds and sixty-six years old”, as long as you love adventuring and daring to dream, then Soho Theatre can be your dream paradise. The diversity of audiences is inseparable with the theatre’s purpose and character. In addition, Soho Theatre is very fancy young audiences, and offers a variety of performance opportunities for young people under the age of 25, or even children under 10 years old.


WRITE WHAT YOU THINK AN INTERVIEW WITH SARAH GROCHALA FROM ROYAL CENTRAL SCHOOL OF SPEECH AND DRAMA 寫你所想 專訪英國皇家中央演講 與戲劇學院的莎拉·古馳 安拉 INTERVIEWED AND TRANSLATED BY 撰文 x SHERRY ZHAO 趙丹鈺 & JOANNA XIAOXING DONG 董一燃


Sarah Grochala Sarah Grochala specialises in playwriting, dramaturgy and contemporary British theatre. She is a multi-award winning playwright and an associate artist with the theatre company Headlong. Sarah has worked at Central since 2013. She previously taught at a number of universities and drama schools, including Birkbeck, Kingston University Mountview, Queen Mary and the University of Reading. Her research examines the use of dramatic structure in contemporary British plays and the relationship between these structures and social and political structures of contemporary British society.

莎拉·古馳安拉 古馳安拉的專 業 是 劇本創作,戲 作藝 術 和英國當代 戲 劇 。她是 一 個 屢 獲殊榮的編劇,也是驟劇團(Headlong)的簽約藝術家。古馳安拉2013 年開始來 到英國皇家中央演講與 戲 劇學院 任教,此前 她曾在包括伯克 貝克大學(Birkbeck,University of London),金斯頓大學(Kingston University Mountview),女王瑪麗大學(Queen Mary, University of London)和雷丁大學(University of Reading)任教。她主要的研究集中 在英國當代戲劇結構和當下英國社會政治結構之間的關係。


PI: PERFORMANCE INFINITY / SG: SARAH GROCHALA

PI: Can you please briefly introduce the course to our readers

about Royal Central School of Speech and Drama’s play writing training course?

SG: There are two courses that focus on playwriting at Central:

the MA in Writing for Stage and Broadcast Media and the MFA in Writing for Stage and Broadcast Media. The MA course is a

who supports them through it. At the same time, they have to

formulate a professional development plan. For this, they have to plan a series of steps that they are going to take in order to

start to establish themselves as professional writers within their chosen industry. They also have to think critically about their

writing and the process of writing. At the end of the year, they

also have to submit a critical reflection, in which they consider the process of writing their scripts in the context of theories related to scriptwriting and performance.

one-year course and the MFA is two years. The courses aren’t just

PI: Do you think the students who take this course have a clear

TV and films.

Speech and Drama?

training for writing for the stage, they also cover writing for radio,

career plan before they come to study with Central School of

In the first term of the course, the students learn how to write

SG: Some students do and some students don’t. When I studied

used structures for theatre, radio, television and film scripts.

I chose that particular masters course because it was primarily

conventionally. They learn the conventional and most commonly There’s nothing very avant-garde in terms of approaches to

scriptwriting at this stage, just solid conventional training. If you are going to write scripts professionally for any medium, you

will often be working with very conventional stories. Exciting, gripping stories with sympathetic characters are always very

appealing to audiences. In the second term, we start to talk about avant-garde writing. If students are interested in writing in ways that challenge conventional structures, they are given some

guidance and inspiration for how they might explore creating

avant garde work for different mediums. Throughout the course, there are lots of opportunities for students to meet writers and other professionals who work in the theatre, radio, television and film industries. This is very helpful in terms of preparing

students for entering the industry after the end of the course. The third term focuses on working on the students’ scripts in more

playwriting, on a similar masters course at Birmingham University, focused on playwriting. I did study radio, television and film

as well, but I didn’t have a change of heart during the course. I always knew that I wanted to write for theatre. But there are

many students who study on the course at Central, who are not

as sure as I was about which medium they would like to write for. Some students want to explore which medium would suit them

the best as writers, and others come on the course thinking they

would like to become playwrights or screenwriters but ended up deciding to work in a completely different medium. The course

really encourages them to think about all four mediums, which I think is really useful.

PI: What are the entry requirements and the qualifications students need for this course?

practical ways. For instance, the students work with students on

SG: Usually, the students have undergraduate degrees. But we

works in performance. By the end of the summer term, they will

already have some experience of writing scripts. We’ve got quite

the acting courses at Central to help them understand how a play have completed a short play, a short radio play and a short film script. They will have also collaborated on writing a full-length

television episode, which they work on in small groups. The final project for the one-year MA is to write either: a full-length stage play (70 minutes), a full-length radio drama (45 minutes), a TV

episode (60 minutes) or a full-length film script (90 minutes). They are each assigned an expert who will mentor them through their final project.

Students who do the MFA course study for two years. Instead of doing one final project at the end of their first year, they work

on two final projects in their second year. So they might decide to write fully developed plays and fully developed film script. Again, for each project, they work with at least one mentor

do also take students who didn’t do undergraduate degrees but a lot of students who come directly after their undergraduate

degrees, but there are also some older students. There is a range of experience on the course. Some students have only written

short pieces, while others have written several full-length scripts

and been working as writers for quite a long time. There is a good mix of British and international students. A lot of our students

have studied English Literature or Drama for their undergraduate degrees, but others might have done science or other degrees instead. The most important thing is that the student has a passion and a talent for writing.


PI:能否為我們介紹下英國皇家中央演講 與 戲 劇學院(Royal Central School of Speech and Drama)的這個劇作家課程?

PI:你認為選擇這類課程的學生是否在入學前已經選擇好了職業規劃? SG:一些學生有而另一些沒有。當我學習編寫劇本時,那是在伯明翰大學

SG:我們的劇作家課程一共分成兩種。一種是一年制的文學碩士(MA),

的相似碩士課程,我選擇那個碩士課程的主要原因是它著重戲劇寫作。

另一種是兩年制的藝術碩士(MFA)。課程不僅局限於教會學生寫舞臺劇

同時我也學習了廣播、電視、電影,但是學習過程裡我都沒有改變初衷。

的劇本,也涵蓋了為廣播,電視和電影等媒體寫劇本的科目。

我一直都知道我想要為劇場寫作。但 是在中央學院有很多學生並不像我 一樣有明確的方向,他們還不清 楚 想 爲哪種媒介 進行創作;有些學生想

一年制的碩士第一學期的課程主要集中在如何寫傳統劇本上。比如說我

要嘗試不同媒介來看看哪類 型媒介適合自己創作,可能開始時非常堅定

們會教學生傳統概念下好劇本的結構和寫作方式。沒有任 何前衛和試驗

要成 為戲 劇編劇或電影編劇,但 最後決 定做 另外一種 完全不一樣的。所

性的東 西 。原因 很簡單,在電視電 影 行業,通常劇本都需 要 很 強的 故事

以中央學院的課程鼓 勵學生去嘗試四種不同的媒介,我覺得這是非常有

性,而這些都是傳統劇本寫作教育中的重點。到了第二學期,學生就會有

幫助的。

更多的自由去進行前衛的創作。他們也能用自己的方式去挑戰傳統的劇 本結構。當然,電影廣播和電影劇本的創作同時進行。在學習的過程中, 學生也有很多的機會去接觸業內人士。比如說劇作家,劇場工作者等等。

PI:對於申請這個專業的學生,有什麼專業上的要求嗎?

第三個學期有很多工作坊,教學生如何靈活處理劇本。比如說有演員會參

SG:一般來說,學生們需要有本科的學歷才能申請。當然也有一些年長的

與到過程中。到春夏學期結束時,學生基本上都已經有40-50分鐘的劇本

學生,雖然沒有相關的學歷背景,但是已經積累一些寫劇本的經驗。所以

在手上了。課程的結業作品對於一年制的學生來說是一個標準長度的劇本

招生標準實際上來說是因人而異的。我們大部分的學生都是從本科一路

(舞臺劇70分鐘、廣播45分鐘、電視劇集60分鐘、電影90分鐘),不同的

念上來的。從年齡的角度上來說,我們的學生各個年齡段都有。學生的行

領域有不同的導師指導。

業經驗也不盡相同。有些之前就寫過了短篇幅的作品,有些已經寫過不少 標準長度的作品,或者已經成為作家一段時間了;我們有本土的學生也有

對於兩年制的碩士課程,學生一共要做兩個作品,除了標準長度的電視電

不少國際學生。我們對申請 者的本 科學 位沒有學 科上的要求,許多學生

影廣播舞臺劇劇本創作之外,他們也需要做一個專業發展計劃,為畢業後

在本科時是學英國文學或戲劇的,但也有別的學生是讀科學或其他學科

的就業做打算;除此之外,他們也需要做學術類的自我反饋。這也是對學生

的。最重要的還是對寫作要���熱情及一定天賦。

來說很重要的一部分,了解自己在做什麼,並且了解為什麼自己會這麼做。

During the 19th century, the theatre in Britain was an actors’ rather than a writers’ theatre. There were writers, but very few people can actually name them. The 19th century theatres were very much for the working class, and were seen as platforms for pure entertainment. Nowadays theatre is taken much more seriously and the audiences are predominately middle class. Theatre became a legitimate art form again in the UK at the end of the 19th century because it became connected to literature, publication and books. 在19世紀的英國有很多劇作家,但是很少人記得住他們的名字。因為當時的劇場 文化主要以演員為中心,而劇作家是次要的。在過去的一百年間,英國的戲劇行業 有了一定的發展,除了保留了之前娛樂大眾的功能之外,它更加著眼於社會生活, 更加注重作品的文學性。而且劇本也用出版物的形式與觀眾見面,這些都擴大了 劇作家在戲劇圈的影響力。


I like the fact that we teach a strong foundation in the conventional writing and then after that the students have a chance to question and challenge the conventional structures that we’ve just taught them. I think it’s a very substantial training. 我很贊成學生先是有很紮實的傳統寫作根底之後再去探索和 挑戰我們教的傳統戲劇結構。我認為這是非常必要的。

PI:What do you think is the difference between Central’s

PI:這個課程與英國其他戲 劇學校的相關學科

SG: The structure of the course is really good. It gives students

SG:我會說課程結構設置非常不錯。學生在基

other courses that focus mainly on the avant-garde. I like the fact

程則註重大膽創新的部分。我很贊成學生先是

training and other drama trainings in London?

a solid grounding in the basic structures of drama. There are

that we teach a strong foundation in the conventional writing

and then after that the students have a chance to question and challenge the conventional structures that we’ve just taught

them. I think it’s a very substantial training. Students also have time to explore writing for the different mediums of theatre,

radio, television and film. So if they want to work for radio or television instead of theatre or film, for example, they don’t

need much extra training. We also have lots of people coming

in from the industry to speak to students, which is really useful.

We have some visiting playwrights, such as Simon Stephens, as

well as writers who work for TV and radio and avant grade theatre makers who come and visit. The students have the opportunity

相比有什麼優勢和特別的地方嗎?

本戲 劇結構上會有很 堅 實的基礎 教學,其他課 有很紮實的傳統寫作根底之後再去探索和挑戰 我們教的傳統戲劇結構。我認為這是非常必要 的 。學生 還 會有機 會 探 索 各種 媒介 的寫作,像 劇 場 、廣 播、電 視 和電 影 。所以 如 果 他 們 想 要 爲廣播和電視 寫作,而不是 戲 劇和電影的話, 他們不需要額外的訓練 。我們會請業內人士給 學生們講授實際知識,這對於學生來說是很實 用的。我們會請劇作家像西門·史提 芬,或是 爲 電視 廣播寫作的,或前衛的戲 劇製 片人來與學 生進行面對面的交流 。學生也會和演員一起合 作,其他課程則不一定有這麼好的機會了。

to work with actors, which is another thing you might not be able

PI:你 認為劇作家在英國戲 劇文化裡 起 特別大

PI: Do you think that British theatre culture is heavily relying on

SG:我想劇作家在英國戲劇圈的作用和歷史有

to get if you take other courses.

the playwrights?

SG: I think there’s an interesting paradox about this. For instance, Shakespeare is a playwright but he never wrote any of his plays

down or published them. He didn’t expect his plays to be read in the same way he would’ve intended for his sonnets and poetry

to be read. During the 19th century, the theatre in Britain was an actors’ rather than a writers’ theatre. There were writers, but very few people can actually name them. The 19th century theatres

were very much for the working class, and were seen as platforms for pure entertainment. Nowadays theatre is taken much

的作用嗎?

很大的聯系。比如說莎士比亞,他是寫戲的,但 是 他從 來沒有把自己的劇本 寫成書或出版,他 可能從來沒有試圖將自己的戲劇作品跟自己的 詩歌 及 其他文學作品一樣呈現 給讀者。在19世 紀的英國有很多劇作家,但 是很少人記得 住他 們的名字。因為當時的劇場文化主要以演 員為 中心,而劇作家是次要的。在過去的一百年間, 英 國 的 戲 劇 行業有了一定 的 發 展,除了保留了 之前娛 樂大 眾的功 能之外,它更 加著眼 於社會 生 活,更 加注 重作品的 文學 性 。而且 劇 本也用 出版物的形式 與 觀 眾 見面,這些 都擴 大了劇作


more seriously and the audiences are predominately middle class. Theatre became a

家在 戲 劇 圈 的影 響力。在 英 國,戲 劇寫作 得到

connected to literature, publication and books. At the moment, we still have the strong

(National

legitimate art form again in the UK at the end of the 19th century because it became tradition of writing in the theatre. Theatre writing is supported by large institutions, for instance, the National Theatre and Royal Court, which is a venue specifically for

new writing. But we’ve also got individual companies that champion other sorts of

performance, such as Punchdrunk. Some of these companies still have writing as part

of what they do,so there’s not a clear divide between ‘text-based’ and ‘non-text-based’ theatre.

PI: What kind of suggestions would you give to the people who really want to learn playwriting but are not qualified for this course?

SG: I think, to start with, they need to watch a lot of plays. There are books that offer good advice about how to write a play, but I think fundamentally that you learn to

write by watching plays. It’s also useful to take courses. For instance, masters course or

other good courses such as the Royal Court Young Writers’ programme. Often what you decide to do in terms of training will depend on what ultimately want to do as a writer and the resources you have access to.

PI: Can you name some contemporary playwrights that are your favourites?

了很多大 型機構的支持,比如說 英國國家劇院 Theatre)和以支持新寫作聞名的

皇家宮廷劇院(Royal Court Theatre)。當然, 目前也有非常多的私 人 劇團願 意 身兼多職,比 方說戲劇制作公司眩暈劇團(Punchdrunk)就 有自己的團隊,從導演到劇作家。從內部結構上 來看,其 實 英國戲 劇行業的 分工沒有外 表看 起 來那麼清晰。 PI:對於那些對戲 劇寫作有熱情 但暫時 沒 達 到 課程申請要求的學生來說,你有什麼建議嗎?

SG: 我覺得首先就是去看戲,看很多戲。雖然有 書本 教 如何寫戲,但 是我認為最基 本的學習方 法 是看戲 。學習專 業 課程 也很 有用。例 如 碩士 課程或 其他好的寫作 項目,像 皇家劇院的青年 作家項目。通常選擇哪類 型的課程要取決 於想 成為怎樣的作家或取得的資源有哪些。 PI:能 跟 我們分享一 些你喜 歡的英國當代劇作 家嗎?

SG: I have lots of favourites. I think my favourite British playwright is Caryl Churchill

S G:我 想 我 最 喜 歡 的 英 國 劇 作 家 應 該 是 卡裏

her last one. She is always trying to do something exciting and new. Her plays never

部 都非常獨特,每一 部作品都在嘗試著突 破。

because every play she writes is very different. Each new one is very different from feel the same. And then there are lots of really good young British playwrights.

I really like Lucy Kirkwood, Mike Bartlett, Lucy Prebble and John Donnelly. John

Donnelly actually used to teach on the MA/MFA in Writing for Stage and Media Broadcast at Central before me.

爾·丘吉爾(Caryl Churchill), 她的作品每一 年輕的一 代裡面,我喜歡露西·柯克伍德(Luc y Kirkwood),邁克·巴特利特(Mike Bartlett), 露西·柏寶(Lucy Prebble)還有之前在這裡教 書的約翰·唐納利(John Donnelly)。


CHINA NEW WRITING 中國新寫作 TEXT BY 撰文 x JOANNA XIAOXING DONG 董一燃 TRANSLATED BY 翻譯 x SYNDI HUANG 黃煥欣

IMAGE COURTESY OF 圖片提供 x TIAN QINXIN STUDIO 田沁鑫工作室

In the burgeoning British contemporary theatre, we are attempting to achieve

bringing up new voices, whether it is in a new writing scheme between Chinese and

British artists, or short play performances by East Asian young writers, or young troupes concerning about feminine issue subjects, which are all about new writing but in different forms and themes.

Tian Qinxin·New Writing Project is led by Tian Qinxin, the well-known director of China National Theatre and deputy director of the Research Centre of Peking University. It is an international cultural exchange program, with the support of cultural prominent leaders, cooperated by Film and Television Drama Research Centre of Peking

University, China National Theatre, Shanghai Drama Art Centre, Beijing Children’s Art Theatre Co. Ltd, Beijing University Pei Wen Education and Culture Co. Ltd. and the

National Theatre of Scotland. This project, through cultural exchange and training, is

aiming at cultivating Chinese young playwrights to the international standard, and to improve overall creativity of Chinese theatre plays, and to promote a further cultural exchange among international theatres. Ten potential candidates, after the sevenday screenwriting workshop training with British artists, were requested to create

respectively a 45-minute short play within a day. And six finalists were selected to

attend a two-week exchange activity of National Theatre of Scotland in the UK. The

final scripts were realized on the stage in the first New plays from China season (A Play, a Pie and a Pint) held in the UK in April 2013. After this theatre play season, we are very

honoured to invite the artists and participants of the project to share their experiences and thoughts.


在英國活躍的當代戲劇舞臺上,我們有目的地捕捉到了一些特別的聲音。 無論是中英藝術家合作的新寫作計劃,東亞青年作家的短篇劇本匯演, 還是關註女性題材的年輕劇團。同樣有關新寫作,話題卻豐富和多樣。 “田沁鑫·新寫作 計劃”,是由中國國家話劇院著名導演、北京大學影 視 戲 劇研究中心副主任田沁鑫發 起,文化 界多 位 知名人士響應,北京大學影 視戲劇研究中心、中國國家話劇院、上海話劇藝術中心、北京兒童藝術劇 院股份有限公司、北大培文教育文化有限公司以及 蘇格蘭國家劇院共同 合作主辦的國際文化 培訓交流項目。該項目以國際間的文化 培訓、交流 為主要方式,旨在培 養具有國際水準的中國青年劇作家,提 升中國戲 劇 整體創作水平,促進國際間戲劇文化的深入交流。 經歷英國藝術家為期7天的“編劇工作坊”培訓後,10位入圍選手用一天時 間創作出一部時長約45分鐘的短劇,經過篩選,最終晉級的6名編劇將被 派往英國參加為期兩周的蘇格蘭國家劇院藝術家駐地交流活動。他們最 終創作的劇本在2013年 4月被 搬 上舞臺,亮相在英舉 辦的首個中國當代 戲劇季(“一個戲,一個派,一杯酒”)。我們有幸在戲劇季的演出後,邀請到 參與項目的部分藝術家和工作人員談談他們的經歷和感受。

TIAN QINXIN DIRECTOR OF CHINA NATIONAL THEATRE As a director myself, I reckon a great dramatic work comes

from a great script. Sometimes, I meet the difficulty in looking for playwrights. Chinese theatre is only being existing for a

hundred years, and it is in urgent demand for scripts. In 2011

Edinburgh International Festival, I got the chance to talk with

Vicky Featherstone, the former artistic director of the National

Theatre of Scotland, and have realized that scripts are the essence of theatrical creation. I hope there is an activity to arouse Chinese young playwrights’ interests in theatre, and to realize their

theatrical dreams. Vicky has the experience of doing new writing projects in London before, and has brought up a lot of famous

playwrights. Therefore, I am hoping her great experience would be helpful to our project. Then there comes the preliminary

intention to work with the National Theatre of Scotland. The

Scottish government is very open, and willing to give supports. Appointed as the deputy director of the Television Arts Centre

of Peking University, I decided to organize the project in Peking University, as it is an academic platform filled with young

people’s interests and enthusiasm towards dramatic literature.

In addition, the support from the National Theatre and Shanghai institute eventually led me to personally implement the new


writing project. In the beginning, I sponsored the project, using

emotional means and etc, are possible to achieve the exchange.

and leaders. Peking University is at the up front for academic

emotions are the core root of cultural exchange. In China, this

my personal reputation to win the attention of the government education, and I was given supports to launch the project from many well-known Chinese writers, such as Mo Yan, Yu Hua,

Zhang Kangkang, Zou Jingzhi, liu Heng from mainland China, Liu Yihua from Hong Kong, and the director Stan Lai from Taiwan.

This project also received supports from teachers of the Central

Academy of Drama and the Chinese Academy of Social Sciences,

Nation and city boundaries should not be the obstacles, while

project has great influence in cultivating young playwrights. We

travelled from Beijing to Glasgow, feeling though it is a small city, this international exchange would be of great impact. Because

it is the cultural exchange between young people from the two countries, which itself is of great significance.

who formed into an expert group to spread the news online.

Such cooperation should be the first time in China, where there is

out of which were picked. Then Davey Anderson, George Aza-

the country and the government. The literature nature of drama

And we received more than a hundred and fifty play scripts, ten Selinger and Runo Munro, three artists from the National Theatre

of Scotland, came to China to carry out workshops of developing the ten works. After improvement, six selected scripts were

brought to the UK. Scotland has such a cultural practice that the

project was arranged very swiftly and efficiently. The process from funding, selecting to translating is like sending students to study

abroad. This theatrical show in Scotland has, in terms of academic and practical perspective, achieved the emotional performance

of the contemporary subject matter. It seems only the UK, as the

leader of theatrical performance with such exchange and output capabilities, enables the show in three cities. Though I took the lead for the project, I left the decision making for the experts in

no precedent receiving this level of supports and attentions from is very vital, which is not just a play form. We boast our literature capabilities, but also in need of technical abilities that I hope I

can contribute as much as possible to further develop. I believe

it would be very interesting to push forward this kind of projects. On the one hand, the China National Theatre provides financial assistance, while the social forces on the other hand offer their

supports, to put the performance on a larger national-wide scale as to arouse more public interests in theatre. I am very grateful

to the National Theatre of Scotland for helping us to realize this project in Scotland.

outcome, we have built a profound friendship. Besides, this is the

田沁鑫 中國國家話劇院導演

subject matters. In the process, the technical skills are of most

我自己是 一名導演,一 部優 秀的戲 劇作品要 有很好的文本,我有時 在尋

scripts, to let more young people to understand the importance

切。2011年的愛丁堡藝術節上,我和蘇格蘭國家劇院的前藝術總監維姬·

the UK. We need to embrace this attitude for learning, to pick

the works based on their standards. From being part of taking

the initiatives, enjoying the performance, to watching the final

first time to carry out such a project with no restrictions on the

significance, to focus on building young people’s ability of writing of technical capability. It also serves as a driving force to motivate

those young people. I did not expect much about the result of the

project, and was not intended to start it for any profitable purpose. During the process, we have encountered various working and selecting criteria differences, and language expression barriers, which need thorough communication to be sorted.

找 編劇方面面臨一 些困難 。中國戲 劇才一百年,對於文本的需求十 分 迫 費瑟斯(Vicky Featherstone)聊天。從中最大的感受就是:文本是戲劇 創作的核心。我希望有一個活動能讓中國的青年編劇對戲劇產生興趣, 並把他們的戲 劇夢想變 成 現實。維姬在倫敦做 過新寫作 計劃,培養出很 多著名的編劇,我希望她豐富的經 驗 能夠對我們的項目有所 幫助。於是 就產生了在技術上與蘇格蘭國家劇院進行合作的初步意向。蘇格蘭政府 也很有開闊的視野,願意支持這樣的合作。

I have to give my great thanks to the Chinese girl Weng Shi-Hui,

我受聘在北京大學影視藝術中心擔任副主任,於是我決定把這個事情放在

effort that makes the project possible, so that the playwrights are

平臺。此外,國家話劇院和上海方面的支持,也最終促使我以個人名義施行

producer of the National Theatre of Scotland. It is her passion and able to gain this great opportunity. Our weakness is not lying in

having the difficulty in telling stories, but in lacking the technique

perspective. Our domestic theatrical market has been formed, but

lacks the content. It can be referred as a well-decorated restaurant with no great chief. It seems only through such an interesting

form, young people from both of the countries who are interested in and eager to learn each other’s play styles, social manner,

北京大學來做,因為這是一個承載青年人對戲劇文學的興趣和熱愛的學術 新寫作計劃。開始是我個人出資,用我的名聲博得了領導和政府的關註。北 大又是一個開鋒起先的一個學校。我請到很多知名的作家支持,如莫言、余 華、張抗抗、鄒靜之、劉恒等,還有港臺的林弈華、賴聲川導演等也來支持這 個活動的展開。這項活動還得到了中戲、社科院的老師們的支持。他們組成 一個專家組,在網上傳播消息。我們共收到一百五十多個劇本,最後篩選出 十個劇本。隨後蘇格蘭國家劇院的藝術家戴維·安德森(Davey Anderson), 喬治·氮雜澤林格(George Aza-Selinger)和如諾·蒙羅(Runo Munro)到中


國前來開展工作坊,來繼續發展這十個作品。經過努力地提升,我們最後選

可能達成交流。國家和城市的界限並不是障礙,情感是實現這些交流的根

出了六個劇本來到英國。蘇格蘭有這樣的文化交流慣例,否則不會開展得這

源。在中國,這個項目在青年編劇的培養方面引起了很大的反響。我們從

麼快。申請經費,篩選,翻譯的過程,就像送學生留洋一樣。在蘇格蘭的這個

北京來到格拉斯哥,感覺這個城市雖然很小,但這是一次影響很大的國際

劇展,從學術到實踐,實現了反應當代話題的情感演出。可能只有在英國,這

交流。因為這是兩個國家的年輕人之間的交流,本身就意義重大。

個戲劇方面的“老大”,能有這樣的交流和輸出方式,能在三個城市演出。我 自己在這樣一個合作裡面,是一個旗手型的人物,到了英國這邊,就完全交

這樣的合作在中國應該是第一次。能獲得一定的國家支持和政府注意,

給他們決定了。我們要學習,就要有這個態度,根據他們的標準去選拔。從

可以說是沒有先例的。戲劇的文學性非常重要,不僅僅是玩形式。我們國

發起者到享受者,最後坐看成果。我們也建立起深厚的友誼。此外,這是第

家有文學性的長處,也有技術性的需要,我希望繼續發展這點,並能盡可

一次開展這樣的活動,在題材上沒什麼限制。這一過程中,技術最重要,要

能多地出力。我想往下推 動這種活動應該也很有趣 。國家 級 劇院出一 些

關註青年人的文本建設。讓更多的青年知道技術的重要性,也是對於這些年

錢,社會力量給一些支持。在國內演出聲勢大一些,會讓更多人對戲劇產

輕人的鼓舞吧。我也沒想到能成,開始的時候也就沒有什麼功利心。這中間

生興趣。我很感謝蘇格蘭國家劇院能促成這輪在蘇格蘭的演出。

雙方也有很多工作方式,選拔的標準的不同,以及用語的誤差等等。這需要 雙方非常用心地去溝通。 我很感謝蘇格蘭國家話劇院的這位中国姑娘--翁世卉,她在這個國家 級劇院中擔任制作人。因為她的熱情和努力,才有可能把這件事情促成, 這些編劇也才有這些機會。我們的問題不在於不會講故事,而在於技術性 差。國內的戲劇市場化已經形成,但是內容上仍舊缺乏;就像一家餐廳, 裝修很好但沒有好廚師。兩個國家的年輕人對彼此都很感興趣,想了解對 方的戲劇方式、社會方式、情感方式等。只有通過這樣有趣的形式,才有

WORKSHOP IN NATIONAL THEATRE OF SCOTLAND


LIN WEIRAN ONE OF THE SELECTED PLAYWRIGHTS

very thankful for being able to get this great opportunity. Many thanks to director Tian for all her efforts put in the project. The

Nation Theatre of Scotland has also helped a lot. It is indeed not easy to make all this happen.

with Beijing Opera Company. She is the Director of IATC China

林蔚然 本次活動入選編劇之一

Weiran’s work investigates contemporary relationships.

協會執行總監。其作品主要是探究當代社會與人們的種種關係。

Lin Weiran is a playwright and screenwriter. She graduated

from the Central Academy of Drama, and is currently working

branch and Deputy Director of Beijing Young Drama Association.

編劇及劇作家,她畢業於中央戲劇學院,現工作於北京,為北京青年戲劇

This project has given me the great opportunity to write about

這個活動讓我有機會去寫自己真正感興趣的話題。比如我個人就非常關

very concerned about relationships and family relations,

動的主旨是指向心靈最隱密的地方,這提醒我自己要用心地問自己。

what I am truly interested in. For instance, I am personally

which is probably because of related characteristics of female

注兩性情感和家庭關系等話題,這可能 和女性 編劇的特點有關。這次活

playwrights. The theme of the project is gaining access to

這次活動中有一些訓練。例如,打開身體感官的訓練。我們在地下車庫,

questioning myself sincerely.

發現、去感知很重要。蘇格蘭國家劇院的這幾位藝術家,設置了很多針對

the most secret place of the heart, which reminds me of

Some training was provided in the project, such as opening up body sensors. We were required to experience the feeling of

facing an unfamiliar environment in the underground garage.

That fresh and strange feeling is like theatrical creation. How to

discover and how to perceive is very important. The artists from

去體驗面對陌生環境時的感受。新鮮、陌生,這點很像戲劇創作,如何去 寫作者的練習。方法上讓我印象很深刻。比如寫開頭,他們帶來很多劇本 單行本,讓我們去分析開頭。並不是直接說應該怎麼去寫。他們對於編劇 的這種啟發,是逐層地鼓勵、肯定,一直延續到劇本的生成和修改;他們 逐字逐句地詢問你的想法,以 及你對中國文化的解讀。始 終保 持一顆包 容和尊重的心,整個過程也是互相認知和提高的過程。

the National Theatre of Scotland set a lot of playwright-focused

如諾是 位非常傑出的蘇格蘭女編劇,描寫感情見長,最後擔 任我的劇本

me. For instance, regarding to write the opening, they brought

這三個不知該選哪個。最後,她說:“我覺得第一個不好寫,但是你要問你

practice. Their teaching method has left a great impression on a lot of script booklets for us to analyze. Instead of informing how to write straightaway, they inspired us through gradual

encourage and affirmation from the beginning of script writing

till the final stage of modification. They asked in details about our thoughts and understanding of Chinese culture, and always with a tolerant and respectful mind. It is also a mutual understanding and improving process.

改編。在談的時候,我帶了三個劇本,她問我需要什麼幫助。我說我覺得 自己到底要寫什麼。”“創作者到底想表達什麼?”這種訓練挖掘出了我一 些潛質,這十天對我來說很重要。我平時寫的一些商業劇比較成功,有一 些經驗,因此我擔心這部戲設置在一個封閉的空間中,只有兩個人,有可 能會很悶。但這是對創作潛能的一種開發,而且最終結果並不差。我非常 感謝這次機會。感謝田導,以她的地位並不用做這件事情。蘇格蘭國家劇 院也不遠萬里地做了很多實事。最後能這麼實在地落地開花,很不容易。

Runo, a very distinguished Scottish female playwright, was in

charge of my script adaption in the final stage. For the meeting, I brought three scripts. She asked what I needed to help,

and I said I did not know which scripts to choose. In the end, she concluded, “I think the first script is difficult to write, but

fundamentally you need to ask yourself what you really want to write about”. “What does the writer genuinely want to express”, this kind of training has dug out my potential. The ten-day

training has exerted a great impact on me. I have the experience in writing commercial plays and achieve some success. I was worried if the play set in an enclosed space only with two

characters will end up being very boring. However, this is an

exploration of creative potential, and the result proves fine. I am

LAUNCH RECEPTION IN NATIONAL THEATRE OF SCOTLAND


HAO JINGFANG ONE OF THE SELECTED PLAYWRIGHTS Jingfang Hao graduated from Tsinghua University in Beijing, China, majoring in Physics in undergraduate school and

Economics in PhD studies. She started to publish short stories

郝景芳 本次活動入選編劇之一 郝景芳畢業於北京清華大學,本科主修物理,博士攻讀經濟學。她2007年 開始出版 短 篇小說,已經出版了兩部 科幻小說,一本短 篇小說 集和一本 歐洲文化入門讀物。 《小偷和男孩》是她第一個劇本,英國戲劇豐富多彩 的語言給她帶來很多啟發。

in 2007, and has published two science fiction novels, a short

我不是一個專業的寫作者,從本科到博士,我讀的是物理和經濟學。我喜

Thieves and Boy is her first play for theatre. She is inspired by

看戲 ,經常約著 一起去,都是田導的粉絲,於是 也比 較關 心這 方面的 信

story collection and an introductory book of European Culture. British theatre for its rich and dynamic verse.

I am not a professional writer. My major was physics for my

undergraduate studies, and economics for PhD studies. I am

歡寫作,之前寫過小說。這次機會比較偶然,我和我一個好朋友都很喜歡 息。有一次無意中得知這個活動,聽說如果能被選中,就能去參加一些英 國編劇的課程。我當時很希望能參加,一是能見到偶像,二是期待參與這 個課程提升自己。尤其是如果能去英國,就更有吸引力了。

fond of writing, and have written novels before. This opportunity

國內目前很多戲 劇作品比 較注重 形式 。當然有的做 得非常棒,只是突出

of watching theatre plays, and we often go to theatre together.

哈根》,就是很簡單的舞臺,沒有復雜的形式,如果你不去關註他們所說

is quite accidental. My friend and I are sharing the same habit

Both of us are great fans of director Tian, therefore we know more about this kind of theatre news. Once by chance, we heard about this project that the selected candidates could get the chance

表現 形式的作品有時候並不能觸動我 。我比較喜歡的一 個例子是《哥本 的,就不會對這樣的戲感興趣。因此我最關心的還是人物的思想碰撞。這 也許是我的個人偏好,不過我認為文本是最能打動我的東西。

to attend script writing training in the UK. I was very hoping to

從觀眾到編劇核心人物對於我而言並不是特別艱難,相反,這很有意思。

the chance to meet my idol, and for the other, I was looking

的角度開始想,我會怎麼期待、怎麼想象、又是怎麼樣地碰撞,等等。作

participate in this project, because for the one thing, I could have forward to improving my skills from the training. Especially, it was very attractive to be able to go to the UK.

其實我還 是一 個觀 眾的角色,不管是 選定題材還 是寫作,我都是從觀眾 為一 個創作者,只不過是有了一 個機會 能把你腦袋裡面的東西寫出來, 還能夠被人演出來。這是一個很幸福、很有趣的過程。如果有人看了很多


Many present dramatic plays in China are focusing on forms.

very inspiring way, a lot of questions from the perspective of the

kind of works do not interest me. One play I quite enjoy is

characters were being gradually shaped.

Of course, some are great works, however, sometimes that

Copenhagen, which is put on a very simple stage, without

roles. Under such continuous question-and-answer guidance, the

complicated forms. If not paying attention to listen to the

Writing fictions is very free, where the story can be developed

I am more concerned about the collision of thoughts of the

rhythms where characters have inherent conflicts. The charm of

characters, one would not be interested in such a play. Hence, characters. This is probably my personal preference, but I think text is what impresses me the most.

I do not find many difficulties from being an audience to be a

core figure of play writing. On the contrary, it is of great fun. In fact, no matter for deciding the subject or writing the script, I

remain thinking from an audience’s point of view, what to expect, how to imagine, how to collide, and etc. As a creator, one is able to write things out from the mind, which can be performed on the stage. It is a very pleasing and interesting process.

If someone has watched a lot of plays, and hope from his/her

point of view, that is to say, from the viewer’s point of view, to write a play, I would encourage them to do so, but very rare

opportunities can be found. I am very grateful to this project for

encouraging us to accomplish the play writing with tremendous

help from professionals. Though our initiative ideas might sound naïve, they have tired the best to guide us. They asked us, in a

quietly, while plays require expressions and actions with intense plays perhaps lies in conflicts. Even though there is no dialogue, it has to have such a dramatic tension. The tutor asked us to

imagine there is a ticking clock on the stage, ‘tic, tac, tic, tac…’.

A play is not just about telling a story, while it is the tension that seizes the audience’s attention. Therefore, going back through

my previous works, I find them without any tension or focus. With this kind of thinking, I will improve the previous works in a more intense way.


WENG SHIHUI PRODUCER OF THE NATION THEATRE OF SCOTLAND I am the producer of the National Theatre of Scotland, and I am from Shanghai. The Scottish have relatively open personalities, leaving friendly and cheerful impressions. The majority of

them are working classes, very curious about foreign cultures without excessively subjective prejudices, which lead to a close relationship between the two countries for cultural

戲,希望以這樣的角度出發,也就是說,設想看戲者的角度去寫的方式, 我還是很鼓勵的。但是這樣的機會真的不多。我很感謝這個項目,促使大 家完成自己的寫作,而且有很多很專業人士的幫助。也許我們最開始的想 法都很幼稚,但 是 他們也都能盡量協助我們。他們啟發式 地詢問我們很 多問題,完全從角色這個角度出發。就是在他們這樣一遍遍地詢問之下, 人物就逐漸成熟了。 寫小說 是 一 個很自由的東西,可以非常安靜。而戲 劇一定 要靠 語言和行 動。節奏要強烈,人物有內在的沖突。戲劇的魅力也許就在於表現沖突。 即使沒有對話,也要有這樣的戲劇張力。導師告訴我們,要想象舞臺上有 一只表,“滴答滴答”,緊湊的節奏才能抓住觀眾,戲劇不僅僅是講述一 個 故事。所以現在再去看以前寫的東西會很散,很不集中。有了這樣的思維 方式,可以把以前寫的東西梳理得緊湊和緊張一些。

every decision successful, but she was not stopped to take

翁世卉 蘇格蘭國家劇院制作人

risky steps, without knowing if it would succeed or not, or how

放,給人以友好和開朗的感覺。工人階級比較多,對於外來文化很好奇,

exchange. I was employed to this national theatre by the

former artistic director, Vicky, who is fond of adventures and daring to make bold decisions. It is definitely great to have

risks in spite of unsuccessful decisions. Then I am part of her

我是 蘇格蘭國家劇院的制作人,來自上海 。蘇格蘭人的民族 特性相對開

far it could go. But it proves there is such a cultural tolerant in

沒有過多主觀的成見,這些都讓來自兩個國家的人們在文化交流上感到

this place.

The National Theatre of Scotland is known for new writing.

When paying a visit to here, director Tian asked why there are so many playwrights in the UK and they are able to survive

親近。我當時受聘於這家劇院是因為前藝術總監維姬——一個喜歡冒險 和敢 於做 大 膽決 定的人。每次決 定成 功的話當然好,不成 功也不會阻止 她去繼續冒險。我就是她的一步險棋,也不知道是否會成功,會進行到什 麼樣的程度。但這也說明,這裡有這樣的文化寬容度。

without being commercial writers. This situation cannot be

蘇格蘭國家劇院以新寫作見長。當時田導來考察的時候提出了一個問題,

Scottish theatre techniques and Chinese ideas and themes?

此維生。在中國,這種情況也許不能想象。有沒有可能用蘇格蘭人的編劇

imagined in China. Is it possible to breed a new scene with

We have abundant cultural resources here, and director Tian

has such a strong appeal to attract a group of playwrights to participate, so that this project can be achieved. Vicky said

she would like to have the contemporary Chinese playwrights to be heard on the contemporary stage, and want to know

what contemporary China is like. We have known a lot about ancient and legendary China, as well as the China depicted

by the media, but what real China is remains a mystery to us. Can the contemporary Chinese playwrights tell us what this

kaleidoscope country is really like? This is out of Vicky’s own curiosity, and also out of the curiosity of British audience.

Nowadays, China is in the central focus of the world because

為什麼英國能有這麼多的編劇,而且很多人並不是商業編劇,他們卻能以 技術和中國人的想法和題材培育出一朵新的花來。我們這邊文化支持的資 源比較充沛,加上有田導這樣的藝術家有很強的號召力能吸引一批編劇來 參與,才促成了這樣的活動。當時維姬說,我想給中國當代編劇在當代舞 臺發出聲音的機會,也想知道當代的中國是怎麼樣的;古代和傳說中的、 以及媒體告訴我們的中國我們知道得很多,可是中國到底在發生些什麼還 是個謎。能不能由當代的編劇告訴我們這個萬花筒究竟是怎麼樣的?這一 方面是她自己的好奇,一方面也是英國觀眾的好奇。現在很多國家的焦點 都在中國,一方面是經濟原因,一方面大家更希望了解這個民族的特性來 去尋找這些經濟現象的根源,以促進物質文化的交流和發展。綜上所述的 元素,促進了這樣的一個戲劇季。結果證明,戲劇語言是無國界的。感情是 相通的。不論是感情戲,還是黑色喜劇,大家的接受度沒有太大的差別。

of its economical growth, and we want by the means of

understanding its national personalities to look for the root

of the economic phenomenon, in order to promote cultural exchange and development. All the above elements breed

this theatre play season. The result proves theatrical language is with no national barriers, and emotions are interlinked.

Whether it is an emotional play, or a black comedy, there is not much difference between the public for acceptance.

PRESS CONFERENCE NATIONAL THEATRE OF SCOTLAND


DAVEY ANDERSON ARTIST FROM NATION THEATRE OF SCOTLAND My passion is new writing. I wanted to take a group of Chinese

writers through a collaborative process and produce plays that were unique to this creative exchange between Scotland and

China. Literally hundreds of Chinese writers wanted to come and

take part in the first workshop National Theatre of Scotland ran in Beijing. They all had distinctive voices and bright ideas. Our first challenge was selecting which writers to invite into the room. Then we had to negotiate the language barrier, as well as the

different sets of cultural reference points, artistic traditions, social

backgrounds, political frameworks and so on. In amongst all that, we shared ideas, interests, inspirations and ways of working. I

asked lots of questions about what it is like to live in China right now. These plays are the result of that conversation. A few tiny peep holes into parts of China we don’t often get to see.

I have been participated in several Òran Mór’s international

“a Play, a Pie and a Pint” season. We were trying to bring the

different voices from different parts of the world to Scotland. I have been to Beijing Fringe previously and talked with lots of directors and actors, actresses. They achieved a great success with very limited resources, which is similar with Edinburgh

Fringe. However, sometimes, we are missing the playwrights there. Director Tian Qinxin is a very famous Chinese stage

director. She is interested in this topic and she is taking the lead. It is very important for us to have the project right now.

戴維·安德森 蘇格蘭國家劇院藝術家 我非常癡 迷於 新寫作。我想帶一 組中國作家一起,通 過合作的方式來做 幾部戲,這將是獨一無二的機會來促 進蘇格蘭和中國的交流 。非常多的 中國作家希望能夠參加蘇格蘭國家劇院在北京舉辦的第一次工作坊。他 們的想法都棒極了,所以我們遇到的第一 個挑戰就是要選擇邀請誰來參 加我們的工作坊,然 後我們進行了關於語言障礙,以 及 對不同文化參照 點,例如藝 術傳統、社會 背景、政治框 架等問題的討論,與此同時,我們 也分享了各自的想法、興趣所在以及靈感來源和工作方式。對於中國當下 生活的現狀,我問了不少的問題。這些劇都是我們那次會談的成果,管中 窺豹似的來揭示我們不曾常見到的中國。 我曾多次參加奧蘭摩爾(Oran Mor’s)的國際戲劇季(一個戲,一個派,

POSTER OF NEW PLAYS FROM CHINA

一杯酒)。我們試圖將世界各地不同的聲音帶到蘇格蘭,我已經和很多北 京戲劇節上的導演和演員接觸過,他們在有限的資源內取得了巨大的成 就,這和我們愛丁堡戲劇節很相像。田沁鑫是很知名的舞臺導演,她對新 寫作項目非常感興趣,我覺得我們現在開始這樣的的項目非常重要。


CITY SLICES & COUNTRY CRUMBS AN INTERVIEW WITH GREY & GREEN THEATRE 城片國屑 專訪灰綠劇團

INTERVIEWED AND TEXT EDITED BY 採訪及文字整理 x JOANNA XIAOXING DONG 董一燃

TRANSLATED BY 翻譯 x HAN JIAYI 韓嘉怡 IMAGE COURTESY OF 圖片提供 x GREY & GREEN THEATRE 灰綠劇團

PI: PERFORMANCE INFINITY / GG: GREY & GREEN THEATRE

Broadway producer expressed interest. We thus had a slot at

PI: Why have you chosen new writing productions? Do you feel

fill – with only six weeks to go! We knew the only way to quash

that it takes more time and effort to develop a new writing piece than do classic or existing play scripts?

GG: City Shorts (a show of 4 short plays set in London) was the

first production from London Grey & Green Theatre Company.

As we are just starting out, one of our main aims is to meet new

people to work with; by producing new writing it allows us to get to know new writers, actors and recruits to the production team.

the lovely Rosemary Branch pub theatre that we needed to our disappointment was to start planning something else

immediately. What originally seemed like a disaster turned out to be a blessing-in-disguise. We considered acquiring the rights to

another existing play or looking for a new full-length play, but we decided to ask for submissions for short plays believing it would

give us the most exciting and challenging scripts given the small time frame, i.e. quality over quantity.

The framework of a night of shorts provides a broad platform for a

We’ve been very lucky with our pieces, as they haven’t

a large cast. We met so many great people through City Shorts

is always development of some sort from page to stage,

selection of writers, rather than a single writer, and also allows for and City Slices & Country Crumbs (which followed it a few months later) that we would love to work with again!

City Shorts also partly came about by chance. It was developed

very quickly, after a scripted play that we were planning to

produce fell through, after months of planning, because the agency that holds the rights to perform it withdrew from

our agreement at the last minute when a big West-End and

needed development at the writing stage. Of course, there whether the play is new or classic. Directorial decisions on

staging, space and tone can change a play considerably. The only difference here was that we had the chance to work a

little closer with our writers, and have them view the finished product! With classic or existing play scripts one might feel

less constrained in this respect, but we felt very privileged to

have this relationship with our writers, and felt the plays have benefited from it.


PI:您為什麽會選擇“新寫作”作品? 您是否認為比起制作經典或現存劇 本,創作“新寫作”作品更費時費工?

GG:《都市短褲(City Shorts)》,由以倫敦為背景的四個小短劇組成,是 倫敦灰綠劇團(Grey & Green Theatre Company)第一部制作。由於我 們 剛 起 步,主 要目的之一 便 是為了與新人合 作 並 創 作出新 作品,這使 我 們得以結 識更多新作家、演員以 及相關從 業者。本劇框 架為廣大而不是 單個 作家提 供了寬大舞臺,同時也容納了更 龐 大的陣容。我們與許多出 色工作者因為《都市短褲》與隨後將要上映的《城片國屑(City Slices & Country Crumbs)》 結緣,期待日後有機會再與他們合作! 《都市短褲》的出現 其 實也有部分 偶然因素。其 創作過程很 短 。我們先 前計劃好的一 個腳本告吹 後,經 過一 個月的籌備,在當一 位西部百老匯 制作人表示有興 趣 時,持 有上映權的中介在最後 一刻退出協議,這 逼得 我們不得不在短 短六周內填補要在可愛的迷 迭香酒吧劇場(Rosemar y Branch pub theatre)的一 個演出空檔。彼時,唯一能使大家不繼續沮 喪的方法就 是 立刻再做出新東西。也算是因禍得 福,我們當時 考慮演出 現 成 的 劇目或者是 一 部全 新 的 劇 本,但後 來 還 是 決 定 對外 征 集 更富 挑 戰性和趣味性的短 劇投稿,這也更 加符合所需時間長 度。這也算是重質 不重量吧 。 我們的作品很幸運,在寫作階段不需要太多拓展和修改。但當然,不論作 品新舊,從書面到舞臺,改動總是在所難免。導演對於舞臺、空間和色調 的決 定都會 對劇本身產生很大的影 響。而這裏唯一的區別是,我們會更 貼近作者,並使他們能看到最後成品!鑒於已有經典或現存劇本,人們通 常會覺得在這方面的約束 比 較少,但我們卻為能擁有這樣的工作關系感 到十分榮幸,並且覺得最終劇作從中獲益良多。 PI:您怎麽征集稿件? GG:對這兩個劇,我們在許多在線 劇場論 壇 上發出了公告,給作 者們留 一周的時間來提 交 作品。當時積極的回響令我們很高興,第一次收獲 逾 四十個劇本,第二次收獲六十個劇本,這些作品都具備高水準。而我們對 作者只要求以下三條“鐵律”: 1. 《都市短褲》把背景設在倫敦, 《城片國屑》則必須把背景局限在英國 本土某地。 2. 劇中必須要有50%以上的女性角色。 3. 劇作表演時間不得長於15分鐘。 PI:您為什麽要將女性問題作為焦點? GG:除了做出精彩的作品之外,我們主要目標之一是為了讓更多的女性戲 劇工作者參與進來。首先,人們普遍受夠了大多數戲劇只有寥寥數個女演 員的現狀(這在二十世初期的作品中體現尤為明顯),並且這些女性角色都

FIT FOR WORK BY SUSAN HARRISON, L-R: HOLLY ASHMAN, NATASHA ATHERTON

很老套,不是主婦、娼婦、無知少女就是巫婆什麽的;其次,2012年十二月 的統計數據結果很令人吃驚,倫敦舞臺上男女比例為2:1,大學表演專業男女 畢業生比率為1:4 ,而英國女戲迷與男戲迷比例為2:1。所有事實都使我們明 白女演員獲得好角色的機會要比男演員小得多,一不留神就會失業。


PI: How did you call for your submissions? GG: For both shows, we posted a call out on various online

theatre forums and gave the writers a week to submit. We were absolutely delighted at the keen response – we received over 40 scripts the first time and 60 for the second – and the high

standard of submissions. Our brief to writers consisted of three golden rules:

1. City Shorts - pieces must be set in London. City Slices &

Country Crumbs - pieces must be specifically set somewhere in England.

2. They must have at least 50% female characters. 3. They must be no longer than 15 minutes.

PI:Why have you taken women’s issues as your focus? GG: One of our main aims, apart from producing exciting

and challenging work, is to increase the amount of female

representation on the stage. Firstly, we are generally fed-up with the fact that most of the plays we watch have so few female

characters (particularly noticeable with anything written pre-

20th century) and that most of these characters represent a few

stereotypes – the housewife, the prostitute, the innocent young girl, the witch etc. Secondly, we discovered some statistics

published in December 2012 that really shocked us, including that: the ratio of male to female parts on the London stage is 2:1, the

ratio of female to male graduates leaving university performing arts courses is 4:1 and women theatregoers now outnumber men 2:1

in the UK. All these facts made us realise that female actors have a

much lower chance of finding roles, and good roles, than men, and are much more likely to be out of work.

So, it wasn’t our intention to produce plays about women, we

just wanted the plays to include women and to be localized in

London/ England so they felt really relevant to our audiences. It

just turned out that we started to receive broadly feminist pieces, and pieces addressing female issues.

PI: Tell us more about the plays, what they are about and why you chose them? What’s the standard?

GG: For both shows, after the submission deadline, the directors sat

down together to read all the scripts (we had looked at some as they were coming in, but the final read still took a whole day). Ultimately, we chose the pieces that we would like to have a chance to direct.

We did want to have both thematic links and variety, but for us the quality of the shows would hinge on how passionate about our individual pieces we were, and the ideas we had for them.

ANNA BY WENDY THOMSON L-R: CELIA KELLY, DAVE PITT


The first four plays were: 82 to North Finchley by Judy Upton,

Dropping Stitches by Vanessa Wilkins, Fit For Work by Susan Harrison, and Anna by Wendy Thomson. There were others that

we really liked and seriously considered, but our four choices

were ones that we didn’t have any doubts about. Broadly, these plays are all about women and city life (London specifically). The thematic scope was actually quite vast, from a romantic

因此,我們並不是打算為女性去創作戲劇,而是想要做出一部能把女性容 納進來、使 之在倫敦 / 英國的背景下本土化 、給觀眾共鳴的戲 劇。故而廣 泛接收了許多女性題材的作品,意圖改善上述發生在戲劇行業的問題。 PI:我們聊聊劇本本身吧,它主要內容是什麽? 為什麼選擇它們? 選擇 標準是什麼?

relationship between two 20-something women in the first play,

GG:這兩部劇,都是在過了截稿日之後,主創們坐下一起朗讀所有劇本,

The third saw us tackle weighty political issues through the eyes

終,我們才選出真正想要的作品。的確,我們也想要顧全主題和多樣性,

to a middle-class middle-aged mothers meeting in the second. of a teenage girl, also struggling with the terminal illness of her

father, and the final was a satire of womens’ writing and how it is viewed in the theatre.

The next collection were: Milk by Judy Upton, concerning a

young couple and a government conspiracy around milk; A Little

While Longer by Melanie Hunter, a monologue delivered by the spirit of a woman who had lived in early-20th Century Newcastle;

The Seaside by Camilla Whitehill concerning small-town life

and the desire to escape; and Chelsea & Henriette by Wendy

Thomson which satirised the young and ultra-rich in London. These plays were set all over the country and had something

thought-provoking to say about their location. It was a great

compliment to have writers from City Shorts submit us scripts

again; the writer Camilla Whitehill had also acted in City Shorts.

In both productions the plays were very varied stylistically, for

example, Dropping Stitches was a dialogue-heavy traditional comedy whereas Anna was experimental and had very little

text; A Little While Longer was a surreal monologue and The

Seaside was a very naturalistic duologue.

PI:If you have the chance, which piece would you want to develop into a full-length play?

GG: The thing about short plays is that their length often

demands different things from a writer to be successful. For

example, the writer doesn’t long time to explain background

stories and context, so either has to forgo them or find clever

ways of fitting these details in. A lot of brilliant short scripts use and twist the conventions of the short play, with feelings and

在他們來之前我們已經 先看過部分,但 最 終讀 完還 是花了整 整 一天。最 但其實最終演出的質量還是要取決於我們對於各個部分的熱情、想法和 專注程度。 前四部劇分別是:朱 迪·厄普頓(Jud y Upton)的《往北芬奇利的82號 線(82 to N or th Finchl ey)》,凡妮莎 ·威爾金斯(Vaness a W ilk ins) 的《滴針(D rop pin g Stitch es)》, 蘇 珊·哈裏森(Sus an Har r is on)的 《 適合工作(Fit For Wor k)》,溫 迪·湯姆 森(Wend y T homs on)的 《安 娜(A n n a)》。當 然 此外還 有其他 作 品也在我 們 考慮 範 圍內,但 是 這 四 個 選 擇 是 大 家 一 致 通 過 、毫 無 質 疑 的 。從 廣 義 的 意 義 上 來 說 ,這 些 劇 都是有關 女 性 和 都 市生 活( 尤 其 是 倫 敦 )。題材 範 圍 非常廣 泛,第 一 部 劇 講 述了一 段 發 生 在 兩 位 二十多歲 女 性 身上 的 羅 曼 史 ,第 二 部 劇 鋪 陳 了關 於 兩 個 中產 階 級 婦女 的 相 遇 ,第三部 劇 使 大 家 從 一 位 有 著 罹 患 絕 症 父 親 的 十 幾 歲 少女 的 角度 去看 沈 重 政 治 問 題 ,最 後 一 部 劇 則 是 關於女性寫作以 及它們如 何被 劇院看待的諷 刺劇 。 接下來的系列是:朱迪·厄普頓的《牛奶(Milk)》,關於一對年輕夫婦和政 府圍繞著牛奶展開的陰謀;梅拉妮·亨特(Melanie Hunter)的《一小會兒 (A Little While Longer)》,是一段生活在二十世紀初紐卡斯爾的女幽靈 獨白;卡米拉·懷特希爾(Camilla Whitehill)的《海濱(The Seaside)》,講 述鄉鎮生活的逃離欲望;溫迪·湯姆森(Wendy Thomson)的《切爾西和亨 利艾特(Chelsea & Henriette)》,諷刺了一名超級倫敦土豪。這些劇以英 國各地為背景,發人深省。而《都市短褲》的劇作者願意再次投稿,對我們 而言,也可算是莫大鼓舞,而卡米拉·懷特希爾本人也曾出演《都市短褲》。 這兩部劇中的短劇作品都風格迥異,譬如, 《滴針》是一部對話沈重的傳 統戲劇, 《安娜》卻是對白極少的實驗性劇作, 《一小會兒》又有大段超現 實獨白, 《海濱》則是很自然的對話劇。 PI:如果有機會的話,哪一 個短 劇您想要把它發展 成一 部時長 完整的戲 劇作品?

moods that can so easily be facilitated by this format. Anna, 82

GG:短 劇的長 度 通常會 對作者有不同要求 。比如,作者沒有時間去解釋

and bold. They play with conventions in their writing and their

方式來把這些細節放進作品中。大部分出色的短劇劇本都會混合使 用傳

to North Finchley and Milk all do this: they are snappy, slick

staging, stimulated by the challenge of writing such a small, selfcontained piece. These plays work best as shorts. Fit for Work,

Dropping Stitches and The Seaside however, do contain

more developed and detailed characters and have very clear

narratives. They are all arguably more concerned with content

背景故事或上下文聯系,因此需要 擯棄 這一 部分或者尋求聰明又簡潔的 統的短劇方式,而劇中感覺和情緒也因此較容易被推動起來。 《安娜》、 《往北芬奇利的82號線》和《牛奶》就都很活潑、流暢和大膽。被短小、 自成一格的短 劇所激 勵,他們將關於寫作與布景的個體 想法融 入了傳統 形式。就此而言,這些短劇劇本都表現得很出色。然而《適合工作》、 《滴 針》和《海濱》卻包含了更多成熟細膩的角色,並有非常清晰的敘 述。按


than with structure and aesthetic and they have more of the right

理 來說,它們關心內容本身多過結構 和美 感,也因此有更多能被 轉化成

are certainly interested in hearing from these writers about ideas

發展他們作品的思路。

kind of material to work with to turn into full-length plays; we they may have to develop them

PI: Please introduce yourself and all the team. GG: The company was founded by Artistic Directors Charlie Ely and Tessa Shrubsall, who met at Central School of Speech and

Drama in 2011, when both were studying for an MA in Theatre Studies. Both previously went to Sussex University, where

they bizarrely failed to meet but worked on theatre projects with many of the same people. They first collaborated on a

production of The Vagina Monologues (with Tessa directing

and Charlie assistant directing) in Feburary 2012. The success of this production and the excellent working relationship

that developed between the two, led to the formation of the

company. There are two associate producers, both also CSSD alunma: Berengere Ariaudo De Castelli, who produced both

City Shorts and City Slices…, and Clare Greenwood, who produced The King of Cats – a completely different project that we worked on between the two productions of shorts.

(Briefly, The King of Cats was a promenade, physical theatre performance, devised by the company and co-directed

by Charlie and Tessa, which we were invited to perform at

Secret Garden Party festival, in Cambridgeshire, from 26-28th July.) Patrick Goodden, who has an MA in Music Production,

完整戲劇作品的材料。我們當然有興趣去聽這些作者們聊一聊如何深入

PI:請介紹一下您自己及整個團隊 GG:公司由藝術總監查理·伊利(Charlie Ely)和泰莎·史拉波色(Tessa Shr ubs all)成 立,他 們在2011年結 識 於英國皇 家中央 演 講 與 戲 劇學院 (Royal Central School of Speech and Drama),彼時他們都在攻 讀 戲 劇研究的碩士學位 。巧的是,他們之前都在蘇塞克斯大學(Sussex Uni ve r si t y)念書,跟 很多共同 的 夥 伴因 為戲 劇而有合 作關系,卻沒能 面對面遇見對方。他們第一次合作是因為2012年2月的《陰道獨白(The Vagina

Monologues)》,泰莎當導演,查理當助理導演。這部劇的成

功和他們兩人良 好合作關系,促 成了這間公司的誕 生。公司內還有兩位 聯營制作人,也都是中央演講與戲劇學院的校友:制作了《都市短褲》和 《城片國屑》的博利格爾·奧利爾多.迪·卡斯特裏(Berengere Ariaudo De Castelli)和制作了《貓之王(The King of Cats)》的克萊爾·格林 伍德(Clare

Greenwood),而這兩部劇作是完全不同的項目。簡單地

說, 《貓之 王》是 一次 漫步,屬於實體 劇場 表 演,由公司設 計、查 理和泰 莎合 作 導演 ,並 被 邀 請 在 6月26至 2 8日期 間 到 劍 橋 郡 的 秘 密 花 園 派 對 節(Secret Garden Par t y Festival)上演出。帕特裏克·高登(Patrick G o o d d e n)擁 有音樂 制 作 碩士學 位,是我們音效和燈 光設 計 師 和技 術 指 導 。我們同時 還 與 另一 位導演合作,曾 執 導《城 市短褲》的圖庫·巴巴 洛斯(Tutku Barbaros)和其他兩位出色的助理制作人伊莎貝拉·梅爾瓦 絲卡(Izabella Malewska)和阿麗莎·拉凡尼爾(Alysha Laviniere), 他們都是我們極願意再次合作的夥 伴!

is our sound and lighting designer and technical wizard.

PI:下一步您會會有什麽計劃呢?

City Shorts) and two brilliant assistant producers, Izabella

GG:《城片國屑》幾周前剛落下帷幕,所以在把一切收拾妥當後,現在打

work with again!

然,我們還是很有興趣再多做一些短劇和嘗試“新寫作”作品,但查理和泰

We’ve also worked with another director, Tutku Barbaros (on Malewska and Alysha Laviniere, all of whom we would love to

IP: Please let us know your next plan?

算在下一場劇開 幕前先 放個 小長 假( 之前 這四 個 月趕了三部劇啊!)。當 莎在將來卻都很想去挑戰指導一部完整長度的劇作,因此,現在,我們正 享受花時間來尋覓、閱讀好劇本。下一部劇,希望能在2014年春季登臺。

GG: The curtain only closed on City Slices & Country Crumbs

a few weeks ago, so having wrapped things up we are now

planning to take a slightly longer break before the next show (our first 3 productions took place within 4 months!) We are

certainly interested in producing more short plays and more

new writing, but both Charlie and Tessa are also keen to take up the challenge of directing one-act or full-length plays in the near future. Right now, we are enjoying spending time researching and script-reading; we hope to have our next production staged in spring 2014.

POSTER OF CITY SHORTS


YELLOW EARTH THEATRE AN INTERVIEW WITH KUMIKO MENDL 黃土地劇團 採訪久美子·孟德爾

INTERVIEWED AND TEXT EDITED BY 採訪及文字整理 x SHERRY ZHAO 趙丹鈺, PINKY HONG 洪子雲 & JOANNA XIAOXING DONG 董一燃 TRANSLATED BY 翻譯 x YU CHANG 于暢 & KE QIWEN 柯淇雯 IMAGE COURTESY OF 圖片提供 x YELLOW EARTH THEATRE 黃土地劇院

Yellow Earth was established in 1995 to develop new theatre

黃 土 地 劇 團 成 立 於19 9 5 年,旨 在 為 英 國 東 亞

from all backgrounds in this work through public readings and

院作品提供平臺以及通過公共閱讀和巡回演出

work by British East Asian (BEA) artists and to engage audiences touring productions.

(British East Asian—BEA)藝術家創作新劇 的方式使不同背景的觀眾參與進來。

It fuses eastern and western performing traditions to celebrate

該 劇團融合了東西方不同的表演傳統,以 慶祝

in London and on tour, along with programmes developing

的形式呈現。此外,還有相應的項目有助於挖掘

the meeting of different cultures and presents productions

and promoting new BEA writers, directors and performers. The

company has an extensive education and outreach programme,

working with community groups as well as schools and colleges.

不同文化的交匯並在倫敦和世界巡演中以演出 和提升新的BEA作家,導演和演員。該公司擁有 一項 廣泛的教育和推 廣計劃,合作 對象包括社 區團體以及學校和大學。

In a process of artistic renewal led by new Artistic Director,

在由新 藝 術 總 監 久 美 子 ·孟 德 爾 領 導 的 藝 術復

audiences in participatory and immersive work in new spaces

與 到 使 其 有身 臨 其 境 之 感 的 新工作 空 間 當 中

Kumiko Mendl, the company is now setting out to engage

with an ambition to produce fresh, vibrant work that reflects the BEA experience and create new opportunities for emerging and established BEA artists.

興 進 程中,該公司現 正著手吸引更多的觀 眾參 來,其目的在 於創作 能夠反映BE A 經 驗 和為新 生代年輕BEA藝術家以及老藝術家創造新機會 的新穎而又充滿活力的作品。

“Dim Sum Nights” is a unique theatre showcase which provides

“ 點 心之夜 “是 一次 獨 特 的 戲 劇 作品 展 示,在 展

writers served up alongside delicious Dim Sum and Chinese tea.

時,還為人們準備了美味的點心和中國茶。

fresh, bite sized pieces of theatre by talented British East Asian

示 才華 橫 溢 的 英 國 東 亞 作 家 的 最 新 戲 劇 的 同


PI: PERFORMANCE INFINITY / KM: KUMIKO MENDL

P I:您 認 為 有必 要 為了避 免 一 個 泛 亞 洲 的 概 念而 區 分不 同 的亞 洲 文化

PI: Do you see that it is important to differentiate between

爭取更強大的地位這種觀點嗎?

the different Asian cultures to avoid a too general concept of

嗎?或者,您更贊成 聯合不同的亞洲文化從而為維護自己的權 利和想法

“Asianness”, or are you more for the idea of uniting different

KM:在黃土地成立之初(1995年),東亞、西亞劇場十分不活躍。這一 個

rights and ideas?

加來自不同國家的參與者的信息。目前,華裔是最大的一個群體。我們的

Asia cultures to gain a more powerful position in advocating our

KM: When Yellow Earth was founded in 1995 there was very little East Asian/SE Asian theatre happening. The EA/SE communities

群體非常小,所以我們盡 量去囊括盡 量多的人。每一年我們都 希望能 添 工作成果一定程度上體現了這種構成 。我們現在的工作重點是關注英國 東亞裔群體的英國身份屬性。

were relatively small in terms of population so it felt important

如今的東亞藝 術圈增長 迅 猛,也非常多元 。所以我們需要清 楚我們怎樣

tried to profile and present a different country but the Chinese

認為黃土地的角色有兩個部分。一 個是為新觀眾制作體現我們自己聲音

that we include everyone as much as we could. Each year we were by far the biggest group, the make up of the company

reflected this and the work did too. The focus is now very much

on the British part of the East Asian and work that originates from

去處理這些多元性的意見,並且如何去展現我們自己。就我個人而言,我 的新作品;另一個是為演員,作家和導演等創作人員提供土壤和機會去測 試和發展他們的作品。

Britain by people of East Asian descent.

當然,如果我們能夠發出一種聲音,當然會讓我們的地位更堅固,我們可

Now there is a much larger and stronger East Asian artistic

即使 這些變化很緩慢,但 是我覺得著一定會發生。類似 黃土地這樣的劇

community and it’s definitely growing which is exciting but just as it is a diverse one so is there a diversity of opinion as to what

sort of work we as a sector should be doing and how we should be representing ourselves. For me I see the role of Yellow

Earth as being in two parts; to produce work that explores our voices and brings exciting, new work to new audiences and

以來區分不同的文化 和種 族的界限。但 是我們都 不夠 醒目和有力。不過 團需要生存和奮鬥下去。

WHY THE LION DANCED PRODUCTION PHOTO BY ALASTAIR MUIR


as a seeding ground – creating the right conditions for actors,

writers and directors to develop their craft, to stretch them and to challenge them.

It is better if we can speak with one voice, it makes our position stronger, we can not separate along cultural or ethnic lines,

there are too few of us to make any impact, as it is we are still pretty invisible but although change is slow I am optimistic it

will happen but we do need to keep up the pressure and for it to happen companies like YE must continue to survive and thrive. PI: How you got the idea of Dim Sum Nights? It is very

interesting to present the theatre showcase at a restaurant. KM: Over the years the company has run development

workshops for writers and directors and most recently with actors and I was looking for a way to bring these three strands together. I was also keen to take our work into different spaces. So that’s

why Dim Sum Nights began. It was like a test really. It was a way for people to test new material for themselves, but putting it in a format that was accessible, and hopefully interesting, and it

would be a good way of bringing in new audiences – it’s not easy selling a show when the writers are pretty unknown. Originally I was thinking lunchtime plays, we do a selection of very short pieces at lunchtime, hence dim sum. All the pieces would be

different like dim sum and we hoped there would be something

to suit everyone’s taste. As I looked into it, I could see it was going to take up a lot of time and resources to build an audience for a

Beijing Opera so the idea was they could use those props in

it more of a show, so we can have more pieces, not limited to just

to develop further which became the next DSN the following

lunchtime event. So I thought let’s do it in the evening and make an hour. It’s usually around an hour to an hour and 20 minutes. That’s why we called it Dim Sum Nights. By presenting it in a

Chinese restaurant I hoped that those people familiar with that

any way they liked) It was a great success and we selected 5

year that toured around the UK and was compered by one of the characters.

space might feel more comfortable coming there to see theatre

Part of this year’s Dim Sum Nights is commissioning writers

seating meant people had to sit with people they didn’t know

interesting, because it was coming from us commissioning, rather

than going to the theatre itself. Using round tables for audience and gave a good communal atmosphere. People also enjoyed the novelty factor plus the combination of food and theatre is always a winner.

PI: Can you describe what kind of pieces you’ve got for this year’s Dim Sum Nights? What are the differences between

this year, last year, and two years ago? What are the difficulty, achievements, and expectation?

KM: The first time we did DSN we did a call out to BEA writers/ directors/actors to come up with a 10 minute script or idea

for a piece that would take place in a Chinese restaurant and

the only set they could use would be a table and 2 chairs (like

from last years DSN to write a new scene. This had been quite

than from the writers who originally came up with these pieces. I think it is more challenging for some of them. They found it

more tricky, as their first pieces weren’t necessarily intended to be

BLUE REMEMBERED HILLS, PHOTO BY ROBERT GOLDEN PLAY TO WIN PHOTO BY RICHARD BRADBURY


more than that. But 4 out of 5 have come back, with a new piece that featured one or more characters from last year. We’ve put

all those four pieces in. So for the writers, I hope it’s developing

PI:您是如何產生舉 辦點心之夜的想法的?我認為在餐廳舉 辦戲 劇展示 非常有趣。

them: revisiting a character and imagining another situation

KM:近些年來,黃土地曾經開展過一些作家,演員和導演工作坊。我希望

pieces. Of course, we’ve got a different creative team this time

到不同的空間展示。這也正是“點心之夜”的起源。這很像一個測試,如何

for that character to be in. I hope they are going to be stronger around. We’ve got one less actor. We’re doing it with four. We’ve

got slightly more pressure on them to be doing different parts. So for those people who know the pieces from last year, it’s going to be quite exciting. But for those who don’t, they should be stand-

alone pieces that work on their own anyway. That’s the challenge. In terms of the showcase pieces, as we call it, the new writers’, the open submission, some people have come back and written new pieces, and we’ve got a lot more new people coming in. I think

the very first year when we did it, there were people around who

尋求一種方式能把這三者結合起來。同時,我們也很希望把我們的作品帶 幫助人們去檢驗新素材,但是同時可供欣賞並且很有趣。同時這也是一個 培養新觀眾的好方式。要知道去賣一個不知名作者的作品可非常不易。 最開始我考慮的是午間劇場。在中午時段去演出一 些小短 劇片段。每一 個片段 都 很不同,就像點心一樣,不同的點心可能 適合不同人的口味 。 但是當我們進展下去的時候,發現在午間尋求觀眾將花費很大的人力物 力。於是我想那就還是在晚間吧,這樣時間也可以延長些,就能容納更多 的作品。目前,平均每場時間為一個小時二十分鐘或者一個半小時。這就 是我們為什麽叫它“點心之夜”。 在中餐館來演出主要是考慮到比起劇場來,觀眾可能會對這個空間更熟 悉,也更能放松。而且使用圓桌讓陌生人需要坐在同一個桌面,創造了很 好的溝通渠道。人們在享受餐飲的同時會,觀看的戲劇才是重中之重。 PI:您能夠描述一下今年的點心之夜有哪些戲劇片段嗎?今年,去年以及

兩年之前的點心之夜有哪些區別呢?您當前面臨哪些困難又有什麼樣的 成就與期望呢?

KM:在我們初次舉辦“點心之夜”時, 我們把英國東亞裔的作家、導演、演 員都召集在一起構想一部只有十分鐘的劇本或者一個發生在中餐館的故 事,道具只有一張桌子和兩把椅子可用, (就像京劇一樣他們可以選擇任 何形式使用這些道具)在取得了極大的成功之後,我們又選擇了五個劇本 來發展作為次年“點心之夜”的小短劇,並進行了全英巡演,其中一位主演 擔任了主持的工作。 今年“點心之夜”的一 部分是委 托 給去年的作家來完成一 個新場景。這十 分有意思,因為這是我們委托 他們去創作這些作品而非他們自己本身的 構想,對於這些作者而言必定更具挑戰性。的確,這是一件比較棘手的任 務,因為他們並沒有打算在第一 件 作品裏發展出更多的東西。但 是 五人 中還是有四人帶著新作品回歸了,都是圍繞 他們去年劇本裡發展一 個或 多 個人物的新創作。四個人的小短 劇都通 過了我們的審核,對於作家而 言我希望這促使他們成長:重新審視原來的一 個角色並將其放入另一 個 情境中。我也希望這些作品會更加的出彩。當然這次我們的創意團隊不同 了,少了個演 員。此 次只有四人了,所以每 個人會 相對有更 大的壓力去完 成不同的部分。對於了解去年那些短劇的觀眾來說,他們肯定會很興奮; 但對於其他不了解原本劇目的人,這就是些獨立的作品,他們將用自己的 方式來詮釋。這些都是挑戰。

對於那些展示劇目,我們稱為新銳作家,公開徵稿,有不少人帶著新作回 歸,還有很多新人的加入。在我們創辦初期,參加者都是相當有經驗的, 在這行幹了許 久的並打算是時候試做 點作品的人們。而今年參與者相對 缺乏經驗,所以在挑選演員和制片方面他們需要更多我們的支持。我們團


were quite experienced, who’d been acting for a long time and

just thought it was time to try something out. This year, it’s a less experienced set of people so they require more support from us in terms of casting and producing . But we’ve had a dramaturg, so we’ve had definite sessions with the dramaturg working on

their pieces that have helped the writers to develop their plays.

The pieces themselves...obviously it’s happening in a restaurant. I have said it doesn’t have to be set in a restaurant, that you don’t have to be site-specific, but most people have gone with the

setting, which really works and which is easier. They still have got

one table and two chairs, and that’s sort of a challenge to be able to allow the characters to move around, instead of remaining static sitting at the table. They’re either set in a restaurant or

domestic. It’s mainly about relationships, very contemporary,

quite a lot of them not culturally specific, I would say, which is quite interesting.

There were very few men who applied compared to women

and there was a guy whose was picked but could not do it in

the end. So out of all the open submissions they’re actually all women! (Laughs.)

And then we have two Weibo pieces this year. I thought it would be interesting to hear voices from China so via sino weibo we

invited Playwrights in China to send over a play with a maximum of 3 weibo posts There was initially a lot of interest from people

but we only received a handful in the end – perhaps people tried but felt they couldn’t make it work or weren’t happy with the

result. However the ones we received were all interesting and we have selected two to present and as they are going to be

performed at Halloween and both feature ghosts. For me what’s interesting is the brevity of text opens up more possibilities in terms or staging and movement. I would like to try this again

rehearsal room and have an opportunity to workshop their

see what happens.

in your room can be very different in reality. You realize how

next year and just ask for dialogue and no stage directions and

PI: What advise do you have for new writers? Any book recommendations, practice tips?

KM: The good thing to do is to read lots of plays and real

range, and to go see lots of theatre, so as to really get an idea of what’s possible. So many people know about TV and film,

without really knowing what theatre is about, or having much experience of theatre. So that’s one major thing. I don’t know

scripts. You learn so much, what you imagined in your heard something’s going to work or not going to work, and you see how something could work. Actors bring ideas. For me, it’s about working as a creative team with the actors, with the

director and the writer. I come from a devising background so

that ideas come from the creative team rather than one writer

so this is also a way of approaching and making new work but it is more time consuming and requires more resources which we currently don’t really have.

what is like in China, what’s available for them. Obviously it

depends on where people live. It’s very different from writing a story or a poem. Observe people, listen, listen to people’s dialogue, let your imagination go, try stuff out, work with

actors. I think it’s always brilliant for writers to come into the

BEHIND THE CHINESE TAKE AWAY, PHOTO BY JOHN TRAN


FACE PHOTO BY CHI-WAI CHEUNG 隊中有戲劇編劇,因此我們有專門的會議討論並幫助作家們發展他們的 劇作。這些劇作背景都設定在一家餐館。我有提到,其實並不一定要在餐 館,也沒有特定場地要求,但是大多數人還是選擇了餐館,既可行又相對

PI:對於 新 生代作家您會 給出什麼 建 議呢?可以推 薦一下相關書籍或者 練習技巧嗎?

容易實現。仍是一張桌子兩把椅子,演員們需要和道具發生關係,而不是

KM:最好當然是讀大量的、各種類型的劇本,去盡可能多的劇院,從而得

靜態地坐在桌子邊。他們可以把場地設成餐館或者是家裏。主要是圍繞人

到任 何 可能的想法。大多數 人都很了解電視電影,卻不真正清 楚 知道 戲

與人之間的關系,當代關係,基本沒有特定的文化,我覺得十分有意思。

劇是 什麼,或者 沒有豐富的戲 劇體 驗 。這 是 一 個 很 重 要的環 節。我不清 楚中國的情 況如何,哪些資 源是 他們可用的。這都 與生活在哪裏有關,

男性參與者比女性參與者要少一些,其中一位男作家入選了,但是最終都

寫出來的故事或詩歌都會大大不同。觀察身邊的人們,傾聽人們的對話,

沒有實現。所以到最後所有公開徵稿的劇本都是女作家完成的!(笑)

任由你的想象力遊走,嘗試各式各樣的事情,和演員們一起工作。我認為 作家可以 走 進彩排室看看並發展他們的劇本是很明智的。因為他們自己

今年我們也有兩件來自微博的作品。我覺得聽一下中國的故事會很有意思,

在房間裡想像的和現實發生的肯定會很不一樣。他們可以知道哪些是可

所以我們通過新浪微博徵集微博短劇(劇本不超過三條微博),最初有很多

行的,哪些不行。演員能激發編劇不一樣的想法。對我來說,那是與演員

躍躍欲試的人,但最後我們只收到了一部分,或許人們很想嘗試但是他們沒

們、導演和編劇作為一個創意團隊在工作。我是負責組織規劃的,所以創

有自信自己可以做好。幸運的是我們最終收到的劇本都非常有意思,我們挑

意 都來源於創意團隊而不僅 是一 位作家,這 是 創作新作品的好方法,但

選了兩部在復活節期間上演,都是圍繞幽靈主題的。我覺得最吸引我的是

這需要更多時間與資源,我們目前還沒有具備。

那些簡潔的文字,這對舞臺和動作展示都增添了更多的可能性。明年我很 樂意再試一次,只有對話沒有舞臺指示,看看會有什麼有趣的發生。


Resourceďźš National Theatre

Othello Laurence Olivier & Maggie Smith 1964 by Chris Arthur


ELEGANCE IN HALF A CENTURY NATIONAL THEATRE 50TH ANNIVERSARY

半個世紀的優雅 英國國家劇院50周年慶典

TEXT BY 撰文 x JOANNA XIAOXING DONG 董一燃 TRANSLATED BY 翻譯 x SYNDI HUANG 黃煥欣

IMAGE COURTESY OF 圖片提供 x NATIONAL THEATRE 英國國家劇院

As early as 1847, a British drama critic using the pseudonym

早在1847年,署假名為“戲劇家”的一位

dramas in British theatre, and also the fact that production of

當時英國戲劇界嚴肅戲劇的缺失,並且

Dramaticus, published a pamphlet criticizing the lack of serious

serious plays was restricted to the Lord Chamberlain’s Office, and the circumstance that the theatre was driven by commercialism

and a ‘star’ system. In the following years, in order to maintain British serious dramas as well as the development and heritage of stage performance, tremendous efforts were made, and as a result, the

New Shakespeare Company (now the Royal Shakespeare Company) was founded which is located in the homeland of Shakespeare. And specialized drama schools were gradually set up, such as the

present Royal Academy of Dramatic Art. However, this still left the capital city of London without a national theatre.

Under the influence of the war and funding until 1963, British national theatre in the full name of the Royal National Theatre was

英國劇評人公開發表了一篇文章以抨擊 劇本需要通過張伯倫勛爵辦公室(Lord Chamberlain’s Office)的審查的現狀,並 且指出劇院被商業利益驅使,過度依賴 明星。隨後的若干年裡,為了維護英國嚴 肅戲劇以及舞臺表演的發展和傳承,一行 人不懈努力,終於逐漸興建了位於莎翁故 鄉的新莎士比亞劇團(如今的皇家莎士比 亞劇團)以及戲劇表演的專業學校(Royal Academy of Dramatic Art)。然而,在首 都倫敦,一個國家級別劇院的缺失問題仍 然沒有解決。 受到戰爭和經費的影響,直到1963年,英


established, which was led by the famous actor Laurence Olivier.

國國家劇院,全稱皇家國家劇院(The Royal National Theatre)才

build a venue. In its establishment of the first more than ten years,

當時卻沒有足夠的政府預算為其單獨打造一個場館。在成立最初

However, there was not enough government budget at that time to

the National Theatre had been using the Old Vic Theatre as its base

near Waterloo station. Until 1977, it was finally settled into the present

specially designed building in the South Bank. Built by architects Sir Denys Lasdun and Peter Softley, and also with the cooperation of

the structural engineering firm Flint & Neill, the unique style of the National Theatre’s new site, which includes three theatre spaces,

dominates the Thames bank side as an indelible symbol of the country’s cultural history.

In front of the Theatre nowadays, there still stands the statue of the character acted by Olivier in Hamlet, with the purpose to

commemorate this first artistic director of the Theatre. Since its founding, the Theatre has presented from Shakespeare plays to the ancient classics, and also contemporary new works. There are 400,

900 and 1160 seats allocated in the three theatre spaces respectively

in order to realize the purpose of presenting different types of plays. The three theatre spaces are named after the theatre’s first artistic

在著名演員勞倫斯·奧利弗(Laurence Olivier)的主持下建立,然而 的十幾年間,國家劇院一直使用滑鐵盧車站(Waterloo)附近的老 維克劇院(Old Vic Theatre)作為它的基地,直到1977年,才正式移 居到了現今南岸的這個專為其設計的建築。在建築師丹尼斯·拉斯 頓爵士(Sir Denys Lasdun)和皮特·蘇富特力(Peter Softley)以 及弗林特和奧尼爾結構工程事務所(Flint & Neill)的合作下,這個 包含三個劇場空間,風格獨特的國家劇院新址建立在泰晤士河 畔,成為這個國家文化歷史上不可磨滅的符號之一。如今在劇院 門口,仍能看到以奧利弗在哈姆雷特中的造型為原型的雕像以紀 念劇院第一位藝術總監。從成立以來,劇院的節目選排包含從莎 士比亞到歷代經典劇作,同時也不乏當代新作。三個劇場分別擁 有400座,900座和1160座的觀眾席,也為呈現不同類型的劇目創 造了各種可能。三個劇場也分別以劇院的第一位藝術總監,主席 和南岸劇場(The South Bank Theatre)主席的姓氏命名。2013年, 最小的科特斯洛(Cottesloe)劇場開始了為期一年的裝修,並有臨 時搭建的設有250座位的“戲棚”(SHED)予以代替。2014年重新開業 之後,劇場也將更名為多爾夫曼(Dorfman Theatre)劇場, 由與國家 劇院密切合作的換匯公司通濟隆(Travelex)的創始人的姓氏命 名。


Resource: National Theatre

Lower Marsh Market-Chris Arthur


director, the President, and the Chairman of the South Bank Theatre. In 2013, the smallest Cottesloe Theatre embarked on a

one-year renovation, and a temporary building SHED has been

set up with 250 seats to replace its place. With its re-opening in 2014, the Theatre will be renamed Dorfman Theatre, which is named after the founder of the exchange company Travelex, who is closely working with the National Theatre.

The year 2013 witnesses the 50th anniversary of the British National Theatre, the celebration of which is diverse and humble. Aided by modern technologies, the celebration is shared through the

means of Internet, Television, Radio and etc., by theatre enthusiasts from London, the UK, and all over the world. The highlights include

the small celebration ceremony attended by the Majesty Queen Elizabeth II, the two documentaries of

the theatre broadcasted by BBC during the cerebration, the major exhibition

of the historical development of the theatre’s front stage and backstage, the

exhibition of its archive, the talks by well known artists who have a close bond with the theatre, and also the seminars

about the future development of the theatre and presentation of future works. In the meantime, three classic plays were

streamed on the big screen around the

UK and in some other countries, being relived in front of the audience again.

From artistic to humanity values, such

a diverse and homely celebration has been put on for the 50th anniversary of the National Theatre.

2013年,英國國家劇院迎來了它五十周年的慶典。慶祝活動多樣而樸素。 受助於科技手段,通過網絡,電視,廣播等方式與倫敦當地,英國各地以 及世界範圍內的戲劇愛好者分享。亮點包括,由英國女王伊莉莎白二世 出席的小型慶典典禮,BBC電視臺按日程播放的上下集劇院紀錄片,劇院 臺前幕後歷史變遷的主題展覽,內部檔案展覽,與國家劇院有著不解之 緣的各位知名藝術家們的座談,劇院未來發展的研討會以及未來作品的 預演。同時,在全英和部分國家的電影院,三部經典作品也將通過大熒幕 播放,和觀眾們一起重溫那些已經告別了當下舞臺的作品。 從藝術價值到人文關懷,國家劇院50周年紀念活動內容安排面面俱到且 不失溫馨。

Lower Marsh Market Christ Arthur


Lower Marsh Market Christ Arthur


METAMORPHOSIS OF LEAR

李爾的蛻變

TEXT BY 撰文 x PINKY HONG 洪子雲

TRANSLATED BY 翻譯 x LI BOWEN 李博文

IMAGE COURTESY OF 圖片提供 x CULTURAL DIVISION, TAIPEI

REPRESENTATIVE OFFICE IN THE UK 駐英國台北代表處文化組

Metamorphosis Photo by Kuo Cheng-Chang

In every life there is an economy of reception and provision.

每個人的一生中都存在著接納與給予的動態平

in terms of reflection and creation. The tension of the two

創造。在吳興國身上,這二者間的分別體現得格

Reception, in terms of learning and accumulation; provision, illumines Wu Hsing-kuo’s arts.

衡。接納指的是學習和積累,給予指的是反思和 外鮮明。

Before 1986, the first three decades of Wu Hsing-kuo’s life is

到1986年為止,吳興國的前三十三年人生可以

Wu’s father died when he was little. His mother sent him and

吳興國父親早逝,他三歲時,媽媽就把他和哥哥

describes his childhood as a time of endurance and clenching.

的印象通通是在“撐”,是“握著拳頭過日子”的。據

occupied by reception.

his older brother to a nursery school when he was three. He His mother was advised that Wu had a good voice and should

study singing abroad, but it was impossible for his family. Instead, when he was eleven, his mother sent him to Fu-Hsing

Chinese Opera School, a boarding school of traditional theatre

說是一段以接納為主的人生階段。

送進國軍先烈子弟教養院。他形容自己小時候 說,旁人向他母親稱贊吳興國有副好嗓音,不如 送出國去學聲樂,但家裡經濟不可能,母親就送 他進復興劇校,管吃管住又可學唱戲,“書讀不 進去,學個專長”也好。此時的吳興國十一歲。


arts. “Even if you are not good at studying, at least you are to pick up a skill there.”

In the school, the reputed actor Lee Jin-tang changed Wu’s

name from Wu Kuo-chiu, to Wu Hsing-kuo (literally, “raise the nation”), expecting him to revive the national theatre arts.

Metamorphosis Photo by Kuo Cheng-Chang

Although the school was a welcoming environment, the

training was harsh and somewhat brutal. Wu was a diligent student; he would wake up very early for training, and would treasure any role, no matter the importance. In the third year

in the school, tutors recognized his performance and since then he started playing important, leading roles.

Eight years later, the twenty years old Wu was recommended

to the Theatre Department of Chinese Culture University in

Taipei. Thanks to his solid training, he soon joined the dance company Cloud Gate as a principal dancer. Under Lin Hwaimin’s guidance and instruction, Wu received training in

吳興國本名吳興秋,在劇校時,臺灣當時四大 老生之一李金棠老師將他改名為吳興國,似乎 是預言要他“振興國劇”。劇校雖然管吃管住兼 學習,但打罵既兇練功又苦。吳興國是個肯下 苦功的學生,他舍棄睡眠時間提早爬起來練 功,從努力跑龍套做起,在第三年,他得到老師 的注意之後一直能得到飾演主角的機會。

classical ballet and contemporary dance, and also in other

八年後,二十歲的吳興國被保送進入文化大學

In the next six years, he toured with the company all over

雲門舞集表演團向他伸出橄欖枝,他因此加入

realms of art including calligraphy, painting and carving. Europe, visited museums and theaters, once made a record of 73 performances in three months time. In short, he widened

his vision with Cloud Gate, and absorbed greedily forms and styles despite physical fatigue.

But the most important gift from the Cloud Gate times was

his wife. Today, his wife Lin Hsiu-wei is the artistic director of Tai Gu Tales Dance Theatre and management director of Contemporary Legend Theatre. She is Wu’s most valued

戲劇系,其紮實的基本功讓當時正缺男舞者的 雲門舞集並成為主要舞者。在林懷民的悉心安 排和指導下,接受了芭蕾和現代舞的訓練,並且 接觸了其他藝術門類,如書法、繪畫、雕刻等。這 一跳就是六年,雲門舞集巡演歐洲,三個月73 場演出,還有頻繁的美術館、劇院之行,吳興國 跟隨雲門舞集走出了國、睜開了眼,身體上的疲 憊並不能阻止他“貪婪”地吸收新的藝術形式與 藝術風格帶給他的養分。

assistant in work, and loving partner in life. But back then, she

當然,在雲門的日子帶給他的不只這些,很重要的收獲應該是愛情。他的

however dedicated and hardworking she was. She would

的她可以說是吳興國工作上的得力助手,生活上的甜蜜伴侶,然而當年

was only one of the numerous female dancers in Cloud Gate,

practice in the studio every weekend, and this was what attracted Wu to her. But initially Wu did not make a move; if not for Lin Hwai-min’s injury before a performance of Legend

of the White Snake, Wu wouldn’t had a chance dancing with Lin Hsiu-wei and eventually becoming an enviable couple.

妻子林秀偉,現任太古踏舞團藝術總監及當代傳奇劇場行政總監。今天 二人初見時的她,只是一個淹沒在雲門眾多女舞者中,很有毅力、用功練 舞的女孩。每周六日,她都會自己跑到排練廳跳舞,也是那個勤奮的身影 吸引了吳興國的注意。然而當時的吳興國並沒有什麼主動的表示,若不 是一次《白蛇傳》的演出前夕,林懷民老師突然腳抽筋無法上臺,吳興國 也沒有機會和飾演青蛇的林秀偉在舞臺上合作。


Wu’s artistic life had been successful so far, even rather uneventful. It

was as if as long as he makes effort he will not miss a chance; he himself did not – as it was unnecessary – make any important decision. But in

1979 he came to a turning point. As Wu tells it, the most reputed actor in the traditional theatre scene and the performance art scene in general,

Chou Cheng-jung, was interested in recruiting him as a disciple. If he did not accept this offer and instead kept on dancing in the Cloud Gate, the already declining traditional theatre scene in Taiwan would only suffer. Wu witnessed the marginalization of traditional theatre arts, and the shameful

treatment of important artists in the realm, and recalled vividly his eight

years of harsh training in the Fu-Hsing Chinese Opera School. He accepted the offer, and became the only legitimate disciple of Chou Cheng-

jung. The guild of traditional theatre arts hosted a grand ceremony for

this. All the reputed actors were there as Chou’s witnesses; only two

witnesses on Wu’s side, his brother and the founder of Cloud Gate, Lin Hwai-min. Wu recalls: “I kneeled for

the whole morning.” Seeing Wu undergoing the ritual, Lin Hwai-min knew he was not coming back to Cloud Gate.

But the master/disciple relationship between Wu and Chou was not easy, nor long. Wu, as someone who lost

his father when young, treated Chou as father, but the artistic difference was too vast. Chou’s love for

traditional theatre arts and his view

on the genealogy of traditional arts were discreet and conservative. He

到在雲門舞集跳舞為止,吳興國的藝術道路可以說是一帆

of loud, noisy, rude soldiers in the audience. Almost rigidly, he protected

過好機會,而他並沒有——也並不需要——自己做出重

was, after all, an actor that could keep his peace on stage, with thousands

the tradition, because he always said to himself: “Cultivated audience is waiting for me.” Wu’s solution, however, was not passivity and toleration,

but aggressively grabbing the audiences back to traditional theatre arts. Yes, audience, what is one to do with it? Insistence on protecting the purity

of traditional theatre arts necessarily entails selection and abandonment of certain audience; but art itself stems from life and from the people.

If there is a standard in accordance with which art is to be judged, the only possible standard is the feedback from the audience. One can say, Wu’s attention to the audience and his examination of the future of the market in – and even before – the creation, comes close to the mentality of Western theatre practitioners. But this is surely itself a limit.

風順,沒有什麽大的波瀾,仿佛只要他足夠努力,就不會錯 大決定。但是在1979年,一個關係他之後藝術發展的重大 抉擇來臨了。據吳興國回憶,當時臺灣藝術地位最高的老 生演員周正榮有意收他為徒,倘若當時那個已經意識到京 劇沒落的吳興國,放棄這個機會,繼續留在雲門舞集,那麼 臺灣的戲曲界必將少了一元先鋒猛將。吳興國親眼看到老 京劇演員的表演���受觀眾待見和尊重,傳統藝術與堅持傳 統的藝術家蒙受屈辱,又想到自己在復興劇校天天倒立、 挨棒子、翻跟頭而死撐下來的八年時光,終於決定拜師,成 為了周正榮唯一一個磕頭弟子。梨園公會舉辦盛大拜師大 典,臺灣生行前輩全體到列,吳興國這端,哥哥吳國銑與雲 門舞集創辦人林懷民是唯二代表。據吳興國回憶“一整個


There is no right or wrong in these two directions, but these two men were both stern and resolute.

Some alleged that Wu irritated Chou because he Metamorphosis Photo by Kuo Cheng-Chang

上午跪著,就沒起來過”。看到吳興國在唐明皇的牌位 前磕頭拜師的林懷民想:“興國這下是回不來了”。

secretly learnt from other masters, some says Chou

然而周吳二人的師徒生涯既不平坦,也不長久。吳興

thirties. Regardless, the two separated after five

對待京劇藝術的態度,以及對觀眾的期許上,存在很大

publicly humiliated Wu who was already in his

years, and Chou made his farewell: “Our teaching is through, you’d better be responsible for yourself.”

國幼年喪父,拜師周正榮之後,本以父視之,但兩人在 分歧。周正榮對京劇藝術的追求和京劇藝術傳承的態 度是嚴謹且保守的,一個在臺下幾千官兵嬉笑怒罵的


After leaving Chou, Wu and his wife Lin along with a number of actors started

喧囂中,仍然能夠靜心從容地把戲演完的演員,可想而知。他近

established their own company Contemporary Legend Theatre. The first

眾在等我。”然而吳興國對於京劇沒落的對策不是被動接受和忍

their exploration for a modernization of traditional theatre arts, and eventually production The Kingdom of Desire was an adaptation of Macbeth, inspired at the

same time by performance conventions of traditional Beijing Opera, in a modern theatre presentation. Wu was not sufficiently funded then, but with his insistence Wu managed to persuade actors to rehearse and perform voluntarily. The famed actress Wei Hai-min was in the cast.

In contrast to the initial financial embarrassment, the production was critically acclaimed. The Kingdom of Desire successfully subverted the stereotypical

perception of Beijing Opera, gave birth to totally new Eastern theatre aesthetics, and became a repertoire of the Contemporary Legend Theatre that was to be

乎執拗地固守著嚴謹傳承的圭臬,因為他從不忘記:“懂戲的觀 讓,而是想方設法如何為京劇拉回觀眾。是啊,觀眾,要是不要? 堅持維護傳統藝術的純潔性,必然會產生對觀眾群的篩選,疏遠 部分觀眾;但是藝術本身就是源於生活、源於人群的,倘若對於 藝術的評判真的有可以依憑的標準,觀眾的反饋應該是唯一的 可能性了。可以說,吳興國這種在創作中——甚至創作前—— 對觀眾體驗的關照,對市場前景的估量,是比較貼近西方主流商 業戲劇的創作態度的,當然這本身對於藝術的創作就造成了有 形、無形的限制。 兩種道路,本身並沒有對錯是非的分別,但是這兩個人,卻都有


invited to many international

institutions including the Royal Opera House in the UK and

the Avignon Festival in France.

Metamorphosis Photo by Kuo Cheng-Chang

Wu was once praised by the

The Times: “Wu reminds us

of Laurence Oliver.” Japanese

newspaper Yomiuri Shimbun

commented:

“His

excellent

techniques enrich the layers

of play”. China Times said:

固執孤傲的堅決。有人說吳興國因為向其他老師學習唱段而激

shouting, crying – the art and

不論細節究竟如何,五年後,兩人不歡而散,周正榮留了一句話

“Audience

was

electrified,

culture scene of Taipei was shocked for seven days.” Although

Desire

received

The Kingdom of

was in

enthusiastically

the

UK,

South

Korea, Japan, France, Germany, Spain

and

the

Netherlands,

Contemporary Legend Theatre was

for

financial

reasons

forcefully closed in 1998. Only

怒了周正榮,有人說周正榮曾經當眾責罰已年過而立的吳興國。 給他唯一磕頭弟子:“我們師徒一場,你好自為之。” 離開周正榮的第二年,三十三歲的吳興國和他的愛妻林秀偉, 以及一群誌同道合的戲曲演員開始認真思索如何讓傳統戲曲 與現代劇場藝術接軌,最終創立了自己的劇團,起名“當代傳奇 劇場“。創團作品《欲望城國》改編自莎士比亞的悲劇《麥克白》, 而表現方式則是將傳統京戲的唱、念、做、打融入西方經典,並以 現代劇場形式呈現。當時的吳興國並無資金,他需要憑借對於這 部戲以及創作理念的堅持,說服演員們義務排練及演出,這其中 就包括臺灣著名的京劇旦角演員魏海敏。

when Wu was invited for a

與該戲創作階段的拮據形成鮮明反差的是作品獲得的肯定評

years later, and performed an

新的東方劇場美學,成為當代傳奇劇場經典劇目,多次受邀於各

masterclass

in

France

two

excerpt from the Beijing Opera

adaption of King Lear, was the company revived. Peter Brook commented after the performance: “An actor as you is

one of a kind.” This performance

would be the origin of the fulllength production of King Lear.

With the international and local supports, Contemporary Legend Theatre was revived with King Lear in 2001. The production was written, directed, and

played by Wu himself; he played in total ten roles, in all four categories of roles according to the tradition of Beijing Opera: Sheng (male role), Dan (female role), Jing (masked role), Chou (jester), radically challenging the limit of himself and of

the art. Wu expressed previously on many occasions his interests in testing himself in one-man performance, which he has experienced as an audience in numerous

價。 《欲望城國》成功地顛覆了觀眾對京劇既有的認知,締造了全 大國際藝術節演出,包括英國皇家劇院,法國亞維儂藝術節。吳 興國曾受到英國《泰晤士報》褒揚:“他使我們想起英國著名演員 勞倫斯·奧立佛。”而日本《讀賣新聞》也曾贊賞:《欲望城國》 “ 具有 強大的能量,演員傑出的表現,擴大了戲劇的表現空間,是一個 深厚堅實、氣勢磅礴、震撼人心的作品。”臺灣《中國時報》更是形 容道:“觀眾欣喜若狂,有人大叫,有人流淚,臺北藝文界足足震 動了一星期。” 儘管《欲望城國》獲得了極高的評價,在上世紀九十年代曾經巡 演於英國、韓國、日本、法國、德國、西班牙、荷蘭等地,創作壓力 和經濟壓力迫使當代傳奇劇場在1998年停團。直到兩年後他接 到邀請到法國教學,在教學展示中表演了一段時長三十分鐘的 改編自《李爾王》的京劇片段,這才改變了劇團的命運。彼得·布 魯克(Peter Brook)看完他的演出,說“像你這樣的演員,找不到 第二個。”這段表演成為《李爾在此》的雛形。

international performances. To him, the performance was very personal, revealing

在眾多國內外同行的鼓勵與支持下,當代傳奇劇場以《李爾在

and contemporary practices.

飾十角,跨越生、旦、凈、醜行當,獨力挑戰高難度的舞臺表演極

many stories of his own, including his artistic career from traditional art to modern

The performance of King Lear in Edinburgh Festival in 2011 was successful as

well. Wu’s excellent performance in various roles, the inspired costume design by

此》於2001年正式復團。該作品由吳興國自編自導自演,一人分 限。吳興國曾經表示在自己豐富的國際演出經驗中,看到了很多 人演出獨角戲,感到這是一個考驗,因此願意嘗試。他同時透露, 這個戲承載著很多自我的成分,包括他艱難的成長環境,以及曲


King Lear photo by Dirk Bleicker

Timmy Yip, and original compositions by Lee I-ching, all left strong impressions.

折的從傳統走到現代的藝術創作歷程。

of the Festival Jonathan Mills back to the UK to give performance. In August

2011年,這部作品在愛丁堡國際藝術節演出

Tsai-lin participated in Edinburgh Festival Fringe with solo dance SeKret; the

演能力,葉錦添的服裝設計,以及李弈青的原

After two months, Contemporary Legend Theatre was invited by artistic director 2013, Wu and his daughter Wu Tsai-lin performed together in Edinburgh: Wu father, for the second appearance in the Edinburgh Festival gave a performance

of Metamorphosis, an adaptation of the novel of Kafka. The production consists

of six scenes: dream, awakening, door, love, taboo, fly. Wu played the role of Gregor, Mr. and Mrs. Samsa, Gregor’s sister Grete, the lover, Kafka, and himself.

Unlike the positive reception of King Lear, Metamorphosis met polarized

criticisms. The author witnessed this: a number of audiences left during the performance. The length of two hours plus a quarter-to-half-an-hour delay

without break was probably too demanding, for the audience who was used

to the length of fringe productions. On the other hand, some audience only left after two rounds of curtain call. Telling from the original text, King Lear has a

clear, classical narrative, and is well known. For a play that can go on for some four

後,獲得了各方盛贊。吳興國出色的多角色表 創音樂,都給觀眾留下了深刻的印象。因此兩 年後,藝術節總監約翰遜·米爾斯(Jonathan Mills)再度力邀當代傳奇劇場赴英演出。2013 年8月,吳興國及其愛女吳采璘同時亮相愛丁 堡:女兒以獨舞《祕碼》參與愛丁堡邊緣藝術 節,而二度受邀的父親帶來的則是根據卡夫 卡同名小說改編的《蛻變(Metamorphosis)》。 全劇由六場戲組成,分別是:夢、醒、門、愛、禁、 飛。在劇中,吳興國是穿梭在葛裏戈、父親、母 親、妹妹、情人、卡夫卡及吳興國自己等各個角 色之中。

hours unabridged, Wu made great concision and managed to deliver a three-

與《李 爾 在 此》大 體 上 正 面、肯 定 的 評 價 不

however, was exactly the reverse. The novel of Kafka, as brief as it is, is of a

現場觀演時所觀察到的也是如此,有些觀眾

part performance in less than two hours. The adaptation of Metamorphosis,

simpler narrative involving a great number of metaphors. Wu’s adaptation of it greatly extended the story and filled it with his creations and imaginations. The result was a complex six-part performance of more than two hours. One cannot blame the comment of “self-indulgent.”

But this criticism speaks less of the length, more of the artistic language of

the production. Speed is a very important criterion of contemporary theatre.

When an artist determines to write, direct, and play simultaneously, it is easy to lose the right speed. Metamorphosis as a novel has no clear, strong theatrical

structure, therefore to be attentive to speed becomes a major task in adaptation. Additionally, while a one-man performance as such did not include lengthy

dialogue/monologue or singing, the task of speeding depended heavily on

同,這次《蛻變》的評論則呈現兩極化,筆者 中途離場——兩個小時加一刻鐘到半小時 不等的超時,沒有中場休息,這對觀眾的耐 心——特別是在邊緣藝術節各種短小精悍 的劇目中穿梭的觀眾來說,要求的確太高;也 有觀眾在兩輪謝幕後仍不願離去。從原著文 本來看, 《李爾王(King Lear)》的故事沖突明 確,情節性強,也更為人所知。莎士比亞的原 著倘不刪節,可以演上四個多小時,吳興國在 《李爾在此》中對於原著進行了大幅度的縮 編,他挑選了原著中的片段進行串聯,將故事 分成三部分進行演出,時長不到兩小時。而 《蛻變》的改編則完全在相反的方向上。卡夫


music. The production used mostly Chinese music known as Beiguan and Kunqu, the former being very grand and the latter elegant and gentle, probably for a poetic effect; but the visual presentation, by contrast, was too materialistic. Audience could sense the love for the original text and

Kafka, but the ruthless demand for a great patience and knowledge of Eastern culture was seemingly unwelcoming.

In response to such polarized reception, Wu argued that while the mainstream of European theatre is realism firmly grounded in text, his

Metamorphosis reflected upon the existential questions of contemporary

life in an Eastern, spiritual and symbolist fashion. This was rather new to the Western audience.

A paradox presents itself here: Wu in his thirties was determined to lure audience back to the theatre with fresh, exciting renewal of traditional theatre arts; After three decades, Wu admitted that regarding the

relationship between Western audience and his performance of Eastern symbolism, patience is essential. Eventually, there was no right or wrong

between the master and the apprentice, nor between Wu then and now.

Obviously, nonetheless, in Wu’s practice and aesthetics a fundamental

change occurred in these thirty years. If as a young man he was clearing the way for Chinese traditional theatre arts, he is today freely – and perhaps even capriciously – roaming and exploring. Wu has seen seminal

King Lear photo by Dirk Bleicker

success in his promotion of Chinese traditional theatre arts. He has, as a result, shifted his focus to a personal exploration.

After Edinburgh, Wu along with his wife and daughter came down to

London and delivered masterclasses in English and lectures in Chinese in Theatre Royal Haymarket and Asia House.

卡的《蛻變》篇幅本身短小很多,是個中篇荒誕小說,情節較《李爾王》簡

Theatre Royal Haymarket is the third oldest theatre in London, and was

加入了自己的想象,成品是個時長超過兩小時的六幕劇,結構也復雜了

Queen Victoria’s favorite. It is located in the centre of west London,

and is showing presently One Man, Two Guvnors. Previously, the venue

單,卻包含很多象征意義,然而吳興國的改編卻大幅豐富了其故事情節, 許多,有媒體評價其為“自我陶醉”(self-indulgent)”也不足為怪。

hosted masterclasses by figures such as Peter Hall, Danny DeVito,

當然這種“自我陶醉”針對的並不主要是欠體貼的時長安排,而是劇目的

Williams. In a Tuesday afternoon, for the very first time in fifteen years,

家自編自導自演時,對於整部戲節奏的把握就容易失準。 《蛻變》本身並

Ralph Fiennes, Ewan McGregor, Helen Mirren, Joanna Lumley, and Lia

a practitioner from the Asian theatre scene gave a two-hour workshop to mostly British theatre practitioners and enthusiasts, and some Asian

actors and actresses. Among the participants, Chris Lew Kum Hoi, in

preparation for his role in The World of Extreme Happiness, and David

Tse Ka-Shing, who was playing a role in Chimerica in the West End, also joined the masterclass.

The first part of the masterclass was a discussion, with Dr. Li Ruru from

藝術語言。節奏,是現代戲劇中一個重要的考量因素標準,當一個藝術 沒有一個沖突明確、張弛有度的結構,因此在改編成舞臺作品的過程中 就要格外注意節奏的調節。這部獨角戲中對話和唱詞並不很多,調節節 奏的任務在很大程度上就倚靠配樂了。本劇配樂大量使用北管音樂與昆 曲,創作者本意用北管的激昂搭配昆曲的典雅嫵媚,可是舞臺呈現卻顯得 略有些過於寫意。觀眾可以很容易就感受到演員對於原著、對於卡夫卡 的執著,但是部分缺乏耐心和對於東方文化缺乏了解的觀眾卻無法融入 作品之中。

University of Leeds acted as the moderator and translator. The group

面對英國媒體對《蛻變》的兩極評價,吳興國表示歐洲戲劇仍以文本為主

Theatre, the reputed repertoires of the company and the Metamorphosis.

人切身的問題與思維,對這裏的觀眾來說,理解起來還需要一個過程。

discussed Wu’s concepts, aesthetics, the history of Contemporary Legend Wu even performed an excerpt from The Kingdom of Desire, to illustrate

the possibility of conveying urgency with slow action and slow chanting.

的、現實主義寫實劇為主流, 《蛻變》是以東方寫意的象征形式,傳達現代

從這裏,我看到一個悖論,當時同傳統決裂的三十歲的吳興國所追求的


In the second part, Wu demonstrated basic trainings – steps, gestures, and actions – of Beijing Opera to some twenty participants.

When a local participant inquired who is Wu’s most revered master of theatre,

Wu named Ariane Mnouchkine from France, Italian director Eugenio Barba, Peter Brook from the UK, and Guan Hanqing from China. When it came to the question of the East today, Wu claimed that “there is no master today,”

and that “entertainment cannot be all of theatre.” He also encouraged the younger generation to “find yourself, find your confidence that is very

important to your practice. Your weakness can possibly be your advantage,

是創造出讓觀眾感興趣、喜歡看的新戲曲作品,而現在六十歲的吳 興國所秉持的觀念卻是部分西方觀眾對於東方象徵表演形式的理 解與接受還需要時間。當年的師徒之間沒有孰是孰非,今夕的吳興 國之間也沒有誰錯誰對,但是明顯地,在這三十年間,吳興國的創作 態度和審美追求都發生了根本的變化。如果說當年的他是希望給京 劇開拓出一條活路,今天的他則是在這條路上自由地——甚至任性 地——徜徉。推廣傳統藝術的目的取得了階段性成果後的吳興國, 把創作的重點確定地更加自我而感性,這也許就是戲評人看到“自 我陶醉”的原因。

if you treasure it.”

愛丁堡演出結束後,吳興國攜妻女南下倫敦,分別在赫馬基特皇家

In the lecture at Asia House two days later, the whole of it was conducted

英文大師班和中文講座。

in Chinese, hence the more detailed discussion of the nature of Wu’s

劇院(Theatre Royal Haymarket)和亞洲之家(Asia House)進行了

practice. He mentioned: “The essence of Metamorphosis, is that ‘survival

赫馬基特皇家劇院是倫敦第三古老的劇院,也是維多利亞女王生前

harsh, it is possible to conceive felicity in the mind. He thought that “a

話劇院的作品《一主二仆(One Man, Two Guvnors)》。每周二下午,

is the first dilemma’.” He admitted that though living condition could be

change of career is giving up,” and he felt the importance of his mission

and persistence. When it came to Contemporary Legend Theatre and his

own definition of his art, he said he did not want to define, because one is defined already after a reflection. He enjoys his present life, creating new

最愛的劇院,位於倫敦西區黃金地段,正在上演的劇目是英國國家 在這個舞臺上都會有一位來自戲劇領域的“大腕兒”進行大約兩個小 時的講座或者工作坊。過去的十五年間,該大師班的主講人包括導 演彼得·豪爾(Peter Hall)、演員丹尼·德維托(Danny DeVito)、拉爾 夫·費因斯(Ralph Fiennes)、伊萬·麥克格雷格(Ewan McGregor)、


works and performing traditional repertoires at the same time, but his future focus would still be adaptation of world classics.

Just as he put it, definition is not his concern. Retrospectively, one sees an extremely versatile artistic career. In 2004 and 2005, the collaboration between Contemporary Legend Theatre and established Hong Kong film director Tsui Hark, theatre production The Tempest, made a record of complete full house. In 2005,

Wu’s version of Waiting For Godot was praised by Chung Ming-de, Dean of School

of Theatre Arts, Taipei National University of the Arts: “Incredible achievement!” In

海倫·米倫(Helen Mirren)、喬安·娜拉姆利(Joanna Lumley)、利 亞·威廉姆斯(Lia Williams)等,吳興國是第一位來自亞洲的主講 人。八月二十日那天的觀眾大多數為英國戲劇愛好者及從業者, 很多亞裔演員也慕名而來。國家話劇院即將上演的以中國為背 景的話劇《極樂世界(The World of Extrema Happiness)》中 的演員克裏斯,為了角色塑造來到此大師班;正在西區參與演 出《中美國(Chimerica)》的演員謝家聲,一直對英國亞洲戲劇 圈事務而十分熱心,他也出現在大師班中。

the winter of 2006, as the only practitioner of Chinese traditional theatre arts, he

大師班的第一個小時,是以訪談形式進行的,來自利茲大學的

directed by Zhang Yimou, composed by Tan Dun, in New York Metropolitan Opera.

創作理念、當代傳奇劇場的歷史、劇場最為著名的劇作以及新

was invited to perform with Plácido Domingo in a production of The First Emperor,

In the October of 2007, he collaborated with Chang Ta-chuen and Emil Wakin Chau

in the first electronic rock Beijing Opera 108 Heroes -Tales from Water Margin,

and in December gave a performance in the world premiere of Butterfly Dream,

mixing classical Kunqu singing, Chinese classical music and Western Opera, for yet

李如茹老師充當提問者與現場口譯,訪談涉及了吳興國老師的 近在愛丁堡上演的《蛻變》。談到盡興處,吳老師現場示範了《欲 望城國》的片段,展示如何以慢動作與慢唱表現出急迫感,獲得 現場觀眾的熱烈掌聲。在第二個小時的工作坊中,二十余名報 名者走上舞臺,跟隨吳興國老師體驗了京劇的身體訓練中最基


King Lear photo by Dirk Bleicker

本的步伐、手勢、及動作。 現 場 觀 眾 提 問 環 節 中 ,有 英 國 當 地 觀 眾 問 吳 興 國 他 所 認 可 、尊 敬 的 戲 劇 大 師 是 誰 ,吳 興 國 列 舉了 法 國 的 雅 利 安 · 莫 努 虛 金( A r i a n e Mnouchkine)、在丹麥工作的意大利導演尤金·巴爾巴(Eugenio Barba) 、 英國的彼得·布魯克(Peter Brook) 、中國的關漢卿,而談到當代東方,他認 為“當代無大師”,“若喜歡劇場藝術,就不能只看娛樂的成分”,他還鼓勵年 輕一代的戲劇人,“找到自己,找到自己的自信最重要。你的缺點可能正是 你的優點,你珍惜它,它就有可能性。” 兩天後在亞洲之家的整個講座及問答全部用中文進行,交流更加有效順 暢,吳興國也因此講到一些更加貼近其創作本質、更加細致的問題。他提 到:《蛻變》 “ 的本質,就是在講‘先活著再說’。”他承認活著可能很辛苦,但 是精神上可以很愉快,他覺得“改行就是交白卷”,他有使命感堅持下去。 當談到當代傳奇劇場以及他自己的藝術風格的定位時,他說他並不想定 位,因為想多了,也就定了。他很喜歡現在的狀態,既創作新劇目,也不拋 棄傳統劇目的演出,但是以後的創作重點應該還是在世界文學的改編。 就像吳興國自己說的那樣,風格定位並不是他關注的重點。我們回望這 些年他所指導、出演的作品,風格、媒介多姿多彩。2004年至2005年,當 代傳奇劇場和電影導演徐克合作舞臺戲曲《暴風雨》,創下場場爆滿、一 票難求的票房紀錄。2005年吳興國執導、主演諾貝爾文學獎作品、荒謬劇

another renewal of traditional theatre arts. Mei Lanfang got on the stage

of New York in 1930, presented to the international audience Beijing Opera for the first time; Lin Hwai-min once said in an interview with CTS

News Magazine that Wu’s achievement could be compared with Mei’s.

Wu never forgets preserving the essence of Beijing Opera while perpetually making breakthroughs. It perhaps is analogous to the

preservation of the marvelous plays of Shakespeare and the countless

場經典之作《等待果陀》,被臺北藝術大學戲劇學院院長鐘明德先生贊譽 為“這是個了不起的成就”2006年冬,他受邀前往紐約大都會歌劇院與多 明哥同臺演出歌劇《秦始皇》,是由張藝謀執導、譚盾作曲之西方歌劇中 唯一一位東方京劇演員。2007年10月,他與張大春、周華健合作,首創電 音搖滾京劇《水滸》,同年12月首演的《夢蝶》融合古典昆曲唱腔、中國古 典樂與西方歌劇,創造了全新戲曲風格。1930年梅蘭芳登上紐約的舞臺, 是第一次將京劇帶上國際舞臺,林懷民曾在《華視新聞雜誌》的訪談中稱 讚吳興國的好跟梅蘭芳走出去的好是一樣的。

daring breakthroughs happening everyday. In every attempt of Wu,

在努力突破自己的同時,卻嚴格秉承傳統京劇的精髓。在西方,好似人們

and simultaneously his bravery in the face of limiting conventions.

在吳興國的每一次的嘗試中,我們都能感受到那種對於傳統戲曲如數家

we can feel the carefulness and respect for traditional theatre arts,

From King Lear to Metamorphosis, one sees the rigid, the fearless, the

extremely talented Wu Hsing-kuo, and also the loneliness on the stage, the struggle under the skin. It is hoped that this is not the last year of Contemporary Legend Theatre’s performance of repertoire, and that

Metamorphosis can be appreciated in Taiwan.

熱情滿溢地無數次演繹莎士比亞,卻無一例外地保留精湛的原始文本。 珍地謹慎托承,但是同時又感覺到他對於那些固有外殼的掙脫。從《李爾 在此》到《蛻變》,我們看到臺上仍然是那麽執拗,那麽無所畏懼,那麽才 華橫溢的吳興國。可是我們也看得到那方舞臺上的孤獨,感受得到那些 表皮之下的掙紮。希望今年不是當代傳奇劇團最後一年演出定目劇,也 希望《蛻變》能夠遇到更多知音。


REWRITING THE NATION: BRITISH THEATRE TODAY 重述英倫: 今日英國劇場

TEXT BY 撰文 x DU XINXI 杜昕禧

TRANSLATED BY 翻譯 x SYNDI HUANG 黃煥欣


In recent years, accompanied by varied literary awards and constant pursuits

of fresh and authentic voices from

new writing groups, British theatre is

experiencing a renaissance of script

近年來, 伴隨著一個個文學獎項和不斷追求新鮮

and development of the twenty-first

歷著劇本創作的復興, 這保證了二十一世紀劇院

writing,

which

ensures

the

vitality

century theatre. For those who want a

deep understanding and appreciation of why the British theatre has the most prosperous and prestigious reputation

around the world, Rewriting the Nation :

British Theatre Today would be the most

appropriate reading regarding to the present British theatre.

Alex Sierz, author of the book, is a British

theatre critic, a contributing writer for publications, such as The Stage,

The Independent, and also a visiting

professor at London Rose Bruford Drama School, and a lecturer for

a cooperation project of Boston University in London. He is also well known for his previous published works, such as In-Yer-Face

Theatre: British Drama Today published in 2001, which is about the

真實聲音的新寫作群體的出現,英國戲劇界正經 的活力和發展。如果你想更深層次的欣賞英國 戲劇,並且了解它是如何成為世界戲劇界發展 最蓬勃名望最顯赫的舞台,那麼講述如今英國 劇院的《重述英倫:今日英國劇場(Rewriting the Nation: British Theatre Today)》會是一本再合 適不過的讀物。 本書的作家阿萊克斯·斯爾澤 (Alex

Sierz)是一

名英國戲劇評論家,他曾為《舞臺(The 《獨立報(The

Stage) 》,

Independent) 》等刊物撰稿,同時

身為倫敦羅斯布拉福德(Rose Bruford)戲劇學 院的客座教授,也是波士頓大學在倫敦的合作 項目的講師。令他廣為人知的還包括他之前所 出版的著作,例如2001年出版的講述當時戲劇 現況的《直擊劇場:英國戲劇現狀(In-Yer-Face Theatre: British Drama Today)》。

circumstance of the theatre in those days.

英國學者以及評論家阿萊克斯·斯爾澤在他所著

In the book, Alex Sierz intends to explore the development of the

十年中的發展,特別是以語言為基礎的當代新寫

British theatre in the decade after 2000, especially in the new language-based contemporary drama writing. The book begins with the explanation of his understanding of the new writing. He believes

the essence of the new writing is that it is the unique and original

sayings from the people living at the time being, and a miniature of a country. This is why a large part of this book contributes to build the relationship between the contemporary theatre and national identity. The book also mentions theatres that advocate the new form of

writing, such as the Royal Court Theatre, the Bush Theatre, the Edinburgh Traverse Theatre, and also the London Fringe Festival and some touring troupes.

In the second part of the book, Sierz talks about the British theatre over the past decade, including the globalization of drama, theatre

的這本書裏試圖解釋英國戲劇在2000年之後的 作的話劇。在書的一開始便解釋了他所理解的 新寫作,他認為“新寫作的特別之處所在于,這是 活在我們當下生活中的人所說出來的獨特的、 原始的話,它是一個國家的縮影。” 這也是為什麽 這本書花了大量篇幅去將當代的劇院與國家身 份認同(National Identity)聯系起來。 書中同時也講到了一些倡導新寫作的劇院,比如 皇家宮廷劇院(Royal Court Theatre), 布什劇院 (Bush Theatre), 愛丁堡的特拉弗斯劇院(Traverse)等,包括倫敦邊緣戲劇節(London Fringe) 和一些巡演的劇團。 在書的第二部分斯爾澤講到了過去十年中的英 國戲劇,還有戲劇的全球化,戲劇的市場力量等


等,他將大量的戲劇分門別類,用主題性將不同的劇本劃 分開來,從不同角度更清楚地展示在過去十年裏戲劇中 所映射的國家社會的變化。斯爾澤引用了許多劇本來說 明在戲劇中所講述到的階級劃分、人物關系、情侶關系、 性別、性向、種族、宗教、甚至還有一章講了那些從一個模 擬的平行現實來看我們所在的世界的戲劇。從一種鳥瞰 的角度總結了過去十年中的英國戲劇。斯爾澤也展示了 他做的關於二十一世紀的頭十年中的新戲的關注點和爭 議的一個調查,他認為在現在新工黨所領導的經濟下,政 治和社會飛快變化,導致人們焦慮而且對許多事都不確

market forces and etc. A large amount of dramas have been categorized

in terms of different themes of the plays, to present more clearly from different perspectives the change of the national society in the

influence of the theatre in the past ten years. With the reference of a variety of plays, Sierz illustrates the class division, character relationship, couple relationship, sex, sexual orientation, race, and religion. He even

points out in a chapter the present theatre from the point of view of

定,特別是在這個關於國家身份認同爭論聲四起的時候, 劇院和戲劇能給大家一個途徑去表達這種不確定和焦 慮,並且通過不同的視角來表現出一個國家的縮影。本書 通過研究許多英國著名的和新的劇作家來講述當代的英 國戲劇。正如這些作品帶來的讓人並不舒服而又卻是真 實反映出的國家身份認同一般, 斯爾澤試圖告訴讀者劇 作家們在重寫國家身份中扮演著多麽重要的角色。

a simulated parallel reality. The past-decade British theatre is summed

斯爾澤在書中不懼爭議甚至冒犯朋友的敢於直言更是為

the concern and controversy of the new plays in the first decade of the

廣泛的參考。同樣的,斯爾澤閱讀了大量的不僅僅只是一

up from a macro perspective. Sierz also demonstrates a survey about twenty-first century. He believes the present New Labour-led economy

accelerates political and social changes, leading to uncertainties and

anxieties among people. Particularly during the ongoing debate on national identity, theatre and drama provide us a way to express this

kind of uncertainties and anxieties, and through a different perspective

to further exhibit a microcosm of a country. This book, by the means of

閱讀增添了一份樂趣,他如此有底氣也得益於他所做的 些廣為人知的劇作家的作品,也包括了一些可能只寫過零 星作品的劇作家的作品,並且將嚴謹專業的學術性思考 和分析與輕鬆的閱讀方式結合在一起,深入淺出的闡釋 問題,他自創的一些令人難忘的小短語不光能將意思準 確傳達,還帶有一定的娛樂性,使任何人都可以樂在其中。

studying many famous and new playwrights, depicts the contemporary

British drama. Just as the works bring along discomfort but authentic

national identity, Sierz is trying to tell readers the significant role that playwrights play in rewriting about the country.

In the book, Alex Sierz’s not being afraid of arousing controversy, and even acting outspokenly not fearing to offend friends, add a pinch of fun for reading. Such fearlessness comes from the

wide range of references he has done. In the meanwhile, Sierz has not only read a lot of well known playwrights’ works, but also the scripts of those who seem to have merely written one simple play. His real clout is derived from his talent of deconstructing the rigorous, professional

and detailed analytical academic issues into easy forms of reading, to be easily understood. His creative memorable short phrases not only accurately convey meanings, but also with a sense of entertainment, therefore, anyone can enjoy reading the book.


Look Back In Anger


LOOK BACK IN ANGER 憤怒中回首 EDITED TRANSLATED BY 文字整理及翻譯 x HAN JIAYI 韓嘉怡

Look Back in Anger (1956) is a John Osborne play—made into films in 1959,

《憤怒中回首(Look Back in Anger, 1956) 》是約翰·奧斯本

disaffected young man of working class origin (Jimmy Porter), his upper-middle-

被翻拍成電影。劇中主人公吉米·波特(Jimmy Porter)出生

1980, and 1989—about a love triangle involving an intelligent and educated but class, impassive wife (Alison), and her haughty best friend (Helena Charles). Cliff, an

amiable Welsh lodger, attempts to keep the peace. The play was a success on the

London stage, and spawned the term “angry young men” to describe Osborne and

those of his generation who employed the harshness of realism in the theatre in contrast to the more escapist theatre that characterized the previous generation.

Look Back in Anger was a strongly autobiographical piece based on Osborne’s

unhappy marriage to actress Pamela Lane and their life in cramped accommodation

(John Osborne)成名作,曾分別在1959、1980和1989年 於普通工人家庭,靠自學獲得知識,他對周圍社會的虛偽十 分敏感,但又找不到旁人來分擔猶豫和痛苦,因而感到孤 獨。他憎惡著所在的冷酷社會、無聊生活和偽善人群,卻始 終沒有主動去尋找解決這些社會問題的辦法。然而此刻, 妻子懷孕出走,突現的情人改變了生活,真誠的朋友選擇離 開,吉米真正地陷入了絕望。為了贏回失去之生活,他開始 被迫正視這個復雜人生和矛盾自我,甚至挺身反抗……

in Derby. While Osborne aspired towards a career in theatre, Lane was of a more

該劇可說是作者自身早期生活的一段真實寫照。奧斯本

while cuckolding him with a local dentist. It also contains much of Osborne’s

師,母親是酒吧女招待。他的童年在貧窮和疾病的痛苦中

practical and materialistic persuasion, not taking Osborne’s ambitions seriously

earlier life, the wrenching speech of seeing a loved one die being, for example, a replay of the death of Thomas, Osborne’s father. What it is best remembered for,

though, are Jimmy’s tirades. Some of these are directed against generalised British

1929年12月12日出生於倫敦郊區,父親是商品圖案設計 度過。 1941年,父親病逝後,奧斯本和母親相依為命,在戰 爭歲月中掙紮。他先後在商業雜誌謀事,又擔任過小演員 的教師。1948年轉而演戲,也擔任導演,在英國各地上演


middle-class smugness in the post-atomic world. Many are directed

一些定期輪演劇目,還不時以演員兼演出人的身份舉辦戲劇節的演出活動。

playwright’s profoundly uneasy relations with women, starting with

後,妻子對他的事業不諒解、冷嘲熱諷,甚至對他不忠,這一切讓他更加陰鬱、

against the female characters, and this is a very distinct echo of the his mother Nellie Beatrice, described by Osborne in his autobiography A Better Class of Person as “hypocritical, self-absorbed, calculating

這期間,他遇上了女演員帕梅拉·雷恩​​(Pamela Lane),並與之結為夫妻。但婚 忿然,婚姻最終走向失敗。

and indifferent”. Madeline, the lost love Jimmy pines for, is based on

也許歸咎於個人原因,奧斯本戲劇的一貫主題是“揭露和批評社會對人的不

Osborne to write. After the first production in London, Osborne

是“憤怒”,批判、抨擊著社會等級制度和不平等。正因此,他成為了50年代英國

Stella Linden, an older rep-company actress who first encouraged

began a relationship with Mary Ure, who played Alison, and divorced his wife to marry Ure in 1957.

公,與人的隔離和對個性的禁錮以及社會給予人的毀滅性打擊”,戲劇基調就 文學一個新流派“憤怒的青年”(Angry Young Men)之代表。其早期劇作真實 反映了一個定期輪演劇目演員在二十世紀五十年代初所能有的體驗,這些作

The play was premiered at London’s Royal Court Theatre, on 8 May 1956 by the English Stage Company under the Caryl Churchill Serious Money

direction of Tony Richardson, setting by Alan Tagg, and music for songs by Tom Eastwood. The press release called the author an angry young man, a phrase that came to represent a new movement in 1950s British theatre. Legend

has it that audiences gasped at the sight of an ironing board on a London stage. The cast was as follows: Kenneth Haigh (Jimmy), Alan Bates (Cliff), Mary Ure (Alison), Helena Hughes (Helena) and John Welsh (Colonel Redfern).

The following year, the production moved to Broadway under producer David Merrick and director Tony Richardson.

Retaining the original cast but starring Vivienne Drummond as Helena, it would receive three Tony Award nominations including for Best Play and Best Dramatic Actress for Ure.


Pina Bausch World Cities 2012, Ten Chi - Azusa Seyama copyright JongDuk Woo

品曾在小城鎮演出,但並未受到重視。直到1956年5月8日, 《憤怒中回首》在倫敦皇家宮廷劇院 首次公演,憑藉其所具有的思想沖擊力和藝術感染力,奧斯本一夜成名。劇作很快從倫敦搬向 歐洲主要城市以及大洋彼岸的美國百老匯,並在次年,斬獲了托尼獎“最佳劇作”以及“最佳女演 員”的提名。 時至今日,歷經半個世紀的風行草偃,仍有大批作家跟隨奧斯本腳步,在“憤怒”和“自省”的路上 前行。也許正如奧斯本所說:“這封信是用來表達恨意。獻給我的同胞們──那些褻瀆我的祖國 的同胞。那些胡作非為、奸佞卑鄙、將祖國導入萬劫不復之境的同胞...但願我的恨意讓我能夠苦 撐下去,我相信可以。”

Still of richard burton and mary ure in Look Back In Anger

Annex - Holden, William Golden Boy

Reference 參考文章:

Osborne, John (1982). A Better Class

of Person: An Autobiography, 192956 (paperback edition). Penguin Books Ltd. ISBN 978-0-14-006288-5.


家大院 中国

天津

杨柳青


地址:天津市杨柳青镇估衣街28号

邮编:300380

電話:86-22-27915591


ISSUE 09, 2014


ART.ZIP issue 9