Page 1






来来舞厅 二高 & 丰翼

概 念 :二 高 & 丰 翼 编 舞 :二 高 制 作 人 :丰 翼 执 行 制 作 人 :B . P a n 特 邀 D I SC O 文 化 研 究 学 者 : 王 黔 特 邀 戏 剧 指 导 :谭 小 黎

/ Concept


Concept: ErGao, Fabrizio Massini Choreography: ErGao Producer: Fabrizio Massini Executive producer: B.Pan Specially invited Disco researcher: Dr. Qian Wang Specially Invited Theatre Director: Xiaoli Tan

/ 概念

60 min

6 23 6 24 /






出 品 方 :易 卜 生 国 际 制 作 方 :二 高 表 演 特 别 鸣 谢: 易 卜 生 国 际、 中 欧 添 缘、GEN D E R BENDER、 广 东 现 代 舞 周、DPAC、 D ' M O T I O N 、 1 20 0 书 店 、 广 美 实 验 艺 术 系 、 联 合书店、一起开工社区、上海骄傲节


D r um Tower West Theat re


Commissioned by: Ibsen International Produced by: ErGao Dance company, Ibsen International, Special Thanks to: Ibsen International, SinoEuropean Transcreation Agency, GENDER BENDER, Guangdong Modern Dance Festival, DPAC, D'MOTION, 1200bookshop, Guangzhou Fine Arts Academy Experimental Arts Department, Guangdong Sino United Publishing Company Limited, Yi-Gather, ShanghaiPRIDE



80 年代初,Disco 在中国开始风靡,因为周遭环

1979. After leaving behind the decade of chaos and


idolatry of the Cultural Revolution, China opens its doors

这个年代的标志性符号:除了 Disco 舞曲与 Disco

to the world. A fresh breeze sweeps the country from

舞厅之外,墨镜,喇叭裤,红唇,蝙蝠衫也慢慢 演变成为时代的符号。 而恰是如此标志性符号之下的他们,在舞厅之外

the south. Through a triangular route via colonial Hong Kong, disco music bursts in. A hurricane of synthesizers, lascivious moves, bright lipsticks and wild hairdos storms the Popular Republic. After decades of uniformity and


rule of the collective self, the germs of difference and


individualism reappear in the ballrooms, floating along


with the skirts, reflected in the disco balls.

体或是声音需求。或许正是如此强烈节奏的 Disco 舞曲之下,纯粹的肢体与声音本身就可以传递“我” 的存在状态。 我的存在是什么?来舞厅之内。



『Academic research and performance』


The starting point of the project is around the

现的迪斯科音乐现象 , 伴随与 此的是当

disco music phenomenon Chinese eighty's,

时中国改革开放 , 向世界敞开大门的社

along with this is that Chinese reform and


Disco is the dance of desire, is the uncontrollable and

的诱惑。无论是在灯光激情闪耀还是昏暗暧昧的舞厅, constrained lure in the deepest human nature. No 迪斯科是最入世的音乐、舞蹈、社交和态度,在各种

matter the lighting is shining or dim, disco is the most


secular kind of music, dance, social activity and attitude,


expressing a miscellaneous and subtle emotion that

opening up, social background and direction


intertwines sexual as well as social relations in the

turning to open the door to the world. In the


worldly uproar. However, Disco-Tecadoesn't only

artistic director of the international Ibsen,


indulge in the representations of body and desire,

the creative team of the project began a


but choose a retiral way: during those weeks when

multidisciplinary academic and performing)


those modern dancers recklessly twist their bodies

源文化的国际化趋势 , 及期间哪些被保

study, through the research theme is: in the


to gain understandings over and over again, the play

留了 , 哪些发生了转化 , 哪 些被遗忘 ?

process of cultural interaction in the source of


summarizes the essence of desire bit by bit; during the

音乐 , 身体和性别身份是如何交织在一

the culture of the trend of internationalization,

起形成复杂关系的 ?

and during what is preserved, which have been

会风向转折大背景。 在易卜生国际的艺 术指导下 , 该项目的创意团队开始了一 次多学科 ( 学术及表演 ) 的研究 , 贯穿其 中的研究主题是 : 在文化交互的过程 中

transformed, which for some forgotten? Music, body and gender identity is how to intertwine together to form the complex relationship?



/ 编舞

Er Gao / Choreography

独立舞者 / 编舞,毕业于香港演艺学院,作品一

Independent dancer/choreographer, graduated


from Hong Kong Academy for Performing Arts. His


works, also know as ‘Ho’s Quirkiness’, continuously

德国 Rubatu Tanz Company,法国 Limitrof

focus on the research of gender, identity and sexual

Company,广东现代舞团,德国 Angie Hiesl

puzzlement through body and visual perspectives.

and Roland Kaiser,荷兰 Emio Greco | PC

Previous collaborators/partners include Rubatu Tanz

等国际舞团合作,2007 年,于广州创立“二高

Company (Germany), Limitrof Company (France),


Guang Dong Modern Dance Company (China), Angie Hiesl and Roland Kaiser (Germany), Emio Greco | PC (Netherlands). In 2007, Er Gao founded Ergao Dance Production Group, which dedicate in dance theatre and experimental improvisational creation.

conscious attempt to resist collective unconsiousness, the play abandons disco's inherent simple body representation and goes straight to the representation of the essence of desire. ——Specially invited Disco researcher: Dr. Qian Wang— ——New York Times



演员: 王 海 林 , 邹 雪 平 , 张 加 怀 , 卢 晓 薇 导演助 理 : 刘 雪 萌 戏剧构 作 : 薇 尔 玛 · 斯 托 夫 ( 斯 洛 文 尼 亚 ) 影像指 导 : 范 坡 坡 影像指 导 : 邹 雪 平 灯光设 计 : 苏 鹏 , 董 钊 猛


制作人 : 丰 翼 ( 意 大 利 ) 执行制 作 : 张 萃

Matthias Jochmann

Performers: Zou Xueping, Wang Hailin, Hio Meilou, Zhang Jiahuai Director Assistant: Liu Xuemeng Dramaturge: Vilma Štritof Video Artists: Fan Popo,Zou Xueping Light Design: Su Peng, Dong Zhaomeng Producer: Fabrizio Massini Executive Producer: Jennifer Zhang

/ Director

关于我父母和他们的孩子 文献剧

马蒂亚斯·约赫曼 ( 德国 )

/ 导演

出品: 由 易 卜 生 国 际 ( 易 卜 生 在 中 国 20 1 6 ) 委 托 创 作 联合制 作 : 歌 德 学 院 、 北 京 · 南 锣 鼓 巷 戏 剧 节

90 min

7 23 7 24 /






Commissioned by: Ibsen International as part of Ibsen in China 2016 Co-Produced by: Goethe-Institut, Nanluoguxiang Performing Arts Festival


D r um Tower West Theat re






About My Parents and Their Child is a theater work


based on the method of documentary, talking about the


relationship tension between Chinese parents and their

括研究采访过程和舞台呈现两部分,第一部分已 经采访了十几位来自中国八零,九零后的青年, 他们具有不同的生活及工作背景,包括城市和乡

own kids. The projects sets out in interviewing over a dozen of young people (born in the 80s or 90s) in China. The project tries to, through real-life interviews, look at Chinese family relationships and find out, what challenges


the institution of family had to face 30 years ago and has


to deal with nowadays. How far did the fast material rise


of the Chinese nation influence the private and family life?

子两代人之间的感情关系的话题。这个项目试图 通过真实采访,还原生活中的对话,来观察中国 家庭中两代人之间的关系;也试图发现家庭这一 社会单元在 30 年前以及在当下所面临的不同挑 战,而在这现象的背后我们试图提出的问题是中 国的经济崛起及物质生活的丰富是如何作用于私 人家庭生活的?


『Director's Note』


What is the relation between Chinese parents and their


children? What do Chinese children know about their


parents? What kind of expectations do both generations

基础是对不同年龄的、不同社会背景下的孩子以 及他们的父母辈的分别采访。通过这些采访,导 演试图引出“这两代人之间的关系到底有多远或 多近?”这样的疑问。


Matthias Jochmann / Bio of Director

/ 导演

马 蒂 亚 斯(Matthias Jochmann) 是 出 生

Matthias Jochmann is a German director born in

于 1987 年 的 一 位 德 国 导 演, 自 2001 年 以

1987. Since 2001 he worked in several theaters


in Bonn/Germany as a performer. Since 2004 he

自 2004 年以来,他在汉堡塔利亚剧院,柏

worked as a directors assistant at theaters like

children of different ages and different social levels are the


Thalia Theater Hamburg, Deutsches Theater

basis for this research project. Doing this project I aim to


Berlin, Staatstheater Stuttgart, etc..He studied at

忆(Memoria)剧院先后做过导演助理。 他

the Institute for Applied Theater Studies, where


Heiner Goebbels was one of his most important

(Heiner Goebbels)是他最重要的老师之

teachers. His works were invited to the National


Theater of Greece and to several festivals in

have towards each other? Interviews with parents and their

question, how close or how distant these two generations can live with or next to each other.


With the outcome of these interviews I want to create a

的学习。自 2012 年以来,他的项目及作品

Germany, Poland and England. He also works


theater project, which surveys this relationship and gives an


as a Video- and Sounddesigner and for German


idea about the significance of closeness and non-material


radio stations. Matthias was Artist in Residence


at several institutions in Germany and other


countries; in 2014 he was Artist in Residence for

他还是德国电台的视频及音效设计师。 马蒂

Performing Arts given by Goethe Institut China.

仪?其中最重要的元素又是什么?通过采访所收 集的素材,我想做一部戏剧作品,一方面是对这 一代际关系进行调查,表达出家庭成员之间的亲

values in the Chinese society. At the same time broach the issue of the influence of politics and economy onto family structures.

密关系及感情价值在中国社会中的重要性; 另一 方面思考国内政治经济的变幻因素对家庭结构的 影响。

亚斯同时也是德国及其他国家的驻地艺术家; 2014 年他受到中国歌德学院的邀请在北京进 行表演艺术驻留项目。2015 年以来他已经在 北京完成了两部戏剧导演作品,目前正在准 备第三部戏剧作品,将在 2016 年 7 月 23 日 在北京鼓楼西剧场首演。





/ Concept/Drmaturgy/Directing

空间、造 型 设 计 / 摄 像 :肖 嘉 伟 作曲 : 袁 野 ( 中 国 音 乐 学 院 )



合作戏剧 构 作 : Ka i T u c h m a n n ( 柏 林 ) 形体指导 : 刘 美 池 、 黄 亦 平 导演助理 : 黄 亦 平 调 研 / 编 剧 / 出 演 : 中 央 戏 剧 学 院 戏 剧 文 学 系 2013 级 戏

/ 总策划 / 戏剧构作 / 导演


90-120 min

7 02-03 /




Pen g h ao T h eatre

Visual Design/Camera: Xiao Jiawei Music/Composing:Yuan Ye Co-Dramaturgy: Kai Tuchmann Choreography Coaching: Liu Meichi, Huang Yiping Directing Assistant :Huang Yiping Text/Performing: Dramaturgy Class 2013, The Central Academy of Drama





文 献 剧《 家》 由 中 央 戏 剧 学 院 戏 剧 文

Jia/Home is a large-scape documentary theatre

学系 2013 级理论班同学集体创作。从 2015 年 9 月起,35 名年龄在 20 岁左右 的年轻人用一年时间,跟踪调研一位与 自己来自同一个省(自治区)的同龄、 同性别的在京外来务工人员,将调研结 果于 2016 年 7 月在舞台上呈现出来。

production of the 2013 Dramaturgy Class at the Central Academy of Drama. From Septmeber 2015, 35 young students in their 20s do investigations with a migrant worker who is the same sex, the same age and who comes from the same province as the students her/ himself.

Dramaturgy at the Central Academy of Drama

中戏戏剧构作简介 2009 年,刚归国任教不久的我将“戏剧构作” (die Dramaturgie)这个概念引入了中国。同年, 我在中央戏剧学院戏剧文学系开设了“戏剧构作”专业课,至今已有六年了。2015 年初, 中央戏剧学院在《戏剧构作》专业课的基础之上正式成立了亚洲第一个“戏剧策划与应用” 专业。目前,这个新专业的 25 名学生已经开始了为期四年的本科专业学习。从 2014 年起, 我带领的“戏剧构作”课开始采用文献剧(das dokumentarisches Theater)形式集体 编创剧场作品,并进行公开演出。学生们针对社会热点问题,通过访谈调研收集资料,同

2009 I introduced the concept and working method of “die Dramaturgie” into China and started to teach the Seminar/workshop of Dramaturgy at the Central Academy of Drama. Based on this seminar/workshop, the B.A. Program of Dramaturgy and Applied Theatre Studies, as the first one in Asia came into being. From 2014 on I have been making documentary theatre productions with the dramaturgy students on social problems in China. The students start with theoretical reading, do social investigations, playwriting and perform the piece all by themselves. ------Li Yinan, 2016,Beijing

时阅读理论书籍,再将这些材料以艺术的形式搬上舞台。同学们从社会采访开始,调研、 编创、表演均自己完成。《有冇》(2015) 等大型文献剧作品由此产生。 ——李亦男,2016 年春,北京




中国最显著的变化呈现在其城市化的过程之中。西方国家花了两百来年才完成农业社会向城市社会的 变迁,而中国完成这一进程只花了五十多年。在近三十年中,这个国家的城市人口几乎翻了一番;而


Perhaps nowhere is China’s spectacular transformation more evident than when it comes to urbanization. While most Western nations took nearly two hundred years to transition from agrarian to urban societies, China is on track to accomplish this in little more than fifty. Over the past thirty years the country’s urban population has more than


doubled, and over the next thirty it is expected to nearly double yet again. Clearly, China is rising at a pace and an


intensity never before seen in human history, and that alone is destined to have a dramatic impact on the nation and the


world at large. Over 200 million migrant workers leave their families and farms behind and flock to China’s urban centers, where they


provide a profusion of cheap labor that helps fuel the country’s massive city- building process as well as its staggering


economic growth. Long recognized for making the nation’s factories an international juggernaut, these migrants are


also inextricably involved in every aspect of China’s own domestic life. They raise buildings, lay highways, sweep streets, and shine shoes. They clean houses, cut hair, babysit children, and wash cars. They sell produce on busy street


corners, peddle clothes in open- air stalls, and hawk all manner of conveniences from the back of bicycles. They snap


up the lowest- paying jobs and carve out the pettiest of entrepreneurial niches. They are light on their feet, quick to

法运转下去。尽管农民工的贡献很大,他们却总是超负荷工作、工资过低、不受劳动法保障。在城市, 他们没有健康保险,没有受教育的权利,也没法享受其他社会服务,住着最简陋的房子。 文化上、经济上的障碍把他们局限在城乡结合部,让他们没法享受他们自己的劳动成果。更糟糕的是,

seize opportunity, and able to continually remold themselves to meet the changing demands of the Chinese economy. As a result, there isn’t a single Chinese city—n or hardly a neighborhood— that functions without them. Despite their pivotal contributions, China’s rural migrants tend to be overworked, underpaid, and largely without the benefit of labor law protections. In the cities, they typically lack access to affordable health care, education, and other social services and are relegated to the most meager housing.


Cultural and economic barriers keep them living on the outskirts of society, rarely able to enjoy the fruits of their labors.


To make matters worse, for them, “rural” is not simply an adjective but, rather, a legal designation assigned at birth


that makes it nearly impossible for all but the most educated or successful to fully integrate into urban life. Even the term given to them—the liudong, or “floating population”—is emblematic of their status as outsiders temporarily residing in

—— 摘 自:Michelle Dammon Loyalka, Eating Bitterness. Stories from the Front Lines of China’s

the nation’s cities.

Great Urban Migration. University of California Press 2012.

(Extracts from Michelle Dammon Loyalka, Eating Bitterness. Stories from the Front Lines of China’s Great Urban Migration. University of California Press 2012)


策划/导演 : 王静怡 戏 剧 构 作 :埃 利 斯 · 拉 夫 特 赛 德 灯 光 :李 奥 · 普 瑞 斯 顿 舞美 : 考特妮·格兰特 技术总监 : 拉斯·欧弗·托福特 摄 像 :齐 亚 菲 艺 术 品 作 者: 西 格 妮· 林 登 / 阿 匹 赤 娃 ( 匹 娃 ) 万 西 安 / 海 坤· 霍 姆· 欧 尔 森 / 海 俪 恩· 诺 西 / 塔 缇 安 娜 · 洛 扎 诺 / 阿 雅 SB / 克 里 斯 汀 · 丽 安 / 马塞洛·拉西提

STATIC THEATRE Matthias Jochmann


/ Director

马蒂亚斯·约赫曼 ( 德国 )

30 min

7 09 7 10 / /

Concept/Director: Jingyi Wang Dramaturge:Iris Raffetseder Light designer:Leo Preston Scenographer: Stefan Törner , Courtney Grant Technical director: Lars Ove Toft Live camera conductor:Yafei Qi The creators of the artworks:Signe Lidén / Apichaya (Piya) Wanthiang / Håkon Holm Olsen, Helene Norseth, Tatiana Lozano, Aya SB, Christiane Lieungh, Marcello Raciti.

静态剧场 / 导演

中国/挪威 China a nd Nor way


「Wen」 「Wen」

14:30/16:00/18:00/19:30/21:00... 制 作 方: 卑 尔 根 电 子 艺 术 中 心 / 挪 威 B E K 电 子 艺术中心 赞 助 方: 挪 威 国 家 艺 术 委 员 会 / 卑 尔 根 市 艺 术 委员会


Pen g h ao T h eatre



Co-producer: BIT Teatergarasjen / Bergen Center of Electronic Art (BEK) Funded by: The Art Council of Norway / Bergen Municipality





During the studies and practice of performing arts, we


Those that have been left behind


have been thinking whether “action” or “movement”


Instead of based on a story or a prepared script,

最为关键?观众是否依赖这些?除了蒙太奇手法, by actors or things is essential in a performance? Does the


this performance will be developed on a theme:

剧场中必须要遵循时间的顺序推移吗?若这些不 是必须的,剧场又何以成为现场艺术呢?若无位 移和时间的顺序推移,剧场又如何与展览区分开

spectatorship to happen in theater depend on the“actions” or “movements” of actors (no matter human beings or objects)? Does the time in theater, different from being able to make montage in film, has to run in a constant flow?

开,掺杂了不同哲理和情感。我们致力于 从时间性哲学的角度来考虑这一主题,并 从不同方面展开主题。


those that have been left behind. The theme is open to be viewed from different dimension of time, and interpreted with different philosophy and emotion. We are more interested to consider


If not, what makes theater a live art? Without movements

this topic from the philosophy of temporality, and


and constant time flow, how theater distinguishes itself

try to extend this theme from different aspects.

from exhibition? These questions lead to our experiment on static theater coming out.



静态剧场是不同于所有已经存在的剧场艺术作品的全新现场 艺术的概念和形式。它打破了以演员为中心、以时间先后顺 序叙事的剧场模式。不同于传统形式的剧场,静态剧场的舞 台上呈现出的可以是任意艺术形式却唯独没有演员和表演, 而且静态剧场舞台上的艺术品都是静止不动的;不同于展览, 静态剧场保留传统剧场的观演仪式:将舞台与观众席清晰分 隔开来。观众需坐在座位上,不能到处走动。更重要的是,

/ 导演

王静怡,北京大学新闻与传播学院广告 系 学 士 学 位, 香 港 中 文 大 学 全 球 传 播 系硕士学位。2010 年辞去国际公关公 司工作,于次年赴法国、丹麦、比利时 学习,获得欧盟伊拉斯姆斯表演艺术硕 士学位。自 2013 年,作为独立剧场导 演和策展人居住和工作于挪威的卑尔 根市,不到一年后开始创作静态剧场, 在拿到挪威居住证之前已经拿到挪威





奏感都是精确设定的。在这样的现场艺术中,持续移动并改 变着的,将是观众的视线及对时间的感知。观众对时间和空 间的感知的变化将通过灯光组合、舞台和现场镜头间的转换, 声音装置和影像作品的推进、现场摄像镜头角度的变化等方 式实现。

Jingyi Wang / Bio of Director Jingyi Wang, a Chinese contemporary theater director living in Bergen Norway. She studied in Erasmus Mundus Master of Performing Arts in Nice, Copenhagen and Brussels. After graduate, she moved to Bergen and has been working there

『Static Theater』

as independent theater director. From

Static theater is a new type of performance that we are researching


and experimenting on. It challenges the essential role of performers and breaks the continuous time flow in theater’s convention. Static

2014, she started to research and initiated the concept of static theater and made this concept realized in the performance “Those that have been left behind” in May,

theater is different from both conventional theater and exhibition.

2015 in Bergen, Norway. Right after the

What are on stage in static theater can be any form of art except for

performance done, it immediately received

human body. Moreover, in static theater, the artworks on stage all

the special attention and positive comments

stay still without moving which is different from Object Theater and others. Also different from exhibition, we keep the spectatorship in

in the artists in Norway. Before dedicating herself to performing arts, she studied in communication, worked in Beijing and Hong

conventional theater on purpose: a clear division and distance between

Kong in advertisement and public relation

the stage and the auditorium, and the audience needs to be seated


without moving around. Besides, we think that a united sense of temporality with fixed structure, and development in real time in situ for the audience to be in is an essential element for the static theater as a live art. Therefore, performance will be given an elaborated time structure with settled beginning and ending, fixed order and duration around 30 minutes for the pilot. As a live art, what are constantly moved are the view of audience and the perception of the time. The progress of the performance and the change of the perception of the time will be achieved by the changing the composition of the light, the switch between the direct look on stage and through the camera, the changes of zoom and angle of the lens and the remix of video arts, etc.

讲座: 《当我们在谈论演出时,我们在期待什么》

WORKSHOP: Object Theatre Creative

To the general public, film is probably considered as the most similar art form to theater, as many students from the performance department of the Central Academy of Drama becomes movie stars, and many students from

语言/翻译 Language/Translation:

the directing department become film directors. Audience


expects theatre arts (drama) similar to movie— good story


and good performers. Apart, in Chinese, “performing

时间 Time:

arts” (in most occasions is mentioned as theater) is

7 / 13 14:30

literally translated to “the art of acting”, which also leads

地点 Venue:

the audience to put actors and performance at the core


of performing arts. The perception about performing arts

Penghao Theatre

and theater of the audience and also many theater artists somehow limits the possibilities of contemporary theater

可能对普通观众来说,和戏剧最近的艺术类型是电影。从教育系 统上,中戏表演系学生可以演电影。中戏导演系出来的导演导电 影。观众的期待上剧场艺术(戏剧)就是和电影一样,好故事, 好表演。翻译上也将 performing arts 翻译成表演艺术,使观众 自然将演员和表演当作剧场艺术的核心。这种观念是使国内当代 剧场艺术被禁锢住,屡屡受到观众的抵制的本质原因。一个真正 的实验性剧场艺术作品应该是对剧场艺术形式本质的反思和在此 基础上对固有形式的质疑和突破。世界范围内当代剧场的已然不 断介入当代艺术范畴,对戏剧,舞蹈,等传统“表演艺术”的外


延发生了很多的挑战。演讲者认为这个时候重新审视剧场艺术的 本质,澄清一些概念翻译上的局限(每种语言都有局限性),提

出“现场演出” 这个概念对重新审视剧场艺术的可能性是非常重 要的。同时演讲者将区分在当代语境中表演艺术和行为艺术这两

个让艺术爱好者经常傻傻分不清的概念,已再次确立“现场演出” 这一艺术形式的独特性。

and performing arts in general scale. A true experimental work should be the reflection upon the essence of the performing arts, questioning and breaking through of the original form. Around the world, contemporary theater and other performing art has already been more and more interfering with contemporary art, largely challenging the denotation of traditional “performing art”, such as drama and dance. The speaker thinks that it is time for us to reexamine the essence of performing arts, clarifying some limits of translation (every language has its limits), proposing the concept of “spectacle vivant/live performance” which is very important to re-examine the possibility of theater art. Meanwhile, the speaker will distinguish “performing arts” and “performance arts”, which often confuse the dilettantes, in contemporary context, in order to re-establish the uniqueness of “spectacle vivant/live performance”.

演讲者从创作者角度出发,结合自己的艺术史知识和自己的观察 和思考,辅以国内外作品和自己的创作为例进行阐述。谨代表个 人观点。

The speakers demonstrates from the point of view of a creator, integrating her knowledge about art history and her own observations and reflections, as well as exemplifying

1. 电影和戏剧是相近的艺术形式么?电影和剧场的本质区别是什么? 2. 都是现场艺术,表演艺术和行为艺术的区别是什么 3. 新的概念:“现场演出“和展览,装置艺术的区别在哪儿?

her own works and other works inside and outside China.





Selena Lu


/ 导演

剑桥大学心理学社会学学士,伦敦东 15 戏剧学院导演研究

/ Concept and Direction

个人的生存状态,并希望通过剧场行为发问和带来改变。参 与集体创作肢体剧“Thing With Feathers”,与流浪汉群




/ 导演

破产艺校学生为中心的长期纪录项目《你从哪里来到瓦尔登 许多年过去了,他们过去了吗?

00 min

——谨以此剧献给 MH370 事件及其家属带给我们的生命思考

湖》,协助 The Big House 与伦敦社会边缘青年完成“Knife Edge”等。

Years have passed: are they moving on?

7 27-28 /

--Inspired by and dedicated to MH370 incident and its significant 「Wen-Fri」



Selena Lu, Based in Beijing and London, artist and researcher


D r um Tower West Theat re


across theatre performance, educational practice, writing and theory.


BA in psychology and sociology at University of Cambridge, MFA


candidate in theatre directing at East 15 Acting School. Trained with



Based on Shen Congwen’s fiction QUIET and other interview

This world is too quiet, not a single message. Even the message of

and news materials, devised by the company.

missing has gone missing. Waiting, remembering, waiting in the lost memories, remembering in

影 像 :徐波 声 音 :葛泓语 制 作 人: 卢诗雅

Selena Lu / Bio of Director

Visual: Xu Bo Sound: Hongyu Ge Producer: Shiya Lu

the lost times. Blankness, cruel blankness, when is the way out?

psychological and anthropological imagination, Selena aspires to use theatre making process as a means for self-discovery, community building, social documentation, and all possibilities of real-time changes. Previous projects including: physical theatre for young people “Thing with Feathers”, independent art project “Period Pain Monologues”, long-term documentary project with students from a

And the way out may be the surrender to death. Yet a part of the self

bankrupt art college “The Way to Walden”, assisting The Big House

will always stay stranded at where it all started.

production with London care system leavers “Knife Edge”, etc.


75 《静》将以儿童的视角和表达,赋予人物新的讲 述,采访记述和新闻材料等素材将被并置拼贴,




Shen Congwen’s short fiction QUIET silhouettes such



a state of waiting. A group of women and children fled



to a quiet town and stayed in a temporary house, waiting


for the message from their families at war. Every day, they


shared sweet dreams and gazed into the unknown afar.


美梦,眺望远方,晒楼外的世界是多么的安静啊。 压抑的“静”笼罩着整个场景,构建出东方的等 待戈多。这样的等待在中国现实中,又何其多呢? 因为个人时空上的巧合,开始关注马航 MH370

How quiet is the world outside! The depressive quietness of the environment sets off a Waiting For Godot in a modern


PoseTSD retells the story from a child’s perspective, and based on collaged materials, each actor will tell

context. Because of a time coincidence, MH370 families’


a different but interconnected story about waiting.

state of living caught our attention with their incredible

Artists with the same concern are invited to use


sense of faith and incredible sense of loneliness, which

their media such as sand painting, sound art and


coincide with the simple yet sharp narration of QUIET.

installation to create this ‘prolonged waiting in pose’


“PoseTSD” will be a devise piece based on QUIET and

together. The truth sank into the deepest bottom of

other interview and news materials collected with families

the ocean; we just wish to tell the children, who have

and journalists.

lost their beloved family, this cruel incident in a less


cruel way.


《Speed SHow:漂流网咖》/ 《赛博剧场计划:上线还是下线,这是个问题》 赛博剧场

7-14 hours

8 01-30 /


Inter net Cafe 中 国 C hin a



合 作:Project Space&Speed Show Collaborator: Project Space&Speed Show

『Speed Show:漂流网咖』

『Speed Show: Drift Internet Cafe』


In Oshimi Shuzo’s manga “Drift Internet Cafe”, the


protagonist ran into his first love in junior high in an Internet cafe that he frequents. It rains heavily outside and


they have to spend the night together in the Internet cafe.


At dawn, the rains stops and they step out of the Internet


cafe. In front of them is an alienated world. “Speed Show: Drift Internet Cafe” will commence at a

《Speed Show:漂流网咖》选择八月末的某个凌晨, certain midnight in August. In an Internet cafe, a group of 北京的网吧,一群人通宵在线表演,电脑周围以 及屏幕上所留下的一切痕迹,将通过录屏软件于 次日清晨开始被重播。

people will perform on the computers all night. Everything on the screen will be recorded and replayed at the next dawn.



/ 发起人

/ 学术顾问

孙晓星,生于 1986 年。剧作家,导演,艺评人。






视系。个人受邀 TPAM in 横滨 2014、东京国


际剧场艺术节 2014 等,兵马司唱片独立刊物《地





体及剧场空间。作为舞台剧编剧、导演和制作人, 其十几部戏剧、舞蹈作品上演于中国各地,以

2015 年创建了剧团 en?(这是怎么回事?怎么



对家园的记忆》获 2006 苏黎世艺术节 ZKB 大

剧 场《 ———— 这 里 是 分 割 线 ————》, 受


邀第六届北京南锣鼓巷戏剧节“改变公共的风 景”单元、2015 独立艺术空间节“闪展”、深

Zhang Xian / Academic Advisor



『Cyber Theatre Project: On-line or Off-line, That Is a Question』


“On-line or off-line” is a meta-issue for early Internet


users, which means to shift parts of one’s life to another world. To use the parody of Hamlet’s line—“To be or


验剧场 30 年”,撰写《中国赛博剧场,表演还

Zhang Xian, playwright, theatrical director, social

是行动?》刊载于《艺术界》2015 法文特刊、 《兔

choreographer, critical situationist, the creator of


art of living and heterogeneous reality. He is the


earliest independent dramatist in China’s postMao era, surviving and progressing in the process of difficult underground artistic creation and practice. He has always engaged in writing for, editing and

Sun Xiaoxing / Sponsor


planning newspapers, periodicals, as well as theatre

界。挪用《哈姆雷特》 “生存还是毁灭,这是个问题” not to be, that is a question,” the whole reality is divided

Sun Xiaoxing, born in 1986, is a playwright, theatre

in half. To the prince shadowed by the dim light of the

director and critic. He finished his BA in Dramatic

computer screen, there is a series of questions such as

Literature and MFA in Chinese Drama in Central

“meet or not to meet” for him and his net pals; “climb

Academy of Drama, and now serves as a faculty

over or not to climb over the wall” in China’s immense

member in Department of Theatre and Film in Tianjin

and the US. “Tongue’s Memory for Homeland”, one

LAN; “clear or to save” those excess WeChat messages

Conservatory of Music. He has been invited to TPAM

of his theatrical works, was awarded the ZKB prize in

in Yokohama 2014, Festival/Tokyo 2014 etc. He is

2006 Zurich Art Festival.



在中国的巨大局域网里是“翻墙还是不翻墙”, 陷入疯狂的微信聊天信息超载后是“清空还是保 存”,以及一系列的“XX 还是 XX”?“人人都

and other “XX or XX” issues. The slogan, “everyone is Hamlet”, thus turns into the icon and username that


everyone can use in order to practice the action of“revenge”


and express their own opinions.

发表他 / 她 / 它们的观点。

the columnist of Maybe Mars Records independent publication“Carpet”,and the editor of “Re-Theatre: The Independent Theatre Cities Map”. He formed the theatre company en? (What has

“Cyber Theatre Project: On-line or Off-line, That Is a

happened? How does it come to this?) in 2015.

Question” initiated by Sun Xiaoxing, is a long-term

Hypertext theatre “————Here Is the Dividing

project of exploring the theatre performance and action

Line————” has been invited to the 6th Beijing

on the Internet. The browser and the mobile terminal

Nanluoguxiang Performing Arts Festival “Changing


Apps are as substitution of cyber-space, and the fingers—

the Public Landscape”, Independent Art Spaces


as the smallest units of the body tips—rework, regenerate


窗口、手机终端 App 作为替代性的赛博空间,由 身体末梢的最小单位——手指的点击、拖拽,进

and reconstruct the reality via clicking and dragging. The participants will timely share their works and results in seminars or exhibitions etc., and the final aim is to

行对现实的篡改、更新与重构。创作者通过分享会、 gradually transit the cyber-space to a republic of open展览等方式适时公开他们的成果,最后的目的是 将赛博空间经由剧场这个过渡,逐渐转变为开源 的共和国。

source via the form of theatre.

2015 “Speed Show”, Shenzhen Contemporary Theatre Biennale, Shanghai Mingyuan Contemporary Art Museum “30 Years of Experimental Theatre”. Criticisms “Chinese Cyber Theatre, Action or Representation?” (Published in “LEAP French Edition 2015”), “The Rabbit Hole and Dividing Line: Alice in Cyber Theatre” (Published in “G.D.ARTS”).

and movies, and has initiated, organized and hosted several social art groups and theatres. As a playwright, director and producer, he has a dozen of works that has been performed all around China, even In Europe

The future is in the past booklet  
Read more
Read more
Similar to
Popular now
Just for you