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是过去,也是未来

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INTERNATIONAL INVITATION PROGRAMME

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DISCO-TECA DANCEL THEATRE ErGao Fabrizio Massini

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

舞蹈剧场

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 /

「Wen-Fri」

19:30...

/

「Wen-Fri」

14:30...

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

鼓楼西剧场

D r um Tower West Theat re

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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

『剧情简介』

『Synopsis』

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

境的改变以及西方文化的撞击,产生了许多关于

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

的社会环境里,开始问我是谁?我从哪里来?我

rule of the collective self, the germs of difference and

是要到哪里去?而在舞厅之内,他们却忘记身份,

individualism reappear in the ballrooms, floating along

地位,学位,抑或是性别,回归到人类纯粹的肢

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。

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『主创阐释』

『Academic research and performance』

该项目的出发点是围绕中国八十年代出

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

迪斯科是欲望的舞蹈,是人性深处最无法掌控和约束

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

世俗的喧嚣中拉扯着两性关系和社会关系欲拒还迎的

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

爱恨情仇。但是《来来舞厅》没有沉溺在身体和欲望

expressing a miscellaneous and subtle emotion that

opening up, social background and direction

的表象中,而是选择了一条遁世的路径,在这帮现代

intertwines sexual as well as social relations in the

turning to open the door to the world. In the

舞艺术家接连几个星期一次次在迪斯科的音乐中肆意

worldly uproar. However, Disco-Tecadoesn't only

artistic director of the international Ibsen,

扭摆着身体的参悟中,抽丝剥茧地提炼出了欲望的本

indulge in the representations of body and desire,

the creative team of the project began a

质,在有意识地抗拒集体无意识的尝试中,放弃了迪

but choose a retiral way: during those weeks when

multidisciplinary academic and performing)

斯科舞蹈的简单身体再现而直奔欲望本质的表征而

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

去。

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

——特邀迪斯科文化研究学者:王黔博士

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?

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二高

/ 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

直专注于通过肢体与视觉的角度探讨性别、身

from Hong Kong Academy for Performing Arts. His

份与性的迷思,被称之为“何式怪异“。曾与

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),

表演“,致力于舞蹈剧场与实验即兴创作。

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

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ABOUT MY PARENTS AND THEIR CHILD

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

DOCUMENTARY THEATRE

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 /

「Wen」

14:30...

/

「Wen」

19:30...

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

鼓楼西剧场

D r um Tower West Theat re

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『剧情简介』

『Synopsis』

《关于我父母和他们的孩子》是一部采用文献研

About My Parents and Their Child is a theater work

究方法而制作的戏剧作品,它所关注的是国内家

based on the method of documentary, talking about the

庭中父母和孩子们之间的感情张力关系。项目包

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

村的,包括戏剧圈的和非戏剧圈的;与此同时我

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

们还分别采访了他们各自的父母。采访所提的问

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

题因人而异,但都涉及到各自对家庭中父母和孩

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?


『导演的话』

『Director's Note』

中国家庭中父母与孩子的关系是什么样的?中国

What is the relation between Chinese parents and their

的孩子们对自己的父母知道多少?两代人对对方

children? What do Chinese children know about their

的期待又是怎么样的?这个记录戏剧研究项目的

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。

马蒂亚斯·约赫曼

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

来他在德国波恩的几个剧院先后做过演员。

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

林德意志剧院,斯图加特国家剧院,柏林的

Thalia Theater Hamburg, Deutsches Theater

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

马克西姆·高尔基剧院,智利圣地亚哥的回

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

曾就读于应用戏剧学院,其中海纳·戈培尔

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

一。他还在智利圣地亚哥接受过表演和导演

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.

父母和孩子之间或亲近或疏远的张力变化在两代

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

人的关系中意味着什么?这个代际之间关系是由

theater project, which surveys this relationship and gives an

在不同的剧院上演,包括汉堡的塔利亚剧院,

as a Video- and Sounddesigner and for German

什么组成的?其中有没有特定的传统,习俗或礼

idea about the significance of closeness and non-material

阿根廷拉普拉塔剧院,德国耶拿剧院,达姆

radio stations. Matthias was Artist in Residence

施塔特国家剧院等。他的作品还被邀请到希

at several institutions in Germany and other

腊国家剧院及德国、波兰、英国的艺术节。

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。

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国际邀请 / INTERNATIONAL INvITATION PROGRAMME

JIA/HOMEDOCUMENTARY THEATRE Li Yinan

/ Concept/Drmaturgy/Directing

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

文献剧

李亦男

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

剧学班

90-120 min

7 02-03 /

「Wen-fri」

19:30...

蓬蒿剧场

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

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『剧情简介』

『Synopsis』

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

『Concept』

『主题阐述』

168

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

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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

在随后的三十年中,中国城市人口预计还要再翻上一翻。显然,中国在以人类历史上从未有过先例的

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

速度增长。而仅这一点,就会对这个国家乃至全世界产生戏剧性的广泛影响。

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

超过两亿的农民工离开了他们的家人和乡村,涌向了中国的各个城市中心。他们提供的廉价的劳动力

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

为中国的城市建设、城市经济添砖加瓦。农民工是中国以世界工厂姿态在国际上参与竞争的有力支柱,

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

而他们也在各方面参与着中国人的日常生活。农民工盖楼、修高架桥;他们扫大街、擦皮鞋;他们清

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

扫房间、剪头发、看孩子、洗车。他们在街角摆摊卖杂货,在露天或商场摊位卖衣服,用自行车驮着

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

各种各样的家用日用品。他们打报酬低微的零工,做最小的生意。他们脚步飞快,抓住每个机会,不

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

断重塑自己以适应中国经济的需要。于是乎,中国所有的城市,甚至城市的每个街区,少了他们都无

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.

“农民的”不仅是个形容词,也是个人从一出生就背上的法律定义,让他们中即使是受教育程度最高

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

的人也很难融入都市生活。甚至有个词来形容他们:“流动人口”,这注定了他们暂住在都市的局外

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

人的身份。

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)


THOSE THAT HAVE BEEN LEFT BEHIND

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

彼时此处

/ 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

19:00/21;00...

「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

蓬蒿剧场

Pen g h ao T h eatre

70

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

『创作背景』

『Bachground』

『主题阐述』

在对表演艺术的研究与实践中,我们一直在思索,

During the studies and practice of performing arts, we

这场表演没有取材于特定故事或使用现成

Those that have been left behind

演员或道具的“扮演”和“位移”在演出中是否

have been thinking whether “action” or “movement”

剧本,而是由一个主题展开——那些被留

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

在身后的。这一主题由不同的时间维度展

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。

『Theme』

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

来呢?我们对静态剧场的实验正是带着这些问题

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

this topic from the philosophy of temporality, and

进行的。

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』

王静怡

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

给演出和观众创造一个统一的时间结构是静态剧场作为现场

国家艺术基金。她是首个在挪威获得国

艺术的关键因素。因此,演出的时间结构,首尾,时常和节

家艺术基金的中国戏剧导演。

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

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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

fields.

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

中文

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

Chinese

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

蓬蒿剧场

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

73

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.


POSETSD

吕雨舟

DOCUMENTARY THEATRE

吕雨舟,现居北京与伦敦,剧场艺术探索者,戏剧教育实践者。

Selena Lu

生在读。关注集体创作剧场和社会纪录性剧场,关注社群和

/ 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

纪录剧场

吕雨舟

体集体构作《终局》,个人艺术项目《经痛独白》,以一组

/ 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」

19:30...

others.

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

鼓楼西剧场

D r um Tower West Theat re

这个世界太安静了,一点消息都没有,连消失的消息也消失了。

across theatre performance, educational practice, writing and theory.

在等待,在回忆,在被遗忘中等待,在遗忘中回忆,空白,残忍的

BA in psychology and sociology at University of Cambridge, MFA

空白,什么时候是出口。而出口,或许是死亡的消息,复活,一个

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

基于沈从文小说《静》及其他采访和新闻素材,集体创作。

部分的自己也永远地困在原地。

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.

74

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,

『剧目简介』

『Synopsis』

沈从文早期的作品《静》,以平静朴素的语言描

Shen Congwen’s short fiction QUIET silhouettes such

的故事;并拟邀请多位关注此事的艺术家,用沙

摹了这样一场等待。战争中流离的女眷和幼童困

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

画、实验音乐等不同艺术形式,以敬畏生命之心

在一格晒楼里等待远方男人们的消息,他们分享

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

在剧场共同呈现“暂停生命状态下的持久等待”。

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

真相石沉大海,我们只希望用一种不那么残酷的

shared sweet dreams and gazed into the unknown afar.

方式去和失去亲人的孩子们讲述这个残酷的事件。

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

每个演员都将讲一个不同却相互关联的关于等待

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’

飞机失联后失踪者家属的生命状态,并在交流中

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

感动于他们强韧的信念和孤独的坚守,这些都在

sense of faith and incredible sense of loneliness, which

their media such as sand painting, sound art and

短篇小说《静》中得以捕捉。此次,演员与主创

coincide with the simple yet sharp narration of QUIET.

installation to create this ‘prolonged waiting in pose’

将共同收集素材,重构小说和现实社会事件,集

“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

体创作完成这次社会纪录性剧场。

cruel way.


SPEED SHOW: DRIFT INTERNET CAFE / CYBER THEATRE PROJECT: ON-LINE OR OFF-LINE, THAT IS A QUESTION CYBER THEATRE

《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 /

网吧

Inter net Cafe 中 国 C hin a

76

77

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

『Speed Show:漂流网咖』

『Speed Show: Drift Internet Cafe』

在押见修造所著的漫画《漂流网咖》中,主人公

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

在常去的网吧里遇见了初中时代的初恋女友,此

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

时外面正下着倾盆大雨,他们迫不得已在网吧度

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

过了一夜。隔日,雨停了,他们走出网吧,展现

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

在他们眼前的却是一个异世界。

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.


孙晓星

张献

/ 发起人

/ 学术顾问

孙晓星,生于 1986 年。剧作家,导演,艺评人。

张献,剧作家、剧场导演、社会编舞家、临界

毕业于中央戏剧学院戏剧文学系,中国话剧方

情境主义者、生活艺术和异质现实制造者。他

向硕士研究生,现任教于天津音乐学院戏剧影

是后毛泽东时代中国最早的独立戏剧家,从艰

视系。个人受邀 TPAM in 横滨 2014、东京国

难的地下艺术创作与实践中求得生存与发展,

际剧场艺术节 2014 等,兵马司唱片独立刊物《地

长期从事报刊杂志、舞台戏剧与电影的写作、

毯》专栏作者,主编《再剧场:独立戏剧的城

编辑和策划,发起组织、主持多个民间艺术团

市地图》。

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

及欧洲和美国,他执导的舞蹈剧场作品《舌头

变这样?)并担任艺术总监,同年创作超文本

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

奖。

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

圳当代戏剧双年展以及上海明圆当代美术馆“实

『赛博剧场计划:上线还是下线,这是个问题』

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

“上线还是下线”是早期互联网用户的元问题,

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

它意味着将自己的一部分生活转让给另外一个世

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

78

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

子洞与分割线:爱丽丝漫游赛博剧场》刊载于《广

art of living and heterogeneous reality. He is the

东艺术》。

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

79

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.

的句式,整个现实劈成了两半,被屏幕的微光覆

盖的王子,他和他的网友是“见面还是不见面”,

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

是哈姆雷特”变成了人人都可以更换头像和昵称,

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

扮演线上的“哈姆雷特”实践“复仇”的行动,

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

由孙晓星发起,是一个长期实践并探讨如何在互

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

the Public Landscape”, Independent Art Spaces

联网上展开剧场表演、行动的项目。它将浏览器

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

《赛博剧场计划:上线还是下线,这是个问题》

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