2014 the 5th Beijing NLGX Performing Arts Festival by huihui

This is not a love story

“When the duo dance together, lightly,

texts about ancient explorers, projected

artlessly and freely, the irony falls away,

images of film heroes – anything really that

exposing the unassuming person beneath.

was on our minds during that specific time.

Pure perfection.” Örjan Abrahamsson, Swedish

These showings and the re-evaluations of

daily Dagens Nyheter

our material that this made possible, had an

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extremely important impact on the final piece. "This is not a love story. The love story is

It was as if we lived with the piece for more

elsewhere. It is with the spectator, who Gunilla

than a year.

Heilborn and her two associates, with masterful

My hope is that we, through the epic travelling

grace and measure, allows to imagine the show

and the experiences we made, have improved

you wish to view. And, needless to say, is a

in the way that all heroes and heroines must

show that you cannot forget." Andrea Falcone,

improve to become better humans. The way a

Myword Italy

road movie is supposed to work. The following

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演出地点：东宫影剧院（1号厅）

dialogue took place on a train somewhere Synopsis：

outside of Cologne, but it never made it into the

This is not a love story is a story of two

piece. Actually no, a couple of words made it.

reluctant heroes – Kowalski and Vera. Or maybe their names are really Emma and Folke?

Director:

With a disarming simplicity they switch

Gunilla Heilborn's works are characterized

between dance and scattered questioning:

by cinematic timing and humor. Her works

Who did what? When? Where? And why? Is

from unique way of combining text, motion,

there any specific period in the history that I

video and images, always spiced with humor

should focus on? Have you ever worked in the

and maybe some Northern melancholy has

fishing industry?

given her an indisputable position as one of

In a delicate search for context and continuity

Sweden’s most interesting performance and

our heroes end up on a journey that definitely

film artists.

not is about the destination, but the reflection

After studies at the Tamalpa Institute in

along the way. A true road movie dance.

San Francisco, USA and the program of

This piece had a long working process.

choreography at the University of Dance

During 2010 and 2011 we visited and worked

in Stockholm 95-98 she has created

in residencies at Arts Academy in Tromsø,

performances and movies with great success

Alkantara in Lisboa, Dance city in Newcastle,

for both young and adult audiences.

SIN Culture Centre in Budapest, Saxnäs in

As well as her own pieces, she has done

Sweden, Fabrik Potsdam in Potsdam, Germany

commission work for the Gothenburg Opera

and Steirischer Herbst in Graz, Austria.

and Gothenburg City Theatre and award

At each place we made a presentation of

winning films in collaboration with Mårten

the work at that point; a short dance, some

Nilsson.

话剧《怀疑》编剧：约翰P·尚利导演：陈洁

Play: Doubt Playwright: John Patrick Shanley Director: Chen Jie

主创列表：出品：浙江传媒学院制作人：鲜明执行制作人：杨馥遥、鲜明翻译：胡开奇主要演员：朱琳、方旭、李蓓蓓、孙一明舞台美术：杨兴实灯光：王京晶音乐：Marco Pejanovic

Crew: Presented by: Zhejiang Media Institute Producer: Xian Ming Executive Producer: Yang Fuyao, Xian Ming Translator: Hu Kaiqi Main Actress: Zhu Lin , Fang Xu, Li Peipei, Sun Yiming Stage Design: Yang Xingshi Lighting Design: Wang Jingjing Music: Marco Pejanovic

Gunilla Heilborn

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演出地点：蓬蒿剧场

文学剧场《一双眼睛两条河》文本：童道明导演：张子一朗读者：郭笑、吴紫彤舞台及灯光设计：刘钊现场音乐：代博平面设计：张仲妹演出策划：赖慧慧制作人：于音出品人：王翔出品：蓬蒿剧场

Literature Theater A Pair of Eyes and Two Flows of Rivers Script Reading Playwright: Tong Daoming Director: Zhang Ziyi Reading: Guo Xiao, Wu Zitong Stage design and Lighting design: Liu Zhao Live Music: Dai Bo Graphic Design: Zhang Zhongmei Planner: Lai Huihui Producer: Yu Yin Presented by: Wang Xiang Production Theater: Penghao Theater

剧目介绍：

Synopsis:

深夜传来的莫扎特《安魂曲》钢琴独奏，让同栖息在一栋普通居民

Deep in the night floats the piano recital of Mozart’s “Requiem”，

楼里的黄雨和白露有了一场不普通的相遇。两个独特的灵魂，以莫

which gives two residents Huang Yu (Yellow Rain)and Bai Lu (White Dew) living in the same residential building extraordinary

扎特的乐曲和普希金诗句发现了彼此，照亮了彼此，温暖了彼此。

experiences. Two lonely souls through Mozart’s music and

他们决定珍藏这份相知和短暂的温柔，继续各自的往日生活。

Pushkin’s poems meet each other, lighting and warming each

社会情境

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Social Scene

演出地点：蓬蒿剧场剧本朗读指导/编剧：顾雷

我们——可以指两个人，一个家庭、一个机构、一个社区、一座城

悲喜剧《顾不上》

other. However they have decided to treasure and bury this piece 导演的话：童先生是我特别尊敬的剧作家。他的语言干净到在当代语境中甚至有一些“不合时宜的尴尬”。但正是这种“尴尬”深深地打动着我，引领着我到达一个不常到达的

of soft and temporary memory and keep living their own lives. Director’s note: Mr. Tong is a playwright I respect very much.

市及地域。我们所处的时代、社会环境所面临的情境，在文化和地

His words are too pure to exist in contemporary linguistic context,

理的形成与制约中的产物。这些因素是推动我们开启探索当代的剧

leading to inevitable awkwardness. However, that awkwardness

场关系、内容与美学。

境地——纯净、真挚，语言不被轻易消解。童先生笔下的人物都有

strikes me and invokes a sense of purity and sincerity, and the

心灵的困境，《一双眼睛两条河》里面的白露和黄雨也不例外，这

eternality of the language. Tong’s words draw out the souls’

困境其实很普遍，但被一种集体的逃避掩盖着。童先生拨开了这种

impediments from his characters, including Bai Lu and Huang

的速度，它邀请观众加入“主动参与、主动阅读、主动想象”的艺

a very common situation, however occluded by the majority’s

术赋权队伍中；这些艺术家承担了推动思考、建立全新欣赏习惯的

来平抑它。这种创作总是带给我极大的温暖。今天，这个剧本以朗

ignorance. Tong unveils this ache brought to intellectuals and

诱因及积极的推动者。

读剧的形式来呈现，就是希望语言的魅力能够无损的呈现。

artists by the tedium and weariness of everyday life, trying to comfort it by poetic and by beauty. This creation exudes warmth

编剧：

and brightness. Today this drama is presented by form of script reading in order to perform the language with its own charm.

拙的剧本，在我们目前的话剧环境中显得非常“另类”：这些剧作

Playwright:

70s. Until now he has published several seemingly naive scripts. These may appear “off the beaten track ” in today’s theatrical

到一种久违了的纯真。这纯真来自于拙朴、“无添加”的童心，也

context, because they do not take consideration of convention and only reflect our souls' aspirations.

的关注、对知识分子生活的描摹，让他的作品中充盈着一种文人情

Reading Tong’s scripts, or watching drama performances

趣：对文学作品、文学名家的津津乐道，对语言的习惯性斟酌和玩

adapted from his writings, a wind of long-lost innocence blows

维护和追问，对人类文明的高度珍视，对完美人格的永恒向往。

建立、纪录和探讨。

critic in China. Tong only became a playwright after entering his

写作。读童道明先生的剧作，或是观看这些剧作的演出，总能感受

味。同时也强烈地传达着一种人文精神：对人的尊严、人的价值的

联系，而一贯作为艺术活动的参与者，也发现了自身影响现场情境

Tong Daoming is famous Russian literature specialist and theater

完全没有考虑所谓的“市场规律”，是真正的为人心写作、为良知

来自于老一代知识分子正直、良善的秉性。童先生对知识分子境况

因此观众已不再是旁观者，越来越多人意识到再也不能与艺术割断

的参与价值，即艺术活动已从欣赏的传统模式转变为人与人关系的

童道明，我国著名的俄语文学专家和戏剧评论家。童先生在古稀之年才开始“转型”做一个剧作家，他已结集出版的几个看似简单稚

制作：李戈树新风剧团：陈文、高韡、阮思航、田甜、王爽、徐睿、徐涛、杨楠、袁园、张嘉航、郑帅

当代戏剧是一个开放的场域，它不断刷新着人对自身及其环境反思

Yu in the A Pair of Eyes and Two Flows of Rivers, which depicts

疲惫世俗的生活给知识分子和艺术家带来的伤，并试图用美用诗意

剧本朗读指导/编剧：顾雷

over us. This piece of innocence comes from that honest awkwardness, that intact childishness also is born from the old generation intellectual’s upright and kind moral conscience. Tong

此次，我们将童先生的两个戏集中推出，以期让更多的朋友走进剧

cares about intellectuals’ situations and also writes about their

场，认识童先生，感受戏剧艺术的纯朴魅力。

lives, which give his works a feel of literature flavor, represented in his interests in mentioning and selecting literature works and literature laureates, and in his special appreciation and play of words. Meantime his works denote a layer of human spirits: protection and questioning of human esteem and value; attention to human civilization; aspiration of perfect human characteristic. Through this two works of Tong, we hope more friends can walk into theater to get to know him and experience theater art’s pure charm.

Tragicomedy: Not Care Up Drama reading director /Playwright: Gu Lei

Producer:Li Ge Tree New Bee Theatre: Chen Wen / Gao Wei / Ruan Sihang / Tian Tian / Wang Shuang / Xu Rui / Xu Tao / Yang Nan / Yuan Yuan / Zhang Jiahang / Zheng Shuai.

创作缘起：我们生活在现在，分享社会进步果实欢欣之时，也必

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须承受现在的种种疾病，病理是复杂的，病痛是真切的。面对沉重的病人和自己，戏剧能做的毕竟有限。做不了脱胎换骨的改变，至少可以发挥灸疼放血的功

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用，一半是快意扬弃，一半是扪心自问，只要心诚意演出地点：东宫影剧院（1号厅）

实，不偏不倚，小心斟酌，审美也自在其中。

《顾不上》中的两个人物来自一本手抄乡村小说，七八年里笔者使他们亲历各种热点事件，三四年前终顾雷

于穿凿附会连缀成篇，也真实也虚幻，也癫狂也沉静，也妄想也理智，也狗血也悲痛，正如笔者所感知的现实，五味杂陈，悲欣并寓。如果把这样的感受寄放在百年之前，隐喻之中，做含沙射影、指桑骂槐科，总觉得对不起自己，更对不住听众，只有放在今

Motivation

天，才能缓解今天的病痛，抚慰今天的心灵，达成戏

While we are living in the good times, sharing all the advancement and

剧讽谏的本意。期望《顾不上》这杂碎一盘，真能有

improvement of the society, we also have to bear the inevitable “illness”, which

所效用。

is complicated and real. Faced with sorrowful “patients” and ourselves, what drama can do is after all limited. Changing the ground up is impossible, but at least it can help to release pressure and restore vigor, partly out of boundless

内容简介：顾不上与王小花是生长在小地方的一对男女青年，中学毕业后互许终身的两人却走上了完全不同的人生

expression and partly due to self introspection. As long as we are honest, focused and contemplative, the taste will be there itself.The two characters in Not Care Up come from a hand-copied countryside novel. During the 7-8 years, the author guided them through various hot topics and current affairs, and about 3-4 years

路。经历了家乡的深刻变革后，两人先后来到大城市

ago they were coalesced into a continuous passage, real and yet vague, crazy and

谋讨生活。两个没有手艺又受教育不多的年轻人，在

yet calm, delusional and yet sensible, wild and yet sad, just like what the author

大城市里，孤立无援，智商有限，是非不明，无异于

feels about the life at present, with feelings intertwined into joy and sorrow. If this emotion is projected onto the past, in this form of ironic and indirect metaphor, we

话剧《〈人民公敌〉事件》

自戕自损。终于有一天他们意外相逢，多年前的互许

would be sorry, not only for ourselves but also for our audiences. Only put in today

编剧：吕效平/李耿巍

又浮上心头，但两人在北京的生活轨迹早已天差地

can it release the pain, comfort the soul and realize the intent of the sarcasm and

导演：吕效平/歌德思

别，在又一轮的相互帮助与伤害中，两人逐渐明白了

catharsis of drama.

南京大学艺术硕士剧团

命运的虚实与狗血的变幻。

Hope this suety plate of chop Not Care Up can do its wonders. Synopsis

剧本朗读指导/编剧：顾雷，中国当代新生代剧作家、导演。顾雷的戏剧作品，冷暗的格调中，融汇了轻灵的黑色幽默，在写意

Gu Bushang (in Chinese means: Not Care Up) and Wang Xiaohua were a young couple having grown up in a small city. Even though promised to each other for love, they parted into their ways after graduating from middle school. Having experienced the deep transformation of their hometown, the two young people

的空间造型中，融入了中国传统美学的气质，兼具平

left on their own and went to big cities for their livelihood. With little skill and

民气息和知识分子思辨的韵味，并保持着一贯的高水

education, they were lonely and helplessly drowned into urban life. One day

准，注重观赏性和艺术美感的平衡。代表作品《告别无羁的长夜》、《十个人的夜晚》。

Drama: The “An Enemy of the People” Incident Playwright: Lü Xiaoping/Li Gengwei Theater Director: Lü Xiaoping/ Gerhard Dressel Nanjing University Art Master Performance Group

they came across each other accidentally, and although they have already been immersed in sharply different environments, their past romantic association rekindled. But after another around of relying on each other one more time, they finally yielded to destiny and its whimsical plot. Drama reading director/Playwright Gu Lei, contemporary Chinese dramatist, drama director. Against a cold and dark backdrop, his works are sprinkled with light dark humor. In the abstract space, he avails himself of the traditional aesthetic spirit, balancing the taste of the grassroots and the air of a scholar, while at the same time ensuring high quality and striking a balance between aesthetic accessibility and beauty of art. Representative works: Saying Goodbye to Boundless Long Night, Ten People’s Night.

创作缘起:

forcing them to make some hard decisions

该剧初创于2005年，和2012年上演的《蒋公的面子》一样，它也是吕效平和他

about persisting in the pursuit of their ideals.

的学生的编剧课程作品，由吕效平与李耿巍等同学共同执笔。是年7月，以小剧

Director:

场戏剧形式首演于南京大学，吕效平执导。

Lü Xiaoping has adoctorate in Theatre Studies and is professor in the Art College of Nanjing University as well as director for

2006年，南京大学戏剧影视艺术系邀请中央戏剧学院导演专业硕士生张慧担任

Drama and Film Art Department, mainly

导演，以传统剧场方式再次排演了该剧。设计为中央戏剧学院舞美专业硕士生鲁宁。此版在南京大学演出十余场，是年参加第6届北京大学生戏剧节，在北京演

teaching theatre theory and theatrical scripting writing. In 2012 he provided

吕效平/歌德思

editing/guidance/supervision (?) on the

出两场，反响热烈。迄今已被南京农业大学、中央财经大学、南阳理工学院、厦

scriptwriting of Jiang Jieshi’s “Face” and

Motivation:

and Economics, Nanyang Insititute of

Similar to Jiang Jieshi’s “Face” that

Technology, and Xiamen University.

directed the drama himself.

Gengwei completed this play in 2005 as a

Lü Xiaoping always sees this drama as

Gerhard Dressel is a German director

的内容和当代中国的内容在表演风格上更鲜明地区分开来。为了实现这一点，他

homework assignment for a scriptwriting

unfinished, and with regards to stage

邀请了德国戏剧导演和戏剧教育家歌德思先生与他联合执导2014年的《〈人民

course at Nanjing University with some

performance he strives to make a clear

other students.Lü Xiaoping then directed

distinction between Ibsen’s content and the

the drama the same year in an experimental

Chinese context in terms of style. To this

theatre in Nanjing.

end has invited German theatre director

门大学等近十所高校学生剧社搬上舞台。

吕效平一直认为这部剧的剧本没有完成，在舞台呈现上，他也希望能够把易卜生

公敌〉事件》。

was staged in 2012, Lü Xiaoping and Li

and drama educator Mr. Gerhard Dressel to

内容简介：该剧描写当代中国几个生长在淮河边小镇的大学生，不忍淮河严重污染的状况，为提高当地政府和人民的环保意识，反对与治理污染，排演易卜生的社会问题剧

Playwright: Original version byLü Xiaoping and Li

People” Incident in 2014.

Gengwei (graduated from Nanjing University in The United Front Work Department of

invited Zhang Hui, a Master’s student in

境。他们不得不在坚持或放弃理想与青春之间选择。

to reinterpret this drama into a traditional

University students living near a village

theater form, with scenography done by Lu

along the Huai River become fed up with

Ning also from Central Academy of Drama.

the terrible pollution of the river. To fight

This version was performed at Nanjing

back against the contamination, they

吕效平，戏剧学博士，南京大学文学院教授，戏剧影视艺术系主任。主讲戏剧理

University dozens of times and has been

try to arouse the people awareness and

论和舞台剧写作课程，2012年指导了话剧《蒋公的面子》的写作，并亲自执导

part of the Beijing University Students’

draw government attention to the need for

Drama Festival receiving popular acclaim

environmental protection, they come up

two times. The drama has been also

with the idea to produce Henrik Ibsen’s An

produced by ten other university drama

Enemy of the People. However, soon they

societies, including Nanjing Agricultural

find themselves in the same predicament as

University, Central University of Finance

the classic drama’s protagonist Stockman,

《罪与罚》先后于2012年和2013年在南京演出。

in 2013 respectively.

Film at Nanjing University Art Department

Synopsis:

歌德思（Gerhard Dressel），德国导演，戏剧艺术教授，作品《浮士德3》和

Punishment staged in Nanjing in 2012 and

join him in directing The “An Enemy of the

directing at the Central Academy of Drama,

了该剧。

directed includeFaust 3 and Crime and

In 2006, the Art Department of Drama and

《人民公敌》，结果却发现自己陷入了与易卜生的戏剧主人公斯多克芒同样的困

导演：

andtheatre art professor.Works he has

in 2006 with Master’s of Arts, now working CPC Central Committee). The new 2014version is being revised byLü Xiaoping. Performance Group: This piece will be performed this July by Nanjing University Art Master Performance Group. Nanjing University Art Master P e r f o r m a n c e G ro u p w a s f o u n d e d i n September 2007,.It is a theatrical art society under the direction of Nanjing University Drama and Film Institute and Drama and Film Art department in Literature school.

编剧：原作编剧吕效平、李耿巍（2006年毕业于南京大学，获文学硕士学位，现供职

It merges teaching with literature and theater into one, and its main members are former, current, and futureMaster’s

于中共中央统战部）。

students (MFA). The group’s previous

2014年版剧本由吕效平执笔修改。

performances includeButterflies are Free (US), The Late Christopher Bean (France,

演出团体:

Britain), Leonce und Lena (Germany), The Seagull (Russia), and as well sa the original

该剧将由南京大学艺术硕士剧团于2014年7月演出。

playsExperimental play: September in 2011,

南京大学艺术硕士剧团成立于2007年9月，是南京大学戏剧影视研究所和文学院

I am the moon, andJiang Jieshi’s “Face”.

戏剧影视艺术系指导下的一个剧场艺术团体。它融教学与文学和剧场的创作为一体，主要成员为南京大学过去、现在和未来的戏剧领域艺术硕士生（MFA）。剧

In February, 2013, Nanjing University Art Master Performance Group became independent of the university and registered

团演出过的主要剧目有：［美］《蝴蝶是自由的》、［法、英］《油漆未干》、

in the city of Nanjing, becoming a local,

［德］《蕾昂瑟和蕾娜》、［俄］《海鸥》和原创作品《实验戏剧：二零一一年

social and young theatrical group.

九月》、《我是月亮》、《蒋公的面子》。

2013年2月，南京大学艺术硕士剧团走出校园，在南京市注册，成为一个地方性、社会性的年轻剧团。 50

有在最后演出中使用它。二月十日，我短暂离开国内。导演助理与剧组部分成员开始玩一款叫做《山屋惊魂》的桌游。二月十七日，带了一些礼物给大家。二月十九日，冯娜阿姨做的是汤圆。二月二十日，冯娜阿姨做的是汤圆和土豆沙拉。二月二十一日，《群众》于天津群众艺术馆

孙晓星

首演。第一次放礼花。

内容简介： “群众”突然出现在先前什么也没有的地

Motivation: In 2013, I participated in the research for The Masses, a co-production by Paper

方，也许是少数几个人站在一起，五个人、

Tiger Theatre Studio Beijing and the Munich

十个人或十二个人，没有预期，却突然变成

Kammerspiele. On Oct 17th, Totally Happy

了许多人，仿佛所有的大街都通往这里。在

by Tian Gebing was shown to the public as a performance in progress at the Paper

地铁，在城中心公园，在超级市场的货架

Tiger‘s studio space. That night, Tian sent

前，他们不说话，他们是匿名者，是大多

me a Wechat message: “Do not detach yourself from the masses.”

纪录剧场《群众》

Documentary Theatre: The MASSES

数。纪录剧场《群众》是一次创作者与命题

导演：孙晓星

Director: Sun Xiaoxing Performers/Text: Wang Chunlan, Feng Na, Yu Jiayue, Jiang Guoxing, Li Jian, Li Mingxuan, Wang Yujie, Liu Chao Tianjin Masses Museum

的契机——返回并重新经验“群众”，他们

by the Tianjin Masses Museum. On Jan

是“日常生活的专家”，是被历史书写的

13th, I had Tian’s support to start a

演员/文本：王春兰冯娜于家悦蒋国兴李鉴李明璇王玉洁刘超

相遇的过程，将作品的生产转变为一次生活

人，而不是书写历史的人，向这些普通人赋权，让他们登上舞台，让剧场在高楼林立的

天津群众艺术馆

In the beginning of 2014, I was commissioned to make a piece of theatre

documentary called The Masses. He said he was totally happy.On Jan 21st, the rehearsals of The Masses started. We had

城市完成一次下沉，而群众将从四面八方涌

ordinary people from different fields of life:

来。

housewives, teachers, office workers, and art students. On Jan 28th, a text was formed with

主创列表：出品人：李戈监制：李治邦制作人：刘坡导演助理：贾泽轩空间/平面：柳佳声音：闫玉龙影像：刘姝含李慧灯光：王京晶执行制作：袁汝桀王晓冕任资淳

6.13 6.14 6.15 19:30

19:30

Crew: Chief Producer: Li Ge Supervising Producer: Li Zhibang Producer: Liu Po Assistant Director: Jia Zexuan Stage/Graphic Design: Liu Jia Sound: Yan Yulong Video: Liu Shuhan, Li Hui Lighting: Wang Jingjing Executive Producers: Yuan Rujie, Wang Xiaomian, Ren Zichun

导演：

daily-life documents. Li Jian revised his

孙晓星，生于1986年。诗人，剧作家，导

PPT document again and again.On Feb

演，艺评人。毕业于中央戏剧学院戏剧文学

recording which was not used in the final

创作缘起：

系，中国话剧史论方向硕士研究生，现任教

二零一三年，我参加了由北京纸老虎戏剧工

于天津音乐学院戏剧影视系。创作致力于剧

briefly. My assistant director and others in

作室与德国慕尼黑室内剧院合作的剧场项目

场作为介入当下中国的日常，对现实的虚拟

the company started to play a board game

“群众”的前期调研工作。十月十七日，由

化趋势进行反击。

田戈兵导演的《非常高兴》在纸老虎空间进

主要作品有《悼亡剧场》（2011）、

行了第一期排练“工作中表演”。那晚他在

《写诗》（2013）、《日常_非常日常》

traditional Chinese rice ball soup.

微信里对我说：“不要脱离群众。”

（2013）等，主编《再剧场——独立戏剧的

On Feb 20th, Feng Na made Tangyuan and

二零一四年，天津群众艺术馆委约我做一个

城市地图》（2013）。曾受邀北京金刺猬大

剧场作品。一月十三日，我在天津通过微信

学生戏剧节、北京国际青年戏剧节、北京南

Tianjin Masses Museum. Fireworks were

向老田认领“群众”，想创作一个纪录剧

锣鼓巷戏剧节、乌镇戏剧节、上海外滩美术

introduced into the performance.

场，他说他很高兴。

馆群展“从手势到语言” 、TPAM in 横滨

一月二十一日，《群众》开始排练，他们有

2014、香港STBD Asia Dialogue 2014。

家庭主妇、教师、职员、艺校生，都是再平演出地点：蓬蒿剧场

5th, some of us went to KTV for a video performance.On Feb 10th, I went abroad

called Mountain Camp Thrill. On Feb 17th, I brought presents. On Feb 19th, Feng Na made Tangyuan, a

potato salad. On Feb 21th, The Masses debuted in

Synopsis: The Masses show themselves in the middle of nowhere. They could be a few people

凡不过的普通人。

演出团体：

一月二十八日，由日常生活的文档构作出剧

天津群众艺术馆，于1956年4月正式成立。

场文本。李鉴老师反复修改他的PPT。

隶属天津市文化局，是开展辅导、指导、组

二月五日，一起去KTV，留下了视频，但没

织和研究群众文化艺术活动的事业单位。

standing together, five, ten or twelve. There is no expectation among them. Suddenly they grow to a massive number as if all roads end at this point, transporting all pedestrians here. They are in the metro. 53

They are in public parks. They stand in front of the shelves in supermarkets. Not speaking, anonymous, they are the majority. Documentary theatre The Masses is an encounter with this subject that transposes a theatre production into reflection on life: going back to and re-experiencing the masses that are experts on living daily life. They are the ones written in history by others rather than themselves. By investing power in these ordinary people and giving them the stage, the theatre has successfully descended into the jungle of skyscrapers that allows the masses to surge from all directions. Director:

6.25 6.26

Born in 1986, Sun is a poet, playwright, stage director and critic. He finished his BA in Dramatic Literature in Central Academy of

19:30

Drama, now serves as a faculty member in

19:30

Department of Film and Television in Tianjin 演出地点：东宫影剧院（4号厅）

Conservatory. He is doing his masters in the History and Theories of Chinese Drama in the Central Academy. Sun works on transforming the theatre into an intervention on the ordinary life of contemporary China and as a counterattack to virtualized reality. Sun was invited to the Golden Hedgehog University Students Drama Festival, Beijing Fringe Festival, Beijing NLGX Performing Art Festival, Wuzhen Theatre Festival,

社会戏剧《世界工厂》

Social Drama: World Factory

草台班集体创作并演出

Co-created and performed by Grass Stage Concept designed and directed by Chuan ZHAO

剧构/导演：赵川

the exhibition in Rock Bund Art Museum Shanghai: From Gesture to Language, TPAM in Yokohama 2014 and Hong Kong STBD Asia Dialogue 2014.

创作缘起:

来的利弊，由劳工运动引发的社会主义革命的成败，以及工业资本

联，多年来不拘一格地利用各种场地，进行非牟利的排演、讨论和举

2009年7月赵川由英国艺术委员会安排前往曼切斯特国际艺术节，其

主义与工人命运的现况及未来等。“世界工厂”的变迁和对于人性

办“文化站”(2007年底至今)等活动，他们的剧场成为了不同人群参

Everyday (2013). He has also edited Re-

间曼切斯特在工业革命早期的历史，及它作为最早的“世界工厂”的经

的影响，将成为这出戏的戏剧主脉。

与的聚会场所，不断塑造出流动的公共空间。草台班成员每周聚会，

Theatre: The Independent Theatre Cities

历，带动了赵川对今天中国作为世界最大工厂的现实的种种联想，激发

Map (2013).

出创作《世界工厂》这出戏的原始构想。筹备工作经历数年，包括大量

剧构/编导设想:

多城市、港澳台地区、日本、韩国、新加坡、印度、意大利和德国等

的实地探访、访谈、对话、阅读和文献收集等，以及2012和2013年受英

《世界工厂》的创作，将立足于草台班自2005年起积累的集体创作

地进行了演出。

国艺术委员、英国皇家国家剧院工作室和剑桥大学等支持，两次前往英

传统及相关剧场美学，通过讨论、调研、集体创作工作坊和合成编

赵川（本剧导演）作家、艺术项目策划人及剧场导演，是从2005开始

1956, is affiliated with the Tianjin Cultural

国考察和筹备；在国内的考察，也与草台班成员一起进行数年。上万字

作等，于2014年5月中下旬完成创作。该戏内容涉及工业、工人的

的草台班初创及主持者。

Administration. It oversees, organizes,

的相关筹备内容，已在《南风窗》、《上海文化》、《艺术界》和“中

历史和现场，记录和纪实手段会被引入使用。更重要的是，这样从

吴梦艺术家、剧场工作者、自由撰稿人。草台班2005年初创成员之一。

researches, and gives consultation on mass

国文化研究网”等媒体发表。2014年春，此想法发展成草台班集体创作

追问问题出发的剧场创作，应能包纳集体创作成员产生的各面向的

刘念 1976年生于重庆，任职建筑设计公司等，草台班初创成员之

cultural art and activities.

项目。

思考、碰撞和情感；形成的戏剧作品也因此不拘形式，重在沟通，

一，主要的幕后工作者。

His major works include: Memorial Theatre (2011) Writing Poem (2013) Daily _ Unusual

Performance Group: Tianjin Masses Museum, founded in April

讨论议题，做表演工作坊、个人创作和集体创作等，已在中国大陆许

尤以通过剧场而达成问题思考和讨论的现场为目的。完成的《世界

庾凯从事策划、撰稿及教学。2006年进入草台班，参与创作、演出

创作主旨:

工厂》自5月下旬至6月中下旬，前往川、陜、甘、宁、内蒙和北京

多个集体和单人作品。

曼切斯特等欧洲城市，作为早期工业革命的发源地，最早被喻为“世界

等地，在草台班的“第三次拉练”巡演中，继续修改和深化。

吴加闵 90后，公司职员。2011年参与草台班创作和演出，2013年起

工厂”──它意味了世界上所流通的工业产品，大多产自那个地方。这

也负责幕后和日常行政。

里面一方面是社会发展的骄傲，另一方面这样的骄傲也建立在臭名昭著

草台班：

王毅飞环保设备研发者。2012年起参与草台班活动，参与创作、演

的恶劣劳工处境上。“世界工厂”基本已搬离欧洲，但今天的中国，又

草台班是2005年初在上海发起的民间剧场团体，由作家、戏剧工

出和幕后工作。

早已成为另一个不折不扣的“世界工厂”。这种劳动密集型的产业生产

作者赵川主持活动和创作,已日益引起关注并形成影响。草台班激励

于玲娜 80后，现为心理咨询师，参与草台班第四年，心灵和身体共同

模式，弊端丛生，却仍是今天世界经济的基础。在《世界工厂》这出戏

普通人投身剧场和创作，身体力行地拓展文艺与社会关系的美学想

随之变化成长。

里，希望能够从立足中国现实，以基层社会的视野，回应工业化进程带

象，倡导新的社会剧场运动。草台班强调戏剧活动与周围生活的关

许多浙江海宁人，新工人艺术团创始人之一，民谣歌者，戏剧编导。 55

They have been holding various non-profit activities including rehearsal, performance, discussion, and “culture

新浪潮戏剧《地雷战2.0》

station” (since 2007) in all kinds of venues. The theatre of Grass Stage has become a dynamic

薪传实验剧团出品

public space for the gathering 赵川

of diverse communities. On

导演：王翀

the weekly meetings, the team

编剧：赵秉昊

members discuss social issues, hold performance workshops,

New Wave Theater: The Warfare of Landmine 2.0

and carry on individual and collective creation. The group Motivation:

and failures of the labor movement and

performed in many cities in

In July 2009, Chuan ZHAO was invited to

revolutionary socialism, and the current

mainland China, as well as in

the Manchester International Art Festival by

situation and the future of industrial

Hong Kong, Macau, Taiwan,

the British Art Committee. Manchester's

capitalism and the working class. The

Japan, Korea, Singapore, India,

history during the Industrial Revolution

changes of the “world factory”, along with

Italia, and Germany.

and its experience as the earliest “world

its impact on humanity, will become the

factory”, inspired Chuan’s reflection about

main thread of this work.

Chuan ZHAO Director of this play. Writer, art project

the reality of China as the biggest world factory in modern time. This is the original

Concept:

designer, and theatre director.

source of World Factory. The preparation`

The creation of World Factory will build

Co-founder and leader of Grass

of this drama lasted for years, including a

on the tradition of collective creation

Stage.

great amount work of visiting, interviewing,

and the artistic experience Grass Stage

Meng WUArtist, theater

dialogue, reading, and collecting literature.

has accumulated since 2005. Various

professional, and freelance

Chuan visited the UK twice again in 2012

approaches will be applied, including

writer. Co-founder of Grass

and 2013 to prepare for the work, supported

discussion, research, collective creation

Stage.

by British Art Committee, British Royal

workshops, and synthesis. The whole work

Nian LIUBorn in Chongqing in

Theatre Studio, and Cambridge University.

is planned to be completed in the second

1976. Works in an architecture

Meanwhile he also spent years working with

half of May, 2014. The drama covers the

design company. Co-founder

his team. Articles about their preparations

content about industry as well as the

of Grass Stage and main

were published in various media, including

history and presence of workers. Recording

contributor behind the scene.

Southern Window, Shanghai Culture, Leap,

and documenting will be applied as well.

Kai YUProject planner, writer,

and the website Chinese Culture Research.

Most important, the creating starting from

and teacher. Joined Grass

In 2014 Spring, this idea evolved to form a

pursuing a question is supposed to contain

Stage in 2006 and contributed

collective creative work by Grass Stage.

the thoughts, contradictions, and emotions

to creating and performing

on different dimensions of all creating

various collective and solo

Theme:

members. Thus the final work will not be

works.

Manchester and some other European

limited by the form but put more emphasize

Jiamin WUPost-90s. Works

cities, as the source of the Industrial

on communication. The completed World

in a company. Joined Grass

Revolution, were the earliest “world

Factory will be continually modified and

stage in 2011 and contributed

factories”. This means the majority of

deepened during the tour to the provinces

to creating and performing. In

in du str ia l produc ts for consumpti on

of Sichuan, Shannxi, Gansu, Ningxia, Inner

charge of support work and

once were produced in that area. On one

Mongolia, and Beijing.

administration since 2013.

Yifei WANGEnvironment

hand, it was a proud example of social

Presented by Théâtre du Rêve Expérimental Director: Wang Chong Playwright: Zhao Binghao

development; but on the other, such pride

Grass Stage:

protection equipment researcher

was established on the backs of toiling

Grass Stage was founded at the beginning

a n d d e v e l o p e r. S t a r t e d t o

laborers. These “world factories” have

of 2005 in Shanghai, led by Chuan ZHAO, a

get involved in the activities

moved away from Europe, and today’s

writer and theatre professional. The group

of Grass Stage since 2012

China has become the newest “world

has been drawing attention and making an

and contributed to creating,

factory.” The labor-intensive production

impact. Grass Stage encourages ordinary

performing, and support work.

model, given its disadvantages, is still the

people to engage in theatre and creating,

Lingna YUPost-80s. Counselor.

foundation of the economic development

to practice the artistic imagination of the

Joined Grass Stage since 2011.

around the world today. World Factory is

relation between art and society, and

Duo XUFrom Haining, Zhejiang

created in the purpose of responding to

promote new social theatre movement.

Province. Co-founder of New

the various consequence brought by the

Grass Stage emphasizes the connection

Worker Art Troupe. Folk singer

industrialization process, the successes

between theatre movement and daily life.

and drama director.

7.18 7.19 7.20 19:30

19:30

演出地点：77剧场

主创列表：导演、制作人、舞美设计、灯光设计：王翀演员：李泊霖、李嘉龙、王悠、马卓、余天健、刘夏青（按出场顺序）文本：王翀、赵秉昊道具设计：余天健、李泊霖服装设计：王悠、马卓、李嘉龙技术总监：梁安正执行制作：孙恪凰日语翻译：小山仁美平面设计：孟洋洋平面摄影：朱雷剧照摄影：青木司影像记录：杨帆文本整理：赵蕴漪、田弘毅鸣谢：王志刚、李锐、李逸、刘淑昌、莳野雅纪、奥原智子，还有很多提供无私帮助的朋友 Crew: Director, Producer, Stage Design, Light Design: Wang Chong Performers: Li Bosen, Li Jialong, Wang You, Ma Zhuo, Yu Tianjian, Liu Xiaqing (in order of appearing on stage) Script: Wang Chong, Zhao Binghao Props: Yu Tianjian, Li Bosen Costume: Wang You, Ma Zhuo, Li Jialong Technique: Liang Anzheng Executive producer: Sun Kehuang Japanese translation: Oyama Hitomi Graphic Design: Meng Yangyang Graphic Photographer: Zhu Lei Stage Photographer: Qing Musi Camera Documentary: Yang Fan Text Editor: Zhao Yunyi, Tian Hongyi Special Thanks to: Wang Zhigang, Li Rui, Li Yi, Liu Shuchang, and many other friends who offer generous help.

创作缘起：

Motivation:

新浪潮戏剧《地雷战2.0》首演于日本最大的跨

New Wave Theater’s The Warfare of Landmine 2.0 premiered last year at Festival/Tokyo (F/T), Japan's largest performing arts festival.

国戏剧节——东京国际剧场艺术节。众所周知，

Well known to almost all Chinese, The Warfare of Landmine is a

《地雷战》是一部1962年的抗日黑白电影，在

black and white anti-Japan war film from 1962, and Théâtre du

中国家喻户晓。薪传实验剧团在2012年推出多部

Rêve Expérimental produced The Warfare of Landmine 2.0 as part of the New Wave Theater 2.0 series it began it launched in 2012,

2.0系列新浪潮戏剧之后，以《地雷战2.0》探索

exploring new angles through the re-investigation of the “classic”

新的方向，再次质询“经典”。《地雷战2.0》用

works. The production uses 40 trumpets to create a fantastical

40个喇叭构成了一个奇异音场，用全新的多媒体

sound space and presents war through the prism of cutting-edge

方式呈现战争，连接过去和当下。剧场变成了战

multimedia effects, linking together the past and the present. The stage becomes a battlefield, and watching the drama becomes

场，看戏变成了参战。这不是对越自卫反击战，

joining the battle. Neither a counter-attack against Vietnam, nor

也不是抗日地雷战，这是一场人类的历史、当下

anti-Japanese landmine warfare, this is a battle for humanity’s

和未来之战。

history, present and future.

《地雷战2.0》的文本来自：柳琪辉、屈鸿超、

The text of The Warfare of Landmine 2.0 comes from The Warfare of Landmine by Liu Qihui, Qu Hongchao, Chen Guangsheng; Ying’er

陈广生的《地雷战》、顾城的《英儿》、姜戎的

by Gu Cheng; Wolf Totem by Jiang Rong; Thus Spake Zarathustra

《狼图腾》、尼采的《查拉图斯特拉如是说》、

by Nietzsche; Archetypes and the Collective Unconscious by Carl

荣格的《原型与集体无意识》、裕仁天皇的《终

导演：

Gustav Jung; and the Imperial Rescript ending the War by Emperor

战诏书》。

王翀，新浪潮戏剧发起人，中国最有影响力

Shōwa (Hirohito).

的80后戏剧导演之一，北京大学法学学士，

Synopsis:

内容简介：

夏威夷大学戏剧硕士。他翻译并导演了《阴

有人埋雷，被炸死了。有人救他，被炸死了。有

道独白》、《哈姆雷特机器》等欧美当代名

by, bombed.

人路过，被炸死了。

作，又以《雷雨2.0》、《海上花2.0》、

Some clear mines, bombed. Some are peeing, bombed. Some

有人排雷，被炸死了。有人撒尿，被炸死了。有

《地雷战2.0》革新中国经典。王翀被中美

人打拳，被炸死了。

两国媒体誉为“新生代导演中最具实验气

horses, bombed.

有人呼喊，被炸死了。有人挥刀，被炸死了。有

质”、“中国实验戏剧之希望”，被新京报

Some shoot arrows, bombed. Some fire out, bombed. Some fire

人骑马，被炸死了。

评为2012年度新锐艺术家。他曾获2012年

有人射箭，被炸死了。有人开枪，被炸死了。有

亚洲文化协会奖金、2007年中国译协韩素音

人开炮，被炸死了。

青年翻译奖，出版有译作《作家之旅》。

Some lay mines, bombed. Some rescue him, bombed. Some pass

strike out fists, bombed. Some scream, bombed. Some waving knives, bombed. Some ride

cannon, bombed. Some charge forward, bombed. Some are in defense, bombed. Some surrender, bombed. Some win, bombed. Some sing, bombed. Some chatter, bombed. Some watch, bombed. Some light an atomic bomb with cigarette

有人冲锋，被炸死了。有人防守，被炸死了。有

butt, bombed.

人投降，被炸死了。

编剧：

有人胜利，被炸死了。有人唱歌，被炸死了。有

赵秉昊，双语作家。英文剧作包括《爱神》,

Performance Group:

人聊天，被炸死了。

《立体几何》，《跳房子》，《1926，夏》

Founded in 2008, Théâtre du Rêve Expérimental is one of China’s

有人看戏，被炸死了。有人用烟头点了原子弹，

等；中文剧作有《审判》，《死刑》和《微

most active touring companies and has mounted 15 shows and has

被炸死了。

观世界》。他正在为北京外语广播创作广播

toured China, Hong Kong, Taiwan, Japan, US, Canada, UK, France, and The Netherlands, receiving wide audience acclaim as well as

剧《青春年少》的第二季，并创作他的第一

attention from members of the media and academia in China as well

剧团：

部小说，《大陆》。他翻译改编的喻荣军作

as overseas. The Warfare of Landmine 2.0 became the first Chinese

薪传实验剧团自2008年成立以来，薪传实验剧团

品《老大》由拉尔克戏剧中心和署名剧院联

已经推出15部新浪潮戏剧作品，在大陆、香港、

合呈现。他曾跟随查尔斯·密与黄哲伦学习

台湾、日本、韩国、美国、加拿大、英国、法

戏剧创作。南京大学学士，哥伦比亚大学艺

while Literary Life Weekly listed Ibsen in One Take among the 10

国、荷兰的23个城市巡演，获得观众追捧，更受

术硕士。他现居纽约，布鲁克林。

Best Performances of 2012. E-Station was awarded the Festival

到中外媒体和学术界的广泛关注。《地雷战2.0》

drama to win an award at Festival/Tokyo (F/T) Japan. The theater group’s Thunderstorm 2.0 was named one of the 10 Best Works in Three Decades of Chinese experimental theater by Beijing News,

International de Théâtre de Mont-Laurier award.

成为首部荣获东京国际剧场艺术节大奖的华语戏

Director:

剧；《雷雨2.0》被新京报评为中国小剧场戏剧

WANG Chong (b. 1982) is Théâtre du Rêve Expérimental’s

30年十佳作品；《一镜一生易卜生》被文艺生活

artistic director. Wang has become the leading force of Chinese experimental theatre, known for his explorations of multimedia

周刊评为2012年度中国十佳演出；《电之驿站》

performance and documentary theatre. He has a law degree

获蒙洛里爱国际戏剧节大奖提名。

from Peking University as well as a Master’s of Theater degree degree from the University of Hawaii. He has translated and directed The Vagina Monologues, Hamletmachine and other

Western contemporary Classics. For his

喜剧《绝对高级》

innovative adaptations of Chinese classics in Thunderstorm 2.0, The Flowers on the

法式经典喜剧根据莫里哀《凡尔赛宫即兴》和《可笑的女才子》改编

Sea 2.0, and The Warfare of Landmine 2.0, Wang is recognized by Chinese and

戏剧构作：莫里哀（法）

American media as the “most experimental

导演/改编：邵斯凡（a.k.a Sifan SHAO）（法）

of the new generation directors” and “the hope of Chinese experimental theater”,

Comedy: Absolutely Refined

and he was named “Experimental Artist of Year 2012” by Beijing News. In 2012 he

Adapted from French classic comedies The impromptu of Versailles and The affected ladies written by Molière. Director: Sifan SHAO(French)

was awarded the Asian Culture Association prize, and in 2007 he won the Translation Prize from China Translation Association Han Suy in Yo u t h Tr a n s l a t i o n , with a publication of his translation of The Writer’s

主创列表：演员：耿梦谣、潘艺烁、杨瀑琳、杨森凯、杨翌、周小伟职员表：导演：邵斯凡（a.k.a Sifan SHAO）（法）制作人：张子一执行制作：杨馥遥舞台监督：冯镜宇灯光设计：王京晶舞台美术：邵斯凡、王婳音乐创作：杨与点、吴昊服装设计：Gigi PENG 造型设计：王嘉 (嘉 Studio) 海报设计：王江摄影师：马驰聘（曦烽社）宣传支持：邓晶

Journey. Crew： Actors: Mengyao GENG, Yishuo PAN, Pulin YANG, Senkai YANG, Yi YANG, Xiaowei ZHOU Director: Sifan SHAO (French) Producer: April ZHANG Executive producer: Fuyao YANG Stage Manager: Jingyu FENG Light Design: Jingjing WANG Stage Design: Sifan SHAO, Hua WANG Composer: Yudian YANG, Hao WU Costume Design: Gigi PENG Modeling Design: Jia WANG (JIA Studio) Poster Design: Jiang WANG Photographer:Chiping MA(XiFeng Vision） Promotion: Jing DENG

Playwright: Zhao Binghao is a bilingual writer from China. He is the author of Kurukulla, Solid Geometry, HOPSCOTCH, Summers in 1926, among many other plays. His Chinese-language plays include The Trial, Death Penalty, and Microcosmos. Currently he is producing the second season of his radio series, Follies, for AM774 (Radio Beijing) as well as working on his first novel, The Continent. His translation of Nick Yu’s play The Captain was performed by Lark Play Development Center and Signature Theatre. He has studied playwriting with

60 创作缘起：

张到可笑，可笑到让我想起莫里哀的另一出

He holds a BA from Nanjing University and

我对古典文学情有独钟，它是历经时间洗涤

戏——《凡尔赛宫即兴》。自然我把这出戏

an MFA from Columbia University. He lives

而沉淀下的智慧结晶，它对读者没有边界时

的片段作为幕后插曲带上舞台的这个主意就

导演：

空的限制，无论年龄、国籍、性别、种族，

诞生了。它将以一个话剧排练的小事故作为

邵斯凡（a.k.a Sifan SHAO）（法）,毕业

都可以引起大众的共鸣。大学里，我一直热

整个演出的前奏出现在观众面前。

于法国佛罗兰戏剧艺术学院高材生班。曾在

Charles L. Mee and David Henry Hwang.

Brooklyn, New York.

爱莫里哀的喜剧, 它充满了智慧和幽默，让

6.19 6.20 6.21 6.22 19:30

19:30

演出地点：国话先锋剧场

14:30/19:30

一场啼笑皆非的好戏也随之上演了。

多个著名话剧团实习，如德国导演Thomas

观众哈哈大笑之后又能回味无穷。这也是我

内容简介：

Ostermeier工作坊，巴黎夏优宫国家剧院

作为戏剧人一直追求的：先笑起来——先自

舞台上，话剧《可笑的女才子》即将开始，

职业演员⼯作坊，阿根廷导演Luis-Jaime

己笑起来，先让大家笑起来，再一起思考生

导演招呼着演员们抓紧时间再做最后一次彩

Cortez意大利面具即兴表演⼯作坊，及

活。

排，而演员们似乎人人都在状况外，不清楚

俄国导演Anatoli Vassiliev在戏剧聚集地

归国这几年，一档大众皆知的综艺节目引发

导演的想法，不知道话剧的主题，更不了解

Cartoucheries de Vincennes组办的职业

了我的一些思考：一群来自五湖四海穿着得

自己要演的角色！这可急坏了导演，苦苦哀

演员⼯作坊等。作为导演和演员在戏剧、影

体，打扮精致的女孩在台上等待和评估一位

求却得不到演员的理解，舞台上已经乱成了

视、广播等领域从事创作。2006年,法国演

又一位来尝试牵她们手的男性候选人。每

一锅粥……而这时，已经就坐的观众在台下

员协会ADAMI 戛纳新星。2009年携《费

一个新候选人会带来几个介绍他们背景的视

开始表现得不耐烦，在他们声声催促中，

多，等等》回国首演引起关注。2012年，

频：家庭背景，工作，朋友，业余爱好……

《可笑的女才子》演出开始了。

成立“丝头爱染色”⼯作室，涉猎时尚、文

但很多时候，他们的示爱都会以失败告终。

玛德隆和喀豆二姐妹初入都城，对未来的生

化、艺术等领域。

台上的女孩子们让我想起了《可笑的女才

活充满期待。已到适婚年龄的两人一心憧憬

子》里的马德隆和喀豆。就如莫里哀钟爱通

着浪漫爱情故事，不仅对父亲介绍的对象万

戏剧构作：

过他的戏剧作品给周边人一个滑稽又写实的

分不满，言语间还得罪了这两位巴黎贵公

莫里哀的戏剧灵感来源于意大利即兴喜剧，

肖像，我也试图通过这部话剧给当代社会风

子。出身上流社会的吉公子欲教训装腔作势

这种喜剧的代表标志是面具和著名丑角：

气一个快照。然后，自2012年起，在很漫

的二姐妹，派出自己的仆人“面子”调戏对

Harlequin，Pantalone。我希望以戏剧工

长的话剧准备中所经历的：艰难到夸张，夸

方，面对谈吐斯文举止优雅的冒牌贵公子，

作坊的形式与演员一起探索“在当今中国如 61

Motivation: I have a special interest in classic literature because it has the marvelous power to be universal and timeless, being able to talk to everybody - from every generation, culture, and race - without limit. I have always been passionate about Molière’s comedies,

单人剧《长凳》

which are full of wisdom and humor, both hilarious and meaningful. This inspires what I try to do as a theatre director and actor:

编剧：Chris Cooper(英国)

to make people laugh and to share life

导演/扮演：曹曦

experiences. Back in China a few years ago, a popular Chinese TV show caught my attention: lots of beautifully dressed girls from every

Monodrama Benched

邵斯凡（a.k.a Sifan SHAO）

part of the country stood on the stage, looking for the perfect boyfriend. Each male candidate presented themselves with

Playwright: Chris Cooper （U.K.） Director/Enactor: Cao Xi

videos showing their family background, work, friends, hobbies, and at the same

common for their taste. While leaving upset from Gorgibus's home, a middle-

time, desperately trying to seduce the girls

class man of province, Magdelon's father and Cathos's uncle vow to take

on the show. However, most of the time,

their revenge. They call upon their valet Mascarille, an “extravagant one who

the their attempts to woo simply fail.

wants to be a man of condition” and who elegantly exudes the pretentious

Those girls remind me of Magdelon and

image of high-class. Seduced by the charisma of Mascarille, the two fooled

Cathos in The Affected Ladies.

girls will discover they have been tricked in the end.

Just as Molière enjoyed creating exaggerated yet realistic profiles of human

Director:

beings, I try to use them to paint an image

Graduated from Classe Libre of Court Florent in Paris, Sifan Shao worked

of some current social trend.

as an actor in famous acting workshops with Thomas Ostermeier (German

In 2012 when I started to prepare this

director), Luis-Jaime Cortez (Argentine director), Anatoli Vassiliev (Russian

何演绎国外经典文学剧本” 。适于舞台的莫

创立了“丝头爱染色”概念空间，一个集时

里哀剧本是我自己以“忠诚于作者，真诚于

尚买手店，画廊和戏剧工作室为一体的多元

play, I experienced something so difficult

director) and others. He also worked with Alain Beigel then Joël Jouanneau

观众”的宗旨去翻译的，也对剧中角色的名

化艺术概念空间——邵斯凡戏剧工作室也随

and ridiculous that it reminded me of

for Talents Cannes Adami and Words of Actors at Autumn Festival in Paris.

称，部分语言词汇进行适当的修改，让身处

之诞生。它自然而然地延伸了之前Yi剧团的

another Molière’s work: The Impromptu of

In addition to his acting career, he directed several projects such as the

Versailles. The idea that I could add some

play Feydeau, et Cetera, part of the festival Meet in Beijing and the Festival

不同于法国文化背景的中国观众更深刻地体

戏剧精神和创作宗旨：Yi批追求Yi术的年轻

episodes of this work to the play I have

Croisements in China in 2009.

会莫里哀式喜剧。戴假面的固定角色，即兴

人，被汇集在一起做有Yi思，有Yi Yi，不Yi

been working arose naturally. In the end

喜剧式的不固定剧情，让人忍俊不禁的喜剧

样的戏剧。

人物，前卫又复古的服装和井喷般的炫目戏

it became a prelude of the whole play, a

Workshop:

minor accident in a rehearsal.

Molière’s comedy plays are intelligently funny when they are well interpreted. It is the talent of the theatre company, which makes you laugh. I translated

剧感，将各种文化背景下戏剧的精华融合在

2014年，正好是中法建交50周年，也是中

Synopsis:

Molière’s play myself with the purpose of “being honest to both the author

一起，呈现出让人耳目一新的无国界的莫里

法文化交流重要的一年。邵斯凡戏剧工作室

On stage, the theatre play The Affected

and the audience”. I also revised the names of the characters and adapted

Ladies is about to start in front of a

some phrases and puns to be as closely as possible to Molière. I made these

prestigious audience (critics, journalists,

changes in order to help Chinese audience who are from a different cultural

哀式喜剧。

在今年继续一贯对经典剧本质量一丝不苟的态度，旨在传播“关怀喜剧”的人文特点，

sponsors, theatre directors…).

background. In my workshop and with my actors, I also wanted to pose this

演出团体：

延续“先让大家笑起来再思考生活”的戏剧

However, nothing is ready!

question: “How do we make western classical theatre today in China? ”

邵斯凡戏剧工作室，坐落于北京知名概念空

理想；汇集了一批年轻有才，在各自艺术创

Despite the motivation of the troop director,

间“丝头爱染色”内的邵斯凡戏剧工作室，

作领域都有非凡成绩的新一代中国戏剧人

前身为邵斯凡在巴黎创立的Yi（翼）艺术剧

（演员、舞美、服装、造型、音乐）。将在

团（当时包括演员，舞美，音乐家一共16个

这个意义非凡的一年推出第一部“纯国产”

成员）。随着邵斯凡2012年在北京胡同里

经典欧洲喜剧《绝对高级》。

6.28 6.29 6.30 19:30

19:30

演出地点：蓬蒿剧场

the actors, not knowing their lines, refuse

Sifan Shao’s Theatre Group

categorically to perform, fearing to harm

The workshop and rehearsals of the play take place at Sifan Shao’s theatre

their reputation.

group, which is located at S.T.A.R.S. Concept-Store, a unique space

In the audience, the voices of impatience

founded by Sifan Shao in Beijing in 2012. In this space, fashion, art, and

viewers start to be heard: "Dear Sirs, please

culture mix all together. Sifan also collaborates with local designers/stylists/

start…”

make-up artists for the creation of the costumes for better cohesion with the

The red curtains eventually open.

art direction.

Magdelon and Cathos, two young

2014 is the 50th anniversary of diplomatic relations between China and

women from the provinces have recently

France, an important year for the cultural communication between the two

arrived in the Capital. While indulged in

countries. The Affected Ladies will be part of the Festival Croisements

courteousness and the life of high society,

organized in Beijing to celebrate this significant year. The first “purely” made-

they scorn the wedding proposals of

in-China classic comedy adaptation will show from June 19th to June 22nd

lords La Grange and Du Croisy, men too

at the Beijing Pioneer Theatre of NTC. 63

创作缘起:

Motivation:

这是一出写给14岁以上的匈牙利的青年的

This is a play written for young people in Hungary over 14, intending to address the political and human crisis in Hungary which connects

戏剧，原本的意图是回应匈牙利的政治与人

to the Chinese context because it has inevitably reflected the crisis in

的危机。这危机也必然反射着世界政治和全

world politics and the human race. The park scene has exposed this

人类的危机，因此它也可以和中国场景对接

crisis thus reflected the reality. The purpose of drama is to activate audience’s imagination, to give voice to reality therefore to create a

起来。公园的场景暴露了这场危机，也强化了现实，戏剧的目的是激活想象，让现实发

new reality – an understanding of the world crisis. Having been living 曹曦

in this city I sense an alarming crisis that has been fully exposed,

声，从而制造新的现实——一种对世界危机

that is going to befall us or perhaps has befallen us. What of political

的理解。住在这座城市的我深感着即将到来

hearsay or any gossip, for example THE missing plane that went off course, would rise to surface and what sink to bottom? What have we

（或许已经到来）的，充满威胁并暴露无遗

eaten? What is heard? What is seen? I intend to approach a “question”

的危机。政治八卦，小道消息，像那架折返

with a young person’s words: how to become a human in this crisis?

的飞机，哪些被选择浮上海面？哪些永远沉

This play is a question. Drama is there to listen.

入海底？我们吃了什么，听到什么，看见什

Synopsis:

么？我想透过一个年轻人的口，逼近一个问

A bench in a park. A young man and a pram. He speaks on the bench,

题——在这场危机中，如何成为人？

to the baby and to himself. He explains the life in year 2014 to the

这是一场提问，戏剧是来听观众的。

baby. He reads the paper. He curses the migrants. He complains about the government. Yet he struggles, desperately, sarcastically, to

内容简介:

Chris Cooper

become human. How will he and the baby escape this situation? This is a caricature of the 2014 reality.

公园的长椅。一个青年和一个婴儿车。他在 Director:

长椅上说话，对婴儿，也对自己。他向婴

Cao Xi, playwright, stage director, drama teacher and Theatre-In-

儿解释2014年的生活，读报纸，咒骂外地

编剧:

人，抱怨政府，但也拼命的、挣扎的、讽刺

Chris Cooper，英国剧作家及导演。Accident

的想成为人，他和婴儿会如何离开这个困境

Time剧团和30年历史的Big Brum教育剧场的

Academy of Drama and department of drama in Trinity College Dublin,

呢……这是一出关于2014年世界现实的讽刺

艺术总监。除了剧作了大量剧本，他在剧场

he believes theatre has more dimensions than that of an artistic

画。

和教育领域均做出了显著的贡献，包括作为著

Education advocate. He serves as the Creative Director of Drama Rainbow. Graduated from Dramatic Literature Department in Central

form, since it stands among the earliest human behaviours. Exploring such dimensions leads to the nature of theatre and the progress of

名戏剧家爱德华.邦德10部剧目首演的导演，

theatre and social reforms. He has the vision that theatre never stops

导演:

在过去18年间两人发展了一整套戏剧和剧场

questioning and challenging the society. And he devotes himself to

曹曦，戏剧编剧、导演和戏剧导师，教育剧

的工具和方法论，他还是Drama Rainbow中

crossbordering theatre with anthropology, pedagogy, sociology and

场的积极倡导者，Drama Rainbow创意总

心的戏剧顾问。在过去4年积极推动教育戏剧

监。毕业于中央戏剧学院戏剧文学系和都柏

和教育剧场在中国的发展。

philosophy. His stage work ranges from Six Characters In Search of an Author, The Box Room to the Flower and the Sword etc. Apart from his active exploration in TIE and efforts to establish Drama Rainbow as a educational centre constructed around drama, methodology-

林圣三一大学戏剧系，曹曦认为戏剧作为人

wise and ideology-wise, he is doing his PhD research in Pedagogy

类世界最早的行为之一，拥有远远超过艺术

演出团体:

形式本身的更广维度，对这种维度的开发是

《长凳》是一个国际戏剧企划中的第一部。

进入戏剧本质（向后）和推动戏剧及社会变

它由曹曦和英国剧作家Chris Cooper发起，

革（向前）的途径。他还主张戏剧应一直保

参与者包括匈牙利的InSite Drama和来自英

持对社会的质问及挑战，并且致力于戏剧与

国的Theatre Ark，并正在发起意大利的合

人类学，教育学，社会学和哲学等学科的交

作。这个企划旨在集合世界各地的戏剧艺术

decades).

叉碰撞。他的戏剧作品包括《六个寻找剧作

家用最简单的资源制作单人剧，主要透过物

Besides an amount of plays out of his hand, he has made a

家的角色》《花与剑》《箱子屋》等；除了

件来回应不同地区的政治现实和人类状况。

remarkable contribution to theatre and education. He has staged

积极发展戏剧作为教育媒介，并带领Drama

这个企划的第一部《长凳》将在6月份在英

Rainbow创立以戏剧为核心工具和思想的教

国，匈牙利，意大利和北京同时上演，并且

methodology over the past 18 years. As supervisor and consultant for

育中心，他还兼都柏林圣三一大学教育学系

计划在演出之后连线，探讨不同地区的世界

Drama Rainbow Centre he has been promoting the development of

博士项目研究——戏剧重构当代中国家庭的

危机，剧场和公共空间的关系，并邀请观众

自我与社会。

参与讨论。

Department, Trinity College Dublin: Drama (Re)connects Self and Society for Contemporary Chinese Families. Playwright: Chris Cooper, British dramatist and stage director, Artistic Director of both Accident Time and Big Brum TIE (with its history of three

the premieres of 10 of eminent dramatist Edward Bond’s plays, with whom he has struggled to develop a new forms of drama and

Drama In Education and Theatre In Education in China for 4 years. Performance Group: Benched is the first in a series of international plays that will be introduced to China. The project is initiated by Cao Xi and British dramatist Chris Cooper,

with cooperation of InSite Drama from

杨轶和我（马福力）意识到我们在两个不同的戏剧制作中扮演了同

Hungary, Theatre Ark from the UK and a

一个角色。我是1990版本在斯德哥尔摩的演出，杨轶是2011年在

developing collaborator in Italy.

北京的演出。我们扮演的都是年轻的儿子费德勒。而两部戏都是由

《两个费德勒的命运》

The project aims at gathering theatre artists from all over the world to make monodramas with minimal resources,

我导演的。这也就是《两个费德勒的命运》缘起。费德勒的两种命运，两种存在。两条继续的平行线。

导演：马福力

addressing the political landscapes and human conditions in different regions in the

1970年代我和母亲住在斯得哥尔摩

主创列表：演员：杨轶、马福力音乐和声效：Hernik Björlin 制作人：梁丹丹

spirt of using ‘objects’. The opening play of the project, i.e.

我和母亲一起生活在1990年代的北京我的名字是费德勒我的名字是费德勒

Benched, will debut in June simultaneously in t he UK , Hu n g a r y, I t a l y a n d Ch in a

我住在Gamla Dalarövägen

(Beijing), followed by a panel discussion

我住在东棉花胡同

on world crisis in different regions and the

我们的国王是卡尔十六世·古斯塔夫

Fredrik x 2

relationship between theatre and public

我们的总设计师是邓小平

space inviting the whole audience to take

Director:Mathias Lafolie

part.

我受到母亲的指引我讨厌我的母亲

Crew: Actors: Yang Yi and Mathias Lafolie Music and sound: Hernik Björlin Producer: Liang Dandan

我是谁我想成为谁发生了什么所有我当时的所想和坚信的用现在的眼光来看都是那么的奇怪

剧目简介：在1907-1910年之间斯特林堡开始了一系列实验，目的是为了在

他创新的室内音乐形式上建立一种私密的戏剧。他将主角淡化，而倾向于一小组平等重要的角色，从而创造出一种通过情绪和气氛来表达的戏剧。与戏剧中病态堕落的角色们相对比，斯特林堡创造出一个个体，他能够洞察超自然的现象，并且剥离层层谎言和欺骗。 1907年他创作了《鹈鹕》。受到马克斯·林哈得在柏林建立室内戏剧院（Kammerspiel-Haus）的启发，斯特林堡把他的戏剧称为“室内戏剧”。

编剧：奥古斯特·斯特林堡1849年生于斯德哥尔摩。他是瑞典著名的编剧，多产的作家，经常直接从自己生活中取材。斯特林堡的职业跨

7.13 7.14

7.15

越四个十年，期间他创作了60多部剧作，30多部小说，传记，历史和文化分析，政治评论等。从他最早的作品开始，斯特林堡就开发了创新的戏剧形式，语言和视觉构成。他被认为是瑞典现代文学

19:30

之父。斯特林堡有过三段婚姻，他的几个剧目便是来源于他婚姻当中的问题，也反映出他对自我分析极大的兴趣。这是一位敏感但备

演出地点：蓬蒿剧场导演：马福力（瑞典）语言：中瑞语演出英文字幕

受争议的作家，曾遭受到极其负面的评论，但斯特林堡代表了十九世纪艺术家追求个性自由，不受世俗约束的理想。在他的剧目《父亲》（1887）及《朱莉小姐》（1888）中他创作了自然主义戏剧，即角色性格代替了情节成为戏剧的主要元素，同时遗传性和环境性对人物“优柔寡断，分崩离析”特点的决定性影响被加以突出。《朱莉小姐》的前言恐怕是最有名的戏剧运动原则性宣言。他的《梦剧》（1901）极端尝试通过去除传统戏剧中

时间空间的界定来戏剧化无意识世界，还有它的分裂，双重，合并 67

及多重的人物性格都使斯特林堡成为重要的

Yang Yi and I, Mathias Lafolie realized we

over 60 plays and more than 30 works of

创作缘起：

表现主义及超现实主义领域的开拓者。

performed the same character but in two

fiction, autobiography, history, cultural

different productions. Me in Stockholm

analysis and politics. From his earliest

我们需要什么样的戏剧？我们需要

斯特林堡的影响非常广泛。作为戏剧家他还

戏剧事件《25.3KM》

什么样的剧场？是艺术再现生活？

1990, Yang Yi in Beijing 2011. We were

work, Strindberg developed innovative

是德国表现主义的灵感启发，也影响了尤

both playing the young son, Fredrik. I

forms of dramatic action, language and

还是生活成为艺术？我们有时候会

导演:李建军

金·奥尼尔和欧仁·尤内斯库。其中还包括

directed both these productions.

visual composition. He is considered

想这些看似无边无际的问题。

视觉设计:谭泽恩

“Fredrik x 2” is the result of that starting

the"father" of modern Swedish literature.

point.

Strindberg was married three times –

大约是因为总在想同样一些问题，

戏剧构作:孙晓星/冯瀚辰

Fredrik’s two destinies, Fredrik in two

several of his plays drew on the problems

2013年12月31日，蓬蒿剧场和新

different realities. Two ongoing parallel

of his marriages and reflected his constant

青年剧团对这座城市进行了一次

lives.

interest in self-analysis. A sensitive and

“年终总结”。在一年中的最后一

对很多编剧创作的影响，比如哈罗德·品特，约翰·奥斯本。他实际上直指现代戏剧的复兴，因此也可以说是剧场的逐步更新。

导演：

controversial writer, who suffered from

天，在弥漫着狂欢情绪的城市人群

I grow up with my mother in Stockholm in

hostile reviews, Strindberg represented

the 1970s.

the 19th-century ideal of artist as a free

中，一辆无名的公交车从人们身边

职业导演。他还是瑞典戏剧影视导演协会主

I grow up with my mother in Beijing in the

personality, unrestrained by convention.

驶过，驶向城市之外的荒野。

席。曾在不同国家工作，包括法国，俄罗斯

1990s.

In his plays The Father (1887) and Miss

My name is Fredrik

Julie (1888) he created naturalistic dramas,

在那个时刻，剧场变成行进的公

My name is Fredrik

that is to say characterization replaces

全职教授。职业期间曾执导40多部戏剧作

I live at Gamla Dalarövägen

plot as the predominant dramatic element

的景观变成了戏剧的场景，生活

品，也成为世界闻名的瑞典国家级戏剧家奥

I live at Dong Mianhua hutong

and the determining role of heredity

是一场表演。因此我们获得了审视

Our king is Carl Gustaf

and the environment on the "vacillating,

Our chairman is Deng XiaoPing

disintegrated" characters is emphasized.

I’m guided by my mother

The preface to Miss Julie is probably the

25.3公里，从北京的中心到六环的

I don’t like my mother

best-known statement of the principles

最短距离，是为剧名由来。

Who am I?

of the theatrical movement. His A Dream

2014年的夏天，蓬蒿剧场要为城市

Who do I want to be?

Play (1901)—with its radical attempt to

What is happening?

dramatize the workings of the unconscious

All stuff I thought about and believed in at

by means of an abolition of conventional

启。在节日里我们能以艺术之名为

the time looks so strange with an eye of

dramatic time and space and the splitting,

我们的城市，我们的生活，我们的

today.

doubling, merging, and multiplication of its

未来做点什么？这个问题重新成为

马福力生于斯德哥尔摩，是一位瑞典自由

和中国。今年他被聘为北京中央戏剧学院的

古斯特·斯特林堡作品的专家。

characters—was an important precursor to

2010塘鹅演出剧照

Dramaturgy: Sun Xiaoxing, Feng Hanchen

主创：蓬蒿剧场、北京新青年剧团联合制作

举办一次戏剧的节日，25.3KM重

创造的起点。

both expressionism and surrealism. Strindberg’s influence has been wide. As a

a s e r i e s o f e x p e r i m e n t s i n o rd e r t o

dramatist he was a source of inspiration to

establish an intimate theatre, based on his

the German expressionists and to Eugene

innovations on the form of chamber music.

O'Neill and Eugène Ionesco. His impact

He discharged the single protagonist in

is also seen among others in the works of

市，北京将同时被用作空间和空间

favour of a small group of equally important

such playwrights as Harald Pinter and John

材料。在城市景观与声场的重叠作

characters, creating a drama that would

Osborne.

用下，亲历者被自我陌生化并重新

impress by its mood and atmosphere. In

It is a fact that he has meant the renewal

contrast to the ill and corrupt characters

of the modern drama, and thereby also the

of the people in the dramas, Strindberg

gradual renewal of the theatre.

创作/表演：张加怀、杨明晨、刘彪、方奕聪、陈文明、肖竞、梁梅、耿玲玲、李沅娣出品人：王翔制作人：赖慧慧执行制作：刘泓一

戏剧事件：一次出游，从城市剧场到剧场城

面对地理记忆与个人处境。

行动影像：

of perceiving supernatural phenomena,

Director:

and of stripping away the facades of lies

Mathias Lafolie is born in Stockholm and

and deceits. 1907 he wrote PELIKANEN

work as a freelance director in Sweden.

The Pelican. Strindberg called his plays

He is also the President of the Swedish

送。观众随意出入于再现中的事

"chamber plays" after Max Reinhardt's

Association of Stage and Screen Directors.

件，并作为见证者离开次现场。

"Kammerspiel-Haus" in Berlin.

He has been working in different countries

Crew: Penghao Theatre and Beijing New Youth Troupe co-production Yang Mingchen, Liu Biao, Fang Yicong, Chen Wenmingm Xiao Jing, Liang Mei, Geng Lingling, Li Yuandi, Producer: Wang Xiang Production Manager: Lai Huihui Executive Production Manager: Liu Hongyi

一个长镜头，不间断记录全过程，影像在剧场通过互联网同步生成传

Playwright:

year he was appointed full time professor

Google：25.3公里

August Strindberg was born in Stockholm

at the Central Academy of Drama in Beijing.

找到约8,730,000条结果（用时

1849. He was a Swedish playwright,

During his career he has directed around

0.13秒）

novelist and essayist. A prolific writer

40 theatre productions. He has come

who often drew directly on his personal

to be specialized on the work of August

experience, Strindberg's career spanned

Strindberg, the Swedish national author

25.3公里---深圳晚报

four decades, during which time he wrote

who is well known through the world.

青岛滨海公路南段一期工程竣工，

早高峰时速31.9公里晚高峰时速

25.3公里公路正式通车 68

Visual Design: Tan Ze’en

这个城市和我们生活的一次机缘。

During 1907-10 Strindberg undertook

such as France, Russia and China. This

Director: Li Jianjun

交，脱离城市节奏的轨道，车窗外

Synopsis:

created an individual, who is capable

Theatre Event 25.3 KM

快速公交今起新开两条线，平均时

7.19 7.20

7.21

时间及地点：待定 time and location will be announced later

速25.3公里-快速公交-浙江在线……

任《狂人日记》、《影喻》、《美好的一

Motivation:

25.3公里骑自行车要多少时间？-已解决-搜

天》、《25.3KM》的视觉设计。

What kind of theatres do we need? What

搜问问

kind of theatre spaces do we need? Is art the reproduction of life? Or does life

北京日均拥堵时间减85分钟，五环内均速

戏剧构作：

become art? These eternal questions are

25.3公里-新闻频道-手机搜狐

孙晓星，生于1986年。诗人，剧作家，导

the sources of eternal reflection.

台花莲今日10时发生5.3级地震，深度25.3

演，艺评人。毕业于中央戏剧学院戏剧文学

公里

系，中国话剧史论方向硕士研究生，现任教

戏剧事件《25.3公里》_豆瓣

于天津音乐学院戏剧影视系。主要作品有

midst of revelry on the last day of the year,

地铁二号线设计方案初定，全长将为25.3公

《悼亡剧场》、《写诗》、《日常_非常日

Penghao Theatre and New Youth Group

里

常》等，主编《再剧场——独立戏剧的城市

演出大于等于四小时

地图》。

people through the city and beyond toward

一次伪装的城市公共旅行

冯瀚辰，毕业于中央戏剧学院文学系，编

its wild outskirts.

即使天气以及交通管制会阻碍我们的演出

剧、戏剧构作，擅长诉说故事。主要作品

In that moment,a moving bus transformed

无聊或沉默，会中断我们的生活……

《桃花源》获教育部优秀剧目奖、《世界尽

记忆将在必要的时刻显身

头创作法》获风马牛戏剧节最佳编剧奖，商

views outside the bus windows turning into

午夜，一座剧场，25.3公里

业话剧《再爱》、《初恋是个仙儿》，以及

theatric stage sets on which life itself became

新锐剧场作品《美好的一天》、《25.3公导演介绍：

里》等。

李建军，中国独立戏剧导演。他导演的剧场

And as we find ourselves constantly pondering such questions, on December 31st 2013, among urban crowds in the

conducted a ‘Year-End Review’ of this city, aboard a nameless bus driven by the

into the theatre, veering from the familiar tracks of urban patterns into new rhythmswith

a performance. In this way we created a new prism for contemplating the city and our own lives within it as well, and 25.3 KM, the shortest distance between downtown Beijing and

作品有：2007年身体剧场作品《掠夺1》参

演出团体：

加草场地工作站“青年编导计划”；2008年

新青年剧团，北京独立剧场创作团体，成

《掠夺2》参加日本舞蹈联盟亚洲巡演“我

立于2012年，曾经创作演出的剧目有《狂

In the summer of 2014, Penghao Theatre

们去跳舞”之北京演出；2008年《牺牲》

人日记》、《影喻》、《美好的一天》、

will hold a festival of theatres for this city

参加首届北京青年戏剧节；2009年《非常

《25.3KM》。

during which 25.3 KM will launch again,

小姐》参加歌德学院“新戏剧”活动；2010

its 6th Ring Road, became the name of this play.

provoking us to contemplate: what can we do, in the name of art, about our city,

年《斯德哥尔摩冒险家》；2010年《背叛》

our lives, and our future? These questions

参加第三届北京国际青年戏剧节品特单元，

we hope will again spark the fires of

the first phase is completed and 25.3 KM is

moments.

imagination and creativity.

officially opened.

Midnight, a theatre, 25.3 KM

并于同年12月赴杭州参加孟京辉戏剧作品邀

Two BRT routes are opened this year, the

请展，2011年11月参加首届成都国际戏剧

Theatre Event:

average speed is 26.3 KM per hour-BRT-

Director:

节；2011年《狂人日记》参加第四届北京

An excursion, from city theatre to a

Zhejiang Online…

Li Jianjun, a Chinese independent theatre

国际青年戏剧节，获“评委会特别奖”，并

theatrical city, Beijing will simultaneously

How much time does it take to ride 25.3

director. His direction credits include:

render as space and space materials.

KM by bicycle? –resolved- Soso Ask

Plundering I (2007), a dance-theatre piece

Amidst the kaleidoscope of urban scenes

化演出季、柏林“中国之秋”以及东京国际

The daily average traffic jam time in Beijing

for the Young Choreographers Project of

and sounds, participant actors will be

reduces by 85 minutes, and the average

Caochangdi Workstation.

剧场艺术节、台北“两岸三地剧场艺术节；

become self-estranged and reencounter

speed within the 5th Ring Road reaches

Plundering II (2008), a dance-theatre piece

2012年《影喻》参加第五届北京国际青年戏

place memories and personal experiences.

to 25.3 KM per hour- News Channel-Soho

for the Asian itinerant performance of

Mobile

Japanese Dance Alliance in Let’s Go Dance

Action Images:

An earthquake hit Hualian, Taiwan today at

in Beijing.

好的一天》参加第六届北京国际青年戏剧节

A full-length shot, through uninterupted

10:00 a.m. and the focal depth is 25.3 KM

The Sacrifice (2008), a dance-theatre piece

和杭州国际戏剧节。

recording of the whole process, images will

Theatre event ‘25.3 KM’_ Douban

for the First Beijing Fringe Festival .

be transmitted back to the theatre through

The design scheme of subway line 2 has

Miss Extraordinary (2009), a staged reading

internet in real-time. The audience can walk

been preliminarily determined, and the

for “New Dramatic Art in China/Germany”

in and out of the action at their will and

overall length will be 25.3 KM

at Goethe Institute Beijing .

pace, leaving sub-site as witnesses.

The performance will last no less than 4

Nostalgic Stockholm Syndrome (2010) .

hours.

Betrayal (2010),for Pinter Unit of the 2010

Google: 25.3 KM

An urban sojourn by public transport in

Beijing Fringe Festival, and for Hangzhou

About 8,730,000 results (0.13 seconds)

虫》《狂飙》《汪洋湖》《巴黎公社的日

camouflage.

Mengjinghui Theatre Works Invitation in

Morning peak speed per hour 31.9 KM and

Even if the weather and traffic impede our

December the same year, and for the First

子》《窒息》《一出关于梦的戏剧》《活着

evening peak speed per hour 25.3KM—

performance.

Chengdu International theatre Festival in

Shenzhen Evening News

Boredom or silence may interrupt our life…

November, 2011.

Qingdao Coastal Highway Southern Section

Memories will appear at the necessary

A Madman’s Diary (2011), a theatrical

参加杭州孟京辉戏剧作品邀请展、北京新文

剧节；2013年9月，他导演的记录戏剧《美

视觉设计：谭泽恩，毕业于中央戏剧学院，舞台美术系硕士。现任教于中国传媒大学戏剧影视美术系。戏剧舞台设计作品：《四季爱情》《臭

还是死去》《犀牛》《钦差大臣》。 70

2011年开始加入新青年剧团主创团队，担

实验戏曲 Experimental Opera

实验豫剧《朱丽小姐》取材于斯特林堡同名话剧编剧：孙惠柱/费春放改编/导演：王绍军

Experimental Honan Opera: Miss Julie

adaptation of Lu Xun’s short story for 2011 Beijing Fringe Festival and won Committee’s Special Award, and for Hangzhou Meng Jinghui Theatre Works Invitation, Beijing New Culture Performance Season, China

Materials drawn from the play of Strindberg with

Autumn in Berlin, Tokyo International Theatre

same name

Art Festival, and the Mainland, Taiwan and

Playwright: Sun Huizhu, Fei Chunfang

Hong Kong Art Festival in Taipei.

Adapter/Director: Wang Shaojun

The Shadow (2012), a theatrical adaptation of Lu Xun’s short story for 2012 Beijing Fringe Festival. The Fine Day (2013), a documentary theatre for 2013 Beijing Fringe Festival and Hangzhou International Theatre Festival. Visual Designer: Tan Ze’en, graduated from The Central

6.7

6.8

19:30

主创列表：豫剧作曲：左奇伟舞美设计：边文彤中央戏剧学院舞台美术系教授灯光设计：赵通国家话剧院灯光设计师服装设计：崔婉星中国戏曲学院舞台美术系研究生舞蹈设计：董孟克中国戏曲学院表演系舞蹈专业客座教师骈蔼萍中国戏曲学院表演系舞蹈专业研究生岳梦圆中国戏曲学院表演系舞蹈专业研究生化妆造型：马静中国戏曲学院舞台艺术中心教师司鼓：朱红斌洛阳市豫剧院副院长，国家一级鼓师音乐制作：红斌音乐制作室出品单位：中国戏曲学院表演系

Crew: Honan Opera Composer: Zuo Qiwei, the National Academy of Theatre Arts, Department of Music, Professor Stage Design: Bian Waentong, the Central Academy of Drama, Stage Design Department, Professor Light Design: Zhao Tong, National Theatre of China, Light Designer Costume Design: Cui Wanxing, the National Academy of Theatre Arts, Stage Design Department, Graduate Choreography: Dong Mengke, the National Academy of Theatre Arts, Department of Performing Art, Dancing major, Guest Lecturer Pian Aiping, the National Academy of Theatre Arts, Department of Performing Art, Graduate Yue Menguan, the National Academy of Theatre Arts, Department of Performing Art, Graduate Makeup: Ma Jing ,National Academy of Chinese Theatre Arts, Teacher Secretary Drums: Zhu Hongbin, vice president of Luoyang City Opera, the national level Drum Trainer Music Production: Hongbin music studio Producer: the National Academy of Theatre Arts, Department of Performing Art

Academy of Drama with an MA in Stage Design. He now teaches at the Drama and Television Art Department of Communication University of China. His drama stage design works include: Four Seasons Love, Bedbug, Hurry, Vast Lake, Days at Parris Commune, Suffocate, A Drama about Dream, To live or die,

由中国戏曲学院表演系根据瑞典剧作家斯特林堡的同名

Rhinoceros, and the Imperial Envoy.

代表剧作改编，极具本土文化特点的再创作，河南豫剧

He joined the New Youth Troupe in 2011 and act as visual

充满乡土气息的道白与声腔，演绎西方戏剧大师笔下人

designer for A Madman’s Diary, the Shadow, A Fine Day, and

物的复杂心声。大家闺秀朱丽在元宵节的晚上勾

25.3 KM.

引仆人项强，并失身于他，两人决定在这一晚私奔。朱

Dramaturgy: Sun Xiaoxing, born in 1986, poet, drama composer, director,

丽想籍此摆脱旧生活，追求新的美好未来，然而，命运并未如她所愿。贵族正在没落和衰亡，对于低层仆人项

and art critic. He graduated from the Department of Drama

强而言，朱丽小姐只是他汲汲钻营的无数踏脚石中的一

Literature of The Central Academy of Drama, MA in Chinese

块。“在前的将要在后！高高在上的终将跌落凡尘。”

Spoken Drama History, and now teaches at Drama & Movie

剧中叹出的这句话，引起人们无数沉思。经过改编的豫

Department of Tianjin Conservatory of Music. His main works include: Mourning Theatre, Writing Poems, Routine-Very Routine, etc. and chief editor of Re-Theatre, the Independent

剧版《朱丽小姐》，以中国戏曲独特的艺术形式揭示剧中深刻的思想内涵，展开了一场对人性的剖析与思考。

Theatre Cities Map.

Feng Hanchen, graduated from the Department of Drama

戏曲表演与话剧表演在实验川剧《青蛙王子》里直接成

Literature of The Central Academy of Drama. He is a playwright,

为人的状态特征。一开始，戏曲以比传统更加斩钉截铁

drama composer, and a virtuoso of storytelling. Main works

的态度介入。丑角演员的交流对象被抽离，通过他诚惶

include: Peach-Blossom Source, which won the Excellent Drama Award of the Ministry of Education; Creation Methodology at the end of the World, which won the Best Playwright Award of

诚恐的姿态，观众可感到场上有一个默不作声的正派角色凌驾于他；逐渐的，话剧以日常行为方式融入进来。

Fengmaniu Theatre Festival; commercial plays Love Once Again

演员中途半道的停止了戏曲表演，跟观众自顾自的讲不

and First Love is a Fairy; and cutting-edge pieces A Fine Day and

可能发生的事。看似正常的丑角台词与看似荒谬的即兴

25.3 KM.

想象在同一人的人生经验里汇流了，两种表演都折射出

Performance Group: New Youth Troupe is a Beijing-based independent theatre group,

演出地点：国话先锋剧场

某种合理解读，指向人生真相，让我们思考传统与习惯从何而来，又去往哪里。然而无论走在哪条路上，人

established in 2012, they created and performed plays of A

最终渴求的都是情感诉怀、谈及自身。或者说，与自己

Madman’s Diary, The Shadow, A Fine Day, and 25.3 KM.

交谈。持续鼓励推动戏剧、舞台创作者探讨戏曲的当代性。

创作缘起：

编剧：

Motivation:

Directed works:

自上世纪初叶以来，随着西方思潮的涌入，

孙惠柱，上海戏剧学院文学硕士，美国纽约

Since the early 20th century, accompanying

Drama: Life as Summer Flowers, Magic

西方戏剧也以各种形式登上中国的舞台。这

大学人类表演学博士。上海戏剧学院副院

the deluge of Western thought, western

Time, Orianne, Hamlet, Othello, the Dawns

drama flooded onto Chinese stages in

Here are Quite, The Chair, Home, Sunrise,

些作品或以中国的戏剧形式搬演外国名著，

长，国务院学位委员会艺术硕士指导委员，

various forms. These works either perform

Wild Field, Thunderstorm, Stories at Luo Gu

或吸纳西方艺术元素为我所用。他们都涉及

国际人类表演学旗舰刊物《戏剧评论》特聘

masterpieces from other countries in

Xiang

到一个共同的因素，即东西方文化艺术形态

编辑，英国大学戏剧系联合会会刊《戏剧及

Chinese drama format, or extract and

Peking Opera: Long March Suite,

文本/导演：陈丹璐

的交叉和跨越。

表演研究》顾问编委。所写中英文剧作《挂

imbibe western artistic elements. They all

Zhenghe’s Voyages

演员：赵勇刚

touch on one common factor: the mingling

Shaoxing Opera: Husband and Wife of First

如何对外国戏剧进行中国化的解读与诠释，

在墙上的老B》、《中国梦》、《神仙与好

and transcendence of oriental and western

Marriage

女人》等曾在中、美、日、新加坡等地演

artistic forms.

Honan Opera: Miss Julie

It has been a long-lasting challenge to

And several dozens of plays both from

成了历代中国戏剧艺术家面临的课题。改编名著，不失为一种事半功倍的创作方式。其

出，在中、美、英、加、新发表论文近百

generations of Chinese performers to

home and abroad

意义体现为：能使中外观众在熟知剧作故事

篇，近著有《第四堵墙：戏剧的结构与解

decipher and interpret foreign plays in

Tre a t i s e : B o d y D i s p o s i t i o n — T h e a t re

情节的基础上避免语言的障碍，能够专注于

构》和《文明冲突与戏剧冲突》。

Chinese culture. Adapting masterpieces

Performance Forms, the Development

can be considered as an effective way

History of Chinese Military Play, Biography

to create, in which twice as much can

of Hundreds Worldwide Outstanding

be accomplished with half the effort. Its

Theatre Directors, and other scholarly

具有不同文化色彩和艺术特点的具体呈现方式，感受不同民族的艺术载体给剧作带来的

剧中人扮演者：

新的气象和解读的角度。从而引起审美的愉

朱丽：杨建慧

中国戏曲学院表演系本科生

meaning reflects in the following aspects: it

essays and translation works accounting

悦和哲理的思索。这便是豫剧《朱丽小姐》

项强：吴靖华

中国戏曲学院导演系本科生

enables audiences avoid language barriers

more than 500 thousand characters.

的创作缘起。

桂思娣：任天娇中国戏曲学院表演系研究生群舞演员：中国戏曲学院表演系舞蹈专业

剧目介绍：《朱丽小姐》是瑞典剧作家斯特林堡的代表剧作，“在前的将要在后！”高高在上的终将跌

学生

concentrate on specific presenting forms

Playwright:

with different cultural characters and artistic

Sun Huizhu, received master degree

traits; and experience new look and reading

from Shanghai Theatre Academy, and

angles of the drama entitled with different

PH.D in Performing Studies from New

ethnic artistic vehicles. In this way, it will

Yo r k U n i v e r s i t y. H e i s n o w t h e Vi c e

elicit aesthetic joviality and philosophical

Dean of Shanghai Theatre Academy, Art

speculation. This is the motivation of Miss

Master Directing Committee Member of

以及衰亡。男仆这样的人汲汲钻营，而朱丽小

Julie in Honan Opera.

State Council Degree Committee, and

本剧以中国戏曲独特的艺术形式，揭示剧作深

Specially-engaged editor of TDR: The Synopsis:

Drama Review, a Journal of Performance

Miss Julie is a representative comedy of

Studies, and advising editing committee

刻的思想内涵，对人性的剖析与鞭挞。以河南

the Swedish playwright Strindberg, “Those

member of the British Collegiate Theatre

豫剧充满乡土气息的道白与声腔，鲜活地描绘

who are first will later be last!” The theme of

Departmental magazine, Theatre and

this play suggests that those who are high

Performance Studies. His plays are written

above will eventually slump down to the

both in Chinese and English and have been

mundane. Aristocrats experience downfall

performed in China, United States, Japan,

导演：

and decline. To people like the valet who

and Singapore, etc. These works include

王绍军，中国戏曲学院表演系主任、教授，

always tries to secure personal gains, Miss

Old B on the Wall, China Dream, Fairy and

Julie is only one of his countless stepping

Good Woman, etc. He has also published

stones.

nearly 100 essays. His recent treaties are

This play employs the unique art form

The Fourth Wall: Drama’s Construction

o f C h i n e s e o p e r a , re v e a l s t h e d e e p

and Deconstruction, Cultural Conflict and

connotation of the original piece, analyzing

Drama Conflict.

出西方戏剧大师笔下人物的复杂心声！

硕士研究生导师。中央戏剧学院首位艺术（导演）学博士后，北京市“长城学者”。

导演作品：话剧：《生如夏花》、《戏剧时光》、

incorporates special speaking and tones

Performance Group:

full of Honan local flavor, and vividly depicts

Julie: Yang Jianhui, the National Academy

罗》、《这里的黎明静悄悄》、《魔椅》、

the complex aspirations of figures that were

of Theatre Arts, Department of Performing

born under the western master playwright’s

Art, Undergraduate

pen.

Xiang Qiang: Wu Jinghua, the National

《锣鼓巷的故事》

Academy of Theatre Arts, Department of

京剧：《长征组歌》、《郑和下西洋》、越

Director:

Directing, Undergraduate

剧《结发夫妻》、豫剧《朱丽小姐》等几十

Wang Shaojun，the Dean, Professor, and

Gui Sidi: Ren Tianjiao, the National

Master’s Supervisor of the Department of

Academy of Theatre Arts, Department of

Performing Art at the National Academy

Performing Art, Graduate

专著：《身体意象——戏曲表演程式论》、

of Theatre Arts. He is also the first person

Group Dancers: the National Academy of

《中国戏曲武戏发展史》、《百名世界戏剧

hold the Post Doctorate in Art (Directing) of

Theatre Arts, Department of Performing Art,

the Central Academy of Drama, as well as a

Dancing Major students

部中外戏剧作品。

杰出导演传略》。发表学术论文、译文五十余万字 74

化发展研究中心川剧研究院

出品/制作：乐山市文化艺术研究所、四川省乐山文化发展研究中心川剧研究院舞台监督:郑岷波视觉/造型:肖璐然舞台美术:李晓曼宣传文案:鲁肖荷

Experimental Sichuan Opera ：The Frog Prince Produce：Leshan Culture and Art Research Institute; Sichuan Opera Institute of Leshan Culture Actor :Yonggang ZHAO Playwright/Director:Danyu CHEN

Produce: Leshan Culture and Art Research Institute; Sichuan Opera Institute of Leshan Culture Research Center Stage Manager: Minbo ZHENG Visual & Modeling Design: Luran XIAO Stage Design: Xiaoman LI Promotion: Xiaohe LU

and castigating human nature. This play

《奥利安娜》、《哈姆雷特》、《奥赛

《家》、《日出》、《原野》、《雷雨》、

出品/制作：乐山市文化艺术研究所、四川省乐山文

based on their familiarities of drama plots;

落凡尘，便是这一出戏剧的主题。贵族的没落

姐，只是无数踏脚石中的第一块。

实验川剧《青蛙王子》

7.2

7.3

19:30

演出地点：东宫影剧院（1号厅）

“Greatwall Scholar” in Beijing. 75

创作缘起:

Experimental Sichuan Opera ：The Frog

记得有位编剧说：“作家和演员是很难写的。因为他们有双重的生活。”人内心

Prince

的多重性一直吸引着我。我想塑造一个突然决定要关机重启换系统的演员，并且

Produce：Leshan Culture and Art Research Institute; Sichuan Opera Institute of Leshan

以他的体验与意志为新的演绎注入着源源不断的能量。——当然，这是对理想人

Culture

生的仿写。如果我们某天投入到一个更让人惊奇的自我中去，会不会很痛快呢？

Actor :Yonggang ZHAO

无论是剧场还是人生，我都很介意乏味。小时候有过一次看戏的经历，没有忍住

Playwright/Director:Danyu CHEN

的睡着了。事后爸爸对我进行了谴责，让我印象很深。我到现在都记不起那出戏

Motivation:

的一点样子。这说明它没有让我觉得比爸爸的责难更神秘，没有提供出有意思的

A playwright said，“It is hard to write

人生解释，没有触动到我。

about writers and actors, since they are living lives in more than one dimension.” I have been fascinated by the diversity of

剧目介绍:

human beings’ inner world. I want to create

一位丑角演员在某次演出中突然改串了他多年以来的既定演出，从安全的表演走

characters that push an actor to make the

向了晃动不安的奇想式的表演——在喜剧表演当中的某一个节点上，他慢慢向观

sudden decision to “turn off” and “reset”

众陈述出：台下正坐着来视察剧目的王子，而且他发现王子在观看中不断流泪。

their system, and instill fresh energy to their new performance based on their own

一段无端的“青蛙王子”的情节就此引出：丑角演员擦去妆容，模拟王子讲述他

experience and willingness. It is an analogy

为何看得不开心；最后提出这位王子很可能是青蛙王子，现在想变回青蛙。于

of ideal life. If we were able to engage

此，这位演员把自己的妆容改为有一滴绿色的泪水。本剧由戏曲表演和话剧表演组成。

with a more surprising self, would that be exciting? I cannot stand tediousness, in the theatre or in real life. Once in my childhood, I could

演员: 赵勇刚，川剧演员，工丑行。乐山文化发展研究中心川剧艺术研究院副院长、乐

not help to fall asleep in the theatre and was scolded by my father for this behavior afterwards. I cannot remember a bit of

山市戏剧曲艺家协会秘书长。从事川剧表演二十年，曾受邀远赴海外演出。另有

that play, which means it was neither more

涉足戏剧、小品等多种舞台剧表演并多次获奖，其表演对人物心理解读精确，注

preferable to my father’s scolding, nor did

重对节奏的把握，并以层次感和流畅性见长。经典表演剧目为《皮金滚灯》、

it provide interesting interpretation of life. In

《连升店》、《丑与笑》、《抓壮丁》、《沫若少年》，所塑造之皮金、店东家、潘驼背、学监形象深入人心，常演不衰。

short, it did not touch my heart. Synopsis: A harlequin suddenly throws away his old

文本／导演: 陈丹路,青年戏剧人。中央戏剧学院舞台剧创作本科、戏剧学硕士。2010剧本

pattern in a performance. He changes the performance from a safe approach to a much fancier approach. At a certain point of

《长餐桌》引起关注，受邀参加香港新域剧团卧虎藏龙戏剧节。2011-2013在

the comedy, he gradually tells the audience

北京国际青年戏剧节、乌镇戏剧节、南锣鼓巷戏剧节中陆续发表作品，自编自导

that a prince sits among the audience and

《铅》、《错误的话》、《只有一个》、《青柠薄荷酒精水》；因编导《错误的

has been dropping tears. An unexpected episode of “Prince Frog”

话》获首届乌镇戏剧节最佳个人表现奖。2013年底新剧《长餐桌》受乌镇戏剧

unfolds from here. The actor removes his

节发起人黄磊先生支持出品，对日常生活的重新体验引发观众共鸣。

make-up, and starts to play the prince to tell why he is unhappy. In the end the actor

演出团体:

raises the idea that the prince is probably the Prince Frog and wants to transform back

四川省乐山文化发展研究中心川剧研究院。乐山川剧源远流长。清咸丰年间

to a frog. Here the actor changes the make-

(1851～1861)就有川剧班社出现。同治二年(1863)犍为彭子龙组建“子龙袍

up, painting a green teardrop on his face.

班”。民国时期乐山的“玩友会”发展成为专业剧团，有20余个，著名的有天禄班、友声社、同春班、珠联班等。1949年后，乐山、犍为、五通桥、马边相

This play consists of opera and drama performance.

继成立较大规模的专业剧团。以乐山川剧规模为大，名角多，演出的剧目有影

Actor:

响。乐山川剧流派属嘉阳河。代表剧目有《临江宴》、《扫松》、《连升店》、

Yonggang ZHAO is a Sichuan Opera actor

《太白醉写》、《铁弓缘》、《芙蓉花仙》、《思凡》、《子都之死》、《凤仪亭》等。曾远赴日本、印尼演出，受到欢迎。

specializing in harlequin acting. He is Vice president of Sichuan Opera Institute of Leshan Culture Research Center, Secretary Gerneral of Leshan Drama and Ballad Singers Association. Yonggang has been a Sichuan opera actor for twenty years

舞蹈及肢体剧场

and were invited to perform abroad. He also carries on his practice in other types of stage performance, such as drama, comedy sketch, winning many of awards.

形体剧《我要安乐死》 ——简约的剧场布置、复杂的肢体风格

Dance and Physical Theatre

His performance accurately interprets the mental state of characters, and deals with dimension and flow extraordinarily. His classic performances include Pijin Rolling Light, Promotion Inn, Ugly and Laugh, The

导演：黄俊达

Conscription, and Young Guo Moruo. The characters he created in these plays are impressive and successful.

Physical Theatre I want euthanasia -----Simple setting with sophisticated

蓬蒿剧场成长至今，一直在试图寻找剧场的多种可能，舞蹈与形体剧是我

Playwright/Director:

们一直关注的舞台形式。这一单元由来自以色列、日本及香港的4位艺术

Danlu CHEN is a young theater professional

家创作的6部作品构成。它们的创作起缘都与当下的社会境况有密切的联

that graduated from the Central Academy

系，并且在舞台呈现出的作品背后都有着深厚的创作内涵。来自以色列的

of Drama with a bachelor in stage play

Crew: Director: Ata Wong Artistic Consultant: Tang Shu-wing Producer: Li Wanhong Production Manager and Light Design: Zhong Baoyi Music and Acoustic Design: Chen Yongjie Costume Design: Zheng Wenrong Research and Exploration Group: Ou Juncheng, Zhu Jiawei, Guo Weihao, Li Wanhong, Wei Haolin, Wu Qiqi, Cheng Bomin, Sun Zhihong, Cui Yongxiong, Huang Hanzhen.

physical performance

舞台作品《美好先生》揭露的是对自我认知与社会期待的关系；香港本土

creation, and is also a master of drama.

艺术家黄俊达《我要安乐死》的灵感来自植物人斌仔的自传，将身体限制

In 2010, his work Long Dinner Table drew attention in the field and was invited

用剧场的手法无限放大。年逾70岁的日本著名舞蹈家竹屋启子带来了她全

to attend the Hong Kong Xinyu Drama

新创作的舞蹈作品《幸福日和》和《破格》。日本超一流舞蹈家山田云则

Festival. From 2011-2013, he has had

把她的工作坊演出《春告歌》带到中国，在北京再次唱响，为生命的春天

works performed at the Beijing International

做一个美妙的仪式。她的最新编舞《结婚》在民间风俗的仪式中融合“结

Youth Drama Festival, Wu Town Drama

主创列表：导演：黄俊达艺术顾问：邓树荣监制：李宛虹制作经理及灯光设计师：钟宝仪音乐及音响设计师：陈咏杰服装设计师：郑文荣研究及探索小组成员：区俊丞、朱家维、郭伟豪、李宛虹、魏灏麟、伍绮琪、成博民、孙志鸿、崔永雄、黄翰贞

婚”这一在现代呈现出荒诞而不可解释的当代命题。

Festival, Nan Luo Gu Xiang Drama Festival, etc. The plays he has written and directed include Lead, Wrong Words, Only One, and Lime Mint Spirit. He won the award for Best Individual Performance on the first Wu Town Drama Festival for his work on Wrong Words. In the end of 2013, his latest work Long Dinner Table was produced with the

7.4

7.5

7.6

19:30

演出地点：蓬蒿剧场

support of Mr Huang Lei, the initiator of the Wu Zhen Drama Festival. In this play, the re-experience of the daily life raise much resonance from the audience. Performance Group: Sichuan Opera Institute of Leshan Culture Research Center. Leshan Sichuan Opera has long history. The Sichuan Opera group

创作缘起：

他拥抱生命、积极面对人生，他怀着最坚毅

Zilong Peng founded “Zilong Group”.

黄俊达赴法国学习四年后回港，强烈地感受到

的意志，以嘴巴含着筷子打键盘，写下洋洋

During the Republican period, the previous

这个地方的环境和空间变得愈来愈狭窄，人们

十五万字的自传，诉说唯一的诉求：「我要

变得愈来愈竭斯底里。他因而创作了《我要安

安乐死」。绿叶剧团艺术总监黄俊达是少

乐死》，鼓励人在限制中找寻自由。

数完成贾克乐寇国际戏剧学校两年课程的华

started to emerge in the 1850s. In 1863,

“Playmate Club” developed into more than 20 professional groups, including Tianlu Troupe, Yousheng Troupe, Tongchun

人，作品以揉合形体剧场与东方文化见称。

Troupe, Zhulian Troupe, etc. After 1949, professional troupes started to be founded

作品介绍：

在多次巡回欧亚各地演出后，绿叶剧团将回

贾克．乐寇的训练体系

归本土，从「斌仔」的故事出发，以兼具诗

influential and successful, with most famous

形体编作的创作手法

意和力量的形体剧场诉说一个属于香港人、

characters. Classic performances include

奇幻剧的表演风格

同时具普世意义的故事。

Riverside Feast, Promotion Inn, Drunk Poet,

一个怪异、疯狂而具诗意的作品

in Leshan, Jianwei, Wutongqiao, Mabian. The Leshan Sichuan Opera is most

Iron Bow Romance, Lotus Fairy, Death

「斌仔」，一个香港传奇、坚毅不屈的榜

编导：

went on tour in Japan and Indonesia to

样，他自己口中的「活尸骸」。一个不成功

黄俊达，香港剧场导演、演员及形体导师。

give performance and they were widely

的后空翻让他全身瘫痪，此后21年他曾多次

2005年毕业于香港演艺学院舞蹈学院，曾

公开争取有尊严地了结生命。当所有人鼓励

是香港迪士尼全职音乐剧演员。2008年负

of Zidu, Fengyi Pavilion, etc. The troupe

welcomed.

笈法国巴黎贾克．乐寇国际戏剧学校，完成其两年制及动作研究所课程。于欧洲期间，

Theater.

舞蹈身体剧场《美好先生》

黄氏参与多个剧团及导演的演出，包括：彼 Director:

得·布禄克、西蒙．布禄克及艾云娜·布禄

Ata Wong is a theater director, actor and

克等。回港后，加入邓树荣戏剧工作室做驻

艺术总监/编舞/表演：阿娜特·格里戈里奥

Physical Theater mentor from Hong Kong.

团导演及研究员，发展及融合东西方戏剧元

Wong trained at the Hong Kong Academy

素，训练香港演员提升至国际水平，现协助

for Performing Arts before going to France, where he studied at the Ecole Internationale

剧团成立香港第一所形体剧场训练学校并担

de Théâtre Jacques Lecoq. He was the

任导师，以推动形体剧场训练及发展。

only student from Hong Kong to complete a two-year programme there, followed by

演出团体:

Motivation:

绿叶剧团成立于2008年，艺术总监黄俊达是

Ata Wong has studied 4 years in France

少数完成法国巴黎贾克·乐寇国际戏剧学校

and has now returned to HK. He says that

两年课程的香港表演者。剧团最初以法国巴

as HK becomes more dense and narrow in environment and space people are becoming

黎为创作基地，随黄俊达回港后，转以香港

more and more hysterical. Therefore he

为创作基地。剧团致力于亚洲发展形体剧场

created I Want Euthanasia, intending to

（贾克·乐寇）的训练体系，引入欧洲当代剧场的表演风格，结合东西方戏剧之不同特

encourage people to seek freedom even in the constraints of life.

色。创团作品《孤儿》曾于法国巴黎、意大

Synopsis:

利雷焦洛、克罗地亚普拉、台湾及香港巡回

Jacques Lecoq’s training system

演出，备受好评。

Method of Physical screenwriting Magical style of performing A piece of bizarre, crazy but poetic work Bin Zai is a Legendary Hong Kong symbol of persistence, or as he calls himself, “Living Dead.” After an unsuccessful somersault paralysed him, he sought euthanasia for 21 years. While everyone around him encourage him to embrace life and face reality, he resolutely kept writing and typing , with a chopstick in his mouth, an autobiography of over 150,000 words expressing his only wish: euthanasia. Artistic Director of Théâtre de la Feuille Ata Wong as one of the few Chinese who finished a 2-year-long course at the Ecole Internationale de Théâtre Jacques Lecoq. Wong is very good at blending

a course at the Laboratory of Movement Study (LEM) the next year. During the time in Europe, he performed with many theater groups and directors , including Peter Brook, Simon Brook, Irina Brook etc.. When back in HK, he has joined Tang Shu-wing Theatre Studio as Resident Director/Researcher to develop and integrate Oriental and Western theatrical elements and to train HK actors at an international level. Currently he is assisting a studio to found the first Physical Theater training school and promoting Physical

Dance and Body Theatre : Mr. Nice Guy

Theater’s development and evolution. Artistic director, Choreography & Performance: Anat Grigorio

Performance Group: Théâtre de la Feuille was founded in 2008, with artist director Ata Wong, one of the few HK performers to have finished the 2-yearstudy program at Ecole Internationale de Théâtre Jacques Lecoq in Paris, France. The Group was first based in Paris, with Wong later returning to HK, as a new creative base. It aims to develop the training system of Physical Theater in Asia, which introduces European Contemporary performing style and combines it with Eastern theatre. The inaugural production, L’Orphelin, toured Paris,

创作团队：艺术总监/编舞/表演：阿娜特·格里戈里奥协同创作/编曲/声效：Idan Shimoni 声音：Sascha Engel 文本顾问：Shira Bejerano 灯光设计：Shachar Werchason 彩排协调：Ilana Bellhasen 艺术顾问：Niv Sheinfeld & Oren Laor 摄影：Gadi Dagon 音乐：“morning”乐器：Idan Shimoni；“Non je negrette rien”：Edith Piaf

7.12 7.13

Reggiolo (Italy), Pula (Croatia) , Taiwan and Hong Kong, to critical and audience acclaim.

19:30

Physical Theater with Oriental cultures. After many tours around Europe and Asia, Théâtre

演出地点：77剧场

de la Feuille will be relocated back to the homeland, starting with Bin Zai's story. The story belongs to the people of Hong Kong and to the whole world through the poetic expression and power delivered from Physical 黄俊达

Crew: Artistic director, Choreography & Performance:Anat Grigorio Co-creators: Composer & Sound Design: Idan Shimoni Voice: Sascha Engel Dramaturge: Shira Bejerano Light design:Shachar Werchason Rehearsal Manager: Ilana Bellhasen Artistic Advisors: Niv Sheinfeld & Oren Laor Photographer: Gadi Dagon Music- BOKER-( morning)instrumental by Idan Shimoni / Non je negrette rien- Edith Piaf

并且在后来不断发展自己在体操，国标舞，

Maybe smile:

demons came to visit and I welcomed them

现代爵士，古典芭蕾，当代舞蹈和形体戏剧

Don’t crunch your forehead, don’t bite your lip

openheartedly.

Let your eyes shine, smile! Honest smile!

What is the role of the individual in a world

Don’t let things go be gracious ,tits up,

that is greater than any one person? Where

蹈公司，伊多·塔德莫尔舞蹈公司，蒂埃

stomach inn tilt the head,

does I meet the bigger world, the audience,

里·莫瑞形体剧院（法国）。

Going down, keeping smile, standing on 4,

the director? Is I really me or it is just an

Barking like a dog

amalgamation of everything expected of me?

各方面的技能。阿娜特受训于基布兹当代舞

阿娜特·格里戈里奥曾赢得过备受荣誉的舞蹈及编舞奖学金，从而有机会参见到强度极大的

Talking Chinese, Speaking French, Singing Russian

Director:

And now, being yourself…

Anat Grigorio was born in 1974, grew up in Petach Tikva ,Israel. She started dance when

奈杰尔·查诺克工作坊活动，奈杰尔·查诺克 Synopsis:

she was 6 years old, through the years she

The work is based on constant exploration of

developed her skills in gymnastics, steps,

2009年她的《Katuk》荣获克罗地亚国际

the human body through natural sensuality

modern jazz, classical ballet, contemporary

Pula Puff节的风之奖。她最近的独角戏作品

that is hidden in simple mundane activities

dance and physical theatre. Anat has been

《美好先生》于2014年6月在耶路撒冷首演，

and takes roots in constant research of

trained in Kibbutz Contemporary Dance

human spirit, behavior and consciousness,

Co., Ido Tadmor Dance Co., Thieery Moral

their limits, roles and influences on each

physical theater (France).

是形体剧院和舞蹈公司DV8的创始人之一。

是广受关注的“以色列节日”委托创作的。随后在以色列及其他国家各地上演。

other. Anat Grigorio won a prestigious scholarship

微笑？

缚我们言论的声音，使我们成为社会的牺牲

不要皱眉头，不要咬嘴唇

品。《美好先生》从一组内心的对话开始，

让你的眼睛放光，微笑！真诚微笑！

它质疑我们的性别，社会身份，思考我们的

不要放弃，学会感恩，挺胸，收腹，昂头，

社会行为。所有内心真实的声音开始成为我

向下，保持微笑，停在4的姿势，像狗一样叫

并与我发生联系，即便可能不是好听的话。

谈中文，讲法语，唱俄语

所有心中的魔鬼都来造访，但我却真心地打

现在，做自己 …

开这扇交流的大门。

内容简介：

个体在这个比任何个人都大很多的世界上扮

这部作品从日常平庸的活动中揭露出对人身

演着什么样的角色？我在哪里与更大的世界

体感性感官的探索，而它根植于对人类精

相遇，与观众相遇，或与导演相遇？我真的

神，行为及无意识的一种追求，以及这些因

是我吗？还是一种所有对我的期待的混合？

The voice of Mr. Nice Guy emerged from a

for dancers & choreographers to participate

personal process I was going through, as a

in intensive workshop with Nigel Charnock,

woman, as a dancer & choreographer and

one of the founders of physical theater &

as a human being. There are so many voices

dance company DV8.

in our heads that limit our freedom of speech

In 2009 she received the Wind Award in

and make us victims of our society. Mr. Nice

international Festival Pula Puff in Croatia for her

Guy brings an inner dialogue that raises

piece “Katuk”. Her latest solo work Mr. Nice

questions about gender and identity and

Guy premiered on June 2013 in Jerusalem. It

reflects on our society’s behavior. To just be

was commissioned by the prestigious “Israel

and connect to my inner true authentic voice

Festival” and since then performed in various

even if I don’t like what it is saying. All the

venues in Israel and abroad.

素之间的限制，角色和互相的影响。《美好先生》的声音来自我自身所经历的一

导演：

种状态：我作为一个女人，一个舞者，一个

阿娜特·格里戈里奥，生于1974年，在以色

编舞者，和一个人。我们的脑子里有很多束

列佩克提克瓦市长大。她从6岁开始跳舞，

是社区舞蹈的积极开拓者。

Motivation:

使用的音乐是“波克罗夫斯基乐团”演绎的

川合启史（舞者）生于1985年。毕业于早稻

CUCKOO’S SINGING

春告鸟即杜鹃，是东京大田区的“形象大

《结婚》（1995年），他们是民俗文化传承

田大学第二文学部。2007年加入“Ｃｏ.山

使”。今年2月在东京大田，山田云女士为年

运动的先驱，致力于将俄罗斯农村传统的民间

田う”舞团。参加过舞蹈家小野寺修的舞团

community dancing workshops in Ota-ku,

龄层6岁-70岁，背景各异的二十多位参加者

音乐以现代人易于理解的方式演绎。歌者不用

“Company Dearshinera”、铃木由纪夫

Tokyo this February for over 20 participants

举办了社区舞蹈工作坊。冰雪消融、大地回

古典发声技巧，自然声线散发着自然的乡土韵

《金鱼》、北村明子的To Belong项目等作

春之时通过参加工作坊集体创作了演出——

味，而伴奏则是没有情绪的电子音乐——极为

品，在日本国内外的舞台上演出。在人偶剧

主创列表: 《春告歌》编导：山田云演出：工作坊参加者

《春告歌》，是以大田区的区鸟“春告鸟”

新颖的“撞色”混搭。

中担任动作编导，并与美术家合作，开展独

workshop, and name it after the cuckoo,

舞活动。

symbol of OTA district. The workshop

歌”将在北京被中国的参加者唱响。

编舞/编导：

《结婚》编导：山田云音乐：伊果•史特拉文斯基演出：山田云川合RON 服装：池田木棉子

《结婚》

山田云，编舞家，舞者。曾接受器械体操，

演出团体：

为了生孩子而结婚，为了赚钱而结婚，为了家

芭蕾，舞踏训练，1996年起开始以编舞家身

“Co.山田うん”，山田云在2002年主创的

族兴旺而结婚，为了民族繁荣而结婚，为了融

份开始编舞活动。融入美术、文学、学术、

舞团。充满独创性的编排、细致的结构、舞

入社会而结婚，热恋的结果可能是结婚。

时尚等元素，以身体为源泉创造出多彩多样

者鲜活的身体给观众同时带来知性与感性的

结婚并非单单出于一方的意愿，或者对方的

的充满机智的舞蹈作品。1998年起，作为独

享受。作品遍及日本国内31个城市，14个国

family as well as the nation, for integration

意志，以及家人的意思。结婚就是看谁先放

舞舞者活跃在舞台上。2002年创立舞团“Ｃ

家的22个城市，引发众多讨论。舞团固定有

with society, and for love.Getting married is

ｏ.山田うん”。其舞蹈作品细腻而富于生命

10余名新进舞者，除开展公开表演外，还配

创作缘起：

舞蹈《春告歌》+《结婚》编导：山田云

《春告歌》

“结婚”。

命名。今年5月，该工作坊来到北京，“春告

Dancing: CUCKOO’S SINGING + 开谁的手，谁比谁先死去。

Spring is represented by Cuckhoos, the symbolic bird of OTA district. Yamada Un held

from 6 to 70 years old. As the ice melting and spring coming back, they jointly created the CUCKOO’S SINGING based on the

came to Beijing this May, where the song of the cuckoo will be sung by the Chinese participants. THE WEDDING People get married for many reasons: for children, for money, for the prosperity of the

not just up to the two parties involved, but also depends on family agreement. Marriage

THE WEDDING

结婚这一规则总显得有些荒诞执拗不可解

力，充满活力，机智幽默，洋溢着自由奔放

合全国各地剧场、学校、福利设施等开办工

Playwright-director: Yamada Un

释，这就是结婚。

的想象力。在日本国内外受到广泛关注。目

作坊，获得广大好评。近期演出剧目为《没

通过结婚浮现出身处其中的两人，以及他们

前，她的演出足迹遍及日本国内31个城市，

有季节的街道》（2012年3月首演）、《春

周围的人们。通过结婚，反映出可悲可叹又

海外14个国家的22个城市，在所到之处成为

之祭典》（2014年2月首演）、《结婚》

有趣的形形色色的人们被舞蹈一一展现出

热议的话题。她积极涉足各个艺术领域，与

（2013年12月首演）。

dancing reveals the fascinating and empathic

来。献给即将结婚的人们，已经结婚的人，

音乐家合作，为戏剧及歌剧做动作编导，面

共同主办：日本国际交流基金会

characters of the people getting married,

想要结婚的人，以及尚未打算结婚的人。

向不同背景的参加者开展工作坊。她同时也

Crew: CUCKOO’S SINGING Playwright-director: Yamada Un Performer: Participants in Workshop

is about who first let go the other’s hands and who die first. The couples and the people around them appear on the stage at the wedding, and

those already married and those who are still single.

剧目介绍： THE WEDDING Playwright-director: Yamada Un Composer: Igor Stravinsky Performer: Yamada Un, Kawai Ron Costume: Ikeda Kiko

《春告歌》著名舞蹈家山田云主持的为期4天的社区舞蹈工作坊，20位参加者来自不同的社会背景，年龄各异，生活经历各不相同，有专业舞者，也有没有舞蹈基础的舞台艺术爱好者，平面设计师，演员，教师，大学生，办公室工作人员，修理工，企业管理者……不同的生命个体，各自的身体拥有各不相同而又丰富多彩的经历，在同一个舞台碰撞出生命的火花，传告春的信息。让我们共同阅读来自各自身体的表情，聆听他人的身体的声音，分享彼此生活的故事，用共同起舞的方式为生命的春天做一个美妙的仪式。《结婚》 1923年斯特拉文斯基作曲的《结婚》作为芭蕾群舞乐曲首次和观众见面。山田云用这首乐曲，以男女双舞的形式来表现婚礼事件中展现出的人的摸样，以及人性百态。舞者将会饰演新娘和新郎、新娘的父母、新郎的父母，围绕着“结婚”这一话题，描述

家庭中曾经有过的“结婚”以及即将到来的

Synopsis:

一位老妇人，半腰以下都被掩埋在荒野的泥土中

CUCKOO’S SINGING

无法动弹，却不断絮絮叨叨。塞缪尔·贝克特的

The four-day community dance workshop is held by the renowned dancer Yamada

舞蹈《幸福日和》 ——向贝克特《幸福时光》的致敬

Un, with 20 participants from different social backgrounds, ages and life experience. Some of them are professional dancers, while some are art lovers with no stage experience, there are also graphic designers, actors, teachers, college students, and professionals…different individuals with distinct yet colorful experience will

导演/舞美：佐藤信

physical expressions, and listen to each other, sharing life stories and cheer for

则是此次探索的延伸，对文本的重新解读及再次

THE WEDDING

Dancing: The Happy Days —Homage to The Happy Days of Samuel Beckett

Composed by Stravinsky, was premiered as a corps-de-ballet piece in 1923. Un Yamada depicts the human events and humanity through wedding with a duo of male and female dancers. Dancers act as bride & groom, parents of the bride, or parents of the groom. You will see the ʻWeddingʼ of the past that family members Yamada uses the sound of ʻLes Nocesʼ (1995) by the Pokrovsky Ensemble. music into the modern age in a way easy to understand. It is quite novel, having emotionless computer music. Dancer, Choreographer: After some training in gymnastics, ballet, Butoh, Un Yamada started her career as a choreographer in 1996. She has also been active as a solo dancer since 1998.

1957年作为文化厅派遣出国研修员去美国留学。成为玛莎·葛兰姆现代舞团成员。1983年着眼于独自创作，成立自己的舞团。1993年开始与亚洲艺术家合作“舞东风”项目，2003年与来自印度、印尼、泰国、马来西亚的艺术家共同创作

Her ideas originate in music, visual art, literature, academic fields, fashion, and

了《无舟》等三部作品，并在亚欧各地进行了演

diverse body movements. She founded her own company, Yamada Un Co., in 2002. Since then, the company has performed in 31 cities in Japan and 22 cities

department of literature of Waseda University. She joined Yamada Un Co. in 2007,

剧世界”相呼应，将戏剧与舞蹈接壤处的崭新表

Dance 01的艺术指导、编舞及舞者。东京人。

主创列表：导演/舞美：佐藤信编舞：竹屋启子表演：竹屋启子、田村义明灯光：斋藤茂男音效：胜见友理舞台监督：森下纪彦舞台摄影： Hidehiro Kato

indigenous vocal like a natural voice instead of a classical vocal technique and

Kawai Keishi (dancer) was born in 1985, and graduated from the second

剧”，与贝克特作品底流中流淌的“干巴巴的喜

竹屋启子

The group is a pioneer of folklore movement, founded to bring Russian peasant

dance.

构建。这部于默片的闹剧性中展开的“饶舌的默

演空间呈现给观众。

Director/Choreography: Makoto Sato

have experienced, and the current ʻWeddingʼ, which will be held soon.

collaborations with musicians and choreography for theatre opera, and community

娜·雷诺。舞蹈家竹屋启子着眼于该剧剧本中膨

跳舞”的舞蹈《幸福的早晨》。《幸福日和》

spring with dance.

worldwide attention. She has been working on a wide range of projects including

的演绎而广为人知，当中包括法国首演马德萊

大独白间隙中密密麻麻的舞台提示，创作了“不

start flames on the same stage and bring the news of spring. We read each other’s

in 14 other countries.Her dance is sensitive, energetic and dynamic, attracting

《幸福时光》设定奇特，经过众多著名女演员

出；2006年5月参与了“传统与现代的缝隙间”

Crew: Director/Choreography: Makoto Sato Choreographer : Keiko Takeya Actor: Keiko Takeya, Toshiaki Tamura Light: Shigeo Saito Sound: Yuri Katsumi Stage manager: Norihiko Morishita Stage Photography: Hidehiro Kato

项目，与日本舞蹈家们共同在印尼等5个城市进行巡演等，在国内外积极持续进行创作活动。她结合独自的“身体调整”理论开展教育活动，并积极开展其它活动以探讨不受缚于以往任何领域的自由身体表现的可能性。

and participated in the dancing regiment “Company Dearshinera” of Onodera Shu, the golden fish of Suzuki Yukio, and To Belong by Kitamura Akiko, and performed

田村义明

in and out of Japan’s stage. She acted as Action Choreographer in puppet show, cooperating with painters and has done solo dance.

演员。东京人。近年来，参加过各种各样的人主

6.29 6.30

导的种类繁多的活动。包括20世纪初的日本文

Performing Group: Yamada Un Co.was a dancing troupe founded by Yamada Un in 2002. The original

19:30

学家宫泽贤治作品的当代化呈现、日本著名剧作

19:30

layout, sophisticated structure and lively performance of the dancers are greatly

家别役实作品、京剧、在户外空间披坚执锐进行

appreciated by the audience. The works of Yamada Un Co. cover 31 cities within

表演的户外戏剧、广岛核爆牺牲者故事的路面电

Japan, and 22 cities in 14 other counties and arouse overwhelming interest. There

车表演、“阿依努之国”项目等。自主企划的项

are ten regular new dancers and they conduct workshops cooperating with the

目有：根据太宰治作品《奔走的控诉》创作的独

theatres, schools and welfare agencies all over the country, as well as their public performances. The recent performances include Streets with no Season Walking

角戏、在东京的教会及东京之外各个地方举行的

By (debut in March 2012), the Sacrifice of Spring (debut in February 2014), and the

演出活动、自主表演团体“荒马之旅”的《爱到

Wedding (debut in December 2013)

死》的全国公演等。

摄影Hidehiro KATO

Co-organizer: The Japan Foundation

Picture an old woman, buried up to her waist in the ground, babbling

6.27 6.28

a torrent of words almost non-stop.The set in The Happy Days by Samuel Beckett is indeed a strange one. The heroine was first

舞蹈《破格》

interpreted by Madeleine Renaud in French, and later by many other

14:30

illustrous actresses. The play is now a masterpiece with worldwide acclaim. The dancer Keiko Takeya focused on the massive stage-

演出地点：东宫影剧院（4号厅）

编舞/编导：武田干也

direction filled between the long monologues and created a work

14:30

of ‘dance without dancing’.The Happy Days is an extension of the exploration of A Happy Morning. By reinterpreting the text and

主创列表：构成/编舞：武田干也技术总监：佐藤信灯光：斋藤茂男音效：胜见友理舞台摄影：Hidehiro KATO 表演：DANCE 01:竹屋启子/黑田真史/大山晴子/ 小泉宪央/实光崇浩/石桥和也/武田干也

reconstructing it, this ‘babbling mime’ echoes with the ‘world of dry humour’, the omipresent undercurrent that flows in all Beckett’s works. It enables the audience to discover another possibility of performance, which emerges at the boundary between theatre and dance. Keiko Takeya Art director, choreographist, dancer. Born in Tokyo, Keiko Takeya was sent by the Ministry of Culture as a researcher to the US in 1957, and later became a member of the renowned Martha Graham Company. She founded her own company in 1983 and started her solo career. In 1993, she created the Dancing Eastern Wind project with some Asian artists. In 2003, together with artists from India, Indonesia, Thailand and Malaysia, she created three works, including ‘Boatless’, and toured in Asia and Europe. In May 2006, she participated in the project of ‘In the gap between tradition and modernism’ and toured in 5 cities in Indonesia with some other Japanese dancers. She pursues her creative activities both in Japan and abrod. A passionate pedagogue, she uses her unique theory of ‘body adjustment’ to inspire the audience and to explore all the possibilites of a freed body, uninhibited

Toshiaki Tamura The actor was born in Tokyo and has been involved in many kinds of art forms organised by people from very different backgrounds. He acted in the contemporary version of the works of Kenji Miyazawa, an author from the beginning of the 20th century,. He was also seen on stage in the works of the famous Japanese playwright Betsuyaku

摄影Hidehiro KATO

by any dogma through other creative activities.

摄影Hidehiro KATO

Dancing: Solecism

Minoru. From Beijing Opera and the open-air theatre acted in armored costumes, to the tramway-performance about the victims of nuclear

Choreograpist/director:Kanya Takeda

explosions and the project of ‘ Kingdom of Ainu’, he has undergone a variety of projects. He has also undertaken some projects by himself, including the solo creation from Osamu Dazai’s work, An urgent appeal, performances in churches in and outside Tokyo, the national tour of To love till death in the ‘ Wild horse trip’ of his performance group.

Crew: Choreograpist/director:Kanya Takeda Technical Director: Makoto Sato Light: Shigeo Saito Sound: Yuri Katsumi Stage Photography: Hidehiro KATO Actor: DANCE 01: Keiko Takeya, Mafumi Kuroda, Haruko Ooyama, Norio koizumi, Takahiro Jikko, Kazuya Ishibashi, Kanya Takeda

不往前追赶也不向上求索

Neither rushing ahead, nor searching above

只一心向着地下去

I dive deeper down within

向着肉体这丰富的矿藏探索

If there is indeed something of worth within

如果人的身上有所谓价值存在的话

在这价值陨落的瞬间，莫不会有舞蹈兴起

Then when it crashes on to the scene, maybe

为了验证，价值的跌落、以及人不再为人的事实

绘本故事及偶剧

Searching for the treasures of the body

we'll see dancing To affirm it, and to show that I am no more?

Picture Book/ Puppet Theatre

Choreograpist/ director: 编舞/编导：武田干也，舞踏家，舞者。1982年生于秋

Kanya Takeda,butoh performer and dancer. B o r n i n 1 9 8 2 i n A k i t a p re f e c t u re , h e graduated from Tokyo Gakugei University.

田县。毕业于东京学艺大学。从师于舞蹈

He studied with the dancer Teru Goi for three

家五井辉3年，直至其逝世。同时期开始在

years until the master passed away. In the

Dance01钻研古典芭蕾•现代舞。其基于露

same period, he started to train at Dance 01

骨精神理论和身体性构成的作品在日本的艺

for classic ballet and modern dance. Based on the theory of ‘rough spirit’, he created

《虎王子》与《神马》的故事导演：弗朗索瓦·奥索尼（法国）插画：陈江洪（中国）适合六岁以上儿童观看与中央戏剧学院合作呈现中文版演出

The Tiger Prince and The Magic Horse Director: Francois Orsoni (FRANCE) Illustration: Chen Jiang Hong (CHINA) The program is suitable for children aged 6 upwards

术界极为罕见。现在作为Dance01的成员，

works from the body itself, which is a very

走在年轻舞者的前沿，以编舞者的身份不断

rare phenomenon in Japanese art.As a

Chinese version in collaboration with The Central

Member of Dance 01, he keeps on creating

Academy of Drama

创作出新的作品。

new works as choreographist and stands as a pioneer among young dancers. 主创列表：音乐：雷米·贝尔热 & 托马斯·兰伯布景和视频：皮埃尔·努维尔

演出团体： DANCE01，1983年竹屋启子组织的舞蹈集团。原名为竹屋启子CDC（现代舞蹈

Performance Group: Dance 01, A dance company foundeded by Keiko Takeya in 1983, it was originally

团）。以打破舞蹈界原来的学徒制度，做成

called Keiko Takeya CDC (Contemporary

对参加者开放的舞蹈的创造团体为主旨而成

Dance Company). It was founded under

立。竹屋本人担任编导/主演，开展许多演出

the principle of opening the world of dance

活动的同时，给年轻成员提供创造和实验的

to all participants, instead of pursuing the tradional apprenticeships. Keiko Takeya

Crew: Music: Rémi Berger & Thomas Landbo Setting and Video: Pierre Nouvel

90 在绘本故事中，演员通过现场作画

机会，培养了不少舞蹈家。1993年～2003

offered great opportunities to young dancers

年，创立了与亚洲艺术家共同创造作品的项

to create and experiment. While producing

并结合极富灵气的音乐，将玩偶与

shows as director/ dancer she has trained

影像诗意地结合起来，使讲故事的

many dancers. She created the ‘Dancing

方式充满魔力。其中《乌切里尼》

eastern wind’ project with many Asian artists

适合1岁以上所有观众观看。这台

目“舞东风”，10年间，实现了和印尼，傣国，马来西亚，印度的艺术家进行3次作品创作并在每个国家做了巡回演出的企划。该

in 1993. In ten years, the company created

项目中产生的作品，还受到到欧盟艺术节的

three dance works with Indonesian, Thai,

邀请。2001年，更名为DANCE01。除日

Malaysian and Indian artists and touried in

戏拒绝被贴上“儿童戏”的标签，也并不因为观众被设定为儿童而必

their respective countries. It was also invited

须在内容上做出让步。《虎王子》

本国内的活动以外，该团还受到过中国，菲

by festivals in Europe to perform its works.

和《神马》的故事适合6岁以上观

律宾，印度，夏威夷等国家的舞蹈节邀请，

In 2001, the company changed its name

众观看。旅法画家陈江洪将为大家

积极地开展海外演出活动。现在，新一代舞

into Dance 01. It has not only performed in

呈现出一个水墨诗化的世界，内容

者的创造活动正逐步展开，今后的发展令人期待。

Japan, but also been invited to perform at dance festivals in China, the Philippines, India

取材于富有中国元素的经典故事。

and Hawaii. The company is now gradually

伴随着生动的讲述，在舞台上如同

training dancers of the next generation and

翻阅一本书一样让图画在眼前一一

will undoutedly have a bright future.

呈现，构成一部充满情感，气韵生动的动画片。该剧与中央戏剧学院合作呈现中文版演出。木偶剧《月亮上的小老鼠伦巴》适合2岁以上观众观看。讲述了一只小老鼠的梦境，极富造型想象力的玩偶在操偶师的动作和声音配合下，为观众呈现出一个温馨而充满情趣的世界。

6.4

6.5

19:30

19:30/20:30(法文)

演出地点：东宫影剧院（1号厅）导演：弗朗索瓦·奥索尼（法国）插画：陈江洪（中国）

导演介绍：弗朗索瓦·奥索尼，他原本是宏观货币经济学家，在一次加州之行之后决定去注册参加戏剧学校的学习。于是，二十九岁的他开始演员生涯。在转型做导演之前，他出演了路伊吉·皮兰德娄的作品《傻瓜》和《疯子的帽子》，结识了演员阿尔巴·吉永,克洛蒂尔德·艾斯姆和托马斯·兰伯，从此成为戏剧创作缘起：

量和慷慨。我非常欣赏这一点并让我想要创

虎王的孩子们被猎人杀死，悲痛的虎王开始

2008年我在法国巴黎Villette剧院遇到旅法

作这个戏。所有的一切都围绕着这两个元

报复人类，人们凄惨的哭声在回荡……在老

画家陈江洪。当时，Codex艺术节邀请我为

素：亲密和表演。

婆婆的指引下，国王将小王子送到森林里，

孩子们创作一出节目。于是，我向陈江洪建

让他到虎王身边去，因为只有这样才能拯救

议围绕他的两部儿童绘本《虎王子》和《神

内容简介：

老百姓。虎王看着王子，想要一口吞掉他，

马》进行创作。

法国NéNéKa剧院剧团和旅法画家、插画

但是母爱战胜了复仇之心，虎王怜爱地叼起

这涉及到艺术在世界中的位置，传播的力

家陈江洪联袂邀您进入《虎王子》与《神

小王子，就像叼起自己的宝宝一样。

量，以及在不同中活着的困难，有时这些不

马》的神奇世界。陈江洪在中华文化的根源

同之处又是好的。用一种诗意和隐喻的方

中汲取灵感，创作了《虎王子》和《神马》

神马

式，这两个故事讲述了陈江洪的文化传承和

两本儿童绘本。这两则故事被导演搬到舞台

唐朝的时候，有一个非常有名的大画家韩

他个人的经历。作为画家和插画家，陈江洪

上，变幻成为生动的大型图画书，同时又创

干，他最爱画马，人们传说他的笔具有奇特

总是一个人在工作室中独自创作，但他也喜

造出如给小朋友讲述睡前故事般的亲昵感。

的魔力，可以让纸上的马拥有生命。一位大

欢舞台和观众，享受舞台要求的多样性，力

在现场音乐的伴奏下，一幅幅图画相继出

将军听说后，向韩干索要神马，果然，一匹

现，栩栩如生的人物和动物被赋予了生命。

俊美非凡的马从韩干的画上跃下，陪将军征

这是一场充满诗意和魔力的表演。

战沙场，它不需要喝水，不需要吃草。将军所向无敌，杀敌无数，但神马却越来越悲

虎王子

伤……

道路上的伙伴。1999年，他成立了自己的剧团：NéNéKa剧院。他把台词置于艺术尝试的中心位置。奥索尼以及他的演员把皮兰德娄, 帕索里尼, 布尔加科夫, 毕希纳, 奥利维耶·皮, 黛亚·洛儿, 莫泊桑和布莱希特的作

Motivation:

root of Chinese culture and illustrated two

品相继搬上了舞台。奥索尼喜欢在与演员进

I met with artist Chen Jiang Hong at Le

children’s picture books: The Tiger Prince

行长时间的即兴表演，这样可以让演员们自

Théâtre Paris-Villette in France. At that time, I

and The Magic Horse of Hans Gan. The

was invited by Codex Festival to create a play

presentation of these two stories transforms

for children. So I suggested to Chen Hong

the scenery into a big pop-up book, thus

Jiang a play centering on his two children’s

reproducing the intimacy of children's

picture books, The Prince Tiger and The

bedtime stories. Following the rhythm of live

Magic Horse of Han Gan.

music, pictures appear one after another, and

It involves the locality of art in the world, the

vivid characters are enlivened on the stage. A

power of communication, and the hardship of

show full of poetry and magic.

瓦·奥索尼领导。

living among differences which are sometimes

The Tiger Prince

该剧团在戏剧创作上有着清晰的主线，即

positive. In a poetic and metaphorical way,

The child of the Tiger King was shot to

these two stories recount Chen Jiang Hong’s

death by hunters. The grieved mother seeks

cultural inheritance and personal experiences.

revenge on human beings. Miserable wails

As a painter and illustrator, Chen Jiang Hong

echo... Under the guidance of an old woman,

的选择上，台词是一切的中心，是位于首位

always works alone, but he also relishes the

the King sends his little prince to befriend the

的，剧团创作过Pirandello,Pasolini,Brecht,

stage and audience, and enjoys the diversity,

Tiger King, as this is the only way to save

power and generosity of stage requirements.

everyone. Looking at the little Prince, the

This is highly admirable and also motivated

Tiger King decides to devour the little baby.

这些作品的台词废弃固有的条条框框和矫揉

me to create this play. All is centered around

Eventually, motherhood defeats vengeance,

造作，释放思考的自由并成为其源泉，台词

two elements: intimacy and performance.

and the Tiger Queen carries the little Prince

由的创作。他试图将场景变得极简化而充满故事感，从而更好的为台词服务。

演出团体： NéNéKa剧团成立于1999年，由弗朗索

“创造的艺术”,在该剧团的多部创作中逐渐建立起来，成为该剧团的鲜明特点。在剧本

Büchner, Dea Lohers 等剧作家的作品。

是一部戏本身的体现。在他的舞台上，没有

as tenderly as her own cub. Synopsis:

vThe Magic Horse of Han Gan

The wonderful world of Chinese Tales has

During the Tang Dynasty, there was a very

服务于台词的。演员们用他们的演技和身

created a show born out of a joint effort

famous painter, Han Gan who loves to paint

体，使剧本更加明了。在剧团里，演员们被

between Le Théâtre de NéNéKa Company

horses. People say his painting brushes are

and the Chinese painter and illustrator Chen

magical because they can bring horses to

Jiang Hong, who found inspirations from the

life on the paper! A General hears about this

特效和虚张声势，舞台布景总是精心打造且

赋予自由创作自己的角色。通过很多的即兴，提议，分析，尝试，直到最后一刻没有人知道这部戏整体是什么样子的。但关注 François Orsoni作品的人知道，如魔术一般，他的每一部作品都是全新的。而且每一次，导演都是服务于台词的。从未相反。

and asks for a magic horse from Han Gan. Sure

创作缘起：

enough, an extraordinarily fine horse jumps out of

在巨大画布上作画如同舞蹈一样：心血来

the paper! It accompanies the General to fight in

潮，跟随动作……

the battlefields and no water or grass are needed. The General invincibly triumphs and kills many

突然有一天，我在大幅度的作画时突然有了

enemies. However, the magic horse becomes

一个想法：这是一种原始而快乐的画画方

sadder and sadder...

式。

Director:

6.9 6.10

François Orsoni used to be a macroeconomist and he decided to enroll in a theatre school after

19:30

at the age of 29. Before he transformed a director, he acted in the Idiots and The Hat of a Madman

联合创作：保罗·卡尔多纳（法） /伊莎贝拉·艾尔乌埃（法）

actress Alba Guyon, Clotilde Hesme, Thomas Landbo and become partners since then on the

《乌切里尼》

company, Le Théâtre de NéNéKa. He puts the lines in the center of his art experiments. Orsoni Pasolini, Bulgakov, Büchner, Olivier Py, Dea Loher,

联合创作：保罗·卡尔多纳（法）/

Maupassant, and Brecht onto stage. Orsoni

伊莎贝拉·艾尔乌埃（法）

long time so that performers can create freely. He 主创列表：演员：伊莎贝拉·艾尔乌埃（法）场景设计：保罗·卡尔多纳（法）服装：苔蕾丝·安吉宝（法）

tries to create extremely simple scenes and create narratives to set a great stage for the lines.

Uccellini

Isabelle Hervouët Crew: with : Isabelle Hervouët set design : Paolo Cardona costume : Thérèse Angebault

Büchner, Dea Lohers, and other dramatists. The lines of these works all discard immanent restrictions, fetters and pretences. They release the freedom of thought and also become its

随着她慢慢展开画布，她看待周围的目光开

出工作空间的一步，一些彼此完全不同的生物在帮助她前进。就这样，慢慢地，呈现出一幅相遇的画像。《乌切里尼》把艺术作为一种生命攸关的力量、一种生活方式来讲述。艺术，是追寻并展现将我们汇聚一起的力量的可能。

become the specialty of this company. The lines produced works of Pirandello, Pasolini, Brecht,

一种活着的感觉，吸入肺里的第一口空气。

Co-production: Paolo Cardona/

from many work pieces over time and has are central at script-choosing. This company has

为自己画像。除了一点水和一点土，她几乎

始丰富起来。如果这不是其相反面的话：踏

prefers to play impromptu with performers for a

creation, the “art de faire”, which is established

内容简介：

什么都不需要就开始作画。她最开始画的是

and his fellow performers put works of Pirandello,

The company has a clear thread of drama

——伊莎贝拉•艾尔乌埃

一个既羞涩腼腆又离经叛道的女画家在当众

road of theatre. In 1999, he established his own

is headed by François Orsoni.

的源泉。

演出地点：蓬蒿剧场

of Luigi Pirandello and acquainted with actors/

Le Théâtre de NéNéKa was founded in 1999 and

吸，转而喃喃低语和歌唱。我们渴望为儿童们表演。他们是我们的源泉，也是绘画创作

a trip to California. So he started his acting career

Performance Group:

我们开始用这些动作为素材，自由的放任呼

导演：伊莎贝拉·艾尔乌埃，Skappa!剧团联合艺术总监，导演。在昂热高等艺术学校学习了三年之后，她于 1987-1990年间在夏维尔国立高等木偶艺术学校，成为该校第一届学生。毕业后她曾到

source. The lines are the reflection of a play. On

动作剧院先后跟随艺术家阿兰·高特和费德

his stage, there is no special effect or bluffing. A

里克·法耶实习。

stage is always exquisitely made and serves for

随后她进入马纳尔夫剧院工作。1997年，她

the lines. Performers make the script clearer with their performing skills and body. In the company,

与保罗·卡尔多纳一起创立了Skappa!剧团，

performers are entitled to the role of free creation.

并与之一起进行剧团的创作、表演、导演和

With many impromptu, proposition, analysis,

舞台设计的工作。该剧团的作品有《Skappa!

and trials, no one will understand the play comprehensively till the very last moment. But to

Skappa!》、《乌切里尼》、《安东尼先生

people who have been following François Orsoni’s

的愿望》、《昏厥》、《除此之外你如何谋

works, they will know that every single piece of

生？》、《神奇的21世纪之旅》、《一半一

his works is brand new, just like magic. And every

半》、《 IN 1和2》、《一亿公里》、《现

time, the director serves for the lines. And it is never the other way around.

在》、《SWIFT！》、《世界》。在1994到 2005年间，在从事戏剧创作的同时，她还进行图示与绘画的研究，并为Athénor剧院和 Massalia剧院的戏剧季和演出设计了海报。此外她还参与了围绕Ogranges创作的装置展 95

Between 1994 and 2005, aside from her theatre creation, she also studied about graphic and painting and designed posters for their theatre

偶剧《月亮上的小老鼠伦巴》

season of Le Theatre Athénor and Le Theatre Massalia. Besides, she also participated in an

览（Ogranges是一种长着小丑的鼻子的半天

installation exhibition which was created around

使半怪物的生物）。

Ogranges.

伊莎贝拉·艾尔乌埃对艺术与幼年之间的关系

Isabelle Hervouët has thought deeply about the

she started to write articles about this relationship

象》报纸围绕着艺术与幼儿之间的关系撰文。

for Abstract newspaper. She also participated in

她还参加到多个关于艺术与幼儿的难题的讨论

many discussion and contemplation of difficult issues, for example, the Baby’s Interest Lab of Le

和思考，例如2010年的Lillico剧院的婴儿兴趣

Theatre Lillico in 2010, and a forum hosted by le

实验室，还有2011年法国Cavaillon国立剧院

Théâtre de Cavaillon 2011 called “We will grow up-

主办的“我们会长大---艺术、文化与幼年时

--art, culture, and childhood”. In the early 2012,

代”的主题论坛。2012年初，在“童年与别

she conducted a workshop with former director and Aesthetic expert, Helene Popelard called

涅夫·勒夫诃，和哲学与美学专家伊莲娜·波

“Say No to Young Children Audience’s Aesthetics

普拉尔德一起主持了一个名为“向少儿观众美

and Say Yes to Modern Stage Performing Art!” at

Committee of 2014-2015 French La Belle Saison,

《美好季节》国家评选委员会的成员之一，这

a performing season especially for children

是一个专门针对少儿观众艺术创作的演出季。

audience. Performance Group:

演出团体：

Motivation:

SKAPPA! & Associates is a theatre company

SKAPPA!剧团是由伊莎贝拉·艾尔乌埃和

Painting on large frames is like a dance : the impulse I take, the need to follow the movement ...

founded in 1998 by Paolo Cardona and Isabelle

At once, I am in a maximum amplitude and suddenly I focus on a detail : it is a primitive and

Hervouët : together, they create performances “for

cheerful way to paint.

all audiences “, aimed at children as well as adults

We started with this material of gestures,leaving breath freely turn into murmur and singing.

who accompany them. If they refuse a systematic

“适合所有观众”观看的演出。他们拒绝被

We had the desire to talk to toddlers who led us to the source, to our birth and the birth of a

categorization of “young audiences”artists, it

贴上“儿童戏”的标签，是因为他们选择完

painting

is because they chose to offer a global artistic

——Isabelle Hervouët

gesture without compromising its content,

Synopsis:

the pretext of speaking to children.

在十五年时间里，他们一起共度艰辛，创作出

A painter, both shy and shameless, realizes her self-portrait in front of the audience.To start with,

For fifteen years, they achieve tightrope walkers

she doesn’t need much : water and earth. She paints the very beginning, the first impression

work, offering a theatre of thought and feeling

of being alive, the first breath of air in the lungs. As she opens out on the canvas, she sees

directed to all from a very young age. The need

things around differently. Unless this is exactly the opposite : a step beyond her workspace,

to make their shows attendable by the youngest

众都能观看的作品成了真正的挑战。作为艺术

human beings, all different from one another, help her to go on. Thus, little by little, a portrait of

has become a formal and a dramatic challenge.

家并选择作为大人的角色和儿童对话，让创作

a meeting is looming. Uccellini paints art as vital force, as a way of life. Art as an opportunity to

Being an artist and choosing to talk to the child

seek inside and make what joins us visible.

from an adult’s place means creating shows for “all audiences” in the true sense of the word, and theatre

内涵都赋有层次的戏剧作品。

Director:

work which resource sets in the complex levels of

在最初的作品中，Skappa！试图在视觉艺

Isabelle Hervouët is the co-director of Art and Director of SKAPPA ! & Associates, a theater

interpretation and meaning.

术与舞台表演艺术中建立起桥梁：使用不同

company in France.

From the earliest shows, Skappa! has bridged a

After 3 years of study at École supérieure des beaux-arts d'Angers, she went to study at Ecole

gap between visual artsand performing arts : the

形态的图像成为戏剧创作过程的核心。演员

Nationale Supérieure des Arts de la Marionnette (ESNAM) in Charleville-Mézières between

用不断变化的、承载着意义的图像建立起与

use of image in various forms has become the core

1987 and 1990 and became one of the first students there. After graduation, she interned at le

of the creation process. A scalable and meaningfull

自身肢体和情感的交流。《乌切里尼》是该

Théâtre du Mouvement and learnt from artists Alain Gautré and Frédérique Faye.

image, with which the actors build a physical

Thereafter she worked at Le Théâtre Manarf. In 1997, she co-founded Skappa! with Paolo

and sensual exchange. Uccellini, one of the first

Cardona and worked together for creation, performance, directing and stage design. The

creations of the company, was a kind of manifesto

credentials of this company include, Skappa! Skappa!, UCCELLINI, Les tentations de M.

laying the foundations of Skappa!’s aesthetics.

Antoine, Syncope, Et à part ça tu fais quoi pour vivre, Magic XXth Century Tour, 1/2 + 1/2

Thirteen seasons after, this short piece is still touring

(moitié moitié), IN 1 et 2, 10 millions de km2, Maintenant, SWIFT!, Il Mondo senza Il Tutto.

successfully (nearly 1,000 performances.

剧团早期的创作之一，为剧团的美学体系奠定了基石。十三年过去了，这个短小的剧目依然在不断地巡演（已演出近1000场）。 96

focusing on not substracting any meaning under

在内容上做出让步。

“适合所有观众”作品成为可能，即在表演和

演出地点：东宫影剧院（4号厅）

Besides, she is a member of National Selection

工作坊。此外，她还是2014-2015年度法国

想法和情感的戏剧作品。创作让年龄最小的观

14:30/16:30

Childhood and Other Places Theatre.

学说不！向现代舞台表演艺术说是！”的主题

包括儿童的所有年龄段观众都适合观看的充满

6.4

of L’Espace 600, Genieve Lefaure and Philosophy

处剧院”，她与L’Espace600的前任总监日

整呈现，而非因为观众被设定为儿童而必须

主创列表导演： Cyrille Louge 木偶创作：Francesca Testi 表演和木偶操作：Francesca Testi和Cyrille Louge 灯光：Bastien Gérard 动画：Pierre Bouchon 道具：Denis Louge& Thierry Bigot 帮助：Ghislaine Laglantine

and trained staff at kindergartens. Since 2005,

人员进行培训。自2005年起，她开始为《抽

一起创作给小朋友们以及陪同他们的大人的

适合两岁以上儿童观看

relation of art and young children and has helped

进行了深入思考，同时还帮助幼儿园的工作

保罗·卡尔多纳在1998年成立的。他们二人

艺术总监/导演： Cyrille Louge

Puppet play: Little Mouse Rhumba on the Moon Artistic director/director: Cyrille Louge The program is suitable for children aged 2 upwards Crew: Director : Cyrille Louge Puppet design: Francesca Testi Performer and puppet control : Francesca Testi, Cyrille Louge Light design: Bastien Gérard Cartoon: Pierre Bouchon Prop: Denis Louge& Thierry Bigot Assistance: Ghislaine Laglantine

创作缘起：

事业当中。在寻求现代写作的同时，Cyrille

这像月亮一样又圆又大的奶酪，是一切探索

Louge 保持着与无意识的亲密对话：精神世

目标的化身。对小老鼠伦巴来说，这奶酪就

界的探索，主观意识和感知的呈现，梦境和

是它所有的渴望。如同法国谚语“伸手摘到

情感抑制的迸发无不体现在他的写作当中。

月亮（得到不可能的事物）”的字面意思一

2012年，Cyrille创建了Collectif TraumA,

样，当小孩子们听到“把钱从窗户扔出去

他将一些表演艺术家聚集在一起，展开了对

（乱花钱）”和“别把手放下来（不要丧失

梦的研究，并把梦境通过即兴创作的形式搬

勇气）”或者“你踩断我的脚啦（你让我很

上舞台。

烦）”，他们会根据字面意思想象到许多很好笑的景象。于是我开始像写诗一样，把这

演出团体：

些景象的色彩，声音，季节，图像和角色

Marizibill剧团自2006年创立以来，

“押韵”起来。尽管这部作品里小老鼠伦巴

致力于从事当今偶剧艺术的研究，非

的探索和恐惧是主线，与传统戏剧不同的

常活跃。除了套子、线以及传统偶戏

是，如同菲利普·让蒂和詹姆士·蒂耶的作

的形象之外，该剧团的大方向之一是

品一样,这部作品能够让观众感受到诗意以

探索形式不断变化的，有着无限能力

及无意识。《月亮上的小老鼠伦巴》把梦境

的偶戏。比如，基于人形加以变化补

搬上了舞台。各个角色、地点和季节梦幻般

充的木偶，又或者是利用黑匣子剧场

的相继转换。如同儿歌中的：三只小猫、草

的障眼法创造出的完美幻觉。总之，

帽、门毡、梦游者……伦巴藏身的酒箱变成

这出色的改编潜能源自舞台艺术的所

顶着粉红脑袋的大象，还有喝醉酒的泡泡在

有其他领域和技巧，使得偶戏（和物

东欧音乐伴奏下为了一段狂热的舞蹈放开了

件戏）成为完完全全的现代艺术。

老鼠……当诱人的奶酪块变成丑陋老鼠塔佩

剧团位于马恩河谷省Fontenay-

Rhumba, this cheese is all he aspires to.

塔的鼻子，还有水管变成嘶嘶作响的巨蟒

sous-Bois市，由负责木偶设计的

There is a French saying, “reaching out for

时，梦境有时会变成噩梦。然而，这部戏中

Francesca Testi和艺术总监Cyrille

的老鼠夹却是脆弱的，它拥有一颗轻柔的

Louge创立。至今，共有三个面对少

灵魂。此外还有擅长拥抱而非咬人的双头

儿观众的作品问世，这三个都是现代

like “throwing the money out of the

蛇……

创作。剧团在阅读的领域进行不断的

window” (spending money unwisely) , “do

追求探索，并且坚持创作“真正的”

Motivation: Cheese, like a fat round moon, represents an ideal of exploration. For little mouse

the moon ” which means wishing for the impossible. When you say something to little children, they take it literally: phrases

not put down your hands” (do not lose your courage) or “you step and cut my

内容简介：

少儿观众作品。这些作品也适合成人

小老鼠伦巴睡着了，梦见了一块香喷喷的奶

观看，让大人和小朋友之间真正的分

absurd images for young children.

酪。那块跟月亮一样圆、一样漂亮的干酪滚

享偶戏的快乐。

Thus I begin to rhyme the color, sound,

走了，逃跑了。贪吃的小老鼠开始了追寻这

feet” (you are annoying me), create funny,

season, illusion and character of these imageries like writing a poem. Though

块月亮奶酪，踏上了去往一个梦幻之国的

in this play the little mouse Rhumba’s

旅程......这是一场无声但视觉效果极佳的演

exploration and fear is the main plot, in

出：轻松搞笑的木偶们（小鸟博班、小老鼠塔佩塔、蛇图友多）极富有表现力，它们有

contrast to a traditional play, it denotes poetic and unconscious feelings to the audience just as what Philippe Genty and

着大大的圆眼睛和卡通画的形象。为了讲述

James Thierrée’s plays do.

小老鼠的追寻过程，Marizibill剧团使用了一

Little Mouse Rhumba on the Moon brings

种介于录像投影、黑色戏剧、可视操作的设备，产生穿越“梦幻风景”的效果。这个温

dreams onstage. Character, location and season change continuously like in a fantasy. As what is sung in the lullabies: three cats, straw hat, doorstep mat, sleepwalker …… the

柔多彩充满诗情画意的世界，最适合小朋友

wine box where Rhumba hides himself becomes an elephant with

不过了。

pink head, and the drunken bubble releases the mouse because it wants to dance to an Eastern European melody…… When the tempting cheese bulk becomes the nose of the ugly

艺术总监/导演：

mouse Thapaeta, and the water hole become the sizzling python,

Cyrille Louge，导演，戏剧演员及木偶戏演

the dream turns into a nightmare. However in this play the mouse-

员。先后学习过电影和戏剧。2006年，他 98

建立了Marizibill剧团，开始投入到戏剧导演

trap is always the vulnerable one, which holds a light soul. Besides, there is another double-head snake who is good not at biting but 99

新生

hugging people…… Synopsis: Little Rhumba falls asleep, dreaming of a delicious

New Talent

cheese. The cheese is like a moon, round and beautiful, but it runs away, flees along. The greedy little mouse begins the search for this cheese,

实验演出《杀死M先生》

剧本朗读《微光》

Experimental performance Killing

Script Reading Glimmer

Mr.M

setting off on a journey through wonderland…this is a soundless but visually active performance:

这是南锣鼓巷戏剧节中重要的板块，通过公开征

fascinating puppets (little birdy Bambo, little mouse

集、集体汇演、提供剧场和推广宣传的方式推介当

Thapaeta, snake Tujdo ) are very expressive,

代原创表演艺术作品和充满潜力的创作者。本年度

they have big eyes and cartoonish images. In order to tell this story of little mouse searching for

征集来的作品涉及话剧、舞蹈、实验戏曲及行为艺

a cheese, Marizibill Performance Group adopts

术，创作者分布中国内地各城市以及香港、台湾、

video projecting and black theater to express a

韩国和日本，年龄范围自19岁到50岁跨越4个年龄

dreamlike experience. This soft and tender world

段。经由多种表演艺术形式呈现百家争鸣的局面，

is full of colors and well suited to small children.

使观众、评论及媒体得以迅速了解当下中文戏剧的发展现状和普遍趋势。

Artistic Director/Director: Cyrille Loug is a director, drama performer and

“新生单元”何以为新？不仅仅是形式创新、地区

puppet show performer, studying film and theater

开拓、年龄不设限等因素，更重要的是，打破只有

respectively. In 2006, he founded the Marizibill

戏剧专业才能创作的僵化模式，开创创作者、观众

Performance Group, beginning to be engaged

跨艺术形式、跨学科创作、组织、观赏、互动的充

in the theater directing career. While searching

分调动环境和互看互评机制的建立，激励具有创作

for modern way of writing and expression, Cyrille Louge still keeps intimate conversation with the

欲望的普通人进入创意空间，使其作品有机会面向

unconscious, which is to explore the spiritual, to

公众并结识相似又迥异的“同类”，通过推动和影

present the subjective mind and feelings, thus

响潜藏的个体参与创作而潜移默化地培养未来更多

filling his writing with images of dreams and

具有审美和分辨能力的观众。

conflicting emotions. In 2012, Cyrille set up Collectif TraumA and gather together performing artists to tap into the territory

100

作品时长40’ M先生象征着将生活一步步拖垮的控制性力量，是怨言和仇恨不断滋长的众矢之的。突变的物价，不公的待遇，啼笑的时政，我们很容易将遭受的一切苦厄归结于某一个特定的对象。垃圾一样的空气，垃圾一样的食物和房子、地铁、上班、恋爱、生孩子、混日子——这是M先生带来的福音书，人们嘲笑他，咒骂他，联合起来杀死他，而生活却未能像人们预想的那样改变。编剧、导演：曾不容，毕业于北京大学中文系。邓菡彬，北京大学中文系博士，伯克利加州大学访问学者，上海戏剧学院博士后，上海戏剧学院余秋雨工作室特约研究员，海南大学戏剧影视系副教授。以往演剧评论：这世界疯了。谁先疯的，谁先起的头，似乎变得不那么重要了。——《交叉跑动Ⅱ：主角在楼上》

作品时长30’ 许中流是这个城市的边缘人，他逐梦无望，又不甘平庸。终于他迫于家人压力，踏上返乡之旅。临行前，一次偶然，他救起了一位自杀的女子江碧月，目睹了一对情侣的分手，并由此卷入几个陌生人的生活中，一发不可收拾。江碧月劫后余生，精神不稳，慢慢地竟要将他改造成心理咨询师。夏悠原在瑜伽教室任教，深得众人赞许。江碧月牵线搭桥，许中流一度和她走得很近。后来他才发现，夏悠原其实是一位演员，正面临自己生涯的一段危机。许中流的一腔热血感染了她，也为自己打开了一扇门，曙光重现。编剧、导演：尚垒，2007年毕业于北京大学中文系。迄今创作有《弄假成真》、《生日宴会》、《病室中的尤利西斯》、《爱的条件式》、《没有表情的人》、《哈姆雷特奏鸣曲》等多部戏剧作品。2012年7月入选 “田沁鑫·新写作计划”最终六名优胜名单，赴英国参加苏格兰国家剧院驻地交流。2012年12月《哈姆雷特奏鸣曲》在北京9剧场公演。

of dreams, in the meantime expressing dreams through improvisation. Performance Group: Marizibill, set up in 2006, has been actively dedicated to contemporary puppet show performance. Apart from glove, rod and traditional puppetry figures, its biggest direction is to search for a more diverse and more expressive puppetry. For example, puppets based on human’s physical contour but with minor and complementary changes, or making perfect illusions through the black box theater. All in all, this adaptive potential comes from every other fields and techniques of

Length: 40 min

Length: 30 min

Mr.M represents a controlling power which drags life into its death, and it is the target of complaints and ever growing hatred. Sudden change of commodity prices, unfair treatment, bizarre current affairs, we easily poke to the specific target when faced with hardships and sufferings. Garbage-like air quality, garbage-like food and house, subway, working, love, children, making a living——this what Mr. M brought to us, people will laugh at him, curse at him and unit together to kill him, nevertheless life is not going to be any different.

Xu Zhongliu is treading on the edge of the city, driven by hopelessness but also aspiring to escape the mundane. Pressed by his family, he finally starts packing to return home. Before his trip, in an accident he saved a woman Jiang Biyue from suicide, witnessed a couple breaking up and since then intertwined into several strangers’ lives hopelessly together. Jiang Biyue feels lucky after being saved, and slowly gains the courage to become a psychological therapist. Xia Youyuan teaches at a Yoga Class, well received by the audiences. Jiang Biyue bridges up Xia Youyuan with Xu Zhongliu, which leads to a close relationship between the two. But in the end to his surprise, Xia Youyuan is in fact an actress facing a career crisis. Xu Zhongliu infects her with sudden passion and opens another window for her, glimmering in the distance.

stage art, which fulfills puppet show (object show) into true modern art. The Group is located in the city of Fontenay-sousBois, Val-de-Marne province, France, founded together by puppet designer Francesca Testi and artistic director Cyrille Louge. Until now the group has already produced 3 public works dedicated to kids with modern flavors. The Group also keeps seeking new expressions in this field in order to make “true” children’s work. At the same time, these shows are also open to adults, allowing both children and adults to enjoy the performances.

Playwright and Director : Zeng Burong: graduated from Peking University majoring in Chinese. Deng Hanbin: Phd in Chinese from Peking University, visiting scholar of UCLA Berkley Camp, post-Phd from Shanghai Drama Academy, specially-appointed researcher at Yu Qiuyu Studio of Shanghai Drama Academy, associate professor at Hainan University Stage and Screen Department. Previous Comments: “This world is getting crazy, but who gets crazy first and who starts this craziness have already become important. ” ——Never Reach Each Other--The Hero’s Upstair

Playwright and Director : Shang Lei graduated from Peking University's Chinese department in 2007. His works include What was makebelieve has become reality, Birthday Party, Ulysses in Ward, Love’s Conditional Expression, Expressionless Person, Hamlet Sonata and many others. In July, 2012, he was enlisted in the final 6 of “Tian Qinxin•New Writing Plan”, and went to communicate in residence at the Scotland National Theater in Britain. In December, 2012, Hamlet Sonata was publicly shown in Beijing 9 Theater.

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互动戏剧《忿狷》

《后座有你》

《捍卫》

剧本朗读《鲜花·奶酪·鼹鼠洞》

Interactive Play Resentment

With You in the Backseat

Defending

Script Reading Flower, Cheese and Mole Hole

作品时长30’ 作品时长90’ 本剧的触发点起自北京大兴和河南林州摔婴案两则社会事件，我们希望做一个仪式放到剧场里，让孟子的“良心四端”化身为人与恶行恶事的一场遭逢。我们无心复刻事实，而是渴求人们借着剧场共同唤醒和反思人之为人的良心和底线。作恶之徒无论是否受到惩治，都很少主动忏悔，我们将让恶人在舞台上意识到自己的罪孽，去知悔赎罪。假如目睹这一切罪行的人们，能从中谙识惩处与劝诫，进而思善行善，自修自净，那将是莫大的宽慰。编剧、导演：王明端，中北大学人文学院教师，戏影创意坊艺术指导，人类表演学国际学会会员。戏剧作品入围首届乌镇国际戏剧节、第六届北京国际青年戏剧节、第12届金刺猬大学生戏剧节、第六届北京“非非演出季”。受邀参加上海戏剧学院“第七届上海国际小剧场戏剧展演论坛”，上海戏剧学院“第20届人类表演学国际大会”。

Length: 30 min This play is inspired by two events in which infants were thrown to their deaths in Daxing, Beijing and Linzhou, Henan. We hope to make a ritual and put it in the theater, contrasting Mencius’ “Four Origins of Conscience” against the evil deeds. We are not intending to review the fact, only wishing to wake up and reflect human’s conscience and moral bottom line through theater. Whether evil is punished or not, they seldom confess on own; we let them realize their own sin on the stage and regret and confess. If all people who witness or hear the crime can learn punishment and persuasion, and go to reflect and refresh, it would be the biggest comfort. Playwright and Director : Wang Mingduan is a teacher at School of Humanities of North University of China, art director of Stage and Screen Creative Workshop, and a member of Performance Study International Society. Works are included in the first Wuzhen Theater Festival, the 6th Beijing Fringe Festival, the 12th Golden Hedgehog University Students’ Drama Festival, the 6th Feifei Performance Season. Invited to The 7th Shanghai International Experimental Theater Exhibiting Forum in Shanghai Theater Academy, The 20th Performance Study International Conference in Shanghai Theater Academy.

102

分离成为许多青年的成长课程，“爱情是奢侈品，不是必需品”成为好多当下青年的爱情信条。为了生活奔波，难免忘了初心，回头时，爱已走远。本剧从一对再次相恋的情侣分离的爱情故事，一步步探寻在当代都市爱情的价值，存在的意义和青年人应有的精神面貌；并不着力于讲述爱情的美好或悲惨，它是一段情从相认、相守到分离的完整记录。编剧、导演：邢浩，中央戏剧学院导演系毕业。

作品时长60’ 原著：《无人地带》邓树荣（香港）两个演员，因被剧院认定犯了“缺乏幽默感”而被定罪，双双走进监狱。经过多年冤狱，他们渐渐发现幽默的价值，于是决定为幽默感进行平反！观众化身探监者，两位演员将用尽浑身解数，令观众满意其幽默感才有放监的机会，能否逃生，全凭观众神圣的一票。《捍卫》斗搞笑斗幽默斗啜核斗贱格，捧腹大笑之后，又轮到生之无奈的共叹，探监人士原来才是被监禁之人。《娱乐至死》是80年代美国媒体状态的惟妙写生。在被大众娱乐日久的媒体时代，我们都已麻木了娱乐为主的生活。正在无意识地追逐这些幻影的我们，艺术还有没有用？这个行为带着点天真的小清新。在这个功利的社会，艺术真的就像脆弱的孩子一样，需要观众的保护与支持。《捍卫》到底捍卫了什么——这是对全民娱乐时代的控诉和反思。

Length: 90 min Breaking up is a lesson of maturity along the way of growing up, “Love is a luxury, not a necessity” becomes the motto for a lot of young people who live in today. To make a living, it is inevitable that what was at the beginning is forgotten, when looking back, love is already drifting away. This play starts from a couple who reunite after breaking up and then separate again to tap into contemporary urban value of love, the meaning of existence and the spirits which the young people should possess. The play is not about the beauty or sadness of love, instead it is a complete piece of documentation of love being recognized, saved and split. Playwright and Director : Xing Hao, Graduated from directing department of Central Academy of Drama.

编剧：陈飞历，中央戏剧学院导演系08级本科，澳门葛多艺术会会长。导演：缪歌，中央戏剧学院导演系08级本科。在校期间任班长。毕业剧目《自选题》、《非此勿了》、《哈姆雷特》。毕业后独立导演作品：音乐剧《美人鱼》、历史话剧《无双国士》。表演作品：音乐剧《钢的琴》、话剧《梵高自传》等。

Length: 60 min Original: No Man's Land by Tang Shu-wing Two actors were charged with “lack of humor” crime by the theater and jailed. After many years of imprisonment, they gradually realize the value of humor, and decide to rehabilitate the prestige of a sense of humor. The a spectators act as visitors to the jail, and two prisoners have to satisfy the audience before walking out the prison. So the audience’s vote counts a lot! Defending splashes humor all over without attention to decency. After hilarious, outrageous exclamations people cannot help feeling sad toward the inevitabilities of life, realizing that the visitors themselves are the ones imprisoned. Amusing Ourselves to Death is a vivid description of American’s media in the 80s. Under the media era of mass entertainment, we are all numbed by the life of entertainment. Chasing after this illusion unconsciously, do we lose interest in Art? This play may denote a bit of naivety and freshness. Surrounded by the snobs, art can be like a vulnerable kid, in need of protection and support from the audience. What is going to be Defended? Which can be a question and criticism for the mass entertainment era. Playwright: Chen Feili, Central Academy of Drama directing department from year 2008, chairman of Macau Godot Art Association. Director: Miu Ge, Central Academy of Drama directing department from year 2008, during the time in the school, he has been the head of the class. Graduation play is Optional Question, No Endding Other Than This, Hamlet. Independent directing works after graduation include: musical Mermaid, historic play Unprecedented National Talent; Performed plays: musical The Piano in a Factory, Drama Van Gogh etc..

作品时长30’ 出租车司机“火车”将地理老师“老李”劫持到地下室内。火车质问老李是否卷走了7年前共同犯案的赃款，老李否认，火车步步紧逼，并放出烈狗“奶酪” 来了一次“身份互换”的威胁游戏。在罂粟花致命的诱惑中，在手枪迸射的火光里，他们终于发现共同被反锁在没有钥匙的房间里，慢慢等死亦或逃出生天？正如剧中人所说，其实我们都希望能在“这样的夜晚促膝长谈”。不如观剧的时候释放魂灵，托付演员，让他们替我们代言。编剧、导演：闫烁，北京外国语大学西班牙语系毕业，国家基金会古巴哈瓦那大学交换生。曾在中国驻拉美国家使馆工作，其中两年在海拔3600米的高原国家度过。热衷各类创作，从初中起即开始发表作品。编剧作品曾作为2007年中国大学生戏剧节展演作品上演。

Length: 30 min Taxi driver “Train” kidnaps “Lao Li” into the basement. “Train” questions “Lao Li” whether he stole the money from the robbery they both committed 7 years ago, “Lao Li” Denies, but “Train” presses him to admit and even releases the ferocious dog “cheese” to challenge him into an “identity switch” game. Under the seduction of Poppy flowers, by the light of gunpowder, they finally realize they were locked in this lockless room, either waiting to die or escaping to freedom. As what the character says in the play, we all hope to “sitting together knee to knee talking all through the night”. Why not release our souls watching the play and let actors speak on our behalf. Playwright, Director: Yan Shuo graduated from the Spanish department of Beijing Foreign Languages Study University and was an exchange student to Havana of Cuba under a national scholarship. Once was working in the Embassies of China in Latin American Countries, spending 2 years in highland countries 3600 meters above sea-level. In love with all kinds of art, he started to publish works since junior school, with playwright works performed during the 2007 Chinese University Students’ Drama Festival.

103

舞蹈《草莽》 Dancing Wild Grass

行为艺术《发言人》《索尔玛医生》

Physical Art Spokesperson

Doctor Solma

作品时长40’ 一座沙漠之城，城中神秘的女医生索尔玛扭曲的心理将其作为医生的职业操守抛之脑后，充满魔力的手术刀就是她复仇的武器，她将城镇里所有人的生命都控制在自己手里，包括她的艺术家丈夫安格鲁和儿子伊万，眼看小城在索尔玛的操控之下色彩尽失。故事从索尔玛诉说当年这座城市给予她的仇恨展开。索尔玛的花言巧语,安格鲁自愿做手术切除其记忆神经并改变其自由不屈的性格；安格鲁在暗室里忏悔，伊万用城外来客琴师暗中赠与的红苹果相救使得索尔玛的诡计被识破并遭到全城反抗；索尔玛拖着伤痕累累的身心道出了邪恶又脆弱的内心。故事在一片纷繁狼狈的色彩中戛然而止，整个剧借由与现实生活相悖的逻辑渲染了一个新的独立世界，娓娓道来一场人之悲剧。编剧、导演：韩嵩，中央美术学院建筑系在读。故事据其儿时经历创作，从小陪伴母亲在医院值夜班总能见识到各种被担架车推进急诊室的人，留下了对疾病对死亡深深的印记。剧情发展则源自作者近期反复出现的医院的噩梦，儿时记忆和梦魇交汇于“央美” 的浓重艺术氛围中，虚构了一个社会极端而又真实的负能量——我们所处的任何一个社会环境都是自我矛盾的，在不断毁灭与重塑的斗争中循环。

作品时长：15’ 在这部身体剧场作品中，揉入了传统相声及东北二人转的表演形式，在两位舞者的往来逗趣中塑造了不可能存在的悲小人物，他们的舞台愈是“可能”的荒诞，愈还原了人本质的天真，而摆脱了人之于社会存在意识中的相关和复杂性，现代舞的本质也重新显现，即寻求掌控身体动之欲望的内在因子。由此观点，《草莽》也是一部具有“魔幻现实主义”风格的身体剧场作品。编舞：巩中辉，“前列现代舞团”创办人，北京舞蹈学院编导本科毕

In a deserted city, mysterious doctor Solma throws away all her working ethics, turning surgical knives into murder weapons. She takes all the people of the city under her control including her artist husband Andrew and her son Ivan, covering the whole city in shadow. The story begins from her own narration of what hatred this city brought to her. Her sophisticated words coax Andrew into accepting memory-cutting surgery and giving up his persistent will. When Andrew regrets in the dark cellar, Ivan saves him by the help of an red apple given by a visiting pianist from outside of the city, thus exposing Solma’s scheme and turning all city’s anger towards her. Tired by her own tortured mind, Solma confesses her evil but fragile inner heart. The story ends in mess and chaos, which renders a picture of a whole new world of human tragedy. Playwright and Director: Han Song, architecture student at CAFA (Central Academy of Art). The story is based on his childhood experiences, when he was accompanying his mother working night-shift in the hospital. He could always see people rushed in stretchers to the emergency room, which left him deep impressions of illness and death. While the plot development comes from his recent nightmares about hospital, there emerges a kind of passive energy which is socially radical but real——meaning whichever social environment we are in is selfconflicting and recycling through destruction and reformation.

104

业，北京现代舞团驻团艺术家。

Length: 40 min

Length: 15 min 作品时长30’

Length: 30 min

“发言人”是一出独角戏形式的当代艺术表演，创作灵感受伦敦海德公园“演说者之角” 和公众演说传统的启发。观众的发问和艺术家的应答共同构成了此次表演的基础。通过问答观众和艺术家都将了解彼此对诸多社会、经济、文化和艺术领域的意见，希望这种问答经验能够被观众带入到现实生活中，进而促进我们对公共议题的讨论。

Spokesperson is a contemporary performance art of in the form of monologue, inspired from Hyde Park’s “Speaker's Corner” in London and its public speech tradition. Audiences’ questioning and artists’ answering will form the basis of this performance. Through asking and answering audiences and artists are all going to understand each other’s opinions on society, economics, culture and art. Hopefully by this way the Q&A can be adopted by the mass into their lives so to promote our activeness in participating in public discussion.

艺术家：王懿泉，1987年出生于北京，先后就读于北京第二外国语学院，中央美术学院，中央圣马丁艺术学院，目前生活于上海。他的创作实践集中在表演，物体，写作。他的作品曾展出于今日美术馆，箭厂空间“会所”项目，“上午艺术空间”，第九届上海双年展“黑匣子”计划等。他的文章和评论曾发表于艺讯（ARTINFO），佳士得杂志，艺术论坛（ArtForum）中文版等。

In this physical theatrical work, traditional Xiangsheng(stand-up) and Northeast song-and-dance duet are combined with in terms of performance style along the process of two dancers making fun of each other. The more ridiculous their act gets, the more real they are supposed to be. This act rids individuals of any social relations and complexity, and exposes pure features from modern dancing, which is to seek out inner reasons of the body’s desire to move. From this, Wild Grass can also be a physical theatrical work with a taste of “Magical Realism”. Cheoragrapher: Gong Zhonghui, founder of “Pro-Modern Dancing Group”, graduated from Beijing Dancing College with bachelor’s degree of playwright and director, in-residence artist of Beijing Modern Dancing Group.

Artist: Wang Ruiquan, born in 1987 in Beijing, studied in Beijing International Studies University, CAFA (Central Academy of Art), Central Saint Martins, currently l i v i n g i n S h a n g h a i . H i s c re a t i o n practices mainly focus on performance, object and writing. His works once were exhibited in Today Museum, Arrow Factory “Club” Program, “Am Art Space”, the 9th Shanghai Biennale “Black Box” Movement etc.. His articles and commentaries have been published on ARTINFO, Christie's, ArtForum Chinese version, etc..

105

舞蹈《回音》

舞蹈《樱花树下》

Dancing Echo

Dancing Under the Cherry Tree

多媒体肢体剧《霾》 Multimedia Physical Theatre Haze

戏曲《玉禅师》 Chinese Opera Zen Master Yu 作品时长：40’

作品时长：30’ “我们很多时候就表现出这样分裂的自己：一边微妙地掩饰着负面消极的情绪，因为这些被告知是应当被消除的，是终将过去的；一边在感到负面和消极时自责着，强行自我激励着。”快乐的一个秘诀是快节奏生活，沉迷于具体的事务行程，不是不能安静下来倾听心中的“声音”，只是挖掘内心太深入，看穿世界更多层，心就越虚空，生出为什么要活着的真实颓丧感，却不能表达。 “活在没有意义中。”——可能这才是自我疗伤等待情绪平复的方法。舞蹈编导，视觉设计师：汪圆清，着力于跨领域、跨平台的融合创作，涉及舞蹈、戏剧、音乐、视觉等诸多领域的创作，并试图用创作本身来消解彼此的界限；积极与国内外不同领域的艺术家进行跨领域的实验和合作，曾合作的艺术家有：加拿大多媒体艺术家-娜丁·吐恩，日本舞踏艺术家-桂勘、川本裕子，韩国国宝级舞蹈家-洪信子，旅美舞蹈家-侯莹，视觉设计师张子建，音乐家李铁桥等，曾担任北京舞蹈双周、中法文化年、中日舞蹈论坛平面设计，北京雷动天下现代舞团客席编舞、蓬蒿剧场特邀设计师、德中爵士即兴音乐节联合策划人。

Length: 30 min “We are always faced with our splits and contradictions: on the one hand subtly covering our own negative and passive energy, on the other hand we repel it and force ourselves to move forward.” The secret to happiness is to busy oneself with fast-paced life, engage in specific routines so not to sit quietly to listen the inner voice; for as we sift and contemplate, the more we realize that we are ever more empty and begin to have the real passiveness about why we live without ever being capable of expression. “Living in the meaningless”——is probably the method to self-recover and smooth the mood. Choreographer, Visual Designer: WANG YUANQING (Dynamic WANG), focused on the multi-field, crossplatform integration of art. He was involved in dance, drama, music, visual creation, and he tried to use his work itself to break the edges of different arts, working with artists from different fields at home and abroad in cross-discipline experiments and collaboration. He has worked with Nadine Thouin(CAN), Katsura Kan (JPN), Kawamoto Yuko(JPN), Korea’s National Treasure Dancer Sin Cha Hong (KOR) ,Visiting dancer in America Hou Ying, Visual Designer Zhang Zijian, Composer Li Tieqiao and so on. He has been the graphic designer for the Beijing Dance Fortnight, the Sino-French Culture Year, 2012 Chinese and Japanese Dance Forum, Associate choreographer of LDTX, associate designer of PengHao Theater, and co-curator of Jazz Improvise Metting Festival (JIMF).

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“我想这今人，谁能出世尘？寻思万般皆下品，要做莲花国里人。”——李寿卿《月明三度临歧柳》。《玉禅师》由当代青年戏曲人创作，志在演员能够以更细腻的表演、更动听的声腔讲述一个优雅精美的中国古典故事。本剧选自明朝徐渭《四声猿》之《玉禅师翠乡一梦》。南宋，临安水月寺的玉通禅师，多年修行于竹林峰之上。因未庭参新任府尹柳宣教，致柳宣教亲自入寺拜谒并心怀不满。柳宣教遣妓女红莲计诱玉通禅师，密使其破戒，如若成功，则红莲方可脱离教籍。红莲心知官法难违，于是夜投水月寺，佯装病痛，而玉通禅师为化解一场恩怨，无住涅槃……

作品时长：40’ 一部关于日本艺伎的回忆录。“不要强求收获那份爱，但我会一直舞蹈，直到能笑看失去他的痛苦为止。对苦痛和愤怒还可以一展笑容的，才是真正的艺人。”早在北宋初年时，周敦颐便用“出淤泥而不染，濯清涟而不妖”描绘莲花，而韩国也有将莲花养殖在佛寺清水池塘中的传统。来自韩国的张嘉禾与日本的横山洸大将《中国文化与韩国文化与日本文化》的研究运用在舞台表现上，届时您将看到日本传统音乐、日本传统舞和现代舞的融合，优美、灵动的肢体语言将展现艺伎人生的蜕变和唏嘘感动的人生传奇。导演：横山洸大<日本>，日本大学文理学部中文系，中央戏剧学院导演系研究生，编剧《sotoba komachi》（原作《近代能乐集》三岛由纪夫）；2011年参加青年戏剧节《话剧：blue birthday》，2011年参加日本大駱駝艦的工作室，2012年参加美的采风：工作坊艺术节及2012北京-中日当代舞蹈论坛。编舞、演员：章嘉禾<韩国>，首尔艺术大学表演系，汉城大学舞蹈系韩国专统创造舞蹈专业。 1999年第一届仁川舞蹈比赛编舞铜奖。

Length: 40 min A memoir of a Japanese geisha. “Never insisting on gaining love, instead I will dance forever until I can smile over the pain of losing him. Only the one who smiles through pain and anger can be truly called a geisha.” Early in the beginning of Song Dynasty, Zhou Dunyi described lotus flowers “born in mud but still as pure as it is, bathed out of the water cleaned but not seductive.” Korea has a tradition of growing lotus in the clean water ponds of Buddhist temples. Zhang Jiahe from Korea and 横山洸大将 from Japan will adopt “Chinese culture plus Korean Culture plus Japanese Culture” onto the stage. Audiences will have the chance to see Japanese traditional music and dancing combined with modern dancing, with elegant, flexible body language expressing a geisha’s transformation and her touching life story. Director: Yokoyama Akihiro(Japan), Chinese literature department in College of Humanities and Sciences of Nihon University, graduate of directing department of Central Academy of Drama, his playwright works include Sotoba Komachi (original from The Temple of the Golden Pavilion by Mishima Yukio), and he participated in the 2011 Beijing Fringe Festival with play Blue Birthday, in 2011 he joined Japanese Dairakudakan, in 2012 taking part in “Harvesting Beauty in the Field” Sino-Japanese Contemporary Dance Forum 1st Workshop Festival in Beijing. Choreographer, Actress: Zhang Jiahe (Korea), Seoul Institute of the Arts Acting department, Seoul National University Dancing department majoring in Korean traditional creative dancing. In 1999 won the copper medal for choreography in the first In-Cheon Korea Dance competition.

导演：赵大端，李欣霖——上海京剧院创作室青年导演。上海京剧院，成立于1955 年，首任院长为京剧艺术大师周信芳。国家重点京剧院团，国家级非物质文化遗产保护单位。上海京剧院自有其独特艺术风格和追求理念，人才荟萃、剧目纷繁大观。主要作品有《宋士杰》《澶渊之盟》《徐策跑城》《黑旋风李逵》《智取威虎山》《曹操与杨修》《盘丝洞》《狸猫换太子》《贞观盛事》《廉吏于成龙》《成败萧何》等众多经典剧目。作品时长：30’ 多媒体肢体剧《霾》，尝试结构一个人和环境相互关系、彼此作用的能量场，表现我们面对霾越来越日常化的恐惧和困惑。在此我们将霾作为一个现实的寓言，标注当下集体的创伤。当下的中国是否走在人类文明共同发展的方向上？我们被迫看见的自身原来是如此虚弱！世道再难，也要呼吸顺畅！编剧、导演：丁柳，毕业于南京大学汉语言文学专业；北京师范大学艺术学专业。并在北京大学戏剧高等研修班师从林兆华导演学习进修。曾进行多年的独立剧场创作，作品在北京、上海、德国、荷兰、西班牙、挪威等地艺术节演出。参与作品有《痕迹》、《我们你们他们》、《大眼睛，小眼睛》。现职业为南京晓庄学院教师。

Length: 30 min Haze, a multimedia physical theatre, constructs an energy field in which people and environment correlate and interact, and manifest our increasing phobia and perplexity facing with haze. Haze is treated as a living fable to label a collective trauma. Is China currently walking in the same direction of human civilization’s ? We are forced to see our weakness! No matter how hard life is, we still need to breathe freely! Playwright/Director Ding Liu graduated from Nanjing University majoring in Chinese Language and Literature, and from Beijing Normal University majoring in Art Theory. He also took classes at Beijing University Theatre Advanced Workshop and learnt with Director Lin Zhaohua. He conducts work pieces for years for independent theatres. His works have been performed during art festivals in Beijing, Shanghai, Germany, The Netherlands, Spain, Norway, etc. He also participated in Imprint, We You They, and Big Eyes Small Eyes. He now teaches at Nanjing Xiaozhuang University.

Length: 40 min “I wonder whoever in nowadays can escape the mundane life. Given everything is inferior; I’d like to be a man in the lotus kingdom. ” Li Shouqing, Triple Presence in Qiliu Under Moonlight Zen Master Yu is created by a modern young opera practitioner with the hope that performers can present an elegant and fine traditional story with more exquisite performance and more beautiful tunes. This play is based on "Zen Master Yu’s Dream in the Greenness Village," an episode from the “Four Chatters of the Gibbon” by Xu Wei, a Ming-Dynasty writer and artist. In the Southern Song Dynasty, there is a Zen Master Yu in Lin'an, the capital of the regime. He belongs to a monastery called the Water Moon Vihara and has been practicing Buddhism on the Alp of Bamboo Groves. His failure to visit the new county magistrate, Liu Xuanjiao, results in the latter's paying a call with grievances. In order to avenge himself on the monk, Liu secretly orders Pink Lotus, a prostitute, to seduce the sage and thereby ruin his religious achievements. As Liu promises, upon her completion of this blasphemous mission, she will be delivered from the brothel. Having no way to say no, Pink Lotus goes to the monastery in the night and feigns illness. Zen Master Yu, with all his mercy and compassion, lodges this hot creature in his bedroom... Director Zhao Daduan and Li Xinlin are both young directors from Shanghai Jingju Company Creation Studio. Shanghai Jingju Company was established in 1955. Its initial president was Zhou Xinfang, a Peking Opera master. It is now the key national Peking Opera troupe and national non-material culture heritage conservation unit. Shanghai Jingju Company has a unique art style and pursuit theories with a wealth of talents and numerous plays. Its representative works include: Song Shijie, Oath of Alliance at Chanyuan, Fleeing Xuce, Li Kui the Black Whirlwind, Outwit Weihu Mountain, Cao Cao and Yang Xiu, Pansi Cavity, A Leopard Cat that substitutes a Prince, Zhenguan Prosperity, The Clean Clergy Yu Chenglong, and Success and Failure of Xiao He, and many other famous plays.

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戏曲《欲》

戏曲朗读《碾玉观音》

《最后只有躺下来》

佛理剧《大哉众生》

Chinese Opera Desire

Chinese Opera Reading Grinding

Finally, Only Have to Lie Down

The Buddhist Drama Grandiose All

作品时长：30’ 故事取材于美国作家奥尼尔《榆树下的欲望》。本剧讲述农场主白老头为了传宗接代娶年轻妇蒲兰，蒲兰为了财产勾引白老头儿子三郎，不料二人产生了真正的爱情并生下了儿子。三人矛盾的关系致使怀疑渐生，蒲兰忍痛杀死亲生婴儿。 “《欲》的音乐采用梆子、昆曲等剧种的音乐元素。人物唱腔既有梆子的韵味，也具备抒情的歌唱性，具有很强的艺术感染力。”——朱维英国家一级作曲 “导演对舞台、对戏曲表导演很熟知，还借鉴了戏剧导演的表现手段，丰富了戏曲舞台。”——姜若瑜中央戏剧学院表演系教授编剧、导演：杨艺，中国戏曲学院2011级导演系硕士研究生，曾排演大型新编历史剧秦腔《魏孝文帝》，戏曲儿童剧《新天书奇谈》，现代戏曲小剧场《欲》，礼仪剧《遇知音》等。发表论文《戏曲小剧场———当代青年戏曲导演创作的“新天地”》等学术文章。参与创作2014年中法文化之春作品《效应W》。 Length: 30 min Materials drawn from American author Eugene O’Neil’s Desire Under the Elms. This play tells a story of the owner of a farm, Old man Bai, who married young Pulan in the hope of having another son to carry on his family name. Pulan seduced the third son of Old man Bai as a ploy to take all his possessions but never thought they would eventually have true love and a baby. The contradictory relations of the three led to increasing mistrust. Finally, Pulan had to kill her own baby in great pain. “The music of Desire employs elements drawn from Bangzi(wooden clappers) and Kunqu Opera. Characters’ singing tune has both a Bangzi charm and a lyricism. It is full of strong artistic characteristics.”--- Zhu Weiying, National Composer “The Director is very familiar with stage and operadirecting. He borrows performing skills from opera directing to enrich the opera stage. “---Jiang Ruoxu, Professor of the Central Academy of Drama, Department of Performance Playwright/Director: Yang Yi, a ‘2011 Master student of National Academy of Chinese Theatre, and used to direct/perform in the big historical Shaanxi Opera Xiaowen Emperor of Wei, children’s opera New Yarn of Heaven’s Book, modern spoken drama and experimental theatre Desire, Chinese liturgical drama Encountering Someone Who Understands Me. Published thesis on Chinese Opera in Experimental Theatre—Modern Youth Opera Directors’ New Space. He also participated in the creation of Effect W for 2014 FESTIVAL CROISEMENTS.

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the Jade Bodhisattva 作品时长：30’ 原自宋话本小说《碾玉观音》，作者无名氏，是中国最早的爱情话本小说，为《京本通俗小说》中的开卷之作。“碾”做碾制、碾碎双意；“玉观音”，因崔宁而生，依秀秀而型。在剧中是咸安郡王加官进爵的保证，也是崔宁心底的灵感与爱情女神；是秀秀又爱又怕的信物，也是郭排军以尸要挟的砝码。它是我们心底那个通体清澈的爱人，是对艺术的信仰和对生活原本的希望。我采用六场次无暗场的技巧处理，重塑了崔宁的人物形象，沿用他俊美、矛盾、羞涩的特点，强调他对爱情和艺术的执着。比起秀秀的果敢“入世”，崔宁更见“出尘”的艺术家气质，有着“宁为玉碎不为瓦全”的君子气节。在文本创作上我也整合了故事脉络，集中制造冲突，并完成从文本到现代剧场艺术的转变。编剧、导演：李卓群，生于1985年，北京京剧院青年编剧、导演。先后就读于中国戏曲学院戏文系、导演系。编剧及导演作品：越剧新编历史剧《烈马红颜》，秦腔现代戏《在那遥远的地方》，实验豫剧《潘金莲》，京剧《鼎盛春秋·逃国》《牡丹缘》《惜·姣》《新龙门客栈》，话剧《寄生草》。 2011、2014年CCTV11戏曲春晚撰稿及板块导演。

作品时长：95’ 本剧展现了当代中国中产阶级的家庭生活图景，他们是一个新兴且模糊的薄弱群体，他们的下一代也正在迅速成长起来。这样一群人，他们像蚕蛹包裹在自己的小世界里，想要冲破却总是在思想积极，行动无力。有人彻底向现实妥协，麻木的人云亦云；有人学会让浮躁的心平静下来，脚踏实地，厚积薄发。我们希望剧中人和观众都能自行选择其命运。就像契诃夫那样，善良地关注着我们时代的知识分子，他们被建立的和被毁灭的，他们的忧伤、欢乐和迷茫，他们咬牙切齿的风度和勤勤恳恳的无所事事。“时光在走，人们背着死亡与欢笑继续前行，累了，最后只有躺下来。” 编剧：郭光韵，中央戏剧学院戏剧美学专业博士，中央戏剧学院电视剧专业研究生。获奖戏剧作品：第十届中国艺术节群星奖 —— 戏剧门类金奖（《乐谷之声》）。电视剧作品：《少年神探狄仁杰》，《爱的多米诺》。导演：尉迟少南，中央戏剧学院导演系研究生。

Length: 95 min Length: 30 min This play originates from a vernacular novel Grinding the Jade Bodhisattva by an anonymous author from Song Dynasty, which is the earliest novel of its kind in love theme, and also the opening chapter of the Anthology of Popular Novels of Beijing Edition. Grinding has the dual meanings of polishing and crushing. The Jade Bodhisattva was born for Cui Ning and prototyped after Xiuxiu. It was a promotion guarantee for the Prefecture Prince of Xian’an County, an inspiration and love Goddess of Cui Ning’s innermost being, and a love-and-fear emblem of Xiuxiu, and also threatening weight of Guo Paijun. It is the pure lover in our heart, a leap of faith, and a hope for an original life. I used a skill of six-scenes without a dark field to reconstruct the character of Cui Ning, following his traits of handsomeness, contradiction, and shyness, emphasizing his persistence about love and art. Compared to Xiuxiu’s braveness of living in the mundane life, Cui Ning stands out with his artistic temperament of detachment and a fine quality to believe that it is better to die when life is a disgrace. I integrate the veins of the story, create intensive conflicts, and transform the text to a modern theatric art. Playwright/Director: Li Zhuoqun, born in 1985, is now a youth playwright and director at Beijing Peking Opera Institute. He studied successively in the departments of Dramatic Writing and Directing at the National Academy of Chinese Theatre Arts. His past playwright and directing works include: Shaoxing Opera new historical opera, A Boisterous Horse and a Confidante, Shaanxi Opera modern opera, In the Faraway Place, experimental Honan Opera Pan Jinlian, Peking Opera, Prosperous Spring and Autumn-fleeing the country, Peony Fate, Treasure-Beauty, and New Dragon Inn, and modern spoken drama Parasitic Grass. He was the playwright and director for the Chinese Theatre Spring Gala of CCTV-11 in 2011 and 2014.

This plays shows a life scene of modern Chinese middleclass families. They are an emerging, fuzzy and weak group of people. At the same time, their next generation is growing up quickly. They are like a silkworm’s chrysalis, wrapping themselves in their own small world, wishing to break through but always end up in a state which is thinking vigorously but acting vaguely. Some of them completely surrender to the reality and repeat others’ words numbingly, while some others learnt how to pacify their impetuous mind and land on the solid ground to accumulate steadily for a future outbreak. We hope characters in the drama as well as audience can all choose their destinies freely. We kindly pay attention to intellectuals as Chekhov did: their achievements and failures, their sadness, happiness, and confusion, their demeanor of gnashing the teeth in anger, and their diligently work for nothing. “Time going by, people move on bearing death and laugh, when tired, finally, only have to lie down.”

Life Being 作品时长：90’ 佛理剧《大哉众生》原剧本完成于上世纪 90年代末，讲的是在几个年轻人之间的情感纠葛最终达到自我觉醒与自我灭亡的悲剧故事，具有很鲜明的时代色彩。 “认识你自己！”这句铭刻在德尔斐神殿上的著名箴言点明了人类永恒的主题。认识自我的天性，认识自己的限度和欲求，认识附着在凡胎上的那个灵魂，这是多么重要而又艰苦的追寻！当人类失去人性，那将是一连串悲剧的开始。当人类人性意识开始复苏，慢慢找到属于自己人性光辉的那一面时，那不是悲剧的结束，却是另一场悲剧的开端。胆小的人发疯，普通的人骗自己，勇敢的人毁灭自己。从自我否定与撕裂中，人找到存在的价值，毁灭过去，奔向未来。编剧：陈珂，中央戏剧学院戏管系教授，中央戏剧学院戏剧戏曲学博士。作品：长篇小说《大巴山下》、中篇小说《竹雾》、长篇小说《烟》；轻歌舞剧《永远的十八岁》，导演兼制作人；电视剧《十面埋伏》独立编剧，电视剧《我是英雄》第一编剧，电影《巴河镇》编剧，电视剧《雨镇》编剧。导演：查文渊，中央戏剧学院导演系研究生。 Length: 90 Min The original script was completed in late 1990s. A tragic story about the entangled relations among several young people until they finally reached a self awakening and self destruction, with a distinctive feature of that time. “Know Thyself!” This famous aphorism inscribed in the Temple of Apollo at Delphi points out the eternal theme of mankind. Understanding one’s own nature, limit, and desire, and the soul attached to the mortal---what a critical but painstaking pursuit! When humans lose their nature, it will become the start of a series of tragedies. When human’s nature begins to recover and gradually find its shining spot, it won’t be the end of the tragedy but only the outset of another. The timid loses their mind, the ordinary lies to themselves, and the brave destroys themselves. Human find the value of existing through self denial and a rupture, and they will ruin the past and run to the future.

Playwright Guo Guangyun, Doctorate student of Theatric Aesthetics and a graduate majoring in TV Drama at the Central Academy of Drama. Award-wining works include: Sound of the Music Valley, Multitude Star Award---the Golden Award of the Theatre Section of the 10th Chinese Art Festival. TV drama works include: Young Genius Detective, Di Renjie and Love’s Domino.

Playwright: Chen Ke, Professor at the Central Academy of Drama, Department of Theatre Management, and PH.D. in Xiqu from the Central Academy of Drama. Works include: novel, Under the Dabie Mountain and Smoke; medium-length novel, Bamboo Fog; vaudeville, director and producer of Forever 18 Years Old, TV drama, Independent playwright of Ambush of All Sides, the first playwright of I am the Hero, playwright of Rain County; Movie, Screenwriter of Bahe County.

Director Yuchi Shaonan, Master Student of the Central Academy of Drama, Department of Directing

Director: Cha Wenyuan, Graduate Student of the Central Academy of Drama, Department of Directing

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《红树林》 Mangrove

《早安，妈妈》

肢体剧《在一起》

Good Morning, Mom

Physical Theatre Being Together

Length: 95 min

作品时长：95’ 本剧改编自中国诺贝尔文学奖获奖者莫言同名作品，并将古希腊歌队、现场乐队、舞蹈等多种艺术形式与戏剧情节结合，将抒情性、叙事性、戏剧性融为一体，饱含哲思，充满人性关怀。全剧以江南市副市长林岚人生境遇为线索，以其儿子大虎的轮奸案为中心，展示了剧中各个人物不同的境遇和精彩的人生历程，全剧富于戏剧性和现实性，大力鞭挞了现实社会的丑陋现象，拷问灵魂，揭示了正义、良知和美好最终胜过恶欲、异化和丑陋的真理。莫言曾将文学创作定义为是“一颗树的生长”。本次改编，力求以戏剧的流动感呈现静态文本欲表现的“一颗树的生长”形态。将莫言小说中繁杂多变的各种叙述手法统一于戏剧语境之下，在节奏中象布朗运动，每次演出都不一样，可以穿插到人物表演中去。力图使观众在红树林不断生长、蔓延中，感受生命的无限和深幽，营造出神秘感与敬畏感。改编/总导演：陈珂，中央戏剧学院戏管系教授，中央戏剧学院戏剧戏曲学博士。作品：长篇小说《大巴山下》、中篇小说《竹雾》、长篇小说《烟》；轻歌舞剧《永远的十八岁》，导演兼制作人；电视剧《十面埋伏》独立编剧，电视剧《我是英雄》第一编剧，电影《巴河镇》编剧，电视剧《雨镇》编剧。执行导演：吴泽涛，中央戏剧学院导演专业艺术学博士，导演作品：话剧《色戒》（吴镇宇、景甜主演）；创作话剧剧本：《色戒》《倾城之恋》；编剧作品：电视剧《乱世金刚》、电视剧《李二狗在北京》、音乐剧《冰山上的来客》。

This play is adapted from the Nobel Award winner Mo Yan’s novel with same name. It integrates various art forms--Ancient Greek Chorus, live band, and dancing—with drama , and combines lyricism, narrative and dramatics as a whole. It is full of philosophical thoughts and humanistic concern. The whole play develops along life conditions of Lin Lan, Deputy Mayor of Jiangnan Municipality, centers around his son Tiger’s gang-rape case, and reveals all of the characters’ different circumstances and colorful life courses. This play is full of dramatics and realism, vigorously castigates the hideous phenomena of the society, tortures souls, and reveals the truth that justice, conscience, and goodness will eventually overcome evil desires, defaming, and ugliness. Mo Yan used to define literature creation as “A tree’s growth”. This adaption strives to demonstrate the form that the static text which is hoping to imitate “A Tree’s Growth”. It integrates the complex and changing narrative methods in Mo Yan’s novel in the context of drama, and reflects the vibration by giving irregular tempos to actors, just like Brownian motion. The play tries to create senses of mystery and awe in the growth and spreading of Mangrove, and let the audience feel the infinity and depth of life. Adapter/General Director: Chen Ke, Professor at the Central Academy of Drama, Department of Theatre Management, and PH.D. in Xiqu from the Central Academy of Drama. Works include: novel, Under the Dabie Mountain and Smoke; medium-length novel, Bamboo Fog; Vaudeville, director and producer of Forever 18 Years Old, TV Drama, Independent playwright of Ambush of All Sides, the first playwright of I am the Hero, playwright of Rain County; Movie, Screenwriter of Bahe County. Executive Director: Wu Zetao, Doctorate student of Directing at the Central Academy of Drama. His credentials include: Director of Chinese Spoken Drama Lust and Caution (Leading performers: Wu Zhenyu and Jing Tian), Playwright of Chinese Spoken Drama, Lust and Caution, Screenwriter of TV Drama King Kong of a Rambling Society, Li Er’gou in Beijing, and musical play Guests from the Iced Mountain.

作品时长：40’ 这是一个关于爱的故事，也是一个关于不爱的故事。母亲和儿子分别是爱情和药物的成瘾者，一个秘密的交换是否能让这两个人戒断心瘾？当生活的真相被迫来到眼前，两颗远离的心是否能够再次相接？如果一个人曾经承受过巨大的灾难而又生存下来的话，他的身上就总会有一种献祭式的美。这就是《早安，妈妈》中母亲形象的确立过程。爱情以毁灭的姿态将一个女人的灵魂定格在80年代，爱情只能借助孩子的肉身假意回归。女人面对的已经不是甜浆般的诱惑，而是孩子在失父状态下的拷问，父亲和爱情缺席后母子只能透过自己去完成对彼此的相认。编剧：拓璐，北京大学中文系当代文学专业博士研究生，研究方向为当代文学、文化与戏剧、电影，出版《全球华语小说大系•怀旧卷》。导演：祖纪妍，北京大学艺术学院戏剧与影视学专业硕士研究生，曾执导《没想好的间隔年》，在 2013年北京大学剧星风采大赛中获得总冠军，最佳舞台效果奖、最佳原创剧本奖、最佳女主角、最佳女配角奖等。

一年前，我回到离开14年的故乡北京，曾经熟悉的蓝天下骑车穿行在胡同中的生活完全不见了。她消失在浓浓的雾霾里。我听说大家对环境已近绝望，我也觉得回来是错的。可我留恋这个城市的人情味。每个孤独的个体周

本单元展示的是由新剧场创作计划扶持的青年编导作品。新剧场创作计划是一个为青年戏剧创作者提供长时间、持续性深入交流与合作的戏剧文学创作平台、戏剧作品孵化平台以及戏剧表演交流平台。经过较长时间的磨合，从创作初期众多编导的交流讨论，到中期面对公众的剧本朗读，从专家与观众的反馈中吸收意见进行再修改和再创作，直到最后经过多稿修改完成比较完善的可供戏剧演出的剧本。新剧场的作品通常主题紧扣人与社会，人性上的挖掘相对深刻，艺术形式上有一定的探索，观念上也保持着一定的先锋性，在种种实验与探索的基础上也力图使作品更接地气而被大众所接受。

围都有人情牵连。和20年前的北大剧社一起排戏，和步入中年的大家，托着上有老下有小、左有事业右有家庭的身体，却在舞台上奔跑、摔倒、在一起。

导演：周颖，毕业于北京大学，在校期间是北大剧社核心成员，编导演多部戏剧。毕业后赴美留学，获得地理学硕士学位后，在攻博期间，转入舞蹈系学习，获得华盛顿大学舞蹈学士学位。

Length: 40 min This is a story about love and non-love. Mother and Son are respectively addicted to love and drugs. Will the exchange of a secret be able to withdraw their cravings? Will the two distant hearts be able to reconnect when the truth of life is compelled to present? A man is always with a sacrificing charm if he has ever undertaken a monstrous meltdown and eventually survived. This is exactly the process of the character of Mother in this play. What this woman faces is no longer temptation, but an interrogation of a child who has lost his father. Mother and son have to admit each other through themselves in the absence of the father and love. Playwright: Tuo LU, Doctorate student of Chinese Modern Literature at Peking University. Her research interests include: Modern Literature, Culture and Drama, Movies. She published Global Chinese Novels Series-Reminiscent Volume. Director: Zu Jiyan, Master student of Theatre and Visual at Peking University, School of Arts. Her previous directing work, A Gap Year Hasn’t Been Thought Through won the Championship, the Best Stage Effect, The Best Original Playwright, the Best Actress, and the Best Supporting Actress during the 2013 Peking University Theatre Star Competition.

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作品时长：50’

新剧场创作计划

Length: 50 min A year ago, I went back to my hometown after 14 years and found the life riding bikes in Hutongs under the blue sky disappeared completely. It had disappeared into the thick haze. I’ve heard that people have become almost desperate about environment. I feel it was a mistake to come back as well. However, I miss the closeness and care of people in this city. Every lonely individual is surrounded and linked by this closeness. I rehearsed with people of Beijing University Drama Troupe 20 years ago. With all of our middle-aged folks, we lift our bodies that are full of family and social responsibilities, and run, tumble, and stay together. Director: Zhou Ying graduated from Beijing University. She used to be the core member of Beijing University Drama Troupe back in college and has directed many plays. She went to study in the US after graduation. After she obtained her M.A. in Geography she transferred to the Department of Dancing during doctorate study and obtained a B.A. in dancing from University of Washington.

New Theatre Creation Project This unit will present works done by youth directors and playwrights supported by the New Theatre Creation Project. This Project builds a series of platforms for youth theater creators to conduct long-lasting and persistently deep communication and cooperation of theater literature, to incubate new theatre works, and to perform and exchange. After a relatively long period of run-in, youth theatre creators can discuss with various directors and playwrights during the initial creation period, read their plays to the audience in the medium phase, and revise or recreate their work with feedback from experts and the audience, and finally produce a script that can be played on stage after many revisions. Works of the New Theater Project all carry these characters: sticking closely to the theme of people and society, a deep digging of human nature, exploring the form of art to some extent, and holding some avant-garde ideas. At the same time, we also strive to outreach to a broader audience with something more down-to-earth after all kinds of different experiments and exploration.

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剧本朗读《假凤虚凰》

剧本朗读《安息》

剧本朗读《一个关于爱情的模型》

Play Reading Fake Phoenix

Play Reading Rest in Peace

Play Reading: A Model about Love

作品时长：90’

本剧以戏中戏的方式展现了当代社会的性别危机。“性别”作为当代中国文化政治的关键词，它关涉着每个人的精神世界。随着美国20世纪 60年代女权运动的兴起，以及中国新时期女性写作的崛起，性别不再仅仅是一个生理分类范畴，它更是一个心理概念。 “性别”后面往往要加上“认同”二字：你是否热爱并“认同”你的性别呢？如果不，你又会怎样熬过如此切肤的心灵危机？法国哲学家福柯认为，“性别本身就是一种权力关系。”这一论断是《假凤虚凰》的写作起点。一个看上去风平浪静的中产阶级家庭，其实危机四伏，随着一个外来者的闯入，危机被一一揭示，究竟什么才是真实与自由？生活必须是赤裸裸的真相吗？谎言会让生活更美好吗？是假凤虚凰地混世，还是劳燕纷飞的结局？

计划生育政策在中国执行了三十多年，深深地影响了中国人的生活。李瑞英是国家计划生育政策的执行者，也是计划生育政策的受害者，她当年为了执行计划生育政策，忍痛打掉五个月的二胎婴儿，几十年后，当她退休之后，她的独生子却意外身亡，她成了“失独老人”。家园的破碎是目前中国的一个显著现象，拆迁、城市化发展中的留守儿童、空巢老人等，失去家园的中国人，承载着很重的心理压力。何时才能重回我们灵魂的栖居地，心灵何时才能安息？“由光明坠入黑暗，期盼着母亲的怀抱，从此开始新的轮回”。

编剧：白惠元， 2007年考入北京大学中文系，现为中国当代文学专业在读博士。“枫丹白璐”工作室编剧，剧评人，影评人。编导作品《麻将》获 2012-2013年度北京大学剧星风采大赛初赛冠军、最佳原创编剧奖。

编剧：刘红卿，中央戏剧学院戏剧文学系博士研究生，话剧剧本《疯女人的演说》、《黑幻公寓》、《爸，我们回家》、《快乐王子》、《麦克白的儿子》、《白兔的故事》、《安娜的心理咨询》等；电影剧本《诺言》、《在路上》；小说《女巫》、《俄狄浦斯》、《安娜的心理咨询》。

Length: 90 min

This play shows the gender crisis of modern society through play within a play. Gender, as a key word of modern Chinese cultural politics, concerns the mental world of each individual. Along with the emerging of feminism in 1960s in the U.S., and the rise of Chinese women’s writing during the new period, gender is not merely physiological classification anymore, but rather a psychological concept. Gender is usually added with the word of Identification. Do you love and “identify” your gender? If not, how will you get over such a skin-cuttingly soul crisis? The French philosopher Foucault claimed that gender itself is just a relation of power. This conclusion becomes the origin of this play. A seemingly peaceful middle-class family actually lurks crisis at all sides. After a stranger breaks into this family, crises are reveled one by one. What on earth is truth and freedom? Does life have to be the naked truth? Will lies make life any better? Will you live a perfunctory life with a fake gender identity? Or will it be a separation like birds flying in different directions at last?

Family Planning policy has been in effective in China for over 30 years and has deeply influenced the life of Chinese. Li Ruiying is a steward and also a victim of this policy. Years earlier she had to abort her second baby when it was only 5 months in order to execute the policy. However, several dozens of years later, in her retirement, her only son died in an accident to leave her without any dependent. Fragmentation of homes has become a prominent phenomenon in china, for example demolition and urbanization have created many left-behind kids and elderly. These people are all bearing rather heavy psychological pressure. When can we return to our soul-dwelling and find peace for our souls? “From brightness we plummet to darkness, and look forward to mother’s arms, and renew samaras.”

Playwright: Bai Huiyuan was admitted to Beijing University, Department of in 2007 and now a doctorate student of Chinese Modern Literature. He is the playwright, drama and movie critic of the Fontainebleau Studio. His previous directing work Mahjong won the championship and The Best Original Playwright during 2012-2013 Beijing University Play Stars Preliminary Contest.

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Playwright: Liu Hongqing, Doctorate student of Drama Literature at the Central Academy of Drama. His modern spoken drama works include: A Mad Woman’s Speech, A Dark and Magic Apartment, Dad, Let’s Go Home, Prince Happiness, Son of Macbeth, Story of a White Rabbit, Anna’s Psychology Counseling, and etc. and film scripts include Promise, On the Road, and novels Witch, Oedipus, and Anna’s Psychology Counseling.

作品时长：120’ 爱情是什么？没有恋爱的人，认为爱情是奢侈品。恋爱后的人，认为爱情就是彼此的宽容和理解。拥有发言权又深处围城的我们，饱受爱情折磨又不肯放弃的我们，漫不经心又苦苦渴求的我们，你，还在寻找属于自己的“爱情”吗？一个三流剧作家为了弄清楚爱情是什么，而发明了一个关于爱情的模型，并且，他根据这个模型，写出了一部戏剧。四个排练的年轻人就戏剧与爱情展开了一场激烈讨论，并且牵扯出了一段纠结的三人关系。在完成创作后，作家也得出了他自己对爱情的选择。存在着一个永恒不变、无限圆满的思想世界，和一个随时间而不停运动的物质世界。我们生存于物质世界，又具有了认知的能力，于是意义之于我，便是去认识那个永恒的思想世界——神所在的世界。我们究竟为什么要创造一个剧本？对于我的意义就在于你，观众——如果看完它你可以重新认识你的爱情，那么，它便也对你，产生了意义。编剧：索健，天津工业大学数学专业毕业，主要作品：话剧《南方列车枪杀案》，《一个关于爱情的模型》，歌舞剧《蚩尤》，电影小说《荒诞》，其中《南方列车枪杀案》入选田沁鑫新写作计划前十名。现在天津经济技术开发区国际学校天津分校担任IT Administrator一职。 Length: 120 min What is love? People who are not in love consider it a luxury. Once having loved, they think love is about tolerance and understanding of each other. People like us who have a say about this, who are in the siege in the meantime, who are both inattentive towards and craving for it, you, are you still in search of “love” that belongs to yourself? A third-rate playwright invents a model about love in order to figure out what on earth love is. And he writes a play according to this model. Four young people hold a fierce debate over the play and love which elicit an entangled relationship between the three. The playwright finds his choice of love after completing this play. There is an eternal and infinitely perfect mental world and a materialized world which moves constantly over time. We live in this materialized world with the ability to cognize, so the meaning to me is to apprehend the eternal mental world where Gods are. Why do we need to create a play script? The meaning to me is in you, the audience. If you could rediscover your love, then it also become meaningful to you after you watch this play. Playwright: Suo Jian graduated in Mathematics from Tianjin Industry University. His main works include: modern spoken drama A Gun Murder on a South Train which was selected as the Top 10 of Tian Qinxin New Writing Project, and A Model about Love, song and dance drama Chi You, movie novel Absurd. He is now teaching at Tianjin Economic and Technology Development District International School Tianjin Campus as IT Administrator.

工作坊＋讲座＋资料放映

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想象的现实

爱德华·邦德

_ 文：克里斯·库佩（英国）

这部剧反应的是撒切尔夫人实施的新自由主义，它的目标是继续维护那些贪婪的富有和优等群体，而在大英帝国走向后帝国，社会经济和文化下坡路的过程中无疑损父亲：吃。我们要像一家人一样坐在这里。我不知道最后会发生什么。如果这是我

害了贫困人群的利益。2008 年的经济危机则让这一切雪上加霜，引发了谁都无法弥

仅有的——我在这个屋子里唯一剩下的——我也要坚持到底，就好像它们还是我的，

补的伤害。我们还从未有过这样的经历，而威斯敏斯特也没有一个愿意或能够应对

而且还是我说了算。

这一局面的政客或是政党。但这一现实如何通过戏剧的方式得以表现，如何传递在我们的文化中呢？根据邦德

母亲坐着。吃着。

的解释：

父亲：（对女儿）你要学会——如果有机会的话——不要和现实开玩笑。它不喜欢被

从我开始写作到现在，英国戏剧状态比以往任何时候都差。新经济现实（撒切尔夫

捉弄，你会被打击得很惨。

人的新自由主义）对文化造成的影响正在开始起效。什么都变得毫无意义。独立的制作很容易在市场的千丝万缕的牵绊中迷失。无穷的“一次性”毫无希望——它们 ——《破碎的碗》爱德华·邦德 2012

让成功都变得无意义。 2014 年 4 月的邮件

1995 年我参加并负责了一个工作坊和以“我们摆好桌子，在地上吃饭”为题目的大会。题目是来自爱德华·邦德的戏剧作品《红色，黑色和无知》，它似乎恰当地反应

戏剧必须要面对市场经济所导致的后果，不仅是因为在市场环境下戏剧变成了另一

了我们所在的时代。1997 年我很幸运地被选为演员参加了邦德为 Big Brum 所创作

个消费品，也因为我们对社会政治平等的抗争和争取的内心驱动。街道上的公共空

的《十一件背心》的戏剧全球首演制作。这是第二次受到邦德公司的委托。十八年

间和作为公共空间的舞台之间有着强烈的联系，两者都是形体和心理的空间。两者

来邦德为 Big Brum 的年轻人共写作了超过 8 部作品，其中包括令人称赞的为 9-12

互相穿插交融。《破碎的碗》是这两个空间的连接点，或者是社会和自我的连接点。

岁孩子所写的反应现实危机的《破碎的碗》。我提到这个作品有三个原因，首先这部

爱德华·邦德的戏剧及其根源的思想在二十一世纪之交为我们的精神及社会中的挣

剧在 2012 年已经由我通过蓬蒿剧场的一个工作坊活动介绍给了中国观众；其次它

扎带来了新鲜独特的因子；邦德发展了一种戏剧的新形式。

直接探讨的是想象和现实之间的关系，也就是今年戏剧节工作坊的主题；最后，围

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坐在饭桌上吃饭这个具有普遍指代意义的画面（尤其是在中国），这个与家庭意义息

邦德戏剧源起古代希腊戏剧，这种古老的形式产生的背景是：市民突然推翻雅典的

息相关，因而也与社会生活紧密联系的画面在戏剧中处于中心的位置。然而在这部

贵族，夺取城邦政府的政治权利的政治斗争过程之中，在没有行政结构先例的情况

戏中家庭失去了这个桌子，因为害怕被匪徒打劫，父亲将屋子里的家具都砍断藏起来，

下民主必须要得以生成和确立。城邦的市民都攥着权利，如何处理这样的责任和这

防止被发现，从而在自己的压抑之下变成了匪徒的帮凶。 “我们以后就这样生活——

种极端的局面？解决方案中重要的一部分是悲剧的出现。悲剧是政治传统思维里所

地板就是家具！”最后的结局和《红，黑和无知》其中的一句台词一样，他们只能

定义的弱势群体享有民主后的表现。但这不意味着悲剧是以政治为话题的，这个角

在地上吃饭，但是《破碎的碗》的场景时间“是在 2077” ，桌子就是地板。我在想

色是保留给喜剧的。悲剧作家利用故事、古代神话来表达所有有意识无意识的对雅

我们在多久的将来也会走向这样一种家庭画面，生活因为恐惧和孤立而窒息，就好

典社会所赋予的责任的渴望——安提戈涅，俄狄浦斯，美狄亚被放在舞台上，从而

像邦德在《破碎的碗》中描述的？

使希腊的市民能够面对现实，这能产生意义，能抒发人类追求正义的需求。最终建 115

立在奴隶制度之上的城邦因为降低了民主的范围而变得腐败，但是一百多年来戏剧则随之而不断繁荣：市民将自己在日常街道上的经历搬到舞台上，以学会更加了解

克里斯·库佩与爱德华·邦德

自己。而如今我们的世界比城邦时代的世界复杂很多，我们的经验更加的断裂化。但是民主的不确定性和不稳定性仍旧存在，资本主义又将一切所知和未知都变为商

戏剧的舞台或场景对于融入人类的诉求是关键的：

品。我们被市场逻辑吞噬得太深，以至于认识自己成了一个更加复杂的过程。戏剧

我曾经说过戏剧发生在演员的脑海里，也发生在观众的脑海里——他们成为一体：观众就是舞台，他

和政治之间的共存关系已经被文化的商品化腐蚀。

们认同演员，或者说认同他们在戏剧情境下的认知和经验——他们不会成为演员但是却能从演员身上认出自己，而且因为舞台是一个辩证的现实，观众会因为自身的诉求而渴望了解，他们享受这种文化

邦德的戏剧旨在突出我们人性所面对的危机，试图通过将安提戈涅，俄狄浦斯，美

方法中的“约定俗成” ，因为它可以给观众展示一种自我经历的现实——他们欣赏戏剧舞台的创意技

狄亚的核心危机放在舞台上使我们能够创造自己；与此同时躲在意识形态背后从而

巧——所以他们既“享受”戏剧的目的，也享受戏剧之所创造。观众得到了充分的印证，认为自己是

使冲突对抗只发生在戏剧的极端条件下。这里就不提戏剧结构和方法的细节问题了。

自己经验的创作者，最终让被害者（弱者）也可以成为力量和改变的载体。（邦德，2012 年未发布的邮件）

邦德创造了关于意识形态问题的思考，但是我想提及的是一些关于想象的话题，因为我感到这个话题可以帮助人们对我们的工作和创作做出发展性的认识和想法的交

流，也是能够帮助戏剧导向更好方向的话题。我认为通常在剧院和戏剧的环境里，对想象力的理解很模糊，就好爱德华·邦德像

腐蚀我们的意识形态也将会腐蚀想象。在《破碎的碗》里父亲告诉他的女儿“你要学会——如果有机

它是现实的另一个选择。当我们说要有想象力的时候，我们指的是什么？我们可以

会的话——不要和现实开玩笑。它不喜欢被捉弄，你会被打击得很惨” 。但是他对现实的把握已经变

很自然地反应出它的重要性，但却不一定抓住了它的内涵。而我相信邦德关于想象

得越来越无力，因为社会的故事——残酷的现实——正在通过他而起作用；坚持要一家人坐在“桌子”

的概念使戏剧具有自我创新，同时具有社会相关性，这是非常重要的。想象即是现实，

边吃饭然后却没有任何桌椅，即便到了全世界都在他周围崩溃时，他还是会说： “如果这是我仅有的——

是介于自我和社会之间的创新地带，在这个想象的缝隙地带我们创造一个社会化的

我在这个屋子里唯一剩下的——我也要坚持到底，就好像它们还是我的，而且还是我说了算。 ”——

自我，创造变化，引领变革。这个缝隙最终是本体的，是物质世界和自我之间的空间。

他在这个过程中已经迷失。这是毁灭性的。

我们是缝隙，因而可以是一个人类价值和意义的孕育场所。这就是为什么我们要逃

想象会“逝去” ，但在这个过程中人类的诉求将变得扭曲和暴力，或变得有创意和更加人性。剧中的

脱腐蚀这一缝隙的意识形态。我认为如果在这场较量里努力抗争将会为我们的戏剧，

父亲试图以疯狂和扼杀女儿的想象力来树立秩序。外面街道上发生的事情使他惊恐不安以致窒息。女

剧场，教学，儿童和年轻人，甚至是社会培育出无穷的潜能。

儿幻想了一个朋友来应对这一危机，一个她称为“无人” ，她喂养和照顾的“它” 。这对于父亲来说是

戏剧中的场景和观众（这里可以插入“参与者”一词）的角色／场景之间的关系作

无法接受的，因为他无法控制女儿的想象力，就像他无法控制外面世界发生的事情一样。她执意要喂

为想象的场景，这是极其具有自豪感的政治力量，因为我们的精神在舞台上对政治

食无人，并且当父亲将自己打算分给无人的食物抢去准备自己吃时，女儿公然挑战父亲；她把父亲放

的融入反映的是我们的生活，反之亦然，它具有通过想象的现实引发改变的潜力。

在嘴里的勺子敲掉，把地上碗里的食物打翻，用脚狠命踩踏，口里喊着“不！如果他不能吃——谁

精神在想象的帮助下找寻自我认知，而自我认知是人性的源泉，只有自我认知和自

都不能吃！谁都不能”！以这一剧目为基础的教育剧场项目在一次给 10 岁小孩表演的时候，当女儿

我承担责任我们才能变成更加社会化更加对别人负责的人。我们的大脑是成为人这

将珍贵的食物当地踹翻的时候，一个小男孩叫道： “终于有人反抗了！”他是在替女儿这个角色说话，

一驱动的培育空间，而邦德称之的我们的“人性”是应该被创造出来的：

但更重要的是他在表达自己，不仅仅是他所说的而且是他所说的方式在剧场里产生了共振，就好像他是在替全班发言，在那一刻观众真的成了舞台。

人性并不是一开始就内在于我们的，因为它总是和情境有关——所以我们要随着情

可能我们都能回忆起和那个小男孩的反应相类似的时刻，但是值得注意的是在围绕爱德华·邦德所写

境的变化而创造它（部分是因为我们在不断或加速改变情境）。而在自然中，在生物

的戏剧里，在根据他的戏剧理论所构成的 TIE（教育剧场项目）活动中，这样的事情常有发生。而我

进化中，这一过程是相反的，变化的情境改变生活在其中的任何生物——但是自然

要建议的是我们真正要做的不仅是与那些时刻产生共鸣，而且要真心地理解它们，这样我们才能知道

不会对我们也一样。因此人类的现实是“想象”的。所以戏剧会创造由想象力所施

如何利用戏剧来完成它的目的：创造自己和担起责任——这是在选择我们将如何生活。我建议通过想

加的有逻辑的情境（因为人类的本能：在任何情境下都需要是人的内在驱动）。

象我们变得更加政治性，在自我与社会间，在我们街道的公共空间和舞台这一公共空间之间搭起想象

（邦德，2012 年未发布的邮件） 116

的桥梁，从而使我们都可以真正开始“担当” 。 117

Reality Imagined

and isolation that Bond has created in The Broken Bowl?

_By Chris cooper(U.K.)

administrative structures democracy had to be created,

understanding of the imagination is very vague, as if it

enacted. Everywhere responsibility lay in the hands of the

represents an alternative to reality. What do we mean

The play addresses the impact of Thatcherite neo-liberalism on

citizens. How to deal with this responsibility, this extreme

when we refer to being imaginative? We can numbly

society, the objective of which continues to be the protection

situation? A significant part of the answer lay in tragedy.

recognize its importance without grasping its meaning.

Father: Eat. We’ll sit here like a family. Finally. I don’t know what

of wealth and privilege, who desire more and more wealth, to

Tragedy was part of the tradition of political thought

Yet I believe that Bond’s concept of the imagination is

will happen. If it’s my last few - the last short while I’m left in my

the detriment of the poor as Britain continues to fall into post-

that emerged in the fledgling democracy. That did not

crucial to making a drama that is self-creative and relevant

house - then I’ll carry on as if it’s still mine and I’m still in control

imperial, socio-economic and cultural decline. But the financial

mean that tragedies were politically topical; that role was

to society. The imagination is reality, the creative threshold

of it.

crisis, the cost of 2008, penetrates deep; it is a cost that is

reserved for Comedy. The tragedians used story, the

where self and society meets, in that imaginative gap

more than anyone can account for. We have never been in

ancient myths, to address themselves to all the conscious

we create a social-self, change and transform. The

this situation before and there is no politician or political party

and unconscious demands taking responsibility for

gap is essentially ontological, the space between the

gathered in Westminster currently willing or able to face that

Athenian society required – Antigone, Oedipus, Medea

material world and the self. We are the gap and therefore

reality.

were put on stage in order that Greek citizens could

potentially it is a site of human value and meaning. This

face reality, to make meaning and engage the human

is why we need to be freed from ideology which corrupts

imperative for justice. Ultimately the polis became

the gap. I think grappling with this challenge will prove

But how is this reflected in the state of drama and of our

corrupted by the limitations of its own democracy which

fertile ground for our drama and theatre, teaching,

culture? According to Bond:

was built on slavery, but for one hundred years drama

children and young people and for society at large.

In 1995 I was part of leading a workshop at a Conference

The state of theatre in the UK is now worse than at any other

flourished as the citizens enacted their humanness on

entitled “We lay the table and eat from the floor”. The title was

time since I have been writing. The cultural consequences

the stage in response to their experience on the streets

The relationship between the site of the play, the

a quote from Red, Black and Ignorant a play by Edward Bond,

of the new economic reality (Thatcherite neo-liberalism) are

in order to know themselves. Our world is more complex

characters and the site of the audience (we can also

it seemed to us at the time to capture the period we were

beginning to have an effect. Everything becomes meaningless.

today than the world of the city state, our experience

insert the word participant in here) as the site of the

living through. In 1997 I was lucky enough to be employed as

Single productions can easily get lost under the heaps of

more fractured. But the uncertainty in and instability of

imagination is profoundly political because the mind's

an actor to perform in the world premiere production of Bond’s

market trivia. The endless rows of “one offs” lead nowhere –

democracy remains and capitalism has turned everything

involvement in political situations on the stage resonate

Eleven Vests for Big Brum. It was the second commission

they make even success pointless.”

that is known and unknown into a commodity. Knowing

life and vice versa, this brings about the potential for

who we are is a more complicated process, so integrated

change through reality imagined. The mind seeks self-

Mother sits. Eats. Father: (To Girl) You’ll learn - if you get the chance - not to play games with reality. It doesn’t like it. It hits back hard.. The Broken Bowl – by Edward Bond, 2012

Email April 2104

by the Company from Bond. Eighteen years on Bond has written 8 more plays for young people for Big Brum including

are we into the logic of the market place. The symbiotic

knowledge through the imagination which is the source of

the marvellous Broken Bowl for 9-12 year olds in response to

Drama has to face the consequences of the market not just

relationship between drama and politics has been

the human in us, only through self-knowledge and taking

our present crisis. I refer to this play for three reasons, firstly

because in the market theatre becomes another product to

corrupted by the commoditization of culture.

responsibility for ourselves can we become more social

the play has been introduced to China already in a workshop

consume, but because the struggle for social and political

I gave at Penghao Theatre in 2012, secondly it deals directly

solidarity is also in the mind. There is a strong connection

Bond’s drama seeks to address the crisis that confronts

the imperative to be human, and what Bond calls our

with the relationship between imagination and reality, the

between public places in the streets and the public space

our humanness so that we can create the self by putting

‘humanness’ has to be created:

subject of this year’s Festival, and thirdly because the image of

that is our stage, which is both a physical and psychological

the core problems of Antigone, Oedipus and Medea

eating at the table, that universal image (particularly resonant in

space. Each is in the other. The Broken Bowl is the site of the

on stage at the same time getting behind ideology so

Humanness isn’t innate in us because it is always related

China) that defines so much of family and therefore social life is

connection between the street and the stage, or society and

that the confrontation can occur in the extreme situation

to a situation - so we have to create it as the situation

central to the play. In this play, however, the family has lost the

self. The plays of Edward Bond and the thinking that underpins

of drama. There is not the space here to go into detail

changes (partly, increasingly, because we change the

table altogether because fear of being looted by gangs has

them brings something unique to the struggle for mind and

about the dramatic structures and devices Bond has

situation). In nature, in evolution, it’s the other way round,

driven the Father to chop up his own furniture to hide it from

society the turn of the 21st century; Bond is developing a new

created to deal with the problem of ideology but I would

the changing situation changes whatever inhabits it -

them, to be complicit in his own oppression, ‘That’s how we

form of drama.

like to note a few things about the imagination because

but nature can’t do that for us. That's why human reality

it’s in this area that I sense a potential for transformative

is "imagined". So drama creates situations in which

have to live from now on - on the floor!’ The outcome is the

118

and take responsibility for others. The mind is the site of

same as that line from Red, Black and Ignorant, they eat from

The origins of Bond’s drama lie in the drama of ancient

understanding and an exchange of ideas about the work

(because of the human imperative, the need to be human

the floor, but in The Broken Bowl, set ‘somewhere towards

Greece that emerged from a political struggle which saw the

we do that could change theatre for the better.

in whatever situation) the imagination is forced -- by itself -

2077’, the table is the floor. I wonder how far along the road

citizens suddenly topple the Athenian aristocracy and assume

are we today towards this vision of family life suffocated by fear

control over the governance of the polis. With no pre-existing

to be logical. Too often in theatre and drama I think that the

(Bond, unpublished email 2012)

119

creative and more human. The Father seeks to assert The stage or site of drama is critical to engaging the

order through madness and by starving his daughter’s

human imperative:

imagination. The Father is paralyzed by the fear of what is happening in the streets. The Girl creates an imaginary

I’ve said that the play takes place in the actor's mind

friend to explore this crisis with, an ‘other’ (No One)

but also in the audience's mind - they become one:

to feed and care for. This is intolerable for the Father

the audience are the stage. And so they recognize

because he cannot control her creativity just as he can’t

themselves, or their knowledge and experience, in the

control what is happening in the world. She insists on

actors in the situation - they don’t become the actors

feeding No One and defies the Father who feeds himself

but recognize themselves in them and also, because

with the food she has tried to share with No One; she

the stage is a forensic reality, they are confirmed in their

knocks the spoon from his mouth, empties the bowl of

own need to know, they enjoy the "conventionality" of the

food on the ground and stamps on it saying “Won’t! If he

cultural method because it can also show them the reality

can’t eat - no one shall! No one!” During a performance

of their own experience -- they enjoy the creative skills in

to 10 year olds of the theatre-in-education programmed

the stage work of art - so they "enjoy" both the purpose

built around the play, as the Girl trampled the precious

of drama and what it creates. And this confirms for

food into the floor, a boy in the audience declared, ‘at last,

them, instantiates it, that they are creators of their own

someone has taken charge!’ He was speaking for the Girl

experience, and ultimately this enables the victim to

but more importantly for himself and it wasn’t just what he

become the agent of power and change.

said but how he said it that reverberated around the room

(Bond, unpublished email 2012)

as if he had spoken for the class and in that moment it felt like the audience really was the stage.

现实的想象 ——爱德华·邦德的戏剧

Yet Ideology in corrupting the gap will corrupt the imagination. In The Broken Bowl the Father tells his

Perhaps we can all recall moments that resonate that

daughter “You’ll learn - if you get the chance - not to play

child’s response, but I think its worth noting that in a

games with reality. It doesn’t like it. It hits back hard”. But

TIE program built around a play by Edward Bond, and

his grasp on reality becomes more and more tenuous as

structured according to his theory of drama, they happen

society’s story – the hard hitting reality - speaks through

a lot. More importantly I am suggesting that what we

him; insisting on sitting as a family at the ‘table’, without

really need to do is not only recognize these moments

table and chairs, even as the world collapses around him

but to truly understand them so that we can know how

he says: “If it’s my last few - the last short while I’m left in

to use drama to fulfill its purpose, create the self and

自从 1985 年从皇家莎士比亚剧团（Royal Shakespeare Company) 的排练场离

my house - then I’ll carry on as if its still mine and I’m still

take responsibility – it’s choosing how we shall live. I am

in control of it.” - and he loses himself in the process. This

suggesting that through the imagination we become

席算起，过去 30 年爱德华·邦德（Edward Bond, 1934-) 一直主动将自己流放

is destructive.

political, make graphic the connection between self and

_ 文 : 曹曦

“戏剧是一种现实的工具，它让现实成为人性的工具。 ” （邦德，2011）

在以作家剧场闻名的英国主流剧坛之外。在 1998 年写给当时的版权经纪人 Tom

society and the connection between the public places on

Erhardt 的信中，他拒绝自己的戏剧在英国的国家剧院上演，他说道“皇家国立剧院

The imagination ‘will out’, but in the process the human

our streets and the public space that is our stage so that

(Royal National Theatre) 轻视戏剧，结局就是他们不可避免的，几乎像是被历史惩

imperative will become distorted and destructive or

all of us can indeed begin at last to take charge.

罚的——没有能力创作出和人类境遇有关的戏剧” 。 1934 年出生于伦敦，在二战的炮火中度过大部分童年，因为战争他很小就曾经两次从城市来到农村，他十岁回到了伦敦的家，18 岁加入了部队，直到 28 岁的爱德华·邦德在 “皇家宫廷剧院” （Royal Court Theatre）写出了他第一部剧作《教皇的婚礼》（The Pope’s Wedding）；三年后震动英国剧坛的《获救》（Saved）作为英国剧坛长达几个世纪的剧场审查制度终结的导火索；再到一度成为法国上演次数最多的英语剧作家；他的戏剧，从国家剧院到蹩脚的酒吧，从阿维农戏剧节（Festival d'Avignon）到伯明翰的中小学；贯穿着 50 余部剧作的，全是和人类境遇息息相关的语言。除了大量创作并不断上演新的剧作，邦德还撰写了海量的戏剧理论，书信，论文和专著来梳理他心目中属于 21 世纪的戏剧。在他看来，我们生活的时代飞速变化，戏剧的定义也要随时地更新，社会面临的问题变得复杂，戏剧的使命和言论也应随

120

121

之变化，戏剧要回应现实，让现实发声，戏剧要回应人类的境遇和新的问题。西方

经历过的复杂的体验，剧中的约翰回到家乡，不再是个著名的诗人，也不再是个农

剧坛在布莱希特之后，还没有一位戏剧家像他一样对戏剧的定义、戏剧与剧场的区别、

场工人。也是在这个时期，邦德更加打磨了那属于他独特的戏剧语言。他摒弃了几

剧作法和导演法进行系统地和深思熟虑地梳理，并且铸造一套属于当下的戏剧工具

乎所有英国剧场的修辞，莎士比亚、康格里夫、萧伯纳和奥斯本似乎都不能够让邦

和术语，且不断地更新演进。在邦德看来，戏剧的功用在于他创造了人性，它与社

德找到属于自己角色的语调。他笔下的角色总是简短，通俗，一次只说一两个字是

会和意识形态的关系需要被不断地勘察；而人类本身就是戏剧化的物种，需要在不

常有的事。邦德说道： “我的语言和我写作的方式非常特殊。我试着将那些希腊剧作

同的境遇中创造人性，戏剧恰恰提供了这样的公共空间。在和笔者的一次聊天过程中，

家放进俄狄浦斯和安提戈涅口中的思索放进普通的工人阶层口中。 ” （未发表采访）。

邦德谈到纵然他谈论和发展了对于戏剧的理解，最好的解释方式，仍然是用戏剧本身，

第三个阶段的创作由一组重要的三联剧组成——《战争戏剧》（The War Plays) 由

他相信人类思想的精髓在于哲学和戏剧，科学和理性只是“宇宙的程序” ，想象的力

三部设立在原子战争时期的剧作构成，在前一阶段描摹的社会危机之上，邦德强调

量才是创建人性的基本，这个命题，也是戏剧的命题——“为什么？” 。

人类面临的还将是生态和物种危机。第一部《红色，黑色和无知》（Red Black and Ignorant,1983) 描摹了末日之后的社会，一个战争中出生的非人（怪兽）如何地甚

这个 80 岁高龄的剧作家正处在创作的高峰，每年至少写作 1 至 2 部剧作，并且频

至没有机会生活就死去的故事。第二部《罐头人》（The Tin Can People,1984) 讲

繁出席排练场发展“邦德戏剧” （Bondian drama）, 这个时候去定义剧作家前 50

述了核战争之后一群靠无限供应的罐头为生的社区人如何因为一个外来的人而变得

年的创作似乎仍然太早，但如果我们回头看看那些超过 50 部的剧作，我们可以用 6

疯狂的故事。最后一部《伟大的和平》（The Great Peace,1984-1985) 中，一个士

个创作时期来纵观邦德戏剧对于不同历史时期的社会政治和现实的回应：

兵亲手杀死了自己母亲的第二个孩子。这三部鸿篇巨著不是笼统地谴责战争的暴行，而是从一个政治的角度质疑公众对战争的接受和参与。这三部曲已经列入法国中学

第一个创作时期：从《教皇的婚礼》（The Pope’s Wedding，1962）到《大海》

会考的考试范围内，可见其影响力。在写作《战争戏剧》的这个时期，邦德也开始

(The Sea，1973), 这段时期的创作主要围绕着对当时戏剧的调查和当代社会的反思。

将自己在前一时期已经通过戏剧探讨过的命题用论文和笔记的形式梳理，这段时间

二战之后的英国政府从“济贫”转向了福利国家，健康保险制度相继出台，教育改

他反复提到的“极致的单纯” （radical innocence）也成为了日后他戏剧术语中非常

革也随之推行，国家不断应对经济萧条的同时，许多艺术家开始质疑资本主义制度。

重要的概念：

这个时期的代表作有让邦德跻身二战后伟大剧作家之列的《获救》（Saved,1965) 和《李尔》（Lear,1971)，前者为邦德的代表作，其中一群年轻人在公园用石头砸死婴儿的场景不仅在当时震惊了全球剧坛，也在其后许多年影响着一代一代剧作家，英

“我们出生时是彻底的单纯 / 无辜（radically innocent），既不是动物也不是人类；当我们开始思考本能的时候我们才开始创造人性” 。（邦德，1991 ：251）

国新写作的代表人物和“扑面戏剧” （in-yer-face theatre) 的代表萨拉·凯恩（Sarah Kane) 曾说道： “你可以从《获救》中学到所有关于剧作的一切。 ”对于邦德剧作的

邦德认为这是人类本质的一面，也是意义和价值的开始，是一个孩子自出生后就带

误解也由类似的暴力场面不断在他的剧作中出现而蔓延开来，邦德在后来的戏剧实

到这个世界上的。当孩子成长并且进入社会，这种极致的单纯也就变成对公正的追求。

践中，将这样的场面称之为“意外时间” （Accident time)。这是一种生理反应，在

“所有戏剧的主题都是公正” 。他提出人类是戏剧性的物种——“每一个人类自身的

类似车祸发生的一瞬，由于注意力突增，大脑充血，表面看起来时间像是慢了下来。

本质都背负普罗米修斯和安提戈涅的影子” （邦德，2004），但在一个不公的社会中

它暴露了生活中我们已经接受了的一些矛盾和价值观，这种极端的境遇是用矛盾的

自我很容易被腐蚀，对公正的追求也非常容易变成复仇。因为虽然对公正的诉求是

方式揭示了矛盾本身，当街上发生车祸的时候，我们也进入了“意外中的自我”——

一种人类的必然，但它非常抽象，所以必须经常地被社会现实再创造，邦德把这个

这时我们必须要做出选择——即便我们选择逃避， “车祸”依然会发生，后果同样会

叫做人性的逻辑（the logic of humanness），而这种再创造社会现实的责任，是无

出现。邦德相信人性深处的创造性是有着选择的意志的，我们选择的时候就重新定

法交给法律的，这就是为什么 2500 年前的雅典创造了戏剧。不断创造人性，是戏

义了自身，是我们选择了我们是谁。

剧的使命。

第二个创作时期：从《赢了！》（Bingo，1973）到《人类榴弹炮》（Human

也是从这时开始，邦德有意识的在将自己对于新生儿（neonate），前自我（pre-self）,

Cannon，1986）。这段时期邦德将之前的创作更进一步发展。70 年代的英国政治

前语言时期（pre-linguistic），悲剧性和喜剧性等一些论述系统地整理出来。同时发现，

战争的主题也逐渐凸显出来。从《李尔》开始，邦德就不断用戏剧作品来回应过去

关于戏剧的讨论，必须也要考虑到想象与理智的关系，邦德的大量最近 30 年的论

的文学经典，莎士比亚，诗人约翰·克莱尔（John Clare）都在这个时期成为他戏

述，都围绕着他开创的“想象力的逻辑” （The logic of imagination）展开。在他看

剧的主人公。在《弄臣》（The Fool,，1975）中，邦德用 19 世纪诗人约翰·克莱

来，观众走进剧场，就要进入一种对现实的想象，戏剧本质上是关于现实的，而想

尔从伦敦文学圈子到盎格鲁农场的旅程，准确地捕捉了每一个梦想成为作家的人都

象力具备逻辑，在某种程度上说，想象就是一种现实，我们靠想象构建了自我和他人，自我和社会的联系。戏剧的基础是这样一种联系。

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第四个创作阶段延续了这种非常复杂的理论争

的，我们必须重新问自己，戏剧到底是什么？

也许在这第六个创作阶段，也会有中国戏剧的力量加入，有更多的中国“观众”也能够“走上舞台” ，

论，冷战加剧和苏联解体的历史背景下，邦德

让每一个属于戏剧的 7 点 30 分，都成为属于每个中国人重建人性的时刻。

越发在意创造一种区别于布莱希特的“说教

正是带着这种疑问，并带着文章最开始那种对

式”的政治剧场，但仍保持剧场对社会的建设

主流大剧院的失望和讶异，邦德认为他必须找

曹曦：Drama Rainbow 教育与戏剧中心创意总监。毕业于中央戏剧学院戏剧文学系，爱尔兰圣三一

性功用。1989 年的《夹克》（Jackets）和《九

到一个能够持续性研究和实践他戏剧主张的团

学院戏剧系哲学硕士，目前在圣三一学院教育学系进行开创性的“戏剧与中国现代家庭”的博士课题

月》(September) 还有 1993 年的《奥利的监

体，于是他的第五个创作阶段以两个极为重要

研究。邦德戏剧在中国的积极倡导者和实践者。

狱》（Olly’s Prison）和 1995 年的《星期二》

的剧团的合作为基础。第一个是为法国的 La

（Tuesday）都在回应着——邦德自己认为在前

Colline 国家剧院和其艺术总监阿兰·法兰科 (

一阶段的创作已经讨论过的——社会的、文化的、

Alain Françon) 创作的“巴黎五部曲” （The Paris

物种的和人性的危机。这一时期的创作，将邦德

Pentad） ——《咖啡》（Coffee,1996），《21

戏剧工具和术语进行的大量的扩充，其中重要的

世纪的罪行》（The Crime of the Twenty-first

概念便是“戏剧事件” （Drama Events）。戏剧

Century,1999）,《出生》（Born,2006），《人们》

事件要求演员寻找表演出“隐形的客观” （Invisible

（People,2014）,《单纯》（Innocence, 未上演）；

Object）。在《红色、黑色和无知》中，母亲的

另一个重要的合作团体是伯明翰的教育剧场

儿子被派到自己的故乡杀掉一个平民。在街上只

（theatre-in-education）剧团 Big Brum 和其艺

剩下两户人家，其中一家便是母亲和儿子的住所。

术总监 Chris Cooper，这个成为 “Big Brum 戏剧”

母亲准备劝说儿子出去杀掉另一户人家。母亲帮

的系列剧作已经有 10 部，分别是《在内海中》（At

助儿子穿上夹克，递上头盔和枪支，似乎像是帮

The Inland Sea,1995）,《十一件背心》（Eleven

助儿子准备一次平常的外出， “我会像你小时候

Vests,1997）《我没有》 , （Have I None,2000）《平 ,

那样帮你准备好的” 。在一次排演中，邦德建议

衡游戏》(The Balancing Act,2003),《地下室》

儿子将防弹衣放置在一旁支撑起来，再让母亲帮

（The Under Room,2005）《调子》 , （Tune,2007） ,

助儿子准备好装备，那个防弹衣好像个已经死去

《一扇窗》（A Window,2009），《边缘》（The

的士兵一样，于是在这个戏剧事件（DES）中，

Edge,2012）,《破碎的碗》（The Broken Bowl,

演员要“摆弄”这个物件，但又不是象征地表演

2012），《愤怒的路》（The Angry Roads,2014

一个抽象的概念，揭示这个事件中那些看不见的

排演中）。在和两个剧团和两位艺术总监长达

客观现实——当一个母亲为自己的孩子准备上学

20 年的探索中，一种新的戏剧形式慢慢地形成

的东西的时候，除了准备铅笔书本，我们是否也

了——这是一种本质上的对个人和社会进行整合

在准备让孩子接受自己的文化？接受秩序？接受

的戏剧，它既给了观众纪律又提供了自由，当纪

那些正统观念和常规？演员自己要进入戏剧事件

律向你展示了一种境遇，你必须要回应——“如

（DES），发现这个看不见的客体，而每一次这个

果你近距离地观看其他人的问题，你也在观看你

客观的揭示，都会因为观众不同，观众所置身的

自己的问题，没有什么‘外来的人’ ，我们是共

社会场景的不同，而蕴含不同的意义。

享人性的” （未发表的信件，2014），而自由在于你在这样的境遇中，该如何选择，邦德将这种

和布莱希特不同，邦德不认为戏剧要向观众“宣

选择权完全地献给了观众——“观众就是舞台” 。

扬”什么。戏剧的任务是驱使，启发，点燃观众

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作为人的创造和想象，戏剧最终要进入的是观众

邦德在今年将会创作的两出作品《蒂亚》（Dea)

的场景，观众的任务和演员几乎是一样的，他们

和《今天的证词》（Testimony of Today) 将会

也要被放置在舞台上，将自己置身于角色的境遇

开启他第六个创作阶段，我们庆幸的是，在对他

中，去做出自己的选择。邦德一直认为人多大程

的戏剧还不了解的中国戏剧，将会在今年迎来

度上成为人，取决于我们戏剧化自身境遇的能力。

邦德本人，而邦德和 Big Brum 剧团的艺术总监

戏剧的必要在于它提供了成为人的路途，这种功

Chris Cooper 也将出席第五届北京南锣鼓巷戏

用仅仅是宣泄情绪或是宣扬某种意识形态是不够

剧节，和中国演员探讨他从未上演的剧本《单纯》，

爱德华·邦德

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Imagining the Real ——Edward Bond’s drama

two new plays each year, as well as often attending rehearsals to further develop “Bondian

＿by Cao Xi

periods with different socio-political conditions and practical responses to them.

Drama is a tool of reality which makes reality a tool of humanness (Bond, 2011)

and mainly delved into plays at that time and reflecting upon contemporary society. In the

Edward Bond and Chris Cooper’s visit to China is greatly supported by British Council.

welfare state, introducing health insurance regulation and implementing education reforms.

Drama is a tool of reality which makes reality a tool of humanness. (Bond, 2011)

system. Representative works from this phase that made him one of the greatest post-

After walking out of the Royal Shakespeare Company’s rehearsal room in 1985, Edward

and an infamous scene in which a group of youths stone a baby to death in a park shocked

Bond (1934-) has been trying for the past 30 years to distance himself from English mainstream theatre. In a 1998 letter to his former agent Tom Erhardt, he refused to give permission to the British National Theatre to perform his plays, writing, “The Royal National Theatre trivializes drama and – with a consequence that is so inevitable it is almost the punishment inflicted on error by history – has made itself incompetent to deal with the

looking back we can make out roughly six creative phrases corresponding to historical The first creative phase lasted from The Pope’s Wedding (1962) to the The Sea (1973) aftermath of WWII, the British government shifted from subsidizing the poor towards the The country suffered economic recession, and many artists began to question the capitalist war dramatists include Saved (1965) and Lear (1971). The first of these made his name, the global theatre community but also influenced generations of playwrights who followed. The practitioner of British “New Writing” and pioneer of “in-yer-face theatre” Sarah Kane once wrote, “You can learn everything you need to know about the craft of play-writing from Saved.” Bond would use the expression “accident time” to explain such scenes which involve a kind of physiological reaction that happens at the moment of an accident and

problems of being human.”

in which attention is greatly intensified due to a surge of blood to the brain that causes a

Edward Bond, born in London 1934, spent most of his childhood in warfare, was evacuated

values that we have already internalized, using extreme situations to reveal contradictions

to the country twice when he was a child. He returned to his family in London when he was ten and was conscripted into the army (obligatory national service) for two years at the age of 18. He wrote his first play The Pope’s Wedding in the Royal Court Theatre in 1962; Three years later his shocking and stirring Saved became the ignitor kindling the abolition of British theatre censorship that lasted over centuries; while at the same time became the most performed English dramatist in France; His plays, performed from National Theatre to shoddy bars, from Festival d'Avignon to Birmingham infant & juniors schools, are all close

slowdown of our perception of time and space. Accident time uncovers contradictions and through contradiction itself. When a car accident occurs on the street, we enter the zone of “self in an accident” at which moment we must make a choice. Even if we choose to evade “the accident”, it still occurs, with all the consequences that ensue. Bond believes that the creativity which lies in depths of the human soul has a will to choose, and at the moment that we we choose, we redefine ourselves, by choosing who we are. During the second creative phase, from Bingo (1973) to Human Cannon (1986), Bond

and intimate conversations about human situations.

pushed beyond his previous creations. Britain in the 70s witnessed a great deal of political

Apart from the prolific creation and staging of new plays each year over the past five

with Shakespeare and the poet John Clare both playing leading roles in his plays. In The Fool

decades, Bond has generated a prodigious corpus of drama theory, letters, essays, and articles. In his view, life in our times is full of rapid change, and so the definition of drama must constantly be revised. As the problems that society has to face become more complicated, drama must update its mission and the concepts it expresses. Drama must respond to reality and give it voice. Drama must respond to the human condition and the new problems we face. Western theatre after Bertolt Brecht has not had a similar dramatist who systematically and thoroughly explores the definition of drama, the difference between drama and theatre, between playwright and director, forging tools and terminology that respond to the moment but with the potential to adapt and evolve. In his eyes, drama’s function is to create or enact humanness, whose relation to society and ideology must continually be monitored. For human beings are a “dramatic species”, and drama is precisely the right public space for this reinvention of humanness as evolving conditions demand. Bond once said in conversation that even if he has discussed much to advance understanding of theatre, the best form of explanation is through theatre itself. He believes that that the essence of the human mind lies in philosophy and drama, while science and reason merely describe the universe as a “program”. Indeed, the power of imagination, like drama, is fundamental to humanity, both putting the following question to the forefront:

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drama”. While it is probably too soon to try to define the legacy of his half-century of works,

warfare. Starting with Lear, Bond created works in response to literary classics of the past, (1975) Bond precisely captures complex experiences of anyone who dreams of becoming a writer by depicting 19th century poet John Clare’s transposition between London literary circles and the English countryside. In the play, John Clare is no longer a famous poet in his hometown, nor nor an ordinary farm worker. Bond had at this point honed his unique language for drama. He abandoned almost all the traditional tropes of English drama; Shakespeare, Congreve, Bernard Shaw and Osborne could not provide the right idiom he sought for his characters. These spoke in simple and easy to understand sentences, mostly with only one or two words at a time. Bond remarked, “My language and way of writing are very special. I am trying to put the thoughts of which Greek Dramatists put in Oedipus and Antigone into ordinary working-class characters. ” (unpublished interview) The third creative phase consists of an important trilogy, The War Plays, set in the era of nuclear weapons. Building on the earlier phases dealing with social crises, this phase emphasized ecological and species extinction as crises that humanity must face. As the first play in the trilogy, Red Black and Ignorant (1983) portrays a non-human (monster) who, born and deformed in a nuclear war, recounts how he does not even have the opportunity to live, and then dies. The second piece in the trilogy, The Tin Can People (1984), tells a story about a group of survivors of a nuclear war living on a limitless supply of canned food who

“Why?”

eventually devolve into madness after an outsider enters their community. In the last piece,

The eighty-year old dramatist is still at the height of his creative powers, putting out one or

These three masterpieces are not meant to be a condemnation of war in general, but rather

The Great Peace (1984-1985), a soldier kills his mother’s second child with his own hands. to question public acceptance of and participation in war from a political point of view. The

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impact of this trilogy was such that it has even been included in the French baccalauréat

In contrast to Bertolt Brecht, Bond does not think drama has to “pronounce” anything to the

examination. During this period, Bond also began to explicate his earlier plays through

audience. Rather, the task of theatre is to encourage, enlighten, and ignite the audience’s

essays and commentary, repeatedly referencing the phrase “radical innocence” in his writings

creativity and imagination. Drama ultimately drives itself into the particular situations of the

which later became a very important concept: “We are born radically innocent, and neither

audience, who themselves almost share the same tasks as the actors. In a sense, they also

animal nor human; we create our humanness as our minds begin to think our instincts.” (Bond,

need to be step onto the stage, merge into what the actors are embodying, and to make

1991：251 )

their own choices. Bond always believes that the degree to which we can become human depends on how far we can dramatise our own situations. Drama is necessary for paving

Bond thinks this innocence is an essential aspect of our humanity, and the starting point of

the way to becoming human. It cannot simply be used for the release of emotions or the

meaning and value, brought into this world when a baby is born. And when the baby grows

promotion of certain ideologies. We must ask ourselves, What is drama for?

up and joins society, this radical innocence becomes a search for justice. “Drama is about justice.” As noted earlier, Bond considered humans to be a self-dramatising species: “In the

With this question in mind and with the forementioned disappointment and frustration over

foundation of every human self there is the figuration of Prometheus and Antigone” (Bond,

mainstream establishment theatre, Bond felt that he must find a theatre group to realize

2004). However, in an unjust society, the self can be eroded, and the search for justice can

his explorations and practice his dramatic principles. This led to the foundation of his fifth

turn into revenge. Because even though the pursuit of justice is inevitable in humanity, it is

creative phase which involved a cooperation with two very important theatre groups. The

a relative concept and has to be frequently re-created by the social reality, which Bond calls

first was La Colline National Theater under the leadership of its artistic director Alain Françon,

“the logic of humanness”.

At the same time, this responsibility of re-creating social reality

resulting in works The Paris Pentad: Coffee (1996), The Crime of the Twenty-first Century

cannot rely on laws, and this is why the Athens of 2500 years ago created drama. Creating

(1999), Born (2006), People (2014), and Innocence, (un-staged). Bond’s other important

humanness is endless mission of drama.

collaboration was with the Birmingham-based theatre-in-education Big Brum Theatre Group and its artistic director Chris Cooper, with which he created Big Brum ten plays accounting:

It was at this time that Bond started to systematically work out his theoretical ideas on the

At The Inland Sea (1995), Eleven Vests,(1997), Have I None (2000), The Balancing Act (2003),

neonate, pre-self, pre-linguistic, tragic and comic. He determined that any discussion of

The Under Room (2005), Tune (2007), A Window (2009)， The Edge (2012), The Broken

drama should consider the relations between imagination and reason. The last thirty years of

Bowl (2012), and The Angry Roads (2014 in rehearsal). Over twenty years of collaboration

Bond’s arguments primarily concern his exploration of “the logic of imagination”. According

with these two theatre groups and their artistic directors, a new form of drama gradually

to Bond, when the audiences walks into the theatre, they enter an imagined reality, and

came into being, encompassing both individual and society by providing both discipline and

theatre itself is about reality. As imagination has its own logic, in a way imagination itself is a

freedom to the audience, whereby discipline presents the audience with situations to which

kind of reality, and we construct our relations with others, and with society. These kinds of

they have to respond. “If you look closely at others’ problems, you are looking at your own

relations form the basis of theatren.

problems, there is no such thing as ‘outsider’: we share humanity” (unpublished letter, 2014). Freedom means how you make the choices when faced with a given situation, and Bond

The fourth creative phase continued the development of this complex theory. With the

fully delivers this right to choose to the audience: “The audience is the stage”.

collapse of the Soviet Union and the end of the Cold War, Bond moved ever further away from Bertolt Brecht’s didactic style of politic drama, but he still continued to work towards

With the two plays Dea and Testimony of Today, Bond opened his sixth creative phase. We

the constructive function of theatre in society. Jackets and September (1989), Olly’s Prison

are so thrilled that Edward Bond himself will appear this year in China where his plays have

(1993), and Tuesday (1995) all resonate with crises of social, cultural, biological, and human

not yet been widely popularized. Bond and the artistic director of Big Brum Theater will

nature, themes he thought he had already dealt with in earlier works. During this phase,

participate in the Fifth NLGX Theatre Festival, and they will explore his as yet unstaged play

Bond’s dramatic tools and terminology evolved significantly, among which the notion of

Innocence in collaboration with Chinese actors. We hope that in this sixth creative phase,

“theatre event” was particular important. The theatre event requires actors to seek and act

with the addition of Chinese theatrical elements, more Chinese “audiences” can “walk onto

out the “invisible object”. In Red Black and Ignorant, a son is sent back to his hometown

the stage”, turning the 7:30 pm of the theatre into a moment for Chinese to re-shape their

to kill an ordinary person. On this same street there are only two households, one of which

own humanness.

is his own mother’s, and the son is about to kill the other. The mother goes so far as to persuade her son to go out and kill their neighbor. She helps her son with his jacket, hands

*Edward Bond and The Artistic Director of Big Brum Theater will host drama workshop in the

him his helmet and gun, as if it were just another outing, telling him, “I will get ready for you

Fifth Nanluoguxiang Theater Festival during 2st of June till 5th June. For more information,

like when you were a little boy.” During one rehearsal of this play, Bond suggested the son to

please see the official website.

set the bullet-proof vest aside and then ask his mother to prepare it for her son, making the vest look like a dead solider. In this theatre Event, the performer has to play with the object,

Cao Xi ：Creative Director of Drama Rainbow Education Center. Graduated from Dramatic

but not in a conceptual sense, but rather in order unveil the invisible object within the event:

Literature Department of the Central Academy of Drama, with a Master of Philosophy degree

When a mother prepares her child for school, apart from the pencil, textbooks, and so on,

from the Drama Department of Trinity College Dublin. He is currently doing his doctoral

is she also preparing them to embrace our culture, or social order, our mainstream idea and

research” within Trinity College Dublin’s chool of Education, with the working title, “Drama (re)

normss? The performer needs to enter the theatre event and discover an invisible object;

connects self and society in contemporary Chinese families. He is also an active promoter

each discovery of the object can bear different meanings to audience members who will

and practitioner of Bondian drama in China.

each vary in their specific social situations.

128

129

“想象的现实”——英国戏剧大师爱德华·邦德工作坊

他的戏剧理论丰富而极致，并经常跳出戏剧和剧场范畴探讨人类的危机，国家和意识形态。他认为人类是戏剧化的物种，戏剧需要将观众放置在意识形态背后去反思我们自身的境遇，并

工作坊介绍：

努力的成为人。

Reality imagined ——Workshop of British dramatist Edward Bond Workshop Introduction: Workshop Introduction:

“想象的现实”邦德戏剧工作坊将会由戏剧家邦德和来自英国

“我们物种的未来取决于一件事，并且只有一件事：成年人

“Reality Imagined” Bond Drama Workshop will be hosted by Dramatist Edward Bond and Artistic Director Chris Cooper

Big Brum 剧团的艺术总监克里斯·库佩共同主持，工作坊将

的想象力应该能和小孩一样自由。然后成年人就能够想象现

from Big Brum theatre in education company; together with 10-15 Chinese performers and drama professions the

会和来自中国的 10-15 名演员和戏剧工作者探讨邦德戏剧的

实——在事实的世界创造价值。成年人如此便可以为世界承担

方法，并运用邦德戏剧工具探讨其从未上演过的剧本《单纯》。

责任，他或她会变成世界地图的一部分。成年人想象现实时他

《单纯》是“巴黎五部曲”（Paris Pentad) 的最后一部。

们变成了人，如果想象力被国家占有或被生产成意识形态时，

2077, which covers topics arisen when our humanity is challenged, similar with another paralleling series of plays called

他们就不再是人，这种虚假背后是谋杀者的童话”

“Birmingham Plays”, which has attracted mostly young people during premiers but also appealed to adults. Most of

这些剧作沿着第二次世界大战一直到 2077 年的轨迹。它们都涉及到在人性被挑战的时代成为人的问题。这也是与

（邦德，2000）

workshop will explore Bond drama methodology and through this method tap into the play Innocence which has never been staged yet. Innocence is the last sequel of Paris Pentad, these five weave all the way from the Second World War till the year of

Birmingham Plays’ premiers are directed deleted by Chris Cooper. Apart from Innocence , Paris Pentad also includes Coffee, Crime of the Twenty-first Century, Born, People.

这五部曲平行的另一系列剧本的主题——“伯明翰剧作” 。

克里斯·库佩：

它们首演的观众均为年轻人，但也同时为中年观众写作。

克里斯·库佩 (Chris Cooper)，英国剧作家及导演。Accident

大部分“伯明翰剧作”的首演导演均为克里斯·库佩。

Time 剧团和 30 年历史的 Big Brum 教育剧场的艺术总监。

除了《单纯》，“巴黎五部曲”还包含《咖啡》、《21 世纪的

除了创作了大量剧本，他在剧场和教育领域均做出了显著的贡

罪行》、《出生》和《人们》。

献，包括作为著名戏剧家爱德华·邦德 10 部剧目首演的导演，

refuses to be staged in any mainstream national theaters in Britain, even in his homeland Britain, the only theater he

在过去 18 年间两人发展了一整套戏剧和剧场的工具和方法论，

keeps writing for is theatre in education company called Big Brum, from where he sees from young people the eagerness

Edward Bond Edward Bond (1934--) is one of the most important and prolific post-war playwrights. He has written more than 50 plays, also written poetry as well as texts for the cinema and opera, and a large body of theoretical work on drama. Once he

searching for humanity. His works have been translated into 60 different languages and been performed in over 65

爱德华·邦德：

他还是 Drama Rainbow 中心的戏剧顾问。在过去 4 年积极

爱德华·邦德（Edward Bond,1934-) 是西方二战后最重要

推动教育戏剧和教育剧场在中国的发展。

“The future of our species depends on one and only one thing: that the Imagination of the adult should be as free as

的戏剧家之一。他是五十余部剧作的作者，同时也撰写大量的

the imagination of the child. Then the adult will Imagine the real – that is, create value in the world of facts. In doing this

诗歌，笔记，信件和戏剧理论。邦德一度拒绝英国的主流国家

曹曦：

剧院上演他的剧目，在他的故土英国，唯一他不断为其写作的

Drama Rainbow 教育与戏剧中心创意总监。毕业于中央戏剧

是一家教育剧场剧团 Big Brum，邦德在年轻人身上看到不断

学院戏剧文学系，爱尔兰圣三一学院戏剧系哲学硕士，目前在

寻找人性的面孔。而在其他国家他的作品被翻译成 60 多种语

圣三一学院教育学系进行开创性的“戏剧与中国现代家庭”的

言，在超过 65 个国家上演。

博士课题研究。邦德戏剧在中国的积极倡导者和实践者。

除了不断的创作戏剧作品，邦德也不断在整合自己的戏剧观和

countries.

the adult will take responsibility for the world: he or she will become part of the map of the world. When adults Imagine the real they become human: otherwise they are not human – the Imagination is owned by the state and produced as Ideology, the falsehoods behind which are the fairy tales of murderers.” (Bond,2000:101) Chris Cooper: Chris Cooper, British dramatist and director, Artistic director of Accident Time Theater Group and 30-year-old Big Brum theatre in education company. Apart from huge amount of script writings, he has also made tremendous contribution

一种新的戏剧形式。他不断追求的是运用一种极致的戏剧整合

邦德及克里斯·库佩先生访问中国活动得到英国大使馆文化教

自我和社会之间的张力，于是观众要为剧中人的境遇承担责任。

育处的支持

towards theater and its education, including acting as the premier director for famous dramatist Edward Bond’s 10 plays. In the past 18 years, these two dramatists have developed into a complete series of strategies and methodology for drama and theater. He is also the drama consultant for Drama Rainbow center. In the last 4 years, he has been actively involved in the development and promotion of drama in education and theatre in education in China.

地点：蓬蒿剧场时间：2014 年 6 月 2 日 -6 日 10:00-16:00

工作坊

2014 年 6 月 7 日 14:00

爱德华·邦德公开演讲

2014 年 6 月 7 日 19:30

工作坊展示

主持：爱德华·邦德（Edward Bond)、克里斯·库佩 (Chris Cooper)、曹曦

Cao Xi Creative Director of Drama Rainbow Center. Graduated from dramatic literature department of Central Academy of Drama, with master of philosophy degree from Drama Department of Trinity College Dublin, currently working on the PHD research with the topic of “Drama (re)connects self and society in contemporary Chinese families” in Trinity College Dublin’s education department, he is also one active promoter and practitioner of Bond’s drama in China. Edward Bond and Chris Cooper’s visit to China is greatly supported by British Council. Venue: Penghao Theater Time: 2014/6/2-2014/6/6 10:00-16:00

workshop

2014/6/7 14:00

Public Speech from Edward Bond

2014/6/7 19:30

Workshop presentation

Hosted by: Edward Bond, Chris Cooper, Cao Xi 130

131

讲座：耶日·格洛托夫斯基及他的剧团 _ 格洛托夫斯基文化中心 _ 主讲：扎罗斯劳·费雷特

格洛托夫斯基文化中心：格洛托夫斯基文化中心是一家由波兰弗罗茨瓦夫市资助的文化机构，开展艺术及研究项目，回应耶日·格洛托夫斯基的创新实践引出的各种挑战，同时记录和推广托洛夫斯基的艺术成就。主讲：

《雅典卫城》图片来源于 Laboratory Theatre_from the Grotowski Institute Archiv

《雅典卫城》（Akropolis）里出演雅各伯，在《启示录变相》中出演犹大。他在

扎罗斯劳·费雷特是 Teatr ZAR 剧团的发起人、领导者，并任剧场导演和演员。他

格洛特夫斯基发起的声音训练方法中发挥主要力量。1964 年，他开始在工作坊

是波兰格洛特夫斯基协会主任，波兰弗罗茨瓦夫索尔斯基戏剧学院的讲师，波兰弗

中教受“演出疗方”。1975 年，这一工作坊发展为“表演疗方专业治疗实验室”，

罗茨瓦夫戏剧节欧洲文化首府 2016 的负责人，

后期成为“身体与声音”。

1999-2002 年间，他开展一系列远征，出访乔治亚、亚美尼亚以及伊朗，研究东方

“秘密存在于声音，声音是圆满和极为纯净的。解放和唤醒身体的中间部分是至关

基督教宗教音乐的最古老形态。2013 年，他执导了作品 Armine，Sister，充分展

重要的。身体的各个部分通常是被分开的：头、腿……都是被分开的。我们被阻塞

现了原始音乐戏剧和独特的舞台建筑。他在波兰和其他国家讲演并主持工作坊。获

了。通过把声音练习和身体结合起来，我们就能使全部身体都参与到说话与演唱中

奖及荣誉：2009 年，Teatr ZAR 被洛杉矶时报命名为为最佳新音乐剧场，2010 年

来。 ”——在格蒙特·莫里克

作品《童年的福音》（Gospels of Childhood）获当年佛罗茨瓦夫戏剧奖。他是波兰格洛特夫斯基协会众多波兰及国际项目的发起人和协调人，包括联合国教科文组织宣布的 2009 格洛特夫斯基年， “大师居住”项目，以及国际戏剧节“真实世界” 。

演出实况录像：《雅典卫城》+《忠贞的王子》 _ 雅典卫城 82’ _ 波兰语 + 英语字幕

耶日·格洛托夫斯基的《雅典卫城》被认为是一场独特的贫困戏剧的实践，也是 20

纪录片放映：《表演疗方》

世纪的经典大师作品之一。1962 年 10 月首映后，这一演出经年累月曾有数次修改。

_《表演疗方》58’

电影于 1968 年 10 月 27 日 -11 月 2 日摄制于伦敦附近的推肯汉姆工作室

_ 英语

132

（Twickenham Studios）。于 1969 年 1 月 12 日在纽约第 13 城市频道首次播放。

这部纪录片由比埃尔·热波迪尔（Pierre Rebotier）摄制于 1976 年，主要讲述在

路德维克·弗拉森说过， “格洛托夫斯基在诗句中找到了他的切入点：戏剧在‘部落

格蒙特·莫里克（Zygmunt Molik）关于声音的作品。由扎罗斯劳·弗雷特推介。

的墓地上’开演，有意地给我们的文明一个总结。集中营是当代的‘部落的墓地’ ，

在格蒙特·莫里克（1930-2010），曾是特罗特夫斯基实验室剧场的演员。在

族群和文化在此相遇并接受终极考验。 ” 133

Lecture: Jerzy Gehlaut Torfs Ki and his opera troupe

_Akropolis 82r _film in Polish with English subtitles

_Grotowski Institute _Jarosław Fret

The film was shot between 27 October and 2 November 1968 in Twickenham Studios near London. It was first broadcast on New

Grotowski Institute introduction:

York City’s Channel 13 on 12 January 1969.

The Grotowski Institute is a city-funded cultural institution that runs

Jerzy Grotowski’s Akropolis is considered a particular realisation of

artistic and research projects responding to the challenges laid down

the poor theatre and one of the canonical masterpieces of twentieth-

by the creative practice of Jerzy Grotowski as well as documenting

century theatre. Shown for the first time in October 1962, the

and spreading knowledge about his achievements.

performance underwent numerous changes in the following months and years.

《雅典卫城》图片来源于 Laboratory Theatre_from the Grotowski Institute Archiv

Lecturer:

Directed by James McTaggart, produced by Lewis Freedman, PBL

Jarosław Fret is a founder and leader of Teatr ZAR, theatre director

1968

and actor; director of the Grotowski Institute; lecturer of the Ludwik

According to Ludwik Flaszen, “Grotowski found his entry point in the

Solski State Theatre School, Filia in Wrocław, curator of the theatre

poet’s words: that the action of the drama was set “on the cemetery

programme of Wrocław: European Capital of Culture 2016.

of the tribes”, giving – on purpose – a summation of our civilisation.

In 1999–2002 he carried out a series of expeditions to Georgia,

Concentration camps were the contemporary “cemetery of the

Armenia and Iran, conducting research into the oldest forms of

tribes” where peoples and cultures were to meet and be put to the

religious music of Eastern Christianity. In 2013 he completed the

ultimate test.”

work on Armine, Sister performance, for which within direction he elaborated original musical dramaturgy and special stage

导演：詹姆斯·麦克泰戈特（James MacTaggart）

architecture. He lectures and leads work sessions in Poland and

_The Constant Prince 48e

internationally. Awards and honors: in 2009 Teatr ZAR was named

_film in Polish with English subtitles

出品：路易斯·弗里德曼（Lewis Freedman）, PBL 1968

Best New Music Theater by Los Angeles Times; winner of a 2010

演员：

Wrocław Theatre Prize for the Gospels of Childhood. The Triptych.

The performance, which premiered in 1965, is based on Pedro

Originator and coordinator of numerous Polish and international

Calderon de la Barca’s drama as paraphrased by Polish Romantic

projects within the Grotowski Institute, including the UNESCO-

poet Juliusz Słowacki. When preparing the performance, Grotowski

declared Grotowski Year 2009, the “Masters in Residence”

worked separately with the ensemble and separately with the

安东尼·扎霍克夫斯基（Antoni Jahołkowski）（以撒及守卫）

programme and the International Theatre Festival “The World as a

lead man Ryszard Cieślak. In this closed, very intimate space, the

瑞扎德·谢斯拉卡（Ryszard Cieślak）（伊索及赫克托）

Place of Truth”.

director acted as a midwife assisting the actor in his dramatic search

在格蒙特·莫里克（Zygmunt Molik）（雅各伯及竖琴师）瑞娜·米莱卡（Rena Mirecka）（瑞贝卡及卡珊多拉）

自拜尼·森奎迪斯（Zbigniew Cynkutis）（拉班及帕里斯）

with himself, which resulted in a total act. Screening:

“The performance is a specific study on the phenomenon of

斯坦尼斯洛·谢尔斯基（Stanisław Scierski）（塞洛及海伦娜）

_Acting Therapy 58t

‘constancy’. Here constancy is not manifested in strength, dignity

安缀兹·帕鲁实伟克（Andrzej Paluchiewicz）

_Film in English

and courage. The Prince opposes the actions of the courtiers (who perceive the Prince as an odd and strange creature, almost another

Screening of a documentary on Zygmunt Molik’s work on Voice,

species) with passivity and gentleness, fixated on a higher spiritual

_ 忠贞的王子 48’

introduced by Jarosław Fret,Directed by Pierre Rebotier, Cinopsis,

order. He seems not to resist the unpleasant manipulations of the

_ 波兰语 + 英语字幕

1976

people around him; he seems not to argue with the rules of their

Zygmunt Molik (1930–2010) was an actor with Grotowski’s

world.

Laboratory Theatre, appearing as Jacob in Akropolis and Judas

What he does is much more: he ignores their rules. Their world,

in Apocalypsis cum figuris. He played a major part in developing

industrious and cruel, has no way in fact of getting to him. They

写。筹备演出时，格洛托夫斯基分别与全剧团成员和男主角瑞扎德·谢斯拉克（Ryszard Cieślak）指导工作。在这个密闭狭小

the voice training method initiated by Grotowski. In 1964 he began

have sole power over his body and his life but at the same time

的空间内，导演如接生婆一般协助演员在戏剧中寻找自我，成就了一场别样的演出。

teaching “Acting Therapy” workshops for actors, which in 1975

they cannot do anything to him. The Prince submissively accepts

developed into the Acting Therapy Professional Therapy Laboratory

the courtiers’ sickprocedures and at the same time he stays

and later into “Body and Voice”.

independent and pure – to the point of ecstasy.” ——Ludwik

“The secret lies in the voice, sound, which is full and as pure as

Flaszenindustrious and cruel, has no way in fact of getting to him.

他们世界的规则辩驳。

possible. It is essential to free and awaken the middle part of

They have sole power over his body and his life but at the same

但他做的却更多：他漠视他们的规矩。他们的世界，充满着钻营和残忍，但却无法近他的身。虽然他们对他的身体和生命有绝

the body. Each part of the body is often separated: the head is

time they cannot do anything to him. The Prince submissively

separated, the legs… We are blocked. By combining voice exercises

accepts the courtiers’ sickprocedures and at the same time he

and body we reach a point at which the whole body is engaged in

stays independent and pure – to the point of ecstasy.” ——Ludwik

speaking and singing.”——Zygmunt Molik

Flaszen

这场演出首映于 1965 年，故事基于佩德罗·卡尔德隆·德·拉·巴尔卡的剧本，并由波兰浪漫派诗人尤利乌什·斯沃瓦茨基改

这场演出专门研究“忠贞”现象。在这里，忠贞并不体现在力量、身份高贵和勇气。王子顺从而温柔地反对那些认为他是个怪胎甚至是其他物种的朝臣们的行径，并着眼于更高精神层面的秩序。他似乎并不抵制周边人令人不舒服的控制；他似乎并不与

对的控制权，但同时，他们对他也无计可施。王子温顺地接受着朝臣们令人恶心的程序，同时保持着自己令人心醉的独立与纯洁。——路德维克·法拉森 134

135

工作坊：四个中心 ——Jaroslaw Fret/SinmonaSala 形体工作坊

F our C enters —— Workshop with Jarosław Fret and Simona Sala Workshop introduction: This work session is designed to help performers initiate

工作坊介绍：

a process of self-defined practical description of physical,

这个工作坊意在帮助演员们开启一个过程，在这一过

pneumatic and communication centres in her/his body-

程中他们能就“行动中的身体”中身体、心灵、交流的中心形成由自我定义的实践描述。

in-action. In our work, centre is not understood as a point or area in the body, but rather as a field that enables redistribution of

在我们的作品中， “中心”不应被理解成身体中的一个

motor, pneumatic and mental energy. Dynamics, rhythm

点或一个地方，而是一个可分配动力、精神和心灵能

and patterns will be examined in a series of exercises.

量的场域。通过一系列联系检视动态，节奏和类型。

Moderator: Simona Sala is an actress, performer. In 2004 she

主持人：西蒙娜·萨拉（Simona Sala）是一位演员、表演家。2004 年，她完成了在蓬泰代拉小剧场（Piccolo

Jaroslaw Fret

realized professional course for two years in Piccolo Teatro of Pontedera. Simona is co-founder of Italian company Sineglossa, with which has been working for seven years. She attempted to introduce ADD (Art du

Theatro of Pontedera）两年的专业课。西蒙娜是意

Deplacement) to her actor training collaborating with

大利剧团 Sineglossa 的联合创办人，并已在剧团工作

Laurent Piemontesi (founder of Yamakasi). Since 2011

了七年。她与法国酷跑队Yamakasi的发起人劳伦特•

she is working with Teatr ZAR in Wrocław (Poland), cocreating it’s last performance Armine, Sister in domain

皮蒙特西（Laurent Piemontesi）合作，尝试将 ADA （Art

of dramaturgy of physical actions. Within her training

du Deplacement，运动艺术）引入演员训练中。自

she is developing research of the dynamics of tempo–

2011 年起，她与位于波兰弗罗茨瓦夫的 Theatr ZAR 剧团合作共同创作了其上一场演出，Armine, Sister，

SinmonaSala

rhythm, the accumulation of performer’s energy and its dramaturgical potentiality. Jarosław Fret: (Ditto)

一部采用肢体表演戏剧手法的戏。在培训中，她同步开展速度 - 节奏的动态，表演者的能量累积，以及戏剧潜能等的研究。扎罗斯劳·费雷特 ( 同上 )

Requirement for participants: An intensive workshops for students and actors,16 participants only, please wear comfortable cloth like spare t-shirts.

参与者要求：这是一场高强度的工作坊，面向学生和演员开放，仅有 16 个名额，全部参与者需回答艺术家的问题并经过筛选后方可参加。请穿着舒适的衣物例如宽松的 T 恤衫等。

136

137

讲座：当代波兰戏剧响亮的声音：波兰戏剧到 21 世纪初发展之旅波兰戏剧有着确立民族认同的角色，是波兰民族大事和文化大事的辩论平台。 18 世纪末波兰失去政治与文化独立，1918 年恢复独立，只有波兰剧院是艺术家逃

Lecture: Contemporary Poland drama

country, rather than use implications or signal the

A resounding sound: the developing

Poland, as a country sitting on the crossroad of the

journey of Polish theater by early 21st

Oriental and the West, continues to create a special

centuryPolish theatre plays a role of establishing

art language to depict the modern world. Polish

ethnic identity. It is a debate platform for major ethical

people treat theatres as a tool of self-recognition. So

and cultural events of Polish people.

there is no doubt that watching Polish plays is one of

different aesthetics in various forms.

the best ways to understand Poland.

避审查制度的空间。第二次世界大战过后，戏剧沦为宣传共产主义思想和社会现实主义美学的工具。

audience in coded language. They express all kinds of

Poland lost its independence in politics and culture at the end of 18th Century and regained it in 1918.

Moderator:

During the period, only Polish theatre was a space for

Maciej Szatkowski, born in 1983. Head of Center

查制度。观众们清楚懂得如此表达对政府的批评，这样的辩论平台本身很有戏剧性。

artists to avoid the censorship. After WWII, theatres

for Chinese Language and Culture at Copernicus

共产主义政府通过补贴制度对剧院进行国有化，艺术家不必面对市场经济压力。他

descended to a propaganda tool of the ideology of

University in Torun, PhD student at Warsaw University

communism and social realism aesthetics.

– Chinese Studies Department. Preparing his PhD

波兰戏剧依然繁荣发展。艺术家用独有的具有潜在涵义的语言和舞台设计来逃避审

们致力于艺术实验和新表达方法的寻找。

about postmodernist theater of Meng Jinghui.

1989 年后，波兰实行国家民主化，新的市场经济出现危机，波兰戏剧在新一代导演

However, Polish theatres continued to thrive. Artists

Member of Polish Society of Theater Studies. Worked

们的大胆创新中取得生机。他们公开讲述禁忌问题。全国剧院开始从民族认同与爱

avoided the censorship using their subtext-styled

as manager of Polish contemporary dancers. His

language and stage designs. And the audience clearly

latest important articles include: Pride and Prejudice

understands the criticism of the government in this

– responds to Nobel Prize for Mo Yan; Emotional

kind of expression. Just the debate platform itself is

Capitalism in Chinese Drama in Liao Yimei's

very theatrical.

“Rhinoceros in Love”, The Phenomenon of popularity

国主义，转变为个人情感的表达。 21 世纪初，新历史书出版，戏剧人再次注重历史问题，展示修正的历史观。 2008 年的《阿波罗尼亚》是涉及二战与犹太人大屠杀、探讨罪和牺牲的意义最大的戏剧。艺术家们开始直接地表示不同意为国家现状负责，不再是隐含的暗指或给观众打的

of Meng Jinghui's theater, “Nixon in China” - political The communist government nationalized theatres

暗号。他们用各种各样的形式展现不同的审美观念。

the pressure of market economy. They could devote

波兰作为东西方交汇之地的国家，不断创造描写当代世界的一种独特的艺术语言。

themselves into art experiments and looking for new

波兰人将戏剧当作认识自我的工具，所以看波兰戏剧无疑是了解波兰最佳的手段之一。

opera. Translates Chinese dramas into Polish.

through a subsidy system, so didn’t have to face

expression methods. After 1989, Poland started the democratization of the nation and crises began to emerge from the new

主持：夏特考夫斯基·马奇生于 1983 年，现供职于托伦哥白尼大学，是该大学中国

market economy. Polish theatres revitalized from the bold innovation of new generation of directors. They publicly discuss tabooed issues. Theatres all

语言和文化中心主任，华沙大学中文系在读博士。研究方向：后现代派剧作家

over the country shifted from ethnic identification and

孟京辉。他同时也是波兰戏剧协会会员，波兰当代舞蹈舞台监督。近期发表的

patriotism towards expression of personal feelings.

重要作品有：《傲慢与偏见——有感于诺贝尔获奖作家莫言》，《廖一梅 ' 恋爱中的犀牛 ' - 中国戏剧中的唯情资本主义》，《孟京辉戏剧之流行现象》，《尼克松在中国——政治歌剧》，他还是把中国戏剧译为波兰语的译者。

In the early 21st Century, after the publishing of new history books, people in the theatre sector once again pay attention to issues of history and demonstrate a revised view of history. (A)pollonia (2008) is the most significant play talking about WWII, the Holocaust, the sin and sacrifice. Artists begin to directly show their disapproval of taking responsibilities for the current situation of the 夏特考夫斯基·马奇

138

139

格洛特夫斯基协会讲座及电影放映莫妮卡·布雷治（Monika Blige）获波兰波兹南密茨凯维奇大学（Adam Mickiewicz University， AMU）波兰语研究的硕士。 2001-2005 年，她参与 Wegajty 剧场的田野工作项目。

格洛托夫斯基文化中心馆藏电影资料馆

2004 年，她前往波兰波兹南密茨凯维奇大学（AMU）戏剧和

电影内容待定

剧场系攻读博士，研究路徳維·佛拉森（Ludwik Flaszen）生

Monika Blige

平及作品。

日程表：

2005 年，她到位于弗罗茨瓦夫的格洛特夫斯基中心（后更名

讲座：耶日格洛托夫斯基及他的剧团

为格洛特夫斯基协会）工作。

纪录片放映：《表演疗方》

自 2005 年起，她主管格洛特夫斯基协会的出版事宜，同时任

时间：6 月 17 日 14:30-17:30

技术编辑。

演出实况录像：《雅典卫城》+《忠贞的王子》

她和保罗·阿莱恩（Paul Allain）一起，合编了路徳維·佛拉

时间：6 月 17 日 19 :45-22 ：00

森的格洛特夫斯基和剧团一书（(Icarus Publishing Enterprise,，

工作坊：四个中心 -Jaroslaw Fret/SinmonaSala 形体工作坊

2010）

时间：6 月 18，19 日 9 ：00-19 ：00

2013 年，她被任命为格洛特夫斯基协会的项目部副主任。

讲座：当代波兰戏剧时间：7 月 14 日 14 ：00-16 ：30 Monika Blige 讲座及电影放映

Grotowski Institute’s Lecture and screening

时间：7 月 15 日 13 ：00-16 ：30 格洛托夫斯基文化中心馆藏电影循环播放

Monika Blige has an MA in Polish studies from the Adam Mickiewicz

时间：7 月 16-17 日

University (AMU) in Poznań, Poland.

地点：蓬蒿剧场

From 2001 to 2005 she was involved with the Węgajty Theatre’s Fieldwork Project. In 2004 she started a PhD at the AMU’s Drama and Theatre Department, focusing on the life and work of Ludwik Flaszen. In 2005 she began working at the Grotowski Centre in Wrocław, which was then renamed the Grotowski Institute. Since 2005 she has been in charge of Grotowski Institute Publishing, where she has also worked as a technical editor. With Paul Allain, she co-edited Ludwik Flaszen’s book Grotowski & Company (Icarus Publishing Enterprise, 2010). In 2013 she was appointed the Grotowski Institute’s Deputy Director for Programming.

140

Schedule： Lecture: Jerzy Gehlaut Torfs Ki and his opera troupe Screening: Acting Therapy Time:17th June 14:30-17:30 Screening: Akropolis / The Constant Prince Time:17th June 19 :45-22：00 Four Centers——Workshop with Jarosław Fret and Simona Sala Time：18th/19th 9：00-19：00 Lecture: Contemporary Poland drama Time:14th July 14：00-16：30 Monika Blige’s Lecture and screening Time:15th July 13：00-16：30 Grotowski Institute Collection film loop screening Time: 16th -17th Venue: Penghao Theatre

141

Hirata Oriza Theatre Workshop and Lecture

Lecture: The History of Japanese Playwriting and My Methodology The lecture focuses on a comparative study of modern

石黑教授和平田织佐的合影

本演剧学会理事、（财团法人）地域创

剧作家，导演，青年团创办者。东京驹

造理事、东京艺术文化评议会评议员、

场剧场负责人。

文部科学省交流教育推进会议委员（议

1962 年出生于东京。毕业于国际基督

长）。

教大学教养学部。

analyzes them through a social and historical perspective.

director of the Komaba Agora Theater.

Hirata Oriza will examine what he calls “contemporary oral

Born in Tokyo in 1962. Graduated from International

play theory”.

Division.

Lecture: Art as the Foundation of Nations

In 1995, Hirata won the 39th Kishida Kunio Drama Award

The lecture will investigate why society needs Art and needs

with Tokyo Note ('Tokyo Notes').

to support Art. Also, using case study material, the lecture

n 1998, he received the 5th Yomiuri Theater Outstanding

will examine how Art can address a multitude of problems

入过程中所出现的问题，进而说明平田

Director Award for his production of Tsuki no Misaki ('The

faced by Asian countries.

织佐为何会提倡“当代口语戏剧理论” 。

Cape of the Moon'), a play by Masataka Matsuda. Hirata wrote and directed Ueno Dobutsuen Sai-sai-sai Shugeki ('Attacking Ueno Zoo for the Fourth Time') in 2002

活动日程：

and won the 9th Yomiuri Theater Award for Outstanding

6 月 8 日（周日）

Production. In 2002, he won the AICT (Association Internationale

1995 年凭借《东京札记》获得第 39 届

工作坊：

10:00 ～ 13:00 演员的演技工作坊 1

岸田国士戏曲奖。

该戏剧工作坊旨在理解平田织佐的戏剧

14:00 ～ 17:00 演员的演技工作坊 2

Rikkokuron ('Arts as the Basis of a Nation,).

1998 年凭借《月之岬》获得了第 5 届

方法论的同时学习戏剧构造整体。该工

19 ：00 ～ 21:00 艺术立国论讲座

In 2003, he won the Grand Prix of the 2nd Asahi Performing

读卖演剧大奖优秀导演奖、最优秀作品

作坊迄今为止已在世界十五个以上国家

地点：蓬蒿剧场

奖。

地区的大学、国立戏剧学校等举办过，

2002 年凭借《上野动物园再再再袭击》

均引起了巨大反响。

6 月 9 日（周一）

In 2006, he won the Montblanc de la Culture Arts Patronage

工作坊先由简单的交流小游戏开始，后

10:00 ～ 13:00 演员的演技工作坊 3

Award.

演剧大奖优秀作品奖。

半部分则通过使用资料，系统地学习演

14:00 ～ 17:00 演员的演技工作坊 4

2002 年凭借《艺术立国论》（集英社新

员的条件、导演的视点、戏剧整体的构

地点：蓬蒿剧场

At present, Hirata is professor of Communication-Design at

书）获得 AICT 评论家赏。

造等。

19:00 ～ 21:00 日本现当代戏剧史和我的方法

Osaka University, general manager of the Fujimi Culture Hall,

（剧本、构作、演出），获得第 9 届读卖

2003 年凭借《过了那条河就五月》（2002

论讲座

讲座：艺术立国论

届朝日舞台艺术奖大奖。

从艺术管理的视点出发，从理论上解析

2006 年获得万宝龙国际艺术赞助大奖。

为什么社会中必须要有艺术的存在，而

参加者的要求：

2011 年获得法国文化部授予的法国国

社会对艺术支援的根据在哪里。讲座中

工作坊参加者无经验要求，演员、导演、

家荣誉军团勋位骑士勋位。

通过穿插日本的地域社会的实际例子，

剧作家、戏剧教育相关人员等均可参加。

同时他还担任了东京艺术大学社会连携

考察对于今后亚洲各国将会面临的各种

工作坊的 1-4 课程全部都能参加者。

问题，艺术可以如何对此做出贡献。

请穿着舒适并适合活动的服装参加，避

地点：中央戏剧学院（本部东厅）

特别助理、（公共财团法人）舞台艺术

讲座：日本现当代戏剧史和我的方法论

财团演剧人会议理事长、埼玉县富士见

讲座中将日本的现当代戏剧史与其他的

市民文化会馆 BeSeTo 戏剧节日本委员

音乐、美术等进行比较，从社会思想史

会委员长、日本剧作家协会副会长、日

角度进行分析。剖析日本现代戏剧的输

Arts Awards with Sono Kawa wo Koete, Gogatsu ('Across the River in May'), which was staged for the Year of Japan-

In 2011, he won the Ordre National de la Légion d'Honneur, issued by the French Ministry of Culture.

and a member of the Japanese Textbooks Editorial Board of the Sanseido Publishing Company. He is also on the boards of the Japan Foundation for Regional Art, the Japanese Society for Theatre Research, and the Japan Playwrights

免穿着裙子。

大阪大学客座教授、四国学院大学校长

des Critiques des Théâtre) Award for his book Geijutu

ROK National Exchange in 2002.

年日韩国民交流纪念项目），获得第 2

中心特任教授（2014 年 4 月 1 日起）、

142

Japanese plays with music, painting, and other fine arts, and

Playwright, director, leader of Seinendan, and artistic

Christian University, College of Liberal Arts, Humanities

平田织佐戏剧工作坊及讲座

平田织佐：

Hirata Oriza:

可以开放旁听。

Association. He is also a committee member of the Japan Performing Arts Foundation. Finally, he is a special advisor

Schedule: June, 8th 10:00~13:00 Acting Workshop 1 (For Actors) 14:00~17:00 Acting Workshop 2 (For Actors) 19:00~20:00 Lecture: The History of Japanese Playwriting and My Methodology Venue: Penghao Theatre June, 9th 10:00~13:00 Acting Workshop 3 (For Actors) 14:00~17:00 Acting Workshop 4 (For Actors) Venue: Penghao Theatre 19:00~20:00 Lecture: Art as the Foundation of Nations Venue: Central Academy of Drama

Requirements for Participants: There is no experience requirement for workshop participants. Actors, playwrights, drama teachers, and related professionals can all participate. Participants can take from 1-4 courses. Please dress comfortably. Skirts are not recommended. Observers are permitted. Co-organizer: The Japan Foundation

to the cabinet. Workshop Introduction: In this workshop, Oriza will explore play structure and share his playwriting methodology. This workshop has also been conducted to great acclaim in the universities of more than 15 countries. The workshop starts with small communication games and

共同主办：日本国际交流基金会

proceeds with systematic study of acting, directing, and play structures.

143

2007）、《完全精神手册》（MENTAL）（观察电影第二

“青年团”世界。

部， 2008）和《完全和平手册》（PEACE）（观察电影，

日本静态剧场纪录片公开放映《完全演剧手册 1》& 《完全演剧手册 2》

2010）。三部纪录片都广受世界范围内的好评。

日程安排：

而第三部制作的观察电影就是本次蓬蒿剧场即将放映

6 月 6 日 18 ：30-21 ：30《完全演剧手册 1》

的《完全演剧手册》。《完全演剧手册》描述了日本杰

6 月 7 日 10 ：00-13 ：00《完全演剧手册 2》

出剧作家和导演平田织佐（与蓬蒿剧场在 2014 年 1

地点：蓬蒿剧场

月份上演的中日韩三国合作戏剧《祝 / 言》的导演长

语言：日文附中文字幕

谷川孝治先生同为日本静态剧场的代表人物）与他的

费用：免费

Japanese Static Theatre Documentary Public Screening Theatre 1 and Theatre 2

winning playwrights, including Shiro Maeda, Yukio Shiba, Shu

Introduction:

documentary about the relationship of Hirata and his world. Will

Director: Kazuhiro Soda Documentary｜2012｜HD｜170min｜Color Japan USA ｜Chinese & English Subtitles

Seinendan survive 21st Century? Will theatre art, as a form of art

Productions: Laboratory X

This documentary won the Young Jury's Prize at the Festival des 3 Continents in Nantes, France in 2012.

影片介绍：

平田的对话都在日常用语之中表达出

演剧手册 2》（观察电影第四部）就是一

导演：想田和弘

来，而不是通过正式的“戏剧的”演讲。

部描述平田和他的世界之间的关系的长

纪录｜2012 ｜HD ｜170min ｜Color

此外，他的演员再现的都是普通的行为

篇纪录片。 “青年团”的艺术能挨过 21

and his theatrical company, Seinendan. The film leads the audience

日本美国｜中英文字幕

举止，而不是程式化的行为和动作。在

世纪吗？作为一种耗费大量时间和金

to review a fundamental question: What is theater? Why do human

制片公司：X 实验室

一个场景中，多个对话同时进行着，演

钱、又极其相似的艺术形式，普遍的戏

员们也常常背对着观众说话。

剧艺术又能撑过么？《完全演剧手册 2》

本片获 2012 法国南特三大洲电影节青

“青年团”有大约 60 名演员和 20 名工

再度检视了戏剧与社会间的关系，或者

年评审团奖。

作人员。这间公司在平田自己的建设下，

再根本一点说，是艺术与社会的关系。

《完全演剧手册 1》是一部长篇纪录片，

不具有中层管理人员，运营得很有效率。

通过戏剧的过滤，这部电影带领着观众

描述日本杰出剧作家和导演平田织佐与

每年在日本内外都能制作约 15 部戏剧。

看向人们生存的这个社会。

他的“青年团”的世界，并藉此重温一

从大本营驹场集市剧院开始，平田的戏

个基础问题：什么是戏剧？人们为什么

剧理论及其实践已经对现代日本戏剧产

导演：

需要表演？在阐述自己的理论时，平田

生了革命性的影响。与此同时，他们的

想田和弘 ,1970 年生于日本，在 1993

happening at the same time while often times, actors will talk with

说： “人类都是擅长表演的。所谓‘真我’

作品在全球演出的次数也稳步上升。 “青

年搬去纽约前一直居住在日本，之后他

their backs towards the audience.

只是假象而已。我们拥有的只是角色。 ”

年团”已经成为许多获奖剧作家的摇篮，

在纽约开始了自己的电影事业。在纽约

通过戏剧形式，他与任何意识形态的表

包括前田四郎、芝由纪夫、舒松井、多

期间的想田，为日本 NHK 电视台制作

达都保持距离，同时最大程度地投身于

田淳之介，以及电影导演深田晃司。其

了多部电视纪录片之后，他开始转变方

each year in Japan and abroad. Starting From their home base,

描绘出隐藏在我们日常生活中错综复杂

中，深田晃司以《欢待》这部让“青年团”

向，着手创作独立长篇纪录片。

Komaba Agora Theater, Hirata's theater theories and practices

的“意外” 。

的演员独树一帜的电影而闻名。

在拍摄《完全演剧手册》前，想田

他还说道： “我们的存在本身就已经是

如果说《完全演剧手册 1》（观察电影第

和弘已经拍摄了《选举完全手册》

神奇而又戏剧化的。 ”

三部）是关于平田的世界，那么《完全

（CAMPAIGN）（观察电影第一部，

144

Theatre 1 is a feature-length documentary which depicts the world of Oriza Hirata, an outstanding playwright and director in Japan,

beings need to act? When elaborating his theories, Hirata says, "Human beings are all good at acting. The so-called 'true self' is just an illusion. We only have personas." With his plays, he stays away from any ideological expressions, and devotes himself to depicting the intricate and complex “accidents” that lurking in our daily life to the best extent possible. He also said, our being itself is already magic and dramatic. Hirata's conversations are all carried out in plain language other than formal and “theatrical” speeches. Besides, his actors reproduce ordinary behavior rather than stylized movements and actions. In just one scene, there are many conversations

There are about 60 actors and 20 staffs in Seinendan. Built by Hirata himself, this company operates quite efficiently without a middle management team. They can produce about 15 plays

have been revolutionarily impacting Japanese theatre. While at the same time, the frequency of their works being played globally is steadily rising. Seinendan has become a cradle for many awards-

Matsui, Junnosuke Tada, and a film director Koji Fukada known for "Hospitalite" which featured Seinendan actors. If we view Theater 1 (Observational Film Series #3) is about the world of Hirata, then Theatre 2 will be a feature-length

consuming much time and money with extremely resemblance, make it? Theatre 2 reexamines the relationship between theatre and society, or more fundamentally, the relationship between art and society. Filtered by theatre, this documentary will lead the audience to revisit the society where we all live in. Director: Kazuhiro Soda Kazuhiro Soda was born in 1970 in Japan. He lived there till 1993 when he moved to New York where he started his career of filmmaking. While in New York, he shifted to make independent feature-length documentaries after making many TV documentary programs for NHK. Before shooting Theatre 1, Kazuhiro Soda has shot CAMPAIGN (Observational Film Series #1, 2007), MENTAL (Observational Film Series #2, 2008), and PEACE (Observational Film, 2010) which are all won widely applause around the world. Theatre 1 which will be screening at Penghao Theatre is the Observational Film Series # 3, a story about Oriza Hirata and his Seinendan. Oriza Hirata and Koji Hasegawa, who is the director of Zhu/Yan, a joint play of China, Japan, and South Korea and performed at Penghao Theatre in January 2014, are all representative figures of Japanese static theatres. Schedule: June 6th, 6:30-9:30 p.m. Theatre 1 June 7th, 10:00 a.m.-1:00 p.m. Theatre 2 Venue: Penghao Theatre Language: Japanese with Chinese subtitles Free of charge

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“风景的变容” ——长谷川孝治戏剧创作工作坊

工作坊介绍 : 将日常生活中习以为常的室内外风景变成故事，体验“日常性”的“变容” 。同时通

长谷川孝治

过在观众与表演者共有的剧场空间展示作品，探讨何为虚构，何为非虚构。对最终的呈现形式不做任何限制，可以是诗、小说、哑剧、舞蹈等等，也可以引用古典文学作品，创造性地利用现成的戏曲、小说、诗等来实现最终的呈现。工作坊预计参加人数 12-16 人，4 人一组分为 3-4 个创作小组。有志于剧本创作的人（编剧）3-4 人，分别作为各个创作小组的核心，每组参加者中最好有演员以及舞者，共同创作。长谷川孝治 : 青森县立美术馆舞台艺术总监。弘前劇場核心人物。日本青森县人。1978 年结成“弘前剧场” 。担任所有作品的编剧及导演。为了打破日本戏剧集中于东京一极的状况，弘前剧场自成立以来，一直以青森县为据点持续戏剧活动。演员把共通语（标准语日本语）写成的剧本翻译成方言口语进行表演；

The Transformation of 'Normality' Koji HASEGAWA Theatre Workshop in Beijing Workshop Introduction： perspective and turning them into stories. We will explore the relationship

丰富的地方方言，得到广泛公认。出版著作有《戏曲集弘前剧场的两个场所》、《弘

between fiction and non-fiction, culminating in a final presentation in theatre space. All forms of presentation are possible: poetry, fiction, citation from novels, recitation from classics, mime, dance, and so on.

参加者要求 : 能够全程按时参加，并保证能够参加最后的作品展示；

Be able to make a full attendance and participate in the final presentation; Be interested in a theatrical career and willing to explore, innovate, and cooperate with the other of team members;

Seeing common scenes indoors and outdoors from a transformed

其舞台呈现，把学校教员室、葬礼等日常生活的场所设定为戏剧场景，活用表现力前剧场 30 年》、《彷徨的戏剧人》等。

Requirements of Participants

The only condition is that the final presentation should be created independently by a group of 4-6 people.

优先考虑有表演经验、有志于舞台艺术创作的人，勇于尝试、乐于创新、能够与他

COORDINATOR：

人协同创作的人；

Koji HASEGAWA, General Director of Performing Arts, Aomori Museum

Schedule May 26 (Monday) 10:00 - 17:00 Day 1: What is Communication? May 27 (Tuesday) 10:00 - 17:00 Day 2: Go to the streets to find scenes and scenarios May 28 (Wednesday) 10:00 - 17:00 Day 3: Rehearsal and script creation May 29 (Thursday) 10:00 - 17:00 Day 4: Rehearsal, script creation, and multimedia footage preparation May 30 (Friday) 10:00 - 17:00 Day 5: Rehearsal and final presentation

of Art in Japan, and core member of the Hirosaki Theatre Company. 日程安排 :

Hirosaki Theatre Company and writes and directs all its productions.

5 月 26 日（周一）10:00 - 17:00 第一天“什么是沟通”

To counteract Tokyo's monopoly on Japanese theatre, the company

5 月 27 日（周二）10:00 - 17:00 第二天“去到街上，寻找风景”

translates standard Japanese into local dialects when performing,

5 月 28 日（周三）10:00 - 17:00 第三天“彩排及剧本创作”

146

Hasegawa was born in Aomori, Japan in 1978. He established the

and their mastery of these dialects has earned wide recognition. The company is also distinguished by its use of classrooms, funeral parlours,

5 月 29 日（周四）10:00 - 17:00 第四天“彩排，剧本创作，多媒体素材准备”

and other ordinary places as drama spaces. Its books include: 30 Years

5 月 30 日（周五）10:00 - 17:00 第五天“彩排，作品发表”

of The Hirosaki Theatre Company. 147

春告歌——山田云社区舞蹈工作坊

CUCKOO’S SINGING ——Yamada Un Community Dance Workshop Workshop Introduction：

工作坊介绍：著名舞蹈家山田云主持的为期 4 天的社区舞蹈工作坊，20 位参加者来自不同的社会

The four-day community dance workshop is held by the renowned dancer Yamada Un, with 20 participants from different social backgrounds, ages and life experience. Some of them are professional dancers, while some are art lovers with no stage experience, there are also graphic

背景，年龄各异，生活经历各不相同，有专业舞者，也有没有舞蹈基础的舞台艺术

designers, actors, teachers, college students, and professionals…different individuals with distinct

爱好者，平面设计师，演员，教师，大学生，办公室工作人员，修理工，企业管理者……

yet colorful experience will start flames on the same stage and bring the news of spring. We read

不同的生命个体，各自的身体拥有各不相同而又丰富多彩的经历，在同一个舞台碰撞出生命的火花，传告春的信息。让我们共同阅读来自各自身体的表情，聆听他人的身体的声音，分享彼此生活的故事，用共同起舞的方式为生命的春天做一个美妙的仪式。作为关联活动，著名舞蹈评论家、舞蹈研究者稻田奈緒美女士将参与工作坊全程，

each other’s physical expressions, and listen to each other, sharing life stories and cheer for spring with dance. As a related event, the renowned dance critique and researcher, Naomi Inata will participate during the whole session of this workshop. She will lecture on Modern Dance in Japan, have a real time conversation about Community Dance, and provide on-site commentaries. This will offer a valuable opportunity for participants to have a deeper insight about community dance and the current situations of Japanese dance.

开展讲座《日本现代舞蹈》、实时对谈《社区舞蹈》、现场讲解评论等活动，为参加

Spring is represented by Cuckhoos, the symbolic bird of OTA district. Yamada Un held community

者深入了解社区舞蹈以及日本的舞蹈现状提供难得的机会。

dancing workshops in Ota-ku, Tokyo this February for over 20 participants from 6 to 70 years old.

春告鸟即杜鹃，是东京大田区的“形象大使” 。今年 2 月在东京大田，山田云女士为年龄层 6 岁 -70 岁，背景各异的二十多位参加者举办了社区舞蹈工作坊。冰雪消融、

As the ice melting and spring coming back, they jointly created the CUCKOO’S SINGING based on the workshop, and name it after the cuckoo, symbol of OTA district. The workshop came to Beijing this May, where the song of the cuckoo will be sung by the Chinese participants.

大地回春之时通过参加工作坊集体创作了演出——《春告歌》，是以大田区的区鸟“春告鸟”命名。今年 5 月，该工作坊来到北京， “春告歌”将在北京被中国的参加者唱响。

COORDINATOR： Un Yamada , choreographer , dancer . After some training in gymnastics, ballet, Butoh, Un Yamada started her career as a choreographer in 1996. She has also been active as a solo

山田云（Yamada Un），编舞家，舞者。曾接受器械体操，芭蕾，舞踏训练，1996

dancer since 1998. Her ideas originate in music, visual art, literature, academic fields, fashion, and

年起开始以编舞家身份开始编舞活动。融入美术、文学、学术、时尚等元素，以身

diverse body movements. She founded her own company, Yamada Un Co., in 2002. Since then,

体为源泉创造出多彩多样的充满机智的舞蹈作品。1998 年起，作为独舞舞者活跃

the company has performed in 31 cities in Japan and 22 cities in 14 other countries.Her dance is sensitive, energetic and dynamic, attracting worldwide attention. She has been working on a wide

在舞台上。2002 年创立舞团“Ｃｏ . 山田うん” 。其舞蹈作品细腻而富于生命力，

range of projects including collaborations with musicians and choreography for theatre opera, and

充满活力，机智幽默，洋溢着自由奔放的想象力。在日本国内外受到广泛关注。目

community dance.

前，她的演出足迹遍及日本国内 31 个城市，海外 14 个国家的 22 个城市，在所到之处成为热议的话题。她积极涉足各个艺术领域，与音乐家合作，为戏剧及歌剧做动作编导，面向不同背景的参加者开展工作坊。她同时也是社区舞蹈（Comunitee Dance）的积极开拓者。

Schedule: May 29th-June 1st, 7:00-9:30 p.m. Oriental Palace Theatre Rehearsal Hall

Requirement of participants: Be able to make a full attendance and participate in the final presentation Cuckoo’s Singing;

日程安排： 5 月 29 日 -6 月 1 日 19:00—21:30 东宫影剧院排练厅

参加者要求：

Participate voluntarily and hold a passion about stage art, dancing and physical training basis is not mandatory; Wear soft and comfortable clothes/shoes/socks during the whole session and pay attention to personal hygiene. Co-organizer: The Japan Foundation

能够全程按时参加，并保证能够参加最后的汇报演出——《春告歌》；自愿参加，对舞台艺术有热情，可以有舞蹈及肢体训练的基础，也可以没有；工作坊全程穿着便于运动的柔软服装，鞋袜，注意个人卫生。

共同主办：日本国际交流基金会 148

149

从现在起，成为你自己 -- AnatGrigorio 身体技术与创作工作坊工作坊介绍： “从现在起，成为你自己” 。该工作坊聚焦从描述语言到抽象运动过程中的情感转换。它结合形体，表演和表达能力。工作坊以释放为基础的技巧练习和地板上的热身运动开始，然后推进到阿娜特剧目中的学习环境。工作坊将鼓励学生发展自己对形体运动的理解，帮助找寻属于自己的表达。 “从现在起，成为你自己”是基于阿娜特·格里戈里奥独角戏《美好先生》概念下的舞蹈戏剧工作坊。

And now, Be yourself —Technique and repertoire workshop Workshop content: "And now…Be yourself" Focuses on the emotional transformation from narrative action into abstract movement. It combines physical work with acting and expression abilities. The workshops begin with release based technique class & floor-work worm up and continue with learning movement from Anat’s repertoire. The exercises will encourage the students to develop their own interpretation for movement which can give them the ability to find their own personal language. "And now ...BE YOURSELF” - brings Dance & Theater workshop under the concept of Anat Grigorio latest solo work Mr. Nice Guy. COORDINATOR：

主持：阿娜特·格里戈里奥，生于 1974 年，在以色列佩克提克瓦市长大。她从 6 岁开始跳舞，并且在后来不断发展自己在体操，国标舞，现代爵士，古典芭蕾，当代舞蹈和形体

Anat Grigorio was born in 1974, grew up in Petach Tikva ,Israel. She started dance when she was 6 years old, through the years she developed her skills in gymnastics, steps, modern jazz, classical ballet, contemporary dance and physical theatre. Anat has been trained in Kibbutz Contemporary Dance Co., Ido Tadmor Dance Co., Thieery Moral

戏剧各方面的技能。阿娜特受训于基布兹当代舞蹈公司，伊多·塔德莫尔舞蹈公司，

physical theater (France).

蒂埃里·莫瑞形体剧院（法国）。

Anat Grigorio won a prestigious scholarship for dancers & choreographers to participate

阿娜特·格里戈里奥曾赢得过备受荣誉的舞蹈及编舞奖学金，从而有机会参加到强

in intensive workshop with Nigel Charnock, one of the founders of physical theater & dance company DV8.

度极大的奈杰尔·查诺克工作坊活动，奈杰尔·查诺克是形体剧院和舞蹈公司 DV8

In 2009 she received the Wind Award in international Festival Pula Puff in Croatia for her

的创始人之一。2009 年她的《Katuk》荣获克罗地亚国际 Pula Puff 节的风之奖。

piece “Katuk”. Her latest solo work Mr. Nice Guy premiered on June 2013 in Jerusalem.

她最近的独角戏作品《美好先生》于 2014 年 6 月在耶路撒冷首演，是广受关注的“以色列节日”委托创作的。随后在以色列及其他国家各地上演。

日程安排：时间：7 月 14-15 日 10 ：00-15 ：00 地点：东宫影剧院（排练厅）参加者要求：

It was commissioned by the prestigious “Israel Festival” and since then performed in various venues in Israel and abroad. Schedule: 14th July-15th July 10:00-15:00 Oriental Palace Theatre Rehearsal Hall Requirement of Participants: The workshop is for professional & non-professional dancers and actors.Basic background in dance is required.

工作坊欢迎专业及非专业舞者及演员，具备基本的舞蹈背景。

150

151

Panorama 的开幕电影。邓树荣

曾获 2003 年香港舞台剧奖最佳男主角奖，三届香港舞台剧奖

知名剧场导演、演员及戏剧教育家，邓树荣戏剧工作室艺术总

最佳导演奖、香港艺术发展局艺术成就奖 ( 戏剧 )、行政长官

监，香港演艺学院戏剧学院前院长。曾导演超过四十项戏剧、

社区服务奖状、法国文化部“艺术及文学军官勋章” 、2012 年

舞蹈及歌剧作品，被媒体形容为“香港最具才华的剧场导演之

度深港生活大奖 ( 南方都市报主办 ) 的年度艺文人物奖、2013

一” 。巴黎新索邦大学戏剧硕士，并在 l’Ecole de la Belle de

香港舞蹈年奖最值得表扬剧作指导及 2013 年度香港艺术发展

Mai 接受演员训练。

局「年度最佳艺术家奖」( 戏剧 ) 等多个奖项。

简约美学及形体剧场的倡导者，近作包括《泰特斯》系列、《打转教室》、《舞·雷雨》及《热血躯体》。最新作品是于 2014

时间：

年 4 月公演的《你为甚么不是 Steve Jobs ？》。他的主要舞

7 月 5、7 日 10 ：00-16 ：00 ( 中间小休一小时 )

台演出有《无人地带》(1996)、《解剖二千年》(1999)、《死亡

7 月 6 日 18 ：00-22 ：00

实验室》(2002) 及《阳光站长》(2002) 等。他也曾主演由邱

地点：东宫影剧院（排练厅）

礼涛执导的电影《等候董建华发落》，成为 2001 年柏林影展

Body Theatre Workshop by Tang Shu-wing: From ‘Pre-verbal’ to ‘Verbal’ Expresssion

professional and experienced amateur actors,

He was also Dean of the School of Drama

as well as teachers and students of theatre

at the Hong Kong Academy for Performing

institutes.

ArtsTang’s major awards include:

Tang Shu-wing

·three times Best Director in the Hong Kong

Workshop Introduction：

Theatre director, actor and drama educator,

Drama Awards

Any performance that puts a human being on

Tang Shu-wing trained as an actor at l’École

·Award for Arts Achievement (Drama) from

stage involves expression of the body, and a

de la Belle de Mai and was awarded a Maîtrise

the Hong Kong Arts Development Council

body is more than a literary text; it expresses

degree (equivalent to an M.A.) from the

· Chief Executive’s Commendation for

the the essence of a person.

Université de la Sorbonne Nouvelle in Paris.

Community Service Award

This workshop guides participants in what

His major stage acting credits include Two

Tang Shu-wing calls ‘The Body Theatre’.

Men on a No Man's Land (1996), Millennium

·l’Officier de l’Ordre des Arts et des Lettres from the French Ministry of Culture and

The actor learns a series of systematic and

Autopsy (1999), Deathwatch (2002), and

Communication

sustainable approaches for theatrical creation

Sunshine Station (2002). He also played the

while eliminating the fear for his own body.

lead in the Hong Kong film From the Queen

·2012 Shenzhen-Hong Kong Life Award · Arts and Culture Figure of the Year

"We help him to shed the rigid frame he puts

to the Chief Executive, directed by Heramn

Award by the Southern Metropolis Daily of

on himself and to free him from inhibition",

Yau, which opened the Panorama Berlin Film

Guangzhou, 2013

says Tang.

Festival in 2001.

·Hong Kong Dance Awards Outstanding

Mr. Tang will introduce elements of expression

Meanwhile, Tang has directed over forty

Dramaturg

作坊的目的是希望参加者认识到邓树荣主张的肢体剧场其实是一种创作及训练方法，其结果可

that he terms ‘ preverbal’, such as spatial

productions of drama, dance and opera. An

·Best Artist of the Year Award (Drama) of the

以是哑剧，亦可以是话剧。因此，要解决表演上的问题，必须从肢体做起，所谓从肢体做起就

displacement, gesture, facial expression,

advocate of physical theatre and minimalist

Hong Kong Arts Development Council, 2013.

eye contact, breath, the voice, and beats,

aesthetics, his recent works include the Titus

邓树荣形体剧场工作坊：由“前语言”到“语言”的表达技巧工作坊介绍：任何有人的表演就会涉及肢体的表达力，而肢体不是附属于文本的东西，而是人的本体。此工

是引介一套有系统并可持续发展的训练及创作方法。中间最重要是排除参与者对肢体的恐惧，

Hong Kong Drama Awards

as well as the subtle relationships between

Andronicus series, Detention, Thunderstorm

希望其能打破自设的界限框架。邓树荣会从其角度阐述肢体在戏剧艺术的重要性，以及简要地

these instruments and the play itself. He will

and A Passionate Body. His latest work is Why

引介其研发的人类「前语言」的表达方式：空间移位、肢体动作、脸部表情、眼神、呼吸、声

elaborate his theories by screening his recent

Aren’t You Steve Jobs?, which was staged in

works, including the Titus Andronicus series,

April 2014.

Detention, Thunderstorm, and Why Aren’t You

Hailed as “one of the most talented theatre

Steve Jobs?

directors of Hong Kong”, Tang is artistic

This workshop promises to inspire both

director of the Tang Shu-wing Theatre Studio.

音及敲打，以及该方式与台词之间的微妙关系，并会以邓氏近几个作品《泰特斯系列》，《打转教室》、《舞．雷雨》及《你为什么不是 Steve Jobs ？》的视频为引证。此工作坊最能启发专业及资深业余演员，戏剧学院导演及表演系的师生。 152

·Best Actor in a Leading Role in the 2003

Schedule: Time: 5 July and 7 July 10：00 -16：00 6 July 18：00 -22：00 Venue: Oriental Palace Theatre Rehearsal Hall

153

Physical theatre workshop—control and limits/ neutral mask

in Paris, where he received a Professional Diploma. Ata also completed the Laboratoire d’Etude du Mouvement (LEM) course in theatre and scenography at Jacques Lecoq school. When in Europe, he was involved in performances

控制与极限、中性面具—黄俊达形体剧场工作坊

of the great master Peter Brook, as well as in

Understanding your own rhythms

plays of Simon Brook and Irena Brook.

Open your body’s antenna

Ata is currently Director-Researcher at the

Create a state of openness, develop the

Tang Shu-wing Theatre Studio, where he

curiosity for space and the spirit of moving

seeks to integrate elements of Eastern and

forward

Western theatre and to help Hong Kong actors achieve international standards. He also

Workshop Introduction：

helped the Studio to open the first school for

The training system of Jacques Lecoq

physical theatre training in Hong Kong and

is one of the most important systems in

works as an instructor to promote training and

contemporary theatre. It has greatly influenced

development of physical theatre.

playwriting and directing, as well as physical

He has been invited to participate in art

theatre of 20th century Europe. Theatre

festivals around the world as jury member

troupes that have benefitted from this system

and instructor, including the Pula International

include the Théâtre du Soleil of France and

Theatre Festival in Croatia, the Taipei

Complicite (originally known as Théâtre de

Frank Festival, the Avignon Festival, and

剧场带来深远的影响，受其启蒙的剧团包括闻名遐尔的法国阳光剧团 Théâtre du

Complicité) of the UK. Physical theatre is a

the Edinburgh Festival. He also conducts

Soleil 及英国合拍剧团 Théâtre de Complicite 等。形体剧场是一种以身体为表达基

procedure of training and creation, which

workshops and training sessions for institutes

utilises the body as the basis of expression. It

and associations, which include Hong Kong

can inspire all kinds of performance.

Academy for Performance Arts, Shanghai

发掘身体的独特性、了解自己的节奏韵律；打开身体的触角；建立开放的状态、对空间的好奇和向前走的态度。工作坊介绍：贾克·乐寇的训练体系是当代戏剧最重要的流派之一，对 20 世纪欧洲编作及形体

础的训练和创作过程，它可以启发我们创作任何形式的剧场作品。作为香港少数完成法国巴黎贾克·乐寇国际戏剧学校 2 年课程的表演者，黄俊达致

日程安排：

As one of the very few people from Hong

Theatre Academy, numerous institutes in

力将这个优秀的训练体系引进亚洲。他根据其于法国的学习，以及在邓树荣戏剧工

形体剧场训练（控制与极限）

Kong who have completed the two-year-

Hong Kong, secondary schools, and primary

course at École Internationale de Théâtre

schools.

作室训练全职演员的经验，整合出一套适合亚洲演员的训练系统。

日期：7 月 8 日时间：13:00-16:00

Jacques Lecoq in Paris, Ata strives to introduce this excellent training system to Asia.

主持：

地址：东宫影剧院（排练厅）

He has developped a unique training system

黄俊达，香港导演、演员、编舞及形体导师。毕业于香港演艺学院，并完成法国巴

形体剧场的基本技巧

for Asian actors, which is the fruit of his studies

黎贾克·乐寇国际戏剧学校 2 年製课程和动作研究所课程。于欧洲期间，曾参与国

了解身体及演出的惯性

际戏剧大师彼得·布鲁克、西蒙·布鲁克及艾云娜·布鲁克等演出。现为邓树荣戏剧工作室的驻团导演及研究员，致力融合东西方戏剧元素，训练演员提升至国际水平，

形体剧场训练（中性面具）

更协助剧团成立香港第一所形体剧场训练学校并担任导师，以推动形体剧场训练及

日期：7 月 9 日

发展。他曾应邀以评审及导师等身分参加世界各地的艺术节，包括：克罗地亚普拉

时间：13:00-16:00

国际戏剧节、亚维浓艺术节、爱丁堡艺术节及台北艺穗节等。他亦为不同院校及团

地址：东宫影剧院（排练厅）

体进行训练或举办工作坊，包括：香港演艺学院、上海戏剧学院、香港各大专院校 154

Discover the uniqueness of the body/

及中小学等。

in France and his experience as instructor at the Tang Shu-wing Theatre Studio. COORDINATOR: Director, actor, choreographer, and body coach based in Hong Kong, ATA WONG CHUN TAT graduated from the Hong Kong Academy for Performance Arts and the École Internationale de Théâtre Jacques Lecoq

Schedule: Physical theatre Training (Control and Limits) Date: 8th July Time: 13:00-16:00 Venue: Oriental Palace Theatre Rehearsal Hall Basic techniques of Physical Theatre Understanding the habits of the body and of performances Physical theatre training (neutral mask) Date: 9th July Time: 13:00-16:00 Venue: Oriental Palace Theatre Rehearsal Hall

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献给你的舞蹈 ——托马斯·雷蒙舞蹈艺术工作坊工作坊介绍：每个舞蹈片段均由艺术家和参与者合作完成，其间每个人都要通过其他人了解自己。雷蒙将与参与者交流并编排彼此的对话。如此高度的交互性将使每段舞蹈变得独一无二。对话主题、内容以及参与者格外欣赏的事物都将成为创作的基础，最终的表演形式将由双方交流的效果决定。 “我的舞蹈很难用某种风格去概括，我希望通过我的表演和项目，使得观众不再仅仅成为纯粹的旁观者，而让他们参与到项目的创意过程中来。从哲学的维度看，我的工作就是将人类的无穷潜能及其不完整之间的对立突显出来。每个个体都是组成社会的一份子，同样也是社会反思的前沿阵地。要想进行连贯的艺术实践，就有必要将自身完全暴露在这种状况下。如果舞蹈不像抽象的现代主义、现代芭蕾纯粹知性作品那样受到人情的束缚，那它就更易为人们接受，因为至少在表面上不会存在性别、心理和阶级等认知障碍。超越人性是所有流派和历史文化阶段的永恒主题，尽管表现形式各有千秋，但可以这么说：超越是舞蹈的本质属性之一。在我的编舞作品中，我也力求体现这些认知，并让它们清晰可见。 ” ——托马斯·雷蒙

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此次北京工作坊的主题来自雷蒙 2013 年的艺术项目“献给你的舞蹈” 。

A Dance For You

2013 年，雷蒙在奥博豪森、塔林、华沙、博洛尼亚、吉森、索非亚、钦

Workshop introduction :

奈、达卡等地，为沿途遇见的人们即兴创作舞蹈片段作为送给他们的礼物。

This workshop will bring participants to a deeper understanding of themselves through dance. Their selves will be reflected

2014 年前往韩国、中国、日本、北美继续本项目。

through others, where each individual is both a component and mirror of society. In the creation of dance, Lehman draws on the relationships between dancers and on their bodily expression in conversation. His approach also contains elements of linguistics.

讲者介绍：托马斯·雷蒙，1986-1990 年就读于阿姆斯特丹新舞蹈发展学校。1990

Lehman brings a philosophical dimension to the work, juxtaposing the infinite faculties of the divine with the incompleteness of the human. "To transcend human nature is the essential attribute of dance", he says. "There are no barriers of gender, class, or psychology".

年至 2010 年迁居柏林，自由职业编舞师、舞蹈教练和表演艺术家。他创

The theme of this workshop emerges from Lehman’s 2013 project “A Dance For You”, when he created improvisational

作了许多“零距离”独舞作品和编舞项目，如《写作》《功能》《最好如此……》

dance pieces for people he met during trips in Oberhausen, Tallinn, Warsaw, Bologna, Giessen, Sofia, Chennai, and

《雷蒙在学习》《废料厂》《请……》，其作品在全世界范围内广泛上演。

Dhaka. He will continue the project in South Korea, China, Japan, and North America in 2014.

雷蒙的创作兴趣在于用艺术联系人们的生活，近年来他着重关注人际关系

COORDINATOR:

和沟通，即如何借助周围的环境体现自身的存在价值，如何积极地通过拓

Thomas Lehman studied at the School for New Dance Development in Amsterdam from 1986 to 1990. He moved to

展新的关系改变周围的一切。这些尝试常包含语言学元素和对概念方法的

Berlin in 1990 and continues to work as a freelance choreographer, dance instructor, and performing artist. Among his

表达，所以舞蹈创作中他同样十分注重舞者之间的相互关系和对话中的身体表达。

choreography projects are Writing, Function, It’d Better…, Lehman is Studying, Scrap Dock, and Please. His works haves been performed all around the world. Lehman’s creative vision is to connect people’s lives with art. In recent years, he has focused on human communication and relationships, finding oneself through the circumstances of life, and changing circumstances through developing new

日程安排：时间：6 月 28 日 -7 月 5 日地点：东宫影剧院排练厅 / 蓬蒿剧场露台

参与者要求：要求具备舞蹈、戏剧和相关表演艺术经验。内容包括瑜伽热身，解剖学和抽象结构的作曲训练作为工作基础。每个参与者需要完成一种艺术转换，以实现一个“表演性的礼物” 。作

relationships. Schedule: Time: 28th June-5th July Venue: Oriental Palace Theatre Rehearsal Hall/ Penghao theatre terrace Requirements for Participants Participants should have a background in dance or theatre or some related experience in the performing arts. The content will include a yoga warm-up. Each participant will create a “performing gift”, either of dance or in some other form of performing art. Participants should have a passion for the material with the ability to take initiative while creating with guidance. The workshop will be conducted in English with Chinese interpretation, and class size will be restricted to seven participants.

品可以以舞蹈或其他表演类艺术形式实施。参与者应该对工作坊抱有很大的兴趣与热情，主动学习并具备在引导下独立工作的能力。

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第二次全国十城市独立剧场“论坛” 以剧场为触发点向全国发起共同书写中国的一天2014年5月21日所收集到素材以工作坊佐藤信主持何雨繁、孙晓星协同与全国十城市独立剧场主持人共同创作

Workshops + Lectures + Screenings

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中国之大各城市面临的创作环境与人文环境的差异在工作坊之中促成人与人之间的沟通与启发戏剧应该是能启发人无限的可能性而工作坊却能让人在这无尽的想象与思考中生长出肌理

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“中国的一天2014”——日本戏剧大师佐藤信戏剧创作工作坊共同主办：“日本国际交流基金会

60～90分钟的舞台作品，并演出。

performance piece. “舞台上的电影性影像·戏剧性影像”──饭名尚人影像

Workshop by Japanese Independent Theatre Master Sato Makoto Co-organizer: The Japan Foundation

工作坊这是为了在舞台作品中使用影像而开展的工作坊。

performers? What kinds of images work? During the

什么，在舞台上又能做些什么？影像作家能够制作出怎

workshop, participants will shoot and edit footage and

样的影像，导演怎样使用它？

learn how to coordinate it with live performance.

工作坊参加者会作为工作人员参与《中国的一天2014》演出的创作和制作。

Encounter at a station They come; they go The exhilaration of a moment Longing for another Lingering memories Standing at the “station of time” Who have you just sent off? Who are you waiting for next?

——佐藤信

—Sato Makoto

讲师介绍：

年5月21日》，本次工作坊中参加者效仿这本书的做法，将该书出版78年后，2014年5月21日这一天的经历

162

later from the Comedians' Training Base. He founded the avant-garde Free Theatre in 1966 and went on to the Drama Centre, later called the Black Tent Theatre, 20 years, Makoto toured with the theatre in 120 cities

校。1966年,创立先锋派剧团“自由剧场”。1971年参

throughout Japan.

加“戏剧中心68/71”（现在改称黑帐篷剧团）做为主

Makoto's own plays take on society and the falsehoods

要导演和剧作家。一直到1990年的20年中，进行了日

of history, while his directing credits range from

本全国120个城市的巡演，引导了日本的当代戏剧界的

from puppet shows to Noh Theatre, from opera to

发展方向。他用幻想因素的独特文体,著述了批判社会和

contemporary drama.

历史内容的戏剧作品,同时编导了不少国内外的戏剧作

Makoto has also created an Asian art network and last

品。同时他具有音乐、舞蹈、传统戏曲的宽泛知识。所

came to Beijing with his workshop Time, Space and

推进海外艺术交流活动，也在日本国内参与政府、民间

1936年，茅盾主编了一本书《中国的一日：1936

in 1943. He graduated from Waseda University and

as its leading director and playwright. In the following

剧工作室，创造亚洲艺术网络，参加欧洲的主要戏剧节

“站 2014”——佐藤信工作坊&中国青年导演工作坊

Sato Makoto is a playwright and director born in Tokyo

出生于东京。毕业于早稻田大学。毕业俳优座培训学

当代能乐等不同戏剧艺术，戏路很宽阔。另外他开办戏

Workshop Content:

Conductor:

佐藤信 SATO Makoto，剧作家、导演，1943年

以他编导的范围从歌剧、当代戏剧、线悬吊木偶剧，到

工作坊介绍：

performance. How can video be choreographed with live performance? What opportunities does it offer

式，将拍摄下来的对象作为素材的导演方式等等。影像

The soul on a journey

This workshop is about the use of video in stage

的编导时，我们拥有怎样的可能性。演员在影像中能做

实际上，利用本工作坊内拍摄的影像素材，来进

Station 2014

From Stage to Video, Video to Stage Workshop

我们将和影像艺术家饭名共同探索将影像用于舞台作品

行影像与表演的练习。借助于现场摄影机拍摄的导演方站２０１４年每个人，都在旅途中。人和人，会在站台相遇，又随即分离。来自哪里，去向何方。站台上时而洋溢着活力和喧嚣。站台上时而氤氲着忧思和乡愁。站台上邂逅、别离和思念不断上演。２０１４年５月２１日，你，矗立在“时间的站台”上。刚刚送谁远去？又在等待着什么人到来？

young Chinese directors to coproduce a 60-90 minute

的剧场筹建工作。从1998年到2009年担任国立东京学艺大学教授、研究戏剧和教育。现任座·高圆寺艺术监

Body during the 4th Nanluoguxiang Theatre Festival in 2013. At home, meanwhile, he continues to guide the development of contemporary Japanese theatre. From 1998 to 2009, he was a professor and researcher of Drama and Education at the Tokyo National University of Arts.

督、个人剧团“鸥座”的主办者、黑帐篷剧团编导者。

Makoto is now the artistic director of the Za-Koenji

2013年曾在第四届北京南锣鼓巷戏剧节上主持工作坊

Public Theatre, organizer of the individual theatre Za-

In 1936, Chinese literary legend Mao Dun wrote A

《站—时间、空间和身体》，与中国的年轻戏剧人进行

Gull, and director of the Black Tent Theatre.

Day in China. Participants will mark the book's 78th

了亲切的交流。

Lina Naoto is a video artist and director who was born

Station 2014 – Sato Makoto Workshop and Young Chinese Directors Workshop

anniversary (published May 21, 1936) by writing a

饭名尚人，影像艺术家，导演，1974年出生于日本

或体验写成300字～400字(中文)的文章。散文、诗歌、

composition of their own (in Chinese) and drawing on

川崎县。东京造型大学电影领域非常勤讲师，京都精华大

Media from Meiji Gakuin University and later founded

独白等等，形式不限。

Dance and Media Japan, an organization that focuses

in Kawasaki County, Japan in 1974. He graduated in Art

their own experiences. Any form, whether in poetry

学非常勤讲师，座·高圆寺剧场创造学院讲师。明治学院

以这些文本为基础，两位中国青年导演，与来自

or prose, is acceptable. Then, based on these texts,

大学文学部艺术学科映像专业（映像记号学，电影史）。

on media technology and dance. He shoots video for

全国各地的独立戏剧人以及其他工作坊参加者共同创作

the coordinator will work with participants and a few

毕业后，参与过影像制作，其后创建Dance and Media

many theater and dance companies. 163

Japan，该机构主要专注于舞台和媒体，以媒体技术和舞

His playwriting credits include About Kazuo Ohno,

蹈为中心，从国外引进许多媒体艺术家的项目。

以及艺术家保持着联系与合作。

member in the Department of Film and Television at

while his video choreography works include: Yummy

孙晓星，生于1986年。诗人，剧作家，导演，艺评

曾多次为戏剧和舞蹈表演拍摄记录影像。

Dance, Touyama Takeo, and Love Vibration. His credits

人。毕业于中央戏剧学院戏剧文学系，中国话剧史论方

Sun is doing his Masters degree, also at the Central

以制作人身份参与的项目包括：以色列编舞家

as a producer include The Sprits by Sato Makato,

向硕士研究生，现任教于天津音乐学院戏剧影视系。创

Academy, in the History and Theories of Chinese

欧汉·纳哈林(OHAD NAHARIN)开发的动作技巧 “GAGA”在日本的推广项目“Gaga Japan”、发起于爱尔兰的艺术派对“Mamuska”、“国际舞蹈影像节”、德国剧团的作品“后戏剧”等。担任影像制作的作品包括：佐藤信的《灵戏》、《李尔》、川口隆夫的《完美生活》等。

King Lear, The Perfect Life of Kawaguchi Takashio, the International Dancing Video Festival, and Gaga Japan, which uses movement skills developed by Israeli choreographer Ohad Naharin. Meanwhile, Naoto lectures at Tokyo Zokei University, Kyoto Seika University, and Za-KOENJI Public Theater Creation College.

担任剧本创作的作品包括：川口隆夫的《关于大野一雄》等。担任导演与制作的项目包括：影像、音乐和舞蹈融

Special Guests:

合的《ASYL》（表演者：西松布咏、寺田）；《不忍

Takahashi Hiroyuki was born in Gifu Prefecture in

之女》（表演者：西松布咏、大野庆人等）。

Japan. He is a theatre reviewer and a scholar of

舞蹈影像导演作品包括：《手心里的山》、《爱的震颤》（铃木幸夫、辺见康孝）等。

作致力于剧场作为介入当下中国的日常，对现实的虚拟化趋势进行反击。主要作品有《悼亡剧场》（2011）、《写诗》（2013）、《日常_非常日常》（2013）等，主编《再剧场——独立戏剧的城市地图》（2013）。曾受邀北京金刺猬大学生戏剧节、北京国际青年戏剧节、

Tianjin Conservatory.

Drama. His particular focus now is the reinvention of theatre to encompass the ordinary life of contemporary China. Sun was invited to the Golden Hedgehog University Students Drama Festival, the Beijing Fringe Festival, the Beijing NLGX Performing Arts Festival, the Wuzhen

北京南锣鼓巷戏剧节、乌镇戏剧节、上海外滩美术馆

Theatre Festival, TPAM in Yokohama, and Asia Dialogue

群展“从手势到语言” 、TPAM in 横滨 2014、香港

in Hong Kong.

STBD Asia Dialogue 2014。

modern Japanese theatre and lectures at both the Japan Women's University and the Tong Studio Art University. He has also received funding from The Asia

特邀嘉宾：高橋宏幸，1978年生于日本岐阜县。戏剧评论家、日本近现代戏剧研究者。日本女子大学、桐棚艺术短期大学等学校非常任讲师。2013年度曾获得亚洲文

Society to work in the University of New York as a guest researcher. His articles include: Pre Avant-Garde Theatre and 60 Years of Security, Nuclear Bomb Theater and Nuclear Electricity Theater, and Theater Space in the 2000s. He

化协会资助，在纽约大学担任客座研究员。撰写论文有

used to be executive editor of Theater Arts (volumes

《“前先锋”戏剧与60年安保》（《批评研究》）、

35-42).

《少数派的倾斜地位——金原峰雄（Tuskakouhe）》

He Yufan is a Chinese theatre director and actor who

日程安排：

《文艺别册》、《核爆戏剧与核电戏剧》、《00年代的

graduated from the School of Architecture at Tsinghua

6月10-13日/ 6月16-21日10:00-14:00

戏剧空间》（述4）等。曾任戏剧评论杂志《戏剧艺术

University. He is the founder of Rice Troupe, a Beijingbased experimental theatre group, and New Theatre

“站 2014”——佐藤信工作坊&中国青年导演工作坊

（Theater Arts）》35－42号的责任编辑。

Creation Project. His theatrical experience also extends

青年导演助手：何雨繁，中国优秀青年戏剧导演、演员。清华大学建筑学院硕士毕业。北京实验戏剧团体【饭剧团】创始人；【新剧场创作计划】的发起人。何雨繁的戏剧不仅仅局限于剧本的二度创作，更涉足身体、道具、空间、

props while he continues to explore innovation and diversification in theatrical expression.

6月14-16日18:00-21:00 “舞台上的电影性影像·戏剧性影像”──饭名尚人影像工作坊地点：东宫影剧院（排练厅）

Yufan's theatrical creations include I say, 8008, Truth, Moon of Kaligula, Towns Inside and Outside, and Public Baths, and they have gained widespread recognition for

Schedule:

the troupe as they continue to work with foreign theatre

与多元性以及创新性上一直进行着不懈的探索。至今，

Time: 10th June-13th June/ 16th June-21th June 10:00-14:00

groups and artists.

Station 2014 —— Sato Makoto Workshop and Young Chinese Directors Workshop

何雨繁已创作了《我说》、《8008》、《真相》、《卡

Sun Xiaoxing was born in 1986. He is a poet,

里古拉的月亮》、《城中城，城外城》、《澡堂》等剧

playwright, stage director, and reviewer. He completed

Time: 14th June-16th June 18:00-21:00

目，为剧团赢得了广泛的良好声誉。同时何雨繁以及他

his BA in Dramatic Literature at Beijing's Central

From Stage to Video, Video to Stage Workshop

的戏剧团体积极地参与跨界艺术探索，与国外戏剧团体

Academy of Drama and now serves as a faculty

Venue: Oriental Palace Theatre Rehearsal Hal

画面、声音等更多元的剧场领域，在剧场表达的可能性

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to movement, space, picture, video, sound, and

165

戏剧演出《中国的一天2014》导演：佐藤信

6.24 6.25 6.26 19:30

19:30

影像总监：饭名尚人演出地点：蓬蒿剧场

Performance: One Day of China 2014

独立评论小组

Director: Sato Makoto Video director: Iina Naoto

站２０１４年每个人，都在旅途中。

戏剧节邀请李亦男主持一个完全独立的剧评小组，工作

人和人，会在站台相遇，又随即分离。

坊的形式，以北京南锣鼓巷戏剧节剧目为对象，将戏剧

来自哪里，去向何方。站台上时而洋溢着活力和喧嚣。

与跨学科理论付诸剧场的行动和实践。成员将跟进各剧

站台上时而氤氲着忧思和乡愁。

目的创作与工作，定期组织交流、讨论活动，撰写剧评

站台上邂逅、别离和思念不断上演。２０１４年５月２１日，你，矗立在“时间的站台上”。

并定期编辑出版《蓬蒿剧场·独立评论报》。

刚刚送谁远去？又在等待着什么人到来？

Station 2014 ——佐藤信

Every soul is on a journey. They meet on the station and they depart. They come and they go.

1936年，茅盾主编了一本书《中国的一日：1936年5月21日》， 2014年第5届南锣鼓巷戏剧节的一次工作坊中，参加者们效仿这本书

Energy and exhilaration for one moment, Worry and homesickness for another.

将加入到这个行动中来，为该刊物未来常态化和持续性作业进行初步的试探。

be encounter, departure and linger always present .

的做法，将该书出版的78年后，2014年5月21日这一天的经历或体

May 21st, 2014, standing on this “station of time”,

验写成300字～400字(中文)的文章。散文、诗歌，独白等等。

Who have you just sent off?

以这些文本为基础，戏剧大师佐藤信、影像艺术家饭名尚人、15位参

And whom next are you waiting for?

与工作坊的戏剧人、以及2-4位中国青年导演，共同创作出这台色彩

良好的批评环境需要良好的媒介构建，本工作坊的成员

——Sato Makoto

纷呈的舞台作品。1936年的一天，与2014年的同一天，隔世的沧桑

In 1936 Mao Dun (Original name: Shen Dehong) published a

将会呈现为怎样的舞台风景，值得我们期待。

book One Day of China: May 21st, 1936 as the main editor. In the

除了戏剧学专业的成员，同时欢迎从事各社科类专业人士的加入。

coming 5th Beijing Nanluoguxiang Theater Festival of 2014, one 导演：佐藤信 SATO Makoto，剧作家、导演，1943年出生于东京。

workshop will be held and participants will mimic the writing of this book, describing his or her experiences or reflections on May 21st, 2014 through different styles, including passage, essay, poem or monologue etc., exactly 78 years after Mao Dun’s book.

影像总监：饭名尚人，影像艺术家，导演，1974年出生于日本川崎县。

Based on this text, Theater Master Sato Shin, Film and Video Artist Naoto Lina , 15 participants with theater backgrounds and 2-4 Chinese young directors are together to present a fascinating and colorful stage play . One day in 1936 and one day in 2014, the distance in-between will transform into what kind of stage performance will hold our breaths. Director:Sato Makoto Video director:Iina Naoto Co-organizer: The Japan Foundation

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场地信息 Venues Introduction

东宫影剧院 Oriental Palace Theatre

东宫影剧院位于东城区隆福寺大街４７号，始建于１９５４年，隶属东城区工会，毗邻中国美术馆、北京人民艺术剧院、三联书店、中国书店，是隆福寺街区标志性建筑之一。２０１１年９月，拥有近６０年历史的东宫开始了新一轮的改造，大放映厅实现大变身，通过降低并扩大舞台，优化座椅布局，装配更专业的灯光舞美等演出设备，一个有五百坐席的全新剧场诞生了。不断上演好剧目，打造出一个精品剧场，未来的东宫，将会与更多的知名戏剧导演合作，上演更多样化的作品。除此之外，东宫影剧院也力求将票价定在一个合理价位，希望能吸引更多的话剧爱好者走进剧场。２０１２年即将开通的地铁６号线、８号线，将把更便利的交通和更多人气带给东宫。与邻近的北京人艺，中央戏剧学院等地一起，用丰富的戏剧资源和精彩演出将这里变成东城区的文艺胜地，成为中国戏剧的心脏地带。东宫影剧院也将以自身的进一步发展，重振隆福寺地区的文化事业，带动隆福寺的繁荣发展，并为东城区的戏剧发展和文化繁荣贡献力量。

新浪微博weibo：@东宫影剧院地址：北京东城区隆福寺街47号东四工人文化宫 Address: No.47 Long fu shi Street,Dongcheng District,Beijing 电话 / Tel: 010-64022966

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北京国话先锋剧场 Pioneer Theatre of NTC

Oriental Palace Theatre is located in Dongcheng District 47 and was founded in 1954 under the trade unions in the Dongcheng District. Adjacent to the Art Museum of China, Beijing People's Art Theatre, SDX Joint Publishing Company and China bookstore, the Fusi block is one of the city’s landmarks. In September 2011, with nearly 60 years of Orient House history behind it, the theatre began a new round of transformation. The theatre underwent large-scale renovations, the stage was both lowered and expanded, the seat layout optimised and professional lighting, choreography and performance equipment installed. A new 500-seat theater was born. The theatre continues to stage plays in the interest of building a vibrant theater culture, improving the future of Orient House, welcoming more well-known theater directors a staging a more diverse range of works. The Orient House Theater also seeks to set the fares at a reasonable price, in the hope of attracting more drama lovers into the theater. The upcoming opening of the 2012 subway lines 6 and 8 will make transportation more convenient to Orient House. Together with the neighboring Beijing People’s Art Theatre, the Central Academy of Drama, and other places with rich theatrical resources and superb performances, this place will become a literary resort for the Dongcheng District, the heart of Chinese drama. Oriental Palace Theatre will also be further developed to revitalise the Fusi region culture, promote the prosperity and development of Fusi, and to contribute to the dramatic development and cultural prosperity in the Dongcheng District.

北京国话先锋剧场隶属于中国国家话剧院，位于东方广场东侧，可容纳观众３００名，是目前北京地区设施最完备、最先进的剧场。北京国话先锋剧场有先进的灯光、音响设备。舞台宽１４米、进深１０米；拥有功能齐全的化妆间、道具间和服装间，合适的贵宾休息间和演职人员休息室。北京国话先锋剧场可以演出戏剧、现代舞、室内音乐会，承办各种报告会、讲座及发布会，也可为各种不同艺术表现形式提供探索的实践场所。北京国话先锋剧场地理位置优越，时尚气息浓郁，是理想的艺术交流平台。

Pioneer Theatre of NTC is part of the National Theatre of China, located in the east of Oriental Plaza. With a seating capacity of 300, the theatre features some of the most complete and advanced theatre facilities in the Beijing region. Pioneer Theatre of NTC boasts advanced lighting and audio equipment. The stage is 14 metres wide and 10 metres deep, and includes fully featured dressing rooms, props and costumes suitable for artists preparing to perform in the VIP lounge and the cast and crew lounge. Pioneer Theatre of NTC stages performances of drama, modern dance and chamber music concerts, and hosts a variety of lectures, seminars and conferences, while still remaining a place to explore and practice artistic expression. With its rich flavour, Pioneer Theatre of NTC is the ideal platform for artistic exchange.

地址：北京东城区东单三条8-2号东方广场东侧 Address: No.8-2 Dongdanthree,Dongcheng District,Beijing 电话 / Tel: 010—-65597394

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蓬蒿剧场 Penghao Theatre

东城区第一文化馆风尚剧场 Dongcheng District First Cultural Center Fashion Theatre

风尚剧场隶属于东城区第一文化馆，毗邻中戏、南锣鼓巷以及美食一条街“簋街”，地理位置优越。剧场设计风格清新典雅、时尚大气。先进的灯光、音响设备，开放、立体的空间构造，为舞台艺术的空间表现力提供了更多的实现可能。风尚剧场总建筑面积为６３０平方米，观众席座位３９２个。其中，舞台总面积２４０平方米，台口宽１１米、进深１１米可延伸４．８米，自动伸缩式的舞台，完全打开后演出面积可达１６８平方米。舞台上有３块电动升降台，大幕为垂直升降串叠式，二道幕为水平对开式，舞台背景及台口两侧分别配有ＬＥＤ彩色显示屏幕，舞台上方设有ＬＥＤ横幅字幕屏，配合最先进的音响灯光设备，观众可以享受到无限震撼的视听效果。剧场设各类功能用房，包括有面积不大但功能齐全的化妆间２个，道具间和服装间各１个。风尚剧场可用于开展戏剧、曲艺、音乐、舞蹈等多种门类的综艺演出、比赛、交流等活动，并致力于丰富和活跃首都文艺舞台，吸引众多的中外艺术家来此演出、交流，更好地服务于百姓。

地址：北京东城区交道口东大街111号 Address: No.111 Jiao dao kou east Street,Dongcheng District, Beijng 电话 / Tel: 010-64010696

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The Fashion Theatre is a part of the Dongcheng District First Cultural Center. It is well situated adjacent to both Nanluoguxiang and the Guijie food street. The theatre offers a fresh, elegant and stylish atmosphere, state-of-the-art lighting and sound equipment and an open, threedimensional structure to provide more space for the free expression of the theatrical arts. The Fashion Theatre offers 630 square metres of floor space and seats 392. The stage area totals 240 square metres, 11 metres wide at the apron and 11 metres deep, and can be extended by a further 4.8 metres if necessary using an automatic stage retraction system, resulting in a performance area of 168 square metres when fully open. The stage curtains lift vertically and are powered by three electric lifts, operating in tandem to maintain a level height due to the weight during operation. The backdrop and both sides of the apron feature LED subtitle screens and modern sound and lighting equipment to allow the audience to enjoy unprecedented visual effects. The theatre is fitted with a range of support facilities, including two small but fully functional dressing rooms and one each for props and clothing. The Fashion Theatre is stages a variety of performances including drama, folk art, music, dance and other performances, competitions, exchanges and activities. It is committed to supporting a rich and vibrant performing arts scene in the capital, and hopes to attract a large number of both Chinese and foreign artists for performance and mutual communication, and to better serve the people.

蓬蒿剧场始建于２００８年元月，是北京第一家由民间投资建设并正式获得公演资格的小剧场，也是北京第一家在四合院基础上保护性改建而成的小剧场。位于北京市东城区南锣鼓巷地区、紧邻中央戏剧学院的东棉花胡同３５号。 “蓬蒿人”即普通人，我们一直都有一个梦想：更多的普通人，在满足了基本的物质温饱需要之后，也能走进剧场，走向心灵的高贵。不仅是观看、创作戏剧，更重要的是像结构戏剧那样结构自己的人生，使它达到无限丰富的可能性。蓬蒿剧场核定座位数１１０座，属于公益性艺术性小剧场。真正的艺术表达和创作，必须远离商业。蓬蒿剧场吸纳一切话剧的和舞台剧的创作形式，没有任何局限。唯一的标准是：它是有内涵的、有文学含量和心理含量的，是经典的也是探索的，是高贵的也是自然的质朴的，是丰富的也是简约的有效的灵动的。蓬蒿剧场是戏剧及相关艺术领域的行业交流平台，聚集北京极具才华和影响力的艺术创作者、研究学者和制作人。他们在此创作、排演、上演，使之成为戏剧作品的实验聚点和孵化中心。蓬蒿剧场是场制合一的剧场，同时具备制作、创作、出品资格和功能。独立出品的保留剧目有：《锣鼓巷的故事》、《塞纳河少女的面模》、《我是海鸥》、《曹操到》、《寻找剧作家》、《灵魂厨房》等。蓬蒿剧场是国际性剧场。常驻剧团包括北京极具知名度的 “北京演员工作坊”、“北京ＩＭＰＲＯＶ”、“北京国际戏剧体验机构”。常年上演欧洲、北美最新剧目。保留剧目有：《孤儿》（Ｏｒｐｈａｎｓ）、《灵》（Ｗｉｔ）、《一个人的莎士比亚》（Ｒｅｖｅｌ’ｓＷｏｒｌｄｏｆＳｈａｋｅｓｐｅａｒｅ）等。并与德国、法国、瑞典、瑞士、以色列、英国、美国、日本等国家的剧团、剧场长期保持交流合作项目。蓬蒿剧场承办的戏剧节有：“北京・南锣鼓巷戏剧节”、 “北京东城青年戏剧演出季”、“北京－上海双城记戏剧交流活动”、“北京国际独角戏戏剧节”、“亚洲文化视野——旅程艺术节”。

Penghao Theatre is Beijing’s first playhouse both for and by the people. It was established in January 2008 in a renovated traditional Chinese courtyard. The theatre is located in Nanlouguxiang, a centre for culture and artistic creativity in Beijing’s Central East District. The Central Academy of Drama, Chinese National Theatre, Children’s Art Theatre, and Beijing People’s Art Theatre are all located within a stone’s throw of the playhouse. “Penghao Ren” is an ordinary citizen, a commoner. The Chinese word refers to a kind of weed, but the meaning we seek comes from a Li Bai poem in which he wrote “My head thrown back with laughter I left, none could call me a penghao (common) man.” We invite common folk to take to the stage and, through the power of theatre, transform the mundane circumstances of their everyday life into the transcendent dramatic tableaus which we call on for inspiration and hope. Penghao Theatre contains 86 regular seats and positions itself as a non-profit, intimate theatre through the belief that the sincere art of expression and creation must steer clear of temptations of commerce. Penghao Theatre is literary theatre. It plays host to all forms of performance without restriction. Drama that has literary merit, is exploratory, intellectual, and combines multiple elements of the grand and quotidian, qualifies as Penghao Theatre. Penghao Theatre is a venue for exchange within the realm of theatre and the arts. Through the collected efforts of Beijing’s brightest and most influential artists, intellectuals and producers, the theatre has become a vital centre for artistic experimentation and a breeding ground for theatrical innovation. Penghao Theatre not only stages but also produces original theatre. Previous independent productions include: “The Facial Mould of a Maid by the Seine”, “The Story of Luoguxiang”, “I Am a Seagull”, etc. Penghao Theatre is an international playhouse. Current resident theatrical troupes include the Beijing favourites “BAW”, “Beijing Improv” and “Beijing International Theatre Experience” (BITE). Beijing audiences can experience all manner of international performances, live and direct. Previous international acts include: “Orphans”, “Wit” and “Revel’s World of Shakespeare”. Collaborations exist with independent theatres in France, Britain, Sweden, Switzerland, Germany, USA, Israel and Russia. We organise and/or host the Beijng Nanluoguxiang Theatre Festival, the Beijing Dongcheng Young Dramatist Association, the Beijing-Shanghai Theatre Exchange Program and the Beijing International Monodrama Festival.

地址：北京东城区东棉花胡同35号 Address:No.35 Dongmianhua Hutong, Jiaodaokounan Street, Dongcheng District 电话 / Tel: 010—64006472

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第五届北京南锣鼓巷戏剧节工作团队：艺术总监：王翔策划制作：赖慧慧宣传总监：梁丹丹

The 5TH Beijing Nanluoguxiang Performing Arts Festival

技术总监：王京晶

Organization Team

项目统筹：赵冰清、陈欣

77剧场 77 Theater

媒体联络：刘泓一

Artistic Director: Wang Xiang

财

Curator: Lai Huihui

务：郑洁

舞台监督：孙志诚

Promotion Director: Liang Dandan

主视觉设计：Christine Wu

Stage Manager: Wang Jingjing

平面设计：赵安康、张建实、刘胜军、汪圆清

Project Coordinator: Zhao Bingqing, Chenxin

视觉策划：江上文化

Media: Liu Hongyi

票务及节目册编辑：谢雱

Accountant: Zheng Jie

网络编辑：李晓彬

Penghao Theatre Coordinator: Sun Zhicheng

网络技术支持：Leon White

Ticket and Booklet Editor: Xie Pang

节目册翻译：张萃、杨刚、林琳、屠彬、

Website Editor: Li Xiaobing

刘超、李实

Graphic Design: Wang Jiang, Wang Yuanqing

节目册中文审校：唐娟

Logo Design: Christine Wu

节目册英文审校：Andrew Ancheta,

Website Consultant: Leon White

Ian Reed,Bruno Ken,Matthew Couri Jacobs

Booklet Translator:

主厨及后勤：李荣

Chinese Booklet proofreader: Tang Juan

保

English Booklet proofreader:

洁：付阿姨

Cook: Li Rong 实习生：焦烨

Cleaning Ayi: Fu Ayi

志愿者：刘莎、冯宇萱、陈慧、刘丹丹、刘舒雅、张丹梦

Intern: Jiao Ye Volunteers: Liu Sha, Chen Hui, Liu Dandan, Liu Shuya, Zhang Danmeng

７７剧场位于美术馆后街７７号，是７７文创园内的黑匣子小剧场。剧场在原有厂房车间、仓库的建筑结构基础上加固，由厚重的工字钢柱列和暗红带锈的钢板构建而成，外表近似钢铁铸成的四方体，和园区内胶印厂老建筑表现出的工业气质相契合。剧场长２１米，宽１４米，挑高７米，能容纳２００－３００名观众。剧场内的四组伸缩可移动座椅，可以根据表演内容的需要组合安放，实现单侧、双侧或三面环绕观演。在剧场西侧的墙壁上，安装着一块４ｍ＊６ｍ的ＬＥＤ屏幕，可进行多媒体和舞台表演的跨界合作。剧场最大的亮点在于可开启的大门，能够在两分钟的时间里让四面封闭的剧场变身为三面环绕的开放式空间，延展出无限的舞台表演可能性。７７剧场对于演出剧目的艺术水准有着较高要求，未来会积极引进欧美及港澳台地区高水准的当代小剧场作品，并广泛与国内外戏剧交流机构展开合作，举办戏剧节、展演等活动。此外，７７剧场还将设立戏剧孵化器，为戏剧工作者提供创作、排练和演出空间。

77 Theater is located at No. 77, Art Museum Back Street, it is a black box theater in 77 Culture Creative Industrial Park. The theater is consolidated on the basis of the original industrial architecture frame, composed of thick and heavy I-beam sequences and dark red rustic steel boards structure, the exterior of which resembles a steel-forged cubic box, resonating with the industrial atmosphere from the old architectures existing in the offset printing factory of the Park. The theater is 21 meters in length, 14 meters in width and 7 meters in height, having the capacity of 200-300 audiences. Inside it has 4 groups of contractible and moveable seating, which can be adjusted according to the requirements of different plays, so to realize one side, both sides or 3-side circular viewing experiences. On the west wall of the theater, there is a 4m*6m LED screen, which can be used to stage the cross-discipline creation between the multi-media and the performance art. The most attractive point is its open-operated door, which in a short time of 2 minutes can transform into a semi-open space enclosed on 3-side, extending out into a highly potential stage performance. 77 Theater has high artistic standards towards what is to be shown, in the future it will actively import contemporary small theater plays from Europe, America, HK, Macau and Taiwan, meanwhile cooperating with domestic and international theater and drama institutes on organizing Theater Festival, Exhibiting Performances. Moreover, 77 Theater will set up theater incubator providing creation, rehearsal and performing space for persons who are engaged in the theater plays.

感谢你们的努力和付出让第五届北京南锣鼓巷戏剧节成为可能！

北京市东城区美术馆后街77号 Address：Beijing Dongcheng District Chaoyang North Street No. 11 电话 / Tel: 010-84191616

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全媒体战略合作伙伴

战略合作门户

英文战略合作门户

承办项目合作媒体

蓬蒿剧场 / Penghao Theater

赞助

官方授权媒体

天韵口腔合作媒体

合作机构及支持

官方票务平台

票务合作伙伴

官方指定酒店

高校话剧联盟

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2010-2014年五届戏剧节回顾 Review of the NLGX Performing Arts Festivals from2010-2014

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2010 第一届北京南锣鼓巷戏剧节

第一届北京南锣鼓巷戏剧节由北京蓬蒿剧场和东城区交道

话剧《我是海鸥》（蓬蒿剧场出品）

口办事处共同发起，投入10万元举办的戏剧节。

编剧：童道明导演: 王绍军、穆德

古老的南锣鼓巷，有浓重的历史遗迹，也有现代文化的缩

话剧《锣鼓巷的故事》（蓬蒿剧场出品）

影，汇集着北京最重要的戏剧艺术资源，滋养着文化创意

编剧：王翔导演：王绍军、穆德

产业的勃勃生机。这里的人们，经历着从单纯宁静到开放丰富的时代变化。

话剧《三姊妹》（中央戏剧学院出品，契诃夫诞辰150周年纪念演出）编剧：安东契诃夫导演：刘立滨

戏剧，是人们感受生活，认知自身的了不起的成就，是人

演出：中央戏剧学院2006级表演系本科2班

们心灵的节日。因为有戏剧，在夜晚。人们的内心会更阳光。

昆曲《陶然情》（北方昆曲剧院出品）导演：方彤彤

首届北京南锣鼓巷戏剧节在今年诞生了，它是艺术家，普

演员：周好璐饰石评梅/杨帆饰高君宇/陈琳饰刘和珍/李欣饰易老/马靖饰石

通人彼此走近，互相滋养的新的空间，它仅仅是一个开

评梅/侯雪龙饰高君宇

始，是一个雏形，但重要的是，它已经开始了，人们都期待着能在一种艺术化的环境里愉悦地去收获。

现代舞《北京舞蹈向前看》演出：雷动天下现代舞团

组织：主办：北京市东城区交道口街道工委、街道办事处支持：北京市东城区区政府、区文委、区文联承办：北京蓬蒿剧场北京东城青年戏剧工作者协会

音乐会《Indigo》演出：午夜飞行乐队

内容安排内容

时间

地点

《塞纳河少女的面模》

5月6日

中戏北剧场

5月7-9日

蓬蒿剧场

《我是海鸥》

5月11-15日

蓬蒿剧场

时间

《午夜飞行》

5月16日

蓬蒿剧场

2010年5月4日-31日

《三姊妹》

5月5-14日

中戏逸夫剧场

协办：中央戏剧学院、中国国家话剧院、上海戏剧学院、北方曲剧院

举办地点

《陶然情》

5月21-23日

蓬蒿剧场

《锣鼓巷的故事》

5月25-28日

蓬蒿剧场

北京蓬蒿剧场中央戏剧学院北剧场国家话剧院小剧场中央戏剧学院实验剧场

工作团队参演剧目

艺术总监：王翔

话剧《塞纳河少女的面模》（蓬蒿剧场出品）

制作统筹: 梁丹丹、赖慧慧、李沫涵

编剧：童道明导演：张子一

舞台监督：孙志诚

178

179

2011 第二届北京南锣鼓巷戏剧节

致辞：

节目日程

古老的南锣鼓巷位于北京东城,这里有浓重的历史遗迹,也有现代文化的缩影,汇集着中央戏剧学院、国

演出：

家话剧院等国内最重要的戏剧文化资源,滋养着文化创意产业的勃勃生机。

中央戏剧学院实验剧场 Central Academy of Drama Experimental Theatre

“北京·南锣鼓巷戏剧节”，创始于2010年，今年是第二届。它是艺术家、普通人彼此走进、相互滋养的空间；是生活在这里的人们经历单纯宁静到开放丰富的时

Play The Double Bass Beijing

24-26 May 19:30

代变化的缩影；是新东城区政府公益性推动、民间戏剧艺术团体热情参与，创造“首都文化中心区”

话剧《寻找剧作家》北京

Director: Liu LiBin Playwright: Patrick

话剧《狗，还是老婆，这是个问题》美国中英

导演：王晓凡编剧：陈小玲

Sǖskind

文演出配双语字幕

6月5-7日 19：30

28-30 June 19:30

改编及导演：约瑟夫·格里斯（美）

Play In Search of the Playwright Beijing

6月8-10日 19：30

Director: Wang Xiao Fan Playwright: Chen

话剧《奥莉安娜》北京

Xiao Ling

导演：王绍军编剧：戴维·马梅特 (美)

5-7 June 19:30

7月5-7日 19：30

与“世界城市窗口区”的完美汇合。

话剧《哥本哈根》北京中文演出、英文字幕

Play Man’s Best Friend

本届戏剧节重点推出19部国内国际优秀剧目。呈现重视文学关怀、重视现实主义关怀的原创作品；呈

导演：王晓鹰编剧：迈克·弗雷恩（英）

English Performance with Bilingual subtitle

现世界优秀经典剧目；国内国际最优秀的戏剧艺术家倾力奉献，是这次“北京·南锣鼓巷戏剧节”为

5月10-12日 19:30

Adapted and Directed by: Joseph Graves

促进北京戏剧文化更加多元性丰富性所展现的最大亮点。

Play Copenhagen（Beijing） Chinese

8-10

戏剧繁荣是一个国家文化繁荣和社会繁荣的重要标志，对提升文化和经济原创力起着重要作用。一个

performance English subtitle

健康的社会，不能只追求经济发展，而更要追求经济发展背后深层的文化创造力；不能只有物质和娱

Director: Wang XiaoYing

乐，同时也要有理性的文化思考和艺术追求。艺术家们努力去实现最好的创作，政府给予公益性的支持，普通人从中感受文化滋养提升理性结构，

ADDRESS: Nanluoguxiang is an ancient street located in Beijing Dongcheng District, well combining historical interest and modern culture. Here concentrate the most and best sources of theater culture and nourishes the creative culture industry. Starting from the year of 2010, “Beijing Nanluoguxiang Theater Festival” has come to the second year. It creates an opportunity for artists and audiences to mutually understand and improve; it reflects the change of times and people’s life from simpilicity and peace to broadness and rich; it demonstrates the new Dongcheng government’s effort on promoting theater arts hand in hand with the independent theater troupe’s passion of participation; it demonstrates the vision of establishing a “central district of culture in Beijing” and “the window city to the world”. This year, there are 19 high-quality plays both local and international to be presented in festival. Carrying the vision to enhance the theater’s diversity in Beijing, the plays are featured by classical as well as originality. The flourish of theater indicates the social and cultural development of a country and brings positive influences to the creative capacity of culture and economy. A harmony society should consider the creative capacity of culture behind GDP more important than the GDP figure, should not only pursue the material wealth and entertaining needs, but even more encourage the rational thoughts in culture and arts. We hope to create a platform to enhance the harmony of the entire society, on which, artists can practice their creativities, the government gives proper supports, and audiences enjoy the culture nutrition and self-improvement. Wang Xiang Artistic Director

180

Play Oleanna Beijing 话剧《今天早上我们回家》台湾

Director: Wang Shaojun Playwright: David

导演：李建常编剧：黄小猫

Mamet

6月9-11日 19：30

5-7 July 19:30

Michael Fryan

北京儿艺安徒生剧场 Beijing Andersen Theatre

11-12 May 19:30

话剧《锣鼓巷的故事》北京

Director: Li JianChang Playwright: Huang

话剧《塘鹅》瑞典中文演出

导演：王绍军/穆德文学脚本：王翔编剧：王

XiaoMao

导演：马福利编剧：斯特林堡（瑞典）

中央戏剧学院北剧场 Central Academy of Drama North Theatre

绍军/王翔

9-11 June 19:30

7月10-12日 19：30

5月29-31日 19：30

话剧《遗嘱》北京

Play The Pelican

Play Luoguxiang Story Beijing

导演：王晓鑫编剧：过士行

performance

话剧《岁月的泡沫》法国法语演出、中文字幕

Director: Wang Shaojun/Mu De Playwright:

6月13-15日 19：30

Director: Mathias Lafolie Playwright: August

改编及导演：卡罗琳·范琦拉（法）

Wang Shaojun/ Wang Xiang

Play The Last Will Beijing

Strindberg

6月11-13日 19：30

29-31 May 19:30

Director: Wang Puchun Playwright: Guo

10-12July 19:30

Playwright:

全社会在更深层面走向和谐，是这次戏剧节主办方和承办方的共同愿望。艺术总监：王翔

US Chinese and

une 19:30

Play This Morning We Go Home Taiwan

Sweden

Chinese

ShiXing

Play Form of the Daze （France）French

13-15 June 19:30

Performance Chinese Subtitle

蓬蒿剧场

Adapted and Directed by Carole Ventura

Penghao Theatre

11-13 June 19:30

话剧《动物园的故事》北京

话剧《尘归尘》上海

时间：2011年5月28日、29日

导演：徐昂编剧：爱德华·阿尔比

翻译/导演：谷亦安编剧：哈罗德·品特（美国）

地点：蓬蒿剧场

话剧《审查者》北京

5月14-16日 19：30

6月17-19日 19：30

导演：赵立新编剧：安东尼·尼尔逊（美）

Play The Zoo Story Beijing

Play Ashes to Ashes Shanghai

主题：戏剧理论与实践

6月20-21日 19：30

Director: Xu Ang Playwright: Edward Elbee

Translator & Director: Gu Yi’an Playwright:

童道明（著名戏剧理论家和评论家，著名俄罗斯

Play The Censor Beijing

14-16 May 19:30

Harold Pinter (America)

文学翻译家）

沙龙、工作坊

17-19 June 19:30

Director: Zhao LiXin Playwright: Antony Nielson

话剧《我这一辈子》北京

20-21 June 19:30

导演：佘南南编剧：方旭

话剧《审查者》北京

5月19-21日 19：30

导演：赵立新编剧：安东尼·尼尔逊（美）

风尚剧场 Fengshang Theatre

Play This Life of Mine Beijing

6月22日

Director: She Nan Nan Playwright: Fang Xu

Play The Censor Beijng

默剧《静默回忆》法国

19-21 May 19:30

Director: Zhao LiXin Playwright: Antony

主题：另一种喜剧徐昂（北京人民艺术剧院青年导演）

19：30

主题：回望哥本哈根-创作准备期的演员工作梁国庆（中国国家话剧院一级演员）

Nielson

导演及演出：菲利普·比佐（法）

22 June

主题：生命和艺术表达的最好可能性 19: 30

5月17-19日 19：30

话剧《都》北京

Mime < Nostalgia> French

编剧/导演：黄盈

Mime by: Philippe Bizot

5月27日/29日 19：30 5月28日 15：00

舞剧《迁徙的动物》以色列配中文字幕

17-19 May 19:30

Play The Capital and All Beijing

编舞：阿里尔·科恩奥斯纳·科尔内

编剧/导演：黄盈

6月24\26日 19:30 6月25日 15：00

27/29 May 19:30 28 May 15:00

Dance Theatre Foreign Animal

王翔（北京市东城青年戏剧工作者协会驻会副主席、蓬蒿剧场创办人）主题：台湾表演艺术现况杜惠萍（台湾表演艺术联盟副秘书长） Israel

Chinese subtitle

话剧《安妮日记》北京

主题：香港戏剧发展与现状/戏剧的简约主义

导演：吴朱红编剧：法兰克古德里奇/艾伯海克

话剧《秋天的忧郁》天津

Choreographer: Ariel Cohen / Osnat Kelner

工作坊：身体时间与节奏

特（美）

导演：马路编剧：童道明

24\26 June 19: 30

作品放映：舞台剧<泰特斯2.0>

5月24-26日 19:30

6月1-3日 19：30

Play Dairy of Anne Frank (Beijing)

THE MELANCHOLY IN AUTUMN Tianjin

话剧《低音提琴》北京

Director: Wu Zhuhong Playwright: Frances

Director: Ma Lu Playwright: Tong Daoming

导演：刘立滨原著：帕特里克·聚斯金德（德）

主题：瑞典戏剧发展与现状

Goodrich and Albert Hackett

1-3 June 19:30

6月28-30日 19：30

马福力（瑞典戏剧影视导演协会主席）

25June 15：00

邓树荣（香港演艺学院院长）

181

主题：无伤大雅 / 不安本分

东城区文化馆：北京市东城区交道口东大街111号

作品放映：舞台剧<舞台姐妹> 荣念曾（香港进念二十面体艺术总监）

戏剧节票务信息票价：

主题及工作坊：动作的诗意

普通：60元（单场）

菲利普·比佐（法国默剧大师）

学生：30元（单场）三场联票：120元（只到大麦网公司上门订购）

主题：认识能剧艺术

五场联票：150元（只到大麦网公司上门订购）

工作坊：1）能剧面具工作坊

备注：联票数量有限，售完即止

2）能剧表演工作坊 Oshima Noh Theatre and Theatre Nohgaku

公益场演出 ·中戏北剧场演出的《岁月的泡沫》/《审查

时间：2011年6月18日

者》

地点：东城区文化馆

·安徒生剧场演出的《锣鼓巷的故事》 ·蓬蒿剧场演出的《低音提琴》

主题：论泛娱乐化王晓鹰（中国国家话剧院副院长，戏剧（导演）

票务及演出信息

学博士）

www.penghaoren.com 总咨询电话： 010- 64006472

主题：北京小剧场发展及现状

网上订购：www.damai.cn

傅维伯（中国国家话剧院东城先锋剧场经理）

票务在线订购热线：400-610-3721 票务在线地址：北京市东城区东中街32号楼7层

主题：百老汇戏剧发展现状

（东环广场街心花园对面）

Gary Goddard（美国百老汇戏剧制作人）

营业时间：星期一至星期五:9:00-20:00/ 星期六至星期日:9:00-18:00

主题：小剧场戏剧的非营利行为王翔（北京市东城青年戏剧工作者协会驻会副主

Ticket:

席、蓬蒿剧场创办人）

One show: 60 RMB One show: 30 RMB (student)

主题：民间戏剧创作与发展现状

3 shows pass: 120 RMB (sale on piao.com)

刘平（中国话剧研究会副秘书长）

5 Shows pass: 150 RMB (sale on piao.com)

主题：戏剧创作的问题与思考

Non-profitable performance:

宋宝珍（中国艺术研究院话剧研究所副所长）

·<Form of the Daze> and <The Censor> at North Theatre ·<Luoguxiang Story> at Beijing Andersen

戏剧节沙龙及工作坊具体安排请留意蓬蒿剧场

Theatre

网站www.penghaoren.com

·<The Double Bass >at Penghao Theatre

咨询电话：64006472 蓬蒿剧场地址：东城区交道口南大街东棉花胡同

General information: 010-64006472

35号

Piao.com for ticket: 400-610-3721

182

主办北京市东城区戏剧建设促进委员会承办北京市东城区文化委北京市东城区文联北京市东城区交道口街道办事处北京东方文化资产经营公司北京市东城区戏剧建设促进委员会办公室北京市东城青年戏剧工作者协会执行承办北京蓬蒿剧场合作场地：中央戏剧学院北剧场中央戏剧学院实验剧场北京蓬蒿剧场东城区文化馆风尚剧场 Host: Beijing Dongcheng District Drama Construction and Promotion Committee Organizer： Beijing Dongcheng District Culture Committee Beijing Dongcheng District Culture Association Beijing Dongcheng Jiaodaokou Community office Beijing Oriental Culture Asset Operation Company Office of Beijing Dongcheng District Drama Construction and Promotion Committee Beijing Young Dramatists Association Executive Organizer： Beijing Penghao Theater Venue: Central Academy of Drama Experimental Theatre Central Academy of Drama North Theatre Fengshang Theatre Beijing Penghao Theatre

183

2012 第三届北京南锣鼓巷戏剧节

我想请更多的人了解这些美好的信息、故事和历程，一起去思考去创造。

工作者之间互相提升理性结构、走向温暖、走向

都只有一次（我是指任何人，包括普通人、企业

承认公益性、倡导公益性？因为这是最聪明的

我们希望改变。越不改变，越没有能力；越没有

长、赵同富主任，中戏徐翔院长、徐永胜副院

丰富的戏）。时间是2010年5月6日至28日。

家、科学家、艺术家，也包括政府官员）。我们

事、最值得做的事情、对国家和民族根本利益最

能力，越无法改变。我们宁可要不完美的改变，

长，国话先锋剧场傅维伯经理等各剧院同仁的大

可以设想，任何一个人，如果他（她），既能在

重要的事情。大量的基础的艺术创作、表达、观

也不要不改变的危机。但我们希望的，是理性

力支持。国家级的艺术殿堂，拿出珍贵的档期，

2008年初，北京第一家民间投资建设的独立剧

2010年底，新东城区政府成立，加大支持力

动物性的基本生存的需要层面、不伤害他人地获

演、体验（包括戏剧创作）的环节，是非盈利性

的、良性的、建设性的、温暖的、美好的改变。

支持地方政府主办、民间文化组织承办的戏剧活

场——蓬蒿剧场，在紧邻中戏、紧邻南锣鼓巷

度，出资150万元，于2011年5月10日至7月12

得满足，又能在人性的、存在认知和超越创造的

的，必须远离商业目的。中型以下的剧场、剧场

我们希望有一天，我们国家的文化软实力、核心

动，也是本届戏剧节最大的亮点之一。

休闲艺术街区的东棉花胡同，破土动工。同年6

日，举办了第二届“北京·南锣鼓巷戏剧节”。

需要层面获得满足；既能得到物质的满足，又能

从业者、导演、编剧、演员、舞台设计人员，只

竞争力真正超过西方发达国家，希望我们的经济

月，获得工商营业执照。次年3月，获得营业性

19部艺术分量厚重的戏剧舞台演出，给东城及

得到精神、文化、艺术的满足；既能得到按规则

要他们从事艺术表达、创作的工作，就已经是在

发展力、科技原创力不再依赖别人。希望有一

感谢上海戏剧学院韩生院长、熊源伟教授专程从

演出许可资格。不到半年时间，便上演了20余

北京市观众提供了一道极为丰富的精神文化大

靠智慧收获利益的满足，又能得到向社会、向他

向社会做公益做奉献（以他们的才华如果去做商

天，香山上的那位父亲，能把他的女儿从肩上放

上海来北京参加戏剧节活动。

部经典的、原创的、灵动的、重视文学关怀、重

餐，票价低廉，很多观众多次观看演出，一位观

人奉献付出的满足，这样仅有一次的人生，是不

业，肯定会有更多盈利，但他们主动放弃；而这

下来，放到剧场里，放到一个更美好的艺术的文

视理性关怀的剧目。

众一次购买了戏剧节全部19场演出的门票，并

是更值得呢？

类艺术活动的票房收入，只够成本支出的三分之

化的生存环境里。我们首先要从忧患做起、从改

感谢法国大使馆文化处柯立业专员、樊秀英副专

一，这在任何一个国家，都是一个定数）。必

变做起、从基础做起、从尊重客观规律做起。

员和以色列大使馆文化处秦丫丫，为本届戏剧节

把它们拍成照片在网上展示。该届戏剧节催生了 2009年10月，这个地区的政府主管部门交道口

大量优秀原创作品，如陈小玲编剧的纪念曹禺生

这样的人多了，社会是不是会更理性、更具建设

须将纳税人的钱，通过政府、通过财政立法的途

办事处的李铁生书记找到我，希望写一部反映社

平的《寻找剧作家》，剧本创作六年，因无商演

性、更温暖、更和谐呢？这样的官员多了，贪污

径，常年、固定、一定程度的给予他们支持（免

我的这些话都是发自内心的，因为为了戏剧、

区文化发展变化的戏。因为感触太多，不仅是欣

价值一直未能演出，还有童道明编剧的《秋天的

腐败浪费是不是会少了很多、伪善成本是不是会

税更不用说）。否则艺术创作必然在商业利益面

为了蓬蒿剧场、为了三届南锣鼓巷戏剧节，我

最后我要特别感谢倾力奉献、参加这届戏剧节的

然答应，而且不到三天便拿出文学剧本，一个月

忧郁》、方旭改编创作的《我这一辈子》、黄盈

降低很多、真正为大众谋福利的行政效率是不是

前失魂、流于庸俗和贫乏。这种支持和国家的免

做了太多超负荷的工作，一个月前，刚刚在心

中国大陆及港澳台地区和其他国家的艺术家：蓝

排成上演。不仅为交道口地区，而且为整个东城

编剧的《都》、过士行编剧的《遗嘱》，都是得

会提高很多呢？

费基础教育政策一样重要，是全民族的未来和希

脏里放了三个支架。我想发自内心的对大家

天野、童道明、刘立滨、朱琳、史可、吴琼、

区十个街道办事处，两千余名普通居民，免费演

益于本届戏剧节每部戏三万元的资助得以成功上

望。这种支持也要在全社会形成共识。

说：我们要一起爱这个国家、爱这个民族、爱

熊源伟、谷亦安、赵立新、陈晓明、李亦男、费

出10余场。这部戏的名字叫“锣鼓巷的故事”。

演，给北京观众带来清新、震撼的感受。该届戏

实际上，我们每个人（我是指任何人、所有的

世界、爱公平、爱正义、爱真诚、爱生命、爱

明、李莎、方旭、佘南南、侯莹、陈晓玲、王小

剧节还吸引了台湾、美国、法国、以色列等地区

人），都渴望过更高贵的生活、更多付出的生

一切经济问题和社会问题，最终都是文化问题。

艺术、爱戏剧。

凡、王绍军、穆德、童宁、宁春艳、丰玲、颜永

转眼到了2010年的2月。我发自内心的感激地

和国家的艺术家来参与演出交流，并得到当地政

活、更真诚的生活，不希望只过低级物质满

国与国、民族与民族的经济竞争、文化竞争，最

说，在这一年、这个月发生的那件事，必然会载

府资助。特别值得一提的还有，通过南锣戏剧节

足、过度贪欲的生活，不希望过伪善的生活。

终都是人的智力、智慧、灵性、个性、创造性、

入中国社会文化发展的史册。一个区级政府——

这样一个平台，客观上也促成了中央戏剧学院、

主要是看全社会倡导什么，鼓励什么？有没有

丰富性、高贵性、艺术性的竞争。

北京市东城区政府，竞然成立了我们国家第一个

上海戏剧学院、国家话剧院、北京人艺、天津人

能力倡导什么？有没有能力真诚的、遵循规律

“戏剧建设促进委员会”，并出台了一系列“关

艺等国内最高戏剧艺术学府和院团之间的深入交

的倡导什么？

于戏剧发展公益补贴资金管理办法”、“关于戏

流、切磋，上述团体都有剧目参加本届戏剧节。

剧产业发展引导资金管理办法”的政策，真正让

悉心推荐、组织了最优秀的参演剧目。

祺、毛尓南、张子一；菲利普·比佐、马福力、国家兴亡，匹夫有责。文化兴亡，匹夫有责。

姚立群、邓树荣、李宗熙、张嘉蓉、冯乐然、露丝·康内尔、桑德拉·佩纳、奥利维·马西斯、

我还要代表戏剧节组委会，发自内心的感谢北京

拉斐尔·纳瓦罗、布兰卡鲁兹。是他们、是他们

我们的国家，我们的民族，在经历了几千年农业

市东城区委区政府，是他们实实在在地、从基础

的作品，真正支撑起了第三届南锣鼓巷戏剧节这

文明的辉煌之后，又经历了几百年被西方工业文

层面为文化发展、为戏剧繁荣、为艺术工作者、

台大戏。

我曾经在2010年北京国际独角戏戏剧节的致辞

明挤压、扭曲、变形的耻辱，终于在共产党领导

为全社会的普通人做了这么多事。感谢东城区区

人感觉到“文化发展（那时这个词还没有出现在

在两届南锣戏剧节之间，蓬蒿剧场还与中国剧协

中说过：一个健康的社会，不是不能有物质和娱

下站立了起来，获得了举国尊严，获得了温饱；

委杨柳荫书记、牛青山区长、区委宣传部金晖部

一切看内容，一切看作品。二十三部风格各异

中央文件上）”的春天来了。

“剧本”杂志社合作，举办了首届“北京·东城

乐，而是不能只有物质和娱乐；不是不要追求

但在文革所致的教育、传统、人性、理性断层

长。感谢东城区主管文化的朴学东副区长，对两

的作品、六部剧本朗读、五个表演工作坊、五

国际独角戏戏剧节”。五部国际邀演剧目。还有

GDP，而是更要追求GDP背后深层的文化创造

十二年过后、灵魂没有彻底复苏之际，又遭遇到

届南锣戏剧节所做的那么多智慧的决定和指导，

个文学戏剧艺术讲座，它们有一个总的口号：

又是李铁生书记找到我，问我能不能配合锣鼓巷

八部国内实验戏曲剧目，其中有七位表演艺术家

力；不是不能做文化产业，而是不能把所有的文

滚滚而来的拜金主义、物质至上、泛娱乐化的大

以及他代表区委区政府所作的承诺：南锣鼓巷戏

回归文学、回归美学、回归理性、走向温暖、

胡同节做一些演出。我说，干脆办一个戏剧节

是梅花奖得主。

化都产业化。一个健康的社会，至少应该有四分

潮。我们究竟应该怎样做，才能跨越这新的历史

剧节要一届一届办下去；感谢为戏剧节做出艰辛

走向高贵。

之一的金融资金流动在公益性、捐赠性、创造

关口，继续前行？

努力的东城区文委李承刚主任、曾珊副主任、朱

吧，就叫南锣鼓巷戏剧节，中国第一个地标性的戏剧艺术节。李书记说办事处出五万元，我说蓬

为什么会有这么多美好的内容呈现？是因为蓬

性、艺术化的领域，至少应该有四分之一的人拿

海斌科长；怀念和感谢当初为东城区制订支持戏

让我们怀着虔诚的心情，打开这部作品集，一

蒿剧场无偿承担一切策划组织工作并免费提供场

蒿剧场的产生、形式和定位。它的形式，一句

出四分之一的时间甚至是财力，去从事公益性、

去年十月北京晚报登载了一篇报道，某个周

剧文化发展政策的杨艺文区长、毛桂芬副区长、

同走进“第三届北京·南锣鼓巷戏剧节” ，走

地，同时也找中戏刘立滨副院长免费提供场地支

话：独立的倡导性的文化组织、对接政府与演出

捐赠性、创造性、艺术化的生命活动。这才是我

末，香山红叶节时，整个香山拥进了十六万

王红兵副区长、文委程永涛主任、文联王燕芬副

进这人的、生命的、戏剧的、艺术的、节日的

持。就在此时，当时的东城区政府和区文委主要

团体的行业平台、大量艺术作品的孵化器。它的

们应该追求的目标。

人，在玉皇顶平台上，有一位父亲，肩扛着自

主席；我还要感谢戏剧节承办单位——蓬蒿剧场

海洋吧。

领导得知此事，又在刚刚出台的戏剧公益支持政

定位，一句话：公益性、艺术性、创造性。

己七八岁的女儿，一个小时放不下来，因为人

的创作、运作团队，这是一个真正具有公益精神

我们为什么需要戏剧？因为戏剧是人类理性认知

太多，人挤人。这种对文化渴求的缺失，到了

的团队，感谢团队的两位核心人物：创意总监梁

巷戏剧节”。7部戏，每部戏的制作劳务费不到

蓬蒿剧场前期投入一百多万元，一分钱不想收回

世界、认知自身的最高艺术成就。我们为什么需

令人心碎的程度。

丹丹，运营总监赖慧慧，她们承担了大量难以置

一万，但内容上乘，艺术表达一流。它们是：

也收不回，只想奉献给社会。后期每存在一天，

要艺术？因为艺术是人类不需要消耗太多物质资

中央戏剧学院出品的话剧《三姐妹》，雷动天下

经营者需靠个人财力，贴补近两千元。每年六十

源，便能有效获得最重要的生命体验、经验和幸

我们会恐惧会担心股市崩盘、楼市崩盘，也会恐

现代舞团出品的现代舞《北京舞蹈向前看》，午

多万元。剧场自己独立和联合出品剧目、承办戏

福感的主要途径。艺术家们创造艺术，是人类社

惧会担心CPI持续上涨，但是我们更恐惧更担心

感谢交道口街道工委、办事处的领导和同事们，

夜飞行剧团的音乐剧《深蓝》，北方昆曲剧院出

剧节、对所有来演出的剧组不收取场租（风险共

会、人类生命最绚烂的色彩；普通人感受艺术，

中华民族的灵魂，被物质、被娱乐、被贪婪所淹

他们也是南锣戏剧节的发起者，是真正热爱这块

品的现代昆曲《陶然情》，蓬蒿剧场出品的话剧

担、票房分帐）；剧场吸纳一切话剧和舞台剧的

会感激人生，感激社会；科学家感受艺术，会有

没，会演变成一个没有道德标准、没有艺术追

土地的最可贵、最有情怀的人。

《赛纳河少女的面膜》（童道明编剧，一部真正

创作形式，没有任何局限，唯一的标准是：它是

更高的创造力；有钱人感受艺术，会少一些贪婪

求、没有理性思考、没有深层创造力的弱智民

为知识分子所写的戏，冯至、季羡林是剧中的主

有内涵的，有文学含量、美学含量和理性含量

和奢侈，政府官员懂得艺术，会极大减少行政浪

族。我们会担心再次发生佛山小悦悦事件，我们

感谢东方文化资产经营公司对两届南锣戏剧节的

要人物，濮存昕、敬一丹都在剧中志愿客串角

的，是高贵的又是自然的朴素的，是丰富的又是

费；一个民族一个国家拥有更多的艺术创造能

会担心更多的动车司机和调度永远没有机会走进

支持，感谢他们在蓬蒿剧场资金压力生存压力最

色）、《我是海鸥》（改编于契诃夫著名话剧

简约的有效的灵动的。

力，这个国家才会有真正的文化软实力和核心竞

过一次剧场，我们会担心北京上海的剧场数目永

重的时刻，给与的合作和支持，这是国有企业对

争力。

远是纽约、柏林、伦敦、巴黎的几百分之一，我

民间文化组织对社会公益事业支持奉献的典范。

策内拨出5万元，举办了第一届“北京·南锣鼓

“海鸥”的戏中戏，并直指中国当下社会青年人的生存困惑）、《锣鼓巷的故事》（真实反映中

我们为什么需要公益性？因为掠夺性是动物性的

戏年轻学生、老北京普通居民、有责任感的社区

行为，公益性是人性的行为。因为每个人的生命

184

信的超负荷工作。

艺术总监王翔 2012年5月10日

们担心不尊重客观规律、只求眼前、只求政绩、政府为什么要在文化发展层面大力推进公益性、

只求作秀的新的文化浪费……

感谢北京人艺张和平院长、马欣书记、崔宁副院

185

Thoughts and Process

heard about the initiative and they decided

has in effect helped foster dialogues and

and achieves a sense of purposefulness for

Had our nation more artistic creativity, we

--To The 3rd Beijing Nanluoguxiang Theatre

to give us 50 thousand more from the lately

direct exchanges between several drama

one’s contribution to the society and other

would certainly attain the real “cultural soft

Last October Beijing Evening News reported

Festival

implemented public welfare subsidy budget.

institutions including the Central Academy

people. For all of us who exist only once in

power” and “core competitiveness” that

that a father carried his seven-year-old

And that was the first Beijing Nanluoguxiang

of Drama, the Shanghai Academy of

this world, wouldn’t such a life be more

we’ve been looking for.

daughter on the shoulder for an hour at

I would like more people to know about these

Theatre Festival. Seven plays were staged,

Drama, the National Theatre Company of

worth living?

stories, information and experiences, and to

each not exceeding a 10 thousand yuan

China, Beijing People’s Art Theatre and

think and create together with us.

budget, but all rich in content and artistic

Tianjin People’s Art Theatre, as they all

expression. They were Three Sisters

participated in the event.

the Peak of the Heavenly Emperor of the Why should the government be more

Fragant Hill Mountain and couldn’t find a

If we had more such people around,

progressive in acknowledging, promoting,

place to put her down because people were

wouldn’t our society be more rational,

and even supporting non-profit

all crowded there for watching the maple

positive, warm and harmonious? If we had

organizations, because it is the cleverest

leaves turned red. The lack of desire for any higher forms of cultivation breaks my heart.

Early 2008, in Dongmianhua Hutong, near

produced by Central Academy of Drama,

Central Academy of Drama and a stone’s

DANCE Look forward by LDTX, the musical

Between two Nanluoguxiang Festivals,

more such government officials around,

way to do, the most cost-effective, and to

throw from Nanluoguxiang Art and Leisure

Deep Blue by Fly in the midnight, modern

Panghao also cooperated with the Play

would our corruption and waste issues be

the best interests of our nation. The creation,

Zone, Beijing’s first privately invested,

Qunqu Opera adaptation by Northern Kunqu

magazine under the China Theatre

largely curbed, and the price for hypocrisy

expression, and experience of many art

We fear the crash of the stock market, the

independent theatre—Penghao Theatre

Opera Theatre. The bust of a lady by the

Association to stage the “First Beijing

much higher, and the work for true public

practices (drama included) should be kept a

housing market and the continued rocketing

was under construction. In June 2008, it

Seine River produced by Penghao (written

International Mono Drama Festival”. Five

welfare much more effective?

safe distance from commercialization. Small

of the CPI, but what strikes true fear in my

got its business certificate. In March 2009, it

by Tong Daoming, it is dedicated to the

foreign plays were invited, together with eight

and medium-sized theatres and staffs,

heart is that the Chinese souls would be

got the performance permit. In less than six

intellectuals. Respected Chinese scholars

experimental operas from China, among

In fact, everyone of us (I mean anyone and

theatre owners, directors, playwrights, actors

corrupted by materialism, entertainment

months, Penghao staged some 20 classic

Feng Zhi and Ji Qianlin are the heroes of

which seven opera singers were the Plum

everyone) wish to lead a nobler life, a more

and stage designers etc., as long as they

and greed, and eventually we would be

and original plays, all selected based on

the play, guest played by famous actors Pu

Blossom Award (highest distinction for

giving, sincere life; None of us really want to

are engaged in some form of art making

reduced to a nation of spiritual dwarfs without

a preference for literature and rationalistic

Cunxin and Jing Yidan), I am the Seagull (a

traditional opera performance) recipients.

lead a life of base material satisifaction, over-

and practice, are already doing good to

serious moral, intellectual, or artistic pursuits,

values. Oct 2009, Secretariat Li Tiesheng

drama-in-drama adapted from Chekov’s

indulgence or hypocrasy. It really depends

the society and the public (had they been

deprived of rational thinking and creativity.

from Jiaodaokou Sub-district Office of the

famous play The Seagull and reflected the

Why could so many good plays be

on what kind of life our society advocates

more profit-driven, their talent would almost

We worried that the sad incident of Little

Dongcheng Government approached me

dilemmas faced by Chinese youths of our

produced? The answer lies in the birth,

and encourages. Do we have the ability to

certainly have allowed them to make good

Yueyue from Foshan city would happen

to write a play documenting the cultural

times), The Story of Nanluoguxiang (tells

operation and mission of Penghao: an

advocate something nobler, in a sincere and

money, but they chose a different, less-

again; that more CRH drivers and operators

transformation of the community in recent

the true story of how young drama students

independent, non-profit cultural organization,

ethical way?

taken path. And that the profit rate for such

would never get a chance to enter a theatre

years. I readily consented. In less than three

from Central Academy of Drama, ordinary

a platform mediating between governments,

kind of art practice can cover only roughly

before anything happens; that the number

days I finished writing the script—the stories

Beijingers and responsible social workers

and performing groups, a hotbed for the

From my speech for 2010 Beijing

one-third of its cost is a proven statistic

of theatres in Beijing and Shanghai would

had been kept in mind for so long. The play

worked together in mutual elevation to inner

nurturing of excellent art projects. Its self-

International Unicorn Drama Festival:

in many countries in the world. ) We must

always remain at the a very low level, being

was rehearsed and produced within a month.

warmth and sophistication). The first festival

defined mission, in a nutshell, is to be ideal-

Not that a healthy society doesn’t need

channel part of the tax-payer’s money

one several hundredth of those in New

It was freely open, not only to the Jiaodaokou

lasted from 6 to 28 May, 2010.

driven, art and creativity-oriented. The

material well-being and entertainments,

into this field, on an annual or regular basis,

York, London and Paris; we worried about

initial investment for the theatre was over a

but that it should ask for more than just

through administrative or legislative devices

the willful denial of common sense, about

community, but to altogether 10 communities of the Dongcheng District, which are some

By the end of 2010, a new Dongcheng

million yuan, never hoping or even possible

material well-being and entertainments.

(not to mention tax exemption, the obvious

the pursuit of short-term interests, and the

2000 residents, the name of the play being

District Government was formed and they

to get a penny back. Subsequently for each

Not that it’s wrong to pursue higher GDP,

way to do). Otherwise our arts risk becoming

unduly attention paid to political shows and

The Story of Nanluoguxiang.

radically increased the subsidy for the drama

day the theatre existed, I, the owner, had

but more attention should be directed to

soul-less, vulgar and hollow when driven by

pretentiousness that can only bring about

festival to 1.5 million yuan. The second

to put in 2000 yuan at my own expense.

the deep cultural creativity instigating GDP

commercial necessities. Such a supporting

new cultural wastes...

Soon we arrived at Feb 2010, I have to

Beijing Nanluoguxiang Theatre Festival was

That amounts to 600 thousand yuan per

growths. Not that it is wrong to develop

system is no less crucial than the national

say, one thing happened in that particular

held from 10 May to 12 July, 2011. This time,

year. We independently produce plays and

cultural industries, but it is problematic to

compulsory education system. They are the

We want changes. The less we change,

month of that particular year that should be

19 plays were included, which was a feast

organize drama festivals, sometimes in

force all cultures to be industrialized. In a

future and hope of the nation and should

the less capable of changing we become.

permanently carved into the history book

of visual and intellectual enjoyment for the

collaboration with other cultural agencies, but

healthy society, at least a quarter of the

become a national consensus.

We prefer imperfect changes to the crisis

of cultural development in China. Who

district and Beijing residents in general. The

we never charge rent for any individual or

capitals should be channeled into fields of

would expect that it was a district-level

tickets were so cheap that many watched

groups performing in the theatre (on a risk-

art, creativity, pro bono or donation works.

At the end, every single economic and social

hope for is rational, positive, constructive,

government—the Dongcheng Government

the same play for more than once and one

shared, box-shared base). We embrace

At least a quarter of its population should

issue could be traced back to a deeper

warm and benign. We hope that one day,

that first set off to establish the first “Drama

audience in particular bought all the tickets

any attempts of experimental theatre

devote a quarter of their time, energy or even

cultural issue. The economic and cultural

the cultural influence and competitiveness

Development and Promotion Committee”

for 19 plays and proudly showed them on the

expressions, as long as they are thoughtful,

money to pro bono, donatives, creative and

competitions between different nations

of our nation would no longer be dwarfed by

in China and initiate a series of policies in

Internet. The second festival also brought

or show serious literary, aesthetic and

artistic engagements. This should be what

are, at the end, competitions between

western developed countries. We hope that

favor of the industry including “regulations

forth the production of several original plays

rationalistic commitment. The ideal drama,

we strike for.

the intellect, wisdom, genius, personality,

our economic, scientific and technological

for theatre development public welfare

of the highest quality, including Looking for

in our definition, is noble at the same time

creativity, sensibility, spiritual richness and

advancement would no longer rely on others.

subsidy” and “regulations for theatre

the Playwright written by Chen Xiaoling in

natural and unpretending, sophisticated yet

Why do we need drama? Because drama

nobleness of humans.

We hope that one day the very father on the

industry development target fund”, which

memory of the famous Chinese playwright

simple, effective and inspirational.

is the highest form of artistic achievement

really seemed to hailed the spring of

Cao Yu. The original script had been kept

“cultural development” (even though that

for six years, never executed on stage for a

was before the term appeared on official

of no changes at all. But the change we

Fragrant Hill would let his daughter down the

bearing witness to human beings’

Our nation, after boasting thousand years

shoulder and put her into a theatre, into an

Why do we need non-profitability? Animals

perception of the world and themselves

of agricultural splendors, have tasted the

environment filled with art and culture. To do

lack of commercial incentives. Other plays

act on the immediate concern for their own

through rational thinking. Why do we need

bitter fruit of being invaded, distorted and

so, we firstly need to act from anxieties, from

document) . Secretariat Li approached me

included Autumn Sorrow by Tong Daoming,

needs, while human beings have the capacity

art, because art is the crucial path towards

marginalized by Western industrial civilization

the most basic changes, and from respecting

again, inviting me to produce some plays

This is My Life written and adapted by Fang

to think beyond that and for others. We

human happiness and spiritual fulfillment,

for centuries. Finally we stood up, regained

common sense.

for the Nanluoguxiang Hutong Festival in

Xu, Capital written by Huang Ying, Will by

each could live only once (I mean everyone,

without over-consuming material resources.

our food and national pride through the

plan. I said, why not put up a drama festival

Guo Shixing. They all benefited from the

including those entrepreneurs, scientists,

Artists create art. They are the brightest color

leadership of the Communist Party. But

All these words came from the bottom of my

instead? The Nanluoguxiang Theatre

30 thousand yuan subsidy assigned to

artists and government officials). Let’s try

of human society and human life. Ordinary

unfortunately the Cultural Revolution has

heart, for the sake of drama, of PengHao,

Festival, the first landmark theatre festival

each play by the festival and in turn they

to imagine such a possibility: a human being

people, if they ever encounter true art, would

made a sad, deep rupture in our education

and of the third Nanluoguxiang Theatre

in China! Li promised that his district office

excited the Beijing audience with amazing

can transcend being satisfied on a basic

be grateful to society, or to the simple fact

and tradition systems, interrupting the course

Festival, one month ago, I was almost

would sponsor 50 thousand yuan for the

contents and performances. In addition, the

survival level, and enjoy a profound sense

that they live to experience that. Scientists

of establishing the values of humanism and

overcame by the huge workload and had just

event, while Penghao agreed to provide

second festival also attracted drama artists

of satisfaction on a humanistic, existential,

could be inspired by art to make more, better

rationalism for 12 years. And what’s worse,

gone through a heart bypass surgery. I have

free organizational and venue support. We

from other countries and regions including

cognitive and creative level, without harming

discoveries and inventions. Rich people

before our souls were fully re-vitalized,

something to say to all of you: Let us love this

also solicited Liu Libin, vice president of the

Taiwan, the US, France and Israel. And

anyone else. In such case, one is satisfied

could be inspired by art to indulge less in

waves of money worship, materialism and

country, this nation, this world; let us have

Central Academy of Drama to provide free

their productions were also subsidized by

not just materially, but also spiritually,

greed and luxuries. If our government officials

popular entertainment came flooding in.

passion for equality, justice, sincerity, life, art

theatre venues. At the time, the Dongcheng

the district government. Especially worth

culturally and artistically. One is rewarded

were taught to better appreciate art, the

Already overwhelmed, what can we do, to

and drama.

government and its Cultural Committee

mentioning is that the second festival

for one’s intellectual and creative output,

administrative costs would be much reduced.

cross this historical threshold and proceed?

186

187

一、演出日程ＰｅｒｆｏｒｍａｎｃｅｓＳｃｈｅｄｕｌｅ蓬蒿剧场： Penghao Theatre

独角戏《终身成就奖》Monologue : Lifetime

of Mine

编剧：杨菀葶

Ruth Kanner (Israel)

achievement award

2012/5/22 - 24 19：30

尚剧场：The Top-Drama Theater

导演：刘九思

2012/6/25-30 2012/7/1 13：30-16：30

话剧《孤寂在棉田》 Play: Dans la solitude

2012/7/6 - 8 19：30

改编/主演：方旭

法国新魔术《魔幻之夜》French Nouveau

Playwright: Yang Wanting

des champs de coton P1

编

剧：陈小玲

导演：佘南南

Cirque: Magic Night

Director: Liu Jiusi

2012/5/4-6 19：30

导

演：毛尔南

Playwright / Adaptation: Fang Xu

2012/6/15-16 19：30

编剧：贝尔纳－玛丽·科尔泰斯（法）

Playwright: Chen Xiaoling

Director: She Nannan

编创：Raphaël Navarro/ Clément

《玻璃动物园》/The Glass Menagerie

Theatre construction – Stage script adapta

导演：奥利维·马西斯、宁春艳

Director: Mao Er’nan

Debailleul

2012/6/11-12 19 :30

tion

话剧《歌声从哪里来?》Play: Where does the

Creators: Raphael Navarro / Clément

编剧：托马斯·拉尼尔·威廉斯三世

2012/7/2-6 2012/7/8 13：30-16：00

话剧《晚安吧，妈妈》Play: Night, Mother

sound of singing come from?

Debailleul

导演：陈文

2012/7/10 -12 19：30

2012/5/26-29 19：30

话剧《歌声从哪里来?》Play: Where does the

导演：刘立滨

编剧：童道明

舞蹈剧场《介2012》Dance Theatre:

sound of singing come from? P4

编剧：玛莎.诺曼

导演：张子一

Interface 2012

2012/5/17-20 19：30

Playwright: Marsha Norman

Playwright：Tong Daoming

编剧：童道明

Director: Liu Libin

Director：Zhang Ziyi

Playwright：Bernard-Marie Koltès Director：Olivier Massis

导演：张子一 Playwright：Tong Daoming Director：Zhang Ziyi

中央戏剧学院实验剧场： Central Academy of Drama Experimental Theatre

2012/6/19 - 21 19：30

《一个不想练琴的厨师不是好儿子》/ A chef

《塞纳河少女的面模》——童道明剧本集及签售

编导：侯莹

doesn’t want to practice piano isn’t a

仪式

Choreographer：Hou Ying

good son

主讲：童道明著名戏剧评论家、俄罗斯文学翻

2012/6/18-19 19:30

译家 The bust of a girl in the Saint –Tong

导演/演员：菲利普·比佐 [法]

de tout

表演：范忆堂（讲述）侯乐天（钢琴）

DaoMing script collection press conference

Director: Philippe Bizot

2012/6/24 - 26 19：30

Playwright / director: Fan Yitang

Presented by Tong Daoming, Famous

编剧：威德罕 [法]

Performers： Fan Yitang（narrator）， Hou

theatre Critic, translator of Russian literature

导演：谷亦安

Letian(piano)

2012/5/13 14：00

《我可怜的马拉特》/ My poor Marat

精神中国的文学叙事——九十年代以来的文学的

2012/6/18-19 19:30

价值建构

编剧：阿尔布佐夫（俄罗斯）

主讲：陈晓明，北京大学中文系教授

编剧：王翔

二、剧本朗读Ｓｃｒｉｐｔｒｅａｄｉｎｇ蓬蒿剧场： Penghao Theatre

导演：小聚团戏剧坊

Story Telling of Chinese Literature – 90’s

导演：王绍军/ 穆德

《高志飞的故事》/ The Story of Gao Zhifei

Playwright：Aleksei Arbuzov（Russian）

Literature Value Construction

Playwright: Wang Xiang

2012/5/28-29 19 :30

Director：Xiaojutuan theatre center

Presented by Chen Xiaoming, Professor of

Director: Wang Shao Jun / Mu De

编剧/导演：任明炀

编剧：童宁

2012/5/13 -15 19：30

导演：颜永祺

编剧：陈小玲

Playwright: Tong Ning

导演：王晓凡

话剧《锣鼓巷的故事》Play: The story of

Director: Yan Yongqi

Playwright: Chen Xiaoling

Luoguxiang

Director: Wang Xiaofan

2012/5/25,27 19：30 2012/5/26 14：30

艺术总监：熊源伟

四、讲座Ｌｅｃｔｕｒｅ蓬蒿剧场：Penghao Theatre

编剧、导演：范忆堂

Playwright

文本：萨拉.凯恩[英]

Director: Chen Wen

话剧《爱战胜一切》Play: L’amour Triumphe

2012/5/25, 27 19：30 2012/5/26 14：30

国话先锋剧场：Beijing National Pioneer Theater

Li Yinan(China)

2012/5/31-6/3 19：30

话剧《寻找剧作家》Play : In Search of the

2012/6/1-3 19：30

李亦男 (中国)

Playwright: Thomas Lanier Williams III

默剧《无形的桥》Mime: Invisible Bridge

话剧《歌唱吧！中国》Play: Nie’er

话剧《4:48精神崩溃》Play: 4.48 Psychosis

戏剧构作工作坊之舞台本改编

风尚剧场：Prevailing Custom Theater

Playwright: Bernard Vedrenne (France) Director: Gu Yi’an

Chinese Department, Beijing University

三、工作坊Ｗｏｒｋｓｈｏｐ风尚剧场、蓬蒿剧场：Prevailing Custom Theater、Penghao Theatre

导演李莎

话剧《男左女右》（改编自《长椅》）Play:

Playwright：Sarah Kane[UK]

Man on the left, Woman on the right (original:

经典黄梅戏喜剧专场 Classical Huangmei

Artistic Consultant: Xiong Yuanwei

The bench)

Opera comedy

Director：Li Sha

2012/5/22 - 24 19：30

2012/6/1 19:30

编剧：盖利曼[俄]

主演：吴琼、黄新德

编剧：刘红卿

内心的环保——戏剧＋环境意识，这是两码事

Re-start of Taiwan Guling Street Avant-

独角戏《百年孤独》Monologue : One

导演：赵立新

Starred by Wu Qiong, Huang Xinde

导演：辛鹏

吗？——社区戏剧工作坊系列冯乐然 (美国)

garde Theatre

hundred years of solitude

Playwright: Garimann [Russian]

Playwright: Liu Hongqing

Environment of the Heart~ Theatre +

Presented by Yao Liqun, Artistic Director of

2012/6/7 - 9 19：30

Director: Zhao Lixin

Director: Xin Peng

Environmental Awareness Allegra Fonda-

Taiwan Guling Street Avant-garde Theatre

Bonardi (America)

2012/5/27日 15：30—17：30

原著：加西亚·马尔克斯

Playwright/Director: Ren Mingyoung 《白兔的故事》/ Story of the White Rabbit 2012/6/2 14:30

话剧《我是海鸥》Play: I Am the Seagull

连结于牯岭街小剧场的再启动主讲：姚立群，台湾牯岭街小剧场艺术总监

2012/5/28-29 19 :30

2012/6/20-22 19：30

2012/5/27 13：00—15：00

导演：菲利普比佐

话剧《泰特斯2.0》Play：Titus Andronicus

编剧：童道明

《花开有声》-北京市第166中学金帆话剧团专

演员：桑德拉·佩纳

2.0

导演：丰玲

场演出

Director: Philippe Bizot

2012/5/26 - 28 19：30

Playwright: Tong Daoming

Flower Blossom -Beijing No.166 Middle

无法界定的未来戏剧：戏剧的文学与社会书写

主讲：马福力，瑞典舞台和荧幕导演协会主席

Actor: Sondra Pena

编剧：威廉·莎士比亚

Director: Feng Ling

School

张嘉容(台湾)

The interaction between theatre and society

2012 6/4-5 19:30

Unclassified future theatre: Literature and

Presented by Mathias Lafolie, Swedish

总策划：朴学东、王蕾、王翔

society construction of theatre

Association of Stage and Screen Directors

总导演：刘小蓉（北京人民艺术剧院导演、演

Jiarong (Taiwan)

员。2004年人艺中戏表演班任课教师）

2012/6/18-22 13：30—17：30

导演：邓树荣 [香港] 话剧《东寰广场D座停电事件》Play:

Playwright: William Shakespeare

Donghuan Plaza Tower D- Black out

Director: Tang Shu Wing

东宫影剧院： Dong Si Workers' Cultural Palace

2012/6/21 - 23 19:30

2012/5/25-26 14:00—18：00 戏剧与社会的相互影响

Zhang

2012/6/24 14:00

编剧：费明

话剧《猫城记》Play：Cat Land

话剧《频率@101.8@106.6@747@1053》

Producer: Piao Xuedong, Wang Lei, Wang

导演：张子一

2012/6/1 - 3 19：30

Play：FM@ 101.8@106.6@747@1053

Xiang

瑞典-中国戏剧合作工作坊

主讲：露丝·康内尔女士以色列露丝·康内尔剧

Play Wright: Fei Ming

原著：老舍

2012/6/5-7 19：30

Director: Liu Xiaorong (director and actor

马福力(瑞典)

团艺术总监

Director:Zhaong Ziyi

导演：明戏坊集体创作

编剧/导演：李宗熹

from The Beijing Theater of People's Art,

Swedish-Chinese Theatre Cooperation

Literature-Society-Stage

Playwright: Lao She

Playwright / Director: Li Zongxi

used to teach at Central Academy of

Mathias Lafolie (Sweden)

Presented by Ruth Kanner, Artistic Director

Drama)

2012/6/18-22 13：30—17：30

of Ruth Kanner Theatre Group

Nouveau Cirque: EPPUR SI MUOVE

《冬皇》/Mengxiaodong : The queen of

文学-社会-舞台

2012/6/9 19：30

Beijing Opera

露丝·康内尔 (以色列)

编创：Blancaluz Capella / Rafael Morae

2012/6/11-12 19 :30

Literature - Society – Stage

话剧《在海边》Play: AT SEA

Director: Ming Xi Fang

2012/6/28,29 19：30 2012/ 6/30 14：30 编剧：S·伊扎尔导演：露丝·康内尔

188

2012/7/1 13：30

法国新马戏《转动吧，无论如何……》French

人艺实验剧场：Beijing People’s Art Theatre

Playwright: S. Yizhar Director: Ruth Kanner

文学-社会-舞台

独角戏《我这一辈子》Monologue : This Life

Creators: Blancaluz Capella /Rafael Morae

189

Every man has a shared responsibility for the

I thank Vice President Cui Ning and Director

fate of his country; every man has a shared

Zhao Tongfu from Beijing People’s Art

responsibility for the fate of his culture.

Theatre, and Manager Fu Weibo from the East Pioneer Theatre, National Theatre

On behalf of the organizing committee of

Company of China and many other theatre

the drama festival, I would like to express

professionals for their support. The fact that

my deepest thanks for the Dongcheng

such national-level theatres are willing to

District Government. They work solidly for

contribute part of their precious time slots

the welfare of the community, the well-

and venues to an unofficial cultural event

being of drama and theatre professionals,

means a lot to the festival.

and for the benefit of many other ordinary citizens. I would like to thank Yang liuyin,

I thank Han Sheng the headmaster of

Niu Qingshan ,Jin Hui, Piao Xuedong, Piao

Shanghai Theatre Academy and Xiong

Xuedong, for their wise direction for the

Yuanwei, the professor of Shanghai Theatre

past two Nanluoguxiang Theatre Festivals

Academy attend the opening of the festival.

and the commitment he made on behalf of the District Government. The festival would

I thank Counselor Sebastien.Cavalier

continue to flourish. I would like to thank

and Vice Counselor Fan Xiuying from the

Director Li Chenggang, Vice Director Zeng

Cultural attaché of the French Embassy,

Shan, Section Chief Zhu Haibin for their

and Qin Yaya from the Israel Embassy for

painstaking efforts for the festival; and my

their recommendation and organization of

deep remembrance and thanks to former

excellent plays for this year’s festival.

District Executive Yang Yiwen, former Deputy Executive Mao Guifen, Director of

Finally my heart-felt thanks for artists from

the Cultural Committee Cheng Yongtao,

at home and abroad who take part in the

Vice President of the Dongcheng Literary

festival: Lan Tianye,Tong Daoming, Liu

Federation Wang Yanfen, who initiated

Libin, Zhu Lin, Shi Ke, Wu Qiong, Xiong

the cultural policies to encourage theatre

Yuanwei, Gu Yi’an, Zhao Lixin, Chen

developments. I would also like to thank

Xiaoming, Li Yinan, Fei Ming, Li Sha, Fang

the organizers of the festival—the Penghao

Xu, She Nannan, Hou Ying, Chen Xiaoling,

Team, highly effective team of true pro bono

Wang Xiaofan, Wang Shaojun, Mu De,

spirit, and its two core contributors, artistic

Tong Ning, Ning Chunyan, Feng Ling, Yan

director Liang Dandan and operation director

Yongqi, Mao Ernan, Zhang Ziyi; Philippe

Lai Huihui. They have undertaken incredible

Bizot, Mathias Lafolie, Yao Liqun, Deng

workloads for the event.

Shurong, Li Zongxi, Zhang Jiarong, Feng Leran, Ruth Kanner,Sandra Pena,Olivier

I would like to thank the directors and

Massis,Blancaluz Capella,Raphaël Navarro.

colleagues of the Jiao Daokou Sub-district

It is these artists and their works that made

Office. They are the true instigator for the

the Third Nanluoguxiang Theatre Festival

festival, the ones who have the utmost

truly possible. Everything goes back to the

passion and deepest concern for the

artwork. This year, 23 plays of different

community.

genres and motifs, six play script readings, five performance workshops, five drama

I would like thank Beijing Oriental Culture

literature lectures gather for the festival,

Asset Operation Company for their support

all sharing a same concern: the return to

for the past two festivals, their timely

literature, to aesthetics, to rational thinking,

assistance when Penghao was facing the

to nobleness and warmth. Let us open this

most serious financial trouble. It set a good

fascinating book of artworks, enter the sea of

example for SOE’s sponsorship of the

people, of lives, of drama, of art presented by

cause of non-governmental, non-profit

the Third Nanluoguxiang Theatre Festival.

cultural organizations. Artistic Director Wang Xiang 2012/5/10

190

191

2013 第四届北京南锣鼓巷戏剧节

致辞

在欧美众多国家和地区，观看戏剧演出都是低票

之门，拜金主义和贪欲铺天盖地而来，权钱完美

每年自己亏损七十万元，维持它的运营，创作上

品，顺便邀请我在该剧院看其他剧目演出，我很

ADDRESS:

我们，一起做份民族备忘录——寄语2013第四

价，一般都不会超过普通人月工资的1%。其中

结合，形成既得利益集团改变陷入僵局.

演着大量重文学、重美学、重理性的戏剧艺术作

震惊地发现，这个瑞典最著名的顶尖级剧院，大

Together, Let Us Make a Memo for Our Nation

届“北京·南锣鼓巷戏剧节”

票房与制作成本的差价从何而来？回答都是由国

这是自然界和人类历史人类社会能量守恒的强大

品。存在就是希望，创作就有意义。

部分座椅因使用年代太久，都已非常破旧。

— Speech at the 4th “Beijing·Nanluogu

家政府、地方政府、各种基金会和企业来支持，

反作用力。这种反作用力太重，已经影响到这个

在没有一部正式国家财政立法的情况下，蓬蒿剧

本届戏剧节还有四个讲座，最有意义的应该是日

Lane Theater Festival” in 2013

中国的事情，越好就越难，越真实就越诡异。磕

支持额度一般在30-80%之间。我曾问过丹麦文

民族的基本生存权利。

场，靠着一个区级政府每年讨论一次、极大不确

本最著名的剧院“座·高圆寺”艺术总监佐藤信

磕绊绊地，2013第四届“北京·南锣鼓巷戏剧

化部长，你们对被支持的文艺团体有什么要求？

在一个社会里，每个人、每个阶层都互为资源，

定、朝不保夕的支持，发起并独立承办着“北

的“日本小剧场运动”，看看它能给中国当下的

When doing things in China, one finds

节”，将如期举办。

他回答：有两条，一是看艺术内容，二是看有无

谁也躲不过谁。都必须学会放弃，学会共同面

京·南锣鼓巷戏剧节”。这个戏剧节的创意、策

戏剧发展提供什么样的借鉴；美国具有丰富独立

that the better the cause, the harder it

能预先想象，在今年戏剧节的每一个夜晚、每一

高票价的商业运作嫌疑。这是很多国家，在面对

对。我们是否都到了最后的时刻？

划、执行团队，只有兼职分配时间的三个半人及

文化组织经验的高级学者Todd Lester会给我们

becomes to get things done, and the more

个剧场、每一个剧目开演前和散场后，又能看到

后工业文明弊端和全球商业化大潮时，所能做的

资源枯竭到了最后的时刻、环境污染到了最后的

少量志愿者。每年用着最少的钱，做着从形式到

讲述“艺术在推动公共政策中的角色”；还有前

authentic things are, the more twisted they

的，那一张张充满欣慰和喜悦的脸。期盼了一年

太聪明的事情。

时刻。

内容都能与欧洲国家级戏剧节比美的事情。我们

面提到的瑞典皇家剧院文学总监马格努斯，他发

get. After some bumps in the road, in 2013

的朋友们，我没有辜负你们，蓬蒿剧场的坚强团

反观我们。

文化生态污染、灵魂污染和智能污染是否也到了

是自豪的，也是悲壮的。

给我两个题目，分别是“舞台的奇异现实”和

the 4th “Beijing·Nanluogu Lane Theater

队没有辜负你们。

前些日号称奇迹的“八小时话剧”，内容不够明

最后的时刻？

在这种悲壮与自豪的混合体中，我们肩负着为民

“剧场，是相遇的场所”，问我选择哪一个，我

Festival” will take place on schedule.

39部戏剧、4场讲座、9个工作坊、2个论坛。

星凑，票价超过两千，几乎是年轻人月工资的全

我们有没有能力、有没有智慧超越这最后的难

族抗拒贫乏的使命——从形式到内容。

了解了大概的内容后，回答他两个我都想选。

I can imagine the faces filled with joy and

两个多月时间里，我们又会走进一个人的、艺术

部；受国家巨额财政支持的殿堂级剧院，票价动

关？

“北京·南锣鼓巷戏剧节”已经走过了三届。

还有“文本的背后——场景的超越”、“极致的

content every night, in every theater, before

的、节日的海洋。

辄数百上千，你们是国家公益性文化事业，掠取

我们每个人是否都应该问问自己，我们能做些什

今年是第四届。

单纯”、“时间、空间和身体”、“如何构建讲

and after every show. I can say to all my

我无数次想过，动物是靠什么活着？靠食物、

那么多利润干嘛？

么？我们该做些什么？我们最应该做些什么？

............

故事剧场”等九个工作坊......

friends who have been waiting for a year

靠进攻、靠掠夺、靠残忍冷酷、靠防御、靠自

用反文化的方式作文化，用反艺术的方式作艺

我想说，已经连续举办四届的“北京·南锣

邀请南京大学话剧团的话剧《蒋公的面子》，是

锣鼓巷戏剧节已举办三届，影响力扩展到国内很

that I did not let you down, and Penghao

我保护。

术；应景的宣传的剧目制作，能轻易获得几百万

鼓巷戏剧节戏剧节”，是这种努力的一部

想说明文本对于戏剧的意义。一个戏剧文学系大

多省份，很多征集的原创剧目来自各省市的青年

Theater did not let you down.

人又靠什么活着？靠精神、靠文化、靠认知、靠

上千万的巨额支持，观众不够就再出钱租车拉人

分。………..

三的学生，只因遵循了规律，作品引起轰动、

戏剧人，但资金有限实在无法满足更多人参与，

With 39 plays, 4 lectures, 9 workshops

温暖、靠奉献、靠最好的可能性、靠对更高级更

来填充；创作原动力不是发自内心、不去关乎世

中国的老话：扬善抑恶。

受到追捧，这本身就说明，有太多的人不遵循规

便想到举办一个全国十省市民间戏剧发展论坛，

and 2 forums, in two months, we will again

艺术生活的期盼。

道人心、不去费力费心，而是堕落为低劣和谄

恶：是贪婪，是掠夺，是谎言，是伪善，是人的

律，我们的戏剧生态有多么不正常。

请当地的戏剧人一起来谈谈自己各自的情况、焦

encounter a sea of individuals, art and

像婴儿一出生，就要受到父母的情感哺育；儿

媚；文化也要当工程来做，文化产业扶持一片乱

心灵匮乏、简陋、低劣。

重视文学关怀、重视美学关怀、重视理性关怀，

虑、困扰和期待，相信这是一次很有意义的聚

plays.

童一入校，就要接受知识、技能教育；一个人

象，有多少是为了艺术，又有多少是为了圈钱？

善：是创造，是奉献，是真诚，是认知，是艺

是蓬蒿剧场和南锣鼓巷戏剧节一以贯之的主题。

会，更是一次民族文化自我解剖和充满困扰又可

I have thought on countless occasions,

的一生，还要持续接受什么教育？是美学教

真正心怀戏剧理想、刚刚兴起的一些民间剧团和

术，是人的心灵丰富、高贵。

原本用不着刻意强调，但在这个喧嚣浮躁的社会

歌可泣的生命记录。

what do animals depend on to survive?

育、存在性认知教育、对更高级事物和价值的

剧场，被耻辱的统一定义为工商营利性组织，身

解决社会的公正问题，靠法律，靠制度；解决人

里，人们太缺少这些东西。所以本届戏剧节再次

……

They depend on food, attack, plunder,

爱的教育。这些都要在戏剧、文学和其他艺术

份尴尬，生存步履艰难；

内心的公正问题，靠心灵丰富之后的存在性认

邀请了童道明先生的两部作品：《塞纳河少女的

最后，我还是想解释一下序言一开头所写的“真

ruthlessness, defense, and self-protection.

形式中持续获得。

把一切艺术和文化都扩展成产业，都用来增长

知，和对自己、对他人、对生命、对社会超越性

面模》和《蓦然回首》，我们一同去走进冯至和

实的诡异”，关于本次戏剧节，是如何向愚昧做

What do human beings depend on to

十多年前，我以医生的身份访问美国，惊奇地发

GDP，这么做，到底想要干什么？

的爱。

季羡林美到极致的内心世界，去感受巴金和曹

了妥协才得以延续的，但又还是无法把话说透，

survive? They depend on spirit, culture,

现，在他们的医科大学和理工科大学中，都普遍

官员处理危机弱智化，企业家唯利是图弱智化，

不要以为艺术和戏剧只是精神上的事情，它们也

禺、托尔斯泰和耶稣对话中的人类终极困惑。

要保护朋友，保护美好的朋友们，无论他们身处

cognition, warmth, devotion, the best

设有文学和戏剧选修课；去年，我以蓬蒿剧场和

媒体伪善弱智化，普通人物质娱乐弱智化，连艺

是物质上的事情。心灵上的每一分喜悦和压抑，

如果说，二度梅得主曾静萍的梨园戏《董生与李

什么位置。今后我会把这段经历写在戏里面，告

possibilities, and the desire of a better life

南锣鼓巷戏剧节艺术总监的身份，参加丹麦“哥

术家也崇尚拜金迎合低俗弱智化。

都会通过人体植物神经系统，通过可测量的介

氏》，是我看过的最美的传统戏曲。那么，同样

诉更多人在一个弱智时代到底能发生什么，用艺

filled with art.

本哈根戏剧节”，更惊奇地发现，在全部20个

我们会恐惧楼市崩盘、股市崩盘、CPI持续上

质、激素，去支配和影响你的睡眠、食欲、性

是二度梅得主田曼莎的实验川剧《情探》，则用

术的形式带给更多人反思和精神享受。

As soon as babies are born, they will

展演剧目中，有4部戏是专门为半岁到四岁的儿

涨、PM2.5指数和地下水污染指数持续上涨，

欲、免疫和健康。

中国戏曲的传统美，连着对当下对文革的思考，

最后的最后，我还想说：对戏剧、对文化、对民

receive the nurture from their parents;

童制作演出的。你们说，这样的国家和民族，从

但是否想过，我们更恐惧什么？

也不要以为艺术和戏剧只解决审美问题，它更

一起把人的生命美推向了极致。

族、对未来，我们有信心吗？

as soon as children go to school, they

人的心灵、智能，到整体的科技、经济、文化软

我们更恐惧更担忧中华民族的灵魂，被物质、被

是对邪恶的评议。你能设想一个艺术家对邪恶

今年已是连续三届邀请以色列的剧目，前两届是

有，就一起努力；没有，也要一起努力，尽量留

will gain knowledge and learn skills;

实力、核心竞争力，能不强大吗？

娱乐、被贪婪、被伪善所淹没，会演变成一个没

不敏感，而能创造出美的作品？你也不能设

《迁徙的动物》和《在海边》，本届是《大嘴+

下一些创作，尽量留下一些内容，尽量留下一些

throughout one’s life, what form of

纽约百老汇、外百老汇、外外百老汇有一千多个

有道德标准、没有艺术追求、没有理性思考、没

想，任何一个人，不管他是谁？工人、农民、

协方差》，在我感觉中都是舞台作品中的另一种

思考，尽量留下一些真实、尽量留下一些温暖，

continued education does one need? It is

小剧场，巴黎、柏林、伦敦也都有数百到上千个

有深层创造能力的弱智民族。

商人、官员，只要真正感受过最幸福的艺术体

极至。我一直奇怪，以色列这么小的一个国家，

尽量留下一些灵动。

the education of aesthetics, cognition, the

小剧场。

我们甚至恐惧，长此以往，这个民族，会在种族

验时刻，还会再那么轻易的，向周围以及自己

为什么会拥有那么强大的科技实力和国力？为邀

我们一起，给未来、给民族，做一份备忘录。

love for better things and higher values. And

而在GDP已占全球第二的中国，正式注册的民

的生物学遗传学层面，发生不可逆的弱智退化。

心中的邪恶低头？

演上述剧目，去了两次特拉维夫戏剧节，也就找

one can only acquire such knowledge from

间独立剧场数，北京不足10个，上海1个，其他

人无远虑，必有近忧。我们的远虑是什么？近忧

更不要以为，每一个人感受艺术的权利和能力，

到了一些答案。他们的剧目，百分之六十以上都

drama, literature and other forms of art.

所有省会城市加起来是0。

又是什么？

是自己个人的事情。一个民族的真正强大，怎么

是在不停地反思、反思，同时又是那样充满对生

上个世纪在欧洲、北美兴起的小剧场运动传到中

一个持续五千年农业文明辉煌的民族。受西方工

可能仅仅是动物般的过上温饱日子，怎么可能仅

命的情感。

国，很快失去了它的反商业性质。先锋戏剧反传

商文明的挤压，被耻辱、被变形。连抗拒压迫的

仅是虚构的GDP数字，怎么可能仅仅是自我吹

统、反主流、反权威的风格也荡然无存。而这些

努力也会扭曲变形，为消除一个代价会付出更

原本都是一个民族最值得骄傲、最有活力、最能

When I visited the United States as a doctor 艺术总监

10 years ago, I was surprised to find that

瑞典的两部戏《朱丽小姐》和《C》，前者以一

王翔

selective courses on literature and drama

嘘的国家自信？一个民族的真正复兴和强大，是

个人的视觉及多媒体手段重新演绎斯特林堡的经

2013.05.04

were offered in most medical schools and

大的代价。举国体制解决了人的基本物质温饱权

这个民族的每一个人，都真正拥有做人的权利，

典名著；后者也是独角戏，一个人演绎现代生活

发现问题促进社会良性发展的部分。

利，但极大压抑人的个性和创造力。文化大革命

拥有感受和获得更高级生活的权利，是这个民族

中无比丰富的元素，舞美极简几乎是零。由此想

震撼心灵的戏剧高峰体验只能在外国移植剧目

收缴人的灵魂，导致长达十二年之久的全民族教

的每一个人，都拥有更多的智力、智慧、灵性、

到北欧那么富足的国家，在戏剧演绎中极其简朴

Theater Festival” last year as the artistic

中获得；民族的当下的优秀原创剧目乏陈，被

育断层、传统断层。78年改革开放，极大释放

个性、创造性、丰富性、高贵性和艺术性。

的制作方式以及他们整个生活中的环保理念，重

director of Penghao Theater and Nanluogu

低劣被口水被喧闹淹没，在宣传在拜金面前双

经济物质能量，但在没有完善推进政治体制改

蓬蒿剧场，作为中国正式注册存在的第一个民间

内容不重形式。去年十一月我去“斯德哥尔摩戏

Lane Theater Festival, I was even more

重失魂。

革、民族灵魂没有复苏之前，打开物质本能欲望

独立剧场，在极其恶劣的外部环境下，五年来，

剧节”邀演这两部戏，《C》是瑞典皇家剧院出

surprised to find that among all 20 plays, 4

192

science and engineering schools; when I 本文部分章节引自王翔《我的民族备忘录》

attended the “Copenhagen International

193

were dedicated to children aged from 0.5

support from the government usually cost

education and traditions. The reform and

worker, a farmer, a merchant or an official,

Penghao Theater and “Beijing·Nanluogu

the lecture on “Japanese Experimental

to 4 years old. How can a nation like this

over 1000 yuan. If they are national non-

opening-up in 1978 unleashed massive

having had the most enchanting artistic

Lane Theater Festival”. We shouldn’t

Theater Movement” delivered by artistic

not be powerful in terms of the spirit and

profit public welfare causes, why do they

economic potentials; however, opening the

experience, would easily give up to the evil

have to accentuate this but in such a chaotic

director of ZA-KOENJI Public Theater-

intellect of its citizens, technological and

need to make so much profit?

door of material desires without promoting

in his own heart or in his surroundings?

and restless society people lack such

Makoto Sato, and we will see what kind of

economic development, soft power and

Theatrical works with much publicity can

political reform and resurrecting the national

Do not consider either that one’s right

focuses. Therefore we re-invited two works

reference it will offer to China’s theater;

core competency?

easily obtain massive financial support

soul also brought about a blizzard of

to and one’s capability to appreciate art

of Mr. Tong Daoming: Head Sculpture of

Todd Lester, an American senior scholar

New York Broadway, Off-Broadway, Off-

worth several million or even more, and

materialism and lust. Power and money

concerns only oneself. The real power of

A Girl of Seine River and Looking Back All

with rich experience in independent

Off-Broadway constitutes more than 1000

when attendance is not high enough they

coalesced and vested interest were formed,

a nation could never be reflected in the

At Once for us to walk into the magnificent

cultural organizations, will give us a lecture

experimental theaters; the number stands

would rent cars to drag audiences; the

thus making a reform impossible.

provision of sufficient food and clothes to

inner world of Feng Zhi and Ji Xianlin and

on “the Role of Art in Promoting Public

at around 1000 in Paris, Berlin and London.

entire cultural industry is in a chaos, and I

This represents the counterforce in the law

meet the basic animal instincts, a fictitious

to perceive the ultimate puzzle of human

Policy”; Magnus, the literary director of

In contrast, in China, a country with the

wonder how many people are working for

of conservation of energy within the human

GDP number, or the self-claimed national

beings from the conversations between Ba

the previously mentioned Royal Dramatic

world’s second largest GDP, there are

art and how many people are working just

history and society. This counterforce is so

confidence. A truly powerful nation would be

Jin and Cao Yu, Tolstoy and Jesus.

Theater of Sweden has sent me two topics

less than 10 registered independent folk

to amass wealth?

great that it has already begun to affect the

able to endow its every citizen with the right

Let’s say that Mr. Dong and Mrs. Li, the

and asked me which one I want, and they

theaters in Beijing, 1 in Shanghai, and 0 in

Those newly established folk theaters and

basic right to survival of the nation.

to live like human beings and the right to

Liyuan Opera of the two-time winner of

are “the Surreal Reality of Stage” and

all provincial capitals.

groups, cherishing a dream of art, were

Within a society, every individual and every

experience and gain access to better lives;

the plum blossom Award, Zeng Jingping, is

“Theater, A Place to Meet”. After knowing

After being introduced to China from Europe

defined as commercial organizations and

social class are interconnected, therefore

it would instill into its citizens intelligence,

the best traditional opera I have ever seen.

the gist of the two topics, I told him I want

and North America where it boomed in the

are currently in a difficulty condition;

we all should learn to let go and to face

wisdom, spirit, character, creativity, diversity,

Then Love Detective, the Experimental

both.

last century, experimental theater movement

We are expanding every form of art and

everything together. Are we all at our final

nobleness and artistic ability.

Sichuan Opera of the two-time winner of the

There will be 9 workshops, including

soon lost its anti-commercial nature. And

culture into an industry for the sake of GDP

moment?

As the first registered non-governmental

plum blossom Award, Tian Mansha, have

“Behind the Scripts- Transcending the

nothing remained of the anti-tradition, anti-

growth. What do we want exactly by doing

We are at our final moment in regard to

independent experimental theater in China,

combined the beauty of Chinese traditional

Scenes”, “The Ultimate Simplicity”,

mainstream and anti-authority character

this？

resource depletion and environmental

Penghao Theater has operated for 5 years

opera with thoughts on the Cultural

“Time, Space and the Body”, “How to

of the avant-garde theater. These assets

Government officials deal with crisis

pollution.

despite horrible external environment and

Revolution and expressed the beauty of the

Build a Story-telling Theater” and so on.

should have been the pride of a nation

moronically, entrepreneurs pursue profits

Are we at our final moment in terms of

an annual deficit of 700,000 RMB, creating

human life to the extreme.

Luogu Lane Theater Festival has been held

through which we detect the problems in our

fanatically, the media acts hypocritically,

cultural, spiritual and intellectual pollution?

and staging a great number of theatrical

We have invited Israeli dramas for three

three times and its impact has expanded

society and thus making our society a better

average people turns to moronic

Do we have the capability and wisdom to

works with a focus on literature, aesthetics

consecutive years: in the first two festivals

to many provinces in China. Many of the

place.

entertainment, and even artists worship

overcome this final obstacle?

and rationality. Our existence is a hope, and

we have invited Migrating Animals and

original works we invited come from young

One could only acquire the soul-piercing

money and caters for moronic and vulgar

We should all ask ourselves: “what we can

it gives meaning to our creation.

By the Seaside, and this year Big Mouth

artists from different provinces, however,

peak experience of experimental theater

interests.

do? What should we do? What should be

With no official national financial legislation,

+ Covariance. In my opinion, these

due to budget limits we could not invite

from foreign theatrical works; with a lack

We fear the collapse of the property market,

our priority?”

Penghao Theater has initiated and held

performances are all on the other extreme of

more. And that is why we plan to hold a

of original works at the moment, theatre

the stock market, the rise of the CPI, PM

I want to say here that the “Beijing·Nanluogu

independently the “Beijing·Nanluogu

dramas. I have always wondered: how can

nationwide Folk Theater Development

production is lost in not only mediocrity,

2.5 index and groundwater pollution index,

Lane Theater Festival” which has been held

Lane Theater Festival”, depending on the

a country as small as Israel demonstrate

Forum that includes 10 provinces and

pettiness and chaos but also publicity and

but have we considered what could be our

for four consecutive years is a part of such an

annually-set, precarious and insufficient

such great technological prowess and

cities and invite local artists to discuss their

money-worship.

bigger fear?

effort…

financial support from the local district-

national strength? I found some answers

circumstances, concerns, troubles and

In many Western countries and regions,

We fear even more that the soul of our

An ancient Chinese saying goes, “to praise

level government. Creating ideas, planning

when I went to the Tel Aviv Theater Festival

expectations. I believe this would be a very

theaters charge a low fee that usually

nation would be drowned by materialism,

virtue and to punish vice”.

and execution of the festival all fall upon

twice to invite the above-mentioned shows.

meaningful gathering, a reflection upon

would be no more than 1% of the wages

entertainment, avarice and hypocrisy and

Vice includes avarice, plunder, lies,

the shoulders of three and a half part-

Over 60% of all their shows were filled with

our national culture, and a recording of our

of an average citizen. Then how is the

that our nation would become a moronic

hypocrisy, emptiness of heart, grossness

time workers and a few volunteers. With

reflection and introspection, as well as

perplexity and our heroic cause.

gap between the box office returns and

nation without moral values, artistic desire,

and vulgarity.

minimum budget, every year we create

various emotions dedicated to life.

…

production cost filled? The answer lies in

rational thinking or creativity.

Virtue includes creation, devotion, sincerity,

a theater festival that is the equivalent,

There are two Swedish dramas: Miss

At last, I still would like to explain the

the support from the national and local

We even fear that, in the long term, our

cognition, art, the fullness and nobleness of

in terms of form and content, to many

Julie and C. The former re-interprets the

“authentic strangeness” I wrote in

government, various foundations and

nation would experience irreversible mental

heart.

European national theater festivals. We are

classic of August Strindberg from a single

the preface, and how we had to reach a

enterprises, which would cover 30% to 80%

deterioration in a biological and genetical

To preserve justice within a society, it takes

proud but sad.

person’s perspective with visual and media

compromise with the fools to finally hold

of the gap. I have asked the Danish Minister

sense.

laws and regulation; to preserve justice

With a mixture of pride and sadness, we

effects; the latter is also a monodrama in

this theater festival. However, I still cannot

of Culture: “What are the criteria when you

An old Chinese saying goes, “He who

within the heart of individuals, it takes

take up the mission to combat such a

which a single person displays various

get all my idea through as I need to protect

choose the art group you support?” And

has no anxious thoughts for the future will

cognition of one’s existence with a fulfilled

deficiency- in terms of both format and

factors in modern life, with almost zero

my friends, my wonderful friends, no matter

he answered: “There are two criteria, first

find trouble right at hand.” So what is out

heart, and a transcendent love for oneself,

content.

choreography and stage effects. This is the

what positions they are in. In the future I will

is the content and second is whether the art

anxiety for the future and what is our trouble

others, life and society.

There had been three “Beijing·Nanluogu

reflection of the simple drama production

incorporate this experience into my drama

group wants commercial gain by charging

at hand?

Do not consider art and drama to be only

Lane Theater Festival” before.

and their environmental-friendly way of life

to tell more people what could happen in a

a high price.” Faced with the drawbacks

Chinese agricultural civilization which

spiritual, they are also material. Every

This year, we have the fourth.

in many wealthy North-European countries,

moronic age and bring to more people self-

of post-industrialization civilization and the

lasted for over 5000 years was crushed,

joy and depression will affect your sleep,

We have invited Nanking University Drama

where content always take precedence over

reflection and spiritual enjoyment.

wave of global commercialization, this is a

misshaped and humiliated by Western

appetite, libido, immune system and health

Troupe to perform The Face of Chiang Kai-

form. I attended the “Stockholm Theater

And finally, I want to ask: do we still have

brilliant lesson that many countries could

industrial civilization. Even efforts to rebel

through the autonomic nervous system

shek to show what scripts mean to drama.

Festival” last November to invite these two

faith in theater, in culture, in nation and in

learn from.

were twisted and misshaped, and in order

and various measurable transmitters and

The fact that a work of a junior student in the

shows and since C is the production of the

the future?

Let us take a look at ourselves.

to resolve one difficulty, the Chinese people

hormones.

Department of Drama and Literature caused

Royal Dramatic Theater of Sweden, I was

If we do, then let us work hard; if we do

Recently seen as a “miracle”, the “eight-

had to go through even more difficulties.

Do not consider art and drama only as

a sensation simply because he followed the

invited to watch some performances in the

not, then let us work even harder, and

hour-play” makes up what it lacks in

The whole-nation system offered people

solutions to aesthetic problems, they are

rules shows us how normal it is for people

theater. Much to my surprise, I found that

try our best to leave on this world some

content with famous stars and a single play

basic subsistence but at the same time

also critiques of evils. Can you imagine an

to ignore the rules and how abnormal our

most of the seats in this first-class theater

creation, some content, some thoughts,

costs over 2000 yuan, almost as much as

suppressed individuality and creativity. The

artist who is insensitive to evil and yet he or

current theatrical production is.

were worn-out after so many years in use.

some authenticity, some warmth and some

the entire monthly salary of a young worker;

Cultural Revolution deprived people of their

she can create something beautiful? Can

A focus on literature, aesthetics and

There also will be 4 lectures in this festival

inspiration.

the grand theaters receiving large fiscal

souls and resulted in a fracture in national

you imagine a person, whatever his title, a

rationality has always been the theme of the

and the most meaningful one would be

Let us, together, make a memo for the future and for our nation. Artistic Director Wang Xiang 4th May, 2013

194

195

工作团队

演出及工作坊列表／Ｐｅｒｆｏｒｍａｎｃｅａｎｄ

Management Company.

艺术总监：王翔策划/制作：赖慧慧创意：梁丹丹营销推广：张子一组织协调：陈欣宣传：周丝思舞台技术：陈尔东、王鹏、李波票务统筹：雷玲、郑洁视觉设计：Christine Wu 书册及产品设计：王江翻译：李实、潘旺、Jennifer、赏一卿、刘超校对：Leon White\唐娟志愿者团队：张仲妹、梁靓、张威、焦烨、夏鑫晟、钟雅婷、于音特别鸣谢：宁夏话剧团

Planning and Organizing Team Artistic Director: Wang Xiang Curator and Producer: Lai Huihui Creation: Liang Dandan Marketing Manager: April Zhang Coordinator: Chen Xin Communication: Zhou Sisi Visual Designer：Christine Wu Booklet Designer: Wang Jiang Ticket: Lei Ning Stage Manger: Chen Erdong\Wang Peng\Li Bo Huang Shilin Translator: Li Shi\Pan Wang\Jennifer\Shang Yiqing\Liu Chao Proof: Leo White, Tang Juan Volunteers group: Zhang Zhongmei\Liang liang\Zhang Wei\Jiao Ye\Xia Xingsheng\ Zhong Yating

The part of this address comes from an article My Memo for Our Nation by Wang Xiang

subtitle

Playwright/Director: Liu Meiyu The Owl Troupe Production

2013/5/3-12 18:30-22:30

2013/5/29

Director: Sun Zhaoyong, Li Bin

2013/6/17-18 19:30

多媒体互动装置《站立的人》

话剧《格桑花》

China University of Petroleum (Beijing

肢体剧《地下室》

2013/6/21-23 19:30

Play：The Standing Men

Play：Flower of Happiness

Campus)Production

Play：The Basement

话剧《曾经3》

蓬蒿露台

东方剧院

2013/6/4-6 19:30

蓬蒿剧场

Play：Once 3 — The Good Life

Penghao Theatre(Out-of-doors)

Oriental Theatre

Penghao Theatre

东宫影剧院

设计/表达：皮埃尔·阿姆德鲁兹、瓦朗丁·杜

编剧：粱秉堃

话剧《果汁》

编剧：陈媛

Oriental Palace Theatre

利夫，维克多·鲁

导演：吴晓江

Play:The Bloody Juice

导演：陶柏凯

编剧：谢霞

制作：AADN

演出单位：中华全国总工会文工团

北京人艺实验剧场

桑丘工作坊出品

导演：于少虎

Conception/Interpretation: Pierre Amoudruz,

Playwright: Liang Bingkun

Beijing People’s Art Theatre

Playwright: Chen Yuan

北京曾经戏剧工作坊出品

Valentin Durif, Victor Roux

Director:Wu Xiaojiang

原著：凑佳苗（日本）

Director: Tao Bokai

Playwright: Xie Xia

Production: AADN

Performer: art troupe of workercn

改编/导演：颜永祺

Sangqiu Studio Production

Director:Yu Shaohu Beijing Cengjing (Once) Drama Workshop

Free Box戏剧工作室出品

Production

2013/5/18-20 19:30

2013/5/31-6/1

Director/Rewriter: Deric Gan

2013/6/17-18 19:30

舞蹈剧场《Dictee》（听写练习）

多媒体及跨文化-舞蹈-音乐《变奏•城市》

Free box Theatre Studio Production

独角戏《电梯的钥匙》

Play：Dictee (Practice)

Play：Urban distortions

Play：The Key to the Elevator

2013/6/21,23 19:30

蓬蒿剧场

演出：t.r.a.n.s.i.t.s.c.a.p.e舞蹈团

2013/6/5-7 19:30

蓬蒿剧场

话剧《孤单先生》

Penghao Theatre

协办方：法国驻华大使馆

话剧《面包屑》

Penghao Theatre

Play：Mr. Lonely

导演・编舞・表演：山田云

支持：比利时驻华大使馆瓦隆 - 布鲁塞尔代表

Play: Crust

编剧：雅歌塔·克里斯托弗（匈牙利）

风尚剧场

主办（共同主办）：日本国际交流基金会北京日

团

东宫影剧院

导演：黄雪蓓

Fashion Theatre

本文化中心

Support : Wallonia-Brussels International &

Oriental Palace Theatre

雪蓓戏剧工作室出品

编导：付忠良

Director/Choreographer/Performer:

Wallonia-Brussels Delegation in Beijing

编剧：拉薇达.德瓦拉(以色列)

Playwright: Ágota Kristóf (Hungarian)

演出单位：长沙靠谱儿戏剧工作坊

Yamada Un

Partner :Henderson Shopping Centre

导演：吴朱红

Director: Huang Xuebei

Playwright/Director: Fu Zhongliang

北京市东城区吴朱红戏剧工作室出品

Xuebei Drama Workshop Production

Changsha Kaopuer Drama Workshop

Co-organizer: The Japan Foundation， Beijing

2013/5/31-6/2 19:30

Playwright:Ravid Davara

梦幻剧《蓦然回首》

Director: Wu Zhuhong

2013/6/18-19 19:30

2013/6/26-28 19:30

2013/5/20 19:30

Play：Looking back suddenly

Wu Zhuhong Theatre Studio Production

话剧《好听的都是伤心的歌》

独角戏《C》

话剧《解药》原创

蓬蒿剧场

Play：Good Words, Heartbroken Songs

Play：C

Play：Antidote

Penghao Theatre

2013/6/8 20：00

风尚剧场

蓬蒿剧场

北京人艺实验剧场

编剧：童道明

6/9 15：00

Fashion Theatre

Penghao Theatre

Beijing People’s Art Theatre

导演：任明炀

实验音乐表演《献给微小的灵》

编剧：方方

编剧/演出：Hamadi Khemiri

编剧：吴彤

蓬蒿剧场出品

Play: For The Small Ones

导演：江兆旻

瑞典皇家剧院出品

导演：丛林

Playwright: Tong Daoming

蓬蒿剧场

武汉光谷客17排剧院出品

A monologue by and with Hamadi Khemiri

Playwright: Wu Tong

Director: Ren Mingyoung

Penghao Theatre

Playwright: Fang Fang

The Royal Dramatic Theatre Production

Director: Cong Lin

Penghao Theatre Production

演出：三月乐团·SANGATSU

Director: Jiang Zhaomin

主办（共同主办）：日本国际交流基金会北京日

Wuhan Seventeen-ggk Theatre Production

2013/5/21-22 19:30

2013/5/31 19:30

本文化中心

喜剧《蒋公的面子》

《唐风宋韵——梨园戏传统折子戏专场》

Performer: Sangatsu

2013/6/19-20 19:30

Play：No. 7 Nanluoguxiang

Play：Comedy The Invitation of Chiang Kai-

Selected Scenes from traditional Liyuan

Co-organizer: The Japan Foundation，

话剧《只有一个》

东宫影剧院隆福剧场

shek

Opera: Grace of Tang and Song Dynasties

Beijing

Play：Only One

Oriental Palace Theatre

东宫影剧院

风尚剧场

蓬蒿剧场

演出机构：典雅天地戏剧工作室

Oriental Palace Theatre

Fashion Theatre

2013/6/8-10 19:30

Penghao Theatre

Dianyatiandi Theatre Studio

编剧：温方伊

演出及创作团体：福建省梨园戏实验剧团

文学剧《塞纳河少女的面模》

编导：陈丹路

导演：吕效平

Performed and created by Fujian Liyuan

Play: The Facial Mould of a Maid by the

演出单位：“橘色之予”剧社

2013/6/29 14:00, 6/30 19:30

南京大学艺术硕士剧团演出

Opera Experimental Company

Seine

Playwright/Director: Chen Danlu

话剧《以2的名义》

北京人艺实验剧场

The Gift of Orange Production

Play：In the Name of 2

Playwright: Wen Fangyi

2013/6/26-30 19:30 话剧《南锣鼓巷7号》

风尚剧场

2013/6/2 19:30

Beijing People’s Art Theatre

Master of Fine Arts Troupe of Nanjing

戏曲新编梨园戏《董生与李氏》

编

剧：童道明

2013/6/21-22 19：30

Fashion Theatre

University

编剧：王仁杰

导

演：张子一

独角戏《疯女人的演说》

编剧：李娜

导演：卢昂

蓬蒿剧场出品

Play: Mad Woman’s Speech

导演：孟康

2013/5/22-26 19:30

福建省梨园戏实验剧团出品

Playwright: Tong Daoming

蓬蒿剧场

演出单位：贰月剧乐部（非职剧社）

话剧《隆福寺》

风尚剧场Fashion Theatre

Director: Zhang Ziyi

Penghao Theatre

Playwright: Li Na

Play：Longfu Temple

Play：Dong and Li

Penghao Theatre Production

编导：刘红卿

Director: Meng Kang

东方剧院

Playwright: Wang Renjie

黄金球剧社出品

Febrero studio Production

Oriental Theatre

Director: Lu Ang

2013/6/13-15 19:30

Playwright/Director: Liu Hongqing

编剧：王雨哲

Fujian Liyuan Opera Experimental Company

话剧《谁杀了大象》

Golden Ball Theatre Production

导演：林兆华

production

Play: Who Killed the Elephant

出品：北京东方文化资产经营公司

2013/6/4-5 19:30

蓬蒿剧场

2013/6/21-22 19:30

Life on a String Premiere

Penghao Theatre

话剧《在看见之前》

蓬蒿剧场

Director:

Lv Xiaoping

北京东方国际戏剧产业基金管理有限公司

196

蓬蒿剧场Penghao Theatre Playwright: Sun Zhaoyong

Workshop Program

2013/7/2-3 19：30 话剧《命若琴弦》

Playwright: Wang Yuzhe

话剧《望北京》

编导：冯程程

Play：Before I Can See

Penghao Theatre

Director: Lin Zhaohua

编

剧：孙兆勇

制作：前进进戏剧工作坊

蓬蒿剧场

原著：史铁生

Production: Beijing Lin Zhaohua Drama

导

演：孙兆勇、李滨

Playwright and Director: Vee Leong

Penghao Theatre

改编：李津红

Studio,

中国石油大学（北京）团委出品

On & On Theatre Workshop Production

编导：刘美钰

导演：王蝉

Beijing Dongfang Daopu Culture Capital

Play:To Beijing

Performing in Cantonese,with Chinese

猫头鹰剧团出品

中央人民广播电台青年话剧社出品

197

Original author: Shi Tiesheng

导演：明戏坊集体创作

Traditional Opera School attached to

Time: 28 MAY 14:00-17:00

7. 《站》-时间、空间和身体

Rewriter: Li Jinhong

明戏坊戏剧工作室出品

Shanghai Academy of Drama

Venue: Penghao Theatre

日本

Director: Wang Chan

Adaptor: Fang Xu

主持：T.r.a.n.s.i.t.s.c.a.p.e舞蹈团

6月17-20日

The Youth Drama Club of The Central

Director: Collective Creation of Mingxifang

2013/7/18-20 19:30

Conductor: T.r.a.n.s.i.t.s.c.a.p.e dance

风尚剧场

People’s Broadcasting Station Production

Theatre Studio

多媒体独角戏《朱丽小姐》

company

Standing -Time, Space and Body—Makoto

Ming Theatre Studio Production

Play: Miss Julie

2013/7/5-6 19:30

Sato Workshop

蓬蒿剧场

3.网络话语与现实

德国

17-20 June

舞蹈剧场《大嘴+协方差》

2013/7/9-11 19:30

Penghao Theatre

5月13日、5月16日，18:30-21:00；6月1日、

Fashion Theatre

Play：Big Mouth+ Covariance

诗歌剧场《写诗》

改编/导演/主演：安娜·皮特森

6月2日，14:00 ；6月8日、6月9日 14:00；6

主持：佐藤信

东宫影剧院

Play:Writing Poems

Adaptor/Director/Performer：Anna

月21日-25日；6月29日19:30

Conductor：Makoto Sato

Oriental Palace Theatre

蓬蒿剧场

Pettersson

中央戏剧学院/风尚剧场/蓬蒿剧场

《大嘴》

Penghao Theatre

Online Discourse Reality

8. “极致的单纯”——爱德华邦德的戏剧及21

创作演出：尼伍·申费德、奥仁·拉奥尔、科

编剧：孙晓星

2013/7/20-21 19:30

May 13th, 16th 18:30-21:00;June 1st, 2nd

世纪的戏剧

仁·乐维

导演：蔡艺芸

实验川剧《情叹》

;June 8th, 9th;June 21st -25 th ;June 29th

6月5-9日

Big Mouth

聆舞剧团出品

Play：Sighing

19:30

风尚剧场

Created and performed by: Niv Sheinfeld,

Playwright: Sun Xiaoxing

国话先锋剧场

The Central Academy of Drama/ Fashion

Radically Innocent-The plays of Edward

Oren Laor, Keren Levi

Director: Cai Yiyun

Beijing National Pioneer Theatre

Theatre/ Penghao Theatre

Bond and Theatre for the 21st Century:

《协方差》

Linc2 Theatre Company Production

编剧：喻荣军

北京德国文化中心·歌德学院（中国）的支持

5-9 June

导演：田蔓莎

This project is realized with the support of

Fashion Theatre

编舞：尼伍·申费德导演：奥仁·拉奥尔

2013/7/13-15 19:30

柏林世界文化中心委约作品

Goethe-Institut China

主持：克里斯·库佩

Covariance

诗歌剧场《日常_非常日常》

Playwright: Yu Rongjun

主持：凯·图赫曼

Speaker：Chris Cooper

Choreography: Niv Sheinfeld

Play: Daily_Unusual Everyday

Director: Tian Mansha

Conductor： Kai Tuchmann

Director: Oren Laor

蓬蒿剧场

Haus der Kulturen der Welt (Berlin) Festival

Performers: Niv Sheinfeld and Sivan

Penghao Theatre

Commissioned works

Gutholtz

文本：蓝蓝

9. 文本的背后，场景的超越--戏剧实验工作坊 4．“当下”的肢体语言表达

7月19日-30日

瑞典

风尚剧场/蓬蒿剧场

导演\舞台本：孙晓星

2013/7/26，28 19:30

7月19-21日

Beneath the text, beyond the scenes-

2013/7/5-7 19：30

蓬蒿剧场出品

2013/7/27

蓬蒿剧场

Exclusive exploration workshop

肢体剧《战》

Text: Lanlan

实验表演《我可怜的马拉特》

The actor in the moment of physical

19–30 July

Play：Fight

Director\ Stage play: Sun Xiaoxing

Play：My Poor Marat

expression

Fashion Theatre/Penghao Theatre

蓬蒿剧场

Panghao Theatre Production

蓬蒿剧场

July 19-21，4 hours each

主持：马福力

Penghao Theatre

Penghao Theartre

Speaker: Mathias Lafolie

Penghao Theatre

14:30

编导：符宏征

2013/7/16-18 19:30

编剧：阿尔布佐夫（俄国）

主持：安娜·皮特森

台湾动见体剧团出品

话剧《灵魂厨房》

导演：梁丹丹

Conductor：Anna Pettersson

文化部、台北市文化局、中国国际商业银行文教

Play: Soul Kitchen

蓬蒿剧场出品

基金会、兆丰国际商业银行、Adidas支持

国话先锋剧场

Playwright: Aleksei Arbuzov

5.如何构建“讲故事剧场”

1.前进进的艺术取向与新文本运动（陈炳钊、冯

Playwright/Director: Fu Hong-Zheng

Beijing Pioneer Theatre of NTC

Director: Liang Dandan

以色列

程程 / Chen Bingzhao, Vee Leong）

M.O.V.E. Theatre Production

编剧：费明

Penghao Theatre Production

6月26日—7月6日

6月15日 14:00

Ministry of Culture、Department of Taipei

导演：王晓凡

风尚剧场/蓬蒿剧场

The Artistic Orientation of On&On and the

Cultural Affairs、International Commercial

蓬蒿剧场出品

工作坊/Workshop

How to construct a Story-Telling Theater

New Text Movement

Bank of China Cultural and Educational

Playwright: Fei Ming

1.给互动装置艺术《站立的人》注入生命

Jun 26 – July 6

15 une 14:00 Penghao Theatre

Foundation、Mega International

Director: Wang Xiaofan

法国

Fashion Theatre/Penghao Theatre

Commercial Bank、Adidas Supported

Panghao Theatre Production

5月8日 14:00-17:00/ 5月9日 10：00-13：

创意：露丝·坎纳

2.瑞典皇家剧院新文本计划+剧场——一个相遇

00-14：00-17：00

指导：露丝·坎纳、任明炀

的地方（麦格努斯·费洛林

讲座/lecture：

蓬蒿剧场

2013/7/5-7 19:30

2013/7/17-18 19:30

蓬蒿剧场

Concept by Ruth Kanner

/Magnus Florin）

舞蹈剧场《阿O一家》

小剧场实验京剧《杀子》

light and sound design suing The Standing

Conducted by Ruth Kanner and Ren Ming

6月29日 14:00 蓬蒿剧场

Play：The Family of O

Play：Killing the Son

Men installation as the medium

Young

The strange realities of the stage + theatre

风尚剧场

Time: 8. MAY. 14:00-17:00 9. MAY 10：

后山艺术空间

Fashion Theatre

00-13：00-14：00-17：00

6. 气和意念在表演艺术中

The Post Mountain Art Space

根据徐棻川剧《欲海狂潮》整理改编

Venue: Penghao Theatre

7月22-23日

编导：史晶歆

编

主持：皮埃尔·阿姆德鲁兹和瓦朗丁·杜利夫

蓬蒿剧场

3.当你强调身体的时候你到底是什么意思：模糊

歆舞界-艺术实验室出品

改编/导演：佟姗珊

（AADN，站立的人制作者）

Breath and mindfulness in the performing

和主体性（石可/Shi Ke）

Director/choreographer: Shi Jingxin

艺术指导：田蔓莎

Conductor:Pierre Amoudruz and Valentin

22-23 July

7月7日 14:00 蓬蒿剧场

XIN-ART-LAB Production

演出单位：上海戏剧学院戏曲学院

Durif (AADN numeric arts collective – FR)

Penghao Theatre

What do you actually mean when you

田蔓莎2012年在柏林自由大学“跨文化研究中

emphasise the “body”: Ambiguity and

心”研究项目之一。

Entity

--The content of this lecture is one of Tian

7 July 14:00

剧：徐棻

上海戏剧学院附属戏曲学校

as a meeting place 29 June 14:00

Penghao Theatre

2013/7/5-7 19:30

Adapted from Xu Fen’s Sichuan opera

话剧《离婚》

Lust Sea Crazy Tide

Play: Divorce

Playwright: Xu Fen

法国

Mansha’s research projects at the Cross-

青蓝剧场

Adapted by/Director: Tong Shanshan

5月28日 14:00-17:00

culture Research Center of Free University

4.诗歌-语言的最高形式（蓝蓝/Lanlan）

Qinglan Theatre

Artistic Director: Tian Mansha

蓬蒿剧场

of Berlin.

7月14日 14:00 蓬蒿剧场

原著：老舍

Traditional Opera College of Shanghai

Contemporary Dance in architecture and

主持：田蔓莎

Poetry, the Highest Form of Language

改编：方旭

Academy of Drama

urban spaces

Conductor：Tian Mansha

14 July 14:00 Penghao Theatre

198

建筑与城市空间里的现代舞

Penghao Theatre

199

HASEGAWA Theatre Workshop in Beijing

2014

演出时间：7月22日—24日 19：30 演出地点：东宫影剧院（1号厅）

偶剧：《月亮上的小老鼠伦巴》

工作坊时间：5月26日—30日 10：00-17：00

第五届北京南锣鼓巷戏剧节

导演：吕效平/歌德思

演出时间：6月4日 14：30

地点：蓬蒿剧场

编剧：吕效平/李耿巍

6月4日 16：30

讲者：长谷川孝治（日本）

Drama: The “An Enemy of the People”

演出地点：东宫影剧院（4号厅）

语言：日语讲授带中文翻译

Incident

导演： Cyrille Louge（法国）

Playwright: Lü Xiaoping/Li Gengwei

Puppetry Play Little Mouse Rhumba on the

工作坊:日本舞蹈家山田云社区舞蹈工作坊

Theater Director: Lü Xiaoping/ Gerhard

Moon .

CUCKOO’S SINGING——Yamada Un

Dressel

Date/Time: June 4 2:30 p.m. and 4:30 p.m.

Community Dance Workshop

Nanjing University Art Master Performance

Venue: Oriental Palace Theatre (Hall No.4)

工作坊时间：5月29日-6月1日 19：00—21： 30

Group

特别邀请/Notable invited Program：

导演：孙晓星

1）戏剧：《祝/言》中日韩联合制作

演员/文本：王春兰冯娜于家悦蒋国兴李鉴李

《虎王子》和《神马》的故事

地点：东宫影剧院（排练厅）

演出时间：5月23日-25日19：30 5月24日

明璇王玉洁刘超

演出时间：6月4日—5日 19：30（中文演出）

讲者：山田云（日本）

14：30

Documentary Theatre: The MASSES

6月5日 20：30（法文演出）

语言：日语讲授带中文翻译

演出地点：国话先锋剧场

Director: Sun Xiaoxing

导演/编剧：长谷川孝治（日本）

Performers/Text: Wang Chunlan, Feng

舞蹈：《春告歌》+《结婚》

导演：弗朗索瓦•奥索尼（法国）

讲座:《日本当代舞蹈现状》

Theatre Zhu/Yan a joint theatre performed

Na, Yu Jiayue, Jiang Guoxing, Li Jian, Li

演出时间：6月2日—3日 19：30

插画：陈江洪（中国）

Lecture: The State of Play in Japanese

by China, Japan, and South Korea

Mingxuan, Wang Yujie, Liu Chao

演出地点：国话先锋剧场

Picture Book Theatre The story of 《Tiger

Contemporary Dance

Date/Time: May 23-25 7:30 p.m. May 24

Tianjin Masses Museum

编导：山田云（日本）

Prince》 and the《 Magic Horse》

讲座时间：5月31日 14：00-16：00

Dancing: CUCKOO’S SINGING + THE

Date/Time: June 4-5 7:30 (Chinese

地点：蓬蒿剧场

舞蹈及形体剧场/Dance and Physical Theatre

演出地点：东宫影剧院（1号厅）

2:30 p.m. Venue: Pioneer Theatre of NTC

喜剧：《绝对高级》

WEDDING

performance)

讲者：稻田奈绪美（日本）

Language: Chinese/Japanese/Korean with

演出时间：6月19日—21日 19：30 6月21日

Date/Time: June 2-3 7:30 p.m.

June 5 8:30 ( French performance)

语言：日语讲座带中文翻译

Chinese subtitles

14：30

Venue: Pioneer Theatre of NTC

Venue: Oriental Palace Theatre (Hall No. 1)

Director/Playwright: Koji Hasegawa

演出地点：国话先锋剧场

Choreography: Un Yamada

Director: Francois Orsoni （FRANCE）

讲座:《什么是社区舞蹈？》

Illustration: Chen Jiang Hong （CHINA）

Lecture: What is Community Dance?

导演：邵斯凡（a.k.a Sifan SHAO）（法）

讲座时间：6月1日14：00-16：00

文本、电影、舞蹈《这不是一个爱情故事》

编剧：莫里哀（法）

舞蹈：《破格》

演出时间：7月9日—10日 19：30

Comedy： Absolutely Refined

演出时间：6月27日-28日 14：30

《乌切里尼》

地点：蓬蒿剧场

演出地点：东宫影剧院（1号厅）

Adapted from French classic comedies The

演出地点：东宫影剧院（4号厅）

演出时间：6月9日—10日 19：30

讲者：稻田奈绪美（日本）

编舞：Guilina Heilbon（瑞典）

impromptu of Versailles and The affected

编舞：武田干也（日本）

演出地点：蓬蒿剧场

嘉宾：山田云（日本）

Text Film Dance “This Is Not a Love

ladies written by Molière.

Dancing: Solecism

联合创作：保罗·卡尔多纳（法）/伊莎贝

语言：日语讲座带中文翻译

Story”

Director：Sifan SHAO(French)

Choreographer /director: Anya Takeda

拉·艾尔乌埃（法）

Date/Time: June 27-28 2:30 p.m.

Picture Book Theatre UCCELLINI

Venue: Oriental Palace Theatre (Hall No. 4)

Date/Time: June 9-10 7:30 p.m.

想象的现实——英国戏剧大师爱德华·邦德工

Choreography: Keiko Takei

Venue: Penghao Theatre

作放、公开演讲、工作坊展示

Co-produce: De Paolo Cardona (France)/

Reality imagined

Date/Time: July 9-10 7:30 p.m. Venue: Oriental Palace Theatre (Hall No.1)

戏剧事件：《25.3公里》

Choreography: Guilina Heilbon (Sweden)

时间：6月20日—22日（具体时间待定）

导演：曹曦编剧：Chris Cooper（英） Monodrama Benched Playwright: Chris Cooper （U.K.） Director/Enactor: Cao Xi

地点:待定文学剧场：《一双眼睛两条河》

导演：李建军戏剧构作：孙晓星、冯瀚辰

演出时间：7月1日—2日 19：30

Theatre Event 25.3 KM

演出地点：蓬蒿剧场

Date/Time: June 20-22 (The time will be

编剧：童道明

announced later)

导演：张子一

Venue: will be announced later

Literature Theater A Pair of Eyes and Two

Director: Li Jianjun

Flows of Rivers

Playwright: Sun Xiaoxing and Feng

Playwright: Tong Daoming

Hanchen

重庆方言独角戏：《向雪松的故事》

演出：《中国的一天2014》

演出时间：7月17日—19日 19：30

演出时间：6月24日—26日 19：30

演出地点：蓬蒿剧场

讲述者：向雪松

导演：佐藤信

Xiang Xuesong’s Story: A Monologue in

影像总监：饭名尚人

the Chongqing Dialect

One Day of China 2014

Story teller: Xiang Xuesong

Director：Sato Makoto Video director：Iina Naoto

话剧：《怀疑》演出时间：7月28日—31日 19:30

社会戏剧：《世界工厂》

演出地点：东宫影剧院（1号厅）

演出时间：6月25日-26日 19：30

导演：陈洁

演出地点：东宫影剧院（4号厅）

编剧：约翰P·尚利（美）

导演/戏剧构作：赵川

Play：Doubt

Social Drama：World Factory

Playwright: John Patrick Shanley

Co-created and performed by Grass Stage

Director: Chen Jie

Concept designed and directed by Chuan ZHAO

社会情境/Scene of the Society 单人剧：《长凳》记录剧场：《群众》

演出时间：6月28日—30日19：30

演出时间：6月13日—15日19：30

演出地点：蓬蒿剧场

演出地点：蓬蒿剧场 200

悲喜剧：《顾不上》演出时间：7月8日—10日 19：30 演出地点：蓬蒿剧场剧本朗读指导/编剧：顾雷戏剧：《两个费德勒的命运》演出时间：7月13日—15日 19：30 演出地点：蓬蒿剧场导演：马福力（瑞典）语言：中瑞语演出英文字幕 Theatre Fredrik x 2 Date/Time: July 13-15 7:30 p.m. Venue: Penghao Theatre Director: Mathias Lafolie Swedish/Chinese performance with English subtitle 新浪潮戏剧：《地雷战2.0》演出时间：7月18日—20日 19：30 演出地点：77剧场导演：王翀编剧：赵秉昊 New Wave Theater: The Warfare of Landmine 2.0 Presented by Théâtre du Rêve Expérimental Director: Wang Chong Playwright: Zhao Binghao 话剧：《<人民公敌>事件》

舞台作品：《幸福日和》

Isabelle Hervouët (France)

——British dramatist Edward Bond Workshop\Speech\Open workshop

演出时间：6月29、30日 19：30 演出地点：东宫影剧院（4号厅）

实验戏曲/Experimental Opera

工作坊

编舞/编导：武田干也（日本)

实验豫剧《朱丽小姐》

6月2日—6日 10：00-16：00

Stage Production Happy Summer

演出时间：6月7日—8日 19：30

地点：蓬蒿剧场

Date/Time: June 29-30 7:30 p.m.

演出地点：国话先锋剧场

讲者：爱德华.邦德（英国）、克里斯.库佩(英

Venue: Oriental Palace Theatre (Hall No. 4)

导演/改编：王绍军

国）、曹曦

Chorography: Keiko Takei

编剧：孙惠柱/费春放

语言：英语讲授带中文翻译

Experimental Honan Opera Miss Julie

公开演讲

形体剧：《我要安乐死》

Date/Time: June 7-8 7:30 p.m.

时间：6月7日 14：00

演出时间：7月4日—6日 19：30

Venue: Pioneer Theatre

地点：蓬蒿剧场

演出地点：蓬蒿剧场

Director/Adaptation: Wang Shaojun

语言：英语讲授带中文翻译

导演：黄俊达（香港）

Playwright: Sun Huizhu and Fei Chunfang

工作坊展示时间：6月7日19：30工作坊展示

Physical Theatre I Want Euthanasia Date/Time: July 4-6 7:30 p.m.

16）实验川剧《青蛙王子》

地点：蓬蒿剧场

Venue: Penghao Theatre

演出时间：7月2日—3日 19：30

语言：英语讲授带中文翻译

Director: Huang Chun-Da (Hong Kong)

演出地点：东宫影剧院（1号厅）导演/文本：陈丹璐

6）《完全演剧手册1+2》放映

舞蹈与身体剧场：《美好先生》

Experimental Sichuan Opera The Frog

Japanese Static Theatre Documentary

演出时间：7月12日—13日 19：30

Prince

Public Screening

演出地点：77剧场

Date/Time: July 2-3 7:30 p.m.

Theatre 1 and Theatre 2

编舞/表演：阿娜特·格里戈里奥 Anat Grigorio

Venue: Oriental Palace Theatre (Hall No.1)

放映时间：6月6日 18:30-21:30 / 6月7日

（以色列）

Director: Chen Danlu

10:00-13:00 放映地点：蓬蒿剧场

Dance and Body Theatre“Mr. Nice Guy” 六、新生/NEW TALENT

语言：日语发音带中文字幕

七、工作坊+讲座+电影放映

10）工作坊：平田织佐戏剧工作坊

工作坊:风景的变容——长谷川孝治戏剧创作工

Hirata Oriza Theatre Workshop

绘本故事及偶剧（儿童剧）/ Picture Book and

作坊

工作坊时间：6月8-9日10:00-17:00

Puppet Theatre

The Transformation of 'Normality'-Koji

地点：蓬蒿剧场

Date/Time: July 12-13 7:30 p.m. Venue: 77 Theatre Choreography: Anat Grigorio (Israel)

201

讲者：平田织佐

工作坊：献给你的舞蹈——德国独立舞蹈家托

语言：日语讲授带中文翻译

马斯雷蒙工作坊 A Dance For You- Thomas Lehman dance

讲座：艺术立国论

workshop

Lecture: Art as the Foundation of Nations

工作坊时间：6月28，29日10：00-22：00

时间：6月8日19:00-21:00

地点：蓬蒿剧场（露台）

地点：蓬蒿剧场

6月30日-7月4日10:00-17：30

讲者：平田织佐

地点：东宫影剧院（排练厅）

语言：日语讲座带中文翻译

公开彩排： 7月5日14：00-17：00 地点：蓬蒿剧场（露台）语言：德语讲授带中文翻译

11）讲座：日本现当代戏剧史和我的方法论 Lecture: The History of Japanese

工作坊：由前语言到语言的表达技巧-邓树荣形

Playwriting and My Methodology

体剧场工作坊

时间：6月9日19:00-21:00

Body Theatre Workshop by Tang Shu-

地点：中央戏剧学院本部东厅

wing: From ‘Pre-verbal’ to ‘Verbal’

讲者：平田织佐

Expression

语言：日语讲座带中文翻译

演出时间：7月5日、7月7日 10：00-16：00

12）工作坊：中国的一天2014 日本小剧场戏剧

演出地点：东宫影剧院（排练厅）

大师佐藤信工作坊

讲者：邓树荣

7月6日 18：00-22：00

One Day of China 2014 ——Workshop by Japanese Independent

工作坊：控制与极限、中性面具-黄俊达形体剧

Theatre Master Sato Makoto

场工作坊

工作坊时间：6月10日—13日 10：00-14：

Physical theatre workshop—control and

limits/ neutral mask

6月16日—21日 10：00-14：00

工作坊时间：7月8日-9日13：00-16：00

6月22日—26日 10：00- （22-23日彩排合

地点：东宫影剧院（排练厅）

成，24-26日演出）

讲者：黄俊达

地点：东宫影剧院（排练厅）/蓬蒿剧场（演出）

讲座：当代波兰戏剧

讲者：佐藤信/饭名尚人

Lecture: Contemporary Poland drama

助讲：孙晓星/何雨繁

时间：7月14日 14：00-16：30

语言：日语讲授带中文翻译

地点：蓬蒿剧场讲者：夏特考夫斯基·马奇

13）工作坊：舞台上的电影性影像・戏剧性影像——饭名尚人工作坊

工作坊：从现在起，成为你自己-- Anat

From Stage to Video, Video to Stage

Grigorio身体技术与创作工作坊

Workshop

And now, Be yourself ——Technique and

工作坊时间：6月14日—16日 18：00-21：

repertoire workshop

时间：7月14-15日

地点：东宫影剧院（排练厅）

地点：东宫剧场

讲者：饭名尚人

讲者：Anat Grigorio

语言：日语讲授带中文翻译 22）格洛托夫斯基文化中心讲座+放映（讲座主讲座：耶日格洛托夫斯基及他的剧团+纪录片放

题及片名待确定）

映：《表演疗方》

Lecture: Gehlaut Torfs Ki Insititute

Lecture: Jerzy Gehlaut Torfs Ki and his

Introduction

opera troupe

时间：7月15日 13：00-16：30

时间： 6月17日 14:30-17:30

地点：蓬蒿剧场

地点：蓬蒿剧场主讲：Jaroslaw Fret

格洛托夫斯基资料放映馆 Gehlaut Torfs Ki Insititute documentary

演出实况录像：《雅典卫城》+《忠贞的王子》

screening

Screening: Akropolis + The Constant Princ

时间：7月16-17日全天放映

时间：6月17日 19 :45-22：00

地点：时差空间

地点：蓬蒿剧场四个中心-Jaroslaw Fret/Sinmona Sala工作坊 Four Centers——Workshop with Jarosław Fret and Simona Sala 工作坊时间：6月18，19日 9:00--19:00 地点：蓬蒿剧场讲者：Jaroslaw Fret/Simona Sala 语言：波兰语/英语讲授带中文翻译

202