The 4th Beijing NLGX Performing Arts Fest

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第四届北京南锣鼓巷戏剧节 The 4th Beijing Nanluoguxiang Performing Arts Festival 2013 05.03~07.30

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主办单位：

Host:

北京市东城区戏剧建设促进委员会

Beijing Dongcheng District Drama Construction and Promotion Committee

承办单位：

Organizer:

蓬蒿剧场

Penghao Theater

支持单位： 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

Co-organizers: Beijing Dongcheng District Culture Committee Beijing Dongcheng District Culture Association

北京东方文化资产经营公司

Beijing Dongcheng Jiaodaokou Community office

北京市东城青年戏剧工作者协会

Beijing Oriental Culture Asset Operation Company Beijing Dongcheng District Young Dramatists Association

场地支持： 东宫影剧院

Supporting Theatres:

北京人民艺术剧院实验剧场

Oriental PalaceTheatre

后山艺术空间

Beijing People’s Art Theatre

中国国家话剧院东方先锋剧场

The Post Mountain

青蓝剧场 东城区文化馆风尚剧场 东方剧院 蓬蒿剧场 协办机构：

Beijing Pioneer Theatre of NTC Qinglan Theatre Penghao Theatre The Oriental Theatre Fashion Theatre

法国驻华大使馆文化处 瑞典驻华大使馆

Sponsors and Thanks:

瑞典艺术委员会

French Embassy, French Institute

日本国际交流基金会北京日本文化中心

Swedish Embassy Beijing

歌德学院北京分院

Swedish Arts Council

美国驻华大使馆

Japan Foundation

香港艺术发展局

Goethe Institut Beijing

台北市文化局 台湾广艺基金会 上海戏剧学院戏曲学院

Embassy of The United States Beijing • China Hong Kong Arts Development Council Department of Cultural Affair Taipei Quanta Arts Foundation Shanghai Theatre Academy China, College of Chinese Opera

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致辞

我们，一起做份民族备忘录 ——寄语2013第四届“北京·南锣鼓巷戏剧节”

中国的事情，越好就越难，越真实就越诡异。磕

说，这样的国家和民族，从人的心灵、智能，到整体

磕绊绊地，2013第四届“北京·南锣鼓巷戏剧节”，

的科技、经济、文化软实力、核心竞争力，能不强大

将如期举办。

吗？

能预先想象的是，在今年戏剧节的每一个夜晚、

纽约百老汇、外百老汇、外外百老汇有一千多个

每一个剧场、每一个剧目开演前和散场后，又能看到

小剧场，巴黎、柏林、伦敦也都有数百到上千个小剧

的，那一张张充满欣慰和喜悦的脸。期盼了一年的朋

场。

友们，我没有辜负你们，蓬蒿剧场的坚强团队没有辜 负你们。 39部戏剧、4场讲座、9个工作坊、2个论坛。两 个多月时间里，我们又会走进一个人的、艺术的、节 日的海洋。

而在GDP已占全球第二的中国，正式注册的民间 独立剧场数，北京不足10个，上海1个，其他所有省 会城市加起来是0。 上个世纪在欧洲、北美兴起的小剧场运动传到中 国，很快失去了它的反商业性质。先锋戏剧反传统、

我无数次想过，动物是靠什么活着？靠食物、靠

反主流、反权威的风格也荡然无存。而这些原本都是

进攻、靠掠夺、靠残忍冷酷、靠防御、靠自我保护。

一个民族最值得骄傲、最有活力、最能发现问题促进

人又靠什么活着？靠精神、靠文化、靠认知、靠 温暖、靠奉献、靠最好的可能性、靠对更高级更艺术 生活的期盼。 像婴儿一出生，就要受到父母的情感哺育；儿童

社会良性发展的部分。 震撼心灵的戏剧高峰体验只能在外国移植剧目中 获得；民族的当下的优秀原创剧目乏陈，被低劣被口 水被喧闹淹没，在宣传在拜金面前双重失魂。

一入校，就要接受知识、技能教育；一个人的一生，

在欧美众多国家和地区，观看戏剧演出都是低票

还要持续接受什么教育？是美学教育、存在性认知教

价，一般都不会超过普通人月工资的1%。其中票房

育、对更高级事物和价值的爱的教育。这些都要在戏

与制作成本的差价从何而来？回答都是由国家政府、

剧、文学和其他艺术形式中持续获得。

地方政府、各种基金会和企业来支持，支持额度一般

十多年前，我以医生的身份访问美国，惊奇地

在30-80%之间。我曾问过丹麦文化部长，你们对被

发现，在他们的医科大学和理工科大学中，都普遍设

支持的文艺团体有什么要求？他回答：有两条，一是

有文学和戏剧选修课；去年，我以蓬蒿剧场和南锣鼓

看艺术内容，二是看有无高票价的商业运作嫌疑。这

巷戏剧节艺术总监的身份，参加丹麦“哥本哈根戏

是很多国家，在面对后工业文明弊端和全球商业化大

剧节”，更惊奇地发现，在全部20个展演剧目中，有

潮时，所能做的太聪明的事情。

4部戏是专门为半岁到四岁的儿童制作演出的。你们

反观我们。

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前些日号称奇迹的“八小时话剧”，内容不够明 星凑，票价超过两千，几乎是年轻人月工资的全部；

源，谁也躲不过谁。都必须学会放弃，学会共同面 对。我们是否都到了最后的时刻？ 资源枯竭到了最后的时刻、环境污染到了最后的

受国家巨额财政支持的殿堂级剧院，票价动辄数百上 千，你们是国家公益性文化事业，掠取那么多利润干

时刻。 文化生态污染、灵魂污染和智能污染是否也到了

嘛？ 用反文化的方式作文化，用反艺术的方式作艺

最后的时刻？ 我们有没有能力、有没有智慧超越这最后的难

术；应景的宣传的剧目制作，能轻易获得几百万上 千万的巨额支持，观众不够就再出钱租车拉人来填 充；创作原动力不是发自内心、不去关乎世道人心、 不去费力费心，而是堕落为低劣和谄媚；文化也要当 工程来做，文化产业扶持一片乱象，有多少是为了艺 术，又有多少是为了圈钱？ 真正心怀戏剧理想、刚刚兴起的一些民间剧团和 剧场，被耻辱的统一定义为工商营利性组织，身份尴 尬，生存步履艰难； 把一切艺术和文化都扩展成产业，都用来增长 GDP，这么做，到底想要干什么？

我们每个人是否都应该问问自己，我们能做些什 么？我们该做些什么？我们最应该做些什么？ 我想说，已经连续举办四届的“北京·南锣鼓巷 戏剧节戏剧节”，是这种努力的一部分。……….. 中国的老话：扬善抑恶。 恶：是贪婪，是掠夺，是谎言，是伪善，是人的 心灵匮乏、简陋、低劣。 善：是创造，是奉献，是真诚，是认知，是艺 术，是人的心灵丰富、高贵、温暖。

官员处理危机弱智化，企业家唯利是图弱智

解决社会的公正问题，靠法律，靠制度；解决人

化，媒体伪善弱智化，普通人物质娱乐弱智化，连艺

内心的公正问题，靠心灵丰富之后的存在性认知，和

术家也崇尚拜金迎合低俗弱智化。

对自己、对他人、对生命、对社会超越性的爱。

我们会恐惧楼市崩盘、股市崩盘、CPI持续上

不要以为艺术和戏剧只是精神上的事情，它们也

涨、PM2.5指数和地下水污染指数持续上涨，但是否

是物质上的事情。心灵上的每一分喜悦和压抑，都会

想过，我们更恐惧什么？

通过人体植物神经系统，通过可测量的介质、激素，

我们更恐惧更担忧中华民族的灵魂，被物质、被

去支配和影响你的睡眠、食欲、性欲、免疫和健康。

娱乐、被贪婪、被伪善所淹没，会演变成一个没有道

也不要以为艺术和戏剧只解决审美问题，它更是

德标准、没有艺术追求、没有理性思考、没有深层创

对邪恶的评议。你能设想一个艺术家对邪恶不敏感，

造能力的弱智民族。

而能创造出美的作品？你也不能设想，任何一个人，

我们甚至恐惧，长此以往，这个民族，会在种族 的生物学遗传学层面，发生不可逆的弱智退化。 人无远虑，必有近忧。我们的远虑是什么？近忧 又是什么？

不管他是谁？工人、农民、商人、官员，只要真正感 受过最幸福的艺术体验时刻，还会再那么轻易的，向 周围以及自己心中的邪恶低头？ 更不要以为，每一个人感受艺术的权利和能

一个持续五千年农业文明辉煌的民族。受西方工

力，是自己个人的事情。一个民族的真正强大，怎么

商文明的挤压，被耻辱、被变形。连抗拒压迫的努力

可能仅仅是动物般的过上温饱日子，怎么可能仅仅是

也会扭曲变形，为消除一个代价会付出更大的代价。

虚构的GDP数字，怎么可能仅仅是自我吹嘘的国家自

举国体制解决了人的基本物质温饱权利，但极大压抑

信？一个民族的真正复兴和强大，是这个民族的每一

人的个性和创造力。文化大革命收缴人的灵魂，导致

个人，都真正拥有做人的权利，拥有感受和获得更高

长达十二年之久的全民族教育断层、传统断层。78年

级生活的权利，是这个民族的每一个人，都拥有更多

改革开放，极大释放经济物质能量，但在没有完善推

的智力、智慧、灵性、个性、创造性、丰富性、高贵

进政治体制改革、民族灵魂没有复苏之前，打开物质

性和艺术性。

本能欲望之门，拜金主义和贪欲铺天盖地而来，权钱 完美结合，形成既得利益集团改变陷入僵局.

蓬蒿剧场，作为中国正式注册存在的第一个民间 独立剧场，在极其恶劣的外部环境下，五年来，每年

这是自然界和人类历史人类社会能量守恒的强大

自己亏损七十万元，维持它的运营，创作、上演着大

反作用力。这种反作用力太重，已经影响到这个民族

量重文学、重美学、重理性的戏剧艺术作品。存在就

的基本生存权利。

是希望，创作就有意义。

在一个社会里，每个人、每个阶层都互为资 6

关？

在没有一部正式国家财政立法的情况下，蓬蒿剧

场，靠着一个区级政府每年讨论一次、极大不确定、

其他剧目演出，我很震惊地发现，这个瑞典最著名的

朝不保夕的支持，发起并独立承办着“北京·南锣鼓

顶尖级剧院，大部分座椅因使用年代太久，都已非常

巷戏剧节”。这个戏剧节的创意、策划、执行团队，

破旧。

只有兼职分配时间的三个半人及少量志愿者。每年用

本届戏剧节还有四个讲座，最有意义的应该是

着最少的钱，做着从形式到内容都能与欧洲国家级戏

日本最著名的剧院“座·高圆寺”艺术总监佐藤信的

剧节比美的事情。我们是自豪的，也是悲壮的。

“日本小剧场运动”，看看它能给中国当下的戏剧发

在这种悲壮与自豪的混合体中，我们肩负着为民 族抗拒贫乏的使命——从形式到内容。

展提供什么样的借鉴；美国具有丰富独立文化组织经 验的高级学者Todd Lester会给我们讲述“艺术在推动

“北京·南锣鼓巷戏剧节”已经走过了三届。

公共政策中的角色”；还有前面提到的瑞典皇家剧院

今年是第四届。

文学总监马格努斯，他发给我两个题目，分别是“舞

............

台的奇异现实”和“剧场，是相遇的场所”，问我选

邀请南京大学话剧团的话剧《蒋公的面子》，是

择哪一个，我了解了大概的内容后，回答他两个我都

想说明文本对于戏剧的意义。一个戏剧文学系大三的

想选。

学生，只因遵循了规律，作品引起轰动、受到追捧，

还有“文本的背后——场景的超越”、“极致的

这本身就说明，有太多的人不遵循规律，我们的戏剧

单纯”、“时间、空间和身体”、“如何构建讲故事

生态有多么不正常。

剧场”等九个工作坊......

重视文学关怀、重视美学关怀、重视理性关

锣鼓巷戏剧节已举办四届，影响力扩展到国内很

怀，是蓬蒿剧场和南锣鼓巷戏剧节一以贯之的主题。

多省份，很多征集的原创剧目来自各省市的青年戏剧

原本用不着刻意强调，但在这个喧嚣浮躁的社会里，

人，但资金有限实在无法满足更多人参与，便想到举

人们太缺少这些东西。所以本届戏剧节再次邀请了童

办一个全国十省市民间戏剧发展论坛，请当地的戏剧

道明先生的两部作品：《塞纳河少女的面模》和《蓦

人一起来谈谈自己各自的情况、焦虑、困扰和期待，

然回首》，我们一同去走进冯至和季羡林美到极致的

相信这是一次很有意义的聚会，更是一次民族文化自

内心世界，去感受巴金和曹禺、托尔斯泰和耶稣对话

我解剖和充满困扰又可歌可泣的生命记录。

中的人类终极困惑。

……

如果说，二度梅得主曾静萍的梨园戏《董生与李

最后，我还是想解释一下序言一开头所写的

氏》，是我看过的最美的传统戏曲。那么，同样是二

“真实的诡异”，关于本次戏剧节，是如何向愚昧做

度梅得主田曼莎的实验川剧《情探》，则用中国戏曲

了妥协才得以延续的，但又还是无法把话说透，要保

的传统美，连着对当下对文革的思考，一起把人的生

护朋友，保护美好的朋友们，无论他们身处什么位

命美推向了极致。

置。今后我会把这段经历写在戏里面，告诉更多人在

今年已是连续三届邀请以色列的剧目，前两届是 《迁徙的动物》和《在海边》，本届是《大嘴+协方 差》，在我感觉中都是舞台作品中的另一种极至。我 一直奇怪，以色列这么小的一个国家，为什么会拥有

一个弱智时代到底能发生什么，用艺术的形式带给更 多人反思和精神享受。 最后的最后，我还想说：对戏剧、对文化、对民 族、对未来，我们有信心吗？

那么强大的科技实力和国力？为邀演上述剧目，去了

有，就一起努力；没有，也要一起努力，尽量

两次特拉维夫戏剧节，也就找到了一些答案。他们的

留下一些创作，尽量留下一些内容，尽量留下一些思

剧目，百分之六十以上都是在不停地反思、反思，同

考，尽量留下一些真实、尽量留下一些温暖，尽量留

时又是那样充满对生命的情感。

下一些灵动。

瑞典的两部戏《朱丽小姐》和《C》，前者以一

我们一起，给未来、给民族，做一份备忘录。

个人的视觉及多媒体手段重新演绎斯特林堡的经典名 著；后者也是独角戏，一个人演绎现代生活中无比丰 富的元素，舞美极简几乎是零。由此想到北欧那么 富足的国家，在戏剧演绎中极其简朴的制作方式以及 他们整个生活中的环保理念，重内容不重形式。去年 十一月我去“斯德哥尔摩戏剧节”邀演这两部戏， 《C》是瑞典皇家剧院出品，顺便邀请我在该剧院看

艺术总监

王翔

2013.05.04 本文部分章节摘自王翔《我的民族备忘录》 7

王翔 - 蓬蒿剧场创办人、艺术总监。 - 著名牙科医生，我国第一位从事人工种植牙课题研究的研究生，北 京第一家连锁口腔诊所——今日齿科的创办人。 - 2008年个人投资120万元创建我国第一家民间剧场——蓬蒿剧场，后 续三年每年拿诊所营业收入60余万元继续维持剧场运营，对所有演 出剧目不收取场租，支持重文学、重美学、重社会理性关怀的剧目 在蓬蒿剧场上演。并独立出品话剧《塞纳河少女面膜》、《我是海 鸥》、《曹操到》、《锣鼓巷的故事》、《寻找剧作家》、《灵魂 厨房》等一系列原创剧目。 - 现任北京市东城区戏剧家协会副秘书长、北京市东城青年戏剧工作 者协会驻会副主席兼秘书长。 - 2010“北京国际独角戏戏剧节”艺术总监。 - 2010、2011、2012、2013“北京南锣鼓巷戏剧节”艺术总监。 - 2012“亚洲文化视野——旅程艺术节”艺术总监。 - 2012中国话剧“金狮奖”获得者。 - 作品：话剧《锣鼓巷的故事》（编剧）

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Wang Xiang - Founder and Artistic Director of Penghao Theatre, the first dentist student in mainland China who researched on implant in his master dissertation. Founder of the Today Dental Clinic, the first dental chain in Beijing.

- In 2008 he invested 1.2 million from his private clinic to establish the first independent theatre in China—Penghao Theatre. And every year he keep donating 60, 000 for its regularly running.

Penghao doesn’t charge rent fees for any individuals and groups to perform there, and has independently produced plays including the bust of a lady by the Seine, I am the Seagull, Speaking of Caocao, Nanluoguxiang Story, In Search of the Playwright,Soul Kitchen etc.

- “We embrace any forms of experimental theatre expressions, as long as they are thoughtful, or show serious literary, aesthetic and rational commitments. The ideal drama, in our definition, is noble at the same time natural and unpretending, sophisticated yet simple, effective and inspirational.”

- The artistic director of 2010, 2011,2012 and 2013 Beijing Nanluoguxiang Theatre Festival/ - 2010 Beijing International Mono Drama Festival.

- 2012 Asian Culture Vision-Journey Festival - Winner of 2012 Gold Lion Award of Dramas in China - The Deputy Secretariat of Beijing DongCheng Theatre Association.

SPEECH

Together, Let Us Make a Memo for Our Nation — Speech at the 4th “Beijing·Nanluogu Lane Theater Festival” in 2013

When doing things in China, one finds that the better the cause, the harder it becomes to get things done, and the more authentic things are, the more twisted they get. After some bumps in the road, in 2013 the 4th “Beijing·Nanluogu Lane Theater Festival” will take place on schedule.

I can imagine the faces filled with joy and content every night, in every theater, before and after every show. I can say to all my friends who have been waiting for a year that I did not let you down, and Penghao Theater did not let you down.

With 39 plays, 4 lectures, 9 workshops and 2 forums, in two months, we will again encounter a sea of individuals, art and plays.

I have thought on countless occasions, what do animals depend on to survive? They depend on food, attack, plunder, ruthlessness, defense, and self-protection.

What do human beings depend on to survive? They depend on spirit, culture, cognition, warmth, devotion, the best possibilities, and the desire of a better life filled with art.

As soon as babies are born, they will receive the nurture from their parents; as soon as children go to school, they will gain knowledge and learn skills; throughout one’s life, what form of continued education does one need? It is the education of aesthetics, cognition, the love for better things and higher values. And one can only acquire such knowledge from drama, literature and other forms of art.

When I visited the United States as a doctor 10 years ago, I was surprised to find that selective courses on literature and drama were offered in most medical schools and science and engineering schools; when I attended the “Copenhagen International Theater Festival” last year as the artistic director of Penghao Theater and Nanluogu Lane Theater Festival, I was even more surprised to find that among all 20 plays, 4 were dedicated to children aged from 0.5 to 4 years old.

How can a nation like this not be powerful in terms of the spirit and intellect of its citizens, technological and economic development, soft power and core competency?

New York Broadway, Off-Broadway, Off-Off-Broadway constitutes more than 1000 experimental theaters; the number stands at around 1000 in Paris, Berlin and London.

In contrast, in China, a country with the world’s second largest GDP, there are less than 10 registered independent folk theaters in Beijing, 1 in Shanghai, and 0 in all provincial capitals.

After being introduced to China from Europe and North America where it boomed in the last century, experimental theater movement soon lost its anti-commercial nature. And nothing remained of the anti-tradition, anti-mainstream and anti-authority character of the avant-garde theater. These assets should have been the pride of a nation through which we detect the problems in our society and thus making our society a better place.

One could only acquire the soul-piercing peak experience of experimental theater from foreign theatrical works; with a lack of original works at the moment, theatre production is lost in not only mediocrity, pettiness and chaos but also publicity and money-worship.

In many Western countries and regions, theaters charge a low fee that usually would be no more than 1% of the wages of an average citizen. Then how is the gap between the box office returns and production cost filled? The answer lies in the support from the national and local government, various foundations and enterprises, which would cover 30% to 80% of the gap. I have asked the Danish Minister of Culture: “What are the criteria when you choose the art group you support?”

And he answered: “There are two criteria, first is the content and second is whether the art group wants commercial gain by charging a high price.” Faced with the drawbacks of post-industrialization civilization and the wave of global commercialization, this is a brilliant lesson that many countries could learn from.

Let us take a look at ourselves.

Recently seen as a “miracle”, the “eight-hour-play” makes up what it lacks in content with famous stars and a single play costs over 2000 yuan, almost as much as the entire monthly salary of a young worker; the grand theaters receiving large fiscal support from the government usually cost over 1000 yuan. If they are national non-profit public welfare causes, why do they need to make so much profit?

Theatrical works with much publicity can easily obtain massive financial support worth several million or even more, and when attendance is not high enough they would rent cars to drag audiences; the entire cultural industry is in a chaos, and I wonder how many people are working for art and how many people are working just to amass wealth?

Those newly established folk theaters and groups, cherishing a dream of art, were defined as commercial

9

organizations and are currently in a difficulty condition; We are expanding every form of art and culture into an industry for the sake of GDP growth. What do we want exactly by doing this？ Government officials deal with crisis moronically, entrepreneurs pursue profits fanatically, the media acts hypocritically, average people turns to moronic entertainment, and even artists worship money and caters for moronic and vulgar interests.

years is a part of such an effort…

An ancient Chinese saying goes, “to praise virtue and to punish vice”.

Vice includes avarice, plunder, lies, hypocrisy, emptiness of heart, grossness and vulgarity.

Virtue includes creation, devotion, sincerity, cognition, art, the fullness and nobleness of heart.

To preserve justice within a society, it takes laws and

We fear the collapse of the property market, the stock

regulation; to preserve justice within the heart of individuals,

market, the rise of the CPI, PM 2.5 index and groundwater

it takes cognition of one’s existence with a fulfilled heart, and

pollution index, but have we considered what could be our

a transcendent love for oneself, others, life and society.

bigger fear?

Do not consider art and drama to be only spiritual, they

We fear even more that the soul of our nation would be

are also material. Every joy and depression will affect your

drowned by materialism, entertainment, avarice and hypocrisy

sleep, appetite, libido, immune system and health through

and that our nation would become a moronic nation without

the autonomic nervous system and various measurable

moral values, artistic desire, rational thinking or creativity.

transmitters and hormones.

We even fear that, in the long term, our nation would

Do not consider art and drama only as solutions to

experience irreversible mental deterioration in a biological

aesthetic problems, they are also critiques of evils. Can you

and genetical sense.

imagine an artist who is insensitive to evil and yet he or she

An old Chinese saying goes, “He who has no anxious

can create something beautiful? Can you imagine a person,

thoughts for the future will find trouble right at hand.” So

whatever his title, a worker, a farmer, a merchant or an

what is out anxiety for the future and what is our trouble at

official, having had the most enchanting artistic experience,

hand?

would easily give up to the evil in his own heart or in his

Chinese agricultural civilization which lasted for over

surroundings?

5000 years was crushed, misshaped and humiliated by

Do not consider either that one’s right to and one’s

Western industrial civilization. Even efforts to rebel were

capability to appreciate art concerns only oneself. The real

twisted and misshaped, and in order to resolve one difficulty,

power of a nation could never be reflected in the provision

the Chinese people had to go through even more difficulties.

of sufficient food and clothes to meet the basic animal

The whole-nation system offered people basic subsistence

instincts, a fictitious GDP number, or the self-claimed national

but at the same time suppressed individuality and creativity.

confidence. A truly powerful nation would be able to endow

The Cultural Revolution deprived people of their souls and

its every citizen with the right to live like human beings and

resulted in a fracture in national education and traditions.

the right to experience and gain access to better lives; it would

The reform and opening-up in 1978 unleashed massive

instill into its citizens intelligence, wisdom, spirit, character,

economic potentials; however, opening the door of material

creativity, diversity, nobleness and artistic ability.

desires without promoting political reform and resurrecting

As the first registered non-governmental independent

the national soul also brought about a blizzard of materialism

experimental theater in China, Penghao Theater has operated

and lust. Power and money coalesced and vested interest were

for 5 years despite horrible external environment and an

formed, thus making a reform impossible.

annual deficit of 700,000 RMB, creating and staging a

This represents the counterforce in the law of

great number of theatrical works with a focus on literature,

conservation of energy within the human history and society.

aesthetics and rationality. Our existence is a hope, and it gives

This counterforce is so great that it has already begun to affect

meaning to our creation.

the basic right to survival of the nation.

With no official national financial legislation,

Within a society, every individual and every social class

Penghao Theater has initiated and held independently the

are interconnected, therefore we all should learn to let go and

“Beijing·Nanluogu Lane Theater Festival”, depending on the

to face everything together. Are we all at our final moment?

annually-set, precarious and insufficient financial support from

We are at our final moment in regard to resource depletion and environmental pollution.

Are we at our final moment in terms of cultural, spiritual and intellectual pollution?

Do we have the capability and wisdom to overcome this final obstacle?

We should all ask ourselves: “what we can do? What should we do? What should be our priority?”

I want to say here that the “Beijing·Nanluogu Lane

10

Theater Festival” which has been held for four consecutive

the local district-level government. Creating ideas, planning and execution of the festival all fall upon the shoulders of three and a half part-time workers and a few volunteers. With minimum budget, every year we create a theater festival that is the equivalent, in terms of form and content, to many European national theater festivals. We are proud but sad.

With a mixture of pride and sadness, we take up the mission to combat such a deficiency- in terms of both format and content.

There had been three “Beijing·Nanluogu Lane Theater Festival” before.

most meaningful one would be the lecture on “Japanese Experimental Theater Movement” delivered by artistic

This year, we have the fourth.

director of ZA-KOENJI Public Theater- Makoto Sato, and we

We have invited Nanking University Drama Troupe to

will see what kind of reference it will offer to China’s theater;

perform The Face of Chiang Kai-shek to show what scripts

Todd Lester, an American senior scholar with rich experience

mean to drama. The fact that a work of a junior student in

in independent cultural organizations, will give us a lecture

the Department of Drama and Literature caused a sensation

on “the Role of Art in Promoting Public Policy”; Magnus, the

simply because he followed the rules shows us how normal it

literary director of the previously mentioned Royal Dramatic

is for people to ignore the rules and how abnormal our current

Theater of Sweden has sent me two topics and asked me

theatrical production is.

which one I want, and they are “the Surreal Reality of Stage”

A focus on literature, aesthetics and rationality has always been the theme of the Penghao Theater and

and “Theater, A Place to Meet”. After knowing the gist of the two topics, I told him I want both.

“Beijing·Nanluogu Lane Theater Festival”. We shouldn’t

There will be 9 workshops, including “Behind the

have to accentuate this but in such a chaotic and restless

Scripts- Transcending the Scenes”, “The Ultimate Simplicity”,

society people lack such focuses. Therefore we re-invited

“Time, Space and the Body”, “How to Build a Story-telling

two works of Mr. Tong Daoming: Head Sculpture of A Girl

Theater” and so on.

of Seine River and Looking Back All At Once for us to walk

Luogu Lane Theater Festival has been held three times

into the magnificent inner world of Feng Zhi and Ji Xianlin

and its impact has expanded to many provinces in China.

and to perceive the ultimate puzzle of human beings from the

Many of the original works we invited come from young

conversations between Ba Jin and Cao Yu, Tolstoy and Jesus.

artists from different provinces, however, due to budget limits

Let’s say that Mr. Dong and Mrs. Li, the Liyuan Opera

we could not invite more. And that is why we plan to hold a

of the two-time winner of the plum blossom Award, Zeng

nationwide Folk Theater Development Forum that includes

Jingping, is the best traditional opera I have ever seen. Then

10 provinces and cities and invite local artists to discuss their

Love Detective, the Experimental Sichuan Opera of the

circumstances, concerns, troubles and expectations. I believe

two-time winner of the plum blossom Award, Tian Mansha,

this would be a very meaningful gathering, a reflection upon

have combined the beauty of Chinese traditional opera with

our national culture, and a recording of our perplexity and our

thoughts on the Cultural Revolution and expressed the beauty

heroic cause.

of the human life to the extreme.

…

We have invited Israeli dramas for three consecutive

At last, I still would like to explain the “authentic

years: in the first two festivals we have invited Migrating

strangeness” I wrote in the preface, and how we had to reach

Animals and By the Seaside, and this year Big Mouth +

a compromise with the fools to finally hold this theater

Covariance. In my opinion, these performances are all on

festival. However, I still cannot get all my idea through as I

the other extreme of dramas. I have always wondered: how

need to protect my friends, my wonderful friends, no matter

can a country as small as Israel demonstrate such great

what positions they are in. In the future I will incorporate

technological prowess and national strength? I found some

this experience into my drama to tell more people what could

answers when I went to the Tel Aviv Theater Festival twice

happen in a moronic age and bring to more people self-

to invite the above-mentioned shows. Over 60% of all their

reflection and spiritual enjoyment.

shows were filled with reflection and introspection, as well as various emotions dedicated to life.

And finally, I want to ask: do we still have faith in theater, in culture, in nation and in the future?

There are two Swedish dramas: Miss Julie and C. The

If we do, then let us work hard; if we do not, then let us

former re-interprets the classic of August Strindberg from a

work even harder, and try our best to leave on this world some

single person’s perspective with visual and media effects; the

creation, some content, some thoughts, some authenticity,

latter is also a monodrama in which a single person displays

some warmth and some inspiration.

various factors in modern life, with almost zero choreography and stage effects. This is the reflection of the simple drama

Let us, together, make a memo for the future and for our nation.

production and their environmental-friendly way of life in many wealthy North-European countries, where content always take precedence over form. I attended the “Stockholm Theater Festival” last November to invite these two shows and since C is the production of the Royal Dramatic Theater of Sweden, I was invited to watch some performances in the theater. Much to my surprise, I found that most of the seats in this first-class theater were worn-out after so many years in use.

There also will be 4 lectures in this festival and the

Artistic Director

Wang Xiang 4th May, 2013

The part of this address comes from an article My Memo for Our Nation by Wang Xiang

11

演出日程 / Performance Schedule

05.31~06.02 > 19:30

05.03~05.12 > 18:30~22:30

06.08~06.10 > 19:30

多媒体互动装置《站立的人》

梦幻剧《蓦然回首》

文学剧《塞纳河少女的面模》

蓬蒿露台

蓬蒿剧场

北京人艺实验剧场

The Standing Men

Looking back suddenly

The Facial Mould of a Maid by the Seine

Penghao Theatre (Out-of-doors)

Penghao Theatre

Beijing People’s Art Theatre

P98

P44

P22

05.31 > 19:30

05.18~05.20 > 19:30

06.13 ~06.15 > 19:30

舞蹈剧场《Dictee》（听写练习）

《唐风宋韵——梨园戏传统折子戏专场》

话剧《谁杀了大象》

蓬蒿剧场

风尚剧场

蓬蒿剧场

Dictee (Practice) Penghao Theatre

Selected Scenes from traditional Liyuan Opera: Grace of Tang and Song Dynasties

Who Killed the Elephant

P86

Fashion Theatre

P17

Penghao Theatre

P64

05.20 > 19:30

06.02 > 19:30

话剧《解药》 原创

戏曲新编 梨园戏《董生与李氏》

北京人艺实验剧场

风尚剧场

Antidote Beijing People’s Art Theatre

Dong and Li Fashion Theatre

P80

06.17~06.18 > 19:30 肢体剧《地下室》 蓬蒿剧场

The Basement Penghao Theatre P110

P61

05.21~05.22 > 19:30

06.04~06.05 > 19:30

喜剧《蒋公的面子》

话剧《望北京》

东宫影剧院

蓬蒿剧场

Comedy: The Invitation of Chiang Kai-shek Oriental Palace Theatre

To Beijing Penghao Theatre

P24

P101

05.22~05.26 > 19:30

06.04~06.06 > 19:30

话剧《隆福寺》

话剧《果汁》

东方剧院

北京人艺实验剧场

Longfu Temple Oriental Theatre

The Bloody Juice

P75

P32

Beijing People’s Art Theatre

05.29

06.05~06.07 > 19:30

话剧《格桑花》

话剧《面包屑》

东方剧院

东宫影剧院

Flower of Happiness Oriental Theatre

Crust

P78

P37

12

The Key to the Elevator Penghao Theatre P118

06.18~06.19 > 19:30 话剧《好听的都是伤心的歌》 风尚剧场

Good Words, Heartbroken Songs Fashion Theatre P35

06.19~06.20 > 19:30 话剧《只有一个》 蓬蒿剧场

Only One Penghao Theatre P113

Oriental Palace Theatre

05.31~06.01

06.08 > 20:00 / 06.09 > 15:00

多媒体及跨文化-舞蹈-音乐《变奏·城市》

实验音乐表演《献给微小的灵》

再公布

蓬蒿剧场

Urban distortions To Publish

For The Small Ones

P96

P94

目录 / Catalog

独角戏《电梯的钥匙》 蓬蒿剧场

Penghao Theatre

致辞SPEECH P5~P11 / 演出日程Performance Schedule P12~15 / 演出介绍Performances P16~121 / 新文本剧场New Writing Theatre P16~20 / 文学剧场Literature Theatre P21~38 / 诗歌

06.21~06.22 > 19:30

07.02~07.03 > 19:30

07.16~07.18 > 19:30

独角戏《疯女人的演说》

话剧《命若琴弦》

话剧 《灵魂厨房》

蓬蒿剧场

蓬蒿剧场

国话先锋剧场

Mad Woman’s Speech

Life on a String Premiere

Play: Soul Kitchen

Penghao Theatre

Beijing Pioneer Theatre of NTC

P114

P30

Penghao Theatre P116

话剧《在看见之前》 蓬蒿剧场

07.05~07.06 > 19:30

07.17~07.18 > 19:30

舞蹈剧场《大嘴+协方差》

小剧场实验京剧《杀子》

Penghao Theatre

东宫影剧院

风尚剧场

P104

Big Mouth+ Covariance

Killing the Son

Oriental Palace Theatre

Fashion Theatre

P83

P106

Before I Can See

06.21~06.23 > 19:30 话剧《曾经3》 东宫影剧院

07.05~07.07 > 19:30

07.18~07.20 > 19:30

Once 3 — The Good Life

肢体剧《战》

多媒体独角戏《朱丽小姐》

Oriental Palace Theatre

蓬蒿剧场

蓬蒿剧场

Fight

Miss Julie

Penghao Theatre

Penghao Theatre

P90

P50

P70

06.21 / 06.23 > 19:30 话剧《孤单先生》 风尚剧场

Mr. Lonely Fashion Theatre P120

06.26~06.28 > 19:30

07.05~07.07 > 19:30

实验川剧《情叹》

后山艺术空间

国话先锋剧场

The Family of O

Sighing

The Post Mountain Art Space

Beijing Pioneer Theatre of NTC

P88

P57

独角戏 《C》 蓬蒿剧场

C

Penghao Theatre P19

06.26~06.30 > 19:30 话剧《南锣鼓巷7号》 东宫影剧院隆福剧场

No. 7 Nanluoguxiang Oriental Palace Theatre P73

06.29 > 14:00 / 06.30 > 19:30 话剧《以2的名义》 风尚剧场

In the Name of 2 Fashion Theatre P109

07.20~07.21 > 19:30

舞蹈剧场《阿O一家》

07.05~07.07 > 19:30

07.26/07.28 > 19:30 / 07.27 > 14:30

话剧《离婚》

实验表演《我可怜的马拉特》

青蓝剧场

蓬蒿剧场

Divorce

My Poor Marat

Qinglan Theatre

Penghao Theatre

P27

P47

07.09~07.11 > 19:30 诗歌剧场《写诗》 蓬蒿剧场

Writing Poems Penghao Theatre P53

07.13~07.15 > 19:30 诗歌剧场《日常_非常日常》 蓬蒿剧场

Daily_Unusual Everyday Penghao Theatre P78

剧场Poem Theatre P39~42 / 实验演出Contemporary Chinese Traditional Theatre P43~55 / 实验·戏剧 Reality·Theatre P56~68 / 现实·戏剧Contemporary Reality·Theatre P69~81 13

工作坊 / Workshops

给互动装置艺术《站立的人》注入生命 法国

气和意念在表演艺术中

light and sound design suing The Standing Men installation as the medium

Breath and mindfulness in the performing

05.08 >14:00-17:00 05.09 >10:00-13:00-14:00-17:00

07.22~07.23 蓬蒿剧场 / Penghao Theatre P133

蓬蒿剧场 / Venue: Penghao Theatre P123

长谷川孝治戏剧工作坊 ——中日韩三国合作戏剧《祝/言》预演活动北京站

建筑与城市空间里的现代舞 法国

Contemporary Dance in architecture and urban spaces 05.28 >14:00-17:00 蓬蒿剧场 / Venue: Penghao Theatre P125

“SHUGEN-Celebration/Expression” Theatre Co-production of China, Japan and Korea ~The Pre-Event~ 07.24~07.25 蓬蒿剧场 Penghao Theatre / 风尚剧场 Fashion Theatre P134

网络话语与现实 德国 《站》-时间、空间和身体 日本

Online Discourse Reality 05.13/05.16 >18:30-21:00 06.01/06.02>14:00 ；06.08/06.09>14:00； 06.21~06.25>19:30；06.29>19:30 中央戏剧学院/风尚剧场/蓬蒿剧场/ The Central Academy of

Drama/ Fashion Theatre/ Penghao Theatre

Standing -Time, Space and Body—Makoto Sato Workshop 06.17~06.20 风尚剧场/Fashion Theatre P135

P127

“极致的单纯”——爱德华邦德的戏剧及21世纪的戏剧 “当下”的肢体语言表达 瑞典

The actor in the moment of physical expression

Radically Innocent-The plays of Edward Bond and Theatre for the 21st Century 06.05~06.09

07.19~07.21 4 hours each

风尚剧场/Fashion Theatre

蓬蒿剧场 / Venue: Penghao Theatre

P137

P129

文本的背后，场景的超越--戏剧实验工作坊 如何构建“讲故事剧场” 以色列

How to construct a Story-Telling Theater

Beneath the text, beyond the scenes-Exclusive exploration workshop

06.26~07.06

07.19~07.30

风尚剧场/蓬蒿剧场 Fashion Theatre/Penghao Theatre P131

风尚剧场/蓬蒿剧场 Fashion Theatre/Penghao Theatre P139

/ 肢体·舞蹈剧场 Dance Theatre·Physical Theatre P82~92 / 跨界—多媒体演出CrossoverMultimedia Performance P93~99 / 新生New Born P100~121 / 工作坊+讲座 Workshops＋ 14

讲座 / lectures

论坛 / Forum

前进进的艺术取向与新文本运动（陈炳钊、冯程程）

主论坛 / Main Forum 全国十城市民间戏剧发展论坛“再剧场：会议剧场/会议现场”

The Artistic Orientation of On&On and the New Text Movement 06.15>14:00 蓬蒿剧场 / Penghao Theatre P141

Forum: The Development of Nongovernmental Theatres in 10 Cities of China “Re-forum: Conference Theatre/Conference Scene” 06.21~06.23 蓬蒿剧场 / Penghao Theatre

瑞典皇家剧院新文本计划+剧场——一个相遇的地方（Magnus Florin）

P152

The strange realities of the stage + theatre as a meeting place 06.29>14:00

分论坛 / Subforum

蓬蒿剧场 / Penghao Theatre

“北京市大学生校园戏剧发展论坛”

P143

当你强调身体的时候你到底是什么意思：模糊和主体性（石可）

What do you actually mean when you emphasise the “body”: Ambiguity and Entity

Beijing Campus Theatre Development Forum of College Students 05.04>10:00~16:00 国际关系学院 / Institute of International Relations P162

07.07>14:00 蓬蒿剧场 / Penghao Theatre P145

诗歌-语言的最高形式 （蓝蓝）

Poetry, the Highest Form of Language 07.14 >14:00 蓬蒿剧场 / Penghao Theatre P147

艺术在推动公共政策中的角色

The role of the Arts in setting public policy 06.22 >10:00 蓬蒿剧场 / Penghao Theatre P149

Lectures P122~150 /公共论坛Public Forums P151~162 / 场地介绍Venus Introduction P163~171 / 主办单位Host Organisation P172 / 承办单位Organiser P173 / 地图Map P176 15

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NEW WRITING THEATRE

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话剧《谁杀了大象》

Play: Who Killed the Elephant

香港

Hongkong

编导：冯程程 制作：前进进戏剧工作坊 粤语演出/中文字幕

Playwright and Director: Vee Leong On & On Theatre Workshop Production Perform in Cantonese, with Chinese subtitles

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作品介绍： 《谁杀了大象》于2012年5月香港“新文本戏剧 节2012”首演，后移师台北，参与「第五届女节」演 出，大获好评；剧本随即被台北文学杂志《卫生纸》 刊登发表。2013年1月，作品更获选为牯岭街小剧场 2012年「最佳年度作品」。2013年年初，获邀至英国 卡迪夫 (Cardiff) Chapter Centre 排演英语版本。 作品以三幕剧的框架、三个不同的视点所构成的 多重叙事层次，探讨集时代性和本土性的议题，对后 殖民政治、人类文明发展、群众力量等等进行反思。

编导： 冯程程，前进进戏剧工作坊驻团导演，负责策划 欧陆新文本展演计划及课程系列，并曾导演多部新文 本作品，包括：莎拉肯恩《渴求》(2006)、耶利内克 《死亡与少女》(2008)、邱琪儿《远方》(2010 / 获第 三届小剧场奖最佳导演提名)、雅丽珊卓．活《第十一 城》(2011)。近期编剧作品有《守夜者》(2012华山艺 术生活节委约 / 台北莫比斯圆环创作公社制作)。

Synopsis: Who Killed the Elephant was first performed in Hong Kong in May 2012 as the opening programme of New Writing Theatre Festival. It toured to the 5th Taipei Women's Theatre Festival in June 2012. The production was awarded “Best Show 2012” by Guling St. Theatre, and the play text was selected for translation and publication by the Taipei literary journal “Off the Roll, Poetry+” (January 2013 edition). Its English version was presented upon invitation at the Cardiff Chapter Centre, UK in February 2013.

Originally written in a triptych structure, the play experiments with narrative forms and language in an attempt to rethink such concepts as discipline, mass, identity, state surveillance and development in relations to the colonial past and (neo-)colonial present of Hong Kong.

Playwright/Director: Vee Leong, Resident Director of On & On Theatre Workshop, is currently the convener of the recently established New Writing Lab dedicated to contemporary European theatre text and new theatre writing. Her recent directing works include Sarah Kane’s Crave (2006), Elfriede Jelinek’s Death and the Maiden (2008),

导演阐述：

Caryl Churchill’s Far Away (2010, nominated for Best Director in

《谁杀了大象》是一场语言实验，以密集的话 语引发想象。想象，在剧场里可以是感性，也可以是 知性的；既制造浪漫，也带来判断。每一幕里面大象 都会以不同形式出现。我希望邀请观众一同想象每一 幕的“大象”，一同创造奇幻无比的暴烈世界，追踪 沉默无声的大象。

3rd Hong Kong Theatre Libre Awards) and Alexandra Wood’s The Eleventh Capital (2011). Her recent playwrighting work, The Lives o P (2012, commissioned by Huashan Living Arts and produced by Mobius Strip Theatre), has just been presented in Taipei.

Director’s Note: Who Killed the Elephant is an experiment of language, intriguing imaginations with intense text. Imagination in theatre

支持：香港艺术发展局、香港特别行政区政府民政事务局艺术发 展基金

could be emotional and rational; it creates romance yet still brings forward judgement. In each scene, the image of the Elephant is depicted in different ways. I’d like to invite the audience to imagine the Elephant and visualise the mysteriously fierce reality. Together we will follow the steps of the silent Elephant.

Supported by Hong Kong Arts Development Council, The Arts Development Fund of the Home Affairs Bureau, Government of the Hong Kong Special Administrative Region,

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独角戏 《C》

Monologue : C

瑞典/2012原创

Sweden / 2012 Original

编剧/演出：Hamadi Khemiri 瑞典皇家剧院出品 英语演出/中文字幕

A monologue by and with Hamadi Khemiri The Royal Dramatic Theatre Production Perform in English,with Chinese subtitle

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作品介绍： 在哈马迪·科米日的独角戏中，我们随着非凡的 人物“C”一起冒险。它被释放出来后，通过喷气式 发动机和电子信号四处前行。C历经一切，从单相思 到综合格斗术到手榴弹爆炸。 虽然舞台上只有哈马迪·科米日一个人，我们却 在不同的场景下看见了多个角色。他的道具就是他的 身体——一个声音采样器和独具匠心的灯光设计。 “扮演不同的人、在不同情境中转换、不停地更 换视角，这些让我十分兴奋。我之所以写这部话剧的 原因，是因为我对于我们所处的这个世界十分好奇。 这是一个形形色色、杂乱无章却又通过某种方式联系 在一起的世界。”哈马迪·科米日如是说。

Synopsis In Hamadi Khemiri’s one-man show, we hitch a ride on the remarkable particle C when it is hurled out into the world. Moving about via jet motors, albatross dung and electronic signals, C experiences everything from unrequited love to mixed martial arts to grenade explosions.

Though Hamadi Khemiri is alone on the stage, we nevertheless encounter a large number of characters in many different environments. His tools are his own body, a sound sampler and ingenious lighting design.

“It’s exciting to be both outside and inside many different people, to jump between situations and places and change perspective. I think the reason I wrote this show is my curiosity about our disparate, chaotic world that is still in some way connected,” says Hamadi Khemiri.

编导： 哈马迪·科米日，曾在索迪拉拉丁中学学习戏 剧，然后进入斯德哥尔摩戏剧艺术学院学习了四年， 毕业时他在毕业戏剧《梦幻戏剧和三姐妹》中参与演 出。在此之前他曾于1997年在瑞典皇家戏剧院出品的 《米奥，我的米奥》一剧中出演“江江”一角。2003 年他回到瑞典皇家戏剧院，在埃乐维克舞台上的《沃 伊采克》中出演安德烈斯。也是在瑞典皇家戏剧院， 他出演了戏剧《周末》，并在Lejonkulan 剧场演出的 《糜烂——一个公主的生活》中扮演尤金王子。在约 瑟夫·法里斯导演的2010年电影《爸爸》中，他扮演 萨米一角。 由哈马迪撰写并表演的戏剧独白《信号故障》于 2007年首演，2008年在瑞典皇家戏剧院演出，随后 被搬上瑞典银屏。2009年，在瑞典皇家戏剧院《太 阳——一个皇储的生活》中哈马迪出演古斯塔夫一 角。2012年，他出演了自己的戏剧独白《C》和另外 三部作品《鬼魂奏鸣曲》、《天堂的孩子》和《亲爱 的》。

Playwright/Director: Hamadi’s training includes the theatre curriculum at Södra Latin secondary school, followed by four years at the Stockholm Academy of Dramatic Arts, where he performed in graduation productions of A Dream Play and Three Sisters. Prior to this, he had played Jum-Jum in the 1997 production of Mio, My Mio at the Royal Dramatic Theatre (Dramaten). He returned to Dramaten in 2003 on the Elverket stage as Andres in Woyzeck. Also at Dramaten, he appeared in Le Week-End and in the role of Prince Eugene in Rotten – the Life of a Princess at the Lejonkulan venue.

In the 2010 film Dad, directed by Josef Fares, he played Sami.

The dramatic monologue Signal Breakdown, written and performed by Hamadi, premiered in 2007, came to Dramaten in 2008 and was later shown on Swedish television. In 2009 Hamadi was seen at Dramaten in Gustaf, the Sun – The Life of a Crown Prince. In 2012 he performed his own dramatic monologue C and appeared in three other productions, A Ghost Sonata, Children of Paradise and Chéri.

The Royal Dramatic Theatre, founded in 1788 and commonly known as Dramaten, is Sweden’s national theatre. The

出品： 瑞典皇家戏剧院，建于1788年，是瑞典的国家剧 院。该剧院受政府安排表演古典戏剧、新的国内外戏 剧，以及面向青少年的戏剧。该剧院属国家所有。现 任艺术总监为玛丽.路易斯.埃克曼。 自1908年以来，位于斯德哥尔摩新桥广场的瑞典 皇家戏剧院大楼就一直是该剧院的所在。这个大型新 艺术建筑拥有5个舞台，主礼堂可容纳770名观众。瑞 典皇家戏剧院青少年剧院“青年剧院”位于另一个叫 做埃乐维克的地方。

场景设计和灯光：SUTODA 音效设计：马丁·哈尔贝格

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theatre is tasked by the government to perform classical theatre, newly written national and international theatre, and theatre for children and youth. The theatre is owned by the Swedish state. The current Artistic Director is Marie-Louise Ekman.

The Royal Dramatic Theatre’s building at Nybroplan in Stockholm has been the theatre’s home since 1908. This great art nouveau building houses five stages. The main auditorium seats 770 spectators. There are in total five stages. The Royal Dramatic Theatre’s scene for children and youth, Unga Dramaten, is placed at a separate stage called Elverket.

Scenic design and lighting: SUTODA Sound design: Martin Hallberg

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文学剧 《塞纳河少女的面模》

Lecture Theatre: The Facial Mould of a Maid by the Seine

原创

Original

编 剧：童道明 导 演：张子一 蓬蒿剧场出品

Playwright: Tong Daoming Director: Zhang Ziyi Penghao Theatre Production

给我狭窄的心，一个大的宇宙

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作品介绍： 该剧是为了纪念“二十世纪中国杰出的抒情诗 人”（鲁迅语）——冯至先生的一部原创话剧。 1936 年，冯至在德国柏林留学期间，无意中在一家书店买 到一具少女的雕塑面模，下面用法语标明“赛纳河畔 的无名少女，她因不幸遭遇投河而死，死后还面含忧 愁。”法国著名作家罗曼.罗兰曾形容这幅少女的面 模——“笑不是一般的笑，愁也不是一般的愁，像是 涵盖了人世间所有的笑和愁。”抗战时期冯至先生回 国任教于西南联大，一直将她珍藏在身边，直至1966 年文革开始。 该剧的创作起源于冯至先生的真实故事，及他的 大量诗作，其中也有冯至和季羡林长达一生的友谊和 晚年时刻最动人的交往。 该剧首演于2009年9月，是蓬蒿剧场独立出品的 第一部戏。濮存昕、敬一丹等艺术家曾以志愿者身份 参与该剧演出。蓬蒿剧场艺术总监王翔当时撰文：一 个健康的社会，不应该只有一种声音，不能只有物质 和娱乐，更应该有深层的文学关怀。我们把上世纪初 冯至、季羡林那一代知识分子美到极致的生命搬上舞 台，决不只是为了怀念。 编剧： 童道明，我国著名的戏剧评论家及俄罗斯文学翻 译家。 著有论文集《他山集》，专著《戏剧笔记》， 随笔、散文集《惜别樱桃园》等，并另有多种译著。 他写的戏剧评论《斯坦尼斯拉夫斯基体系是非谈》、 《梅耶荷德的贡献》等，受到了戏剧界的广泛关注， 他每篇文章都好像有倾诉不完的观点，洋洋洒洒，落 笔千言，纵横恣意，显露了他逼人的才学。1981年， 他就出版了自己的第一本论文集《他山集》。随后， 他的《戏剧笔记》《惜别樱桃园》《俄罗斯回声》 《我爱这片天空》等多部作品一一面世。2000年，由 他主编的20卷本的《世界经典戏剧全集》出版，引 起了文化界的极大关注。2009-2012年童先生编剧的 《塞纳河少女的面模》、《我是海鸥》、《秋天的忧 郁》陆续上演。 导演： 张子一，毕业于中央戏剧学院影视编导专业。从业 于电影制作及电影节海外事务，却身为职业话剧观众以 及非职业话剧导演。执导过《塞纳河少女的面模》、 《声音乐团》、《东寰广场D座停电事件》、《费明剧 作三部》（剧本朗读）。

舞美设计：张子一 演员：梁国庆、郑铮、王绍军、张冰喻、林寒、杨晨熙、郭笑 制作人：赖慧慧 执行制作：周丝思 灯光设计：王鹏 出品人：王翔

Synopsis: The play is an original work written to commemorate Mr. Feng Zhi, lauded by Lu Xun as an “outstanding Chinese lyrical poet of the 20th century“. In 1936, Feng Zhi was studying in Berlin, Germany, and by chance bought a sculpture of a girl’s face in a bookstore, with a label in French reading “Unknown girl of the Seine River, she jumped into the river because of misfortune and died, leaving a face of sorrow after her death.” Famous French writer Romain Rolland described this sculpture of the girl’s face – “The smile is not a common smile, the sorrow is not a common sorrow, it seems to cover all the smiles and sorrow in the world.”

During the Anti-Japanese War, Mr. Feng Zhi returned to China and taught at Southwest United University, and brought the sculpture with him until the beginning of the Cultural Revolution in 1966.

The creation of this play originated in the true life story of Mr. Feng Zhi as well as a large number of his poems, along with the lifetime friendship between Feng Zhi and Ji Xianlin, and the touching contact between the two in their old age.

Playwright: Tong Daoming is a renowned theatre critic and Russian literature translator in China. He has published a collection of papers titled “Ta Shan Ji“, the “Theatre Notes“ monographs, a collection of essays called “Farewell Cherry Orchard“, all with a variety of translations. His theatre reviews “The Right and Wrong of Stanislavsky System” and “Meyerhold’s Contribution” are widely known in theatre. In each article he holds forth in great detail, with eloquence, putting pen to paper a thousand words at a time, the aspect wanton and revealing of his scholarship. In 1981, he published his first collection of papers“Ta Shan Ji”. Later, his “Theatre Notes”, “Farewell Cherry Orchard”, “Russian Echo”, “I Love This Sky” and many other works were published in quick succession. In 2000, 20 volumes of “The Complete Works of World’s Classic Drama” edited by him were published, causing great mention in the cultural sector. In 2009-2012 Mr. Tong’s “The Facial Mould of a Maid by the Seine”, “I Am a Seagull” and “The Autumn Melancholy” were staged.

Director: Zhang Ziyi graduated from the Central Academy of Drama, majoring as a film director. He practices film production and participates in overseas film festivals, but also engages with a professional theatre audience and as a nonprofessional theatre director. He has directed “The Facial Mould of a Maid by the Seine”, “Sound Orchestra”, “The Power Failure at East Plaza D” and “Three Plays of Fei Ming” (stage reading).

Stage Designer: Zhang Ziyi A c t o r : L i a n g G u o q i n g , Z h e n g Z h e n g , Wa n g S h a o j u n , L i n Han,Zhang Chenxi, Guo Xiao Producer: Lai Huihui Executive Producer: Zhou Sisi Lighting Designer: Wang Peng Presenter: Wang Xiang

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喜剧 《蒋公的面子》

Comedy: The Invitation of Chiang Kai-shek

2012 原创

2012 Original

编剧：温方伊 导演：吕效平 南京大学艺术硕士剧团演出

Playwright: Wen Fangyi Director: Lv Xiaoping Master of Fine Arts Troupe of Nanjing University

作品介绍：

演出单位：

1943年蒋介石初任中央大学（1949年 更名为南京大学）校长，邀请中文系三位 知名教授共进年夜饭，这使教授们非常为 难，他们争吵了一个下午：给不给蒋公这 个面子呢？文革中，他们必须交代是否接 受蒋宴请了。诚惶诚恐地回忆往事，真相 难觅。1943年，蒋任中大校长，请中文系 三个教授吃饭，确有其事，一个胡小石， 一个陈钟凡，还有一个不知道是谁。 迄今，《蒋公的面子》已经演出34 场，场场满座。观众从校内师生，扩展到 校外知识分子和普通市民。省市各家报 纸、电台和电视台都对该剧演出做了大幅 报道，新浪江苏为该剧制作了专页。《人 民日报》、《中国画报（英文版）》、 《南方周末》、《新民晚报》等有全国影 响力的报纸也进行了报道。

南京大学艺术硕士剧团，成立于2007 年9月。它是南京大学戏剧影视研究所和 文学院戏剧影视艺术系指导下的一个剧场 艺术团体，融教学与文学和剧场的创作为 一体，主要成员为过去、现在和未来的戏 剧影视专业艺术硕士生（MFA）。 上世纪80年代，著名戏剧家陈白尘先 生担任南京大学中文系主任和戏研所所 长，在他的倡导下，南大学子继承田汉 “南国剧社”的艺术精神，先后演出过 《夜店》（高尔基原作）、《升官图》 （陈白尘）、《小鸦林》（[苏俄]万比洛 夫）、《第十二夜》（莎士比亚）等戏剧 名作和自创或改编的剧作《选择》、《歌 声遥远》、《罗密欧，还是奥塞罗》、 《〈人民公敌〉事件》等。艺术硕士剧 团成立以来，先后上演过《学一学鸽 子》（根据美国戏剧《蝴蝶是自由的》 改编）、《油漆未干》（[法]勒内.福舒 瓦）、《海鸥》（[俄]契诃夫）、《蕾昂 瑟和蕾娜》（[德]毕希纳）、《晚安啦， 妈妈》（[美]玛莎．诺曼）和《桃之夭 夭》、《实验戏剧：二零一一年九月》、 《我是月亮》等原创剧目。 2013年2月，南京大学艺术硕士剧团走 出校园，在南京市栖霞区注册，成为一个 地方性、社会性的年轻剧团，将致力于以 更专业的戏剧艺术作品贡献于当代社会。

编剧：温方伊，南京大学文学院戏剧影视 艺术系2009级 导演：吕效平，南京大学文学院副院长、 南京大学戏剧影视艺术系系主任

演出：周雨、高仲玮、赵超、温方伊、张萌、黄敏娟、刘昕、唐彦良、李阔、彭俊棋 舞美设计：孙渤 舞美设计指导：魏钟徽 灯光设计：贤骥清 服装与化妆：冯时 舞台监督：赵君、彭俊棋 演出单位：南京大学文学院戏剧影视艺术系/南京大学艺术硕士剧团

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Synopsis: In 1943, Chiang Kai-shek, the new President of National Central University (renamed as Nanjing University in 1949), invited three renowned professors of the Chinese Department of the university to a New Year’s Eve dinner with him. The invitation posed a difficult dilemma for the professors, which led them into a quarrel on whether to accept the invitation or not. During the Cultural Revolution, they had to report to the government about whether or not they had accepted the Chiang’s invitation. They looked back to the old time in great fear and anxiety, but the truth was difficult to uncover. It is true that in 1943 when Chiang was the then-President of the National Central University, he invited three professors of the Chinese Department to dinner. One of them was Hu Xiaoshi, one was Chen Zhongfan, and the third one was not known.

The Invitation of Chiang Kai-shek, has since been performed 34 times. Each performance has attracted a full house. The audience gradually expanded from young students to middle aged and elderly people.Various newspapers, radios and television stations in Nanjing City and Jiangsu Province have reported on performances of the play. Sina Jiangsu even made a special page for this play on its news website. Other newspapers with national influence, such as People’s Daily, China Pictorial Magazine (English Edition), Southern Weekly and Xinmin Evening News have also reported on this.

Playwright: Wen Fangyi is a student of the class of 2009 at the Department of Drama and Movie Arts, School of Liberal Arts, Nanjing University.

Director: Lv Xiaoping is the Deputy Dean of the School of Liberal Arts, and Head of Department of Drama and Movie Arts, Nanjing University.

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Performing organization: The Master of Fine Arts Troupe of Nanjing University was founded in September 2007. This is a theatre arts group under the direction of the Drama and Movie Institute of Nanjing University and the Department of Drama and Movie Arts of the School of Liberal Arts. It combines teaching with literature and theatre creation, constituted by former, present and future students of the Master of Fine Arts (MFA) in Drama and Movie.

In the 1980s, the famous dramatist and the then head of the Department of Liberal Arts and director of the Drama and Movie Institute, Mr. Chen Baichen, advocated for students to perform dramas. Inheriting the art spirit of South Drama Club, founded by Tianhan, students in Nanjing University have performed famous plays such as Night Inn (Original work of Gorky), Dream of Promotion (Chen Baichen), The Crows’ Grove ([Soviet Russian] Vampilov), Twelfth Night (Shakespeare). They also originated and adapted some plays, such as Choice, Remote Sound of Singing, Romeo or Othello, Enemy of People, Incident, etc. Since the foundation of the Master of Fine Arts Troupe, they have performed To Learn from Pigeons (adaption from American play Butterflies Are Free), Wet Paint ([French] Renee Schwab), Sea Gull ([Russian] Chekhov), Leonce and Lena ([German] Büchner), Nigh, Mother ([American] Marsha Norman), and some original plays such as Peach Blossoms, Experimental Play: September 2011 and I Am the Moon, etc.

In February 2013, the Master of Fine Arts Troupe of Nanjing University registered in Qixia District, Nanjing. Thus it became a local and social troupe, dedicated to contributing to modern society with professional drama productions.

Performers: Zhou Yu, Gao Zhongwei, Zhao Chao, Wen Fangyi, Zhang Meng, Huang Minjuan, Liu Xin, Tang Yanliang, Li Kuo, Peng Junqi Stage design: Sun Bo Stage design director: Wei Zhonghui Light design: Xian Jiqing Costume and Make up: Feng Shi Stage Managers: Zhao Jun, Peng Junqi Performing organization: Master of Fine Arts Troupe of Nanjing University, Department of Drama and Movie Arts, School of Liberal Arts, Nanjing University

话剧《离婚》

Play: Divorce

首演

Premiere

原著：老舍 改编：方旭 导演：明戏坊集体创作 明戏坊戏剧工作室出品

Adaptor: Fang Xu Director: Collective Creation of Mingxifang Theatre Studio Ming Theatre Studio Production 27

作品介绍： ——1933年的中国式离婚 ——有时一天走了三步，第二天又退了六步。 ——现实的荒诞与荒诞的现实。 ——感觉有些恍惚。 ——2013年…… 不管结婚时有多么的真心诚意，一到离婚的时 候，人们都会感慨于婚姻的荒唐。有些恍惚…… 该剧改编自老舍先生的同名长篇小说《离 婚》，是老舍先生自己相当偏爱的作品作之一。 《离婚》以老舍式幽默及浓厚的京味儿展现了一 出市井人家含泪带笑的人生悲剧。作品以当时北平财 政所小职员老李等一伙人被卷入“离婚”风潮的故事 为线索，正派的或不那么正派的，有文化的或没什么 文化的，都在走马灯似的闹离婚，透视出中国传统文 化背景下面市民阶层面对新式文明而进退两难的尴尬 与可悲。 老舍先生自己说：“自这部小说起，我建立了自 己的文字风格……在写《离婚》时，我决定抛弃陈腐 的文言文，而尽量用接近生活的语言来表达……我希 望用一般平民百姓的语言去创造一种新的美感……我 在《离婚》中所用的语言是第一个，也可能是最好 的，文字简洁清新的典范。” 剧本改编： 方旭，生于北京，毕业于中央戏剧学院导演系， 是目前国内优秀的中生代实力派编导、演员，他曾在 多部影视剧与舞台剧中饰演性格迥异的角色，给观众 留下了深刻印象。 2010年，方旭创办“明戏坊戏剧工作室”，开始 独立剧场创作，先后推出《庄谁是谁》《看茶》《我 这一辈子》《猫城记》《禅谁是谁》《离婚》等多部 舞台剧作品。方旭集编剧、导演、演员于一身，尤以 表演见长。他钟情于中国传统文化，对佛教、道教、 中医、茶艺、书画、音乐等领域有颇多研究，并将其 融入自己的戏剧创作，使作品简约空灵，超凡脱俗。 同时，方旭又植根于民间，深深浸染在北京古都文化 之中，擅长塑造市井街头的小人物，表演生动，惟妙 惟肖。

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演出机构： 明戏坊戏剧工作室，是由著名影视剧演员、戏 剧编导方旭发起创办的民间戏剧团体，演出作品灵感 多取自中国传统文化、现当代文学等领域，呈现形式 丰富新颖，具有时代气息。自2011年起，“明戏坊” 推出了一系列老舍小说改编的舞台剧作品——《我这 一辈子》《猫城记》《离婚》等，受到戏剧界、文化 界及广大观众的一致推崇，常演常新，渐成经典。此 外，《庄谁是谁》《看茶》《禅谁是谁》等作品，也 以独特的视角拓宽了舞台剧的题材，为观众展示了古 典文本现代化呈现的全新可能。 导演阐述： 离婚不仅限于男女间的纷争，从宽泛的意义上 讲，在于人们内心的挣扎，传统与变革、真实与虚 幻、理想与现实，在各种争斗中人不断被挤压和扭 曲。故此”恍惚”成为了人们常有的一种精神状态。 “我恍惚了！”便成为此次改编最重要的关键词。舞 美设计、音乐设计、人物设计都将以此为核心，在恍 惚挣扎中把含泪的笑呈现在舞台上，最大限度的保留 原著的文学特质，将老舍式幽默发挥到淋漓尽致，强 调戏剧的扮演感和游戏感，演员在不同人物之间转换 以及与观众之间的直接交流使该戏从整体气质上更加 自由和开放。此外，京味儿是该剧另一特质，从表演 上追求原汁原味的京腔京韵，希望能够挽留那即将失 去的味道。

总 策 划：关纪新、王庆泉 文学顾问：舒乙、舒济 艺术顾问：斯琴高娃 剧本改编：方旭 主演：方旭、仁龙 制 作 人：崔文嵚 舞美/灯光设计：马超 音效设计：周天纵 服装道具管理：刘显萍 舞台监督：朱伯男 演出机构：明戏坊戏剧工作室

Synopsis: --A Chinese-style divorce in 1933.

--Sometimes you take three steps forward one day, but six steps backward the next.

--The absurdity of reality and the reality of the absurd.

--Feel a trance.

--2013...

No matter how sincere they were when they got married, people will lament the absurdity of marriage when they get divorced. And feel a trance...

This play is adapted from Lao She’s novel of the same name “Divorce”, which is one of Lao She’s own favourites.

With Lao She‘s humour and the rich Beijing vernacular, “Divorce” demonstrates a tragedy of life with the tearful smiles of ordinary families. A group of people including Peking finance staffer Lao Li are involved in the “divorce” trend, decent or not so decent, civilized or not, like a revolving door of divorce, reflecting the dilemmas, embarrassment and sorrow of ordinary people facing modern civilization against the background of traditional Chinese culture. In that time, divorce as a new trend had just appeared in this ancient oriental country, and its refraction illuminates a corner of some old-style families who cannot help but become restless.

However, in the malformed society of the times, such stories regardless of how “tragic” at the beginning will, during their later development, be inevitably infected with sort of farce concerning face, compromise, cowardice, self-deception and self-sufficiency, perfunctory improvisation, as the trivialization of philosophy by ordinary people impedes their rational choice. They make quite some scenes, but finally no one really gets divorced.

Lao She said himself, “Since the writing of this novel, I have created my own language style. When I was writing “Divorce”, I decided to abandon the fusty antique language and express myself with the language of daily life as far as possible. I hope to create a new kind of beauty with the language of common civilians. The language I used in “Divorce” is the first, and probably the best, sample of simple and fresh text.”

Adaptor: Fang Xu was born in Beijing, graduated from the Directing Department of the Central Academy of Drama, and is a core director and actor in China today. He has played the roles of different personalities in movies, TV series and stage plays, and given many audiences deep and lasting impressions.

In 2010, Fang Xu founded the Mingxifang Theatre Studio and began an independent theater creation. He launched “Zhuang who is who”, “Watch Tea”, “This Life of Mine”, “Cat City”, “Zen who is who”, “Divorce” and many other stage works. Fang Xu is a playwright, director and actor, especially known for his acting. He loves traditional Chinese culture, has carried out a lot of research on Buddhism, Taoism, Chinese medicine, tea ceremony, calligraphy, painting, music, and other fields, and integration of these fields into their own theatrical creations. These are great minimalist works, which are an ethereal sight to behold. Fang Xu is rooted in folk, deeply immersed in the ancient capital of Beijing culture, good at portraying the marketplace streets of the normal people, showing a vivid and lifelike experience.

Presenter: Mingxifang Theatre Studio is a civilian theatre group founded by the famous movie and TV series actor and theatre director Fang Xu, and performs works inspired by Chinese traditional culture, modern and contemporary literature and other fields, showing the form of a rich new flavour of the times. The Ming Opera Square since 2011 has launched a series of Lao She’s novels of stage drama – “My life”, “Cat City” and “Divorce” to the unanimous praise of the theatre, the cultural sector and the majority of the audience. It’s popularity means that it is often played again, and has in a sense become a classic. In addition to “Zhuang who is who”, “Watch tea”, “Zen who is who” and other works, his unique perspective broadens the theme of drama, and shows audiences the new possibilities presented by the modernization of classical texts.

Director’s Note: “Divorce” is not limited to disputes between men and women in a broader sense, but also depicts people’s inner struggle between tradition and change, real and unreal, the ideal and reality, and continues to be squeezed and twisted in a variety of human battles.

Therefore, the “trance” has often become the people’s state of mind. “I’m in a trance!” will become part of the adaptation’s most remembered key words. Stage design, music design, character design are multiplied to form the core, in a struggling trance presented on the stage to tears of laughter, maximizing the retention of the original literary qualities and Lao She’s humour to the fullest.

The play emphasizes the sense of drama and game in the play, and the actors direct communication between the transitions experienced by the different characters and with the audience itself to make the play more free and open from the overall temperament. Capital flavour is another quality of the drama, and the performances pursue the authentic Beijing accent, hoping to retain a taste of what may soon be lost.

General Planner: Guan Jixin, Wang Qingquan Literary consultant: Shu Yi, Shu Ji Artistic Advisor: Siqin Gaowa Adaptor: Fang Xu Starring: Fang Xu, Renlong Producer: Cui Wenqin Stage/Lighting Designer: Ma Chao Sound Design: Zhou Tianzong Costume/Props Manager: Liu Xianping Stage Manager: Zhu Bonan Presenter: Mingxifang Theatre Studio Performer: Fang Xu, Ma Long (stage name: Renlong)

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话剧 《灵魂厨房》

Play: Soul Kitchen

2012 原创

2012 Original

编剧：费明 导演：王晓凡 蓬蒿剧场出品

Playwright: Fei Ming Director: Wang Xiaofan Panghao Theatre Production

作品介绍： “灵魂厨房”是一间制造灵魂产品的“厨房”， 这里面有主厨也有实习厨师，他们生产的产品是电视 剧剧本。主厨是著名作家，实习“枪手”是气质女编 剧，剧情随着他们的合作与教、受产生矛盾，这些矛 盾有价值观上的也有情感上的，最后愈演愈烈，到了 不可调和的地步，甚至归结到了灵魂本身。男女主人 公周边还有一些人，这些人和他们又有着联系，最后 他们也参与了最本质上的对灵魂的质疑与验证。 编剧： 费明，出生于五十年代，北京人。曾于八十年代 初创作了《初恋时，我们不懂爱情》，曾被全国36家 剧团搬演，九十年代又创作了姊妹篇《离婚了，就别 再来找我》，又一次轰动并被拍摄成电影，成为“蒙 特利尔电影节”中国参赛作品。 尔后，他迷失于影视创作。十年后，他发现话剧 才是真正能表现人性、人生的最佳艺术形式，故重归 戏剧写作，一口气写下3部话剧，相继于2011至2012 年搬上话剧舞台。费明的话剧剧本《尤物》、《恐 惧》、《汪先生的下午茶》均在蓬蒿剧场剧本朗读。 话剧《东寰广场D座停电事件》由蓬蒿剧场制作并首 演。话剧《灵魂厨房》为费明与蓬蒿联合出品的第 二部剧本，也是蓬蒿历史上演出周期最长的话剧， 于2012年10月连续上演一个月，由于演出配有英文字 幕，于是出现了中国观众、外国观众、高中生、老知 青济济一堂观看的热络景象。 导演： 王晓凡，中央戏剧学院导演系本科导师。英国皇 家戏剧学院高级访问学者。2012年南锣鼓巷戏剧节开 幕戏《寻找剧作家》导演。

出品：王翔、费明 制作：梁丹丹 演员：郭笑、江佳奇、郭馨浓、邱礼杰、张尧 舞美：杨胜利 灯光：陈尔东 平面设计：马卷风

Synopsis: Soul Kitchen is a “kitchen” that produces souls by a chef and an intern chef. Their productions are TV drama scripts. The chef is a famous writer, and the intern chef is the real writer behind the curtain, in reality an elegant lady. The story develops their conflicts as the cooperation continues. Conflicts are over values, as well as emotions, and then escalate to the irreconcilable level, which are owned even unto the soul itself. Some other people surrounding these two leading roles are related and also participate in the questioning and testament of the soul.

Playwright: Fei Ming was born in the 1950’s in Beijing. He wrote “We Don’t Know Love in Our First Love” in the 80’s, which has been performed by over 36 troupes around the world. In the 90’s, he created a companion piece “Don’t Come to Me after Divorce”, which was a resounding success and has been adapted into a film. The film has entered the World Film Festival in Montreal representing China.

Following this, he dove into the world of film production.

Ten years later, he realized drama is the best format for displaying human nature and life, which motivated him to return to writing, and he immediately completed three dramas, which were all staged in 2011 and 2012. His works “Stunner”, “Fear” and “Mr. Wang’s Afternoon Tea” have all been played at Penghao Theatre. “The Power Failure at East Plaza D” (drama) was also produced and performed for the first time at Penghao. Soul Kitchen is the second drama co-produced by Fei Ming and Penghao, and it has been on show for over a month since October 2012, which is a record running length for Penghao. As it has English subtitles, it attracts audiences from all walks of life, Chinese and foreigners, high school students and educated youth.

Director: Wang Xiaofan is the Supervisor of the Department of Acting at the Central Academy of Drama. He is a senior visiting scholar of the Royal Academy of Dramatic Arts. He is the director of the opening drama of the Nanluogu Theatre Festival “Finding the Playwright”.

Presentor: Wang Xiang Fei Ming Producer: Liang Dandan Actors: Guo Xiao, Jiang Jiaqi, Guo Xingnong, Qiu Lijie, Zhang Yao Stage design: Guo Shengli Light design: Chen Erdong Design: Ma Juanfeng

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话剧《果汁》

Play: The Bloody Juice

首演

Premier

原著：凑佳苗（日本） 改编/导演：颜永祺 Free Box戏剧工作室出品

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` Director/Rewriter: Deric Gan Free box Theatre Studio Production

作品介绍： 改编自日本作家凑佳苗的著名小说《告白》。行 为怪异的初中优异生，因为一个小发明引发了一连串 骇人惊悚的连环悲剧：班主任痛失爱女、班长离奇失 踪、母亲为爱举刀、同学被囚禁精神病院……叫人惊 讶的是，这名优异生竟然对眼前发生的一切报以极度 冷静的态度。在暑假到来的前一天，班主任向班里的 同学供出了优异生叫人发指的行为，真相从这天开始 逐步浮出水面…… 导演/剧本改编： 颜永祺 Deric Gan，马来西亚出生，祖籍福建泉 州，十四岁开始活跃于舞台，编导了近四十出舞台作 品。作为亚洲新锐青年导演，颜永祺更擅长驾驭单人 剧、儿童剧和音乐剧，并多次与经典名剧的大师们对 话。颜永祺凭《天生》获2000年马来西亚青年才艺大 赛最佳剧目奖、《这里的黎明静悄悄》获2007年北京 大学生艺术展演优秀指导教师奖、儿童剧《魔盒与 歌声》获国家文化部颁发2009年全国原创动漫舞台剧 奖、《一触钟情》和《七年知痒》获2011年全国戏剧 文化奖最佳导演双金奖、《高朋满座》获2012年北京 市文化局首届北京优秀小剧场剧目奖、《青春禁忌游 戏》获马来西亚第11届中文戏炬奖最佳导演。 除了舞台艺术创作，颜永祺也受邀担任2008年北 京奥运会和残奥会的体育展示导演、中央电视台综艺 频道《2006中央电视台综艺节目主持人选拔活动》的 表演指导、清华大学EMBA班新年晚会的导演，多次 到国家大剧院、北京语言大学、对外经贸大学、北京 现代音乐学院等学府举办学术讲座，及为多家名牌企 业策划演出项目。

导演阐述： 一直想创作关注青少年生活的作品，从去年的 《青春禁忌游戏》到《果汁》，我想探讨的是青少年 暴力问题究竟是学校教育出了问题，还是家庭教育的 问题，抑或是孩子自身的问题。日本作家凑佳苗的 《告白》用极端的方式讲述了叫人惊心动魄的社会问 题，每个人以爱的名义不断地犯错，并期待被原谅， 过分的爱是毒药，诚如服食过腻的糖浆会引起病变， 爱终究成了伤害，对自己，也对别人。 《果汁》以四个主人公的视角分别讲述自己对 爱的立场，对爱的渴望，和对爱的付出行为。四个人 的爱最后幻化成锋利的武器，自己成为了牺牲品。是 放任的溺爱，换最锥心的痛，四个人，四台戏，是爱 扭曲了人性，还是人们扭曲了爱。《果汁》以灰暗的 基调平缓道出爱的悲歌。

出品/制作：free box戏剧工作室 制作人：周丹 演出：刁成禹、黄绮玲、余又熙、龙月、田鹤，王舵 舞美设计：郑博 灯光设计：高吉柱 声音设计：章澍 海报设计：郑博 宣传统筹：姚晓冬 舞台监督：孟祥桐 化妆：王冰 剧照拍摄：章澍

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Synopsis: This play is an adaptation of the renowned novel Confessions by the Japanese writer Minato Kanae. An eccentric top high school student, with his small invention, triggers a series of thrilling and horrible tragedies: the head teacher’s loss of her beloved daughter, the class monitor’s mysterious disappearance, the mother’s raising of a knife for love and the student being held in a madhouse.

Astonishingly, the top student responds to all these events with extreme calmness. Just a day before the summer vacation, the head teacher confesses the shocking behavior of the top student to the whole class, and the truth is revealed one step at a time…

Director/Rewriter: Deric Gan was born in Malaysia and is descended from a family in Quanzhou, Fujian. He became active on stage at the age of 14, and is the director of nearly 40 stage works. As an emerging young Asian director, Deric specialises in managing monodrama, children’s plays and musicals, and has many times engaged in dialogue with the masters of classic drama. Dan was awarded the “Best Play” in the 2000 Malaysia Youth Talent Contest for the play Innateness. Dawns Here Are Quiet won him the Outstanding Instructor Prize in the 2007 Beijing College Students’ Art Performance. The children’s play The Magic Box and the Singing was awarded the 2009 National Original Animation Prize for Drama by the Ministry of Culture. Love at First Touch and Seven Years won the 2011 National Drama Culture Prize for Best Directing. Gathering of Distinguished Guests got him the 2012 Beijing Excellent Small Theatre Prize for Drama. Youth Taboo Games received the 11th Chinese Drama Award for Best Directing in Malaysia.

Besides stage art production, Gan has been invited to be the director of a sports show at the 2008 Beijing Olympic and Paralympic Games, was the performance instructor of the 2006 Host Contest for CCTV Variety Shows as well as the director of the EMBA New Year Party at Tsinghua University. He has given lectures at the Grand National Theatre, Beijing Language and Culture University, the University of International Business and Economics, Beijing Contemporary Music Institute and other colleges, and has helped staging performances for many wellknown enterprises.

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Director’s Note: From last year’s Youth Taboo Games to Bloody Juice, I have been trying to produce works concentrated on youth life. I want to find out the causes of the problems of youth violence. Which of them is wrong, the school education, the family education, or the children themselves? Japanese writer Minato Kanae’s Confessions has, in an extreme way, narrated a soul-stirring social problem.

Everyone makes mistakes in the name of love and expects to be forgiven. Love over too much can be poisonous, just in the same way that eating too much syrup can bring disease. Love can turn out to be harmful, both to oneself and others.

From the viewpoint of four main characters, The Bloody Juice presents their standpoint towards love, their yearning for love and their giving for love. At last, their love magically turns into sharp weapons and makes them victims. Excessive love is exchanged for the most heart-breaking of pain. Four characters present four plays.

Is it love that twists humanity or, in reverse, humanity that twists love? In a dark tone, The Bloody Juice gently sings the elegy of love.

话剧 《好听的都是伤心的歌》

Play: Good Words, Heartbreaking Songs

原创

Original

编剧：方方 导演：江兆旻 武汉光谷客17排剧院出品

` Playwright: Fang Fang Director: Jiang Zhaomin Wuhan Seventeen-ggk Theatre Production

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作品介绍： 漂亮孤傲的单身女博士华蓉搬到老同学梅芜的对 门，一向“引领风雅与贵族气质”的梅芜便不安地给华 容介绍对象——因为她的丈夫王志强曾暗恋着华容。 一个自称“老五”的陌生男人拨错了华容的电 话，竟让华蓉魂牵梦绕…… “老五”忽然从电话里消失了……是真情还是陷阱？ 该剧在上海演出30场，场场爆满、反应热烈。观 众评价该剧“充满智慧的台词诙谐而锋芒，人物鲜明 精准的个性却不失雅皮士的藏锋和游移。”

Synopsis: Pretty and arrogant single PhD. Hua Rong has just moved and lives across her old classmate Mei Wu. Known as style leader of elegance and noble spirit, Mei Wu is nervous about Hua Rong’s coming, for her husband used to love her in secret, therefore Mei Wu keeps introducing suitable dates to her friend.

Once a man called Lao Wu (No. Five) dials Hua Rong’s number by mistake, but she falls for him thereafter......

But later he disappears in the phone......true love or love trap?

This play has staged in Shanghai for 30 times, each time packed with audiences and has gained great reactions. Audiences comment the play as “full of wisdom lines, sarcastically funny, sharp characters with Yuppies-style sophistication and dodging”

编剧： 方方，一级作家， 武 汉 光 谷 客 1 7排 剧 院 艺 术 总 监。作品《桃花灿烂》、《风景》、《水在时间 下》、《武昌城》。 晓鸣，《一亩三分地》、《山鬼.骚魂》、《小意 达和她的花儿们》…… 导演： 江兆旻，女，毕业于上海戏剧学院，一级导演， 武汉光谷客17排剧院总导演。作品《春雨沙沙》、 《西望乐山》、《春夏秋冬》、《走近芳泽》、《犀 牛》、《雪莲花开》、《桃花灿烂》、《有房子的女 人》…… 导演阐述： 本剧定位为雅皮士知趣的诙谐戏剧风格。在台词 和人物的性格开掘上都具有鲜明的高知文化区隔特 点，尤其是在舞台呈现上，意向的诗意树丛和具象的 生活空间在瞬间的交织转化，使人物的客观形态和内 心的主观意向得到多时空多场景交叉推进和无障碍深 入。诙谐和尖刻、浓情和淡意、欢愉和伤情无不透着 雅皮士们温稳的风雅和精准的尖损。

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Playwright: Fang Fang: Writer, Art Director of Guang Gu Ke Row 17 Theater in Wuhan. Works include: Peach Blossoms, The Scenery, Water underneath the Time, City of Wuchang.

Xiao Ming: works include 1.3 mu (a unit of area; meaning one’s own little scope), Mountain Ghost Seductive Soul, Little Yida and Her Flowers, etc.

Director: Jiang Zhaomin: Female, graduated from Shanghai Academy of Drama, Class A Director, Chief Director at Guang Gu Ke Row 17 Theater in Wuhan. Works include: Spring Rains, Looking at Yue Mountain from the West, Four Seasons, Walking into Fragrance, Rhino, Blossoming Snow Lotus, Peach Blossoms, A Woman with a Room, etc.

Director’s note: This play focuses on yuppie style, interestingly funny but with elegance. In lines and personalities, there is the obvious color of high-level intellectuals; especially in terms of stage design, the meaningful poetic woods and detailed, constantly overlapping living spaces that switch over so as to present the characters’ physical expressions and inner thoughts with multi-dimensional and multiscenic perspectives. Funny but sharp, deeply emotional but lighthearted, cheerful but sad, this group of people demonstrates emotion vividly with their mild elegance and sharp sarcasm.

话剧《面包屑》

Play: Crumbs

首演

Premiere

编剧：拉薇达.德瓦拉(以色列) 导演：吴朱红 北京市东城区吴朱红戏剧工作室出品

` Playwright:Ravid Davara Director: Wu Zhuhong Wu Zhuhong Theatre Studio Production

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作品介绍： 这是一部关于家庭关系、爱情、亲情的当代题材 多场次话剧，将矛盾集中在一对姐妹和她们的丈夫之 间，经过一系列的误会冲突等待直至最终亲情化解矛 盾，破裂的爱情也得以修复。 编剧： 拉薇达.德瓦拉，以色列剧作家及导演。毕业于特 拉维夫基布兹姆高级学院导演专业、纽约HB工作室， 及以色列塔尔玛叶林艺术高中戏剧科。其编导戏剧作 品荣获多项大奖：阿拉伯语“玛斯拉德戏剧节”独角 戏一等奖（2006）；“提特奥尼托戏剧节”独角戏一 等奖及杰出提名（1997）；“爱科边缘戏剧节”最佳 奖（《点燃蜡烛的时刻》，1996）。其作品多次于以 色列国家剧院等著名院团上演。 导演： 吴朱红，北京人民艺术剧院研究员、上海剧本中 心特约导演（上海文广集团）等。戏剧编导剧目： 《安妮日记》（导演及剧本译者，吴朱红戏剧工作 室演出2008首演）、《三个好朋友》（导演及剧本 译者，吴朱红戏剧工作室首演2010）、《青春在路 上》（合作导演及剧本策划，大学生戏剧节获奖剧 目2009）、《家有娇妻》（合作改编，北京人民艺术 剧院首演2005）等。戏剧翻译公演剧目：《古怪的一 对》（河北省话剧院，2012）、《深度灼伤》（中国 国家话剧院，2011）、《大酒店套房》（北京人民艺 术剧院，2010）、《纪念碑》（中国国家话剧院， 2000）等。

Synopsis: This multi-act play tells a contemporary story about family relationships, romance and kinship. A series of misunderstandings and conflicts takes place between a pair of sisters and their husbands. In the end, the crisis is finally overcome by the sense of kinship. Thus the broken relationship is repaired.

Playwright: Israeli Ravid Davara playwright-cum-director. She studied to be a director at the Kibbutzim College of Education, Tel Aviv, then moved on to Studio HB, New York and the Department of Drama in Thelma Yellin High School of the Arts in Israel.

Director: Wu Zhuhong is researcher at the Beijing People’s Art Theatre and director of the Art Creative Centre Shanghai. He has directed, adapted and translated many plays including: “Ann’s Diary”, “Three Good Friends”, “Youth On the Road”, “My Beauteous Wife”, “A Eccentric Couple”, “Severe Burning”, “Presidential Suite”, “Monument”, etc.

导演阐述：

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该剧的情节及人物心理情感冲突用细腻深沉的情 感、简约诗意的语汇表现，以揭示当代家庭生活中的 矛盾与和解，传达人类共通的情感特质以及亲人恋人 之间最终达成的理解。舞台简洁灵动，有一定寓意和 象征，写意与写实相结合，旨在深入人物内心，唤起 观众的共鸣。

Director’s note: The plot and the inner conflicts of the characters employs an expression of subtlety as well as poetry in an attempt to reveal the conflicts and reconciliation in contemporary family life, and the understanding between lovers and family members. We keep the stage design simple to leave space for the characters and for the audience’s imagination.

编 剧：拉薇达.德瓦拉 制 作 人：李杨 服装设计：张赢 音效设计：祈建新 化妆造型：兰锴锜 舞台监督：牛照阳 舞美设计/灯光设计：刘鹏 出 品 人：张朝晖

Producer: Li Yang Costume Design: Zhang Ying Audio Design: Qi Jianxin Makeup Artist: Lan Kaiqi Stage Manager: Niu Zhaoyang Stage Design/Light Design: Liu Peng Presented by Zhang Zhaohui

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诗歌剧场 《日常_非常日常》

Poem Theatre: Daily_Unusual Everyday

2013原创/首演

2013 Original/Premier

文本：蓝蓝 导演\舞台本：孙晓星 蓬蒿剧场出品

Text: Lanlan Director\ Stage play: Sun Xiaoxing Panghao Theatre Production

作品介绍：

导演阐述：

蓝蓝的诗与“日常”相关，区别于知识分子诗人 热衷于炒作的概念，蓝蓝始终保持她对日常生活的细 部观察和敏锐表达，对一切口号、牺牲和大而无当的 拒绝，致力于“关注生活的日常琐事，把生活从消耗 它的东西中解放出来。”(Raoul Vaneigem) 《日常_非常日常》以“生活剧场”的当代表演 为参照，结合诗歌、身体这两种原始材料，在当下从 属未来建筑的技术手段和幻觉服务的剧场里，进行一 次对“日常”生活的考察，织布、煮牛奶、朗诵课 文……这些对象的侧面恰是我们“非常”的处境：非 常日常——前者取代后者的词性，使“日常”成为一 个功能性的虚词——这是该剧场作品选择延伸至社会 性而非戏剧性的原因。

一种作为“扮演”的艺术已经使剧场成为“日常 生活”之外的亚空间，此处社会议题的发声以“谢 幕”即“失效”的秩序被不断浪费着。 为了使一种声音发挥它应有的效力，围绕“日 常”，舞台上的一切“物件”都将追溯至这个词，从 拒绝“道具”开始，直到拒绝这个“非常”的环境。 导演： 孙晓星，生于1986年。诗人，剧场作者、导演。 中央戏剧学院戏剧学学士，中央戏剧学院中国话剧硕 士研究生，现任教于天津音乐学院戏剧影视系。主要 作品《悼亡剧场》(2011)、《写诗》(2013)，主编《再 剧场——独立戏剧的城市地图》(2013)。

编剧： 蓝蓝，原名胡兰兰，1967年12月出生在山东烟台。 14岁开始发表作品，出版有诗集：《含笑终生》、 《情歌》、《飘零的书页》、《内心生活》、《睡梦 睡梦》、《诗篇》、《蓝蓝诗选》等，出版散文集五 部等；出版长篇童话和短篇童话集五部等。曾获过中 国新时期女诗人十佳称号，刘丽安诗歌奖、以及第四 届《诗歌与人》诗人奖、“宇龙诗歌奖”等奖项。 曾应邀出席2003年法国巴黎国际诗歌节、2006年 委内瑞拉国际诗歌节、2006年澳门中国与葡萄牙语诗 人对话会、2008年帕米尔诗歌之旅、2009年瑞典哥特 兰国际诗歌节、2010年希腊萨洛尼卡国际书展、2010 年“欧罗巴尼亚”中国文化年活动，2011年挪威中国 文化周等活动。部分作品被译为英、法、俄、西班 牙、德、日、葡萄牙语、希腊语等发表。

演出：安娜、吴晓波、胡若牧、胡若羽 舞美设计：苏莉 灯光设计：王京晶 音响设计：陈飙 影像设计：徐显明 影像拍摄：曾诺拉

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Synopsis Lanlan’s poetry is extremely relevant to the concept of daily-ness, distinct from the conceptions for the sake of conception that intellectual poets usually pursue. Lanlan cautiously keeps a detailed scrutiny of daily life with acute and effective expression. She refuses slogans, sacrifices and lofty unspecific, and thus also ineffective concepts. Lanlan commits herself to the care of daily trivia and tries to free the life around her from being consumed idly and unnoticed, as Raoul Vaneigem has put it.

The play refers to the contemporary theatre feature of de-acting. We attempt to observe the daily life with poetry and the body, and re-examine behaviours like spinning, boiling milk, reading texts and so on. The silhouettes of our objects denote the unusual situation we are living in. UNUSUAL EVERYDAY – the attributes of the latter word replaced by the former, making EVERYDAY a mere functional word. To us, this transformation is the very reason why we have chosen sociality over theatricality as the direction to develop and extend our discourse.

Playwright: Lanlan, originally named Hu Lanlan, was born in Yantai, Shandong in December 1967. She began publishing her work at the age of fourteen and has gathered under her name “Smiling for A Lifetime“, “Love Songs”, “Falling Pages”, “Inner Life”, “Dream Dream”, “Poems” and “Selection of Lanlan’s works”. Lanlan also works on prose (five collections published) and fairy tales (five collections published). She has received awards including Best Ten Female Poets in New Era China, the Liuli’an Poetry Award, Poet of the 4th “Poetry and Human” Award and the Zilong Poetry Award.

Director: Sun Xiaoxing, born in 1986, is a poet, theatre maker and director. He received his BA from the Central Academy of Theatre and is now a postgraduate at the Academy. He also teaches in the Department of Theatre and Film at Tianjin Conservatory of Music and has edited “Re-Theatre: The Independent Theatre Cities Map“. Major works include: “Lament for Theatre” (2011) and “Writing Poetry” (2013).

Director’s note: Acting has made theatre a sub-space out of everyday life, where the voice of social issues is constantly consumed and wasted by so-called curtain calls, i.e. an ordre inefficace.

To make the voice heard, we trace every object on stage to the word DAILY, starting from our refusal of props until that of this very Unusual environment.

Performers: An Na, Wu Xiaobo, Hu Ruomu, Hu Ruoyu Stage Design: Su Li Light design：Wang Jingjing Audio Design: Chen Biao Video Design: Xu Xianming Cameraman: Zeng Nuola

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¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 实验演出 Experimental Theatre

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梦幻剧 《蓦然回首》

Experimental Theatre: Looking back suddenly

2012 原创

2012 Original

编剧：童道明 导演：任明炀 蓬蒿剧场出品

` Playwright: Tong Daoming Director: Ren Mingyoung Penghao Theatre Production

作品介绍：

编剧：

老知识分子袁教授经黑衣仙人点拨，诵读心经， 并幸遇风姿绰约的蔡女士。在他幻想中，巴金与曹 禺感慨他们的人生和友谊、托尔斯泰与耶稣坐而论 道……本剧由知名实验戏剧导演任明炀执导，由两位 演员和一位吉他手出演，充分调动“前卫剧场”的多 种表达方式，在观者的脑海中制造思想的激流。

童道明，我国著名的戏剧评论家及俄罗斯文学翻 译家。著有论文集《他山集》，专著《戏剧笔记》， 随笔、散文集《惜别樱桃园》等，并另有多种译著。 他写的戏剧评论《斯坦尼斯拉夫斯基体系是非谈》、 《梅耶荷德的贡献》等，受到了戏剧界的广泛关注， 他每篇文章都好像有倾诉不完的观点，洋洋洒洒，落 笔千言，纵横恣意，显露了他逼人的才学。1981年， 他就出版了自己的第一本论文集《他山集》。随后， 他的《戏剧笔记》、《惜别樱桃园》、《俄罗斯回 声》、《我爱这片天空》等多部作品一一面世。2000 年，由他主编的20卷本的《世界经典戏剧全集》出 版，引起了文化界的极大关注。2009-2012童先生编 剧的《塞纳河少女的面模》、《我是海鸥》、《秋天 的忧郁》陆续上演。

导演： 任明炀，生于1982年，作家、舞台剧导演、电影 作者、创作歌手。在舞台剧领域，他是一位戮力革 新的创作者，《明年的这个时候》、《蓦然回首》、 《好好好》、《乐游原》等作品彰显出不落窠臼的前 卫姿态。 导演阐述： 童先生的这个剧本，充满了困惑、自责、悔悟， 但也充满了勇气，充满了对这个世界的爱，充满了对 自由、宁静的渴望。很多人说，这个剧本不适合上 演。诚然，这个剧本也许不像个“剧本”，因为它缺 乏我们通常所说的“戏剧性”，也缺乏一个有效的 “戏剧结构”。但是，这个剧本的思想含量已足够支 撑整个演出。我们只需把这个剧本放在当代剧场（后 戏剧剧场）的场域中，一切“问题”都会变成“不是 问题”。因为，当“剧作”降级为“文本”，与其它 艺术手段平起平坐，不再是统摄整个演出的至高权力 时，传统的“戏剧式结构”也将自行解体，演变为片 段式的“拼贴结构”，而“戏剧性”也变成了可有可 无的东西。于是，演员的肉体和声音，以及文本、影

像、录音、声音表演者、灯光设计、观众参与等， 共同铸就了整场演出的“血肉”。同时，演员们也 放弃了“逼真式模拟”的表演方式，而改用“不失 自我”的“转述式表演”。 “蓦然回首”，童先生勇敢地突破了自己，而 作为晚辈的我们，岂能畏首畏尾、固步自封？社会 需要不断进步，艺术更需要不断地革新。在此，我 引用剧本中的一句话作结。这是于是之先生六十岁 生日的时候（1987年），曹禺先生写给他的条幅： 初望殿堂，但求平正，既知平正，务追险绝，既能 险绝，复归平正，往复追寻，渐悟妙境。

主演：孙悦、李秋晨、李剑鸿（特邀） 舞台及灯光设计：刘钊 影像设计：徐显明 制作人：赖慧慧 执行制作：周丝思 出品：蓬蒿剧场

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Synopsis: Professor Yuan, an aged intellectual, meets an immortal hermit in black. He follows his counsel and commits himself in the reading of Xinjing, and encounters Ms. Cai, a graceful lady. In Yuan’s fantasy, Ba Jin and Cao Yu, both renowned writers, exchange reflections and feelings on their life and friendship while Tolstoy and Jesus Christ sit together having a discussion. This play is directed by experimental director Ren Mingyang and performed by two actors and a guitarist. He has employed various methods of avant-garde expressions in order to create an intellectual turbulence in the audience.

Playwright: Tong Daoming is a famous critic and Russian translator in China. He has published collections of his essays and research in “The Other Mountains”, “Notes on Drama” and “Farewell Cherry Orchard”. His critiques “On Stanislavsky” and “Meyerhold’s contributions” received attention and provoked much discussion. Each one of his essays seems to have endless points to make. In 1981 he published his first collection “The Other Mountains”, loosely followed by “Notes on Drama”, “Farewell Cherry Orchard”, “Russian Echoes” and “I love the sky”. In 2000 he edited “The Complete Collection of World Classic Dramas”.

Between 2009-2012 several of his plays were presented on stage, including “The Facial Mould of a Maid by the Seine”, “I am a Seagull” and “Melancholy of Autumn”.

Director: Ren Ming Young (born 1982) is a Chinese writer, theatre director, filmmaker and singersongwriter. His highly stylized theatre productions like "At This Time Next Year", "Look Back Suddenly", "Bon Bon Bon" and "Le You Yuan", made him a distinctive avant-garde theatre artist in China.

Director’s note: Tong’s script is full of confusion, remorse and regret, as well as courage, love and longing for peace and freedom. Many say it is not suitable for stage for the lack of a so-called dramatic structure. Yet the thoughts and reflections in the play speak for themselves. I chose to put it in the context of contemporary theatre and use the script as plainly as a piece of text. The texts, with the bodies and voices of the performers, videos, audios, lights and the audience’s participation suffice to form the blood and flesh of the performance. Our actors have given up method acting in this performance.

Professor Tong has transcended himself in the writing of this play. So too should we challenge ourselves. Yu Shizhi, a celebrated actor, received a piece of calligraphy from Cao Yu, one of the most renowned playwrights in modern China, for his 60th birthday in 1987. I would like to conclude quoting these words:Seeking way in the laws when new in theatre.Striving for excellence when well acquainted with the laws.Searching back in norms with excellence in capture.So in circles one feels the subtle beauty of the course.

Performers: Sun Yue, Li Qiuchen, Li Jianhong (Guest performer) Stage Design/Light Design: Liu Zhao Video Design: Xu Xianming Producer: Lai Huihui Executive Producer: Zhou Sisi Presented by Penghao Theatre

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实验表演 《我可怜的马拉特》

Experimental Performance: My Poor Marat

编剧：阿尔布佐夫（俄国） 导演：梁丹丹 蓬蒿剧场出品

` Playwright: Aleksei Arbuzov Director: Liang Dandan Penghao Theatre Production

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作品介绍：

导演阐述：

故事从1942年围困进入死守第700天的列宁格勒 说起，15岁半的丽卡已经在一栋半毁的大楼里幸存了 1个月。黄昏的一天，门开了，马拉特走了进来，之 后列昂闯了进来。三个16岁的少年在这个房间，像兄 妹和爱人，也像母子和兄弟，人世间的各种感情在 这里充满。第二和三部分的故事分别发生在1946年战 争后的和平年代，以及1959年元旦前夜，已经35岁的 三人，去留心决，身不由己。写遍了青春期的情诗， 也曾为梦想和荣誉而战。他们的身份是：荣获金星 勋章的侦察兵马拉特，毕生的理想是架桥；出版三 本诗集的列昂尼奇克，左手在战争期间失去，日后他 娶了丽卡；医院不脱产主任丽卡，她曾经是医学院勤 奋的女学生。三人的关系：对列昂来说丽卡更像妹妹 和妈妈，对马拉特来说，丽卡是天上的星星。对丽卡 来说，爱情存在于磋叹与脚踏实地的两点一线上，三 个少年在战争、自由与爱情之间，斗转星移，烟波浩 荡。

这是俄罗斯剧作家、歌剧演员阿尔布卓夫先生发 表于1965年的著作，由于触及青年人的理想问题，很 受当时的观众欢迎。当时的评论界权威指责其为“愤 怒一代”的文学和“新颓废派”文艺。如今我一再翻 看这剧本，作者笔下鲜活、纯真、饱含理想和生命意 志的马拉特、丽卡和列昂常常就在眼前浮现。他们的 生活与浪漫，他们的感情的饱满与醇厚，都是俄罗斯 特有的金色的夏天和神奇的白夜所产生的自然与人的 景观。我愿为此自然、为此感情和精神而导演一部作 品，我愿演员和观众都能看到此时此刻的想象，有所 放松，有所振奋，有所满足。

导演： 梁丹丹，蓬蒿剧场创始人之一，富有创造力的戏 剧导演。她在戏剧与舞蹈方面与当地艺术家有过广泛 的交流，促进了工作坊与戏剧讨论的发展。通过表演 艺术交流以及与瑞典、法国、德国、以色列、日本、 台湾、香港、新加坡等各地制作人、导演和机构的沟 通，她正在积极拓展戏剧这一文化交流的形式。目前 她的工作重点是导演戏剧以及开拓舞台与表演的新内 容。

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表演：马拉特 –杨轶、列昂尼奇卡-王储、丽卡-紫桐 空间设计：梁丹丹、马卷风 造型设计：孙峥 图片摄影：赵坤宁 平面设计：马卷风 舞台灯光：Nathan Paul 舞台监督：李波 技术指导：马卷风、李毅 艺术顾问：林荫语、马福力

Synopsis: The story starts in Leningrad in 1942, with the city under siege and in a defensive lockdown for hundreds of days on end. On the 700th day, 15 year old Lika has been trapped in a building for one month. One day, at dusk, the door opens and two men come in, named Marat and Leonidik. From then on, the three youngsters live in the house as a family, sometimes like sister and brothers, sometimes like lovers, sometimes like mother and sons; all human emotions born and blossoming in this place. The story then jumps to the second and third parts, when the War is over. The second part is set in the age of peace in 1946, and the third part is New Year’s Eve in 1959, during which the three characters have already turned 35 and have witnessed the dreams and honors of their lives and developed their young romances. Their roles are now as follows: Golden-Star awarded scout Marat, with a lifelong dream of establishing bridges; Leonidik, with his three volumes of published poetry, who lost his left hand during the war, and who later married Lika; and finally Doctor Lika, who used to be a diligent medical student.

And their relationships remain just as complicated: for Leonidik, Lika is like a sister and mother; for Marat, Lika is the star in the sky. But to Lika, love is a fine line between two points of regret and a hard reality. The story thus unfolds while three youth struggle and transform their beings in the midst of war, freedom and love.

Director’s note: The Russian playwright and opera performer Aleksei Arbuzov published this famous play in 1965. Because it touches upon young people’s psychological issues, it drew great attention at the time.

However, critics at the time rebelled against it and categorized it as being of the “Beat Generation” or “Neo-Decadentism” literature.

Re-reading it today, I am impressed by the vivid, innocent Marat, Lika and Leonidik who are full of dreams and the strength to struggle for life. Their life and romance, their rich and deep emotions are the unique results born of a golden summer and the miraculous white night of the Russian land. I would like to contribute my efforts as a director for this land, for this love and spirit, and I hope that both performers and audiences can become immersed into this piece of imagination, to indulge in relaxation, encouragement and satisfaction.

Performers: Marat - Yang Yi; Leonidik - Wang Chu; Lika - Zi Tong Space Design: Liang Dandan, Ma Juanfeng Stylist: Sun Zheng Photographer: Zhao Kunning Graphic Design: Ma Juanfeng Light Design: Nathan Paul Stage Manager: Li Bo Technical Director: Ma Juanfeng, Li Yi Art Director: Lin Yinyu, Ma Fuli

Director: Liang Dandan is co-founder and creative director of Penghao Theatre. She has communicated extensively with local artists in drama and dance, developed workshops and discussions, and is actively extending this form of cultural communication through performing arts exchanges and networking with producers, directors and institutions in Sweden, France, Germany, Israel, Japan, Taiwan, Hong Kong and Singapore, among others. Her current focus is directing drama and developing new content for stage and performance.

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多媒体独角戏《朱丽小姐》

Monologue: Miss Julie

改编/导演/主演：安娜·皮特森 瑞典语演出，中英文字幕

` Adaptor/Director/Performer: Anna Pettersson Perform in Swedish,with Chinese&English subtitles

作品介绍： 该剧是斯德哥尔摩戏剧学院的艺术发展项目。话剧表 演形式特别，安娜·皮特森（Anna Pettersson）试图探寻： 如何将移动画面与演员的肢体表达在舞台表演中相互渗 透。 安娜·皮特森运用自己的理解，阐释朱丽小姐这 个角色，同时导演整个剧目，还表演所有的角色。舞 台上还有一个摄像师，他记录演员表演，同时将影像 投射到舞台背景，作为话剧唯一的配景。 这个剧目2012年春季在斯德哥尔摩的斯特林堡 Intima剧院上演并大获全胜，随后安娜·皮特森在瑞 典其他几个剧院也表演了她的《朱丽小姐》。 安娜·皮特森表演的《朱丽小姐》还在四大洲巡 演，遍及保加利亚，马其顿，南非，美国和韩国。除 了表演，安娜·皮特森还在韩国首尔的国家剧院，南 非约翰内斯堡的集市剧院，加州大学伯克利分校，西 雅图华盛顿大学等发表演讲并开设工作坊。

导演阐述： 《朱丽小姐》是个很有意思的剧目，它是斯特林 堡被搬上舞台最频繁的剧目，大多数瑞典人都或多或 少地能与这部剧产生共鸣。《朱丽小姐》已经成为一 种符号，超越了戏剧本身。人们可以很容易想象让脚 蹬黑色马靴双腿叉开的站姿，朱丽暗含色欲的诱惑或 是克里斯蒂娜纯朴的样子。但是这些角色真正想说的 是什么呢？ 我从丰富的复杂的文本开始，试图抽丝出这个剧 目中所有角色身上共有的存在条件。我们习惯于从心 理及自然主义角度来理解朱丽小姐这个角色，但是在 斯特林堡逝世一个世纪之后，如果我们还用同样的方 式来诠释，会造成什么样的后果呢？当所有的角色都 糅合成一个，并由一人来完成表演，这时候权利，阶 级，性别架构被赋予了新的维度。我希望观众能够有 机会听到，感受到，或是发现一个全新的朱丽。

导演： 安娜·皮特森（Anna Pettersson），演员，导 演，戏剧老师。她曾在斯德哥尔摩城市剧院上演的 《海达·高布乐》中担任剧名角色，《天使在美国》 中饰演天使；参演瑞典皇家剧院上演的《波士顿婚 姻》；同时还与瑞典知名的戏剧家Lars Norén和 Kristina Lugn合作。她还为自己及他人撰写剧本，同 时在20多部电视剧及电影中参与表演，还导演多部剧 目（Tjechov （契诃夫）的《海鸥》， 莫里哀的《恨 世者》等）。1999年安娜荣获Thaila大奖，还两次被 瑞典学院授予奖学金。 《朱丽小姐》的表演为她赢得了瑞典日报《今日 消息》（Dagens Nyheter）文化奖，TCO（台北华乐 团）文化奖及瑞典分区国际戏剧评论家协会戏剧奖。 2013年7月她还将在马其顿普雷斯帕领取年度演员 奖。 51

Synopsis:

Director’s note:

The play was developed as an Artistic Development Project at

Miss Julie is interesting because it is Strindberg’s most

the Stockholm Academy of Dramatic Arts. Anna Pettersson attempts

frequently staged work and most Swedes have some relation

to explore the interaction of the moving image with the actor’s

the play. Miss Julie the cliché has become more potent than the

physical expression in a theatrical performance.

drama itself. It is easy to envisage Jean’s broad-legged stance in

Anna Pettersson makes a self-willed interpretation of ‘Miss

the black riding boots and just as easy to see Julie’s manipulative

Julie’, directing and playing all parts herself. The stage includes

and coquettish seductive moves or Kristin’s wholesome and rustic

a cameraman filming the actress, projecting imagery onto the

appearance. But what are they actually saying?

backdrop which is the only scenography.

I started out with the text; expanded, looped and tried to

After a sold-out run at Strindbergs Intima Theater in

peel away that which shadows the existential conditions shared

Stockholm in spring 2012, Anna Pettersson has performed her ‘Miss

by the characters in the play. We are used to interpreting Miss

Julie’ in several theatres around Sweden.

Julie in a psychological or naturalistic tradition, but what are the

The performance has also toured four continents, visiting

consequences of staging the drama in this way 100 years after

Bulgaria, Macedonia, South Africa, USA and South Korea. In

Strindberg’s death? When all roles play out within one and the same

addition to the performances, she has also given lectures and

person, power, class and gender structure gain a new dimension.

workshops at the National Theatre of Korea in Seoul, Market

It is my hope that the audience will get a chance to hear, sense and

Theatre in Johannesburg, the University of California in Berkley

discover a new Miss Julie.

and the University of Washington in Seattle.

When all roles play out within one and the same person, power, class and gender structure gain a new dimension. It is my

Director: Anna Pettersson is an actress, director and drama teacher.

She played the lead role in “Hedda Gabler”, the angel in “Angels In America” at the Stockholm City Theatre, “Boston Marriage” at the Royal Dramatic Theatre and has been working with Sweden’s leading dramatists Lars Norén and Kristina Lugn. She has written plays for herself and others, performed in about 20 TV and movie productions, and has also directed several plays (“The Seagull”

by Tjechov and “The Misanthrope” by Moliére, amongst others).

In 1999, she received the prestigious Thalia Award, and has also received two scholarships from The Swedish Academy.

For her performance “Miss Julie” by August Strindberg she was awarded the Dagens Nyheters Culture Award, TCO’s Culture Award and the Swedish Section of the International Association of Theatre Critics Theatre Award. In July 2013 she will receive the award for Actor of the Year in Prespa, Macedonia.

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hope that the audience will get a chance to hear, sense and discover a new Miss Julie.

当代剧场《写诗》

Poem Theatre: Writing Poems

2012原创

2012 Original

编剧：孙晓星 导演：蔡艺芸 聆舞剧团出品

Playwright: Sun Xiaoxing Director: Cai Yiyun Linc2 Theatre Company Production 53

作品介绍：

导演阐述：

“你是从什么时候开始……”写诗的？ 一个不经意的问题，将五位写诗的年轻人聚集 在一起，寻找有关诗歌源头的秘密，“你的第一首 诗……”写给谁？写在哪里？心情是否如那天的天 气？诗又如何把沉默变为喧嚣，把聚会变得孤单？你 的生活是否也发生了不期然的转变？ 《写诗》由写诗者的个人口述历史和物件、媒 体、身体展览组成，它指涉“写诗”这一行为与社会 身份的关联和互动在当下如何发生，并彼此增长或瓦 解。 剧场作品将始终强调“写诗”这一行为，且是 “生活中的人”的“写诗”，当一种民间抒情手段被 权力话语渗入并成为一种精英旨趣的时候，诗歌如何 复归“民众”？平凡的年轻人该如何对待“写诗”、 “诗人”与他们的社会身份？这些是该剧场作品试图 探讨的部分。

决定做“诗歌走进剧场”系列活动是源于一次看 到“诗歌走进美术馆”活动的偶然。作为一名剧场工 作者，我有一个念头，何不办一个“诗歌走进剧场” 的活动呢？我身边不乏会写诗的年轻人，他们经常拿 自己写的诗和朋友们分享，有的独立出版了诗集，有 的还在沉默地写着，关于他们和诗歌美好的回忆总留 存在我的脑海里。我身边的这些朋友，这些写诗的年 轻人，这些关于诗歌的美好回忆，给了我勇气做这件 事。于是，在2012年的年末，北京寒冷的冬天，我找 到孙晓星发起这次“诗歌走进剧场”的活动，它将会 持续性地蔓延到各个城市的剧场和美术馆，北京、天 津、上海、南京……它不仅将诗歌带进剧场，还将重 新带回到我们的生活，让更多的年轻人拿起笔写诗， 让我们在诗意中寻找生命的秘密。

编剧： 孙晓星，生于1986年。诗人，剧场作者、导演。 中央戏剧学院戏剧学学士，中央戏剧学院中国话剧硕 士研究生，现任教于天津音乐学院戏剧影视系。主要 作品《悼亡剧场》(2011)、《写诗》(2013)，主编《再 剧场——独立戏剧的城市地图》(2013)。 导演： 蔡艺芸，毕业于上海戏剧学院戏文系，编剧、导 演，剧场工作者，聆舞剧团艺术总监。戏剧作品： 《默默与粘粘》、《鱼仙》、《暗房》等。其中《暗 房》入选2010京港沪三城青年戏剧导演作品世博展演 季，2011迷仓秋收季节展演。《鱼仙》入选2012北京 国际青年戏剧节剧本朗读单元。

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舞台美术：苏莉 灯光设计：艾子清 影像设计：汪圆清、徐显明 文本/表演：孙晓星、莫西、任航、潘泽兴、憩园、刘化童

Synopsis: “ When did you start... writing poems?”

A casual question that brings five young people who write poetry together, to find the secret of their poetic source. To whom did you write your first poem? Where did it happen? What was your mood and the weather like that day? How do poems make the silence burst with sound and meaning? How do poems make the party lonely? Does your life also have these unexpected transitions?

These five young people, with their answers, their poems and fragments of their life, fill up the winter darkness of a theatre, not sentimental, not disappointed, and undemonstrative. When they leave the stage, the performers clean up, and place their poems back in their pockets, ready for a new show tomorrow.

The theatre works stress that the act of “writing poems” is “people of life” who are “writing poems”. How do poems regress to “people”, when a certain kind of folk believe it to be for the purpose of the elite & a kind of authority? How do ordinary young people treat “writing poems,” and “the poet” and their own social status?

This is what these theatre works attempt to explore.

“Writing poems” is therefore not only for the medium of academic papers or print media relating to the theatre, but also a social occurrence, an immediate event.

Playwright: Sun Xiaoxing, born in 1986, is a poet, theatre maker and director. He received his BA from the Central Academy of Theatre and is now a postgraduate at the Academy. He also teaches in the Department of Theatre and Film at Tianjin Conservatory of Music and has edited “Re-Theatre: The Independent Theatre Cities Map“.

Major works include: “Lament for Theatre” (2011) and “Writing Poetry” (2013).

Director: Cai YiYun,Graduated from Shanghai Theatre Academy, department of stage lines,Playwriter, Director, Theater worker, Artistic director of Linc2 Theatre Company.Dramatic works: "Momo and Niannian", "Fish Numen"," Darkrooms "etc.."Darkrooms" be selected by the 2010 Expo Performances Season and 2011 Harvest performances Season of Mecooon·DSG Theatre ."Fish Numen" be selected by "2012 Beijing International Youth Theatre Festival" , Screenplay Reading Unit.

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实验·戏曲 Contemporary Chinese Traditional Opera

▒▒▒▒▒▒▒▒▒▒▒▒▒▒ ▒▒▒▒▒▒▒▒▒▒▒▒▒▒ ▒▒▒▒▒▒▒▒▒▒▒▒▒▒

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实验川剧《情叹》

Experimental Chuan Chinese Traditional Theatre: Sighing

原创

Original

编剧：喻荣军 导演：田蔓莎 柏林世界文化中心委约作品

Playwright: Yu Rongjun Director: Tian Mansha Haus der Kulturen der Welt (Berlin) Festival Commissioned works 57

作品介绍： 手、眼、身、步分解动作的展现，在轻轻的鼓点 声中，她穿上了彩鞋，缓缓走进了舞台、走进了戏中 之人。一个青丝粉黛、白衣素服，在爱、恨、念、唱 之中，堆砌出的一个被夫所弃却不屈不挠的古代痴心 女子焦桂英。 特殊的历史时期，舞台已变得遥不可及。刹那 间，一个正在舞台上演着焦桂英的名角、一个一辈子 活在舞台上的当红艺人，被赶下了舞台，成了一名打 扫剧场的清洁工人。她清扫尘埃，却扫不去她对往日 舞台的眷念，她擦拭桌椅，却擦不去她肢体记忆中 传统川剧的表演。她忘记了一切，仿佛又回到了舞 台…… 苦难之后，迎来新生。岁月的侵噬，让她疲惫的身 躯再也不能立于舞台。面对着自己的学生，就象面对新 生。还是那个焦桂英，还是为了那段情、那段爱。那 一招一式，一唱一和，让人看到了她想寻找自己的从 前…… 不停的脚步一直往前，走到尽头，回望的那瞬 间，看不到的是脚印，留下的却是深深的记忆…… 编剧： 喻荣军，国家一级编剧。上海话剧艺术中心副总经 理、艺术室主任。上海国际当代戏剧季主任。2000年至 2011年，已有三十多部话剧作品被国内外几十家剧院上 演，并荣获包括中国话剧金狮奖编剧奖、全国剧展优秀 编剧奖等国内外多项专业奖项。2004、2007年两次荣获 亚洲文化协会奖助金，对美国进行戏剧文化交流研究。 2008年获英国皇家宫庭剧院奖学金参加其国际编剧驻场学 习。主要话剧作品有《去年冬天》、《WWW.COM》、 《天堂隔壁是疯人院》、《卡布其诺的咸味》、《谎 言背后》、《香水》、《午夜的哈瓦那》、《人模狗 样》、《活性炭》、《双城冬季》、《漂移》、《吁 天》、《震颤》、《浮生记》和《资本—论》。

松杀嫂》、《阴阳河》、《打神》等，实验剧《四大 发明》、《一桌二椅》、《谁在敲门》、《录像圈》 等。导演作品歌剧《文姬-胡笳十八拍》、昆曲《牡丹 亭》、京剧《死水微澜》、川剧《马克白夫人》、概念 川剧《情叹》等。 导演阐述： 本剧创作源于一个川剧老艺人的故事。之后，我 拜访了很多老艺人，他们的人生经历和对艺术的挚 着，深深感动了我，同时，也启发我对于传统戏曲表 演艺人身体训练、身体记忆和艺人与社会关系的思 考。 传承了几百年的中国戏曲，是一门“口传心授” 活在艺术家身上的艺术。今天我们依然可以看到，几 百年前的中国戏曲在当今的舞台上展现着、延续着、 传承着。但是，真正属于艺术家身体里那种只可意会 不可言传的、独有的、内在的艺术表现力和艺术魅 力，却是无法学到和传承的，而这一部分都将随着艺 术家的逝去而永远地消失。这种传统艺术消失的速度 非常惊人，让人心痛。人的记忆是有选择的，如果人 不重视的人和事，记忆也会选择放弃。 社会的变化影响着肢体变化。不同的训练方法也 影响着肢体变化。通过《情叹》，能让大家了解到艺 术家的艺术生命和艺术发展，是受社会发展变化的限 制和影响的，人的身体是受社会的发展变化而会发生 改变的，不同的训练方法，影响着艺术家的身体和身 体记忆。 我们知道，文化记忆最普遍的方式是文字和仪 式。中国传统戏曲表演艺术的记忆方式，应该是身与 心两者结合的记忆方式。 中国戏曲发展至今，一直是在传承中继承，在继 承中发展，在发展中创新，在创新中创造着新的传统 和新的记忆。希望借此剧能探寻传统戏曲在当代另一 种表达的可能。

概念创意/导演/主演： 田蔓莎，著名川剧表演艺术家、一级演员、导 演。现任上海戏剧学院戏曲学院副院长、研究生导 师、上海青年京昆剧团副团长。 曾两度荣获中国戏剧“梅花奖”、荣获文化部 “文华大奖”表演奖第一名、上海戏剧“白玉兰”表 演主角奖、国际剧协（ITI）德国中心现代音乐剧场 “特别奖”、两度获得美国洛克菲勒基金会ACC（亚 洲文化协会）奖助金赴美访问。 田蔓莎除从事艺术创作演出外，还从事艺术教育和 艺术管理工作。她不仅是当代川剧改革的先锋派人物， 亦是中国当代戏曲界集表、导、教等多个角色的重要代 表人物之一。表演代表作品川剧《死水微澜》、《武

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主演：田蔓莎 帮腔：简小丽 司鼓：洪显松 二鼓：钟开志 大锣：余富伦 小锣：王昌全 大钵：杨 帆 舞台总监：佟姗珊 舞美设计：沈 力 灯光设计：黄祖延 灯光执行：蒋志凌 服装设计：赵志珍 化 妆：李月琴 总 监 制：郭宇 行政总监：黄暾炜 制 作 人：田蔓莎

Synopsis: The audience hears gentle drums. Then, in dim light, the actress begins to demonstrate the basic gestures of Chinese traditional drama (Xiqu) with her hands, eyes, body, and feet.

She steps across the stage gracefully in beautiful embroidered shoes, taking the audience into the world of Xiqu. Then the actress transforms into a classical tragic heroine in Xiqu, Jiao Guiying, a woman who is deserted by her husband just as he becomes successful. Anguished, she calls upon the gods for help, singing of her love and hate for the man who leaves her.

The piece is abruptly cut short. As the Cultural Revolution sweeps across China, the Chinese traditional culture is replaced by revolutionary operas, and the stage becomes a forbidden space.

Jiao Guiying, an acclaimed actress who has devoted her entire life to Chuanju, is forced to leave the stage and become a janitor in the theater. From then on she has to live a different life, sweeping the floor, and cleaning tables and chairs everyday. Meanwhile, she cannot forget the past glory on the stage, nor can she give up her love and pursuit for Chuanju. The beauty of Chuanju has already become an indispensable part of her life. In a moment she forgets about the harsh reality, and feels herself on stage again ……

After this period of pain must come a new life. Years of toil and stress make it impossible for Jiao Guiying to appear on stage again. However, when facing the task of teaching her own students, she rekindles her fervent passion for Chuanju as though she had been given a rebirth. Through all these elegant details of her performance in the play, such as her movement, posture, and singing, the audience realizes that Jiao Guiying has found herself again ……

Her steps continue to advance, and, as the scene fades, she departs leaving behind not footprints, but deep memories……

Playwright: Nick Rongjun Yu Nick Yu is involved with many aspects of the theatrical community. As well as a professional playwright, he functions as the director of arts studio and deputy general manager of the Shanghai Dramatic Arts Center. Since the year of 2000 he has been a professional playwright who has authoraed more than thirty works for stage and screen with performances in other countries as well as in China. He received an Asian Cultural Council Fellowship in 2004 & 2007 to conduct research on cultural exchange programs in USA and as a fellow for International Residency of Royal Court Theatre in 2008. He has also translated works from other lands which have been performed in China and other countries. His plays have been presented in English and Japanese as well as other languages and dialects with performances in the United States, Canada, Japan, Singapore, Egypt, Austria, Romania, Italy, Turkey, Germany, Hong Kong, Taipei and Macao. His works were published in Chinese, Japanese and Turkish.

As the manager of the Arts Theatre, Drama Salon, and the D6 Studio of the Shanghai Dramatic Arts Center, he hosted more than four hundred projects for three stages in Shanghai. Such projects included productions from all the major theatre companies from all over China as well as more than ninety productions from abroad. He has also facilitated more than twenty plays of the

Shanghai Dramatic Arts Center to tour world-wide. Since 2003 as a dramaturge and producer of the SDAC, he also has co-produced several productions with theatre companies from abroad. From 2005 until the present time he has been the chief director of the Shanghai International Contemporary Theatre Festival which is an annual festival for all theatre companies from all over world.

Concept, direction, performance: Tian Mansha is a prominent chuanju ("Sichuan opera") performing artist, nationally ranked first-tier performer and director.

She is currently Deputy Dean of the STA's College of Xiqu, a supervisor of master's candidates, and Deputy Directory of the Shanghai Youth Jingju ("Peking opera") and Kunqu Opera Troupe.

Tian is a two-time recipient of China's Plum Blossom Prize, the Ministry of Culture's Wenhua Grand Prize for lead performance, and the Magnolia Award for Best Leading Actress in Shanghai theatre, the Ministry of Culture's Award for Outstanding Mentors, and special recognition from the International Theatre Institute (ITI)'s German Center for Modern Musical Theatre. She has embarked on two study-tours of the United States under the auspices of US-based Asian Cultural Council (ACC).

In addition to art creation and performance, Tian is also engaged in art education and art administration. She is not only a forerunner in the reform of contemporary chuanju, but also one of the few persons in contemporary Chinese theater who is engaged in acting, directing and teaching all at the same time. Major chuanju works in which she has starred include Ripples in the Still Water, Lady Macbeth, and The Yin and Yang River; major experimental dramas include Sighing, One Table and Two Chairs, Who's Knocking on the Door, and Videotape Circle. She is also the director of the opera The Eighteen Beats of the Tartar Reed Flute - Wenji, the Kunqu play The Peony Pavilion, the jingju work Ripples in the Still Water, the chuanju piece Lady Macbeth, and the experimental drama Sighing.

Director’s note: Several years ago, I heard this story. In a Chuanju troupe based in a small county in Sichuan, there was an old artist, This story of the old artist moved me deeply. I ended up interviewing several older artists and their personal histories and great attachment to their art inspired me to think about traditional xiqu performers' physical memories of their extensive training and the relationship between artists and society.

The process of passing on the several hundred year-old traditions of Chinese xiqu (traditional "opera") arts is an oral one, expressed in the Chinese language as "the mouth transmits, the heart accepts," a process in which the tradition actually lives within the artists' bodies. Xiqu artists have relied upon this process of "the mouth transmits, the heart accepts" to pass xiqu's various forms from one generation to another, all the way to the present day. On today's stages, we can still see performed the xiqu of hundreds of years ago, the hundreds of different xiqu forms, the tens of thousands of xiqu pieces persevering and being passed on.

However, there remain elements of the forms that belong purely to the body of the artiststhis cannot be orally transferred, cannot be learned or passed on, as it is unique to the particular performer's

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interpretive and artistic sensibilities. These elements making up the artist's individual artistic sentiment and expression follow the artist as they leave this world and are lost forever.

Contemporary technological developments help us to better preserve and save this kind of art which resides in the bodies of artists. Through use of written text, visual and audio recording we have been able to document the performative works and interviews of many artists. Unfortunately, many traditional art forms and many old pieces have been lost forever: either we were not able to record them in time or we did not preserve enough material on the form or piece, and they were not passed on to the next generation of performers. The speed at which this cultural loss occurs is both alarming and heartbreaking. There is a choice to what we remember and if great attention is not paid to these cultural elements, our memories will choose to abandon them. Thus, I believe that societal change affect physical change. Different training methods also affect physical change.

Through this piece, I hope to convey that: (a)The creative life and artistic development of an artist is limited and influenced by societal development and changes (b)The physical body of artists is also susceptible to changes due to the influence of societal changes (c) Different training methods influence artists' physicality and physical memory We all know that the most basic form of documenting cultural memory comes through writing and ritual. The method of cultural memory documentation for traditional Chinese xiqu performance could be said to be through the memory of the body combined with the memory of the heart. In maintaining their skills in singing, reciting, moving, fighting, and stage artsaside from using their brain to remembera performer cannot but rely on their physical memory.

It is only when these two vessels of memory work together well that a performer's expression can be perfected.

The development of Chinese xiqu to the present day has been a journey of continual transmittal and reception (passing on and receiving)what is received, is developed, and what is developed is made innovative, and what is made innovative is created to be new memories.

Producer:Tian Mansha Stage Design: Shen Li Light design:Wong Choo Yean Costume Design: Zhao Zhizhen Sound Design: Tom Lee Pettersen(USA) Stage Audio: Setting: Pu Deping Ma Kuiyan Musicians: Jian Xiaoli, Hong Xiansong, Zhong Kaizhi, Wang Changquan, Yu Fulun Cosmetician: Li Yueqin Costumer: Zhu Xigen Operation Director:Huang DunWei

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戏曲新编 梨园戏 《董生与李氏》

Liyuan Chinese Traditional Theatre: Dong and Li

原创

Original

编剧：王仁杰 导演：卢昂 主演：曾静萍、龚万里 福建省梨园戏实验剧团出品

Playwright: Wang Renjie Director: Lu Ang Performers: Zeng Jingping, Gong Wanli Fujian Liyuan Opera Experimental Company production 61

作品介绍：

导演：

富户彭员外临终之时，恐其妻李氏移情再醮，密 嘱其邻——塾师董四畏暗为“监管”。董乃久困场屋 之冬烘生。因葬母借贷于彭，无奈应允。窥探李氏行 止，遂成“每日功课”，董不禁为李氏才色所动。某 夜，董登墙窥李，见其月下窗前，一改昔日缟素，元 人小令，低吟浅唱，且移灯西厢，遂疑有奸情。董不 忘彭之嘱托，逾墙排闼而入。谁料西厢内外，唯李氏 一人。董自惊唐突，正匆惶欲退，忽遭李氏一阵嬉笑 怒骂，董顿悟李对己之苦心，两人遂有偷情之秘。但 董想及彭，是夜事竟不谐。翌日，董又上坟向彭“述 职”。自觉“书生暗室欺心”，董在彭魂威逼之下， 跪地受责。彭魂掷剑令董“代行家法”，戮杀李氏。 董哀求未果，冲冠一怒为红颜，严词痛斥彭之不仁不 智，至人不信不义，并规劝彭甘于消亡。彭慑于儒生 凛然正气，含愤隐去。董生李氏，终为夫妻。

卢昂，上海戏剧学院导演系教授，霍英东教育基 金获得者，中国话剧“金狮导演奖”获得者，享受国 务院颁发的政府特殊津贴。已执导近四十余部各类戏 剧作品，六次荣获“文华奖”；两次荣获“文华导演 奖”以及中国戏剧节“优秀导演奖”；其中梨园戏 《董生与李氏》、吕剧《补天》、桂剧《大儒还乡》 连续荣膺国家舞台艺术精品工程十大精品剧目。出版 导演理论专著《东西方戏剧的比较与融合》、《导演 的阐述》等。 代表作：梨园戏《董生与李氏》《节妇吟》， 吕剧《补天》，花灯歌舞剧《小河淌水》，豫剧《红 果，红了》，昆曲《司马相如》，滇剧《瘦马御 史》，越剧《舞台姐妹》，桂剧《大儒还乡》，龙江 剧《木兰传奇》，沪剧《石榴裙下》，京剧《十五 贯》、《郑成功》（台湾），话剧《船过三峡》、 《归来兮》、《罗生门》、《青春残酷游戏》等。

编剧： 王仁杰，国家一级编剧。毕业于上海戏剧学院文 学系编剧专修班，中国艺术研究院戏剧戏曲学客座教 授。 主要作品有梨园戏《董生与李氏》《节妇吟》， 昆曲《琵琶行》《牡丹亭（三本缩编）》《邯郸记 （改编）》《西厢记》，歌剧《素馨花》，越剧《唐 琬》《柳永》等。其中《董生与李氏》入选国家舞台 艺术精品工程十大精品剧目，《节妇吟》、《牡丹 亭》为初选入围剧目。作品曾两度获曹禺戏剧文学奖 剧本创作奖，两度获文化新剧目奖。

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主演： 曾静萍，著名梨园戏表演艺术家，国家一级演 员，工旦行，现任福建省梨园戏实验剧团团长。中国 戏剧家协会理事；中国戏曲表演学会理事；中国文化 部优秀专家；福建省第四届“十大杰出女性”。中国 戏剧二度梅得主；第二届上海戏剧表演艺术“白玉 兰”主角奖；首届中华非遗传承人薪传奖。 代表作：梨园戏传统剧目《陈三》、《苏秦》、 《高文举》、《朱文》、《朱弁》、《郭华》等。 新编梨园戏《节妇吟》、《陈仲子》、《董生与李 氏》、《蔡文姬》等。 龚万里，国家一级演员，梨园戏科班出身，工丑 行，中国戏剧家协会会员。曾获第一届上海戏剧表演 艺术“白玉兰”主角奖，福建省首届青年演员比赛金 牌，省会演“最佳男演员奖”。代表作有新编梨园戏 《董生与李氏》、《枫林晚》、《皂隶与女贼》等。

Synopsis: A wealthy landowner, Mr. Peng, is dying. His greatest concern is that his wife, Li, would love someone else after his death.

He decides to trust her secretly to his neighbour, schoolteacher Dong Siwei who has spent his young life confined indoor to study Confucian classics. Dong unwillingly undertakes the task for he owed to Peng for his mother’s funeral. Spying on her on a daily basis he cannot help fancying her. One night he climbs up her wall and sees her, wearing makeup, reading and singing poetry and lighting up the west chamber. Dong becomes suspicious. With Mr. Peng’s trust he enters the chamber, only to find Li alone. What an awkward situation! He hurries to exit but is stopped by Li’s scorn and derision. In a flash Dong understands her. And so a romantic night has developed. Yet having Peng in his mind Dong is not able to perform sexually. The following day Dong goes to Peng’s grave to make a report. With guilt he kneels and bears the blame and threat from Peng’s ghost. The furious ghost throws a sword and orders for Li’s execution. Dong begs for mercy. Futile, he suddenly bursts into rage, accusing Peng of cruelty and insanity and asking him to vanish. The ghost disappears, overwhelmed by the righteous young scholar. Thus Li and Dong live as a happy couple ever after.

Playwright: Wang Renjie graduated from the Shanghai Theatre Academy, is a guest professor of Xiqu (Chinese Opera) at the China Art Institute and is ranked as a first-class National Playwright.

Major works include “Dong and Li”, “Ode to Chastity” (Liyuan Opera), “Song of Lute”, “Garden of Peonies”, “Story of Handan”, “Story of West Chamber” (Kunqu Opera), “Suqing Blossom” (Opera), “Tang Wan” and “Liu Yong” (Yueju Opera).

“Dong and Li” has won him a national award and “Ode to Chastity” and “Garden of Peonies” have received nominations. He has won the Caoyu Award for Scripts twice and the Culture Awards for New Plays twice.

Director: Lu Ang is a professor at the directing department at the Shanghai Theatre Academy. Winner of the Golden Lion Award for Directors, he enjoys the support of the Huoyingdong Education Fund and a Governmental Allowance from the National Council. He has directed more than forty plays and won the Wenhua Award six times, the Wenhua Award for Directors twice and the Outstanding Director Award at the China Drama Festival. “Dong and Li” (Liyuan Opera), “Repairing the Arch of Heaven” (Lvju Opera) and “A Great Scholar Back in Hometown” (Guiju Opera) have won him national awards. Lu has published “Comparison and Fusion of Dramas from East and West” and “Notes of A Director”.

Performers: Zeng Jingping is a famous Liyuan Opera performer, ranked as a First-class National Performer and a specialist in female roles.

She serves as the President of Fujian Liyuan Opera Experimental Company. She has won a plethora of national awards and titles.

Major works include the traditional Liyuan Operas “Chen San”, “Su Qin”, “Gao Wenju”, “Zhu Wen”, “Zhu Bian” and “Guo Hua”, as well as the innovative “Ode to Chastity”, “Chen Zhongzi”, “Dong and Li” and “Princess Caiwenji”.

Gong Wanli is ranked as a First-class National Performer and a specialist in comic roles, he has studied Liyuan Opera since a very young age. He is a member of China’s Association of Dramatists, and has won awards including the Shanghai White Magnolia Award for Leading Roles.

Major works include the innovative Liyuan Operas “Dong and Li”, “Late in Maple Forest” and “Black Slave and Female Burglar”.

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《唐风宋韵——梨园戏传统折子戏专场》 演出及创作团体：福建省梨园戏实验剧团

Selected Scenes from traditional Chinese Traditional Theatre: Grace of Tang and Song Dynasties Performed and created by Fujian Liyuan Opera Experimental Company Fujian Liyuan Opera Experimental Company production

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《赠绣箧》折子戏 一

An Embroidered Casket Given as Presen

作品介绍： 北宋年间，书生朱文寻亲不遇，投宿客店。半夜，有一 名叫“一粒金”的女子，自称是客店主人的女儿。借点火之 名，对朱文百般纠缠。最后，一粒金取出装有十文太平钱的 绣箧，赠送给朱文为记，约定结为夫妻。 该折戏梨园戏上路流派传统剧目《朱文》，是明代《永 乐大典》中记载的“宋元遗篇，海内孤本”。风格古朴苍 劲，是梨园戏作为“宋元南戏活化石”的重要见证，具有极 高的文化遗产价值。

Synopsis: In the early years of the Song Dynasty, Zhu Wen, a scholar who is looking for his family, stays at an inn. A girl who claims to be the daughter of the innkeeper named Yi Li Jin (a grain of gold) comes to Zhu and pesters him, pretending to ask for a fire. In the end she takes out an embroidered casket with ten shillings inside and gives it to the scholar in promise for marriage.

The scene is taken out of “Zhu Wen”, a classic of the Upper School of Liyuan Opera. It is also recorded in “Encyclopedia Yongle”. Antique but vigorous in style, this piece stands witness to the southern operas in the Song and Yuan Dynasties, and is considered extremely valuable as cultural heritage.

主演： 张纯吉，饰朱文。国家二级演员，1982年毕业于福建省 艺术学校梨园班，工生行。曾在福建省中青年演员比赛中获 银奖，第七届福建省水仙花戏剧比赛演员奖。代表作：梨园 戏传统剧目《郑元和》《陈三》《郭华》等；梨园戏新编剧 目《节妇吟》等。 郑雅思，饰一粒金。梨园戏优秀青年演员，2003年毕业 于福建省艺术学校梨园班，工旦行。曾在福建省中青年演员 比赛中获银奖。代表作：梨园戏传统剧目《朱文》《陈三五 娘》等；新编梨园戏《董生与李氏》《节妇吟》等。

Performers: Zhang Chunji (Zhu Wen) is ranked as Second-class National Performer. He graduated in 1982 from Fujian Arts School studying Liyuan Opera and specializes in male roles. He has won a silver award and an award for performance in provincial contests in Fujian. Major works include the traditional Liyuan Operas “Zheng Yuanhe”, “Chen San” and “Guo Hua” and the innovative opera “Ode to Chastity”.

Zheng Yasi (Yi Li Jin) is a young actress who graduated in 2003 from Fujian Arts School studying Liyuan Opera, and specializing in female roles. She has won a silver award in the provincial contest for young performers in Fujian. Major works include the traditional Liyuan Operas “Zhu Wen” and “Chen San and Wuniang”, and the innovative operas “Dong and Li” and “Ode to Chastity”.

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《赏花》折子戏 一

Admiring Flowers

作品介绍： 南宋年间，泉州才子陈三在潮州灯市邂逅佳人黄五娘， 两人一见倾心。五娘从绣楼上抛下荔枝手帕表达爱意，陈三 假装磨镜，入黄府为奴，追求五娘。五娘碍于少女矜持，不 敢表露心声。暮春时节，与婢女益春一同游赏花园，春景芳 菲，触动闺女情怀。 《赏花》选自梨园戏小梨园流派传统剧目《陈三》，是 福建特有的明初南戏剧目遗存。该折戏通过精致细腻的虚拟 程序表演、典雅优美的曲辞，演绎了美轮美奂的花园景色。 有名曲《恍惚残春》、《移步游赏》、《亏伊人》传世。

Synopsis: In the late years of the Song Dynasty, Chen San, a young intellectual from Quanzhou, meets a beautiful woman named Huang Wuniang at the lantern fair in Chaozhou. They fall in love at first sight. Wuniang throws a handkerchief embroidered with the design of lychee from her window as a token of love. Chen pretends to be a craftsman and gets employment in Wuniang’s household in order to woo her. Yet the lady dares not express her love due to courtesy and a maiden’s shame. In late spring, she visits the garden with her handmaid and admires the beautiful scenery, thus expressing her maiden desires.

The scene is taken from “Chen San”, a classic of the Little Liyuan School of Liyuan Opera. It is only preserved in Fujian.

The beautiful scenery of the garden is described and indicated by exquisite body movements and felicitous lines. Famous songs such as “The Remains of the Spring”, “Walking Through the Garden” and “Unfair to Her” come from this opera.

主演： 吴婕萍，饰黄五娘。福建省艺术学校梨园班07级学员， 工旦行。 阮冰冰，饰益春。福建省艺术学校梨园班07级学员，工 贴行。 许幼娟，饰益春。梨园戏优秀青年演员，2003年毕业于 福建省艺术学校梨园班，工贴行。代表作：梨园戏传统剧目 《陈三五娘》、《李亚仙》等。

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Performers: Wu Jieping (Huang Wuniang) is a specialist in female roles, and started studying Liyuan Opera at Fujian Arts School in 2007.

Ruan Bingbing (Yichun the handmaid) is a specialist in servant roles, and started studying Liyuan Opera at Fujian Arts School in 2007.

Xu Youjuan (Yichun the handmaid) is a specialist in servant roles, and graduated from Fujian Arts School in 2003 studying Liyuan Opera. Major works include the traditional Liyuan Operas “Chen San and Wuniang” and “Li Yaxian”.

《岑鹏归汉》折子戏 三

Cen Peng back to Han Empire

作品介绍： 东汉初年，光武帝刘秀兴兵匡复汉室，将军岑鹏效忠王 莽，坚守溧阳城，抵抗汉军。后经母妻劝降，举城归顺。 该折戏选自梨园戏下南流派传统剧目《刘秀》，俗称 《大归》，风格古朴独特，“棚外白”的插科打诨、嗳仔手 的风趣表演，在中国剧坛十分罕见。

Synopsis: In the beginning of East Han Dynasty, Emperor Wu (named Liu Xiu) leads an army to suppress a coup staged by Wang Mang.

General Cen Peng remains loyal to Wang and defends the city of Liyang with force. He surrenders at last, persuaded by his mother and wife.

The scene is taken from “Liu Xiu”, also known as “The Return”, and is a classic of the Lower Southern School of Liyuan Opera. Unique in style amongst all Chinese operas, the play is a combination of offstage comic remarks and the humorous performance of Aizai (a local trumpet) players.

主演： 林苍晓，饰岑鹏。梨园戏优秀骨干演员，1982年毕业于 福建省艺术学校梨园班，工生行。福建省戏剧汇演“优秀演员 奖”获得者 ，并在省、市会演中多次获奖。代表作：梨园戏 传统剧目《岳霖》、《王十朋》、《高文举》、《朱弁》、 《朱买臣》、《刘智远》等；新编梨园戏《蔡文姬》、《乐羊 子》等。 郭智峰，饰小军。梨园戏优秀青年演员，2003年毕业 于福建省艺术学校梨园班，工丑、末行。曾在福建省中青年 演员比赛中获银奖。代表作：梨园戏传统剧目《刘智远》、 《郑元和》、《陈三五娘》等；新编梨园戏《董生与李 氏》、《节妇吟》等。 龚万里，饰棚内白。同上 张纯吉，饰刘秀。同上 林赋赋，饰嗳仔手。梨园戏著名表演艺术家，科班出 身，工丑行，中国华侨艺术家协会会员，电视台专栏节目主 持人。曾荣获福建省第二届“水仙花”唱腔大赛“最佳演唱 奖”，福建省二十届戏剧会演“演员奖”等；主持的电视专 栏节目获省市电视艺术一等奖。代表作：梨园戏传统剧目 《苏秦》、《留芳草》、《朱弁》等；新编梨园戏《董生与 李氏》等。 陈美娜，饰岑鹏母。国家一级演员，工大旦，中国剧协 会员，多次获得省、市优秀演员奖。代表作：梨园戏传统剧目 《苏秦》、《梁灏》、《吕蒙正》等；新编梨园戏《枫林晚》 等 吴艺华，饰岑鹏妻。国家一级演员，1982年毕业于福 建省艺术学校梨园班，工大旦。曾获福建省首届“水仙花” 戏剧比赛演员奖，第七届“水仙花”戏剧比赛表演大奖，并 多次在福建省中青年演员比赛中获银奖。代表作：梨园戏传 统剧目《高文举》、《刘文良》、《苏英》、《刘智远》、 《蔡伯喈》、《苏秦》、《韩国华》、《雪梅》等。

Performers: Lin Cangxiao (Cen Peng) graduated in 1982 from Fujian Arts School studying Liyuan Opera and is a specialist in male roles, a very active practitioner of the art form. He has won several awards in provincial and municipal contests including Outstanding Performer at a provincial festival in Fujian. Major works include the traditional Liyuan Operas “Yue Lin”, “Wang Shipeng”, “Gao Wenju”, “Zhu Bian”, “Zhu Maichen” and “Liu Zhiyuan”, and the innovative operas “Princess Caiwenji” and “Leyangzi”.

Guo Zhifeng (Xiaojun) graduated in 2003 from Fujian Arts School studying Liyuan Opera and specializing in comic roles, winning a silver award in a provincial contest of young performers in Fujian. Major works include the traditional Liyuan Operas “Liu Zhiyuan”, “Zheng Yuanhe” and “Chen San and Wuniang”, and the innovative operas “Dong and Li” and “Ode to Chastity”.

Gong Wanli (Voice): see above.

Zhang Chunji (Liu Xiu): See above.

Lin Fufu (Aizai player) is a famous Liyuan Opera performer and a member of the Overseas Chinese Artists Association of China.

He has received systematic training and specializes in comic roles.

He now also works as a TV host. Mr. Lin has received awards in both fields. Major works include the traditional Liyuan Operas “Su Qin”, “Keeping Fragrant Grass” and “Zhu Bian” and the innovative opera “Dong and Li”.

Chen Meina (mother of Cen Peng) is ranked as a First-class National Performer and specializes in grand female roles. She is a member of the China Drama Association and has won several awards on provincial and municipal levels. Major works include the traditional Liyuan Operas “Su Qin”, “Liang Hao”, “Lv Mengzheng” and the innovative opera “Late in Maple Forest”.

Wu Yihua (wife of Cen Peng) is ranked as a First-class National Performer and specializes in grand female roles. She graduated in 1982 from Fujian Arts School and has won many awards, mostly on a provincial level. Major works include the traditional Liyuan Operas “Gao Wenju”, “Liu Wenliang”, “Su Ying”, “Liu Zhiyuan”, “Cai Bojie”, “Su Qin”, “Han Guohua” and “Snow Plum Blossom”.

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《大闷》折子戏 四

Anxiety

作品介绍： 南宋年间，泉州才子陈三在潮州灯市邂逅佳人黄五娘， 两人一见倾心。陈三假装磨镜，入黄府为奴，追求五娘，两 人互订姻盟。谁知黄父将五娘强行许配豪门浪子林大，催亲 紧迫，陈三携五娘连夜私奔，半路被官府捉回，将陈三流放 崖州。陈三去后，五娘深夜难眠，思忆情郎，缠绵悱恻。 该折戏由建国前的梨园戏“七子班”名师蔡秀英传授， 做功细腻精致，曲辞典雅缠绵，涵盖了梨园戏旦行表演的 众多元素，是梨园戏旦行独角戏的巅峰之作。有《忆着情 人》、《纱窗外》、《三更鼓》、《精神盹》等名曲，千百 年来在闽南语系地区广为传唱。 《大闷》选自梨园戏小梨园流派传统剧目《陈三》。

Synopsis: In the late years of the Song Dynasty, Chen San, a young intellectual from Quanzhou, meets a beautiful woman named Huang Wuniang at the lantern fair in Chaozhou. They fall in love at first sight. Wuniang throws a handkerchief embroidered with the design of lychee from her window as a token of love. Chen pretends to be a craftsman and gets employment in Wuniang’s household in order to woo her. The young couple get engaged in secret. However, she has to marry wealthy Lin according to her father’s will. With the wedding day approaching, Chen takes Wuniang to run away at night. But they are intercepted by local authorities, and the young scholar ends up exiled in Yazhou. Wuniang misses him so much that she is not able to sleep.

This scene was passed on by Liyuan Opera master Cai Xiuying before Communist China. It stands among the best one-woman Liyuan Operas with exquisite body movements, felicitous lines and many typical ways of performing the genre. Famous songs such as “Remembering my Lover”, “Out of the Window”, “Drumbeats at Midnight” and “Sleeping Awake” have been popular for centuries in Fujian and Taiwan.

主演： 曾静萍，饰黄五娘。同上 演出及创作团体简介： 福建省梨园戏实验剧团，是目前国内唯一的梨园戏专 业团体，1953年经文化部批准成立。次年以《陈三五娘》 参加上海华东戏曲会演，获文化部优秀剧目奖，从此蜚声 海内外。《朱文》等珍稀古老剧目的整理上演，更赢得了 “活文物”、“古南戏活化石”的赞誉。建团六十载，多 次获得文化部嘉奖。其中新编梨园戏《董生与李氏》获首 届曹禺戏剧文学奖，荣膺2003—2004年度国家舞台艺术精 品工程“十大精品剧目”、文化部第二届优秀保留剧目大 奖，六次晋京演出。另一新编剧目《节妇吟》获首届中国 戏剧节优秀演出奖、第四届全国优秀剧本创作奖、及入选 2005—2006年度国家舞台艺术精品工程初选剧目。2011 年，由中国文联、中国剧协出品，与《董生与李氏》一起 拍摄成为数字电影。《皂隶与女贼》获第九届文华新剧目 奖。《枫林晚》、《陈仲子》、《蔡文姬》、《冷山记》 等新编剧目，多次荣获福建省戏剧会演优秀剧目奖。 剧团现有演职员115人，一半以上享有中、高级艺术职 称。培养了著名剧作家王仁杰、“二度梅”、“文华表演 奖”、全国劳模、“德艺双馨”演员曾静萍、上海“白玉 兰”戏剧艺术主角奖龚万里等一大批优秀人才。多次参加 “环球之魂”、北京奥运、上海世博会、中国戏剧节、上海 国际当代戏剧节、文化部全国地方戏精粹展演等重要演出。 前往北京大学、人民大学、南京大学、复旦大学、厦门大 学、上海戏剧学院等名牌高校讲座巡演。常年举行元宵演出 季、五一演出季、夏令演出季等丰富的常态性演出，吸引海 内外众多观众。并先后出访意大利、英国、荷兰、德国、瑞 士、日本、新加坡、菲律宾、印尼及港澳台等三十多个国家 与地区。对中外文化交流起到巨大的促进作用，在国际上享 有很高的艺术知名度。

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Performer: Zeng Jingping (Wuniang): see above.

Introduction to the company: Fujian Liyuan Opera Experimental Company is the only professional group performing Liyuan Opera in China. It was founded in 1953 with the permission of the Ministry of Culture. In the following year, the company went to Shanghai East China Xiqu Festival with “Chen San and Wuniang” and won a ministry award as well as international fame. Bringing plays as rare and antique as “Zhu Wen” into performance means preserving regional culture. The company has been showered with awards in its six-decade history. Innovative operas created by them such as “Dong and Li” and “Ode to Chastity” have also won many national honours. “Dong and Li” made its way to Beijing six times and was adapted into a digital film together with the Ode in 2011. “Black Slave and Female Burglar” won a Wenhua Award for New Plays, while “Late in Maple Forest”, “Chen Zhongzi”, “Princess Caiwenji” and “Story of the Cold Mountain” won a number of provincial honours.

There are 115 people in the company, half of which bear the title of senior artist. Wang Renjie is a famous playwright, Zeng Jingping an outstanding performer and Gong Wanli a Shanghai White Magnolia Award winner; all performers buildt their careers with the company. They have toured many cities and taken part in numerous major events, such as the Beijing Olympics, the Shanghai Expo, the China Drama Festival, the Shanghai International Contemporary Theatre Festival and a Regional Opera Festival held by the Ministry of Culture, as well as at prestigious institutions such as Peking University, Renmin University, Nanjing University, Fudan University, Xiamen University and the Shanghai Theatre Academy. The internationally renowned company has also visited more than thirty countries and regions including Italy, UK, Netherlands, Germany, Switzerland, Japan, Singapore, Philippines, Hong Kong, Macau and Taiwan, promoting cultural exchange to a great extent than ever before. Regular performances are given on festival occasions, for example in midsummer, May 1st and Lantern Festival, attracting large audiences both from China and abroad.

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话剧《曾经3》

Play: Once 3 — The Good Life

原创

Original

编剧：谢霞 导演：于少虎 北京曾经戏剧工作坊出品

Playwright: Xie Xia Director:Yu Shaohu Beijing Cengjing (Once) Drama Workshop Production

作品介绍：

导演阐述：

三好人生是什么？ 珍惜好你的朋友，照顾好你的爱人，陪伴好你的 家人。 一位可爱严肃的“妈妈”，两朵美丽泼辣的“班 花”,三个同一宿舍的“儿子”,四次情不自禁地“想 家”-----就在这样一个平凡的夜晚，亲情,友情,爱 情发生了奇妙的化学反应,爆笑的青春,温柔的感动,梦 想与现实的错位,不再遗憾, 却暖人心扉。曾经的虽然 留在了曾经，但我们还可以在曾经中寻找力量。寻找 那种单纯却一往无前的力量……

《曾经3—三好人生》是80后怀旧作品系列的第三 部，王甲鱼、赵奇、小明曾是大学宿舍好友，一起走 过了人生中最美好的四年同窗生涯。永远生活在母亲 安排之下的小明，在好友鼓励下勇敢地踏出了逐梦的 道路，却酿成悲剧。十年后，一次奇怪的生日宴会上 小明的母亲把王甲鱼、赵奇错认为是自己的儿子，在 这个夜晚里阴差阳错的用亲情的力量解决了他们生活 的困惑。 该剧想探讨的是关于人生态度的选择，是安安稳 稳的做一个听话的三好学生，过着自己平平凡凡的三 好人生，还是勇敢地踏出追梦的执着，哪怕一路荆棘 充满烈火？ 在人生的岔路口上，我们总会被很多东西牵绊， 家人的期望，朋友的鼓励，周围人的目光，还有自己 的理想。追求梦想是每个人的权利，珍惜朋友，照顾 爱人，陪伴家人过平静的生活也未尝不可…… 活着的意义是顺从还是反抗？或许，我们只是站 在生命的跷跷板上追寻平衡？

编剧： 谢霞，毕业于中国传媒大学，现在天津体育学 院运动与文化艺术学院任教。曾创作舞台剧：2010 年《曾经》、2011年《曾经2—曾经的曾经》、2012 年《曾经3—三好人生》、2013年《曾经5—爸爸哎 呀》。编剧影视作品：HTC爱微电影系列《爱是唯 一》、《爱是坚持》等系列影视作品。 导演： 于少虎，舞台剧、影视剧导演，毕业于中国传媒 大学。执导作品《曾经》系列爆笑温情怀旧话剧，深 受观众喜爱。舞台剧：2010年《曾经》、2011年《曾 经2—曾经的曾经》、2012年《曾经3—三好人生》、 2013年《曾经5—爸爸哎呀》。执导影视剧：《橘子 的滋味》、HTC爱微电影系列《爱是唯一》、《爱 是坚持》等一系列影视作品。参与影视剧：《一地 鸡毛》、《贫嘴张大民的幸福生活》、《交通台的 故事》、《四号女监》、《尘埃落定》、《黄金时 代》、《水煮牛肉》。并做2005城外诚杯中国模特大 赛（华北）总决赛导演，2006“梦·非梦”舞蹈专场 晚会导演，第三届都市女孩服饰风采北京大赛副导 演，2008北京奥运会棒球项目体育展示经理，导演。

制 作 人：刘坤鑫 演出：张赫、王佳宇、王萌、鄂博、孙岩、张博之、刘坤鑫 营销总监：段焘 舞台监督：刘坤鑫 音效设计：MR.CAT乐队 舞美设计：宗剑客 出 品 人：聂文翰 出品单位：北京曾经戏剧工作坊

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Play introduction: What is “The Good Life”?

To treasure your friends, take care of your loved ones and attend to your family.

A sweetly serious mother, two gracefully bold class beauties, three boys from the same dormitory, four people hopelessly homesick… on an ordinary night like this, bonds of family, friendship, love and fantastic chemistry develop with the gently touching airs of hilarious youth, emphasizing the disconnect between dreams and reality, but with no regrets in the warm hearts of the people. Some things only happen once, but in them we can still find strength. This is the story of the search for a simple but indomitable force…

Playwright: Xie Xia graduated from the Communication University of China and now teaches at the Art & Culture College of Tianjin University of Sport. Works for theatre include: 2010 “Once”, 2011 “Once 2 – Has Been”, 2012 “Once 3 – The Good Life”, 2013 “Once 5 – Daddy Oh No”. Screenwriting for film and television includes the HTC love mini-series “Love is Unique”, “Love is Persistence” and others.

Director: Yu Shaohu is a theatre, film and television drama director and graduate of the Communication University of China.

Director’s note: Once 3 - Three Good Life is the third in a series of nostalgic works about the post-80s generation. Wang Jiayu, Zhao Qi and Xiao Ming were in the same dormitory during University years, and the three young men have walked together through the most beautiful times of their study life. Xiao Ming, who was always under his mother’s control, takes encouragement from his friends and decides to walk the most dangerous road, which ends in tragedy. Ten years later, at a strange birthday party, Xiao Ming’s mother mistakes Wang Jiayu and Zhao Qi as her sons, and in the name of dear kinship, she helps solve the life puzzles of both young men.

This play explores choices in life, whether to be a model student following the three “goods” and live a three good life, or to step out and chase the burning dream?

On the crossroads of life, we are always bewildered by our surroundings: the wishes of family, the encouragements of our friend’s, looks from passers-by and one’s own dreams. Chasing a dream is everyone’s right, but cherishing friends, taking care of someone you love and living peacefully with family is also a choice.

Is living to yield or to rebel? Or we are just on a seesaw, trying to find balance?

Director: Yu Shaohu Playwright: Yu Shaohu, Xie Xia Producer: Liu Kunxin Performer: Zhang He, Wang Jiayu, Wang Meng, E Bo, Sun Yan, Zhang Bozhi, Liu Kunxin Marketing Director: Duan Tao Style Director: Liu Yu Sound Effect: Band MR.CAT Stage Artistic Design: Zong Jianke Publisher: Nie Wenhan Present: Beijing Cengjing (Once) Drama Workshop

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话剧《南锣鼓巷7号》

Play: No. 7 Nanluoguxiang

2013原创/首演

2013 Original/Premiere

演出机构：典雅天地戏剧工作室

Dianyatiandi Theatre Studio

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作品介绍：

Synopsis:

故事发生在当今北京，地点在南锣鼓巷的一家旅 店“南锣鼓巷7号院”，女主人公徐京京就是这个小 院的房主。经历了北京市政府的修建和扶持，小院生 意红火，原本称心如意的她，刚迎来入住的外国游 客，忽然面临接踵而至的经济危机、爱情危机、亲情 危机和健康危机。其实，剧中所有人都面临着相同的 最大危机——道德危机。 徐京京在外宾面前竭力掩盖矛盾，甚至编造假 象，为了维护国格人格和北京人的脸面；但总是按下 葫芦起了瓢，越发乱成一锅粥。当她再也不愿这么累 心的活着，不再捂盖子说假话时，当她再也受不了心 灵的煎熬，重新捡回丢失的良知后，反而得到了外宾 的理解和尊重。

The story plays in a small hotel named “No. 7 Courtyard of Nanluoguxiang” in Nanluoguxiang, Beijing. The heroine, Xu Jingjing, is the owner of the small courtyard. With the restoration and support of the Beijing municipal government, the hotel enjoys booming business. However, the arrival of some foreign tourists brings the happy hostess a series of crises of money, love, family and health. Actually, everyone in the play is faced with the same overarching crisis: the crisis of morals.

Xu Jingjing makes every effort to cover up frictions in front of the foreign guests, and even fabricates facts in order to protect national dignity and to not lose face for the Pekingese. However, each problem she solves results in another cropping up, and things get more and more muddled. When she has finally had enough and stops lying, she retrieves her conscience and instead earns the sympathy and respect of the foreign guests.

创作阐述： 这部戏力图在一定程度上反映当今中国人的生存 状态和精神境遇；要触及在物欲横流、道德滑坡的现 实中，如何坚守良知底线这一严酷的命题；要通过对 剧中人灵魂的拷问和鞭策，对社会问题的碰撞和针 砭，揭示民族精神中的忧患意识和自省意识，呼唤对 真善美的珍重和弘扬。 如果每个人都能彰显出道德的力量，那么整个社 会就会闪耀着人性的光芒。倘若批判和反思成为每个 国人的本能，那我们的民族就大有希望。 演出机构： 典雅天地戏剧工作室，自成立以来，致力于创作 出展现话剧高雅艺术精髓、弘扬中华民族传统文化的 优秀舞台剧精品。工作室由多名业内资深编剧和专业 院校青年戏剧人组成，既有大胆创新又有深厚底蕴。 代表作品有：2011年，都市荒诞情感喜剧《夜·不 寐》，11月在柏拉图实验剧场演出。2012年，暗黑童 话音乐舞台剧《豌豆女仆》，4月份在解放军歌剧院 成功上演；2012年10月，创作大剧场原创话剧《白纸 坊太狮》，在保利剧院和首都图书馆剧场震撼上演。

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Director’s note: The play attempts to mirror to some extent the living conditions and spiritual circumstances of today’s Chinese people.

It is concerned with the harsh proposition of how to hold one’s moral ground in a world of materialistic desire and moral crisis. By questioning and whipping the characters’ souls, the play points out social problems and reveals the sense of urgency and introspection inside our national spirit. It calls for the treasuring and enhancement of the true, the good and the beautiful.

If everyone can show the strength of morality, the brightness of humanity will pervade in society. If critical thinking and introspection become a part of our national instinct, our nation will have a promising future.

Performing organization: Dianyantiandi Theatre Workshop is devoted to producing excellent stage works which show the essence of elegant art and enhance traditional Chinese culture. The workshop is made up of a few senior playwrights and young drama talents who graduated from professional schools. It combines bold innovation with profound connotations. Its representative works include the absurd city situational comedy Sleepless Night (performed in Plato Experimental Theatre in November, 2011), the dark fairy musical The Pea Maid (performed in the PLA Opera House in April, 2012) and the grand original drama The Lion Dance of White Paper Lane (performed in Baoli Theatre and Capital Library Theatre in October, 2012).

话剧《隆福寺》

Play: Longfu Templ

2013原创/首演

2013 Original/Premiere

编剧：王雨哲 导演：林兆华 出品：北京东方文化资产经营公司 北京东方国际戏剧产业基金管理有限公司

Playwright: Wang Yuzhe Director: Lin Zhaohua Production: Beijing Lin Zhaohua Drama Studio, Beijing Dongfang Daopu Culture Capital Management Company 75

作品介绍：

导演：

一条老街，一场大火，3个年代，2个人。 隆福寺，曾经朝廷的香火院儿，588年过去，到市 井喧闹，再到如今重整待发…… 老北京的每个角落都暗藏着故事，老北京的每一 块砖都踩着一段历史。隆福寺的藻井去了哪？那场大 火带走了什么？牌坊的朝天门在说着什么故事？少年 与老头儿跨越时空的三场奇遇，娓娓道来那些老北京 你不知道的事儿…… 四方城里尘埃挖宝，百花深处拂尘诉史。一些故 事并不曾离去，我们挖掘并珍惜，只因这里是隆福 寺，这里，是北京。

林兆华，北京人民艺术剧院导演，1984年至1998 年任北京人艺副院长。现任北京大学戏剧研究所所 长，北京大学、中国传媒大学、中央戏剧学院等兼职 与客座教授。早期作为演员进入北京人艺，70年代末 开始担任导演，至今已导演约七十部舞台作品。 林兆华于1990年成立了林兆华戏剧工作室，是中 国少数的独立戏剧团体之一。工作室的重要作品包括 《哈姆雷特》(1990)、《罗慕洛斯大帝》(1992)、《浮 士德》(1994)、《三姊妹•等待戈多》(1998) 、《故 事新编》(2000)、《理查三世》(2001)、《樱桃园》 (2004)和《建筑大师》(2006)等，这些作品在剧场形式 上打破了传统戏剧和当代戏剧，与不同类型艺术间的 界限，引人注目地在舞台视觉上创造出一种独特的空 灵美感，使林兆华戏剧工作室成为中国最具代表性的 民间现代戏剧团体。

编剧： 王雨哲，2008年考入上海戏剧学院文学系，扎实 的文字功底以及对剧场性独特的个人理解使其逐渐展 露出创作方面的才华。大一期间所创作的独幕剧《车 站》、《从高山到高高的山》》即获入选上海戏剧学 院新剧本朗读会剧目，而后多幕剧《天桥》获上海戏 剧学院创作专项资助；与“时间雕像剧场”合作话剧 《填字荒》受邀在上海青年戏剧节展演，《童年情 景》在京、沪、澳门等地上演，并收录于上海文艺出 版社《新剧本创作》一书。之后又陆续创作《我爱回 忆那没有遮掩的岁月》、《降B调独奏》（又名无伴 奏组曲）等剧。

执行导演： 王丁一，毕业于中央戏剧学院。主要作品：电视 连续剧：《神断狄仁杰》、《岳父也是爹》、《翠兰 的爱情》；电影：《鹿回头》、《虾哥的故事》、 《留住青山》；话剧《樱桃园》、《建筑大师》、 《回家》、《说客》、《北京的腔调》、《伊凡诺 夫》等；导演作品：话剧《三言二拍——三姐妹》、 话剧《北京有个中关村》。

总策划：杨柳荫、牛青山 出品人：李桦 领衔主演：高亚麟 、李林 舞美设计：刘科栋 灯光设计：方义 服化设计：王巍巍 舞台监督：李培彰 执行制作：田偲妮 制作方：北京林兆华戏剧工作室、北京东方道朴文化资产运营管 理有限公司 总监制：金晖、朴学东、陈之常 监制：李承刚、张玉玲、冯炜 制作人：黄继领、王雷、王峰

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Synopsis:

Director:

An old street, a big fire, three decades and two people.

Longfu Temple, an old temple for the Emperor, slowly disappears into the city chaos after 588 years, and now attempts to return to its previous glory...

Lin Zhaohua is a director at the Beijing People’s Art Theater and served as Deputy Dean of the Beijing People’s Art Theater from 1984 to 1998. He now works as a director at the Drama Institute of Peking University, a guest professor and part-time teacher at Peking University, Communication University of China (CUC), and the Central Academy of Drama. In an earlier period, he entered into the Beijing People’s Art Theater as an actor and later worked as a director in the 1970s. He has already directed over 70 plays.

There is secret in every corner of the old Beijing, each brick bearing a piece of history. Where is the caisson ceiling of Longfu Temple? What does that fire take away from the temple? What are the stories told by the memorial archway of the Chaotian Gate?

An old man and a youth’s lives intersect three times, crossing over different time and space, unveiling all those secrets you do not know about Beijing...

Curiosity drawn by the treasures buried in the ancient square city; histories blossoming among Buddha’s quiet whispers. Some stories have never been forgotten, so we dig it up and make it a treasure again, for here is Longfu Temple, here is Beijing.

Executive Director: Wang Dingyi graduated from the Central Academy of Drama.

Main works include as TV series: Detective Di Renjie, Father-inlaw as Father, Cui Lan’s Love; Movies: Deer Turning Back, Brother Shrimp’s Story, Keep the Greens; Drama: The Cherry Orchard, The Master Builder, Going Home, The Lobbyist, Beijing Accent, Ivanoff. Directing drama works Stories from a Ming CollectionThree Sisters, There is a Zhongguancun in Beijing.

Playwright: Wang Yuzhe studied at the Literature Department of the Shanghai Academy of Drama in 2008, with solid literature skills and a unique personal understanding of drama character. Station (oneact play), From High Mountain to Higher Mountains were created as early as his freshmen year and were entered into the New Script Reading event at the Shanghai Academy of Drama. Afterwards, the multi-act play Overbridge was sponsored specifically by the Shanghai Academy of Drama; meanwhile, he cooperated with the Time Sculpture Theater on the drama Crossword Crisis, which was played on invitation at the Shanghai Fringe Festival for exhibition.

Childhood Images has also been on tour in Beijing, Shanghai and Macau, and has been included in the New Play Creation published by the Shanghai Literature and Art Publishing House; at the same time, he created I love to reminisce those unveiled days, B-flat Solo (A Cappella Suite), among others.

Publisher: Beijing Oriental Culture Capital Management Company Beijing Oriental International Drama Fund Management Company Chief Planner: Yang Liuyin, Niu Qingshan Publisher: Li Hua Executive Director: Wang Dingyi Performer: Gao Yalin, Li Lin Stage Design: Liu Kedong Light Design: Fang Yi Executive Producer: Tian Caini Production: Beijing Lin Zhaohua Drama Studio, Beijing Dongfang Daopu Culture Capital Management Company.

Chief Production Director: Jin Hui, Pu Xuedong, Chen Zhichang Production Director: Li Chenggang, Zhang Yuling, Feng Wei Producer: Huang Jiling, Wang Lei, Wang Feng

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话剧《格桑花》

Play: Flower of Happiness

2013原创/首演

2013 Original/Premiere

编 剧：粱秉堃 导 演：吴晓江 演出单位：中华全国总工会文工团

Playwright: Liang Bingkun Director:Wu Xiaojiang Performer: art troupe of workercn

作品介绍：

Synopsis:

本剧讲述的，是在举世瞩目的青藏铁路建设中， 建设者们寻梦、追梦、圆梦的故事……

2001年，海拔5010米的青藏铁路大风山隧道工 地，指挥长陈坚强撑着虚弱的身体带病指挥施工。世 界罕见的冻土层、紧迫的工期，加上环保施工、高原 病零死亡的任务。其中最让陈坚头疼的是——缺氧， 由于氧气供应不足，工程人员的战斗力急剧下降，工 地医务部主任于红格，临危受命，负责联系大型制氧 机的合作单位…… 最后，大风山隧道终于贯通，陈坚带着施工队伍 不仅完成了老政委的遗愿，而且做到了高原病零死亡 率，实现了铁路建设史上的奇迹和梦想。 三年后，世界屋脊上遍地盛开的格桑花簇，一辆 满载希望和梦想的列车拉响了汽笛……

This play is set during the construction of the Qinghai-Tibet Railway, and depicts how many of the constructors’ dreams have finally been realized.

In 2001, at one of the railway construction sites 5010 meters above sea level, Chief Commander Chen Jian is directing the works on site in spite of his painful struggle with illness. There are many obstacles along the way: some of the rarest tundra in the world, a tight schedule, the requirements of operating in this harsh environment and maintaining a zero death-rate due to altitude sickness. The most difficult problem they face is the lack of oxygen, which limits the working ability of much of the engineering staff.

Faced with this tough situation, medical director Yu Hongge is assigned with the task of contacting a cooperative company to provide a large-scale oxygen production machine...

In the end, the tunnel has been dug through, and Chen Jian not only realizes the old Party Commissar’s last wish, but also ensures there is no death toll induced by altitude sickness, writing one of the miracles in the history of railway construction.

Three years later, the peak of the world is finally connected to the rest of the country by railway, bringing the local fragrance closer.

编剧： 粱秉堃，北京人民艺术剧院国家一级编剧、文化 部文化奖获得者。主要作品：《谁是强者》《冰糖葫 芦》《新居》《春雪润之》等。

Playwright:

导演： 吴晓江，中国国家话剧院著名导演、国家一级导 演（荣获小剧场戏剧导演奖、文化部优秀导演奖）。

副 导 演：刘 钊 舞美设计：郑 博 灯光设计：许书英 服装设计：曾慧洁 舞台监督：赖声煌 演出单位：中华全国总工会文工团

Liang Bingkun is a playwright from the Beijing People’s Art Theater and winner of the Culture Department’s Culture Award.

Main works include Who is the Strong, Sugar-coated Haws on a Stick, New Place, Chun Xue Run Zhi (Chairman Mao) (Literal Meaning: Spring Snow Nourishes), among others.

Director: Wu Xiaojiang is a famous director from the National Theater of China, Class A director (awarded with the Small Theater Drama Director’s Award and the Ministry of Culture’s Excellent Director Award).

Deputy Director: Liu Zhao Stage Design: Zheng Bo Light Design: Xu Shuying Costume Design: Zeng Huijie Stage Manager: Lai Shenghuang Light Design: Li Hongshan, Fan Jianxun Performer: Art Troupe of The All-China Federation of Trade Unions

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话剧《解药》

Play:Antidote

原创

Original

编剧：吴彤 导演：丛林 演出单位：北京人民艺术剧院

Playwright: Wu Tong Director: Cong Lin Performer: Beijing People’s Art Theater

作品介绍：

Synopsis:

本剧以两个“六根不净、狼性不足”的中年男人 企业家和心理医生，在各自人生的特殊境遇下探讨生 死为由，展开了一场人情、人性的纠葛、搏斗、反 转，直至最终的领悟、包容。剧情着力塑造了两个男 人的丰富内心，主旨是指传播、弘扬人与人之间爱的 正能量和豁达超然的人生观。

This play is about two middle-aged men, one an entrepreneur and the other a psychological doctor, both of whom are partially stained with sin. In their respective roads in life, both of them come face to face with the topic of life and death, presenting an image of the dark side of human nature. However, the light of right still shines, and the story ends with understanding and tolerance. The play aims to depict these two characters’ colorful inner hearts in order to promote positive energy and an open-mined, detached view of life.

编剧： 吴彤，为北京人民艺术剧院创作室主任，话剧作 品有《生·活》、《瑞雪长歌》、《七点半爱情》 等。

Playwright: Wu Tong is Director of the Creation Department at the Beijing People’s Art Theater, works include: Live-life, Ode to Auspicious Snow, Love at 7:30, among others.

导演： 丛林，为北京人民艺术剧院演员、导演，话剧作 品有《杨三姐与陈小二》、《杨为民》、《心中的绿 洲》等

Director: Cong Lin is an actor and director of the Beijing People’s Art Theater, works include: Miss. Yang the Third and Mr. Chen the Second , Yang Weimin, Oasis in the Heart, among others.

导演阐述： 观众和演员不只是相互依赖的关系，更像是一对 恋人的关系。待在一起相互审视、相互猜忌、相互欣 赏。这种你中有我、我中有你的状态就是戏剧该有的 境界。如果达不到这种和谐的境地，那就是导演的原 因了。 当导演凝视演员时，应当想到观众；当导演注视 观众时，应当想到演员。这种观演关系是神秘的、纤 细的，更美好的。

编 剧：吴彤 导 演：丛林 制 作 人：白艳 舞台监督：黄树栋 舞美设计：杨璇 灯光设计：崔博思 效果设计：郑晨 服装设计：王虹艺

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肢体·舞蹈剧场 Dance Theatre • Physical Theatre

▓▓▓▓▓▓▓▓▓▓▓▓▓▓ ▓▓▓▓▓▓▓▓▓▓▓▓▓▓ ▓▓▓▓▓▓▓▓▓▓▓▓▓

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舞蹈剧场《大嘴+协方差》（以色列） Dance Theatre:Big Mouth + Covariance

尼伍·申费德和奥仁·拉奥尔的舞蹈计划

Niv Sheinfeld and Oren Laor Dance Projects

尼伍·申费德和奥仁·拉奥尔是两名舞台艺术家。他们 自2004年开始合作。他们在作品中将现代舞、表演艺术和形 体戏剧的元素结合起来，在国内外广受好评。近几年许多艺 术节和剧场都出演了他们的作品：法国——“蒙彼利埃舞蹈 节”、“旦桑舞蹈节”，“国家舞蹈中心——庞坦市”，德 国——“舞在八月”，“泵房剧院”，“Mousonturm”艺术 节， 荷兰——“夏季舞蹈节”、“Noorderzon”艺术节，巴 西——“现代晚餐”，智利——“加夫列拉·米斯特拉尔中 心”，等等。申费德和拉奥尔的一系列作品包括《愚人船》 （2011），《大嘴》（2009），《协方差》（2004）等等。

Niv Sheinfeld and Oren Laor are stage artists that have been creating together since 2004. In their work, they combine elements of contemporary dance with elements of performance art and physical theatre, and have both received national and international acclaim. A large number of festivals and venues presented their work in recent years: France - “Montpellier Danse”, “Dansem”, “Centre National de la Danse – Pantin”, Germany - “Tanz Im August”, “Pumpenhaus” and “Mousonturm”, Netherlands “Julidans”, “Noorderzon”, Brasil - “Cena Contemporanea”, Chile “Gabriela Mistral Center”, and many others. Sheinfeld and Laor’s body of work includes the productions “Ship of Fools” (2011), “Big Mouth” (2009), “Covariance” (2004) and others.

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《大嘴》 创作演出：尼伍·申费德、奥仁·拉奥尔、科仁·乐维 作品介绍： 三位表演者以以色列民族舞步旋转前进。随后国家基石炸开四射，要求人们团结一致。表演者们陷入困境，一方面他们想 要成为体系的一部分，另一方面却想要探寻个人的身份所在。“大嘴”探寻了个人与集体和结构的关系，以及想要独立的欲望 和周围框架的紧张关系。 创作演出： 科仁·乐维，自2004年来，科仁·乐维(1972, 以色列) 的编舞在国际舞台上声名鹊起。他的一系列作品在20多个国家演出 过，包括《领土》(2004 NL, BNG 获奖者) 和《恋人一样》(2006 NL/ BE, 与Ugo Dehaes联合制作).，乐维在前两年的巡回演出 中表演的是《大嘴》(2009/ IL, 与奥仁·拉奥尔及尼伍·申费德联合制作演出) 和 《恋人一样2》（与Dehaes 合作——面向青年 观众的新版本，荣获2011年银板球奖）。 2012年春，乐维在乌特勒支的a/d Werf艺术节开幕中首演了节目《干货》，该艺术节还在巡演中。《联合》——由12名年 轻人、音乐家汤姆·帕金森和阿姆斯特丹的弗拉斯卡迪戏剧委员会合作的音乐舞蹈，于2012年11月在Breakin'walls 艺术节首演。 乐维在新舞蹈发展学校和阿姆斯特丹表演艺术学院现代舞系任教，教授舞蹈、形体和舞蹈艺术。他同时也在欧洲各个艺术 节、培训项目和剧团从事相关工作。 创作演出：尼伍·申费德、奥仁·拉奥尔，科仁·乐维 原创音乐和音乐剪辑：迪迪·埃雷兹 灯光设计：奈特·科恩 联合制作：格罗宁根大剧院

Big Mouth Created and performed by: Niv Sheinfeld, Oren Laor, Keren Levi

Synopsis: 3 performers spin into a march based on Israeli folk dance steps. Cornerstones from the national cannon blast out into the space demanding unity and conformity. The performers become trapped between their desire to become part of the system on one hand, and explore their personal identity on the other. “Big Mouth” explores the relationship of the individual to the collective and to structure, and the tension between the desire for independence and the surrounding framework.

Keren Levi (1972, Israel) has built an international profile as a choreographer since 2004 with a body of work performed in over 20 countries including “Territory” (2004 NL, BNG award winner) and “Couple-Like” (2006 NL/ BE, in collaboration with Ugo Dehaes). In the past few years, Levi has been touring with “Big Mouth” (2009/ IL, made and performed together with Oren Laor and Niv Sheinfeld) and “Couple-Like # 2” (also in collaboration with Dehaes – a new version for youngsters and a winner of a Silver Cricket award in 2011).

In spring 2012 Levi premiered “The Dry Piece” at the opening program of Festival a/d Werf, Utrecht, which is still on tour. “To Band” – a dance-music performance for 12 youngsters in collaboration with musician Tom Parkinson and a commission of Frascati Theatre, Amsterdam, premiered in November 2012 at the Breakin’walls Festival.

Levi teaches dance, bodywork and choreography in the School for New Dance Development (SNDO) and the Modern Dance Department in the School for Performing Arts Amsterdam (AHK), as well as in festivals, training programs and companies across Europe.

Created and performed by: Niv Sheinfeld, Oren Laor, Keren Levi Original music and soundtrack editing: Didi Erez Music: Ori Vidislavsky, Effi Netzer Light design: Netta Koren Production: Niv Sheinfeld and Oren Laor Dance Projects Coproducer: Grand Theatre Groningen

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《协方差》 编舞：尼伍·申费德 导演：奥仁·拉奥尔 作品介绍： 肖邦的华尔兹圆舞曲为有活力地、诙谐地阐释关系的复杂性营造了气氛。 戏剧演出将这二重奏从色彩斑斓的诱惑阶段转向 下一阶段的操纵、斗争、迷惑，直到最终的接受。 这出双人舞于2004年首演，并先后在以色列、德国、荷兰、法国、波兰、意大利、巴西、塞尔维亚、葡萄牙和希腊演出。 编舞： 尼伍· 申费德，（1972）加入Liat Dror & Nir Ben-Gal舞蹈团5年，在过去的13年中以独立编舞者的身份从事创作。申费德 为Kibbutz舞蹈团，Bat Sheva剧团及其他剧团创作作品。并因此获得两项大奖：2007年以色列文艺部最佳编舞奖，以及2009年著 名的“罗森布鲁姆”表演艺术奖。也在耶路撒冷视觉艺术学校和特拉维夫市苏珊娜·德拉尔中心等地教授舞蹈和创作。 导演： 奥仁·拉奥尔，（1971）1993年-1997年在特拉维夫大学学习戏剧和表演。在学期间，他与口碑极好的戏剧导演合作过， 比如依若尼·阿依、艾德娜·沙维特、诺拉·契尔顿及尤斯·以色列。拉奥尔的戏剧学习让他专注于独立创作。从2004年起， 他就开始与尼伍· 申费德联合创作现代舞作品。2009年拉奥尔成为特拉维夫市Tmuna 戏剧艺术委员会成员。另外，他还面向专 业舞者开办工作坊，同时结合表演和肢体动作的不同方法和技巧。 编舞：尼伍·申费德， 导演：奥仁·拉奥尔 表演：尼伍·申费德、斯万·伽索兹 音乐：弗雷德里克·肖邦（opus 34 n. 2, valse opus post, opus 34 n. 3） 灯光设计：奈特·科恩 创作演出：尼伍·申费德、奥仁·拉奥尔，科仁·乐维

Covariance Choreography: Niv Sheinfeld Director: Oren Laor Performers: Niv Sheinfeld and Sivan Gutholtz

Synopsis： Chopin’s Waltzes create the atmosphere for this energetic and humoristic perspective on the complexity of relationship. The dramaturgy leads the duo from the colourful phase of seduction to the later phases of manipulation and battle, confusion and finally acceptance.

The duet premiered in 2004 and was presented in Israel, Germany, the Netherlands, France, Poland, Italy, Brazil, Serbia, Portugal and Greece.

Choreography: Niv Sheinfeld (1972) danced for 5 years at the Liat Dror & Nir Ben-Gal Dance Company, and has worked for the last 13 years as an independent choreographer. Sheinfeld has created works for the Kibbutz Dance Company, Bat Sheva ensemble and others, and received 2 major awards for his work: the choreography award from the Israeli Minister of Arts in 2007 and the prestigious “Rosenblum award” for performing arts in 2009. Sheinfeld also teaches dance and creation in the School of Visual Theater in Jerusalem, Suzanne Dellal Centre in Tel Aviv and others.

Directing: Oren Laor (1971) studied theatre and performance at the University of Tel Aviv from 1993-1997. During this time, he has worked with highly praised theatre directors such as Yvgeny Arye, Edna Shavit, Nola Chilton and Yossi Israeli. Laor’s theatre training led him to focus on independent creation, and from 2004 he has created contemporary dance works together with Niv Sheinfeld. Since 2009, Laor has been a member of the artistic committee of Tmuna Theatre in Tel Aviv. In addition, he gives workshops for professional practitioners, combining different methods and techniques of performance and movement.

Choreography: Niv Sheinfeld, Director: Oren Laor Performers: Niv Sheinfeld and Sivan Gutholtz Music: Frederic Chopin (Op. 34 No. 2, Valse Op. Post, Op. 34 No. 3) Light design: Netta Koren

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舞蹈剧场《Dictee》 （听写练习）

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DANCE THEATRE: Dictee (Practice)

日本

Japan

导演·编舞·表演：山田云 主办（共同主办）： 日本国际交流基金会北京日本文化中心

Director/Choreographer/Performer: Yamada Un Co-organizer: The Japan Foundation, Beijing

作品介绍： 这是山田云受韩裔美籍女艺术家Theresa Hak Kyung Cha（特里萨·车学耿1951-1982）的自传体 小说《Dictee》（有译名为《口述》）启发而创作的 独舞作品。《Dictee》已多次被搬上舞台，但2011年8 月，在京都艺术中心，山田云将此作品舞蹈化，这一 尝试在日本国内是第一次。 舞台设置很简单，只有桌子、黑板和台阶。音乐 是以巴赫的《马太受难曲》为中心，选择了像韩国的 韩国传统说唱艺术板苏利（pansori）、爵士即兴曲和 日本的童谣《故乡》等，这些曲目本身就能唤起人们 对于相应民族的某种印象。此作品中着眼于文学原作 而得到的场景、引用的文本和山田云自身孩童时代的 记忆与现代舞自由地编织交错在一起，构成了作品的 发展脉络。 其次，“ Dictee”所包含的“练习”的意思，将 为了生存下去而必须进行各种各样的“练习”的人生 呈现在表演者和观众的面前，渐渐引领观众一同进入 演出的最后一幕。 编导： 山田云，2000年在横滨舞集·独舞双人舞大赛中 获得“为鼓励年轻编舞家设立的法国驻日本大使馆 奖”旅法创作、学习。2002年创立自己的舞团＜Co. 山田うん＞。以其富于生命力，幽默机智的作品，在 日本国内外广受瞩目。其作品演出足迹遍及日本国内 27个城市，12个国家的20个城市，成为人们谈论的话 题。她积极涉足音乐，美术，学术，时尚等领域的合 作创作，也从事戏剧及歌剧的动作编导，在日本国内 的学校及公共设施开展工作坊等活动。因活跃于众多 领域而广受关注。

导演/编舞/表演：山田云 制作：上原听子 照明：吉本有辉子 音响：江泽千香子 舞台监督：原口佳子 服装：池田木绵子

Synopsis: This solo dance is created by Yamada Un, inspired by the autobiographical novel Dictee of Theresa Hak Kyung Cha (19511982), a Korean American artist. Dictee has been performed on stage many times, but it was only in August 2011 that the novel was first adapted for dancing by Yamada Un at the Kyoto Art Centre in Japan.

The setting of the stage is very simple, with only a desk, a blackboard and a flight of stairs. The music, centred on St Matthew Passion by Bach, contains pansori (a genre of Korean traditional vocal music), impromptu jazz and Japanese children’s folk Furusato (Hometown). The music alone can arouse impressions of the corresponding ethnic groups. This work freely combines the scenes, the text from the original novel and the childhood memories of Yamada Un with the forms of modern dance, thus constructing the trajectory of the work’s development.

Through Dictee, which means “practice”, the performer presents to the audience with various “practices” in life that we have to do in order to survive. Thus follows the last scene.

Playwright/Director: Yamada Un won the “Encouraging Young Choreographers Award by the French Embassy in Japan” in the 2000 Yokohama Dance Medley Solo Dance and Partner Dance Competition, which provided her with an opportunity to create and learn in France. In 2002, she started her own dance company “Co.Yamada Un”. She has attracted enormous attention from Japan and the world through her works which are full of life, humour and wisdom. Her works have been performed in 27 cities in Japan and 20 cities in other countries, often becoming a topic of people’s conversation. She actively participates in cooperative creation of music, painting, academic studies and fashion. She also works as a choreographer for dramas and operas. She organizes workshops in schools and public places in Japan.

美术宣传：永野Hiroko

Director/Choreographer/Performer: Yamada Un

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88

舞蹈剧场《阿O一家》

DANCE THEATRE: The Family of O

2013原创/首演

2013Original/Premiere

编导：史晶歆 歆舞界-艺术实验室出品

Director/choreographer: Shi Jingxin XIN-ART-LAB Production

作品介绍：

Synopsis:

该剧讲述一个关于当代人对于自主命运和非自主 命运的探索，奋斗不息对抗多重现实、命运和未来的 无力感，折射出多方向多维度的可能性与无力感。单 亲家庭农民之子阿O，从小和母亲相依为命，拥有宏 大抱负，通过学业改变自己的命运成为一位知名公司 的秘书，猎寻未来与每日绝望漩涡之中，经人介绍和 良好的家庭背景教育背景的高知女性组建了家庭， 阿 O的母亲是一位中国农村坚韧而伟大母亲的缩影，爱 恨分明，爱和目光全聚焦儿孙，生活重心被孩子完 全占据。阿O的女儿是个聪慧早熟的小女儿。女儿出 生时阿O的妻子落下体弱病，一直休养在家。她在不 满个人抱负无实现之时再次怀孕，个人抱负、家庭命 运，与社会变局故事由此开始。

This play tells a story of the exploration and inability of a contemporary man. It touches on his exploration into whether or not man is capable of deciding his own fate, and on his frustration and inability when his enormous efforts encounter the multilayered fusion of reality, destiny and future. Multi-directional and multi-dimensional possibilities and the sense of powerlessness are therefore visible to the audience. O, born to a single mother in an agricultural family, has a close tie with his mother and a grand ambition. He studies very hard and finally becomes a secretary in a reputable enterprise. He is introduced to and later forms a family with an intellectual woman who has a good educational and family background. He has altered his destiny. O’s mother is typical for a mother from rural China, strong-minded, tolerating and overbearing.

She has a very clear and independent idea of love and hatred, and has given her all to her children and grandchildren. O’s daughter is a smart girl with a bit of sophistication who grows beyond her age. O’s wife is affected giving birth to her daughter, and has rested at home ever since. Discontent with her unrealized ambition, it seems that no opportunity but childbearing favours her. A story thus develops mixed with ambition, family and social change.

导演阐述： 面具的背后是几分私密和躲避，面具的表面是僵 化和桎梏……这是一个透过“面具”展开想象与思考 的作品。这是一个演员与环境、观众互动的作品，在 面具的世界里，演员与观众将一同创造全新的视觉表 达与情感空间。每个作品都有属于它自己的生命，何 时被创作？在什么样的动机下产生？又会有怎样的观 众观看…… 导演/编舞： 史晶歆，毕业于上海市舞蹈学校，随后考入北京 舞蹈学院编导系完成本科与硕士研究生的学习，后留 校任教至今。2008年成为了第29届北京奥运会开幕式 导演组最年轻的导演；2009年创建了歆舞界-艺术实 验室，揭开了当代舞蹈与多媒介融合尝试的序幕；其 先后师从编舞家陈维亚和邓一江、法国编舞大师苏 珊-伯居；于2010年作为国家留学基金委“艺术类人 才特别培养项目”首批获得资助的艺术家，获得美国 纽约大学TISCH艺术学院的邀请，前往美国纽约进行 交流与创作，师从美国先锋戏剧大师、纽约大学终身 教授理查-谢克纳。

导演/编舞：史晶歆 演员：陈承、王印、孙晓牧、贺汨江、东方暖 面具设计-制作：陈飞 舞台视觉：徐愔 服装设计：宋橇 文本素材：集体创作、潘丽、新闻、微博、《新婚姻法》等

Director’s note: Behind the mask we see privacy and evasion. On the mask we see rigidity and shackles. Thinking and imagination in the play revolves around the mask. It is an interaction between performers, the environment and the audience. In the world of masks, people from both sides of the stage will create a new visual expression and a space for feelings. Each production has its own life. When is it born? How is born? To whom will it be performed?

Director/Choreographer: Shi Jingxin started her life in dancing at the Shanghai School of Dance. She later enrolled in the Beijing Conservatory of Dance, where she remains today.

Director/Choreographer: Shi Jingxin Performers: Chen Cheng, Wang Yin, Sun Xiaomu, He Mijiang, Dongfang Nuan Mask Design (Production): Chen Fei Visual effects: Xu Yin Costume Design: Song Qiao Textual materials: group creation, Pan Li, News reports, Weibo entries, the new Matrimonial Law, etc.

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90

肢体剧《战》

PHYCICAL THETARE: Fight

台湾

Taiwan

编导：符宏征 台湾动见体剧团出品 文化部、台北市文化局、中国国际商 业银行文教基金会、兆丰国际商业银 行、Adidas支持

Playwright/Director: Fu Hong-Zheng M.O.V.E. Theatre Production Ministry of Culture, Department of Taipei Cultural Affairs, International Commercial Bank of China Cultural and Educational Foundation, Mega International Commercial Bank, Adidas Supported

作品介绍： 不怕输！不怕赢！ 不到终点，绝不放弃！ 职场 情场 都是运动场 一出结合 乒乓 篮球 棒球 足球 的运动实境秀 符宏征肢体剧场风格 完整收录 2011亚维侬OFF艺术节TOP 5节目—法国费加洛报权威

剧评 Armelle Héliot 协调、精湛、纯粹的完美运动姿态—法国Revue-Spectacle

网络表演杂志 令人愉悦的肢体剧场美学—韩国釜山时报 完美融合运动表演与现代社会的残酷斗争—韩国CIVIC

NEWS 《战》为动见体剧团“运动剧场”系列作品，以 三部曲作为发展脉络，将运动形体构图作为风格化的 剧场叙事，转喻现代人生活与生存的精神处境，关注 人在生活中所受到的压抑与挣扎，将各类运动与人生 百态巧妙结合，并更深入挖掘人对「生存」与「凋 亡」的本能恐惧，是台湾首见以运动的身体行动为展 演方法的剧场创作。2009年夏天赴法国外亚维侬艺术 节首演大受好评，同年底在台湾搬演，后成为动见体 剧团「运动剧场系列」定目之作，亦为艺术总监符宏 征的肢体剧场美学新代表作。2011年，《战》再度受 邀于法国外亚维侬艺术节演出，广受当地观众、策 展人、艺评人及媒体多方好评，同时获资深艺评人 Armelle Héliot 选为TOP 5节目中的唯一亚洲团队及 普罗旺斯报推荐的TOP 20表演节目。2012年赴韩国釜 山艺术节表演亦引起观众们的广大回响与共鸣。

导演阐述： 对准自己内在的声音。 这几年，我导演了不少以中外文本出发的作品， 这一次再回到肢体创作，除了从中继续探索自己的可 能性，也探索在戏剧言语诠释系统之外，将其他元素 融入肢体剧场的可能性。我将重点放在肢体的开发上 面，以爱好的球类运动去做发展，并摸索运动、竞赛 肢体的力量，是否能表现人与人的互动角力。排练期 间与演员们经历「实战」训练后，我们虚拟、拼贴、 组织不同的运动张力，从这些张力当中去寻找相呼应 的人际状况、精神状态并与之结合，然后移植到日常 的生活场域与情境之中。而这些运动外放的力与协调 的美，其内在能量的动源、转化等等，也正如同每一 个人成长、改变、活着的「故事」。 如果「竞赛求胜」是一个开端，建构了运动如人 生、人生如战场的意象，在《战》中，我想更进一步 挖掘「落败」对于人性的影响。一个人于肉体与心灵 的挫折、受伤之中，如何修复自己、如何重新回到人 生的战场？为了能够维持竞争力，为了常规生活的脉 动，他们必须控制自身频频失控的平衡，时而优雅、 时而狂颠，时而冷静、时而机械。然而，为了不断得 分、不断超前，在不知不觉中，他们的自我修复更加 暴力、更加隐蔽、更加荒谬，以致于身处或隐或显的 冲突之中，无视于那围绕在他们身边的善意、柔韧、 温暖的声音与光影……。

灯光设计：黄祖延、雷若豪 音乐设计：陈世兴、林桂如 服装设计：李育升 演出：刘姿君、刘亭妤、刘嘉骐、刘冠廷、崔台镐

编导： 符宏征，马华裔台湾中生代剧场导演，于2006年 创立「动见体剧团」并任艺术总监。曾于九〇年代投 身「人子剧团」师事陈伟诚，接受果陀夫斯基表演系 统训练，奠基身体行动的剧场美学观。符宏征的作品 以诗意的身体景观、多焦点的拼贴叙事、凝炼极简的 舞台语言、多层次的空间意象等，构筑充满戏剧张 力、及超现实风格的视觉及音乐性。创作题材揉以当 代历史、神话、文化与社会题材，并擅长以剧场召唤 演者及观者的内在精神样态，展现对人类生命的深刻 凝视，成为其特有的剧场美学。经常受邀于亚维侬、 北京、青岛、上海、香港、新加坡、韩国、台湾两厅 院等国内外艺术节巡演。除剧场演出，亦与许多著名 剧团与艺术家跨界合作，从事音乐、舞蹈、戏曲跨领 域的导演统合与视觉调度。

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Synopsis:

Director’s note:

Creative, passionate, humorous, and right-at-the-point, Fight made a remarkable success at Avignon Off and Busan International Performing Arts Festival.

Ping pong, soccer, basketball, baseball, swimming, and taekwondo – an overtime game expresses the witty absurdity of life.

A complete demonstration of Fu Hong-Zheng’s physical aesthetics. Fight is a trilogy from M.O.V.E. Theatre’s “Sporty Work Series.” It transforms athletic bodies/physical movement into a stylish theatre narrative, symbolizing human beings’ psychological condition and how they survive in a modern society. The oppression and struggle one experiences in life has been artistically combined with various sport games, which further remind us of the intrinsic fear of “survival” and “decease.” It is the very first theatre work in Taiwan adopting athletic physicality as a performance style.

In the summer of 2009, Fight made a remarkable success while it premiered at Festival d’Avignon OFF in France. Later that year, it was performed in Taiwan and became the repertoire of M.O.V.E. Theatre’s “Sporty Work Series” for that it well represents the artistic director Fu Hong-Zheng’s aesthetics of physical theatre. In 2011, Fight was invited to perform at the Festival OFF d'Avignon in France for the second time, and received fantastic praise from local audience, event coordinators, critics, and journalists. The work was selected by the senior art critic Armelle Héliot as one of the top five performances (M.O.V.E. was the only company from South East Asia to be included in Héliot’s picks) and was recommended by La Provence Sortir as one of their “top 20 performances to see” at OFF d'Avignon that year. It also made a huge success in its 2012 tour at Busan International Performing Arts Festival.

The Target Is Our Inner Voice In the recent years, I have directed several plays based upon written text in Chinese or other languages. This time, I return to the physical movement, through which I continue exploring my own possibility while also discovering the potentiality to embrace other elements in the physical theatre beyond the theatrical languageinterpretation system. My emphasis is on the physical development, starting from the ball sports we are interested in and further exploring how the power of sport games and the physical movement in the competition might symbolize the wrestling interaction of human relationship. During the rehearsal, the actors and I have been experiencing the “fight-like” training. The dynamics of the sport games have been virtualized, collaged, and organized, through which we search for corresponding human relationships and psychologicals condition as combination. Moreover, we transplant it in the daily-life spaces and situations. The expressive power of these sports, the beauty of the coordination, the resource and the transformation of the inner dynamics indeed visualize the “stories” of each one of us, about our growing-up, our transformation, and our “being alive.”

If “fight for victory” is a starting point to create metaphor which connects sport and life as well as life and battlefield, I hope to further discover how “being defeated” influences humanity in Fight.

When one is physically and spiritually defeated or traumatized, how should one heal oneself and return to the battlefield of life? In order to maintain one’s competitiveness and the regularity of ordinary life, they have to control themselves from being out-of-control, creating a balance among being elegant, being crazy, being detached, and being mechanical. However, with the attempt to score and to outmatch others, their self-healing process subconsciously becomes more violent, more obscure, and more ridiculous. Once being in the center of the visible or the invisible conflicts, one gradually ignores the surrounding voice and light of warmth and gentleness...

Playwright/Director: As a Malaysian Chinese who currently lives and works in Taiwan as a mid-generation theatre director, Fu Hong-Zheng established M.O.V.E. Theatre in 2006 and has served as the artistic director since then. He used to work at Zen-Tze Theatre Laboratory, where he received the acting training method evolved

by Growtowski under the guidance of Chen Wei-Chen – which later became the foundation of his physical theatre aesthetics.

Fu Hong-Zheng’s works feature poetic physical landscape, multi-dimensional collaged narrative, condensed theatre language, and multiple metaphors of space, through which he creates a theatre of intensity combined with surrealistic visuality and musicality.

The themes of his works include contemporary history, myth, cultural and social issues. Fu is particularly talented at raising performers’ and viewers’ inner psychological state through theatre, demonstrating his profound contemplation on humanity. It is indeed his unique theatre aesthetics. His works have been invited to festivals in Avignon, Beijing, Qingdao, Shanghai, Hong Kong, Singapore, Korea, and the National Theatre in Taiwan. In addition to theatre productions, Fu has collaborated with renowned theater groups and artists in music, dance and theater.

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Light design: Wong Choo-Yean、Lei Jo-Hao Composer: Jimi Chen、Lin Kuei-Ju Costume design: Li Yu-Sheng Actors: Liou Tz-Jiun, Liu Ting-Yu, Liu Chia-Chi, Liu Kuan-Ting, Tsuei Tai-Hao

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实验音乐表演 《献给微小的灵》

Experimental Music Performance: For The Small Ones

原创 / 首次海外公演

Original/Premiere Overseas

演出：三月乐团·SANGATSU 主办（共同主办）：日本国际交流基 金会北京日本文化中心

Performer: Sangatsu Co-organizer: The Japan Foundation, Beijing

作品介绍：

Synopsis:

这是一场多媒体音乐空间演出，这次演出源于 2011年日本海啸引发核电厂爆炸后对人类社会发展与 大自然的思考。

“For The Small Ones” is a multimedia music show. The idea originated from thinking on human society and nature after the 2011 Japanese nuclear power plant meltdown in Fukushima following the tsunami.

本次演出曲目： 1.不音乐，不 2.一个故事给明天 3.夜复一夜 4.在郊外 5.夜的地图 演出： 三月乐团·SANGATSU，1997年在东京成立。他 们的音乐创作着重于声音的感觉和走向。三月乐团发 表的首张专辑由 Jim O’ Rourke制作，随后相继发表 了《波（Nami）》（奥原浩志导演电影作品的原声音 乐），《静静的生活（Still Life）》和2010年的最新唱 片《5首曲子（5 compositions）》。他们发起了一个 叫做“Catch and Throw”的项目以构建一个在线的平 台，在这个平台上，通过集体共同创作，莫可名状的 声音被传达出来，声音产生的过程作为作品被呈现出 来。三月乐团宣布，2012年1月起放弃今后所有作品的 著作权。

Atsuhiro Koizumi小泉笃宏 – Guitar吉他 Sotaro Kojima小岛创太郎 – Guitar吉他 Hiroki Chiba千叶广树 – Bass贝斯 Tanaka Yuji田中佑司 – Drums鼓 Ichiro Syukuya宿谷一郎 – Drums鼓 Hiroki Togashi富樫大树– Drums鼓

01.No music no 02.A story for tomorrow 03.Night by night 04.In the suburbs 05.Nightmap Performer: Sangatsu was founded in Tokyo in 1997. Their productions have focused on the feelings and trends of sound. The first Sangatsu album was produced by Jim O’Rourke. Other albums include Nami (the original soundtrack of Okuhara Hiroshi’s films), Still Life and 5 Compositions, a new album recorded in 2010. They started a project, setting up an online platform named “Catch and Throw” for the communication of indescribable sounds composed jointly online. The process of producing is the final work presented.

Sangatsu have announced that they have given up copyrights of all their works after January 2012.

Atsuhiro Koizumi – Guitar Sotaro Kojima – Guitar Hiroki Chiba – Bass Michito Kaji – Drums Itiroh Shukuya – Drums Hiroki Togashi – Drums

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多媒-舞蹈演出 《变奏·城市》 法国

演出：t.r.a.n.s.i.t.s.c.a.p.e舞蹈团 协办方：法国驻华大使馆 支持：比利时驻华大使馆瓦隆 - 布鲁 塞尔代表团 合作伙伴：恒基商城

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Dance: Urban distortions France

Support : Wallonia-Brussels International & Wallonia-Brussels Delegation in Beijing Partner :Henderson Shopping Centre

作品介绍：

Synopsis:

《变奏·城市》是一场位于不同领域交接处的舞 蹈演出，它就像在城市中心举行的戏剧一样。诗歌、 音乐、短暂的装置，《城市失衡》展现了一些极小现 象的集合，它们互相重叠，交叉并勾勒出城市非典型 的特质。在中国演出的框架下，这个项目围绕着其与 中国城市空间和公众的相遇而展开，在武汉和北京展 现了纯粹的诗意。 一个在城市中心的项目。一段在时间中暂停的诗 意瞬间。一位舞者和一位音乐家在公共空间互动的魔 力。《城市失衡》给了从另一个角度观察城市的机 会，即没有墙壁的剧院，在那里两位艺术家以互动的 魔力讲述着将他们包围的空间，它的历史和它的记 忆。

“Distortions urbaines” is a dance show at the intersection of disciplines that can be placed, like open theatre, in the heart of urban space.

Poetry, music, temporary installations: “Distortions urbaines” presents a constellation of micro-phenomena that overlap, conversing and sketching an unusual identity of the city.

As part of its presentation in China, the project is being placed in public spaces of Wuhan and Beijing, for Chinese audiences to create pure moments of poetry.

A project at the heart of the city. A moment of poetry held in time. The magic of the interaction between a dancer and a musician in the middle of an urban space. “Distorsions urbaines” asks us to consider the city from a different angle, that of an open theatre, where the magic of the interaction between two artists discusses the space around them, its history, and its memory.

T.R.A.N.S.I.T.S.C.A.P.E t.r.a.n.s.i.t.s.c.a.p.e舞蹈团诞生于2003年，起因是 造型艺术建筑师Pierre Larauza与舞蹈家Emmanuelle Vincent的相遇，他们希望能够将各自领域通过视觉艺 术和声音艺术进行碰撞和交流。 自2004年起舞团总部设在布鲁塞尔，双人组与各 国录像师、计算机人员、美术设计师、录音师、作曲 家、音乐家、演员和舞者合作。 每次创作都是跨领域作品，与城市空间有着特殊 的联系。舞团持续进行主题为不同媒介之间相互的传 染研究。它使舞蹈、建筑和音乐之间产生了一种微妙 的关系。 在舞团成立的同时，他们自2007年开始管理儿童 舞蹈学校La Confiserie，一个非盈利协会的教育项目。

Pierre LARAUZA (舞者 书法家) Emmanuelle VINCENT (舞者) Thy TRUONG MINH (舞者 画家) Olga MENDEL NDAYA (舞者 书法家) + 邀请的当地音乐家

T.R.A.N.S.I.T.S.C.A.P.E t.r.a.n.s.i.t.s.c.a.p.e is a dance company born in 2003 of the encounter between the visual artist Pierre Larauza and the dance choreographer Emmanuelle Vincent, who wished to confront and cross their disciplines with visual and audial arts.

Based in Brussels since 2004, the team has collaborated with international video makers, IT engineers, graphic designers, sound engineers, composers, musicians, actors and dancers.

Each creation affirms itself as an interdisciplinary piece fitting into a particular relationship with the urban space. The company develops an abiding research that questions and cross-questions different forms of media. It gives birth to a powerful relationship between dance, architecture and music.

Alongside their creations, since 2007, they have managed the dance school for children, La Confiserie, a non-profit education project.

Pierre Larauza (dancer, choreographer, calligrapher) Emmanuelle Vincent (dancer, choreographer) Thy Truong Minh (dancer, designer) Olga Mendel Ndaya (dancer, choreographer) + local musician invited

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多媒体互动装置 《站立的人》

The Standing Men

法国

France

设计/表达：皮埃尔·阿姆德鲁兹 瓦朗丁·杜利夫，维克多·鲁 制作：AADN 支持：兵马司唱片，法国对外文化教 育局、里昂市政府、罗纳- 阿尔卑斯 大区艺术文化创新基金会

Conception/Interpretation: Pierre Amoudruz, Valentin Durif, Victor Roux Production: AADN Supports: Maybe Mars, French Institute, City of Lyon, FIACRE Rhône-Alpes

Festival Croisements 2013 Mode d’emploi logos/标识使用说明/Logos Instructions Mentions obligatoires pour tout document de communication dans le cadre du festival Croisements (affiches, flyers, brochures, communiqués de presse, sites Internet, etc).

Insérer le logo de l’Ambassade de France pour la circonscription de Pékin

Présenter l'événement comme suit : ..... (nom du partenaire organisateur), en partenariat avec l'Ambassade de France en Chine dans le cadre du festival Croisements, présente .... (nom de l’événement)

Ou le logo du Consulat Général concerné selon les circonscriptions (exemple ci-dessous)

Présenter l'événement comme suit : ..... (nom du partenaire organisateur), en partenariat avec le Consulat Général de France à … dans le cadre du festival Croisements, présente .... (nom de l’événement)

Insérer le logo Croisements : le logo bleu pour les supports de couleur claire ou le logo blanc pour les supports de couleur foncée.

Code couleur en quadrichromie : C : 95 ; M : 60, J : 0 ; N : 0.

Insérer le QR code du site Faguowenhua, le site officiel du festival Croisements.

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Pour les événements soutenus par l'Institut français, ajouter le logo Institut français dans l'ordre cidessous, en respectant les espacements et les tailles indiqués.

Présenter l'événement comme suit : ..... (nom du partenaire organisateur),

作品介绍：

Synopsis:

请仔细听站着的人们在说什么，这些发出荧光的 模特是故事、话语和文化的传递者，在观众从他们身 边经过，并与他们接触时，他们会亮起来，会说话， 会发生颜色的变化。 “站立的人”是一个令人感到吃惊的，热情洋溢 的互动式装置艺术，他们会向走过的人打招呼，邀请 过路的人们与他们对话。他们会用中文讲述自己的故 事，对他们的生活和所处的环境提出问题。观众也不 仅仅是旁观者，观众可以触摸他们，与他们说话，回 答他们的问题，参加他们的游戏，并与这些会发光的 人进行一场触摸式的对话，而他们的回答常常是十分 滑稽的，常常是出人意料的。 不管是儿童还是成人，大家都来摸一摸他们，听 听他们说些什么，拥抱他们，然后，你们也可以对着 他们的耳朵悄悄说点什么，站着的人们会用文字、光 亮和颜色对你们做出回应的。

Lend an ear to Les Hommes debout, for these phosphorescent mannequins are purveyors of stories, words and culture; they will light up with words and colours, with the passing and the contact of the public.

Les Hommes debout is a surprising and welcoming interactive installation that has been specially adapted to the Chinese audience within the frame of Croisements Festival.

They hail the passers-by and invite them into a dialogue.

They tell their stories in Chinese, and wonder about life and the environment they occupy. The audience is not only a spectator but also touches, speaks, answers, plays along, and engages in a tactile dialogue with these luminous beings, with often funny and unexpected responses.

Children and adults, come touch them, listen to them, hug them, and in turn, whisper some words into their ear, Les Hommes debout will answer you in words, lights, and colours.

制作： AADN，十年以来，始终致力于在里昂和罗讷阿尔卑斯地区发展数字艺术和文化活动。不断地在现 场进行实践，也从事理论研究，从事艺术创作和文化 发展方面的努力，试图在艺术、社会和技术之间建立 起表达意义的平台，探索数据技术与人和城市的关 系。 为了实现自己的承诺，AADN主持一些网络的活 动，开启共同的思考空间，通过艺术的努力，创造一 些与社会、文化、教育、科学和经济领域发生接触的 领域。 作品阐述： 装置艺术作品“站立的人”（Les Hommes Debout）第一次是2009年在里昂灯光艺术节期间展出 的，自从首次展出以来，这一装置艺术作品便在很多 公共场所、艺术节和展厅里展出过。 “站立的人”处在人类学思考和一个地方的活的 记忆表达这两种形式之间，通过向所有的人开放的一 种装置，它首先是一种传达意义和表达意义的平台。 除了要展示一种交互式的作品之外，装置艺术“站立 的人”还对所处的空间进行探索，并将空间纳入自己 的反映范围。为了将该装置在中国展出，十六个模特 的部分话语是作者在作品展出之前在中国用中文特别 录制的。

Production: AADN has worked for almost 10 years for the development of Digital Arts and Culture in Lyon and the Rhône-Alpes Region.

Constantly moving back and forth between the groundwork and theoretical initiatives, artistic creation and cultural development, AADN creates links between art, technology and society, questioning the digital in its relationship to people and the city.

The commitment of AADN leads to animated networks, open spaces for shared reflection and the creation of artistic entryways into areas of friction with social, cultural, educational, scientific and economic fields.

Note: The Les Hommes debout installation was shown for the first time at the Festival of Lights in Lyon in 2009. On December 8 of each year, The Festival of Lights illuminates many parts of the city for the whole night. Since then, the installation has continued its pilgrimage through the various public spaces, festivals, and showrooms that welcome it. Midway between an anthropological project and an expression of a place’s living memory, Les Hommes debout, through its participatory mechanisms, is primarily a gateway for communicating and conveying meaning.

The life-like phosphorescent mannequins question the relationship between spectator and the work. They play flashes, echoes and change colours. The mannequins come to life in pretty, spectacular and unpredictable ways, turning the whole installation into a ballet of light of the third type.

Beyond the exhibition of an interactive piece of work, the installation Les Hommes debout questions and integrates the space in which it is presented. For its presentation in China, part of the vocals of the 16 mannequins were specifically recorded in Chinese during a residency organized ahead of the show.

A collaborative achievement, halfway between an anthropological project and an expression of a place’s living memory, Les Hommes debout is primarily a gateway to communicate and convey meaning with a system open to all.

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朗读《望北京》

Script Reading: To Beijing

原创

Original

编剧：孙兆勇 导演：孙兆勇、李滨 中国石油大学（北京）团委出品

Playwright: Sun Zhaoyong Director: Sun Zhaoyong, Li Bin China University of Petroleum (Beijing Campus)Production 101

作品介绍：

导演阐述：

该剧是二十世纪七八十年代中国农村社会现实的 写照。是一部回忆剧、成长剧。它关于家庭和故乡， 关于苦难和成长，关于性格和命运，关于人性和尊 严，关于现实和梦想。是痛苦灵魂的呻吟，是卑微生 命的咏唱，是一首抒发浓郁思乡之情的长篇叙事诗。 主人公高天梁早年高考落榜之后放弃复读，离开 家乡，独自来北京闯荡，渴望体验新的人生，实现自 己的诗人之梦。漂泊多年，他生活处处碰壁，难以成 器，感到困顿和失望，但仍不愿放弃梦想。他一次次 地回望来路，回望故乡，追问自己这一梦想的根由。 他回忆旧时光，更多是痛苦，但也不乏快乐。原来他 生长的环境冷漠、无情、偏狭、闭塞，他对此深恶痛 绝，希望通过高考到北京就读大学，却屡屡受挫，梦 想打折。家庭贫穷的严酷现实，几位亲人的凄惨境 遇，尤其是妈妈早年为供他上学弄口粮，不得不委身 于一疯癫村夫的事情，大大刺激了他。这是目光的回 眸，也是无奈的叹息，是一种归根返本。他一直在寻 找“我是谁？我从何而来？我去往何处？”等哲学问 题的答案，从而为坚持追求梦想而找回自信和力量。

你是何人？从何而来？去往何处？ 你也远离故乡，一人在外闯荡。你也怀揣梦想， 每天抱着希望。你也处处碰壁，心儿屡屡受创。你仍 不愿放弃，去哪寻找力量？ 我相信，每一位对故乡充满眷恋的游子，都拥有 一颗怀旧而纯真的心；我相信，每一位认真聆听的观 众，也一定能从中找到共鸣：去寻找故乡吧。没有故 乡，就没有诗人。

编导： 孙兆勇，男，现供职于中国石油大学（北京） 外国语学院，从事英语教学、戏剧翻译、研究和创 作。翻译剧《强者》、《太阳》、《俄亥俄小姐》、 《戏剧时光》（合译）等均已公演。原创剧《小猫又 叫了》（1998年获'中国曹禺戏剧文学奖•小品小戏 奖）、《望北京》（2012年参加北京国际青年戏剧节 剧本朗读）。戏剧论文《当梦幻化为泡影》、《灵魂 的呻吟》、《戏剧之魅》、《冷眼看人生》、《弹拨 观众心弦的诀窍》、《<天边外>诗意的开场》等均已 公刊。 李滨，中国石油大学（北京）外国语学院讲师， 担任外国语学院炫剧社指导教师。

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制作：周玉成、郑世高 演员：徐一、张婷、孙晓彤、王嘉玥、黄丹虹、周佳容、江凡、 雍明、张圣年、苏宝同、郑文斌、潘文斌、 代良晨、曹文豪、李佳易、刘俊利、哈斯达尔·吐尔逊别克、阿 德列提·贾尔恒 音效：李滨 出品：中国石油大学（北京）

Synopsis:

Director’s note:

This drama depicts rural China of the 1970s and 1980s. It is a story about memory and growth, which is related to family and hometown, hardship and maturity, character and destiny, and is also about human nature and dignity, reality and dream. The whole drama echoes with the leading soul’s miserable struggling; it is a tragic song by the inferiority, a long narrative poem tangled up with deep homesickness.

The protagonist Gao Tianliang fails in the University Entrance Exam and refuses to resit, so he leaves his hometown for Beijing alone, hoping to experience a whole new life and realize his dream of being a poet. Time passes by, and he is struck with uncountable difficulties and trapped in misery and disappointment; meanwhile he cannot help but reminisce for his hometown, his old source of dreams: there were bad times, but with some happy memories; still he always longed to be rid of where he grew up, a place full of differences, cruelty, provinciality and seclusion. Nevertheless, life seems hard for him: the poverty of his family, the sad situations of his close relatives, the failure of the exam, and especially the fact of his mother marrying a mentally disturbed farmer to provide him with food keep blowing him and torturing him. His memories are constantly called awake, but muffled again in hopeless sighs.

However, he never fails to recognize the way to return, and keeps asking himself “Who am I? Where am I from and where am I heading?” in order to draw back his power and confidence to go further.

Who are you? Where are you from? Where are you going?

You are also far from home, alone in a far away city. You are also bearing beautiful dreams, hoping every day. You are also facing difficulties, hurt by reality. But you are still holding on, looking for the strength to go forward.

I believe every person who drifts away from his or her homeland, and who still has a great longing for this place, is born with a nostalgic and innocent heart. I believe that every audience can resonate with this story, which motivates people to go and find their home. There would be no poetry if home was lost.

Producer: Zhou Yucheng, Zheng Shigao Performer: Xu Yi, Zhang Ting, Sun Xiaotong, Wang Jiayue, Huang Danhong, Zhou Jiarong, Jia Fan, Yong Ming, Zhang Shengnian, Lao Baotong, Zheng Wenbin, Pan Wenbin, Dai Liangchen, Cao Wenhao, Li Jiyi, Liu Junli Sound Effect: Li Bin Production: China University of Petroleum (Beijing Campus)

Playwright/Director: Sun Zhaoyong Sun Zhaoyong works at the Foreign Languages College of China University of Petroleum, teaching English and Drama Translation, and carrying out research and creative works. His translations of The Stronger, The Sun, The Whore from Ohio, Magic Time (co-translated) have all been staged in public. His original plays include Kitty Meows Again (Cao Yu Drama Award of China – Sketch & Playlet Category, 1998) and To Beijing (2012 Beijing Fringe Festival – Script Reading). His writings When Dreams Dissolve, Soul’s Moaning, Charm of Drama, Observing Life with Cold Eyes, Secrets to Stir Audiences’ Heartstrings and Poetic Opening to “the End of Horizon” are all well published.

Li Bin is a lecturer at the Foreign Languages College of China University of Petroleum, working as the mentor for the Drama Society of the Foreign Languages College.

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104

朗读《在看见之前》

Script Reading: Before I Can See

原创

Original

编导：刘美钰 南京猫头鹰剧团出品

Playwright/Director: Liu Meiyu The Owl Troupe Production

作品介绍： 潜入一位花样年华女演员的心灵密室，回忆、现 实与梦幻交错纠缠…… “不知道从什么时候开始，我对别人的痛苦，甚 至连自己的痛苦，都感觉不关我的事……” 编导： 刘美钰，台北艺术大学戏剧系表演组、剧本创作 研究所毕业，优秀的演员和编剧。曾任华岗艺校表演 艺术科、春禾剧团表演学堂表演训练教师，及表演工 作坊驻多所大专院校之戏剧工作坊讲师。演出作品有 表演工作坊《这是真的》、《宝岛一村》、《如影 随行》、《暗恋桃花源》、《如梦之梦》、《快乐 不用学》，春禾剧团《有钱没命花》、《爱情有什 么道理》，上海话剧艺术中心《撒娇女王》等。编 导作品《红色凡妮莎》获2005年台湾文学奖剧本类首 奖，《在看见以前》2010年于南京大学文学院戏剧影 视艺术系公演，其他剧本创作还包括《夏娃的水平升 降》、《Nice to Meet You》、《约会A Date》之《A 片心得》、《撒娇女王》台北故事段落等。 导演阐述： 剧作刘美钰从一己视网膜剥离的亲身体验出发， 发展出此深刻探索心灵的戏剧世界。情节铺排随着花 样年华的女演员妃妃的潜意识自由流动，交错了妃妃 的现实、回忆与梦境，借着对失明的恐惧作为探触深 层恐惧的入口，在这看不见现实世界的二十一天近似 “闭关”的形式中检视内在世界，以此探讨“阴影” 和“无常”对一个人的影响。

编剧/导演：刘美钰 制作： 张娅 演出： 刘美钰、张娅、陈健、杨易、张怡、冶晓鹏、王军、曹 倩、周岭南 艺术指导： 陈健 舞台监督： 杨易 服装设计： 张怡 舞监助理： 冶晓鹏 表演指导： 王军 演出单位：猫头鹰剧团

Synopsis: The play sneaks into the private sphere of the mind of a young actress, where memory, reality and illusion are entangled…

“I don’t know from which moment I start to feel detached from other’s agonies, and even my own…”

Playwright/Director: Liu Meiyu graduated from the Performance Group of the Drama Department and the Institute of Script Writing at Taipei National University of the Arts. She was a former training teacher for performance in the Hua Gang School of Arts, and a lecturer at theatre workshops in junior colleges. She performed for the workshop in It Is True, A Village of the Treasure Island, Like a Shadow, Secret Love in Peach Blossom Land, A Dream-like Dream, Happiness Is Not Acquired, for the Chun Wo Theatre in Money Not Well Spent, Irrational Love, and for the Shanghai Drama Arts Theatre in The Pouting Queen. Her work directing The Red Vannessa was awarded the first 2005 Taiwan Literature Prize for Play Scripts. Before I Can See was performed in public in the School of Literature of Nanjing University in 2010. Her other play scripts include The Ups and Downs of Eve, Nice to Meet You, A Date, Adult Movie Experience, The Pouting Queen, etc.

Director’s Note: The playwright Liu Meiyu uses her own experience of losing her retina to create this theatre world in a profound quest for the soul. The plot layout freely follows the sub-consciousness of the young actress Feifei, for whom reality is entangled with memory and dreamland. Based on a fear of blindness, the play tries to probe into the deepest horrors of the soul. It examines the inner world in the form of 21 days of blindness, so as to discuss the impact of shadow and transiency on a person.

Producer: Zhang Ya Performers: Liu Meiyu, Zhang Ya, Chen Jian, Yang Yi, Zhang Yi, Ye Xiaopeng, Cao Qian, Wang Jun, Zhou Lingnan Artistic director: Chen Jian Stage manager: Yang Yi Costume design: Zhang Yi Dancing assistant: Ye Xiaopeng Performance instructor: Wang Jun Performed by The Owl Troupe

105

小剧场实验京剧《杀子》 根据徐棻川剧《欲海狂潮》整理改编

编 剧：徐 棻 改编/导演：佟姗珊 艺术指导：田蔓莎 演出单位：上海戏剧学院戏曲学院、上海戏剧学院附属戏曲学校

106

Small Theater Peking Chinese Traditional Theatre: Killing the Son Adapted from Xu Fen’s Sichuan opera Lust Sea Crazy Tide

Playwright: Xu Fen Adapted by/Director: Tong Shanshan Artistic Director: Tian Mansha Traditional Opera College of Shanghai Academy of Drama Traditional Opera School attached to Shanghai Academy of Drama

作品介绍：

导演阐述：

贪婪成性的白老头为满足积蓄财产的欲望，把儿 子白三郎当做长工使用，娶来年轻貌美的妻子蒲兰， 想再生一子制约白三郎。谁知妻子与儿子白三郎偷情 相恋，并生下男孩。七十多岁的白老头并不知实情， 高兴之余写下契书将财产传于蒲兰与孩子。白三郎得 知“契约文书”认为蒲兰为了争夺财产，由爱生恨， 蒲兰竟向自己儿子伸出双手…… 人在痛苦中挣扎……

从尤金奥尼尔《榆树下的欲望》到徐棻川剧《欲 海狂潮》——看小剧场京剧《杀子》 这是一场“两个欲望”间的对话。⋯⋯ 金钱至上、物欲横流。个人欲望的膨胀给社会、 给个人带来的将是什么？这成为当代人类精神文明中 最关注的话题。欲望本是人类与生俱来的，它是本能 的一种释放，构成了人类行为最内在与最基本的要 素。我一直在问自己一个问题，人该不该有欲望？一 切物质最基本的欲望就是生存与存在。既然我们存 在，那就一定有欲望的存在。然而欲望带来的一定是 灾难吗？我想这是人类永恒的主题。 “欲望”似乎成为了生活中不可缺少的一个角 色。 如果没有我——欲望，你将怎样生活？ 如果只有我——欲望，生活又是什么？

原川剧《欲海狂潮》编剧： 徐棻，中国川剧史上第一位女剧作家，现为国家 一级编剧，终身享有国务院特殊津贴。其代表作有川 剧《燕燕》、《秀才外传》、《王熙凤》、《田姐与 庄周》、《红楼惊梦》、《欲海狂潮》、《死水微 澜》、《马克白夫人》、《目连之母》；话剧《辛亥 潮》、舞剧《远山的花朵》、京剧《千古一人》等。 曾三次荣获“曹禺戏剧文学奖”；两次荣获“文华大 奖”、中宣部“五个一工程奖”及“文华编剧奖”； 又曾三次获得中国戏剧节之“优秀剧目奖”和“优秀 编剧奖”、全国地方戏曲评比展演一等奖。 导演/整理改编： 佟姗珊，上海戏剧学院2010导演系艺术硕士。 创作作品有：音乐剧《天涯歌女》、话剧《俄狄浦 斯》、青春版京剧《倩女离魂》等。曾受德国吉森大 学应用戏剧学院邀请，作为教授助理赴德讲学。2010 年作为《情叹》导演助理和舞台总监，赴罗马参加 “中国意大利文化年”的演出活动，2011—2013年赴 柏林自由大学、罗马PINO小剧场和美国多个城市实 践学习。

主 演： 石晓珺 饰演 欲望、蒲兰 潘洁华 饰演 欲望、白三郎、白老头 作曲配器/唱腔设计：陈 磊 锣鼓设计/司鼓：何 群 灯光设计：蒋志凌 服装/造型设计：张晶晶 化妆：李月琴 乐队：刘奇、刘博雅、缴福一、许玥韵、卢庭塔、何群、朱锋、 刘义浩、张弛、黄煜轩、张俞、董天乐、王淳 监制：郭宇 MFA指导老师：宋捷 灯光设计指导：萧丽河 协调：钱平安、候永强 制作：黄暾炜 演出单位：上海戏剧学院戏曲学院、上海戏剧学院附属戏曲学校

107

Synopsis:

Director/ Adapted by:

Greedy old man White, in order to assemble money all into his own pocket, treats his own son White the Third as a hard laborer, meantime marrying a young and pretty wife, called Pu Lan, to continue his blood in order to restrain White the Third. However, to his ignorance, his wife Pu Lan and White the Third have secret affairs and give birth to a baby boy. 70-year-old White has no knowledge of the truth, thus he, coated with happiness, leaves a death will bequeathing his fortune all to Pu Lan and the boy. White the Third later gets to know the will, presuming that Pu Lan is seeking fortune over him, therefore turning from love to hatred, while Pu Lan shockingly approaches her son......

Humans struggle in pains......

Tong Shanshan, Master degree of Art from Directing Department of Shanghai Academy of Drama 2010. Works include: Music Play Wandering Lady Singer, Drama Oedipus, A Chinese Ghost Story Youth version, among others. Meantime have been studying abroad, including Freie Universitaet Berlin, Rome PINO Small Theater and the United States.

Original Playwright of Lust Sea Crazy Tide: Xu Fen, the first excellent female playwright in the history of Chinese Sichuan Opera, now is an national Class A playwright, and enjoying lifetime subsidy granted by the State Council. Her representative works include Sichuan opera Yan Yan, Tale of Xiucai(Chinese Ancient Scholar), Wang Xifeng, Sister Tian and Zhuang Zhou, Red Mansion Nightmare, Lust Sea Crazy Tide, Slight Ripples over the Dead Water, Mrs. Macbeth, Mother of Mu Lian; Drama: Xinhai Tide (1911 Revolution), Dance Drama Flowers over Faraway Mountains, Peking Opera One in a thousand years.

Being awarded Cao Yu Drama Literature Award three times; being awarded Wen Hua Award twice; and also with award from the Department of Publicity of Central Committee of Communist Party of China; and three times awarded from China Drama Festival with different awards “Excellent Play”, “Excellent Playwright”, and the First Prize of National Traditional Opera Competition Exhibition Performance.

108

Director’s note: This is a dialogue between two “desires”......

Money oriented, materialism flooded. What will individuals’ desire bring to the society and to the individual? This is a heated topic of modern culture. Desire comes from human nature, we are born with it; it composes the most basic and the innermost element of human behaviors. I keep asking myself this question, should we have desire? The basic desire of all is to survive and exist, since we exist, we can never be rid of desire, however what comes after, must it be damage? I think it would be an ongoing theme.

“Desire” thus becomes one inevitable character of life.

If no me, how can you survive? Desire.

If only me, how would it look like? Desire.

Production Director: Guo Yu Coordinator: Qian Ping’an, Hou Yongqiang Producer: Ji Qiang, Huang Tunwei Performer: Shi Xiaojun, Pan Jiehua Stage Art/Light Design: Xiao Lihe Light Design: Jiang Zhiling Costume/Style: Zhang Jingjing Make up:Li Yueqin Composer/Voice Design:Chen Lei Music: Liu Qi, Liu Boya, Jiao Fuyi, Xu Yueyun, Lu Tingta, He Qun, Zhu Feng, Liu Yihao, Zhang Chi, Huang Yuxuan, Zhang Yu, Dong Tianyue, Wang Chun Gong & Drum Design and Control: He Qun Performer: Traditional Opera College of Shanghai Academy of Drama Traditional Opera School attached to Shanghai Academy of Drama

话剧《以2的名义》

Drama: In the Name of 2

原创

Original

编剧：李娜 导演：孟康 演出单位：贰月剧乐部（非职剧社）

Playwright: Li Na Director: Meng Kang Febrero studio Production

109

作品介绍：

Synopsis:

一群大学毕业七八年的上班族重聚，一时兴起想 要恢复大学时曾组织的话剧社，决定排一场新的话 剧，作为剧社恢复后的首场演出。偏执的梦想家，尖 酸的公司职员，呆板的技术男，悲观的入殓师，还有 金牛座的公务员和爱幻想的三流女演员。这样姿态各 异的一群人，关于戏剧关于爱情，关于梦想关于现 实，每个人都有自己的价值观。他们意见相左遭受质 疑，他们妥协于市场和赞助商，承受来自剧场拆迁的 压力。愤怒的真实的激情的固执的，渐渐被生活所吞 噬的他们，还能否找到迷失的自己？抑或仍旧浑浑噩 噩的过？

Having graduated from the college seven or eight years ago, a group of people reunite together to revive the old drama club at college. They decide to produce a new play as the debut of the club since its revival. A bigoted idealist, a mean corporate employee, a dull technician, a pessimistic mortician, a Taurean public servant and a dreamy third-rate actress. This is a group of distinctly different people, each one of which holds their own values on drama, love, dreams and reality. They disagree with each other; they receive doubts from others; they compromise with the market and sponsors; and they suffer great pressure from the demolition of the theater. Angry. Real. Passionate. Unyielding. Being defeated by life.

Will they find themselves back? Or continue living in the mess.

Playwright:

编剧： 李娜，中国传媒大学南广学院戏剧影视文学，现 从事戏剧工作。 导演： 孟康，中国传媒大学表导专业研究生，现从事教 育工作。执导话剧《茶馆》、《春夏秋冬》、《雷 雨》、《窒息》。 导演阐述： 我们无法改变生活，于是在舞台上圆自己的梦。 我们总是容易在现实中迷失自己的爱情，青春，理 想，这是我们能感受到的最美好却又最悲伤的事情。 一共五幕的话剧，第一幕从戏中戏开始抓住观众，接 下来的三幕通过人物对于戏剧理解展现出不同的人生 轨迹，戏如人生，是否经过了现实摧残的他们还能找 到当初的那一份坚持。第五幕每个人的内心独白是希 望观众从中可以找到自己的影子。因为美好，所以悲 伤。因为柔软，所以不堪一击。面对镜子中的自己， 我们是否可以问心无地面对。

编剧：李娜、孟康 导演：孟康 制 作 人：杨晨 演员：姜哲元、刘洋、徐清、张蕊、张婧媛、郭启韬、李盛茂、 张可微、黄凌云 舞美/光设计：孟康 作曲：王晓谜

110

Li Na was awarded a B.A. in Drama and Movie Literature at the Communication University of China, Nanjing and is now engaged in drama circles.

Director: Meng Kang was awarded an M.A. in Directing and Performing at the Communication University of China and now carries out educational work. Works include the following plays: Tea House, Four Seasons, Thunderstorm and Suffocation.

Director’s interpretation: We are unable to change life, but we can make our dream a reality on the stage. It is so easy for us to lose our love, youth, and dreams in the real world. That is the most beautiful but the saddest thing that we can experience. This play contains five acts. The first act attracts the audience with a play in play. The following three acts reveal different trajectories of life through the characters’ different interpretations of drama. Drama is life. Can they find their initial persistence again, after having suffered from reality? I hope the audience can find their own reflections from the monologues of each character in the fifth act. Happiness brings sadness, and tenderness generates fragility. Looking into the mirror, can we face ourselves without regret?

Producer: Yang Chen Performers: Jiang Zheyuan, Liu Yang, Xu Qing, Zhang Rui, Zhang Jingyuan, Guo Qitao, Li Shengmao, Zhang Kewei, Huang Lingyun Stage/Light Design: Meng Kang Composer: Wang Xiaomi

肢体剧《地下室》

Physical theatre: The Basement

2013原创

2013Original

编剧：陈媛 导演：陶柏凯 桑丘工作坊出品

Playwright: Chen Yuan Director: Tao Bokai Sangqiu Studio Production 111

作品介绍：

Synopsis:

“地下室”似乎成了每个“北漂”一族必不可少 的经历。狭小的空间，狭隘的视野，狭窄的对话，狭 迫的生活，在地下室出生的孩子是否注定了只有影子 相伴？那些苦苦追逐梦想的人是否也会在某个夜晚蹲 在昏黄的车灯下好好审视自己的影子？想一想这一切 是为了什么？为什么要发生？又为什么结束？如果还 有一次，你是否还会选择义无反顾地出生？

A basement seems essential to the experience of every single Northern Drifter, one who strives for their dreams or simply of living in the city of Beijing. A narrow space, a narrow view, a narrow discussion and ultimately a narrow life. Is a child born in the basement destined to enjoy the sole company of his own shadow? Will dream-seekers crouch under dim street lamps on a certain night, and gaze at their shadows? To question oneself: what for? Why does everything in their life take place? And why do they finish? If you had a second chance, would you choose, without hesitation, to be born?

编剧： 陈媛，曾为IB国际学校英文戏剧老师。主要导演 作品有舞台剧《雾都孤儿》、《舞动英语》、《绿叶 的绽放像花一样》、《羽翼》、《圣诞节精神》、 《滑向东方日出的泪光》；表演作品有电影《北 欧》、短片《生活在别处》、舞台剧《窈窕淑女》、 《仲夏夜之梦》、《滑向东方日出的泪光》。 导演： 陶柏凯，英国艺术管理硕士毕业。主要导演作品 有舞台剧《在那遥远的星球，一粒沙》、《面包安 魂曲》 ；表演作品有舞台剧《红鞋子》、《谁的儿 子？》、《恋爱的犀牛》、《暗恋桃花源》。 导演阐述： 这部剧采用的是集体编创的手法，所以并没有划 分编剧与导演的角色。而是通过合作的手法，通过激 发编创者对自身独有背景及经历的理解和感触，以及 自身世界观来创作完成的。同时，此作品也是为了挑 战编导划分以及导演中心制的工作方式。本剧希望以 协作的方式来达到创作的目的。 这是一部关于一个北漂家庭的肢体剧。编创者作 为北漂，对北漂的生活有很深的感受。此剧主要通过 小孩的视角，运用大量肢体及形象的表现来把北漂家 庭的生活呈现出来。

导演/编剧： 集体创编 演出/舞美设计： 陶柏凯、陈媛、冯雪 灯光设计： 陶柏凯 音效设计： 陈媛 服装： 冯雪 出品： 桑丘工作坊

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Playwright: Chen Yuan, former English drama teacher at IB international school. Major stage presentations include: “Oliver Twist”, “Dance with English”, “Blossoming of the leaves”, “Wings”, “Spirit of Christmas” and “Teardrop into Sunrise”. She also appears on the silver screen in “The Nordic”, “Living at Somewhere Else” and on stage in “My Fair Lady”, “A Midsummer Night’s Dream” and “Teardrop into sunrise”.

Director: Tao Bokai got his MFA in Art Management in the UK. Major works include “On the distant planet, a grain of sand”, “Requiem for Bread” (as director); “Red shoes”, “Whose son? ”, “Rhino in Love” and “The Peach Blossom Land” (as actor).

Director’s note: It takes every single member of our group to create this play, and there are actually no such roles as playwright or director. By working together, everyone is inspired by each other’s experiences and views. Our intention is to challenge the director-playwright based tradition and to experiment with a collaborative approach.

We use physical theatre to tell a story of a Northern Drifter family. As Northern Drifters ourselves, we understand such life.

This play presents the life of a Northern Drifer family from a child’s perspective.

Director/Playwright: Group creation Performers/Stage Desgin: Tao Bokai, Chen Yuan, Feng Xue Light Design: Tao Bokai Audio Design: Chen Yuan Presented by Sancho Workshop

话剧《只有一个》

Play:Only One

2013原创/首演

2013Original/Premiere

编导：陈丹路 演出单位：巴结观众剧社

Playwright/Director: Chen Danlu

作品介绍：

Performances introduction:

一位年轻人的永远期待；一个老侦探的无结果监 听；一个老太婆和一个老头在餐厅里争吵；一个女孩 的占卜病与清醒；一位公爵的牺牲；法官鲍西亚对所 有罪犯的救助与对当中一人的殉情。

The play includes a young man’s perpetual expectation, an old detective’s fruitless interception, an old woman quarrelling with an old man in the restaurant, a girl’s divining madness and soberness, a duke’s sacrifice, and Judge Portia’s saving of all the criminals as well as her suicide for one of them.

编导：

Playwright/Director:

陈丹路，毕业于中央戏剧学院，戏剧学硕士。原 创剧本《铅》、《长餐桌》分别于2012年北京国际青 年戏剧节朗读单元、2011年香港新域剧团所举办的 “剧场里的卧虎与藏龙”戏剧节中得以展演。原创剧 本《鹅背》发表于2011年《文艺风赏》第四期。原创 剧本《丁丁的诗歌》获2007年北京市儿童歌舞剧本征 集一等奖。组诗作品曾获2002年四川省文学奖。偏好 剧本写作及自己导演工作，所导作品生动形象，耐人 寻味，引人发笑，富于强烈的诗情画意。

Chen Danlu graduated from the Central Academy of Drama, with an M.A. in Dramaturgy. His original play scripts Lead and Long Table were performed in the reading unit of the 2012 Beijing Fringe Festival and the 2011 Theater Festival of “Crouching Tiger and Hidden Dragon in the Theatre”, held by the Prospect Theatre of Hong Kong. Another original work The Back of the Goose was published in the fourth issue of Art Appreciation, 2011. The Poems of Dingding was awarded the first prize in the Beijing Children’s Musical Collection. A suite of his poems won the 2002 Sichuan Literature Prize. Specializing in script writing and drama directing, he presents his plays in a vivid, thought-provoking, amusing and poetic way.

导演阐述： 我希望观众看到这部作品时会同情里面无论是 凶暴还是可怜的角色。在我处理这些人物形象之前， 他们是来自《渔夫和金鱼的故事》，《福尔摩斯探案 集》，《威尼斯商人》、《暴风雨》和去年的一些不 起眼的新闻素材。我让他们同时生活在同一个城市 中，又同时随着时间流逝变得更加顽固和更加脆弱。 我希望观众可以在许多时刻看到童话，尤其是结 局。我想让他们和解。情侣和解，罪犯的声音得到倾 听，被害者可以起死回生。 “只有一个”是易卜生《培尔金特》里培尔的话 （这部剧里还抄录了另一些古老剧本里的人物说的 话）。我觉得这句话非常好，而且它可以解释我前面 两个希望。

编导：陈丹路 演出单位：巴结观众剧社

Director’s Note: I expect the audience’s sympathy with the roles, atrocious or pitiful, in the play. These characters I deal with are from The Tale of Fisherman and Goldfish, Adventures of Sherlock, The Merchant of Venice, Tempest and some unnoticeable new material from last year. I let them live in the same city, and meanwhile become more and more stubborn and vulnerable with the passage of time.

I expect the audience to see fairy tales in many moments, especially in the ending. I want to reconcile them with each other.

I want the lovers reconciled, the criminal’s voice heard, and the victim brought back to life.

“Only One” is quoted from Peer in Peer Gynt by Ibsen (more lines by the characters in the old drama are borrowed into this play).

I think this sentence is perfect at explaining the two expectations I have mentioned.

Playwright/Director: Chen Danlu Performers: The Audience’s Toady Drama Society

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话剧《命若琴弦》

Play:Life on a String

首演

Premiere

原著：史铁生 改编：李津红 导演：王蝉 中央人民广播电台青年话剧社出品

Original author: Shi Tiesheng Rewriter: Li Jinhong Director: Wang Chan The Youth Drama Club of The Central People’s Broadcasting Station Production

作品介绍：

导演阐述：

《命若琴弦》改编自著名作家史铁生的同名小 说。故事的主人公是一老一少两位盲艺人，他们走街 串巷以说书为生。老艺人认认真真地弹唱了一辈子， 期盼能够弹断一千根琴弦，因为儿时师父曾说，只有 等到一千根琴弦被弹断，才能打开琴匣，而那里有一 个秘方能让他做一个明眼人。这一天终于到来，老艺 人拿着那张保存了50年的“秘方”交给郎中，却被告 知：那秘方是一张无字白纸……

整体上，这是一个偏重于意境的戏,舞台上写意和 轻盈，看似小戏,实则是关于生命、关于信仰的探讨。 提起作家史铁生，我们最为耳熟能详的就是《我 与地坛》，可以说这一系列的作品是史铁生先生对于 生命意义的追问和探讨。苦难是一个永恒的文学主 题，而在残疾人身上表现的更为突出、更加淋漓尽 致。“他用残缺的身体，说出了最为健全而丰满的思 想。他体验到了生命的苦难，表达出的却是存在的明 朗和欢乐。他睿智的言辞，照亮的反而是我们日益幽 暗的内心”。

改编： 李津红，戏剧爱好者。 导演： 王蝉，青年戏剧导演、演员。现任中央少年广播 艺术团团长。编剧、导演戏剧作品《夜上浓妆》、 《蝴蝶，飞吧！》、《一个人的战争》、《阿里巴巴 与四十大盗》、《动画王国历险记》等。她的作品张 扬、极致，旗帜鲜明的宣扬着女性主义。

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原著：史铁生 改编：李津红 导演：王蝉 舞美设计：李逸 灯光设计：仲波 音乐设计：李洋 造型设计：张筱茜 制作人：孙鲁晋、梁伟 出品：中央人民广播电台青年话剧社

Synopsis:

Director’s note:

Life on a String is adapted from a short story of the same name by the famous writer Shi Tiesheng. The leading characters in the story are two blind artists, one old and another young, who wander about the streets and tell stories for a living. The old storyteller has played and sung for a lifetime, hoping to snap up to one thousand strings, since his master during his childhood told him that in the case there is a recipe that can cure his blindness whereas the case is to be opened only after one thousand strings are snapped.

That day finally comes. However, when the old man hands to the doctor the “recipe” which has been preserved for fifty years, he is informed that the recipe is nothing but a blank paper…

On the whole, this is a play which lays a strong focus on the artistic atmosphere. The liberal style and the lightness of this playlet is actually a discussion about life and belief.

To us, the most familiar work of Shi Tiesheng is I and the Temple of Earth. That series of works is Mr. Shi’s investigations into the meaning of life. Suffering, an eternal theme of literature, is displayed prominently and vividly in the disabled. “He utters the most robust and the richest thoughts with a mutilated body. He who has experienced the suffering of life nevertheless expresses the brightness and happiness of life. His sagacious words have illuminated our increasingly dark heart.”

Rewriter: Li Jinhong is a lover of theatre.

Director: Wang Chan is a young theatre director and performer. She is now the head of the Central Youth Broadcast Troupe. Her theatrical works include The Night of Heavy Make-ups, Fly, Butterfly!, One Man’s War, Ali Baba and Forty Thieves and The Adventures of the Animation Kingdom. Her confident and radical works clearly trumpet feminism.

Original author: Shi Tiesheng Rewriter: Li Jinhong Director: Wang Chan Stage Design: Li Yi Light Design: Zhong Bo Composer: Li Yang Costume and make-up: Zhang Xiaoqian Producers: Sun Lujin & Liang Wei The Youth Drama Club of The Central People’s Broadcasting Station Production

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独角戏《疯女人的演说》 Monologue: Mad Woman’s Speech 北京 原创

2013 Original/Premiere

编导：刘红卿 黄金球剧社出品

Playwright/Director: Liu Hongqing Golden Ball Theatre Production

作品介绍：

导演阐述：

市中心是一个巨大的垃圾场，一片废墟，很少有 行人留驻。 这里是苍蝇和老鼠的乐园，也是蚊子和乌鸦的 家。衣衫褴褛的疯女人就在这里发表着自己的演说。 这是一个疯子在一个注定没有意义的世界中寻找意义 的艰难过程，她是如此的孤独，所以只好在想象中与 这个世界发生着交流。 她想象自己是一个被众人拥戴的伟大演员，过着 向往的生活；想象自己腾云驾雾，飞上天空；想象自 己发财，回到了家乡，光宗耀祖；想象自己有着美好 而伟大的爱情，她是贵族小姐，而一个骑士疯狂地爱 着她…… 在每次幻想的高峰，一只乌鸦就疯狂地叫唤，似 乎嘲笑这一切多么地虚假。乌鸦每次的叫声，都让疯 女人清醒地意识到自己真实的处境：孤独而注定没有 救赎的世界！ 疯女人只好再次想象着自己美好的生活，以此赋 予自己的生活以意义。 疯女人这样叫喊着，随后倒在舞台上。几只苍蝇 听着，继而嗡嗡地飞走了。乌鸦也飞走了。

疯子们的身上，都有一种他们自己不觉得而我们 也意想不到的幸福。 ——皮蓝德娄 疯狂是一种精神异化，在现代社会中尤其明显。 虽然生活在一个幻想的世界中，但疯女人解除了 世俗伦理的束缚，更能毫无顾忌，彻底自由，在胡言 乱语中，夹杂着预言警句。从这个意义上来说，疯女 人颇有女先知的味道。而疯女人的演说，从另一个视 角解读我们的时代：在高速发展中，每个个体所要承 担的巨大代价。同时，疯女人又是一面镜子，照射我 们的诸多面孔，展现我们内心深处的各种复杂情绪： 成功背后的巨大压力，激烈竞争背后人格的异化，城 市化过程中家园的丧失…… 而疯女人所渴望的精神家园，我们也一直在苦苦 寻觅：在那个爱和美的世界里，所有人相亲相爱，成 为一家人。

编导： 刘红卿，具有良好的社科人文背景，对东西方文 化和艺术十分熟悉和了解，受过良好的艺术教育，一 直在专业艺术学校学习西方戏剧，也有大量的艺术实 践活动。创作《堵了》、《黑幻公寓》和《爸，我们 回家……》等几部话剧作品在北京上演，2012年，他 编剧和导演的话剧作品《爸，我们回家……》在北大 百周年纪念讲堂上演。另外，创作的《疯女人的演 说》、《安娜的心理咨询》、《白兔的故事》和《睡 美人》等剧本参与了剧本朗读活动。

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编导/制作/舞台监督：刘红卿 演出： 刘晴 灯光设计： 陈林 舞美/造型设计：王人可 张若思

Synopsis:

Director’s note:

The city centre is a huge garbage mountain, a mess; few people are there.

This is an amusement park for flies and rats, as well as mosquitos and ravens. But here a shabby mad woman is making a speech to herself. This is a struggle between a mad person and a destiny to a meaningless world; she is so lonely that she has to imagine a world to communicate with.

She imagines herself as a respected actress, living a fine life; she imagines herself flying amongst clouds; she imagines being rich, going back home and making her ancestors proud; she imagines coming across the most romantic and heroic love, herself as a noble lady falling in love with a knight...

At each pinnacle of imagination, a raven cries out crazily, as if laughing at her. Likewise, each cry from the raven jolts her ever closer to reality: lonely and no salvation forever.

But she, the mad woman, has to imagine again and again in order to give her life more meanings.

She screams and finally falls to the stage. Some flies come over, listening and leaving, as does the raven.

“In lunatics, we can detect happiness which is unexpected for us and is not even discovered by themselves.”

------Luigi Pirandello Being mad is a mutation of mental state, and it isone especially ubiquitous in the modern society.

Though it is an imagined world, the mad woman can be rid of norms and become utterly free, in her “nonsenses”, predictions and mottos are born. In this perspective, the mad woman is acting as a prophet. And her speech is presenting our times: in under high-speed development, each individual is mustto face and shoulder immense sacrifice. In the Meantimemeantime, the mad woman is a mirror, reflecting our multiple -faces and many entangled complications, in other words, loads of pressure behind success, personality split beneath fierce competition and the, homeland disappearing during in the midst of urbanization......

Thus the spiritual garden imagined by the mad woman is also what we are seeking after, in which we are families living in love and beauty.

Playwright/Director: Liu Hongqing is: well educated with in social and cultural contexts, be and familiar with both Eastern and Western cultures, with great knowledge of art. He, and has been studiyinged Western Drama in Art Academies, meanwhile practicing his art in many arta variety of events. He created Jammed, Black Whimsical Apartment and, Dad Let’s Go Home, which have all been staged in Beijing.

In 2012, he playwrighted and directed Dad Let’s Go Home at the Peking University Centennial Hall. Moreover, his play Mad Woman’s Speech, Anna’s Counselor, Story of Rabbit, Sleeping Beauty and others have seen participatione in the script reading events.

Playwright/Pproducer/Stage Manager: Liu Hongqing Performer: Liu Qing Light Design: Chen Lin Stage Design/Stylist: Wang Renke, Zhang Ruosi

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独角戏《电梯的钥匙》

Monologue: The Key to the Elevator

首演

Premiere

编编剧：雅歌塔·克里斯托弗（匈牙利） Playwright: Ágota Kristóf (Hungarian) Director: Huang Xuebei 导演：黄雪蓓 Xuebei Drama Workshop Production 雪蓓戏剧工作室出品

作品介绍：

导演阐述：

该剧是一个女人的独角戏，讲述了一个单纯的少 妇在把她遇见森林管理员的事告诉其丈夫后，在之后 的岁月里被丈夫“温柔的”一次次剥夺了她的腿、眼 睛、听力、声音，最终心灵觉醒的故事。这是一个包 容性很大的现代寓言式戏剧作品，它不同于过去传统 的剧本样式，它的写作手法明确、干净，语言非常的 诗意，给人无限的想象空间，人们可以从不同角度去 理解它、进行二度创作。

《电梯的钥匙》是一个包容性很大的现代寓言式 戏剧作品，它是由匈牙利作家雅歌塔•克里斯多夫创 作的“独角戏”。它不同于过去传统的剧本样式，它 的写作手法明确、干净，又有无限的想象空间，人们 可以从不同角度去理解它、进行二度创作。也就是 说，无论是从对剧本内涵、意义的解释上，还是创作 方法、表现形式上，创作者都可以“天马行空”。 十二年前，我曾主演这出戏，十二年后，当我再 重拾这出戏，忽然发现自己对剧本看的更全面了，不 再只是盲人摸象了。在这里，我不想赘述以前排练这 出戏的主题和内涵，或我所了解的其它国家创作者排 练这出戏的意义，只想简单明确的表达我如今对这出 戏的理解，可以这样概括：“人、社会、生命”。人 之初，天真、简单，对外部世界充满好奇也满怀信 任，但不意味着此时的他（她）对外部世界以及对自 身的认知是健全的、智慧的，因此在社会环境中人会 摔跤、再一次摔跤、无数次摔跤，有人在摔跤过程中 渐渐失去了自己，有人却能开始思考自己所走过的 路，逐渐明白人存在的意义，完善生命在社会中的存 在价值。 对照剧本，女人的每个阶段就具有了不同的象征 意义，剧中的三个男人也具备着不同的象征意义，包 括城堡、森林、鲜花、钥匙、眼睛、腿、耳朵、眼 睛、生命、声音等都具备着象征意义。

编剧： 雅歌塔·克里斯多夫，匈牙利著名作家，代表 作是《恶童日记》，其他重要作品有长篇小说《昨 日》，中篇小说《文盲》、《噩梦》，舞台剧本《怪 物》、《传染病》等。她曾获得意大利的莫拉维亚 奖(1988)、法国图书文学奖(1992)、瑞士的克勒奖 (2001)、德国的席勒文学奖(2005)，2008年11月获得欧 洲文学奖；2011年初，她因对文学的杰出贡献获得了 代表匈牙利最高文化荣誉的卡索斯奖。 导演： 黄雪蓓，1993年就读于上海戏剧学院表演系， 2001年获该校表演学硕士学位。曾获首届全国艺术院 校小品大赛创作优秀奖。1996年开始从事表演、台词 教学至今，同时进行舞台艺术表、导演实践及剧本 创作。曾主演话剧作品：《庄子戏妻》、《徐虎师 傅》、《女儿泉》、《卞昆冈》、《电梯的钥匙》、 《十一朵玫瑰》、《蜘蛛网》、《死亡约会》、《零 时》、《情书》、《谋杀启事》、《荒村公寓》、 《晚安，妈妈》、《波音、波音》、《捕鼠器》等。 导演作品：话剧《自选题》、话剧《青春的觉醒》、 大型童话剧《青鸟》、大型儿童歌舞剧《长江七号爱 地球》、话剧《安提戈涅》、酒吧话剧《谁拔了我的 气门芯》。

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编剧：雅歌塔·克里斯多夫（匈牙利） 导演：黄雪蓓 主演：李沁瑜（原名：李峥） 舞美设计：黄雪蓓 房涵 音乐设计与制作：赵倩 房涵

Synopsis:

Director’s Note:

A monodrama of a lady. An unsophisticated young wife tells her husband about her one-time experience with a forest manager, and her husband then gradually begins to gently deprive her of her legs, eyes, hearing and voice. Not until the very end does she awaken. It is an inclusive modern fable drama, and it is different from the traditional drama format. The story comprises a definite and neat way of writing and poetic language, which inspires the audience’s imagination, and enables different interpretations and recreation.

The Key to the Elevator is an inclusive modern fable drama, and is different from traditional drama formats. The story comprises a definite and neat way of writing and poetic language, which inspires the audience’s imagination, and enables different interpretations and re-creation. It allows the creators great space in respect of the connotation of the script, interpretation, or the creative method and the form of expression.

Twelve years ago, I performed in this drama, twelve year after, when I restarted this drama, I found myself taking a more comprehensive view towards the scripts. I won’t illustrate the theme and content of this drama redundantly or the significance of other countries’ creators’ rehearsals of this drama according to my knowledge. I conclude that my understanding of this drama is as simple as “human being, society, and life”. When a person is born with naivety, simplicity, curiosity and trust to the outside world, it is not to say that he (she) has a comprehensive and wise recognition of self and the outside world, so in the social environment, he (she) falls again and again. During this process, some people lose themselves, while others reflect on what they have gone through and got to understand the meaning of the human condition, and the perfection of life values in society.

According to the scripts, the woman has different symbols at different stages, and the three men in the play also have different symbolic meanings, everything else in the play also possesses a symbolic meaning like the castle, forest, flower, key, eye, leg, ear, life and voice.

Playwright: Ágota Kristóf was a famous Hungarian writer, and one of her most famous works is The Notebook. Other important works include Yesterday, L’analphabète (in English The Illiterate) and Nightmare and the scripts Le Monstre: et autres pieces (in English The Monster) and The Contagious Disease, amongst others. She received the Moravia prize in Italy in 1988 and the European prize for French literature in 1992. She won the 2001 Gottfried Keller Award in Switzerland and the Schiller Memorial Prize for literature in Germany in 2005. In 2008, she received the Austrian State Prize for European Literature, and in 2011 the Kossuth Prize, the highest cultural award in Hungary, for her great contribution to literature.

Director: Huang Xuebei went to the Shanghai Theatre Academy in 1993 and was awarded a Master of Fine Arts in Acting in 2001.

She was awarded the First Prize for Excellence in Sketch Writing among Art Academies in China. She began her education in theatre in 1996 while at the same time performing, directing and writing plays herself. She has performed in Chuang Tze Tests His Wife, Xu Hu, The Spring Daughter, Bian Hungang, The Key to the Elevator, Eleven Roses, Spider Web, Date Death，Midnight, The Love Letter, A Murder is Announced, Curse of the Deserted, Good Night, Mom, Boeing Boeing, Three Blind Mice and more. She has directed The self-select question (drama), The Awakening of Youth (drama), The Blue-green Bird (pantomine), CJ7 Loves the Earth (pantomine), Antigone (drama) and Who Broke My Valve Tube (bar drama).

Playwright: Ágota Kristóf (Hungarian) Director: Huang Xuebei Leading in Performer: Li Qingyu (Old name: Li Zheng) Stage Design: Huang Xuebei, Fang Han Composer: Zhao Qian, Fang Han

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话剧《孤单先生》

Drama: Mr. Lonely

编导：付忠良 演出单位：长沙靠谱儿戏剧工作坊

Playwright/Director: Fu Zhongliang Changsha Kaopuer Drama Workshop

作品介绍：

Synopsis:

牙科医生赛尔吉、主持人马克和产品代理伊万 是相识十五年的老友。赛尔吉先后邀请马克和伊万来 家中欣赏自己新购买的一幅画。马克对赛尔吉高价购 画的行为深感困惑并冷嘲热讽。眼看两人针锋相对， 伊万便述说起在筹办婚礼过程中受的委屈，企图转移 好友注意力，没想到反而激怒双方。那个夜晚，他们 说出了心底的实话也破坏了心心相印的感情。当彼此 不再认同对方的价值观，当时间已经将锋利的棱角磨 平，十五年的感情也变得不堪一击。

Dentist Serge, anchorman Marc and product agent Ivan enjoy a long friendship spanning over 15 years. Serge invites Marc and Ivan to his home to appreciate his newly bought painting. However, Marc is deeply confused by Serge’s action to buy such a painting at a high price. He scorns Serge, which provokes conflict between them. Trying to mollify the two, Ivan starts to complain about his problems encountered in preparation for his wedding. Rather than distracting the attention of the two, the complaint arouses further confrontation. That night, they tell each other their real feelings, which destroy their intimate friendship. When values are not shared and when old time fades away, even a 15-year friendship becomes extremely vulnerable.

编导： 付忠良，青年导演，靠谱儿戏剧工作坊主创之 一，毕业于中央戏剧学院表演系，曾编剧并执导作 品：《普通美国人》、《擦枪走火》、《孤单先 生》、《青瓷》、《明日头条》等。 导演阐述： 孤单，一个陪伴着我们一生的朋友。 孤单到底在哪里？当你走在街上时，淹没在人海 中孤单；当你回到家中时，形单影只孤单；当你与恋 人相拥入眠时，同床异梦孤单；当你与朋友寒暄时， 突然安静后孤单；当你咿呀学语时，无法倾诉时孤 单；当你撒手人寰，绝望时孤单……你是孤单的，孤 单单来到世上，孤单单离开人间。可往往，你却不愿 坦然面对自己的孤单。 塞尔吉、马克、伊万是三个好朋友，却因为一副 白色的油画吵翻了天。他们为画的价格而吵、为艺术 的价值而吵、为到底何为不朽而吵、为阶级矛盾而 吵、为不同的人生观而吵、甚至为一本无足轻重的书 而吵，他们嘲讽、咒骂、彼此伤害，直到最后大打出 手、不欢而散。看似只是因为一副油画，实则却是因 为有人触犯了自己的那份孤单。 小剧场话剧《孤单先生》正是以一副荒唐的白色 油画为载体，将“朋友”二字开膛破肚，血淋淋地袒 露在你的面前。 你以为朋友可以帮你逃避孤单？可这世上又有几 对朋友是真正的志同道合呢？

编导：付忠良 制作：汪 沛 灯光：李儒斌 舞美：张滴洋 出品：长沙靠谱儿戏剧工作坊

Playwright/Director: Fu Zhongliang is a young director and one of the main creators of Kaopuer Drama Workshop. He graduated from the Acting Department of the Central Academy of Drama. He is the playwright and director of “The American”, “Ca Qiang Zou Huo”， “Mr. Lonely”, “Blue China” and “The Headline of Tomorrow”, amongst others.

Director’s interpretation: Loneliness, a lifelong friend.

But where is it? It is in the crowd of strangers when you walk down the street; it is in the empty house when you return home; it is in the disparate dreams that you and your lover have when you sleep in each other’s arms; it is in the sudden silence following small talk with friends; it is in the inability to talk when you are learning to speak; it is in the desperation when you leave this world forever…

You are lonely, coming to the world alone and leaving alone.

However, you don’t admit it. When others bring it up, you always force yourself to smile and pretend to be calm. Yet you turn silent and sad after drinking a lot. Some people enjoy loneliness. But actually it is not enjoyment but hopeless compromise and a habit.

Some people fear that their loneliness be revealed, and thus guard the thin cover of loneliness and watch others with vigilance.

Serge, Marc and Ivan are good friends, but they quarrel fiercely over a white painting. They quarrel about the price of the painting, the value of art, the essence of eternity, class contradiction, different values of life and even a book of little importance. They sneer, swear and hurt each other. At last they fight physically and leave unhappily. It all seems caused by a painting, but the real reason lies in that the loneliness which belongs to you has been violated by others.

The small theater drama Mr. Lonely, based on an absurd white painting, anatomizes “friendship” and presents you with a bloody picture.

You think you can save your friends from loneliness? But how many friends in this world are true friends?

Playwright/Director: Fu Zhongliang Producer: Wang Pei Light: Li Rubin Stage：Zhang Diyang Presented by Changsha Kaopuer Drama Workshop 121

工作坊与讲座 Workshops & Lectures

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一 工作坊 / Workshops

给互动装置艺术《站立的人》注入生命 Light and sound design using The Standing Men installation as the medium 法国 / France

主持： 皮埃尔·阿姆德鲁兹和瓦朗丁·杜利夫（AADN，站立的人制作者） Conductor:Pierre Amoudruz and Valentin Durif (AADN numeric arts collective – FR)

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AADN，十年以来，始终致力于在里昂和罗讷阿尔卑斯地区发展数字艺术和文化活动。不断地在现 场进行实践，也从事理论研究，从事艺术创作和文化 发展方面的努力，试图在艺术、社会和技术之间建立 起表达意义的平台，探索数据技术与人和城市的关 系。 为了实现自己的承诺，AADN主持一些网络的活 动，开启共同的思考空间，通过艺术的努力，创造一 些与社会、文化、教育、科学和经济领域发生接触的 领域。 工作坊内容： 学习用Ableton Live software制造声音，因为声音 录制是要把电子声音录入进参与者制作物品所必备 的。 学习用MAX MSP software制作灯光，工作坊开始 时会进行辅导，但最终参与者将独立制作灯光。

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L’AADN has worked for almost 10 years for the development of Digital Arts and Culture in Lyon and the Rhône-Alpes Region.

Constantly moving back and forth between the groundwork and theoretical initiatives, artistic creation and cultural development, l’AADN creates links between art, technology and society, questioning the digital in its relationship to people and the city.

The commitment of l’AADN leads to animated networks, open spaces for shared reflection and the creation of artistic entryways into areas of friction with social, cultural, educational, scientific and economic fields.

Workshop content: Sound creation using Ableton Live software (the workshop begins with a tutorial). Sound and voice recording will be carried out to create an electro-acoustic environment to be integrated in the piece created by the participants. The workshop also addresses sound specialization.

Light creation using Max/MSP software (the workshop begins with a tutorial). The participants will imagine and create a piece realized with light.

二 工作坊 / Workshops

建筑与城市空间里的现代舞 Contemporary Dance in architecture and urban spaces 法国/France

主持： T.r.a.n.s.i.t.s.c.a.p.e，舞蹈团诞生于2003年，起因是造型艺术建筑师Pierre Larauza 与舞蹈家Emmanuelle Vincent的相遇，他们希望能够将各自领域通过视觉艺术和 声音艺术进行碰撞和交流。 Conductor:T.r.a.n.s.i.t.s.c.a.p.e, is a dance company born in 2003 of the encounter between the visual artist Pierre Larauza and the dance choreographer Emmanuelle Vincent, who wished to confront and cross their disciplines with visual and audial arts.

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自2004年起舞团总部设在布鲁塞尔，双人组与各 国录像师、计算机人员、美术设计师、录音师、作曲 家、音乐家、演员和舞者合作。 每次创作都是跨领域作品，与城市空间有着特殊 的联系。舞团持续进行主题为不同媒介之间相互的传 染研究。它使舞蹈、建筑和音乐之间产生了一种微妙 的关系。 在舞团成立的同时，他们自2007年开始管理儿童 舞蹈学校La Confiserie，一个非盈利协会的教育项目。 参与者：业余/专业舞蹈者、造型艺术或任何对于身体和城市空间 感兴趣的人

Based in Brussels since 2004, the team has collaborated with international video makers, IT engineers, graphic designers, sound engineers, composers, musicians, actors and dancers.

Each creation affirms itself as an interdisciplinary piece fitting into a particular relationship with the urban space. The company develops an abiding research that questions and cross-questions different forms of media. It gives birth to a powerful relationship between dance, architecture and music.

Alongside their creations, since 2007, they have managed the dance school for children, La Confiserie, a non-profit education project.

Audience: Professional or students in dance, plastic arts, circus, and anybody interested in the relations between bodies and urban spaces.

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三 工作坊 / Workshops

网络话语与现实 Online Discourse Reality 德国/Germany 由北京德国文化中心·歌德学院（中国）的支持

主持： 凯·图赫曼，是一位德国导演、戏剧构作以及研究者，目前是歌德学院（中国）的舞台艺术驻留艺术家。他在 德国诸座富有盛名的剧院都做过创作，比如柏林的马克西姆·高尔基剧院以及魏玛德意志民族剧院。近期又在 维尔茨堡的美茵-法兰克剧院任首席戏剧构作一职，并在纽约城市大学做访问学者。自2007起，他频繁参与跨 文化戏剧合作，尤为注重社区剧场及其对本社区发展的作用，曾在例如伊拉克、苏丹、巴勒斯坦及布基纳法索 等多个地区开展过项目。凯·图赫曼的艺术创作与学术重点为纪录式戏剧。在他看来，这种创作方法具有书写 历史的重要功能。 李亦男,毕业于北京大学德语系并美国哥伦比亚大学戏剧系获硕士学位。后赴德，在汉堡大学、慕尼黑大学学 习戏剧学、语言哲学、文学与汉学，获博士学位。从2009年起，李亦男致力于系统性地将德国的戏剧构作法引 入中国。并主持了德国歌德学院、中央戏剧学院联合主办的《戏剧构作在北京》大型学术活动，开始在中央戏 剧学院开设《戏剧构作》课程。2011年，获中国教育部基金，开始进行《德国戏剧构作》研究项目。2012年再 次赴德，在巴伐利亚国家剧院、柏林邵宾纳剧院戏剧构作部进行调研。 Kai Tuchmann is a German director, dramaturge / producer and theatre scholar, who is an artist-in-residence supported by Goethe-Institute China. He directed at several influential German theatres, such like the Maxim Gorki Theater Berlin and the Deutsches Nationaltheater Weimar. Recently he has been the head dramaturge of the Mainfrankentheater Würzburg and a Visiting Scholar at the Graduate Centre of the City University of New York. Since 2007 he regularly works in the field of intercultural theatre collaborations in general and specifically in the scope of community development theatre, e.g. in Iraq, Sudan, Palestine and Burkina Faso.His artistic and academic focus lies on documentarism and its contribution to an alternative historiography.

Li Yinan,Graduated in German major in Beijing University and received a master’s degree in Columbia University in the department of theater. Afterward she went to Germany and studied drama, linguistic philosophy, literature and sinology and got a doctor’s degree, during which she once studied in the German Bavarian state opera drama department. From 2009 she has been devoted to bringing German drama structure practice in China systematically. In the same year she hosted the large academic activity named Drama Structure in Beijing sponsored by the German Goethe Institute and the Central Academy of drama, she also started to open the Drama Structure course. In 2011 she got the educational fund of China and began to study the programmed of German Drama Structure. She went to Germany once again in 2012 and studied and researched in the Bavarian State Opera, the Berlin Shao Bin Theater Construction Department.

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工作坊形式： 在这一注重共同创作实践的戏剧工作坊项目中，将 尝试将网络数码空间与实体剧场融为一体。我们的工作方 法是，首先以研讨工作坊的方式，开启头脑风暴以及公开 讨论，借此收集素材及文字。接着将进行戏剧构作工作 坊，共同进行文字处理并将其演化为剧本。最终在为期5 天的表演工作坊中，这部全新创作的作品将被排演，并最 终以公开排练或演出的形式呈现给观众。 这个项目的中心意义与重点在于，工作坊成员将与 导演凯•图赫曼，从创作伊始至终共同参与戏剧创作的每 一步。这包括共同搜集文字，即与北京直接相关的各类网 络话语（包括新闻报道、数字出版物、博客等），对其改 编再创作，并最终探索出一种如何将网络空间挪移转接至 剧场空间的有效方法。

Forms of the Workshop:

工作坊计划： 2次头脑风暴/公开讨论话题：“网络话语与真实的 北京故事” 时间：5月13日、5月16日，18:30-21:00（中 央戏剧学院北教学楼4教）6月1日，6月2日14:00（蓬蒿剧 场） 1次戏剧构作工作坊：剧本生产 时间：6月7日，6月8日，6月9日14:00（蓬蒿剧场） 表演工作坊：排练 时间：6月21日-25日（风尚剧场） 公开排练/表演 时间：6月29日19:30（蓬蒿剧场）

Structure of the Workshop:

In this work in progress, two spaces – digital space on the internet and theatrical entity - will be led together through a series of discussions, dramaturgical and performance workshops. During the producing process of the script, online articles, publications, narrations and discourses directly related to Beijing will be collected, viewed and selected, which would be transformed into a stage text, as the outcome of open dramaturgical discussions and will then be rehearsed within the five-day performance workshop, before the final open rehearsal.

The essential focus of this work is to work with the ensemble from the very beginning to the end of theatrical creation, which means to develop a text formed by elements of online discourse (reports, commentaries and blogs) and find a proper way of scenic conversion, and eventually stage it in a theatrical space.

Structure of the Workshop: Brainstorming/Open Discussions Topic: “Online Discourse and Real Narrations of the City” Time: May 13th, 16th 18:30-21:00 (The Central Academy of Drama) June 1st, 2nd (Penghao Theatre) Dramaturgical Workshops: Forming of a Stage Script Time: June 8th, 9th (Penghao Theatre) Five-Day Performance Workshop: Rehearsal Time: June 21st -25 th (Fashion Theatre) Open Rehearsal/Final Staging Time: June 29th 19:30(Penghao Theatre)

四 工作坊 / Workshops

“当下”的肢体语言表达 The actor in the moment of physical expression 瑞典/Sweden

主持： 安娜·皮特森，演员，导演，戏剧老师。曾在斯德哥尔摩城市剧院上演的《海达·高布乐》中担任剧名角 色，《天使在美国》中饰演天使；参演瑞典皇家剧院上演的《波士顿婚姻》；同时还与瑞典知名的戏剧家Lars Norén和Kristina Lugn合作。她还为自己及他人撰写剧本，同时在20多部电视剧及电影中参与表演，还导演多 部剧目（Tjechov （契诃夫）的《海鸥》， 莫里哀的《恨世者》等）。1999年安娜荣获Thaila大奖，还两次被瑞 典学院授予奖学金。 Conductor:Anna Pettersson, is an actress, director and drama teacher. She has played the title role in ”Hedda Gabler”, the angel in ”Angels In America” at the Stockholm City Theatre, ”Boston Marriage” at the Royal Dramatic Theatre and has been working with Sweden’s leading dramatists Lars Norén and Kristina Lugn. She has been writing plays for herself and others, performed in about 20 TV- and movie productions and has also been directing several plays (”The Seagull” by Tjechov and ”The Misanthrope” by Moliére, amongst others.) In 1999 she received the very prestigious Thaila Award and she has also received two scholarships from The Swedish Academy.

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工作坊内容： 在本工作坊中，参与者将在一个有着预设流动影 像背景中的舞台上和戏剧文本互动，以探求演员在有 关移动影像时的肢体表达。 我们将了解故事是如何被肢体表达和摄像机影像 的，以及演员在舞台上的肢体表达和在电影中的表达 有什么区别。什么时候移动的影像将变成对于演员表 现来说的潜台词，以及什么时候演员的肢体表达变成 了对于移动影像来说的注解。 Content: The actor in the moment of physical expression in relation to the moving image. A workshop where the participants work on stage with dramatic texts with a projected film in the background.

We examine how the story is affected by the physical expression and the camerawork. What’s the difference between the actor’s physical expression on stage and on film? When does the moving image become a subtext to the actor’s expression and when does the actor’s physical expression a comment to the moving image?

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五 工作坊 / Workshops

如何构建“讲故事剧场” How to Construct A "Story-telling Theater" 中以创作工作坊/Chinese and Israeli creation workshop 创意：露丝·坎纳 指导：露丝·坎纳、任明炀

主持： 露丝·坎纳，从80年代早期以来一直致力于实验剧场 作品的创作。目前她是以色列特拉维夫大学戏剧艺术 系的副教授，并创办“露丝·坎纳剧团”，与特拉维 夫市“Bat Sheva舞团”合作。“露丝·坎纳剧团”是 一个独特的实验性剧团，擅于将文学与记录作品改编 后搬上舞台，使用多种新颖的故事叙说与动作技巧。 除了与她的团队一起创作的作品以外，坎纳还是日本 东京X-Cai剧院的特邀导演。 任明炀，生于1982年，中国作家、戏剧导演、电影导 演、创作型歌手。他那极富风格的作品如《明年的这 个时候》、《蓦然回首》、《好好好》、《乐游原》 使他成为一名独特的中国先锋戏剧艺术家。 Conductor: Ruth Kanner,has been the creator of experimental theatre productions since the early 80's. Currently she is an Associate Professor at the Department of Theater Arts of Tel Aviv University, Israel, and leads Ruth Kanner Theatre Group, associated with the Bat Sheva Dance Company, Tel Aviv. Ruth Kanner Theatre group is an experimental and unique theater team, specializing in adapting literary and documentary texts to the stage, using a variety of innovative story-telling theater and movement techniques.

Along the productions created by Kanner with her group, Kanner is a guest director of Theater X-Cai, Tokyo, Japan.

露丝·坎纳 Ruth Kanner

任明炀 Ren Ming Young

Ren Ming Young,(born 1982) is a Chinese writer, theatre director, filmmaker and singer-songwriter. His highly stylized theatre productions like "At This Time Next Year", "Look Back Suddenly", "Bon Bon Bon" and "Le You Yuan", made him a distinctive avant-garde theatre artist in China.

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工作坊形式： 讲故事剧场揭露出了舞台语言所特有的表现方式。在努力 翻译并不是为舞台语言所设计的文本的过程中，导演、演员以 及其他参与戏剧创作的人有机会拓展他们的技术界限，探寻新 的、富有想象力的创作方式。 本工作坊将着重于创新性的个人与团队戏剧工作。我们将 探寻把叙述文本（非戏剧的）转化成舞台活动的途径。在这一 过程中，我们将揭露文本的深层结构与隐藏意义，把时间-空间 的不同层面具体地体现在舞台上，同时在词语、人声、声音、 动作、物体与舞台影像之间形成意想不到的联系。 我们将研究《雪夜》，一部由中国作家端木蕻良于上世纪 三十年代创作的短篇小说。 我们将会采用的概念与舞台技术已经由露丝·坎纳在将众 多不同种类的文本改编搬到舞台上时得到应用。本工作坊已在 以色列、日本、印度、英国、美国等地有过实践。 Forms of the Workshop: Story-telling theater exposes means of expression that are unique to the language of the stage. The struggle to translate a text that has not been originally created for the stage to the language of the theater provides an opportunity, for directors, actors and other people involved in the theatrical creation, to expand the limits of their craft and explore new, imaginative ways of creating.

This workshop will center on creative individual and group theatrical work with literary and personal stories. We shall explore the mechanisms of transforming narrative (non-drama) texts into stage events. In the course of this process, deep structures and hidden meanings of the text are being exposed, different layers of time-space are materialized on stage and unexpected connections between word, human voice, sound, movements, objects and stage images are being formed.

We will work with “Snowy Night”, a short story written by Chinese writer Duanmu Hongliang in 1930s.

The concepts and stage techniques to be introduced have been applied by Ruth Kanner in adapting a variety of different types of texts to the stage. This workshop has been conducted in Israel, Japan, India, UK, USA, and more.

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六 工作坊 / Workshops

气和意念在表演艺术中 Breath and mindfulness in the performing 田蔓莎2012年在柏林自由大学“跨文化研究中心”研究项目之一。 --The content of this lecture is one of Tian Mansha’s research projects at the Cross-culture Research Center of Free University of Berlin

主持： 田蔓莎，著名川剧表演艺术家、一级演员、导演。现任上海戏剧学院戏曲学院副院长、研究生导师、上海青年 京昆剧团副团长。田蔓莎除从事艺术创作演出外，还从事艺术教育和艺术管理工作。她不仅是当代川剧改革的 先锋派人物，亦是中国当代戏曲界集表、导、教等多个角色的重要代表人物之一。曾两度荣获中国戏剧“梅花 奖”、国际剧协（ITI）德国中心现代音乐剧场“特别奖”。 Conductor: Tian Mansha is a prominent chuanju ("Sichuan opera") performing artist, nationally ranked first-tier performer and director.

She is currently Deputy Dean of the STA's College of Xiqu, a supervisor of master's candidates, and Deputy Directory of the Shanghai Youth Jingju ("Peking opera") and Kunqu Opera Troupe. In addition to art creation and performance, Tian is also engaged in art education and art administration. She is not only a forerunner in the reform of contemporary chuanju, but also one of the few persons in contemporary Chinese theater who is engaged in acting, directing and teaching all at the same time. Tian is a two-time recipient of China's Plum Blossom Prize, the Ministry of Culture's Wenhua Grand Prize for lead performance, and special recognition from the International Theatre Institute (ITI)'s German Center for Modern Musical Theatre.

工作坊内容： ——有关演员的身体与气和意念的关系。 ——有关演员的情绪与气和意念的关系。 ——有关演员的精、气、神和角色的呈现。

Content: •The relationship between the performer’s body and pneuma and idea.

•The relationship between the performer’s emotion and pneuma and idea.

•The demonstration of the performer’s energy, pneuma and role.

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+

工作坊 / Workshops

长谷川孝治戏剧工作坊 ——中日韩三国合作戏剧《祝/言》预演活动” “SHUGEN-Celebration/Expression” Theatre Co-production of China, Japan and Korea ~The Pre-Event~ 日本/Japan 主持： 长谷川孝治,1956年出生于日本青森县，1978年结成剧团“弘前剧场”。担任 所有作品的编剧及导演。弘前剧场，自成立以来，为了打破日本戏剧集中于东 京的状况，一直以青森县为据点持续着戏剧活动。以演员把共通语（标准语日 本语）写成的剧本翻译成自己的口语进行表演著称；其舞台呈现，以把学校教 员室、葬礼等日常生活的场所设定为戏剧场景，活用表现力丰富的地方方言， 得到广泛公认。1996年戏剧作品《教员室的下午》获得第一届日本剧作家协会 最优秀新人戏曲奖。2006年任青森县立美术馆舞台艺术监督至今，策划实施了 许多县民参加型戏剧，同时涉足舞蹈作品等的创作活动。最近，戏剧及戏曲之 外，为电影导演大林宣彦的最新作品《空中的花》创作了脚本。著有《戏曲集 弘前剧场的两个场所》（太田出版社）《弘前剧场30年》（寿郎社）等。 Conductor: Koji HASEGAWA was born in Aomori Prefecture. After graduating from university in 1978, he established the Hirosaki Gekijo theater company based in Aomori, far from the theater world polarized in Tokyo, and has since written and directed almost all of their productions. Hasegawa has developed an original technique whereby the individual actors adapt their lines from the scripts that he writes in standard Japanese to their own style of speech. His reputation has been built by plays set in, such as a hospital, school, or funeral hall, in which people's lives, deaths, and work unfold through daily-life conversations rich with local expression. 工作坊形式： 戏剧《祝言》是由日本国际交流基金会北京日本文化中心以及日本青森县立美术馆共同出品，汇聚中日韩 三国艺术家的一个戏剧项目。这个创作于东日本大地震后，汇聚丰富艺术元素的舞台作品，反映了日本戏剧人 对不同民族间共同的话题-生命，死亡，存在的深刻思考。在探索不同文化背景人们交流的可能性的同时，也 是一次探索全新戏剧表现的大胆尝试。戏剧《祝/言》将在中，日，韩三国巡演，今年11月将在上海话剧艺术中 心与中国观众首次见面，2014年1月将与首都观众见面。 本次南锣鼓巷戏剧节中，戏剧《祝/言》的导演，在日本东京首都圈之外积极推动地方戏剧的长谷川孝治先 生将从蕴藏着“和文化之魂”的“边缘地带”-日本东北部青森县弘前市（太宰治的出生地）为大家带来富有 魅力的戏剧理念。带领大家发现“交流”，发现“身体”，发现一个全新的戏剧领域。

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时间：2013年6月24日（周四）-25日（周五） 地点：北京蓬蒿剧场（24日），风尚剧场排练厅（25日）

Time: 24nd June-25th Venue: Beijing Peng Hao Theatre(24th), Fashion Theatre(25th) Instructor: Koiji HASEGAWA(Mr.)

第一天 讲座：《戏剧在日本》 2小时 工作坊：《交流》 2小时 第二天 工作坊：《发现身体》 2小时 工作坊：作品制作 2小时

Day 1st Leture: About Japanese Theatre 2Hours Workshop: Communication Workshop 2Hours Day 2nd Workshop: Discover the Body 2Hours Workshop: Theatre Production 2Hours

七 工作坊 / Workshops

《站》-时间、空间和身体 Standing/Time, Space and Body 日本/Japan

主持： 佐藤信，剧作家、导演，1943年出生于东京。毕业于早稻田大学。毕业俳优座培训学校。1966年,创立先锋派剧 团“自由剧场”。1971年参加“戏剧中心68/71”（现在改称黑帐篷剧团）做为主要导演和剧作家。一直到1990 年的20年中，进行了日本全国120个城市的巡演，引导了日本的当代戏剧界的发展方向。他用幻想因素的独特文 体,著述了批判社会和历史内容的戏剧作,同时编导了不少国内外的戏剧作品。同时他具有音乐、舞蹈、传统戏曲 的宽泛知识。所以他编导的范围从歌剧、当代戏剧、线悬吊木偶剧、当代能乐等不同戏剧艺术，戏路很宽阔。 另外他开办戏剧工作室、创造亚洲艺术网络、参加欧洲的主要戏剧节推进海外艺术交流活动，也在日本国内参 与政府、民间的剧场筹建工作。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 圆寺艺术监督、个人剧团“鸥座”的主办者、黑帐篷剧团编导者。除了本次工作坊，佐藤信还会主持“日本小 剧场运动”的报告。 Conductor: Makoto Sato was born in Tokyo in 1943. In 1966, he founded the Free Stage Company and opened “Underground Free Stage” a venue in Roppongi, Tokyo. His most important work was centred on the activities of the theatre company known as the “Black Tent.” The company’s first production in 1970 was The Dance of Angels with Flaming Wings, an adaptation of Peter Weiss’ Marat/Sade. In the 1980s, Sato and his colleagues developed a new concept of “Asian Theatre” centred on a critical re-evaluation of Japanese society. He collaborated with several South Asian companies and more recently has collaborated with European theatre companies. Sato has attracted media attention as a director of opera, dance, revue, drama, and the marionette theatre company, Youkiza. From 1997 to 2002, he was the first artistic director of Setagaya Public Theatre. He is at present the director of Kamome-Za and of the Suginami Culture Association..

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工作坊形式： 根据荣念曾“一桌二椅”的空间和佐藤信《站》的剧本,探索新的 舞台表演方法的可能性。特邀日本现代舞蹈家之一“竹屋启子”,举办 形体表现法的工作坊。同时和参加者在一起创造小作品。 时间：6月17-20日 第1天 ：佐藤信讲座 「日本的小剧场戏剧」 佐藤信工作坊 「空间和形体」 第2天 ：竹屋启子工作坊 「调整形体工作坊」 佐藤信工作坊 演「站」① 第3天 ：佐藤信工作坊 演「站」② 创造作品 第4天 ：彩排 发表和评论

Forms of Workshop: Based on Danny Yung’s idea of the space of “one table and two chairs” and the play script of Sato Shin’s Standing, the workshop seeks the possibilities for a new method of stage performance. Takenoya Keiko, a model of Japanese contemporary dance, has been invited to conduct the workshop for physical expression. Meanwhile, the workshop will produce small works with participants.

Schedule: June 17-20 Day 1 Lecture by Makoto Sato: The Drama of Japanese Small Theatre (DVD), The Makoto Sato Workshop, Space and Body Day 2 The Takenoya Keiko Workshop, The Body Adjusting Workshop The Makoto Sato Workshop, performance of Standing I Day 3 The Makoto Sato Workshop, performance of Standing II, 2 hours Work Production Day 4 Rehearsal and Commentary

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八 工作坊 / Workshops

“极致的单纯” ——爱德华·邦德的戏剧及21世纪的戏剧 Radically Innocent: The plays of Edward Bond and Theatre for the 21st Century 英国/Britain

主持： 克里斯·库佩，1986年从纽卡斯尔的诺桑比亚大学毕业后，后成为兰开斯特杜克教育剧场剧团的一名演员/教师，直 到1995年剧团被当地政府关闭。在此期间，他在超过20部教育剧场的项目中出现，并且成为国家教育剧场协会的活跃 分子，青少年戏剧常务会议的理事和秘书长。从1990到1998年他成为协会杂志（SCYPT Journal——一份关于教育戏剧 和教育剧场的理论与实践的杂志）的编辑。 1996年克里斯成立了伊斯科拉剧团，上演了他的第一部剧作《那些血》。之后他和“大伯明翰”教育剧场以及 在威尔士的波厄斯剧团持续性的合作，直到1999年他成为了“大伯明翰”教育剧场的艺术总监。 从那时起，克里斯已经导演了28部教育剧场项目，超过十几部给3到21岁的孩子开发的特殊项目，并且在英国及全世 界巡回拓展为孩子和成年人的社区项目。从1995年起，“大伯明翰”剧团和英国在世的最伟大的剧作家爱德华.邦德 （Edward Bond 1934-）长期合作。邦德在全世界60个不同国家中上演的47个剧目中，有7部都是和“大伯明翰”合作 的。克里斯在其中6部剧目中或出演或导演，并且在法国和匈牙利和邦德有过紧密的合作。在2005年有大卫.戴维斯 (David Davis)编辑的书《爱德华·邦德与戏剧儿童》（Edward Bond and the Dramatic Child）中写作了主要章节，讲述 他与邦德的合作。 除了为“大伯明翰”担任艺术总监，2008年期间，克里斯创建了偶然剧团。他至今出版了18部剧作，他在17个不 同国家中从事过导演，戏剧培训师，教师，讲师等等不同职业。08年到10年间，他主持了DICE项目在英国的部 分。项目主要是针对戏剧的教育含义以及戏剧给孩子带来的社会技巧和素质的影响，同时他也是项目的两本出版 物的编辑。 Conductor: Chris Cooper, was graduated from the Northumbria University of Newcastle, and later became an actor and teacher in the troupe of Duke Educational Theatre of Lancaster until it was closed by local government in 1995. During this period, he appeared in more than 20 projects of the Educational Theatre and was active in the National Association of Educational Theatre. He was the director and secretary-general of the Executive Meeting of Youth Theatre. From 1990 to 1998 he was the editor of the association’s journal (SCYPT Journal, a magazine on the theory and practice of educational dramas and theatres).

In 1996, Chris founded Theatre Iskra and produced his first drama La Sangre. Later he worked with the educational theatre Big Brum and Theatre Powys (Wales), before he became the art director of Bog Brum in 1999.

From then on, Chris has directed 28 dramas of the educational theatre and more than 10 special plays for children from 3 to 21, and has toured in U.K. and all over the world to expand community projects for children and adults. In 1995, Big Brum began to cooperate in long term with Edward Bond (1934-), the greatest living British playwright. Of Bond’s 47 plays performed in 60 countries all over the world, 7 plays are in cooperation with Big Brum. Chris either performed in or directed 6 of them and had worked closely with Bond in France and Hungary. The book Edward Bond and the Dramatic Child published in 2005 and edited by David Davis tells his cooperation with Bond in some main chapters.

Apart from being the art director of Big Brum, Chris founded Theatre Hap. He has published 18 dramas and has worked as the director, drama trainer, teacher and lecturer in 17 different countries. From 2008 to 2010, he hosted the DICE project of Britain. The project is mainly aimed at the educational meaning of dramas and the influence on children’s social skill and quality. He is the editor of the two publications of the project.

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工作坊形式：

Forms of the workshop:

“戏剧的唯一主题是正义，这就是社会创建戏剧 机构与公共舞台的原因。所有文化以及个人，必须寻 求正义。如果他们不寻求正义，他们就是在背叛他们 的人性，于是就会有一个奇怪的后果：他们必须向自 己报仇。这就是建立在戏剧结构与人性本身内的深刻 的悖论。” ——爱德华·邦德 2013.4.13

“Drama’s only subject is justice. That is why society created the institutions of drama, the public stages. All cultures -- all individuals -- must seek justice. If they don’t seek it they betray their humanness, and then there is a strange consequence: they must take revenge on themselves. That is the profound paradox built into the structure of drama and into humanness itself.” Edward Bond 13 April 2013

爱德华·邦德是英国在世的最伟大的剧作家。在 过去的51年里他写出了53部舞台、电视、广播戏剧， 并在60多个国家上演。摈弃20世纪剧院形式的邦德正 在创建一种21世纪的新型剧团。这一新的理念坚持我 们对“我们是谁”以及“我们如何生活”作出选择。 它拒绝我们安逸地袖手旁观、寻找逃避责任的借口。 他想要拉起阻碍我们看清世界的意识形态面纱。 本工作坊将提供一个邦德式剧团的实践工作机 会，利用邦德的伟大戏剧《单纯》来理解支撑他戏剧 的理论与思考，包括： 在中国语境下介绍他对政治、文化与社会的思 考； 探寻剧院与民主的关系； 探寻剧院与戏剧的差别； 探寻“极致的单纯”以及想象力在创造人类价值 时所扮演的角色； 探寻表演（acting）与扮演（enacting）的区别； 探寻邦德的戏剧手法，如“场所与中心”、“间 隔”、“意外时间”与“隐形物体”。

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Edward Bond is Britain’s greatest living playwright. During the last 51 years he has written 53 plays for stage, TV and radio that have been produced in over 60 countries.

Bond having rejected the theatre of the 20th century is creating a new form of theatre for the 21st century that insists we make choices about who we are and how we live. It denies us the leisure of sitting back and observing and excusing ourselves from responsibility. He wants to draw back the ideological veil that prevents us from seeing the world as it is and us in it.

The workshop will be an opportunity to work practically on Bondian theatre using the writer’s great play Innocence in order to understand the theory and thinking that underpins his drama by: Introducing his thinking in the Chinese context on politics, culture and society.

Exploring the relationship between theatre and democracy Exploring the difference between theatre and drama Exploring radical Innocence and the role of the imagination in creating human value Exploring the difference between acting and enacting Exploring Bondian drama devices such as the Site and the Centre, the Gap, Accident Time and the Invisible Object

九 工作坊 / Workshops

文本的背后，场景的超越—实践创作工作坊 Beneath the text, beyond the scenes. Exclusive exploration workshop 瑞典/Sweden

主持： 马福力，生于瑞典，从上个世纪九十年代中期，马福力以自由导演和制作人的身份在多个国际和瑞典国内的独 立戏剧组织工作。他制作过多部戏剧，包括欧里比德斯、莎士比亚、格奥尔格·毕西纳、帕索里尼、阿瑟·米 勒、阿瑟尔·富加德和瑞典当代新锐编剧的作品，并以指导斯特林堡的作品见长。肢体语言、空间的创造和其 他艺术形式的运用在他的作品中占有重要的地位。2002年起，他担任瑞典舞台和荧幕导演协会的主席。今年， 这名瑞典导演将再次来华，参加北京南锣鼓巷戏剧节的戏剧工作坊。 Conductor: Mathias Lafolie was born in Sweden. Since mid-1990s, Lafolie has worked as a freelance director and producer at various theaters, especially international and Swedish independent theater groups. Lafolie has produced works adapted from contemporary Swedish and classic writers, including Euripides, William Shakespeare, Georg Büchner, Pier Paolo Pasolini, Arthur Miller and Athol Fugard. Among all the works, August Strindberg’s pieces are Lafolie’s strength. He stands out because of the combination of body language, space creation and other art form. Since 2002, Lafolie has worked as president of Swedish Association of Stage and Screen Directors. Mathias Lafolie, the Sweden director, will come to China again to attend the drama workshop during Beijing Nanluoguxiang Theatre Festival.

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工作坊内容：

Forms of the workshop:

《夜访者》由瑞典剧作家彼得·维斯写于1966 年。 这部戏剧讲述了一个黑暗而又荒诞的故事，其灵 感来自于“布袋木偶”的传统以及儿童歌谣和游戏。 整个文本用一种叫“尼特尔”的中世纪德国诗歌韵律 形式写成。它需要用一种戏剧性的方式来表现押韵和 谐音。 《夜访者》又名《我们如何为了一箱最后甚至不 存在的黄金而杀人》。剧受启发于白话传统，并在欢 乐的外表下将滑稽讽刺与犯罪的恐怖结合在一起。为 了满足贪欲，我们会做出那些事来？ 另一方面，我们如何应对威胁？戏剧以它最简单 的形式来探讨这些深刻的问题。 本实验工作坊将深入探索这一主题，同时利用不 同的表现方式：声音、音乐、灯光、服装、舞台、动 作以及文本。五名演员和一个富有创意的艺术团队将 参与到这一精心设计的过程中来，并邀请观众一起研 究互动，以此创造出一种强有力的戏剧性表演方式。 在十天里，我们将以实际表演的方式在舞台上考 察戏剧的不同层面。我们将连续不断地与观众一起 分享这一不断完善的作品。最后，7月30日在蓬蒿剧 院，我们的成果将向所有观众展示，随后对之进行开 放性讨论。 该作品将由著名瑞典导演马福力指导，同时参与 的还会有瑞典作曲家亨利克·比约林。他们于2011年 在蓬蒿剧院成功上演了斯特林堡的《鹈鹕》。

"Night with Guests" was written by the German-Swedish playwright Peter Weiss in 1966.

The play is a dark and grotesque tale inspired of the tradition of "Punch and Judy" as well as nursery rhymes and games. The entire text is written in a medieval Germanic verse metre form called "knittel". It requires rhymes or assonances presented in a theatrical way.

"Night with Guests" or “How we kill for a chest of gold that in the end doesn't even exist”.

The play is inspired by vernacular traditions and combines the burlesque and the horrors of crime under the appearance of cheerfulness.

What are we prepared to do to satisfy our greed?

And on the other hand: How do we act and react to threats?

In its simplistic form the play discuss profound questions.

This experimental workshop will penetrate and explore this theme, utilizing the different means of expressions: sound, music, light, costume, set and movement as well as the text. Five actors and a creative artistic crew will take part in this elaborative process together with observers who are invited to study the interaction applied as a method to create a powerful theatrical performance.

During ten days we examine different aspects of the play dealt with on a practical level on the floor. The work-in-progress will be shared continuously with the observers. Culminating on the 30th of July at Peng Hao Theatre, a full audience will be invited to a final presentation of the result, to be followed by an open discussion about the experience.

The work will be led by the famous Swedish director Mafuli.

Also participating will be the Swedish composer Henrik Björlin.

Both known for their successful production of "The Pelican" by August Strindberg at Peng Hao in 2011.

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讲座 / Lectures

前进进的艺术取向与新文本运动 The Artistic Orientation of On&On and the New Text Movement 香港/Hongkong

主讲： 陈炳钊，前进进艺术总监、香港剧场编剧、导演、剧评人、教育剧场及青年剧场导师。曾先后创立实验剧团「沙砖上」和「临流鸟工作 室」，现为「前进进戏剧工作坊」艺术总监，在牛棚艺术村内独立营运牛棚剧场。陈炳钊的个人创作一直紧扣当代社会现状及剧场美学探 索，作品触及香港历史、文化身份、创伤与治疗、消费时代等社会议题。重要作品包括《家变》、《飞吧！临流鸟，飞吧！》、《韦纯在威 斯堡的快乐旅程》、《(鱼)夫王》、《N.S.A.D.无异常发现》、《天工开物‧栩栩如真》、《hamlet b.》、《十七个可能与不可能发生 在2012的戏剧场景》。 冯程程，前进进驻团导演，以牛棚为创作基地的剧场工作者，近年积极参与策划前进进戏剧工作坊年度欧陆新文本展演计划及课程系列， 并导演多部新文本作品，包括：莎拉肯恩《渴求》(2006)、耶利内克《死亡与少女》(2008)、邱琪儿《远方》(2010—获第三届小剧场奖 最佳导演提名)、雅丽珊卓．活《第十一城》(2011)。《hamlet b.》(2010首演) 联合监制；《十七个可能与不可能发生在2012的戏剧场 景》助理导演。2012年年度创作《谁杀了大象》巡演香港及台北第五届女节，并以英语版本参加英国卡迪夫Chapter Arts Centre 驻场 艺术家计划。最新编剧作品《守夜者》，由台北莫比斯圆环创作公社制作，为华山生活艺术节2012节目之一。 Chen Bingzhao is a Hong Kong theatre playwright, director, critic and tutor of educational theatre and youth theatre. He established the experimental troupe On the Sand Brick and the Linliu Bird Workshop. Now, as the artistic director of On&On Theatre Workshop, Chen operates independently with the Cattle Depot Theatre in the Cattle Depot Art Village. Chen’s individual works have always been closely connected to contemporary social conditions and theoretical aesthetic exploration. The social issues contained in his works range from Hong Kong history, culture, identity, trauma and treatment to the consumer’s age. His important works include Family Troubles, Fly, Linliu Bird, Fly, Weichun’s Happy Tour in Westberg, Fishing King, N.S.A.D. Nothing Abnormal Found, Heavenly Creations/Lifelike, hamlet b., Seventeen Impossible and Possible Theatre Scenes Happened in 2012.

Vee Leong is an experienced writer and theatre practitioner. Based in the Cattle Depot Artist Village, Vee is the current convenor of the recently established New Writing Lab dedicated to contemporary European theatre text and new theatre writing. Her recent directing works include Sarah Kane’s Crave (2006), Elfriede Jelinek’s Death and the Maiden (2008), Caryl Churchill’s Far Away (2010, nominated for Best Director in 3rd Hong Kong Theatre Libre Awards), Alexandra Wood's The Eleventh Capital (2011). Her recent playwrighting work The Lives of P (2012, commissioned by Huashan Living Arts and produced by Mobius Strip Theatre) has just been presented in Taipei.

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香港前进进戏剧工作坊成立于1998年，是一个以教育剧场及实验剧场 起步的戏剧组织，十多年来一直致力艺术风格的探索，坚持独立自主；在 市场主导的戏剧生态环境中，以优秀的作品开拓边缘位置。除了演出制 作，前进进还自主营运牛棚剧场，策划演出及戏剧节，举办工作坊及讲座 等不同类型的活动。经过多年的努力，前进进已把这个小剧场打造成一个 公认的文化空间，并在主流戏剧中僻出自己的创作空间。 近年，前进进更推出一系列备受关注的「新文本」节目，包括去年开 展的「新文本运动2012-14」，引介当代西方最火热最锐利的剧本，如莎 拉‧肯恩的《惊爆》、卡瑞‧邱琪儿的《远方》及马丁‧昆普的《干掉 她》等。这些响应时代的新文本激发出新的剧场表达方法；前进进把「新 文本」的作品引介到香港后，亦成为本土创作的新养份。 这次讲座中，前进进的艺术总监陈炳钊及《谁杀了大象》的导演冯程 程会和大家分享前进进的艺术路向，如何突破边缘，确立的自己的定位； 并讨论「新文本」的视野如何刺激香港本土的戏剧发展。 The On&On Theatre Workshop of Hong Kong, founded in 1998, is a theatre organization which started out as an educational and experimental theatre. Over the past fifteen years, it has devoted itself to the exploration of artistic style, independence and uniqueness. In a market-oriented environment of theatres, it is a pioneer with consistently excellent works. Besides performance production, On&On Workshop also independently operates the Cattle Depot Theatre, holds presentations and drama festivals, and conducts workshops, lectures and other related activities. After years of effort, On&On has made the small theatre a recognized cultural space, and has found its own creation space amongst mainstream plays.

In recent years, On&On Workshop has released a series of New Text programs which received much attention. Among them are the New Text Movement which opened last year and the introduction of the sharpest and the most popular Western plays such as Sarah Kane’s Blasted, Caryl Churchill’s Far Away and Martin Crimp’s Attempts on Her Life. These New Texts are in response to the present age, and arouse new forms of theatrical expression. The works of the New Texts introduced to Hong Kong by On&On are fertile ground for new local creations.

In this lecture, On&On Art Director Chen Bingzhao and director of Who Killed the Elephant Vee Leong will share with us the artistic orientation of On&On and experience in how to push frontiers and establish one’s own position. They will also discuss how the horizon of New Text motivates the development of Hong Kong local theatres.

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讲座 / Lectures

舞台的奇异现实+剧场——一个相遇的地方 The strange realities of the stage + theatre as a meeting place 瑞典/Sweden

主讲： 麦格努斯·弗洛林，瑞典皇家剧院戏剧文学总监。 Speaker: Magnus Florin, Dramaturg at Dramaten, The Royal Dramatic Theatre

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舞台的奇异现实+剧场 在传统的戏剧理念看来，理想的观众应当只有两种选择：或者完全相信戏剧的虚构，或 者完全不信，即或者完全地沉浸其中，或者与之完全保持距离。但是我们是否能够这样想象： 戏剧表演的表现力也许可以居于第三种位置，也就是说，我们既不把它当作现实，也不把它当 作幻觉，而仅仅是一个在由自己定义的现实中的、配备各种场景道具的戏剧舞台，一个舞台的 现实世界？我所要强调的，是将剧场视作其自身的现实，它所拥有的虚幻力量并不是用来抑制 各种表现手法，而是相反，将这些表现手法一一指出来给观众看。我们可以在过去的几个世纪 中看到这一潜藏在剧场之中的暗流与趋势。20世纪出现了许多戏剧梦想家，对他们来说，舞台 地板和舞台布景形成了存在之最深处的创作源泉。在本次讲座中，我将以阿尔姆克维斯特、坎 特、斯特林堡、孟德斯鸠以及塔蒂的作品为例详细阐述这一理念。

剧场——一个相遇的地方 剧场可以是一个看见各种戏剧制作的神奇的地方，也可以是一个对于社会和个体来说重要 的见面地点。本次讲座将以瑞典皇家剧院为例，它包含许多类似引荐和观众交谈的活动，在这 些众多的活动中，一个不可忽视的方面就是一大群包含来自波兰、德国、意大利等国家现代编 剧的国际化剧院。现在瑞典皇家剧院和蓬蒿剧场就正在做一个从2013年秋季开始的交换文本计 划。 The strange realities of the stage In the traditional notion of theatre, the ideal audience should stand between two poles: fully believing the fiction, and not believing it at all, total immersion and total distance. But could we also imagine that the expressive power of a theatrical performance could lie in a third position, namely that we see it as neither reality nor illusion, but simply a theatrical stage with painted sets in its own defined reality, a reality of the stage? What I wish to talk about here is a strong emphasis of theatre as a reality of its own, with an illusory power that appears not by suppressing the expressive devices but, on the contrary, pointing them out. Over the centuries, we can find this undercurrent and tendency in theatre. The 20th century has many theatrical dreamers, for whom the stage floor and stage sets form the innermost creative source of existence. In the lecture I will elaborate on this idea on the basis of the works of Almqvist, Kantor, Strindberg, Montesquieu and Tati.

Theatre as a meeting place For the audience, a theatre is a fantastic place to see all kinds of theatre productions. But a theatre can also be an important meeting place, an arena between society and the individual and personal.

This important aspect of theatre is in the focus of The Royal Dramatic Theatre of Sweden, through “Dramaten&”, a special department for sideprogramming. It involves many activities in connection with the productions, such as introductions and audience talks. But there is a wide range of other activities, such as performances, spoken word, debates, cooperations with artists and galleries, concerts, films, etcetera. The venues and foyers of the theatre are used as scenes for these activities. Among the most interesting projects, one concerns a series of presentations of new international drama, through readings with contemporary playwrights from for example Poland, Germany, Italy and Romania. Now, Dramaten& and Penghao Theatre are planning an exchange script project together, involving the exchange of visits and presentations of contemporary playwrights, beginning in Autumn 2013. Magnus Florin gives a picture of the work of “Dramaten&”, with special attention to the script and playwright project.

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c

讲座 / Lectures

当你强调身体的时候你到底是什么意思：模糊和主体性 What do you actually mean when you emphasise the “body”: Ambiguity and Subjectivity 瑞典/Sweden

主讲： 石可，诗人。戏剧工作者，英国阿诺尔菲尼艺术中心合作艺术家。毕业于北京大学，在英国布里斯托大学获得戏剧学博士学位，现任教于 中国美术学院和复旦大学视觉艺术学院。2003-2005年在北京创立并主持独立艺术剧团微剧场，排演《小彼岸》、《蛔虫》等原创戏剧作 品。在北京、上海、伦敦、布里斯托、曼彻斯特多地上演戏剧及行为艺术作品。 Speaker: Shi Ke is a poet, theatre worker and an associate artist to Arnolfini Gallery of Britain. He graduated from Peking University, later receiving his Ph.D. from the University of Bristol in Britain. He now teaches in China Art Academy and School of Visual Arts, Fudan University. From 2003 to 2005 he established and hosted the independent art troupe The V-theatre, and directed original plays. He also works as a performance artist with works performed in Beijing, Shanghai, London, Bristol, Manchester and other places.

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在中国和西方的当代戏剧发展历程中，都可以观察到这样的现象：在一定的阶段，戏剧艺 术家，尤其是在一线进行艺术实现的表演者，对于作为文学经典的剧本、剧作结构、叙事性、 以导演制为代表的独裁创作模式，乃至宽泛意义上的“语言”都产生了一定的厌恶和拒斥，不 管这种厌恶和拒斥背后的潜意识成因和文化语境是什么。在这个阶段，表演艺术家倾向于追求 互动性、观众参与、非文本性等等，并且把这些追求伞盖于“身体”这个概念之下。但是，在 表演艺术成立的基本假设下，在具体的实践中，“身体”到底意味着什么？本讲座以现象学的 一些基本概念入手，来探讨这个实际问题。 In the development of both Chinese and Western contemporary theatre, we can observe the same phenomenon: at a certain stage, theatre artists, especially practitioners who realise artistic ideas on the front line, have certain negative attitude and thus reject drama as literary forms hence sort of anti-theatre.

The dramatic structure, the narrative, the dictatorial mode of creation (typically the director-mode) and even “language” in a broad sense, are the targets regardless of the subconsciousness and cultural context behind it. At that stage, performing artists tend to pursue interaction, audience participation and nontextuality, and cover all these under the umbrella of the concept “body”. However, under the fundamental assumption of performance, what does “body” actually mean in practice? This lecture will discuss this practical question with some basic concepts of phenomenology.

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d

讲座 / Lectures

诗歌-语言的最高形式 Poetry, the Highest Form of Language 中国/China

主讲： 蓝蓝，原名胡兰兰，1967年12月出生在山东烟台。14岁开始发表作品，出版有诗集：《含笑终生》、《情歌》、《飘零的书页》、《内 心生活》、《睡梦睡梦》、《诗篇》、《蓝蓝诗选》等，出版散文集五部等；出版长篇童话和短篇童话集五部等。曾获过中国新时期女诗人 十佳称号，刘丽安诗歌奖、以及第四届《诗歌与人》诗人奖、“宇龙诗歌奖”等奖项。 曾应邀出席2003年法国巴黎国际诗歌节、2006年委内瑞拉国际诗歌节、2006年澳门中国与葡萄牙语诗人对话会、2008年帕米尔诗歌之 旅、2009年瑞典哥特兰国际诗歌节、2010年希腊萨洛尼卡国际书展、2010年“欧罗巴尼亚”中国文化年活动，2011年挪威中国文化周 等活动。部分作品被译为英、法、俄、西班牙、德、日、葡萄牙语、希腊语等发表。 Speaker: Lanlan, originally named Hu Lanlan, was born in Yantai, Shandong in December 1967. She began publishing her work at the age of fourteen and has gathered under her name “Smiling for A Lifetime“, “Love Songs”, “Falling Pages”, “Inner Life”, “Dream Dream”, “Poems” and “Selection of Lanlan’s works”. Lanlan also works on prose (five collections published) and fairy tales (five collections published). She has received awards including Best Ten Female Poets in New Era China, the Liuli’an Poetry Award, Poet of the 4th “Poetry and Human” Award and the Zilong Poetry Award.

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当代中国著名女诗人蓝蓝将带领大家进行“当代诗歌漫谈”，中国白话 诗只有近百年的历史，诗人的探索以及大量翻译诗歌的影响，造成了今天丰 富多彩的诗歌创作景象。本讲座以细读的方式，讲解介绍不同的诗歌表达形 式，解答现代诗何以难懂的疑问，并对爱诗者给予专业的阅读引导。 The renowned contemporary Chinese poetess Lanlan will take us on a “meander through contemporary poetry”. Chinese vernacular poetry has a history of less than 100 years, but the exploration of the poets and the influence of numerous translated poems have formed today’s spectacle of poetry creation. Through intensive reading, this lecture will illustrate and introduce different forms of poetic expression, answer the question of the opacity of modern poetry and give poetry lovers guidance in professional reading.

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e

讲座 / Lectures

艺术在推动公共政策中的角色 The role of the Arts in setting public policy 美国/Ｕ.S.

主讲： 曾在无国界记者组织、the Astraea Lesbian Justice Foundation从事过领导、宣传及战略沟通方面的工作。最近他又在一家为冲突后 和解构建剧场的组织Global Arts Corps担任执行董事。他创建了一家致力于为悲痛活跃分子提供避风港的freeDimensional机构。同 时，他也通过自己的事业，连同其它政府机构以及非政府机构一起，给予很多国家以帮助，大大推动了行为主义工作。 Todd 于美国罗格斯大学获得公共行政硕士学位，并因其创建的freeDimensional而获得了和平队基金奖。现在他在世界政策研究所担任 高级研究员，主要负责艺术政策Nexus倡议。他的新项目——Lanchonete， 是一项长达五年的对圣保罗中心地区进行艺术性关注的实 验。 Speaker: Todd Lester has worked in leadership, advocacy and strategic communications roles at Reporters sans frontiers, the Astraea Lesbian Justice Foundation, and most recently as the Executive Director of the Global Arts Corps, an organization that creates theatre to post-conflict reconciliation. He founded freeDimensional, an organization that helps activists-in-distress by providing safe haven in artist residencies. He has dedicated long periods of his career to aid and activism work around the world, including in Cameroon, Egypt, Rwanda, Brazil and Sudan with a range of governmental and nongovernmental organizations.

Todd holds a Masters of Public Administration from Rutgers University, received the Peace Corps Fund Award for founding freeDimensional and serves as a Senior Fellow at the World Policy Institute where he leads the Arts-Policy Nexus initiative. His new project, Lanchonete.org, is a 5-year experiment in artistic witnessing focused on a neighborhood in the center of São Paulo.

During the Festival, Todd Lester will give a speech on“The role of the Arts in setting public policy”and will produce a unique event called 'fei$hoada' on and give a speech on “The role of the Arts in setting public policy” working with local artists that he's met online and in the week preceding the event.

In Brazilian Portuguese, both Wednesday and Saturday Lunch are called feishoada. A series of itinerant events, fei$hoada, serve as Research & Development (R&D) for Lanchonete, a 5-year experiment in artistic witnessing focused on a neighborhood in the center of São Paulo. Lanchonete begs an overriding question in São Paulo and other complex urban environments...

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公共论坛 Public Forums

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主论坛/Main Forum

全国十城市民间戏剧发展论坛 “再剧场：会议剧场/会议现场” Forum: The Development of Nongovernmental Theatres in 10 Cities of China “Re-forum: Conference Theatre/Conference Scene” 06.21 ~ 06.23 蓬蒿剧场 / Penghao Theatre

本档项目由三场半公开会议与一场公开表演构成，系探讨剧场与当下社会关系的一次尝试。该项目作为第四届 南锣鼓巷戏剧节的单元内容，由蓬蒿剧场主办，王翔统筹，孙晓星与赖慧慧策划，邀请全国剧场主持人、艺术 家、理论学者，于2013年6月21—23日实施。23日的公开表演，将在三场半公开会议文献（现场录音、录像并 发放调查问卷）以及诸地剧场文献中生成文本及其它材料，因此“会议”的过程，亦是作品实施的过程，参演 人员将以介入会议的方式不断加入。 This event consists of three semi-open conferences and one public performance. It is an attempt to discuss the relationship between theatre and the current social situation. Theatre players, artists and scholars all over the nation are invited to the forum. The event runs from 21 to 23 June, 2013. On 23 June, in the final public performance, texts and other materials will be produced on the basis of the three semi-open conferences (including recording, video taping and questionnaire) and the documents of theatres nationwide. For this reason, the process of “conference” is at the same time the process of the work accomplishment; the performers are also the conference attendees. The conference operates through the format of regularly issuing “the highest directives” from the superior to the subordinate. By setting a strict schedule and giving countersigns like “quiet”, it disguises the exaggeration of performance. A show of hands and a standing ovation are regarded as the signs of successful opening, to show the regularization and the state accompanying dancing when the object is absent.

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策展理念

形式：自述×对话×旁白×会议剧场

“会议”通常作“最高指示”由上至下传达的场面，

本次活动将通过自述、对话、评议（即旁白）分三天

并以严格的日程及各种口令如“请肃静”遮掩其“表

交叉递进延展。

演性”的“假正经”。“举手表决”与“起立鼓掌”

参加成员：

作为“胜利召开”的符码，显现出次序化及对象不在

下河迷仓剧场（上海）、草台班（上海）、水边吧剧

场的伴舞状态。

场（广州）、猫头鹰剧团（南京）、靠谱儿戏剧工作 坊（长沙）、深圳独立戏剧创作人（深圳）、寅子剧

会议剧场

场（重庆）、立场戏剧工作室（成都）、山东省戏剧

剧场既是会议发生场所，也是会议对象，在剧场内谈

创作室（济南 ）、光谷客-17排剧院（武汉）、蓬蒿

论剧场，剥去其演出功能，如演员褪去角色，还原剧

剧场（北京）等独立剧场及剧团核心成员。

场之空白状态：空间，重新梳理当下诸社会场域中， 其内在建构过程，及外在生存环境。 会议现场 将假借“会议”的方法，在“彼会议”不断影响、填 充“此会议”的同时，使“会议剧场”获得现场性的 延伸，并对其文献纪录作出评估。

Conference Theatre: The theatre is simultaneously the venue for the conferences and the object of the conference. Discussing the theatre inside the theatre itself strips it of its performing function, just in the same way as the actor rids themselves of their role. The empty state of the theatre or the space is restored. The theatre tries to rearrange the internal construction process and the external living environment of different current social fields.

Conference Scene: Through the conference, we let one conference constantly affect and fill another conference, thereby extending the site of the conference theatre; meanwhile, the assessment will be evaluated.

The event consists of four parts: self-narrative, dialogue, assessment and production. Attending the conference will be independent theatres as well as their core members from Beijing, Shanghai, Nanjing, Shenzhen, Guangzhou, Chengdu, Chongqing, Changsha and Wuhan.

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日程及活动安排： - 自述:

自我实践与身份焦虑 王景国（上海 下河迷仓）、张献（上海）、疯子（上海 草台班） 、江南藜果（广州 水边吧剧场） 、周行（深 圳独立戏剧创作人） 、陈元元（南京 猫头鹰剧团） 、胡音（重庆 寅子剧场） 、惠晓立（成都 立场戏剧工作 室） 、汪沛（长沙 靠谱儿戏剧工作坊） 、陈新瑜（济南 山东省戏剧创作室） 、张玮（武汉 光谷客——17排 剧院） 、王翔（北京 蓬蒿剧场）。 各地区剧场及剧团主持人做自身剧场组织及该城市戏剧环境自述

06.21 > 10:00~17:00 蓬蒿剧场

- 对话:

1.合作还是不合作？ 王翔（北京蓬蒿剧场艺术总监） ——王景国（上海下河迷仓原创俱乐部理事长）

2.艺术还是商业？ 任明炀（舞台剧导演）——孙恒海（北京至乐汇文化公司/CEO）

06.22 >10:00~17:00 蓬蒿剧场

- 旁白:

当代剧场艺术现况现场报告 李亦男、曹曦、王翔、孙晓星、疯子、任明炀

06.23 >10:00~16:00 蓬蒿剧场

- 综合表演:

会议现场 张献统筹

06.23 >17:00~20:00 蓬蒿剧场 154

Schedule: Speeches

Self realization, and anxiety about identity Wang Jingguo (Shanghai Mecooon)／Zhang Xian (Shanghai)／Lunatic XX(Caotaiban, Shanghai)／ Southern Goosefoot Fruit (Waterside Bar, Guangzhou)／Zhou Hang (Zizimo, Shenzhen)／Zhang Ya (Owl Troupe, Nanjing)／Hu Yin (Yinzi Theatre, Chongqing )／Hui Xiaoli (Standpoint Studio, Chengdu)／Wang Pei (Reliable Theatre Studio, Changsha)／Zhang Wei (Seventeen-ggk Theatre, Wuhan)／Wang Xiang (Penghao Theatre, Beijing) Managers of theatres and theatrical troupes will make speeches about their own organizations and the theatrical environment of cities where they live in.

06.21 > 10:00~17:00 Penghao Theatre

Dialogue:

1. Cooperation or not Wang Xiang (Artistic Director of Penghao Theatre, Beijing)—Wang Jingguo (Chairman of Shanghai MECOOON Original Club)

2. For Art or For Business Ren Ming Young (theatre director)—Sun Henghai (CEO of Zhilehui Cultural Co., Beijing)

06.22 >10:00~17:00 Penghao Theatre

Comment:

Present states of contempory theatrical arts Li Yinan, Cao Xi, Wang Xiang, Sun Xiaoxing, Lunatic XX, Ren Ming Young

06.23 >10:00~16:00 Penghao Theatre

Comprehensive Acting :

Comference Scene 06.23

17:00-20:00

06.23 >17:00~20:00 Penghao Theatre

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与会成员 / Participating Members

王景国 著名文化人，资深艺术家。中国现当代艺术运动的领军 人物之一。 1982年毕业于上海戏剧学院。先后任职于 上海青年话剧团（现为上海话剧艺术中心）美术设计师 及办公室主任，上海美术馆画师和办公室主任，创作和 主持了上海现当代美术与戏剧领域的众多作品和项目， 1991年获英国剑桥WHO’S WHO（世界名人录）第11 版收录。同年受美国RAGDALE艺术基金会邀请赴美， 后定居纽约。并多次受邀于美国芝加哥大学、曼哈顿苏 荷、纽约洛克菲勒中心以及法国、日本、港台等国家地 区举行当代绘画作品的个展和联展。1999—2002年投 资创建国内首家私营剧场 “上海真汉咖啡剧场”，又于 2004年秋投资创建“下河迷仓MECOOON • DSG”。期 间，重点构筑“迷仓电影节”和命名“秋收季节”的迷 仓当代艺术交流平台。现任职上海真堂艺术设计有限公 司董事长、上海源代演艺有限公司董事长、上海下河迷 仓原创俱乐部理事长，以及中国古玉文化艺术研究促进 会常务理事。

张献 剧作家、剧场导演、社会编舞家、临界情境主义者、生 活艺术和异质现实制造者。他是后毛泽东时代中国最早 的独立戏剧家，从艰难的地下艺术创作与实践中求得生 存与发展，长期从事报刊杂志、舞台戏剧与电影的写 作、编辑和策划，发起组织、主持多个民间艺术团体及 剧场空间。作为舞台剧编剧、导演和制作人，其十几部 戏剧、舞蹈作品上演于中国各地，以及欧洲和美国，他 执导的舞蹈剧场作品《舌头对家园的记忆》获2006苏黎 世艺术节ZKB大奖。作为电影剧作家，其主要作品《留 守女士》获第十六届开罗国际电影节最佳影片奖，《茉 莉花开》获第七届上海国际电影节评审团大奖。作为策 划人、组织人，先后参与建立戏剧、舞蹈表演团体“Z” 和“组合嬲”、全国首创的民营“真汉”咖啡剧场、上 海第一家非营利表演艺术基地“下河迷仓”、上海第一 批独立艺术节“越界艺术节”、“概念艺术节”、“自 由电影节”等。近年更以“生活艺术”为号召，组织建 构了大量融合于现实生活中的“情境创作”，实现了他 的“社会剧场”和“每日生活节日”的理想。

疯子XX 2001年开始戏剧创作。2006年加入上海非牟利独立剧 团草台班，参与并演出《狂人故事》、《狂人故事之私 元年升级版》、《小社会》（第一、二卷）、《人间一 壶酒》、《共和笔记12.5》、《不安的石头》等作品。 创作个人作品《饿》、《乞讨？！》、《小丑》系列、 《庶民》和《降落伞》等。参与由日本导演大桥宏发 起的“亚洲相遇”（Asia Meets Asia）联合创作计划 项目、易剧场（上海&瑞典）作品《小屁孩的烦恼》、 《词·肉》和《课堂》的演出。2006年起至今与刘念一 起运作“当戏剧撞击流星…”戏剧博客，关注华文戏剧 及各地戏剧生态。2009年和2010年加入 [秋收季节—— 下河迷仓]戏剧节组委会，任宣传总监与运营总监。2010 年于武汉策划身体戏剧工作坊及日本前卫戏剧系列讲 座。2007年支持、参与樱井大造在北京的帐篷剧场作品 《变幻痂壳城》的帐篷搭建。

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Wang Jingguo A well-known intellectual and senior artist, is one of the leading figures in Chinese modern and contemporary art movement. Graduated from Shanghai Theatre Academy in 1982, Wang was the former artistic designer and office director of Shanghai Youth Theatrical Troupe and later worked for Shanghai Art Museum as a painter and the office director. He has produced and conducted various works and projects in the area of contemporary art and theatre in Shanghai. In 1991 he was listed in the 11th edition of The Cambridge Who’s Who. The same year Wang went to the United States at the invitation of the Ragdale Foundation and later settled down in New York. He has been invited to hold individual or joint exhibitions in The University of Chicago, Manhattan’s Soho, New York’s Rockefeller Center and other countries and regions such as France, Japan, Hongkong and Taiwan. From 1999 to 2002, Wang established and invested in the first domestic private theatre, The HardHan Café Theatre of Shanghai. In the autumn of 2004, he established and invested in MECOOON·DSG which is mainly aimed at building MECOOON Film Festival and the contemporary art exchange platform named The Harvest Season.

Wang is now the president of Shanghai Zhentang Artistic Design Co., Ltd. and Shanghai Yuandai Performance Co., Ltd., the chairman of Shanghai MECOOON Original Club and the Executive Director of Chinese Guyu Research Association of Culture and Arts.

Zhang Xian A playwright, theatre director, choreographer. He is the earliest independent playwright in the post-Mao era, realizing his personal living and development from making underground art productions and practices. He has a long time career in writing, editing, planning newspapers & magazines, theatre plays and films, also he has initiated some nongovernmental artistic groups and theatre spaces. As a theatre playwright, director, and producer, his plays and dance productions has been shown in lots of places of China, Europe, and United States. His directed dance work tongue’s memory of home won the ZKB Award in 2006 Zurich Arts Festival. As a screenwriter, his film Those left behind won Best Film Award in the 16th Cairo International Film Festival. As a planner and organizer, he has joined the activities of founding theatre & dance troupes “Z” and “Zuhe Niao”, and Shanghai’s first nonprofit performing arts space “Mecooon”. In recent years, he tried to make scenes mixed with real living, for realizing his dream of “social theatre” and “every day festival”.

Lunatic XX

He started to write plays in 2001. In the year of 2006 he joined CAOTAIBAN Company, a non-profit independent theatre company based in Shanghai and got involved in productions. In the Asia Meets Asia project initiated by Japanese director DSLFJDLAFKJALKFJL he was part of the creation as well as performance of the sixth round.In 2006 he started the blog “Drama hits comets” with LIU Nian, observing and commenting on theatres working with the Chinese language. He was invited to the Macau Fringe Festival from 2010 to 2012 as a critic.

江南藜果 原名黄利国，1962年生，著名记者和传媒人，文章遍布 广州各媒体和全中国，涉及各种题材和体裁，在社会新 闻工作之余，报道"大尾象"装置艺术小组，评论胡昉新 艺术，及率先推介王磊音乐，更对广东现代舞的创作和 发展进行跟踪报道和评论（后应《天涯》杂志约撰写长 文）。1998年底在编辑任上脱离报界。1995年11月建立 水边吧。

陈元元

Southern Goosefoot Fruit, or Huang Liguo He was born in 1962, acquired a master degree in journalism. Then he made himself a well-known journalist and media worker in Guangzhou. His writings were published in various media of Guangzhou, relating to a variety of topics and genres.

Apart from his work in social media, he has also reported the installation art group “The Big-tailed Elephant” and commented on Hufang’s New Art. He is the first to introduce and popularize Wang Lei’s music and has given follow-up reports and commentary on the production and development of modern dance in Guangdong. In the end of 1998 he quit the press. He created Waterside Bar in November, 1995.

猫头鹰剧团艺术总监/剧场演员，南京大学文学院戏剧 影视研究所硕士，南京艺术学院、南京大学表演教员。 舞臺表演作品：《雷雨》，《金色夜叉》，《群猴》， 《物理学家》，《海鸥》。表演指导作品：《只有桃花 源》，《小妇人》，「五月MAY咖啡剧场」，「夏之剧 季.读戏剧场」，「2012岁末剧制」《守岁》，「2013 春夏实验剧制独处剧场：三姊妹之女人都是奢侈品」作 品。

Chen Yuanyuan

汪沛

Eve and “The Experimental Individual Theatre of 2013’s Spring and Summer: All

靠谱儿戏剧工作坊青年制作人，本科毕业于湖南大学表 演系，研究生就读于湖南大学媒介经营与管理专业。话 剧《普通美国人》、《擦枪走火》、《孤单先生》、 《明日头条》总制作人。

WANG Pei

The art director and a theatre performer of Owl Troupe. She acquired a master degree in the Research Institute of Theatre and Film of School of Art in Nanjing University and is now the performing teacher in Nanjing Art Institute and Nanjing University. Her works of stage performance include Thunderstorm, The Golden Yaksha, The Physicist and Seagull. She is also the director of Peach Blossom Land Only, Little Women, “The MAY Coffee Theatre”, “The Drama of Summer: Drama Reading Theatre”, “The Theatre at the End of 2012”, Staying Up on New Year’s Women are Luxury by the Three Sisters”.

A young producer in Reliable Theatre Studio, has his B.A. in acting from Hunan University and M.A. in Media Management from the same institution. He is the

周行 毕业于曼彻斯特大学社会学专业，深圳子子墨文化发展 有限公司执行董事。2011年从英国回到深圳后接触深圳 戏剧圈。经过一段时间的观察和体验，了解到深圳的戏 剧氛围和文化状况。致力于培养深圳观众艺术素养、发 展戏剧文化中的精神追求、打造本土高质量艺术性戏剧 活动平台。为深圳独立戏剧创作人团队负责人。

Chief Producer in stage plays <Common American><Firing Accidentally><Mr. Lonesome><Headline Tomorrow>.

Zhou Hang Graduated from Manchester University in Sociology, is the executive board member of Shenzhen Zizimo Cultural Development Co. ,Ltd. He first encountered theatre in 2011 when he came to Shenzhen back from the UK. After observation he got some sense of the local cultural and theatrical atmosphere, then made up his mind to work

胡音 1980年生于重庆南山脚下觉林寺旁。2010年初，创办胡 音工作室，有幸与两位极具创新精神的青年艺术家一起 走上探索实验艺术之路，期间开展数场艺术沙龙及公益 活动，同年九月，创办西南第一家民营小剧场——寅子 小剧场，至今，担任剧场艺术总监一职。

惠晓立 青年戏剧导演、编剧。毕业于四川大学艺术学院，后主 要从事大型活动和晚会语言类节目的编导工作，近年来 主要从事戏剧创作和表演工作。2012年2月27日在成都 发起成立“立场戏剧工作室”，同年排演工作室首部原 创实验戏剧作品并受邀参加COART亚洲青年艺术现场进 行环境戏剧版本的演出。现就职于成都对外文化交流中 心。

for the local audience and build a platform for local theatre. He is in charge of the team of Shenzhen independent theatre workers.

Hu Yin A typical Chongqing girl born near Juelin Monastery at the foot of South Mountain Chongqing. In 2010 she established Huyin Studio to explore experimental arts with two young artists. Many saloons and public events were organized by her. In September 2010 she founded the first private intimate theatre in Southwest China: Yinzi Theatre and serves as the artistic director.

Hui Xiaoli Is a young theatre director and playwright. After graduating from School of Art in Sichuan University, he worked mainly for the arrangement and production of oral shows in large-scale activities and evening parties. In recent years he turns to drama production and performance. On February 27th, 2012, he set up Standpoint Studio in Chengdu. The same year he directed the first original experimental play of the studio and was invited to COART to perform the environmental version of drama. He is now working in International Culture Exchange Center of Chengdu.

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陈新瑜 1991年毕业于山东艺术学院戏剧编导班，山东省戏剧创 作室国家二级编剧。山东卫视文艺部特约策划、导演。 齐鲁电视台艺术总监。2011年入选中国剧协举办的首 届30位中青年剧作家高研班，上海戏剧创作中心签约作 者。发表作品: 话剧《明天的太阳》,《霓裳羽衣·曲》, 《风景》（《风景》获第八届全国戏剧文化奖，大型剧 本金奖）。演出剧目：话剧《风景》 山东艺术学院演 出；小剧场话剧《古宅幽幽》济南市话剧团演出；京剧 《正骨堂》淄博市京剧院演出；话剧《老街》上海现代 人剧社、上海戏剧学院演出；越剧《小城之春》上海现 代人剧社、上海越剧院演出。

张炜 武汉光谷客·17排剧院出品人，毕业于华中师范大学新 闻摄影专业。主要作品：大型活动《IEF国际数字动漫嘉 年华》（开、闭幕式），《微笑武汉》， 《红十字—— 生命之舟》，《志愿者——手牵手》；电视剧：《驴吉 普》，《陷阱》，《洗夫人》；电视专题片：《重返长 征路》，《黄河百年》；电视栏目：《空间》，《休闲 不打烊》，《极乐车风》等。

Chen Xinyu graduated from theatrical director class of Shandong University of Arts in 1991 , is a national second-class writer in Shandong drama studio. She’s a planner and director in arts department of Shandong TV, also the artistic director in Qilu TV. She’s a signed author of Shanghai Playwriting Centre. Published plays: tomorrow’s sun, Nishangyuyi & Qu, scenery (scenery has won 8th National Theatrical Culture Award, and Gold Medal for Scripts)

Zhang Wei The producer responsible for Wuhan Seventeen-ggk Theatre, graduated from Huazhong Normal University majoring in Press Photography.

Wang Xiang Founder and Artistic Director of Penghao Theatre,. Founder of the Today Dental Clinic, the first dental chain in Beijing.In 2008 he invested 1.2 million from his private clinic to establish the first independent theatre in China—Penghao Theatre.

And every year he keep donating 60, 000 for its regularly running. Penghao doesn’t charge rent fees for any individuals and groups to perform there, and has independently produced plays including the bust of a lady by the Seine, I am the Seagull, Speaking of Caocao, Nanluoguxiang Story, In Search of the Playwright,Soul Kitchen etc. The artistic director of 2010, 2011 and 2012 Beijing Nanluoguxiang

王翔 蓬蒿剧场创办人、艺术总监，著名牙科医生，今日齿科 的创办人。2008年个人投资120万元创建我国第一家民间 剧场——蓬蒿剧场，后续五年每年拿诊所营业收入60余 万元继续维持剧场运营，对所有演出剧目不收取场租， 支持重文学、重心理、重社会理性关怀的剧目在蓬蒿剧 场上演。并独立出品话剧《塞纳河少女面膜》、《我是 海鸥》、《曹操到》、《锣鼓巷的故事》、《寻找剧作 家》、《灵魂厨房》等一系列原创剧目。 2010“北京国际独角戏戏剧节”艺术总监，2010、 2011、2012、2013“北京南锣鼓巷戏剧节”艺术总监， 2012“亚洲文化视野——旅程艺术节”艺术总监，2012 中国话剧“金狮奖”获得者，作品：话剧《锣鼓巷的故 事》（编剧）

Theatre Festival,2010 Beijing International Mono Drama Festival,The Deputy Secretariat of Beijing DongCheng Theatre Association.

Ren Ming Young A Chinese writer, theatre director, filmmaker and singer-songwriter. He will have a cooperate workshop with Israel Director Ruth Kanner work on a Chinese novel Snowy Night to adapt it into a story telling theatre in the Festival.

Sun Henghai CEO of Beijing Zhilehui Cultural Corporation,One of the most outstanding theatre producers in China. He insisted putting out “theatres with heart”. His works are not limited to a singer style with uniqueness, liveliness and the spirits of rebellion,

任明炀

poetic while cruel humor, and thinking in jocosity.

中国青年先锋戏剧导演，作家。在本届戏剧节中与与以 色列戏剧导演Ruth Kanner共同主持“讲故事剧场”工作 坊并改编、创作端木蕻良的短篇小说《雪夜》。

Li Yinan

孙恒海 北京至乐汇文化公司/CEO，中国内地最优秀的戏剧制作 人之一。他坚持制作“有良心的戏剧”。他出品制作的 戏剧作品不拘泥于单一类型，每部作品都特色鲜明，充 满生命的激情和叛逆精神，容残酷于诗意幽默，纳思索 于游戏谐谑。

Graduate in German major in Beijing University and received a master’s degree in Columbia University in the department of theater. Afterward she went to Germany and studied drama, linguistic philosophy, literature and sinology and got a doctor’s degree, during which she once studied in the German Bavarian state opera drama department. From 2009 she has been devoted to bringing German drama structure practice in China systematically. In the same year she hosted the large academic activity named Drama Structure in Beijing sponsored by the German Goethe Institute and the Central Academy of drama, she also started to open the Drama Structure course. In 2011 she got the educational fund of China and began to study the programmed of German Drama Structure. She went to Germany once again in

158

李亦男

2012 and studied and researched in the Bavarian State Opera, the Berlin Shao Bin

毕业于北京大学德语系并美国哥伦比亚大学戏剧系获硕 士学位。后赴德，在汉堡大学、慕尼黑大学学习戏剧 学、语言哲学、文学与汉学，获博士学位。从2009年 起，李亦男致力于系统性地将德国的戏剧构作法引入中 国。并主持了德国歌德学院、中央戏剧学院联合主办的 《戏剧构作在北京》大型学术活动，开始在中央戏剧学 院开设《戏剧构作》课程。2011年，获中国教育部基 金，开始进行《德国戏剧构作》研究项目。2012年再次 赴德，在巴伐利亚国家剧院、柏林邵宾纳剧院戏剧构作 部进行调研。

Theater Construction Department.

曹曦 戏剧导演，编剧及教育戏剧倡导者。毕业于中央戏剧学 院，后赴都柏林圣三一学院贝克特研究中心研究现代戏 剧方法论、分析学及人类表演学。回国后，长期从事演 员-非演员的训练，探索新的表演模式，并且是Drama Rainbow教育剧场的教学总监。从2010年开始他系统的 研究和翻译英国戏剧家爱德华.邦德（Edward Bond）的 戏剧观及方法，命题指向“戏剧如何让人成为人”。他 不遗余力的推动着戏剧向更广的维度发展，并且提高人 们对戏剧的表面认知，他主张社会应像对待GDP一样对 待戏剧，并不因为它是艺术，而是因为戏剧能够从根本 上推动社会和人的发展。

Cao Xi Earned his BA majoring in playwriting from the Central Academy of Drama, and later joined the graduate group in Trinity College Dublin, followed by a M.Phil. from the Beckett Centre in 2008. He serves as trainer and director at the Amateur Theatrical Society and has founded his own drama and society research centre to conduct research on ‘Drama for parents born in 1975-1985’, in an attempt to understand self in society and society in self, and to identify drama and theatre within larger social contexts.His work directing Luigi Pirandello’s masterpiece Sei Personaggi in Cerca d'Autore was a great hit at both Penghao theatre and 9 theatre in 2009. Later that year, on the one year anniversary of Sichuan earthquake, he tested his audience by presenting an inexperienced person who survived both the Tangshan and Sichuan earthquakes for over 4 hours on stage.Cao believes theatre is beyond an art form: it is how human beings function, it is happening not just on stage, but in

孙晓星

our daily life, society and culture. He is the author of over 10 plays and a lover and

生于1986年。诗人，剧场作者、导演。中央戏剧学院 戏剧学学士，中央戏剧学院中国话剧硕士研究生，现任 教于天津音乐学院戏剧影视系。主要作品《悼亡剧场》 (2011)、《写诗》(2013)，主编《再剧场——独立戏剧的 城市地图》(2013)。

Sun Xiaoxing

collector of fairy tales.

He was born in 1986, is a poet, theatre maker and director. He received his BA from the Central Academy of Theatre and is now a postgraduate at the Academy. He also teaches in the Department of Theatre and Film at Tianjin Conservatory of Music and

特邀嘉宾：佐藤信

has edited “Re-Theatre: The Independent Theatre Cities Map“. Major works include:

剧作家、导演。 1966年,创立先锋派剧团“自由剧 场”。1971年参加“戏剧中心68/71”（现在改称黑帐 篷剧团）做为主要导演和剧作家。一直到1990年的20年 中，进行了日本全国120个城市的巡演，引导了日本的当 代戏剧界的发展方向。另外他开办戏剧工作室、创造亚 洲艺术网络、参加欧洲的主要戏剧节推进海外艺术交流 活动，也在日本国内参与政府、民间的剧场筹建工作。 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·高圆寺艺术监督、个人剧团“鸥 座”的主办者、黑帐篷剧团编导者。除了本次工作坊， 佐藤信还会主持“日本小剧场运动”的报告。

“Lament for Theatre” (2011) and “Writing Poetry” (2013).

Special Invited Members: Makoto Sato He was born in Tokyo in 1943. In 1966, he founded the Free Stage Company and opened “Underground Free Stage” a venue in Roppongi, Tokyo. His most important work was centred on the activities of the theatre company known as the “Black Tent.” In the 1980s, Sato and his colleagues developed a new concept of “Asian Theatre” centred on a critical re-evaluation of Japanese society. He collaborated with several South Asian companies and more recently has collaborated with European theatre companies. Sato has attracted media attention as a director of opera, dance,

特邀嘉宾：Todd Lester 曾在无国界记者组织、the Astraea Lesbian Justice Foundation从事过领导、宣传及战略沟通方面的工作。 最近他又在一家为冲突后和解构建剧场的组织Global Arts Corps担任执行董事。他创建了一家致力于为悲痛活 跃分子提供避风港的freeDimensional机构。同时，他也 通过自己的事业，连同其它政府机构以及非政府机构一 起，给予很多国家以帮助，大大推动了行为主义工作。 Todd 于美国罗格斯大学获得公共行政硕士学位，并因其 创建的freeDimensional而获得了和平队基金奖。现在他 在世界政策研究所担任高级研究员，主要负责艺术政策 Nexus倡议。他的新项目——Lanchonete， 是一项长达 五年的对圣保罗中心地区进行艺术性关注的实验。

revue, drama, and the marionette theatre company, Youkiza. From 1997 to 2002, he was the first artistic director of Setagaya Public Theatre. He is at present the director of Kamome-Za and of the Suginami Culture Association.

Special Invited Members: Todd Lester He has worked in leadership, advocacy and strategic communications roles at Reporters sans frontiers, the Astraea Lesbian Justice Foundation, and most recently as the Executive Director of the Global Arts Corps, an organization that creates theatre to post-conflict reconciliation. He founded freeDimensional, an organization that helps activists-in-distress by providing safe haven in artist residencies. He has dedicated long periods of his career to aid and activism work around the world, including in Cameroon, Egypt, Rwanda, Brazil and Sudan with a range of governmental and non-governmental organizations.

Todd holds a Masters of Public Administration from Rutgers University, received the Peace Corps Fund Award for founding freeDimensional and serves as a Senior Fellow at the World Policy Institute where he leads the Arts-Policy Nexus initiative.

His new project, Lanchonete.org, is a 5-year experiment in artistic witnessing focused on a neighborhood in the center of São Paulo.

During this Festival, Todd Lester will give a speech on“The role of the Arts in setting public policy”and will produce a unique event called 'fei$hoada' on and the speech working with local artists makes that he's met online and in the week preceding the event.

159

全国十城市剧团剧场简介 / Participating Members

上海 下河迷仓剧场 下河迷仓简介：我们这座城市的南端有一条河，西接漕河泾，东连 黄浦江。开埠以来的河道传承叫龙华港。相依而伴的路自然也有一 条：西通漕宝路，东邻龙吴路，似乎是龙体摆尾往北一扭，情牵天 钥桥路，有意无意间的通途域名叫龙漕路。路名仍是路名，它的意 义莫过于路人能择名而行。而龙华港事过境别，与苏州河遥遥相望 已是北上之观，也自然有了南端为下别称下河。不置可否，某日同 仁共聚拾得白日一梦，似乎是仙意使然天人指引，于龙华港作“下 河”神游之际竟惑然有得陈年货仓，迷迷茫茫之际顿觉灵气往来， 居然异口同声蹦出四个字“下河迷仓”。“迷仓”为迷，寻觅不 易。弯弯曲曲循上通下，黑漆漆如幽宫，空荡荡似古穴。于天地不 着之间，常有仙客摆谱，常有智者探密。时有西人西文概括拟作国 际定语：DOWN-STREAM GARAGE。为此，智者知文化之趣， 迷者仍以迷为乐。心意相随执迷有悟者 我们迷仓共聚……

Mecooon (Downstream Garage) Shanghai In the south end of Shanghai, there’s a river connecting Cao River and Huangpu River. After the start of setting up Shanghai Port, that channel the river goes was named Dragon Prosperity Port (Longhua Port). The river also has a neighboring road named Dragon River Channel Road (Longcao Road). The name of the road is kept and it can help offer directions for walkers who are familiar with its name. But for Longhua Port, things has changed, it got another name “Downstream” in regards to the famous Suzhou River which is upstream and in the north. One day, when having a downstream journey along the Longhua Port, an old garage caught our eyes and “Mecooon (Downstream Garage)” was shouted out by us almost at the same time. After that, the story of

上海 草台班 2005年春在上海发起的民间戏剧团体，由赵川主持活动和创作。 草台班激励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、讨论和举办“文化站”等活动，他们的剧场成为了不同人群参 与的聚会场所，不断塑造出流动的社会剧场空间。草台班成员每周 聚会，讨论议题，做表演工作坊、个人创作和集体创作等。仅2012 年组织和参与的公开演出、讲座等超过40场次，包括参与“亚洲相 遇”联合创作，并前往亚洲六城市巡演。剧场作品《小社会》（第 一、二卷）、《鲁迅二零零八》等曾引起广泛讨论。草台班的作品 已在中国大陆多个城市、台湾、香港及澳门地区、韩国、日本、印 度和德国等地进行了演出。

“Mecooon” started.

Caotaiban Shanghai was born in the spring of 2005 as a non-governmental theatre organization by Zhao Chuan. It aims at encourage ordinary people, those who are not trained in theatre, to create in theatre and lead a new social theater movement, expanding the aesthetic imagination between arts and the society.Caotaiban calls attention to theatre’s relevance to the happenings around it. The members labored themselves making use of all sorts of spaces they could find to hold events like non-profit rehearsals, seminars and “Cultural Stations”. They meet up on a weekly

广州 水边吧

basis for discussions and workshops. In the year 2012 alone Caotaiban

水边吧，是一家酒吧，始建于1995年11月，第一间1999年遭拆。 为戏剧实验而建、续存至今的水边吧，还是一间酒吧1998年始，设 在广州石牌东陶育路暨南花园15栋，迄今已由七八名编导原创排演 40余部戏剧作品。 近年起，水边吧还承接具相近艺术观之外来戏剧 作品的演出。水边吧除追求戏剧理想外，还多有视觉艺术的创作和 展览。水边吧戏剧和艺术创作秉承远离主流的自立、自尊、自强、 自觉、自为、自在、自省、自由的独立精神。水边吧主人名江南藜 果。

took active part in more than 40 events, including its collaboration with

南京 猫头鹰剧团

Waterside Bar (Guangzhou)

成立于2011年深秋，因剧团成员喜在深夜排戏，深夜琢磨事儿， 曾一度想深夜演出，故名“猫头鹰剧团”。创团理念为“不以盈利 为目的，旨在能让好的戏剧作品透过不同的空间以及平台呈现，让 年轻的戏剧人不会因为环境限制而被埋没”。剧团不是只有以“表 演”为出发点，而是希望能透过这个平台，让不同的人透过戏剧得 以发挥他们的创意及能量。我们关注“剧团与剧团、人与人间的交 流”，希望这个剧团能与众不同，趋向多变，而不是永远都是以单 一的方式呈现给观众。 剧团成立至今已发表过作品：「五月MAY 咖啡剧场」作品1号–《Emma VS Emma》（非常林奕华《包法利 夫人们》片段复刻版），作品2号–独幕独角戏EugeneO'Neill《早 餐之前》&Антон Павлович Чехов《论烟草有 害》，作品3号–Johan August Strindberg独幕剧《强者》。「夏 之剧季.读戏剧扬」作品4号–《等待》，作品5号–《暗恋桃花源》 （南京方言版）。「2012岁末剧制」作品6号–李宗熹《守岁》。 「2013春夏实验剧制独处剧场：三姊妹之女人都是奢侈品」作品7 号–《Sweet Life》；作品8号《Wine Lover》；作品9号《经》。

built in November, 1995, is a pub for theatrical experiment. Since 1998,

workers did not exist as a team in the very beginning. They were just

长沙 靠谱儿戏剧工作坊

Many were amateurs after the same goal, who then got to know each

靠谱儿戏剧工作坊是长沙小剧场话剧新生力量，致力于小剧场话剧 的创作、演出及推广。自2011年5月创建以来，推出了《普通美国 人》、《擦枪走火》、《孤单先生》、《明日头条》四部小剧场话 剧。工作坊成员因话剧梦想走到一起，立志让星城文艺起来，使话 剧成为长沙年轻人的时尚追求和生活方式。

other in Nanluoguxiang Performing Arts Festival and appeared as a

Asia Meets Asia and therefore toured six cities in Asia. Works such as <Little Society>(Tome I and II) <LU Xun 2008> have provoked wide discussions. Caotaiban has given performances in the greater China, South Korea, Japan, India and Germany.

seven directors have produced more than 40 original plays in the pub (located in No.15 Jinan Garden, Taoyu Road, Guangzhou). In recent years Waterside Bar has also held performances by outside troupes of similar artistic view. Apart from pursuing the theatrical ideal, the bar has made various productions and exhibitions on visual arts. As for theatrical and artistic creation, the bar adheres to the free and independent spirit of self-support, self-respect, self-renewal, self-conscious and selfexamination. Southern Goosefoot Fruit is the owner of the bar.

The team of Shenzhen independent theatre a group of theatre people in pursuit of literature and arts in Shenzhen.

group in the festival. Every single member brings his work to the festival to share and discuss, to certain extend to exhibit an attitude and to gather suggestions. They want to know and connect to people for mutual help and inspiration, with the sole goal of bringing the theatre in Shenzhen to a higher level and from stupidity and vulgarity.

160

深圳独立戏剧创作人

Owl Troupe (Nanjing)

团队只是一个在深圳做着独立艺术性戏剧创作的代表组建的团队， 代表着深圳一群开始追求文学、思想、艺术等更深层精神领域的戏 剧人。原本大家都在做着相同的事情，有大学教师，有创业的小制 作人，有大学生，还有其他形形色色在深圳打拼生活的人。大家静 下心来，思考更多的东西，也留下了一些东西，通过这些成果，我 们相互认识，并走到了一起。原本大家只是各自在做各自的戏剧， 因为南锣鼓巷戏剧节的关系组成这样一个团队。团队中的代表会将 各自的作品资料带来和参加戏剧节的朋友们分享、交流，让大家看 到深圳戏剧创作者的态度和决心，并听取各方的意见和建议。这个 团队希望在参加这次戏剧节交流活动后能够与各方志同道合的人建 立起联络，互相帮助、互相启发，让我们团队和我们背后的所有人 能够得到自我提升，从而再往后的日子里将深圳的戏剧圈和深圳戏 剧爱好者艺术修养带到更高的层次，脱离弱智、脱离低俗。

was founded in the late autumn of 2011. The group is named “Owl

重庆•寅子剧场

Chongqing Yinzi Theatre

寅子剧场是多元艺术领域行业交流的平台、综合艺术的空间，他聚 焦西南，邀请全国极具才华和生长力的艺术创作者，研究学者和制 作人。不论戏剧、音乐、架上艺术……他们来此驻留，创作，排演 展示使之成为多元艺术创作的实验聚点和孵化中心。寅子剧场同时 是重庆市微型企业协会理事单位和九龙坡区文化创意基地。它联系 政府机构与民间独立艺术结构，对艺术市场的发展提出建设性意 见和方案，扶持民间艺术创作及展演。寅子小剧场协作的活动： 2011—13年 重庆黄桷坪新年艺术节；2012—13年 川美 “创谷” 开放的六月艺术节。寅子小剧场独立运作的艺术项目：“中国民谣 访谈计划”（2010启，持续）；“寅子艺术沙龙”（2011启，持 续）；“多元艺术驻留空间“（2013启）。寅子小剧场发起并独立 策划的艺术节：2013重庆市首届小剧场艺术节。

Troupe” for its members’ preference of rehearsing, thinking and even performing at midnight. The non-profit troupe adheres to the idea of presenting good theatrical works through different spaces and platforms and supporting young theatrical artists who are restricted by circumstances. The troupe is not only a group for “performing”, but also a platform for different people to display their creativity and energy through dramas. We focus on the communication between troupe and troupe, man and man. We hope that the troupe can be extraordinary and protean, and always offer a different way of presentation to the audience.

is a platform for artistic communication and a space for the crossover of different art genres. It brings together talents in Southwest China as well as across the whole country, namely artists, researchers and producers. They take their residences, experimenting various art forms and rehearsing new pieces. Yinzi Theatre also connects the government and independent art institutions in attempt to gain more supports.

Yinzi Theatre has helped with Huangjueping New Year Art Festival in Chongqing since 2011 and Chuanmei Chuanggu open June Art Festival since 2012.It has also run independent art projects namely China Folksong Interviews in 2010, YInzi Art Saloon in 2011 and Diverse Art

成都•立场戏剧工作室

Residential Space in 2013. Yinzi initiated the first Chongqing Intimate

2012年2月27日由惠晓立在成都发起成立的民间戏剧机构。同年 排演工作室首部原创实验戏剧作品《猫男狗女》，并受邀参加 COART亚洲青年艺术现场进行环境戏剧版本的演出。工作室以原 创剧目及戏剧形态为主要研究方向，希望能聚集年青一代戏剧人 共同成长。工作室部分筹备原创剧目：《晚安》、《三十》、《手 艺》、《右下颌六》……

Theatre Art Festival in 2013.

济南 山东省戏剧创作室

experimental play The Cat Man & The Dog Woman and was invited to

山东省戏剧创作室简介：山东省戏剧创作室隶属山东省文化厅，事 业单位，成立于上世纪五十年代，戏剧编剧、导演、作曲专业人 员。工作职责为全省各剧团提供剧本创作及二度制作，并担负全省 重点戏剧活动等职能。

COART to perform the environmental version of drama. The workshop

武汉 光谷客——17排剧院

Goodnight, Thirty, Handcraft, Sixth in the Right Lower Jaw, etc.

由中国光谷创意产业基地和武汉十七排戏剧文化发展公司共同建设 的“光谷客·17排剧院”是华中地区首个民营体制运作的原创戏剧 平台，剧院拥有顶级配置的演出设施和一流的演员团队。同时，著 名作家方方、著名画家冷军、著名导演江兆旻、知名学者彭万荣等 一批优秀的艺术家也担任剧院的特聘专家。“光谷客·17排剧院” 坚持项目制作上的自主研发性和独立性，将定期制作和展演高质量 的原创舞台剧、音乐节和动漫剧，致力为武汉、光谷打造剧文化新 引擎。

北京蓬蒿剧场（略）

Standpoint Studio (Chengdu) is a private theatrical organization founded by Hui Xiaoli in Chengdu on February 2nd, 2012. The same year it produced its first original

mainly focuses on the research on original plays and dramatic forms and hopes to grow together with the young generation of theatrical workers and artists. Among the studio’s original works under preparation are

Shandong Drama Studio (Ji Nan) belongs to Shandong Provincial Department of Culture. It is founded in 1950s for playwrights, directors and music composers. Its duty is offering scripts for theatrical troupes in Shandong Province.

Seventeen-ggk Theatre (Wuhan) is the first platform in Central China for original plays run by private enterprises and was jointly founded by Creative Industry Base in Optics Valley of China and Wuhan Seventeen-ggk Theatrical Culture Development Firm. The theatre is proud of its facilities and residential performers and has hired experts as counselors like Wanwan the writer, Lengjun the painter, JIANG Zhaomin the director and PENG Wanrong the scholar. The theatre treasures its independency and will produce more original plays, musicals and manga plays. A new cultural engine would it willingly be in the region.

Penghao Theatre( in reference to the organizer introduction) 161

分论坛/Subforum

“北京市大学生校园戏剧发展论坛” Beijing Campus Theatre Development Forum of College Students 05.04 >10:00~16:00 国际关系学院 / Institute of International Relations

本论坛旨在提供一个相互学习、借鉴的平台。一方 面，可以使得北京市各高校戏剧社团能够交流戏剧创

The Beijing Campus Theatre Development Forum of College Students is targeted mainly at the campus drama troupes of Beijing colleges as well as professional theatre workers. The purpose of the forum is to

作以及剧团运作经验；另一方面，也为大学生校园戏

offer a platform on which the campus drama troupes can share with

剧发展引入旁观的、专业的视角，从而能反思现状，

each other the experience of drama creation and club management. In

拓宽视野，找到制约瓶颈，激发出面向未来的可能

development of campus dramas and helps campus troupes reflect on

性。 参与者：1907话剧社—北京林业大学、北大话剧社—

the meantime, it introduces an outside and professional angle for the the status quo, overcome bottlenecks, expand their visions and bring about possibilities for the future.

Participants: 1907 Drama Club of Beijing Forestry University / The

北京大学、北国剧社—北京师范大学、北外话剧社—

Drama Club of Peking University / Northland Drama Club of Beijing

北京外国语大学、国关话剧社—国际关系学院、唳天

Normal University / The Drama Club of Beijing Foreign Studies

剧社—首都师范大学、清华话剧队—清华大学、人大

Litian Drama Club of Capital Normal University / The Drama Team

话剧团—中国人民大学 嘉宾：曹曦 裴魁山 史航 王林 王晓凡 王翔 杨乾武

University / The Drama Club of Institute of International Relations / of Tsinghua Univeristy / The Drama Club of Renmin University of China Guests: Cao Xi, Pei Kuishan, Shi Hang, Wang Lin, Wang Xiaofan, Wang Xiang, Yang Qianwu

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场地介绍 Venues Introduction

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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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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 500seat 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.

人艺实验剧场 Beijing People’s Art Theatre 北京人艺演出中心成立于2003年8月1日。中心以首都剧 场、人艺小剧场、北京人艺实验剧场三个剧场的经营与管理为 工作重点，对内承接北京人艺的演出，对外面向国内外优秀的 艺术表演团体，主要承接以戏剧为主的各类剧目的演出，并全 面负责剧场演出的业务安排、宣传策划、票务营销和剧场服务 工作。 北京人艺演出中心下设办公室、业务策划部、票务中心、 场务部及设备技术部五个职能部门。各个部门之间协调合作， 形成了科学系统化的宣传营销和服务体系，其良好的经营理念 与高水平的服务标准得到了业内同仁的一致肯定，也使首都剧 场成为观众心目中欣赏高雅艺术、享受舒适环境的艺术圣殿。 演出中心在经营过程中，始终坚持为演出服务、为观众 服务的经营理念，在经营管理三个剧场的实际工作中，从演出 质量到服务质量，从硬件设施到软件建设，以高标准的管理规 范要求全体员工，努力做到业务精湛、服务标准、设备精良。 此外，中心还特别强调了营销能力的建设与培养，确立了面向 市场、参与竞争的发展策略，从销售平台的建设到营销理念的 培养都努力做到全行业的领先水平，并在当前的戏剧演出市场 上占据了举足轻重的位置。2006年初，中心获得ISO 9001质量 管理体系认证。北京人艺演出中心坚持用发展的眼光，先进的 理念指导工作，并在艺术实践与管理经营上勇于探索，务实求 新，为繁荣首都戏剧演出市场而不懈努力。

Founded on June 12th 1952 with dramatist Cao Yu as its first president, Beijing People’s Art Theatre is a national theatre company with a unique art style. Since its establishment, the theatre has put on more than 300 productions of diverse styles, from both home and abroad.

From the 1950s to 1960s, the theatre built its reputation on stage works of literary giants such as Guo Moruo, Lao She, Cao Yu and Tian Han. Representative productions included Tiger Tally, Cai Wenji, Wu Zetian, The Dragon Whisker’s Ditch, Rickshaw Man Xiangzi, Teahouse, Thunderstorm, The Sunrise, Peking Man and Guan Hanqing, and foreign plays including The Miser, Aesop, People with Gun, Even the Wise Stumble, etc. From the late 60s, the renowned theatre artist Jiao Juyin trained a large group of artists such as Yu Shizhi, Diao Guangtan, Zhu Lin and Tong Chao when he served as general director of the theatre.

Since the 1980s, the theatre has staged more than a hundred new productions with an emerging of a group of excellent artists from the younger generation. These productions include many which enjoyed long performance runs and gained national awards including the “Wen Hua Award”, “Five-one Best Works Award”, “Golden Chrysanthemum Award” and “Literature and Art Works Award”. The list includes Wang Zhaojun, Warning Signals, Xiao Jing Hutong, Weddings and Funerals, Uncle Doggie’s Nirvana, Top Restaurant, Li Bai, Birds Men, Ga Lan Hutong, Beijing Masters, Love Fool, First-Time Close Contact, Myriad Twinkling Lights, South Courtyard on Northern Street, I Love Peach Blossom, The Bless of the Family and foreign plays like Der Besuch der alten Dame, Amadeus, The Death of a Salesman, The Gin Game, The Caine Mutiny Court-Martial, The Butcher, The Late Christopher Bean and more.

In 1980, Teahouse’s tour in Germany, France and Switzerland spurred foreign acceptance of Chinese spoken drama. Following this success, the plays Wang Zhaojun, Teahouse, Top Restaurant, The Death of a Salesman, Uncle Doggie's Nirvana, Birds Men, Ruan Lingyu, Antiques and Wuchang Nvdiao toured on a similar foreign journey in America, Japan, Canada, Singapore, Korea, Egypt, Ireland, Hong Kong and Macao.

Based on its explorations and aesthetics over the past half century, the company has established its celebrated style consisting of a combination of realism with emphasis on cultural identity, i.e. the performing school of Beijing People’s Art Theatre.The company has its own stages including three theatre spaces: the Capital Theatre, the Mini Theatre and the Experimental Theatre.

The subsidiary production centre has a professional team working on sets, costumes and props both for the company’s own productions and those of other companies.

The first in China, the 1,300 square metres of the Theatre Museum of the Beijing People’s Art Theatre is located on the fourth floor of The Capital Theatre, and opened to the public at the beginning of 2007. The museum functions as a base for research, education and exhibition with its rich collection of pictures, scripts and prop models. It also shows the history of the Beijing People’s Art Theatre itself, with traces of its heroes, productions and the precious relationship between the company and its audience crystallised and embodied by the historical material.

地址：北京东城区王府井大街22号首都剧场4楼 Address: No.22 Wangfujing Street,Dongcheng District 电话 / Tel: 010—65250996

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北京国话先锋剧场 Pioneer Theatre of NTC 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。

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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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.

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。

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, three-dimensional 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.

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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后山艺术空间 The Post Mountain Art Space 后山艺术空间<THE POST MOUNTAIN> 位于北京二 环东直门区域当代MOMA艺术生活园区，由<树音乐>和当 代MOMA联合创建。来自美国麻省理工的建筑大师斯蒂夫.霍 尔的独特建筑美学理念，架构出独具想象力和艺术张力的建 筑艺术空间。其总体建筑面积达2000平方米，由<冥想> 空间 （剧场、LIVE HOUSE）和 <竹想> 空间（艺术会所）两部 分构成。<冥想>空间以灵活的现场布局和全部进口音响灯光 硬件设备为特点，适于多种艺术形式的现场表演；<竹想>空 间的全曲线硬体建筑结构+全景式落地玻璃构造，为各类艺 术内容架构出独特展示空间，兼备画廊、艺术展览、文化交 流、艺术沙龙、新闻发布、商务活动等场所的特点。 后山艺术空间以独特硬体建筑构思为立意，意图构建 多艺术形式的表达平台，向观众阐述固定的空间+流动的艺 术新运营理念。该空间包罗音乐、戏剧、实验舞剧、画展、 摄影展、新媒体、艺术沙龙、发布会、商业交流等多种内容 形式，为艺术与商务跨界、艺术家与观众多方式交流提供平 台。空间运营TEAM注重 “空间+艺术+流动”的运营理念， 将使之成为艺术家及艺术创作力的最佳应用、实施平台，并 快速成为北京东城区域最佳新文艺地标之一。

Founded by Tree Music and Grand Moma, the Post Mountain Art Space is located in the grand MOMA art community near Dongzhimen, Beijing. Steve Hall, an architect from the Massachusetts Institute of Technology, imbued the structure with imagination and artistic tension.

Consisting of the MingXiang space (theatre, live house) and the ZhuXiang space (artistic lounge), Post Mountain covers a total area of 2000 square metres. The MingXiang space, which is characterised by a flexible layout and high-quality equipment, is suitable for multiform performances.

The ZhuXiang space's curvilinear hardened architectural structure and panoramic French windows provides a special presentation space for all types of art. It is an ideal venue for art exhibitions, cultural communication, art salons, news releases, commercial activities, etc.

Post Mountain has adopted a special hardened architectural concept and aims to build a platform for the synthesis of different art forms and to present the new running idea of constant space and flowing arts. Post Mountain provides a platform for the crossover of arts and business, artists and audiences. It accepts events including independent music, avant-garde theatre, experimental dance drama, art exhibitions, new media, artistic salons, conferences, business communication, etc.

The Post Mountain management team adheres to the principle of ‘space + art + flowing’ to allow it to be the best platform possible for artists and creativity. At the same time, Post Mountain is one of the most prominent cultural landmarks in the East of Beijing.

地址：朝阳区香河园路1号当代MOMA北区T4号 Address: T4 North District of the Modern MOMA, No.1 Xiangheyuan Road, Chaoyang District 电话 / Tel: 010-64612450

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蓬蒿剧场 Penghao Theatre 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’s World of Shakespeare）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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青蓝剧场 Qinlan Theatre 青蓝剧场位于青蓝大厦三层。青蓝大厦地处市中心，位 于平安大道旁，东四十条立交桥畔，距北京站8分钟车程，距 机场30分钟车程。 Qinlan Theatre is located on the third floor of Qinlan Building, downtown, by the Pingan Avenue, at the side of Dongsishitiao Overpass, 8 minutes off the Beijing Station by car and 30 minutes off the airport.

北京市东城区东四十条24号青蓝大厦三层青蓝剧场 Address：3rd Floor of Qinlan Building, No. 24 Dongsishitiao Street, Dongcheng District, Beijing 电话 / Tel: 010-84021155

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东方剧院 Oriental Theatre 东方剧院座落于北京市东城区东二环交通枢纽，距地铁 东四十条站400米，距地铁朝阳门站500米，毗邻保利大厦、 港澳中心、亚洲大酒店等多家五星级酒店，周边辐射为数众 多的高级写字楼和高档商业设施，焕然一新后将成为东二 环商圈核心的一座新地标。剧院总面积为8000平米，设座位 1500个。舞台面积432平方米，台口高度10.5米，舞台高24 米，台口宽15.8米，舞台纵深18米，能够胜任国际一流的音 乐剧演出。剧院分首层大厅和二层楼座两部分，除功能完善 的售票处、演员化妆室、VIP化妆室外，还设有咖啡厅、贵宾 室、存包处、观众休息厅等，充分体现了人文关怀。它是目 前国内唯一一座最具专业水准的音乐剧剧院，将成为中国顶 级音乐剧圣殿。剧院将被打造为中国原创音乐剧培育基地， 为中国原创音乐剧提供高水准的平台，让它们在此起飞，翱 翔世界。

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 500seat 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.

北京市东城区朝阳北大街11号 Address：Beijing Dongcheng District Chaoyang North Street No. 11 电话 / Tel: 010-84191616

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主办单位 / Host Organisation

东城区戏剧建设促进委员会 东城区戏剧建设促进委员会，是北京市东城区政府为推进首都 戏剧文化城建设，践行“人文北京”发展理念，建设首都文化中心 区、世界城市窗口区，于2010年1月所成立的机构。办公室设在东 城区文化委员会。 主要任务：（一）着力构筑戏剧文化发展创作平台、演出平 台、交流平台，建立东城区戏剧文化建设公共服务各方协同机制。 （二）成立东城区戏剧艺术专业指导委员会、东城区戏剧项目评审 委员会，建立戏剧专家库，成立东城区戏剧联盟，聚合各方戏剧资 源。（三）挖掘戏剧文化创意和演出场所资源，鼓励特色发展、集 群发展，促进新剧场建设，推动剧场集聚发展。（四）鼓励并支持 知名戏剧团体和戏剧名人工作室入驻东城，吸引国内外精品剧目 在东城上演，逐步培育出一批具有较强影响力的戏剧品牌活动。 （五）组织开展戏剧公益活动，传播优秀戏剧文化，提升市民文化 艺术素质。（六）研究制定戏剧建设相关专项资金管理办法等配套 文件，明确资金审批与监管，审核项目单位的报送材料，逐步形成 项目运行评审和监督机制。

Dongcheng District Theatre Construction and Promotion Committee The Dongcheng District Theatre Construction and Promotion Committee was founded in January 2010 and is affiliated with the Dongcheng District Culture Committee. The vision is to promote theatre culture in Beijing, practice the concept of Cultural Beijing and build Dongcheng District as a culture centre of the capital city and a window from the city to the world.

The mission includes to: 1. Build a platform for the theatrical arts to create, perform and communicate, and a system to coordinate the public services and jobs required for theatre culture construction in Dongcheng District.

2. Integrate theatre sources and establish a Dongcheng Theatre Arts Expertise Instruction Committee, Dongcheng Theatre Project Evaluation Committee, a Database of Theatre Experts and a Dongcheng Theatre Federation.

3. Explore theatre cultural creativity and performing avenues, encourage the development of uniqueness and synthesis, and promote construction of new theatres and theatre complexes.

4. Encourage and support reputable theatre troupes and studios to settle in Dongcheng District, attract high-quality plays from both domestic and international troupes to perform in Dongcheng District, thereby building an influential reputation.

5. Organize public interest theatre activities, promote high-quality theatre culture and enhance cultural and artistic qualities in citizens.

6. Research and draw up administrative policies and associated disciplines of special funds for theatre construction, clarify fund examination, approval and supervision processes, check project application materials and form a system of project evaluation and supervision.

工作团队

Planning and Organizing Team

艺术总监：王翔

Artistic Director: Wang Xiang

策划/制作：赖慧慧

Curator and Producer: Lai Huihui

创意：梁丹丹

Creation: Liang Dandan

营销推广：张子一

Marketing Manager: April Zhang

组织协调：陈欣

Coordinator: Chen Xin

宣传：周丝思

Communication: Zhou Sisi

舞台技术：陈尔东、王鹏、李波

Visual Designer: Christine Wu

票务统筹：雷玲、郑洁

Booklet Designer: Wang Jiang

视觉设计：Christine Wu

Ticket: Lei Ning

书册及产品设计：王江

Stage Manger: Chen Erdong\Wang Peng\Li Bo Huang Shilin

翻译：李实、潘旺、Jennifer、赏一卿、刘超

Translator: Li Shi\Pan Wang\Jennifer\Shang Yiqing\Liu Chao

校对：Leon White\唐娟

Proof: Leo White, Tang Juan Volunteers group:Zhang Zhongmei\Liang liang\Zhang Wei\Jiao Ye\Xia

志愿者团队：张仲妹、梁靓、张威、焦烨、夏鑫晟、钟雅婷、 特别鸣谢：宁夏演艺集团话剧院

172

Xingsheng\Zhong Yating\

承办单位 / Organiser

蓬蒿剧场

Penghao Theatre

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

Penghao Theater–Beijing’s first playhouse for the people and by the

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

people. Established in January of 2008 in a renovated traditional

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

Chinese courtyard.

戏剧学院的东棉花胡同35号。

The theater is located in Nanlouguxiang, a center for culture and

“蓬蒿人”即普通人，我们一直都有一个梦想：更多的普通

artistic creativity in Beijing’s Central East District. The Central Academy

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

of Drama, Chinese National Theater, Children’s Art Theater, and Beijing

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

People’s Art Theater are all located within a stone’s throw of the

自己的人生，使它达到无限丰富的可能性。

playhouse.

蓬蒿剧场核定座位数110座，属于公益性艺术性小剧场。真正

“PengHaoRen” is an ordinary citizen, a commoner. The Chinese word

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

refers to a kind of weed, but the meaning we seek comes from a Li Bai

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、

poem in which he wrote “My head thrown back with laughter I left,

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

none could call me a penghao (common) man.” We invite common folk

然的质朴的，是丰富的也是简约的有效的灵动的。

to take to the stage and, through the power of theater, transform the

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

mundane circumstances of their everyday life into the transcendent

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

dramatic tableaus which we call on for inspiration and hope.

作、排演、上演，使之成为戏剧作品的实验聚点和孵化中心。

Peng Hao Theater contains 86 regular seats and self-positioned as a

蓬蒿剧场是场制合一的剧场，同时具备制作、创作、出品资格

non-profitable intimate theater for it holds the belief that the sincere

和功能。独立出品的保留剧目有：《锣鼓巷的故事》、《塞纳河少

art expression and creation must keep clear off commerce. Penghao

女的面模》、《我是海鸥》、《曹操到》、《寻找剧作家》、《灵

Theater is literary theater. It plays host to all forms of performance

魂厨房》等。

without restriction. Drama that has literary merit, is exploratory,

蓬蒿剧场是国际性剧场。常驻剧团包括北京极具知名度的

intellectual, and combines multiple elements of the grand and

“北京演员工作坊”、“北京IMPROV”、“北京国际戏剧体验

quotidian, qualifies as Penghao Theater.

机构”。常年上演欧洲、北美最新剧目。保留剧目有：《孤儿》

Penghao Theater is a venue for exchanging within the realm of theater

（Orphans）、《灵》（Wit）《一个人的莎士比亚》（Revel’s

and the arts. Through the collected efforts of Beijing’s brightest and

World of Shakespeare）等。并与德国、法国、瑞典、瑞士、以

most influential artists, intellectuals and producers, the theater has

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

become a vital center for artistic experimentation and a breeding

目。

ground for theatrical innovation.

蓬蒿剧场承办的戏剧节有：“北京·南锣鼓巷戏剧节”、“北

Penghao Theater not only stages but also produces original theater.

京东城青年戏剧演出季”、“北京-上海双城记戏剧交流活动”、

Previous independent productions include: “Bust of a girl”, “The story of

“北京国际独角戏戏剧节”、“亚洲文化视野——旅程艺术节”。

Luoguxiang” and “I am a seagull” etc.

Penghao Theater is an international playhouse. Current resident theatrical troupes include the Beijing favourites “BAW”, “Beijing IMPROVE” 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”. And have collaboration with the independent theatres in France/Britain/Sweden/ Switzerland/ Germany/America/Israel/Russia.

We organize: Beijng Nanluoguxiang Theatre festival/Beijing Dongcheng Yong Dramatist Association/Beijing-Shanghai Theatre Exchange Program/Beijing International Monodrama Festival.

戏剧节特邀独立剧评 北京前卫剧场评论家俱乐部 由前卫剧场评论家孙晓星、前卫剧场艺术家任明炀等发起，致力于 在中国大陆固有的话剧评论、话剧研究的学术领域之外，构建一个 关注和研究前卫剧场、当代表演艺术（ Contemporary Performing Arts）的学术平台。不定期出版会刊《北京前卫剧场评论》。

173

主办 / Host

北京市东城区戏剧建设促进委员会

Croisements 2013 and Beijing Dongcheng DistrictFestival Drama Construction Mode d’emploi logos/标识使用说明/Logos Instructions Promotion Mentions Committee obligatoires pour tout document de communication dans le cadre du festival Croisements

(affiches, flyers, brochures, communiqués de presse, sites Internet, etc).

Insérer le logo de l’Ambassade de France pour la

承办 / Organizer circonscription de Pékin

Ou le logo du Consulat Général concerné selon les circonscriptions (exemple ci-dessous)

蓬蒿剧场 / Penghao Theater Présenter l'événement comme suit : ..... (nom du partenaire organisateur), en partenariat avec l'Ambassade de France en Chine dans le cadre du festival Croisements, présente .... (nom de l’événement)

合作机构及支持

Présenter l'événement comme suit : ..... (nom du partenaire organisateur), en partenariat avec le Consulat Général de France à … dans le cadre du festival Croisements, présente .... (nom de l’événement)

Insérer le logo Croisements : le logo bleu pour les supports de couleur claire ou le logo blanc pour les supports de couleur foncée.

Code couleur en quadrichromie : C : 95 ; M : 60, J : 0 ; N : 0.

Insérer le QR code du site Faguowenhua, le site officiel du festival Croisements.

Pour les événements soutenus par l'Institut français, ajouter le logo Institut français dans l'ordre cidessous, en respectant les espacements et les tailles indiqués.

Présenter l'événement comme suit : ..... (nom du partenaire organisateur), en partenariat avec l'Ambassade de France en Chine et l'Institut français - Ministère des Affaires étrangères et dans le cadre du festival Croisements, présente .... (nom de l'événement)

174

独家官方票务网 / Official Ticketing

微信关注南锣鼓巷戏剧节

微信关注南锣鼓巷戏剧节

独家深度互动平台 微信关注南锣鼓巷戏剧节

独家SNS社交媒体支持

微信关注南锣鼓巷戏剧节

第四界南锣鼓巷戏剧节

支持媒体

9'.%1/'

61 $'+,+0)

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购票平台

评论平台

官方网站

178