ART.ZIP issue 12

THE VALLEY OF ASTONISHMENT 奇妙谷

EXHIBIT B 展品B

40TH ANNIVERSARY OF PUPPET CENTRE 傾心于“偶”40年

INTERVIEW WITH LEO WARNER, CREATIVE DIRECTOR OF 59 PRODUCTIONS 專訪59製作公司創意總監里歐·華納 INTERVIEW WITH JOSEPH SEELING, CO-FOUNDER OF LONDON INTERNATIONAL MIME FESTIVAL 專訪倫敦國際默劇藝術節聯合創始人約瑟夫·塞利格

ISSUE 12, 2015 INTERNATIONAL EDITION €15 / £10 / $17.50 / ¥ 100

熱點話題

HOT TOPIC 007 009

1984

011

LIFT 2014 — Where the city meets the stage

017

027

The Boy

Who Climbed Out Of His Face 攀臉男孩

倫敦國際戲劇節2014

019

The Goddess

013

Deloitte Ignite 2014

021

The James Plays

015

The Valley of Astonishment

023

International Ibsen Season

— 城市既舞台

2014德勤“激燃”藝術節 奇妙谷

神女

025

Legend of the Sun

027

Exhibit B

029

More

詹姆士三部曲

逐夢天涯 展品B

更多熱點

國際易卜生戲劇節

固定專欄

EXCLUSIVE COLUMN 143 143

Interview with Joseph Seelig,

Co-founder of London International Mime Festival 專訪倫敦國際默劇藝術節聯合創始人約瑟夫·塞利格

151

Theatre & the Visual

155

Fuel 燃料劇團

《戲劇與視覺》

171 159

Rambert Dance Company

167

Theatre O

171

Century of Chinese Cinema

蘭伯特當代舞蹈劇團 O 劇院

《中國百年電影》

每期專題

SPECIAL FEATURE 041 031

Visual Fest 視覺盛宴

081

The Beauty of Silence 大音希聲

035

The World is Our Oyster 藝海拾貝

083

The Master and Margarita 《大師與瑪格麗特》

039

Contemporary Circus: Physical Surprise

087

Complicite 同夥劇團

091

DV8 背離劇團

當代馬戲：身體的驚喜

041

A Brief Introduction of Contemporary Circus 當代馬戲簡史

097

Kneehigh 虹彩劇團

045

NoFit State 別扭馬戲團

101

Knocking On the Door of Neverland 桃源探夢

049

The Roundhouse 圓屋劇場

103

The Architects 《建築師》

061

Not only a Puppet 無獨有"偶"

107

shunt 尚特劇團

063

40th Anniversary of Puppet Centre

115

Punchdrunk 暈眩劇團

Penny Francis

119

Le Patin Libre 自由冰舞舞團

——專訪木偶中心聯合創始人潘妮·弗朗西斯

125

Double Vision 雙瞳

The Little Angel Theatre

127

Interview with Leo Warner,

Interview with the Co-founder of Puppet Centre, 傾心于"偶"40年

069

Interview with Slavka Jovanovic, Interim Director, 小天使劇院

Creative Director of 59 Productions 專訪59製作公司創意總監里歐·華納

Little Angel Theatre

——專訪小天使劇院代理總監斯拉夫卡·約萬諾維奇

135

Bannerman on Live 生動的旗手

075

Blind Summit 盲頂劇團

139

The Global Stage and Digital Theatre

079

The Heads 《腦袋腦袋》

全球舞臺，數字劇場

ISSUE 12 2015

ART.ZIP

ISSN 2050-4152

Publisher 出版人

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

Executive Editor 執行編輯 Michelle Yu 余小悅 Editor 編輯

Ke Qiwen 柯淇雯 Li Bowen 李博文 Sarah Pettitt

Guest Editor 特邀編輯 Joanna Dong 董一燃 Contributor 撰稿人

Honour Bayes, Ava Davies

Du Xinxi 杜昕禧, Struan Robinson Translator 翻譯

Chen Ting 陳婷, Syndi Huang 黃煥欣,

Shoran Jiang 姜嘯然, Li Ruixue 李瑞雪, Sherry Luo 羅逸清, Peng Zuqiang 彭祖強, Shen Xinyi 沉心懿, Yu Chang 于暢, Elaine Yu 余寧, Zhao Kunfang 趙坤方 IT Project Manager IT主管 Ace Xie 謝達明

Media Officer 媒體主管 Iris Shih 施孟慧

Advertising Manager 廣告客戶經理

Liu Tingting 劉婷婷, Wang Jiejing 王潔凈 Creative Director 創意總監

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

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

Visual Design 視覺設計 Bulletpin Studio

THE VALLEY OF ASTONISHMENT 奇妙谷

ISSUE 12, 2015

INTERVIEW WITH LEO WARNER, CREATIVE DIRECTOR OF 59 PRODUCTIONS 專訪59製作公司創意總監里歐·華納

EXHIBIT B 展品B

40TH ANNIVERSARY OF PUPPET CENTRE 傾心于“偶”40年

ISSUE 12, 2015 INTERNATIONAL EDITION €15 / £10 / $17.50 / ¥ 100

INTERVIEW WITH JOSEPH SEELING, CO-FOUNDER OF LONDON INTERNATIONAL MIME FESTIVAL 專訪倫敦國際默劇藝術節聯合創始人約瑟夫·塞利格

Thanks to 鳴謝

59 Productions 59製作公司

Almeida Theatre 阿爾梅達劇院

Aurora Nova Productions 極光新星製作公司 The Barbican 巴比肯藝術中心

British Film Institute 英國電影協會 Blind Summit 盲頂劇團 Complicite 同夥劇團

Digital Theatre 數字劇場 DV8 背離劇團

Edinburg International Festival 愛丁堡國際藝術節 Fuel Theatre 燃料劇團 Kneehigh 虹彩劇團

KT Wong Foundation 拿督黃紀達基金會 Le Patin Libre 自由冰舞舞團 LIFT 倫敦國際戲劇節

Little Angel Theatre 小天使劇院

London International Mime Festival 倫敦國際默劇節 National Theatre 英國國家劇院

National Theatre of Scotland 蘇格蘭國家劇院 Noel Coward Theatre 諾埃爾·科沃德劇院 NoFit State 別扭馬戲團

Peacock Theatre 孔雀劇院

Playhouse Theatre 戲劇之屋劇場 Punchdrunk 暈眩劇團

Puppet Centre 木偶中心

Rambert Dance Company 蘭伯特舞團 The Roundhouse 圓屋劇場

Royal Opera House 英國皇家歌劇院 Sadler’s Wells 薩德勒斯威爾斯劇院 shunt 尚特劇團

Tangeled Feet 羈絆劇團 Theatre O O劇院

Young Vic Theatre 青年維克劇院 Address 雜誌社地址

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

EDITOR’S NOTE 主編寄語

Theatre in the UK integrates a variety of art forms, deserving great attention and meticulous studies through

its prosperity. Alongside the rapid development of technology like multimedia and internet, theatre industry

and culture in the UK are constantly evolving. As a publication that is attentive to the development of cultural and creative industry, we review one particular theatrical topic every year. In this issue, we present the development of “visual theatre” in the UK.

Though “visual theatre” has yet been rigorously defined, its conceptualization and practice has become a

remarkable topic for all theatre practitioners in the UK. It pertains to the nature of theatre: construction and expression through the visual. It is acknowledged that text, the verbal and the music are still to some the primary components of theatre, so we have taken for this issue the stance of the “alternative”, including

discussions of theatrical forms such as mime, puppetry, physical theatre, contemporary circus and so on.

We do not deliberately aim for novelty or any wow-effect, but mean to address the significant and subtle influence this “alternative theatre” has on the development of contemporary art and theatre.

英國的戲劇結合了多種多樣的藝術形式，而且在繁榮的戲劇市場背後有著大量值得關注和研究的課題。隨著多媒體技術 以及互聯網的迅速發展，英國的戲劇產業和劇場文化也不斷地發生著改變，作為一個關注文化創意產業發展動向的媒 體，我們每年都會討論一個與劇場和戲劇產業相關的主題，本期為大家呈現的專題是“視覺劇場”在英國的發展現狀。

在當下“視覺劇場”的概念並沒有一個確鑿的定義，但實際上， “視覺劇場”已經成為了每一個英國戲劇人繞不開的問

題，它關乎戲劇的本質：通過視覺的建構和表達。當然會有很多人認為文本、對白、音樂等等才是構成戲劇的更主要的內 容，那麼我們這次選擇的內容則更多是以“非主流”方式呈現的戲劇類型，囊括了默劇、木偶、肢體劇等各類藝術形式； 這種編排並不是刻意的獵奇和譁衆取寵，而是要展現這種加雙引號的非主流藝術方式對我們當下藝術和戲劇發展產生 的潛移默化並無法忽視的影響。

HARRY LIU 劉競晨

Editor-in-chief 主編

PERFORMANCE INFINITY, also known as PI, is a London based consultant

agency for theatre performance. With a keen interest in both commercial and non-commercial performance practices, education and academic research, it was established with an aim towards contributing to audience development and cultural diversity in the UK, while working towards the development of the Chinese performance industry.

PERFORMANCE INFINITY是設立在倫敦的專業表演藝術咨詢機構，成立於2012年。在 英國，致力於倫敦劇場的中國觀眾培養，支持中國藝術家在海外的戲劇實踐，促進文 化藝術多元性；在中國，以多種方式推廣英國表演藝術資訊、學術成果、劇場管理經驗

等。在實現兩國資源互補的理想下，促進商業演出、非商業戲劇實踐、學術研究和戲劇 教育的平衡。

COVER STORY 封面故事

The RAMBERT series (2014) was born out of a collaboration between one of the world’s foremost contemporary

dance companies and Lyon over a number of rehearsals and performances. Lyon, Mark Baldwin, Artistic Director

and Rehearsal Director Angela Towler worked over several months to develop a process where by a whole dance

work could be visualised in a single work. Endeavouring to bring a new perspective to the art of recording dance, the works challenge the conventional practice of sourcing a single moment by drawing on multiple sequences

brought to life through a series of dynamic images created from each part of the dance. The final artworks draw heavily on a mix of the real and the imagined as the images weave dynamic patterns of movement across the canvas of the stage in honour of the of the scale and emotional content of the actual choreography.

Marcus Lyon (b. 1965) is a British artist. His works and publications are held in both private and international

collections including the MAM Rio, Art Institute of Chicago and the Arts Council of Great Britain. He has been

commissioned and exhibited globally and his images have won numerous awards and nominations including the B&H Gold, Prix Pictet 2012 & 2013 and a D&AD Silver.

In recent years he has undertaken significant collaborative projects to create large-scale imagery in the art and

science arenas, most notably work with the Rambert dance company and his Optogenome series in partnership

with Kings College. Outside of the art world Lyon is a determined social entrepreneur and an active public speaker on both photography and development. In the not for profit sector he serves as a board director of the Somerset House Trust, director of Leaders Quest Foundation and a founder ambassador for both Home-Start UK and the global think-tank The Consortium for Street Children.

《蘭伯特系列（2014）》是由世界著名當代舞團體蘭伯特舞團與攝影師馬可斯·里昂共同合作完成的一組攝影藝術作品。藝術

家馬可斯·里昂，蘭伯特舞團創意總監馬克·鮑德溫以及排練總監安琪拉·特拉一起耗時數月來實現其在一張攝影作品中展示整 部演出的設想。通過這件作品，藝術家竭力試圖探尋一種用視覺方式來紀錄舞蹈藝術的新途徑，作品也挑戰了傳統的舞蹈繪

製手段，通過對動態舞蹈的拆解和靜態重組，最終的作品呈現了運用大量真實影像加之合成技術而形成的靜態與動態並存的 舞臺場景，真實地反映了演出帶給觀眾的情感內容和舞蹈模式。

馬可斯·里昂（生於1956）是一位英國藝術家，其作品和出版物在國際範圍內被廣為收藏，包括巴西里約熱內盧的當代藝術博 物館、芝加哥藝術學院和英國藝術委員會，曾獲B＆H金獎、2012﹣2013年度百達獎、D＆AD銀獎等。

近年來，他開始與各種藝術及科學組織合作創作大尺幅的攝影作品，例如與蘭伯特舞團和國王學院的合作項目皆是如此。在

藝術領域之外，里昂是一位堅定的社會企業家和積極的公共演說家。在非盈利領域，他擔任薩默賽特信託基金董事，領袖訴 求基金會總監，以及成立并擔任發起自英國的為流浪兒童成立的全球財團智囊團組織的大使。

www.bulletpincreative.com

1984 ©Manuel Harlan

1984

Robert Icke and Duncan Macmillan have created 1984, originally written by George Orwell, into a new adaptation. Due to unprecedented demand, a 5-week extension is announced for the

Headlong, Nottingham Playhouse and Almeida Theatre production of 1984, a critically acclaimed

adaptation by Robert Icke and Duncan Macmillan.

The production has been run at the West End’s Playhouse Theatre until 23 August 2014

(previously 19th July 2013), prior to a second UK tour in the autumn, as previously announced.

Robert Icke and Duncan Macmillan’s adaptation of George Orwell’s 1984 opened in the West End on 28 April, transferring directly from the Almeida Theatre.

1984 is written and directed by Robert Icke and Duncan Macmillan, set and costume designed

by Chloe Lamford, with lighting designed by Natasha Chivers, sound designed by Tom Gibbons and video designed by Tim Reid. Originally produced by Headlong and Nottingham Playhouse, 1984 had its world premiere at Nottingham Playhouse in September and went on to enjoy a hugely successful UK tour and a 7-week run at the Almeida Theatre.

Stephen Fewell in 1984 (West End). © Manuel Harlan

George Orwell’s 1984 published in 1949, is one of the most influential

novels in recent history, with its chilling depiction of perpetual war, pervasive government surveillance and incessant public mind-control. Its ideas have become our ideas, and Orwell’s fiction is often said to be our reality.

Filtering the spirit and the ambition of the novel through the lens of

contemporary culture, this radical new staging explores surveillance culture,

《1984》是英國作家喬治·奧威爾創作的一部政治諷刺小說，羅伯特·艾奇（Robert

Icke）和鄧肯·麥克米倫（Duncan Macmillan）編寫的全新版本在近期問世。該劇自 上映以來廣受好評，一票難求的現象更是屢次發生，於是製片團隊決定在英國巡 演站——倫敦西區劇場（West End’s Playhouse Theatre）加演5週。

《1 9 8 4》擁 有精良的製作 班 底：艾奇和麥克 米 倫 親自編 導，克洛 伊（Chlo e Lamford）負責佈景和舞台服裝，娜塔莎·奇弗斯（Natasha

Chivers）負責燈光設

計，湯姆·吉本斯（Tom Gibbons）和蒂姆·里德(Tim Reid)分別負責音效和影像部 分。由黑德朗劇場和諾丁漢劇場（Headlong and Nottingham Playhouse）共同合

作打造的戲劇版本《1984》，全球首映地點就設在諾丁漢劇場，其後的英國巡迴也 Tips

小貼示

演出場地：West End’s Playhouse Theatre 倫敦西區劇場 演出時間：28.04.2014-23.08.2014

更多信息：w w w.198 4ThePlay.co.uk

在萬眾矚目下獲得佳績。

1949年出版的原著小說《1984》是近代最具影響力的小說之一，以其不寒而慄的 寫作手法描繪了恐怖的社會環境——紛亂的戰事，無處不在的政治眼線和持續性的

公眾洗腦。當下社會也不乏這些現象的發生，所以奧威爾的小說也被隱喻為我們 現實的寫照。以反映當代文化為準則，這種激進的全新演繹法提煉了小說的精神與 抱負，探討了監視文化、身份辨識和思考先於實踐的領悟。

1984. Matthew Spencer as Winston and Janie Harouni as Julia. ©Manuel Harlan

identity and how thinking you can fly might actually be the first step to flying.

LIFT 2014 —Where the City Meets the Stage 倫敦國際戲劇節2014 —城市既舞台

LIFT (London International Festival of Theatre) celebrates its 20th Festival in

2014年第二十屆倫敦國際戲劇節（London International

planet - and London to the World.

界與倫敦連接起來，同時也將這個地球上最多元化的城市

2014 connecting the World to London – the most culturally diverse city on the

From the football pitches and favelas of Brazil to the shopping malls of Japan,

Festival of Theatre, 簡稱LIFT）拉開帷幕，今年它將全世 當做舞台展現給全世界。

via Haiti and Moscow, artists from across the world make astonishing work

不管是來自巴西的足球場還是貧民窟，或是日本這個購物天

we all share but express in a thousand different ways.

出了非凡的作品，關於生活、情感、成功和失敗——大家用成

about their lives, loves, triumphs and losses – linking us together in experiences

Artistic Director Mark Ball invites audiences to 30 joyous, moving and inspiring

堂，又或是海地和莫斯科，世界各地的藝術家們在這裡創造 百上千種方式來互相分享這些獨特的經歷。

productions from 13 countries in 15 venues across the breadth of the capital.

藝術總監馬克·鮑爾（Mark Ba​​ll）給觀眾帶來了來自13個不同

from dynamic new voices, linking audiences with artists in London and around

有的感人肺腑，有的給人們以激勵。這些優秀的藝術家運用

Extraordinary global stories and intense visual and personal experiences come the world and with productions that take place everywhere from the theatre and museum, to the street and the internet.

A programme of World and UK premieres include invigorating and evocative new work: Russia’s Dmitry Krymov Lab, an ensemble of visual artists turned

國家的30組戲劇作品，這些作品風格各異：有的歡欣雀躍，

強有力的視覺衝擊力和獨特的個人風格來為我們呈現那些 來自世界各個角落的奇珍故事。通過該戲劇節觀眾既能了解

來自世界各地的藝術家，也能在劇院、博物館甚至街頭和網 路平台欣賞他們的作品。

performers, builds vast poetic imagery to breathe emotional life into Soviet

此次戲劇節的劇目名單裡還有很多作品是首度與觀眾見面

of London into a Voodoo carnival; Brazilian choreographer Bruno Beltrao, has

雷莫夫研究所（Dmitry Krymov Lab），這是一群視覺藝術

oppression and censorship; French company Rara Woulib transform the streets scoured the internet for movements and gestures to create remarkable fusion

of street and contemporary dance and hip hop; Swedish/British artists Lundahl and Seitl immerse using the archives and galleries of the Royal Academy in the build up to the Summer Exhibition; Requardt & Rosenberg (Motor show LIFT

2012) return to LIFT with The Roof - surrounding audiences with a hair-raising

mix of free running, dance and sound as a reluctant hero flees across rooftops in a bid to survive; and for Turfed, in partnership with the Street Child World

Cup 2014, Brazilian director Renato Rocha (The Dark Side of Love LIFT 2012) and a young cast from the UK, Tanzania, Brazil and the Philippines use their passion for football to tell true stories of homelessness.

的，這些引人矚目的作品中包括來自俄羅斯的德米特里·克

家向表演者身份的轉型，通過營造詩意的舞台畫面，力爭在

蘇聯的高壓政策下保有​​人性地活著；法國公司拉拉·吾利博

（Rara Woulib）把倫敦街頭打造成了一個巫毒狂歡盛宴；巴 西編舞布魯諾·內爾特朗（Bruno Beltrao）將街道、現代舞蹈

和嘻哈巧妙地融合在一起；瑞典和英國藝術家倫達爾與塞托 （Lundahl and Seitl）全面地利用了皇家藝術學會（the Royal Academy）的檔案館和展廳來創作。除此之外，一些往屆藝 術家的回歸作品也令LIFT戲劇節充滿了驚喜，如容懷德和羅

森博格（Requardt & Rosenberg）的《屋頂（The Roof）》、雷 納托·羅恰（Renato Rocha）的《鋪草坪（Turfed）》。

Vlatka Horvak 15th Extraordinary Congress

shadow that World War One still casts: a war that devastated Europe, created borders that are still sources of conflict and

industrialised killing on a mass scale. In response to the 100th Anniversary of the start of WW1 and co-commissioned by

14-18 NOW, WW1 Centenary Art Commissions, LIFT presents

After A War, curated by Mark Ball and Tim Etchells (Artistic

Stanf Cafe 4 © Stans Cafe

For its festival in 2014, LIFT is also responding to the long

Director, Forced Entertainment).

《戰後（After A War）》是LIFT戲劇節特別就戰爭留下的陰霾所做

整個歐洲，2014年距一戰爆發正好100週年，為了追悼這個歷史性 的時刻，2014 LIFT戲劇節與一戰百年藝術委員會共同打造了這部

Turfed © Andrew Esiebo

紀念第一次世界大戰的劇目。 Tips

小貼示

演出場地：Across London 倫敦多處演出地點 演出時間：02.06.2014－29.06.2014 更多信息：w w w.lif tfestival.com

Turfed © Andrew Esiebo

出的回應：由於衝突和大規模的殺戮，第一次世界大戰幾乎蹂躪了

Deloitte Ignite 2014 2014德勤“激燃”藝術節

Contemporary arts festival Deloitte Ignite 2014 is based on

2014年的德勤“激燃”藝術節（Deloitte

Ballet and The National Gallery’s Dr Minna Moore Ede. The

芭蕾舞團和来自國家美 術館的明娜·摩爾·伊德博士

the theme of myth and this year is curated by The Royal

month-long festival at The Royal Opera House celebrated

and explored the origin of myth and creation in the western world through dance, visual art, film, music and movement, focused on Prometheus, the Titan who created man from

clay and stole fire from the Gods, and Leda and the Swan,

the mysterious conjunction of a mortal woman and the god Zeus, disguised as a swan.

Ignite）是

一 個 以神 話 為 主 題 的 當 代 藝 術 盛 典 。在 英 國 皇 家

（Dr Minna Moore Ede）共同策劃下，通過舞蹈、

視覺藝術、電影、音樂和韻律等多種表現形式，探討 了西方世界下神話和創造的起源。其中《普羅米修斯

（Prometheus）》和《麗達與天鵝（Leda and the

Swan）》是本次藝術節重點關注的兩大神話故事：一 位是捏泥造人、從諸神手中盜取火源的悲劇英雄；而 另一位則是偽裝成天鵝的天神宙斯。

Sampling the Myth is a programme of performance and

《神話樣本(Sampling the Myth)》是表演與電影相

collaborations, including a special commission for Turner

Ofili）與英國皇家芭蕾舞團的藝術合作，還有英國舞

film exploring the modern retelling of myths through art Prize-winner Chris Ofili with Royal Ballet dancers and

choreography from rising star of the British dance scene

Aakash Odedra. The performances also include the world premieres of three commissioned short dance films that

結合的項目，除了特納獎得主克里斯·奧菲利（Chris

壇新秀（Aakash Odedra）的編舞。另外有三部主題 舞蹈短片也探討了關於神話《麗達與天鵝》的起源和 當下的復述。

explore the origins and retelling of Leda and the Swan.

The festival broke out into the Covent Garden piazza with

an interactive street performance from choreographer Luca Silvestrini and his company Protein. Acclaimed street artist

Phlegm decorated the Royal Opera House with large-scale illustrations of mythical creatures.

Tips

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演出場地：Royal Opera House 皇家歌 劇院 演出時間：05.09.2014-28.09.2014

更多信息：w w w.roh.org.uk/deloit teignite

Unearthed. Royal Opera House. © Alice Pennefather

Continuing the visual art element of the festival on the theme

當然，能一飽眼福的活動遠不止于此：觀 眾不僅可以在考文特花

artist Bill Viola titled Fire Martyr(2014). The front of house areas

獸裝飾畫、以火為主題的視覺藝術作品《消防烈士（Fire Martyr,

of fire, a work was on view at the Royal Opera House by video displayed photographic work by contemporary artists Tom

Hunter and Mat Collishaw, together with a unique site-specific sound installation by sound recordist Chris Watson.

In her curatorial role at The National Gallery specializing in

園廣場上參與街頭互動表演，還能在英國皇家歌劇院欣賞巨幅神 2014）》。此外，還有當代藝術家湯姆·亨特（ To m H un te r）和馬 特·科里肖（ M a t C o l l i s h a w）的攝影作品、克里斯·沃森（Chris

Wat son）製作的獨一無二的場地定製聲音裝置作品也一 併帶給 觀眾。

Renaissance paintings, Minna Moore Ede brought giant replicas

作為國家美術館策展人，伊德博士為2014年的德勤“激燃”藝術

Opera House. Against this back-drop there were performances

制作品，而來自英國皇家芭蕾舞團的藝術家卡爾文·理查森（Calvin

of works by Leonardo da Vinci and Michelangelo to the Royal

of Royal Ballet Artist Calvin Richardson’s version of the famous

Dying Swan solo.

節帶來了文藝復興時期的繪畫——達芬奇和米開朗基羅的巨型復 Richardson）也帶來了獨舞《垂死天鵝（Dying Swan）》。

The Valley of Astonishment, Cpascal Victor

The Valley of Astonishment 奇妙谷

暨重返青年維克劇場（Young Vic）的創作《西裝（The Suit）》取 得國際認可後，英國著名戲劇導演彼得·布魯克（Peter Brook） 誕生——《奇妙谷》,該劇探尋了人腦的奧秘，以神經學研究和 波斯詩歌這種前所未有的組合方式，由凱瑟琳·亨特（Kathryn Hunter）、馬爾切洛·馬尼（Marcello Magni）和傑瑞德·麥克尼

爾（Jared McNeill）共同演繹的戲劇把觀眾帶領到了一個神奇 的世界。

該劇最引人注目的看點在於探討一個人們能根據完全不同的

The Valley of Astonishment

和搭檔瑪麗－海倫·艾蒂安（Marie-Hélène Estienne）又一力作

光線來觀看周圍的世界。在這個世界中，感官知覺的慣例被重 新定義：每一種聲音都代表特有的顏色，每一種顏色都有特殊 的味道，而數字8則代表一位胖女人。

在談論《奇妙谷》時布魯克提到： “我們可以以一種前所未有

的方式來探索人類的大腦。通過解析人們跌宕起伏的秘密生

Peter Brook and Marie-Hélène Estienne return to the Young Vic

after their international hit The Suit with a new work exploring the

mysteries of the human brain. Performed by Kathryn Hunter (Kafka’s

活，我們將呈現給觀眾一個未被開發的大腦領域。當人們沈浸

在音樂、色彩、味道、影像和回憶中不可自拔時，他們彷彿可以 任意穿梭在天堂與地獄之間。”

Monkey, Fragments), Marcello Magni (Fragments) and Jared McNeill

回歸久違的神經系統題材，布魯克和艾蒂安將真實的故事和

research and Persian verse to transport us from the familiar to the

子的人（The Man Who Mistook His Wife for a Hat）》中

(The Suit), The Valley of Astonishment brings together neurological

extraordinary.

The experiences of people who see the world in a radically different light are at the heart of this brand new work by Peter Brook and

Marie-Hélène Estienne. This is a world in which the rules of sensory perception have been rewritten: where every sound has a colour,

奧利佛·薩克斯（Oliver

Sacks）的獲獎作品《錯把太太當帽

多年來 對神 經系 統的研究 相 結合，來 進 行 一次 人 類 大 腦 奧 秘的探索。這些神秘的故事與12世紀波斯的著名詩人和思想

家阿塔爾（Farid Al-Din Attar）的神秘詩歌《百鳥朝鳳（The Conference of the Birds）》交織在一起， 《奇妙谷》讓觀眾重 新審視了一遍自我與世界。

where every colour has a taste, where the number 8 is a fat lady.

Peter Brook comments on The Valley of Astonishment: “Today, once

again, we are exploring the brain. We will take the spectator into new and unknown territories through people whose secret lives are so

intense, so drenched in music, colour, taste, images and memories that they can pass any instant from paradise to hell and back again.”

Tips

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演出場地：Young Vic 青年維克劇場 演出時間：20.06.2014-12.07.2014 更多信息：w w w.young vic.org

Returning to the rich subject matter that inspired their Olivier Award-

winning work The Man Who Mistook His Wife for a Hat, Peter and to explore the mysteries of the human brain. By interweaving these

stories with verse from Farid Al-Din Attar’s mystical 12th century poem

The Conference of the Birds, they ask the audience to re-examine

what we think we know about ourselves and the experiences of people around us.

The Valley of Astonishment

Marie-Hélène take real-life stories and years of neurological research

The Boy Who Climbed Out Of His Face by shunt, 2014, Performer Tom Lyall, Photo by ©Susanne Dietz

The Boy Who Climbed Out Of His Face! 攀臉男孩

The Jetty

Tips

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演出場地：The Jet t y 棧橋

演出時間：14.08.2014-28.09.2014

更多信息：w w w.shunt.co.uk

The Boy Who Climbed Out Of His Face is the latest event

2014年終於盼來了尚特劇團（shunt）的最新作品《攀臉男孩（The Boy

be transformed into a disorientating multi-sensory event

邊的棧橋（The Jet t y）上，該棧橋曾被用於裝儲煤炭，如今被打造成一

from shunt. A former coaling jetty on the Thames is set to opening in mid August with audience members required to go barefoot as they enter. Every 10 minutes 30 people

will disappear into a shipping container and are spat out 45 minutes later.

The event, opening on Thursday 14 August for a six week run,

Who Climbed Out of His Face）》。舉辦場地設在格林威治泰晤士河

個多感官體驗活動的場所。 《攀臉男孩》不但是尚特劇團的新作，也是它 在棧橋的首次亮相。演出期間，觀眾需要光腳穿梭於各個角落體驗一回

邊走邊看的戲劇。每過10分鐘就會有30位觀眾同時消失在海運集裝箱

內，45分鐘後才被遣送回來。 “那個奇怪的人是誰？他的臉怎麼了？”帶 著這些懸念，一場互動式的表演將會揭曉答案。

took the audience through an ‘industrial pavilion’ built from

《攀臉男孩》自8月14日起上演，共計上演時間六週。尚特劇團巧妙地把

hectic world within a world within a world, with inspiration

的創作靈感來源於兩部著作：查爾斯·金斯利（Charles Kingsley）的《水

shipping containers where they experienced a peculiar and

from the text from The Water Babies by Charles Kingsley and

Heart of Darkness by Joseph Conrad.

海運集裝箱改造成“工業館”，在現實世界內創造了這個虛擬空間。該劇 孩子（The Water Babies）》及約瑟夫·康拉德（Joseph Conrad）的《黑 暗之心（Heart of Darkness）》。

This is the first outdoor production from shunt, whose work

該劇是尚特劇團的第一部戶外作品，在過去十年間，其代表作品還包括《建

Tropicana and The shunt Lounge.

《尚特休息室(The shunt Lounge)》。

throughout the past decade includes The Architects, Money,

築師（The Architects）》、 《金錢（Money）》、 《純果樂（Tropicana）》、

《神女》

The Goddess 神女

The KT Wong Foundation, in association with the British Film Institute (BFI) and

拿督黃紀達基金會（KT Wong Foundation），攜手

The Goddess this autumn at the Queen Elizabeth Hall, South Bank. This exclusive

將中國經典默片《神女》的數字修復版帶到了倫

China Film Archive (CFA), screened a remastered version of classic Chinese silent film UK premiere took place on 14th October 2014 as part of the prestigious BFI London Film Festival – one of the world’s leading cinema events.

英國電影協會（BFI）和中國電影資料館（CFA）， 敦進行放映，並於2014年10月14日在享譽盛名的 倫敦電影節期間進行了英國首映。

To celebrate this historic moment the KT Wong Foundation has commissioned

為了紀念這歷史性的重要時刻，拿督黃紀達基

Chamber Orchestra conducted by Nicholas Chalmers accompanied the evening

曲。首映當晚，觀眾在欣賞默片的同時，还能欣

a new musical score for The Goddess by Chinese composer Zou Ye. The English screening of the film.

金會委託中國著名作曲家鄒野為《神女》重新譜 賞到由尼古拉斯·查爾莫指揮、由英國室內管弦 樂團進行的現場演奏。 Tips

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演出場地：Queen Elizabeth Hall 伊麗莎白女皇演奏廳 演出時間：14.10.2014

The Goddess

更多信息：w w w.kt wong.org

The Goddess is an iconic classic of Chinese film, and represents a high watermark

for the country’s art. The writer and director Wu Yong Gang, who continued to make groundbreaking films in China until 1982, originally filmed it in Shanghai in 1933.

Together with his lead star, the beautiful Ruan Lingyu, this film has retained its iconic

status and is one of the first films to be restored by the China Film Archive together with the BFI.

The story of The Goddess highlights the challenges faced by an impoverished single

mother struggling to put her son through school. The female lead, whose name we never learn, suffers a series of escalating hardships and humiliations at the hands of

punishing authority figures. Ruan Lingyu was easily the most famous actress in Chinese

《神女》是一部代表了中國近代史上最高藝術 水準的電影。該片講述了一位貧苦女人為了養活 兒子淪為暗娼，為了兒子的前途和學業，她承受 了來自社會的各種不公待遇和屈辱。 《神女》原 作拍攝於1933年的上海，由吳永剛執導並編劇，

直到1982年這位著名導演已經為中國影壇創下 無數佳績。女主角的飾演者阮玲玉，也因其精湛

的演技和獨特的魅力晉升為30年代最著名的女 影星，並為女性的社會鬥爭與解放作出了卓越的 貢獻。

silent cinema during the thirties and perfect for the role. Her talent and charisma paved

圍繞中國電影史上的女性形象：神女、烈士、巾

emblematic of a society’s struggle and liberation towards a modern era.

紀的經典電影， 《神女》就是其中之一。也因為其

the way for a Chinese cinema dominated by major female stars, thus making women

The Goddess forms one part of a programme of 15 films selected by KT Wong

Foundation, entitled Goddess, Martyr, Heroine: A Portrait of Women in Chinese Cinema.

The programme focuses on the role of Chinese women over the last century, as shown though film.

幗，拿督黃紀達基金會精心挑選了15部中國上世 經久不衰的藝術價值，英國電影協會和中國電影 資料館將《神女》列入首批修復的名單。

James I: The Key Will Keep the Lock by Rona Munro, directed by Laurie Sansom Photography by Manuel Harlan

The James Plays 詹姆士三部曲 James I, James II and James III – are a new cycle of history plays

by award-winning playwright Rona Munro and directed by Laurie

Sansom, Artistic Director of the National Theatre of Scotland, which are to be presented in an unprecedented co-production by the National Theatre of Scotland, Edinburgh International Festival

and the National Theatre of Great Britain, during the Edinburgh International Festival in August and at the National Theatre in London from September to October.

This vividly-imagined trilogy brings to life three generations of Stewart Kings who ruled Scotland in the tumultuous fifteenth

century. Each play stands alone as a unique vision of a country

tussling with its past and future, with its own distinct theatrical atmosphere. Viewed together they create a complex and

compelling narrative on Scottish culture and nationhood.

Tips

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演出場地：Festival Theatre Edinburgh 愛丁堡節日劇院

Olivier Theatre, National Theatre 英國國家劇院奧利弗劇場

演出時間：10.08.2014-22.08.2014 09.2014-10.2014

更多信息：w w w.nationaltheatrescotland.com w w w.eif.co.uk

James III: The True Mirror by Rona Munro, directed by Laurie Sansom Photography by Robert Day

w w w.nationaltheatre.org.uk

James I: The Key Will Keep The Lock

Bold and irreverent storytelling explores the complex character of

this colourful Stewart king – a poet, a lover, a law-maker but also the product of a harsh political system.

James II: Day of the Innocents

In the second of Rona Munro’s dynastical trilogy, innocent games merge with murderous intent in a violent royal playground of shifting realities and paranoia.

《詹姆斯一世（James I）》、 《詹姆斯二世（James II）》和《詹姆斯三世

（James III）》是由屢獲殊榮的劇作家羅納·蒙羅（Rona Munro）編寫，蘇 格蘭國家劇院的藝術指導勞里·桑塞姆（Laurie Sansom）執導，由蘇格蘭

國家劇院、愛丁堡國際藝術節和英國國家劇院聯袂打造的全新歷史三部 曲。詹姆斯系列分別於8月在愛丁堡國際藝術節、9至10月在英國國家劇院 上映。

經過了巧妙構思的詹姆士三部曲，再現了動盪的十五世紀中統治蘇格蘭的 三代斯圖爾特國王的故事。每一部都獨當一面地展現了這個國家特定時

代的獨特面貌，與過去和未來相抗衡。不論是對蘇格蘭文化還是民族性而 言，三部曲的組合建構了一個錯綜複雜又激情四射的劇情。

James II: Day of The Innocents by Rona Munro, directed by Laurie Sansom, Photography by Manuel Harlan

James III: The True Mirror

《詹姆士一世》：解鈴還須繫鈴人（James I: The Key Will Keep The Lock）

Munro’s extraordinary trilogy is colourful, brash and

性——詩人、情人、立法者但同時也是無情政治環境中的一個個體。

Like James III himself, the final instalment of Rona

unpredictable. It turns its eye on the women of the royal court, both lowly and high born, who prove to be its beating heart.

The James Plays promise to be historical drama for a

用大膽且不留情面的敘事手法探討了這個多姿多彩的斯圖爾特國王的複雜特 《詹姆士二世》：一日“童真” （James II: Day of the Innocents）

王朝三部曲的第二章發生在一個現實和妄想扭曲且充滿暴力的皇家遊樂場裡， 天真的遊戲中隐藏着兇殘的意圖。

contemporary audience, served up with a refreshing

《詹姆士三世》：真實之鏡（James III: The True Mirror）

extraordinary characters in the Festival Theatre Edinburgh

的。故事主要圍繞著皇室的女性展開。

modern directness. Audiences are invited to join a cast of and the Olivier Theatre at the National Theatre in these

就像詹姆斯三世本人一樣，三部曲的最後一章是豐富多彩、不可一世和始料未及

fast paced stories that bring to life Scotland’s past

詹姆斯系列采用了令人耳目一新的現代表達方式來呈現歷史題材。在愛丁堡節

children who once ruled it. An ensemble of 20 actors took

色的人物。透過這些歷史人物的統治事跡，一段段扣人心弦的劇情，演員們用緊

through the gripping stories of the men, women and

the audience through a rarely-explored period of history

with playful wit and boisterous theatricality, and proved a landmark of Scottish drama in a remarkable year.

日劇院和英國國家劇院的奧利弗劇場中，觀眾有機會受邀共同演繹劇中極具特 湊的演繹方式再現了蘇格蘭的歷史。20位演員組成的強大陣容加上俏皮機智的 劇情和強烈的戲劇效果，觀眾彷彿穿越到了一個不曾發現的歷史時期，可以不客 氣地說，在蘇格蘭戲劇史上，詹姆斯系列的誕生具有里程碑式的意義。

Schaubühne Berlin - An Enemy of the People, Moritz Gottwald, Christoph Gawenda, Eva Meckbach, Renato Schuch, photocredit Arno Declair

International Ibsen Season 國際易卜生戲劇節

The Barbican presents an International Ibsen Season bringing together three

2014國際易卜生戲劇節迎來三部卓越的戲劇作品，這些

who have re-interpreted Ibsen’s work as a pertinent mirror for our times.

造，他們詮釋的易卜生作品是當下時代的寫照。易卜生的

productions from some of the most innovative international theatre directors Imbued with contemporary social criticism, his depiction of the ways in which self-interest, self-delusion and social conformity can corrupt both public and domestic life, still resonates today.

作品分別由當下最具創造力的國際 戲劇導演們親力打

作品充滿了對社會的批判，如利己主義、自我欺騙和社會 道德綁架，這些擾亂社會和家庭秩序的現象在今天的觀 眾看來也仍然會引起強烈的共鳴。

《人民公敵（An Enemy of the People）》中當斯多克曼醫生 （Dr.

Stockmann）發現工業污染正在破壞整個溫泉小鎮

的生態環境，他便開始了拯救家園的行動。但小鎮的居民 們卻不願意面對或者是有意迴避水被污染的真相，因為即

便水源已經受到污染，但販賣溫泉泉水仍然是他們賴以生

存的支柱產業。當面對現實社會的環境問題和金融危機， 歐斯特麥耶的戲劇版本是頗具威信力的寫照。同時他在戲

劇中融入了當代政治和音樂元素，在演出的結尾則運用了 一種具有爆炸性的表現形式——邀請觀眾一同加入辯論。

《培爾·金特（Peer Gynt）》是以流浪漢為主題的易卜生早 期精選詩集，如今導演伊莉娜·布魯克（Irina Brook）將它

編寫成生動有趣的戲劇版本，還融入了搖滾音樂人伊基·波

普（Igg y Pop）的新曲和普利策獎得主山姆·夏普德（Sam

Belvoir, The Wild Duck: Anita Hegh. Photo credit: Heidrun Löhr

本屆戲劇節由導演托瑪斯·歐斯特麥耶的作品揭開序幕。

Shepard）的原創詩歌。故事的主線是主人公金特被無止

境的貪念所誘惑，他在絕望中尋求自我，他的幻想之旅在

production of An Enemy of the People for the

創詩篇讓整場演出驚喜連連。

Schaubühne Berlin. When Dr Stockmann discovers that

年輕的澳大利亞導演西蒙·斯通（Simon Stone）打造了現

knows the right thing to do. But the inconvenient truth

作之一。故事講述的是夏爾馬（Hjalmar）與妻子、老邁的父

industrial pollution is contaminating his spa town, he

is unwelcome in a community whose survival depends on selling toxic water to tourists. Thomas Ostermeier’s potent adaptation is a mirror for our times set against

a world of environmental and financial crises. Studded with contemporary political and musical references,

the production builds to an explosive final act in which audiences are invited to join the debate.

Ibsen’s early picaresque dramatic poem, Peer Gynt is

vividly realised by Irina Brook in an adaptation featuring new music from legendary rock musician, Iggy Pop and

original poetry from Pulitzer Prize-winning Sam Shepard.

Driven by a timeless hunger for wealth and fame, Peer is a man on a desperate quest for his inner-self. His fantastical journey is wholly updated in this exuberant show, rich in contemporary imagery, live music and original poetry.

Young Australian director Simon Stone reimagines

Ibsen’s The Wild Duck for the modern stage. Hjalmar

lives in a flat with his wife, senile father, visually impaired daughter and a duck. He is reasonably content, until his

old friend Gregers returns to town, armed with disturbing revelations that threaten to blow their lives apart. Set within a glass enclosure, the action is accentuated,

unfolding in rapid, unpredictable scenes delivered with immediacy and emotive power.

代舞台中的《野鴨（The Wild Duck）》，同樣是易卜生的著 親、視障的女兒和一隻鴨子住在一間緊湊的公寓裡，但他

對生活感到很滿足，直到老友格瑞格斯（Gregers）的不期 而至，他還藏著一個可能令夏爾馬家庭支離破碎的真相。 演出場景設置在一個玻璃空間內，肢體語言赤裸裸地呈現

在觀眾眼前，快速的、變幻莫測的情景傳遞出故事的即時 性和整體情緒。 Tips

小貼示

演出場地：Barbican Center 巴比肯藝 術中心 演出時間：24.09.2014- 01.11.2014

更多信息：w w w.barbican.org.uk/theatre

Théâtre National de Nice, Peer Gynt: ensemble. Photo credit: Monika Rittershaus

The season commences with Thomas Ostermeier’s

活力四射的表演中煥然一新，當代畫面感、現場音樂和原

Legend of the Sun 逐夢天涯 A long time ago, the ancestors of the Zhuang used to live in a place without sunshine. It is said that far beyond the horizon lives a flaming Sun that will bring light and warmth to their homeland.

Everyone volunteers for the adventurous journey Legend of the Sun

in search of the Sun...The elders say: “We have

the experience. Let us go”. The youths say: “We are robust and strong. Let us go”. The children

say: “We are still young. We can cover the longest

road”. But a beautiful mother-to-be steps out and

says: “Please, let me go. Maybe I cannot make it to the end of the sky, but my baby will continue my journey and head towards the Sun.”

《逐夢天涯(Legend of the Sun)》根據壯族民間傳說故 事《媽勒訪天邊》改編，多次獲國內舞劇大獎。 “勒”在

壯語中是“兒子”的意思，該劇講述了很久以前，壯族 人生活的地方被陰暗和寒冷籠罩，媽媽和兒子為尋找

太陽而訪天邊的故事。全劇將史詩般的雄渾、絲絲入扣 的細膩情感和獨具民族色彩的歡快情緒融為一體，運

用現代的編舞、舞美、燈光、服裝等藝術表現手段，充

Legend of the Sun

分展示了廣西地區多姿多彩的民族風情和壯族人民追

求光明、勇敢堅定的民族性格，以優美的舞姿，向觀眾 詮釋了親情和愛情。

Tips

小貼示

演出場地：Sadler’s Wells 賽德勒斯威爾斯劇場 演出時間：30－31/01/2015

更多信息：w w w.thelegendof thesun.co.uk

Legend of the Sun

Exhibit B 展品B Exhibit B lies somewhere between performance and exhibition. 13

《展品B》是介於表演與展覽之間的藝術表現形式。以黑

of racism,‘othering’ and the colonial history of Europe in Africa.

歧视， “他者化”和歐洲對非洲的殖民史三大核心主題。

tableau vivant installations featuring black performers look at the themes

This deeply moving work, researched and created by South African

隱藏在歐洲種族主義背后的神秘藏珍閣到底是什么？通过

racism. It focuses on the late 19th and early 20th centuries, when Europe’s

系列震撼人心的作品将会揭晓答案。展覽回顧了19世紀末

artist Brett Bailey, gazes into the hidden Curiosity Cabinets of European

powers scrambled for Africa’s rich resources, and the continent’s scientists formulated the pseudo-scientific racial theories that continue to warp perceptions, with horrific consequences.

南非藝術家布特·貝利（Brett Bailey）深入調查研究，这一 20世紀初那些令人毛骨悚然的慘劇，當时歐洲列強們爭先 恐後地瓜分非洲富饒的資源，科學家們更是編造出偽科學 的種族理論來扭曲事实。

Drawing on the ‘human zoos’ and ethnographic displays so popular

正因為當時對於“人類動物園”和人種學的關注盛況空前，

asylum-seekers in display cases, unpacking the histories, and turning the

內陳列，揭露歷史傷疤，把矛頭轉向當年那些帝國列強。

during this period, this site-specific exhibit places Africans and African gaze back on Europeans.

Images from past productions of Brett Bailey’s Exhibit B – a human installation that seeks to subvert the disturbing nineteenth and twentieth-century human zoo phenomenon. Photo credit: Sophie Knijff

人表演者為主導的13件場景裝置作品嚴肅審視了關於種族

貝利採用類似的形式——把非洲人和非洲庇護者置於裝置

Images from past productions of Brett Bailey’s Exhibit B – a human installation that seeks to subvert the disturbing nineteenth and twentieth-century human zoo phenomenon. Photo credit: Sophie Knijffz

performance art they’re about to see contains nudity. It

somewhat misses the point: this is a show that confronts slavery, colonialism and present-day racism by placing black actors in several tableaux vivants (living pictures). Nudity is hardly the most pressing issue the piece forces us to address.

Exhibit B has been compared to the nineteenth-century

practice of displaying black people in zoos for European

展覽的入口處有標示告知本次行為藝術包含裸露的人體。這

似乎多少有些避重就輕的意味：因為這是通過場景裝置中的 黑人展示來表達奴隸制、殖民主義和當代種族歧視的各種問 題，裸體幾乎不是最迫切需要關注的話題。

拿《展品B》和19世紀在動物園展示黑人的做法相比較，貝利 解釋說《展品B》的核心就是關於“物化”： “‘人類動物園’ 這個話題引發了我的興趣，它是人類被物化的一種方式。一旦 把人類物化了，你會對它們做出難以想像的可怕行為。”

audiences. The artist behind the show, Brett Bailey, has

《展覽B》在倫敦一經推出就引起了極大的爭議。倫敦巴比肯

interests me about human zoos is the way people were

人 簽 署了一 份 聲明要求其 終止 展 覽計 劃 。因 為展 覽内容涉

explained Exhibit B as being about objectification:‘What

objectified. Once you objectify people, you can do the most terrible things to them.’

It is a provocative work, the Barbican in London plans to

show Exhibit B at the end of September, however, 12,801

people have signed a statement calling for it to be withdrawn.

The petitioners describe the Barbican’s involvement as ‘an

outrageous act of complicit racism’，because the show is an ‘exercise in white racial privilege’.

Tips

小貼示

展覽場地：Barbican Centre 巴比肯藝 術中心 展覽時間：23.09.2014-27.09.2014

更多信息：w w w.barbican.org.uk/theatre

藝術中心原定在今年九月底的展出計劃，意外的是共計12801 及“白色人種特權下的活动”，請願者甚至把巴比肯藝術中心 此次的參與行為称为“共謀種族歧視的荒唐之舉”。

mages from past productions of Brett Bailey’s Exhibit B – a human installation that seeks to subvert the disturbing nineteenth and twentieth-century human zoo phenomenon. Photo credit: Sophie Knijff

The entrance to Exhibit B is a sign warning audiences the

Mr Burns 05/06-26/07/2014, Almeida Theatre

A Streetcar Named Desire 23/07-19/09/2014, Young Vic Theatre

Tao Dance 06/06-07/06/2014, 20/10-21/10/2014, Sadler’s Wells

Sequence 8 by the 7 Fingers 16/09-04/10/2014,

The Peacock Theatre

John

by DV8 Physical Theatre 30/10/2014-13/01/2015, National Theatre

Vertical Influences

Care

by Le Patin Libre

by Tangled Feet

28/10-31/10/2014,

Alexandra Palace Ice Rink

Shakespeare in Love 01/09/2014-15/01/2015, Noel Coward Theatre

Dead Dog in a Suitcase (and other love songs)

by Kneehigh 21/06-12/07/2014, Everyman, Liverppol; 30/08-28/09/2014,

Kneehigh Asylum, Cornwall;

08/10-26/10/2014, Bristol Old Vic

30/01-01-02/2014, ARC

Bianco ŠRichard Davenport

VISUAL FEST 視覺盛宴

TEXT BY 撰文 X JOANNA DONG 董一燃 TRANSLATED BY 翻譯 X LI BOWEN 李博文

The physical existence of theatre proves the importance of

劇場的存在本身就體現了戲劇視覺性的重要。在文本所轉 換 成的林

from the text, the verbal is always the first that one can think

而，有誰能夠否定，精心設計的肢體 動作和戲 劇環境也都 在 默 默 地

visuality in theatre. In the numerous languages transformed of; however, undeniably, the carefully choreographed body

movements and the meticulously crafted environments on stage also reads and writes the text at the same time. Occasionally,

these wordless languages even leave the deepest impressions, and call for constant re-staging in a spectator’s mind. For this

issue, we have carefully selected a number of remarkable theatre

闡述 著對於文本的詮 釋。甚至有時候，這 些無聲的語言成 為對於一 個作品最為深刻的記憶和最值得反復琢磨的精彩。在本期戲劇藝 術

的專題中，我們 精心 挑 選了最 具特 色的藝 術團體和作品、捕 捉 到了 那些一定程 度 上曾經改寫了舞臺 歷史的重要事件，以 及 最讓 我們心 動的、那些故事背後的人們。

companies and works, captured significant events that have

有 關 馬 戲 的 記 憶 還 停 留 在 文學 作 品 裡 的 流 動 大 帳 篷，搗 亂 的 小 醜

most memorable figures, protagonists in fascinating stories.

是 異常 強 壯 或 是 別 樣 柔 韌 的 身 體 。然 而 在 不 經 意 之 間，舞 臺 上 的

changed the stage forever, and wish to introduce to our readers

For many, the circus as a form of entertainment and a cultural phenomenon exists in literature, moves its tents from place to place, includes naughty clowns, tamed tigers and lions, flying men, or awe-inspiring body of extreme strength or

softness. However, in fact, the contemporary circus on stage has already equipped itself with a more sensitive expression. NoFit

和 馴 化 的 獅 虎 ，以 及 蕩 來 蕩 去 的 空 中 飛 人 ，或 者 是 讓 人 驚 嘆 的 或

馬 戲 作 品 早已 有 了 更 為 敏 感 的 表 達 。來自英 國 威 爾 士 的“ 別 扭 馬 戲” （NoFit State Circus）正是一個極具突破性的當代馬戲團體，

他 們 的 作 品 創 新 而 勇 敢 。在 這 些 作 品 之後 ，會是 怎 樣 的 一 個 傳 奇

的團體呢？倫敦的圓屋 劇場（Roundhous e）也正因為場地的特別 而 成 為了一 個 演 出 新馬 戲 作 品 的 難 得之 選 ，作 為 倫 敦 國 際 馬 戲 節 (CircusFest)的主場地，它又是如何目睹著新馬戲的發展呢？

State Circus from Welsh, UK is one contemporary circus that

當普 通的一塊 紙板在木偶藝 術家手中被 賦予了生命，舞臺也正成 為

What makes it legendary? The famed venue Roundhouse in

一般單調。倫敦木偶中心（Puppet Centre）在2014年迎來了它40歲

breakthroughs traditions with innovative and daring productions.

London, due to the nature of the space, becomes recently a

perfect venue for new circus productions. As one major venue of the CircusFest, how will new circus evolve in the Roundhouse?

Once an ordinary cardboard is animated in the hand of puppet

master, the stage becomes the world of the puppets. The puppet is translated into Chinese as “木偶”, literally “wooden idol”, but the world of the puppet is far more exciting than just wood.

Le Patin Libre

林總總的語言裡面，我們總是第一 個想起傳統意義上的“ 說話”，然

了那些木偶們的世界。習慣中被稱為木偶，偶的世界卻遠非“木頭”

的生日。在 這個生日派 對上，我 們 遭 遇了那些 敏 感的生命 和 他 們 細 心呵護的故事。獨具突破性的木偶劇團盲頂（Blind Summit）劇團 曾經兩度造訪中國。擁有獨特的“英倫範兒”，盲頂把偶們解救出了

瘋狂的兒童觀 眾，在 成 年人的世界 裡 放 蕩 不羈 。我們還 探訪了有著 英國木偶之家美稱的小天使劇院（Little Angel Theatre），在那方 簡陋的屋檐下，有著古靈精怪的故事。

還有那些會講故事的身體。DV8從來都是個擲地有聲的名字，那些獨

The London Puppet Centre celebrated its 40th anniversary in

2014. In this birthday party, we encountered fragile but beautiful creatures, and stories of care and passion. The puppet company

of breakthrough, Blind Summit, has visited China twice – with its

unique Brit-style, the Blind Summit liberates the puppets from the world of the adolescents and unleashes them into the that of the

grown-ups. We also visited the Little Angel Theatre, “the home of

the British puppet”. Under the humble roof of the theatre it offers Little Angel Theatre

strange narrations.

And those bodies that tell stories. DV8 has always been a

powerful name. The unique expressions grant DV8 its position

and influence. They create patiently and progress discreetly, and later meet the audience with a remarkable sense of polished

progression, and undeniable rigor. Others – Complicite, Theatre O, and Kneehigh – all favor physical narrations and stand out in

their own rights. They all create marvelous stories in the world of physical theatre.

The Drowned Man that has recently finished was a myth created by the Punchdrunk by the London Paddington Station. From nothing to being, then to nothing again, it was all a dream

特的表達奠定了他們在舞臺上的地位和影響，他們的創作節奏緩慢、

audience are docilely seated, spectators in this theatrical space

容質疑的嚴謹。無論是同夥劇團（Complicite）, O劇團（Theatre O）

meticulously constructed. Unlike traditional theatre in which all were granted with freedom to act. This brings theatre back to

the relationship between the two most fundamental elements: the actor and the audience, and encourages participation and

過程神秘，這些在最 終呈現 給觀 眾的時候都有著磨礪的過程感和不

還是虹彩（Kneehigh），雖然都偏重肢體敘事，卻有著各自不同的特 色，在肢體劇場的世界裡講述著彼此的故事。

intermingling. Another company known for presenting immersive

剛剛謝幕的《淹沒者（The Drowned Man）》是暈眩劇團（Punchdrunk）

Patin Libre is also fascinated about environment, and dances in

空堆砌起來的一個夢境。不同于傳統的座位式劇場，在這個劇場空間觀

theatre, shunt, utilizes environment in a more relaxed fashion. La rink with flame-like passion and ice-like brightness.

With the development of new technologies inspiring many

artists, moving images blowouts in the theatre. In this context,

it is not difficult to tell delicate and enlightening compositions from careless and rough productions. 59 Productions stands

在倫敦帕丁頓火車站創造的一個神話。從無到有，再到沒有，一切都是憑

眾們有了更多的自由和更大的主動權。這讓戲劇重新回到了觀眾與演員 這兩個最為原始的因素，那些獨具匠心的安排又帶來了前所未有的參與

感；同樣以環境劇場著稱的尚特劇團（shunt），對於環境的運用卻有著更

為輕松的態度。而自由冰舞劇團（Le Patin Libre）同樣對於環境有著特殊 的迷戀，這場在冰場上的舞蹈有著火一般的熱情和冰晶一般的閃亮。

out as a team that is marked by its insistence and the quality of

當新科技 給藝 術家提供了更多樣的靈感來源的時候，劇場中的影像

top British art and theatre organizations. How do they view the

是精心而靈動的創作往往並不難分出高下。59制作公司就是這樣一

its production. They have already collaborated with almost all

development of visual theatre? As I am writing, female director

Katie Mitchel, known for her multimedia productions, is presenting

two productions in the theatre of London. How can one narrate dry scientific facts and stage the traditional text of Chekhov through multimedia means – these all call for excited anticipations.

This issue includes works, companies, theatre festivals

如井噴一樣 滿 布。但 正 是在 這樣 一種 環 境下，隨 意而粗糙的堆砌或 個有 著自己的堅 持 和精良制 作的藝 術團隊 。在他 們的履 歷 上，幾 乎 囊括了與英國所有一線藝 術機構的合作。他們又 是如何看待 視 覺劇

場的發展？就在此時，倫敦的劇場裡，以多媒體劇場著稱的女導演凱

蒂·米切爾（Katie Mitchel）的兩部作品同時在上映。如何利用多媒 體技術創新性地闡述枯燥的科學事實和傳統的契訶夫 劇本，都有太 多值得期待。

emphasizing on the visual aspect of the theatre, and offers

本 期特刊囊 括了這 些強調 劇場 視 覺 性的作品、藝 術團體、藝 術節以

visual, or inspire wordless excitements.

盛宴，或是一場無聲的歡騰。

background information. We hope it can present a feast of the

及相關的背景信息。希望這些能為讀者們呈現一場躍然 紙上的視覺

THE WORLD IS OUR OYSTER

藝海拾貝

TEXT BY 撰文 X HONOUR BAYES TRANSLATED BY 翻譯 X LI BOWEN 李博文

“I think in British theatre there’s been an ongoing problem of what to call things that aren’t plays because it doesn’t seem to be enough to just call it theatre. So there’s been a steady trickle of names; alternative theatre, physical theatre, experimental theatre but none have

actually been right. But the visual theatre tag points to that very explicit challenge to literary theatre, to the idea that meaning in drama or in theatre is primarily carried by words, and that came in the 1970s and 1980s.” ─Tim Etchells, Co-Artistic Director of Forced Entertainment.

----

“我認為，在英國戲劇行業內，有個存在了很長時間的問題：我們不知道要如何去討論那些不是話劇（Play）的作品，因為稱那些作品為劇場 作品（Theatre）是遠遠不夠的。因此我們使用了一系列名稱： “另類劇場（Alternative Theatre）”、 “肢體劇場（Physical Theatre）”、 “實 驗劇場（Experimental Theatre）”等，其實沒有一個是對的。但產生於1970或80年代的“視覺劇場（Visual Theatre）”一詞直接指向了對 “文本劇場（Literar y Theatre）”的挑戰，挑戰了認為戲劇或劇場意義主要存在於語言中的概念。” ─蒂姆·艾秋斯（Tim Etchells），富斯德娛樂公司（Forced Entertainment）藝術總監

The British theatrical tradition is a famously literary one. From

英國劇場藝術傳統的文本特性舉世聞名。自莎士比亞至約翰·奧斯本

the In-Yer-Face generation playwrights have ruled the roost. But

有 著 最高的權 力。但在 過去的四十年內，英 國見證了一 個 企 圖 推 翻

Shakespeare through to John Osborne and then the writers of

for the last 40 years a revolution has been bubbling up against the tyranny of text.

From the 1970s companies have begun to experiment with a

more physical form of theatre. They wanted to get away from the restraints of realistic and naturalistic drama and create

an energetic visual style that combined strong design with choreography and physical imagery.

Some companies and artists took inspiration from the world of fine art. Geraldine Pilgrim and Janet Goddard from company

Hesitate and Demonstrate believed in the principle of creating

（John Osborne），再到“直面戲劇”一代的眾編劇——劇本創作者 文本暴政的革命。

從1970年代開始，英國戲劇團體開始實驗一種更加偏重肢體表現的

戲 劇形式 。他們希望逃 脫 現實主義或自然主義 戲 劇的控 制，融合舞 臺設計，編舞以及肢體圖像等元素創造一種充滿力量的視覺風格。

一些戲劇團體及藝 術家開始從純藝 術中尋求靈感。躊躇與展現劇團 （Hesitate and Demonstrate）的杰拉爾丁·皮爾格蘭（Geraldine

Pilgrim）與珍妮特·戈達德（Janet Goddard）堅持創造這樣一種藝

術 作 品：這作 品 不能 通 過 畫 廊 等 商業 機構 售賣，強 調 現 場 性、當下 的時刻以及非物質性。兩位藝 術家探索了高度視覺化表演風格和美 學；她們創作的作品中的主角總是女性。

work that could not be sold in galleries, that was live, of the

受到菲 利普·格里（Philippe

visual style of performance where the central protagonists were

了他 們 的風 格，重新 演 繹了經 典 戲 劇文 本，並與 編 劇合 作 創作了新

moment and ephemeral. They explored the aesthetic of a highly always female.

Gaulier）及雅克·勒考克（Jacque s

L e co q ）等大 師 影 響，包 括 同 夥劇 團（C o m p li c i te）的 各 團體 發展 的作品 。

Meanwhile influenced by the work of Philippe Gaulier and

在 1 9 8 0以 及 9 0 年代，福 斯德 等劇 團嘗 試 創 造 一種 劇 場 形式，以 反

their style to the reworking of classic texts and created new work

（Some Confusions in the Law）》及《關於愛情（About Love）》

Jacques Lecoq, companies such as Theatre de Complicite applied in collaboration with writers.

In the 1980s and 1990s companies like Forced Entertainment sought to create a theatre reflecting the collision of styles

and bombardment of imagery that pervaded the late 20th

century. ‘Some Confusions in the Law’ and ‘About Love’ gave

映 2 0 世 紀 末各 藝 術風 格 的 碰 撞以 及 圖 像 的 轟 炸 。《 法 律 中 的 困 惑 等作品也表達了對於後撒切爾時代暗淡圖景的意見。另一方面，康沃

爾的虹 彩劇團（Kneehigh）也在這個時期開始 發展 其獨特的、富有

趣味的無政府主義式小醜表演，並以《瑟堡的雨傘（The Umbrellas of Cherbourg）》及《相見恨晚（Brief Encounter）》等劇目而廣受 觀眾歡迎。

expression to a bleak post-Thatcher landscape. On the other

在19 9 0 年代，包括火山劇團（Volc ano）及 瘋狂 大 會劇團（Fr ant ic

to develop and hone their playful style of anarchic clowning

本，發展出了一種 獨 特 的風 格。包 括 D V 8 在內的團體 也 致 力 於 發展

end of the spectrum Cornish theatre company Kneehigh began that would go on to enchanting audiences in shows like The

Umbrellas of Cherbourg and Brief Encounter.

A ssembly）在內的眾多新興實驗團體融合了肢體劇場、編舞以及文

舞蹈與劇場藝術的跨界融合。DV8的創作也與傳奇編舞家皮娜·鮑什 （Pina Bausch）的作品相似。

In the 1990s young experimental companies such as Volcano

and Frantic Assembly developed a unique style, fusing physical theatre, choreography and text. The cross-over between dance and theatre was also explored by dance companies such as

DV8 whose work bears resemblance to that of choreographer Pina Bausch.

Companies also began to combine other visual media into their theatrical practice. Today Forkbeard Fantasy explores the comic dynamic between film and live performance, allowing actors

Complicite’s work has become much more multi-media based as artists try to represent our increasingly digital world.

Looking back over the 20th century these developments are not completely new - in the 1960s Peter Brook had become

interested in a more physical and visual theatre. He had been

inspired by Japanese Noh theatre and influenced by the work

of Adrienne Mnouchkine’s Theatre du Soleil in Paris. In London improvisational fringe theatre company People Show were

experimenting with visually structured shows, establishing a risker and more dangerous relationship with the audience based on impulse and direct imagery.

While even earlier international innovators in this area included Bauhaus, Dadaist and surrealist performers, choreographer

Rudolf Laban and directors Meyerhold and Jerzy Grotowski and Richard Schechozer.

Made In China - Gym Party credit MIC

to merge, apparently seamlessly, from real life into film, while

A cohesive relationship between traditional and visual theatre

seemed at one point to be impossible, with this work originally perceived with great suspicion. “The battle in the 1980s and

1990s came in the constant form of conversations that began ‘is

this really theatre?’ and ‘is this really acting?’,” Etchells explains. In order to make space for the visual, the idea that text had to be destroyed in its entirety was prevalent.

Interestingly there is still a space for this sort of narrative free

work, with companies such as Punchdrunk creating immersive The Thrill of it all, Hugo Glendinning

performances that utterly eschew any idea of story.

However for other companies the relationship is much more

holistic; text may still be the starting point for many British theatre makers but there is now an implicit understanding that making

theatre involves many other aesthetical considerations too. The playing floor is wide open now to include imagery, movement, sound, music, mime, dance and art, as well as words.

One of the most exciting new companies working in London at the moment, Made In China, is run by playwright Tim Cowbury and performance artist Jessica Latowicki, who create work

that fuses together myriad theatrical techniques to try to find

meaning in a multi-faceted world. Meanwhile companies such as 1927 are delighting audiences with their unique brand of gothic

animation, while the London Mime Festival continues to push the boundaries of what visually based theatre can be.

For Etchells the main outcome of the visual theatre revolution was the freedom to avoid categorisation in a British theatre

ecology slavishly beholden to labels. He is now interested in

working within a space that subverts language from within its own constructs. “In order to challenge language and ways of

各個劇團也開始了在 劇場實踐中使 用其他視 覺 媒介。弗可比爾德幻

into working with language itself,” he explains. “Our challenge to

味能量，並為演員在現實與電影之間的流暢穿越提供了可能。另一方

thinking about language [Forced Entertainment] began to move the primacy of language means we are now trying to challenge language on it’s own terms.”

想劇團（Forkbeard Fantasy）探索了電影藝術與現場表演之間的趣 面，出於真實反映我們日漸虛擬的世界的願望，同夥劇團的創作則越 來越多地依賴多媒體進行表演。

He thinks that these developments arose through the battles

回顧20世紀，以上提及的實踐發展並不是前所未聞的——早在1960年

playwright is utmost, but the general sense of what theatre might

性的劇場藝 術充滿興趣。他深受日本能劇以及阿德里安娜·莫努希金

of the late 20th century. “In Britain I still feel the power of the be has expanded considerably. That’s to do with these ideas

bleeding into the mainstream, and with ourselves and other artist getting recognition for what we do. Things have come along in a

good way. Back then ground was gained and doors were opened and to a certain extent they’ve been held open.”

As we go into 2015 the terrain of British theatre is a much more

vivid landscape than it used to be. It is now expected that a show will have a certain visual element to it - whether that be through

代彼得·布魯克（Peter Brook）就對一種更加重視肢體表演以及視覺

（Adrienne Mnouchkine）於巴黎創立的法國太陽劇團（Theatre du Soleil）影響。在倫敦，即興小劇場劇團人民公演劇團（People Show）

積極地進行有著強烈視覺結構的表演，通過沖動行為和直接的圖像建 立了一種更加危險的劇場體驗關系。

國際範圍內，視覺劇場藝術實踐的先驅包括包豪斯、達達主義者、超

現實主義表演者，編舞家魯道夫·拉班（Rudolf Laban）、導演梅耶荷 德（Mayerhold）、耶日·格洛托夫斯基（Jerzy Grotowski）以及理查 德·謝喜納（Richard Schechozer）等。

傳統劇場藝 術與視 覺劇場的融洽關系似乎是不可能的，因為在最初 產生的時候，視覺劇場就飽受質疑。艾秋斯（Etchells）指出： “1980

以 及9 0年代劇場藝 術之間的鬥爭 往往開始於 這樣的問題： ‘這真的 是劇場藝術嗎？’及‘這真的是表演嗎？’”為了留出空間給視覺性以 發展自身， “文本必須死”曾被視作是視覺劇場的第一要務。

有趣的是，現在仍有戲 劇團體 致 力於創作完全不含 敘事性的作品 。

暈眩劇團（Punchdrunk）的浸入式戲劇表演完全避免了有關敘事的 任何概念。然而，對於其他戲劇團體來說，眾元素之間的關系是密不

可分的：對於 部分英 國 戲 劇 從 業 者來 說，文 本可能 仍然 是 每 一次 創 作的起 始點，但 人們已經認識到，其他 美學考慮 對於戲 劇 創作 來 說

同樣 重 要。當下的劇場包羅萬象—— 圖像、肢體 運 動、聲音藝 術、音 樂、默劇、舞蹈、藝術以及文字等都在戲劇舞臺上有著一席之地。

在倫 敦 ，近 年 來 最 有 趣 的 戲 劇 團 體 包 括 由 編 劇 蒂 姆·寇 布 瑞（ T i m Cowbur y）以及表演藝術家傑西卡·拉托維奇（Jessica Latowikci） 共同建立的中國製造劇團（Made in China）。他們的作品融合了多

種 戲劇手法，嘗試在一 個多元世界尋找意義 。1927等團體通 過獨特 的哥特式動畫受到了觀 眾的歡迎，而倫敦 默 劇節則持續地擴 展著視 覺劇場的意義。

對 於艾 秋 斯來 說，視 覺 劇 場 革命 的主 要 成 果 是不 被 他 人 分 類 及 定

義 的自由 —— 英 國 劇 場 生 態 總 體 傾 向 於為 作 品 及 團 體 貼 上各 種 標

簽。艾秋 斯希望在一 個以 其內部構成 顛覆語言系統的空間內進行創

作。 “為了挑 戰語言以及關於語言的思考方式，我們開始在語言之中 進行創作，”他解釋道。 “我們對於語言首要性的挑 戰意味著我們現 在要以語言本身來挑戰語言。”

他認為這些 發展 是 通 過 20世紀晚期的鬥爭發展開來的。 “在英國，

我仍然能夠感覺到編劇至高無上的權力，然而有關劇場的一般理 念

the design, multi-media or movement work. This expectation

has moved into much of the new writing being produced now, with play texts reflecting these new aspects, either in heavily

已經得到了很 大的發展。這 是因為挑 戰性的理 念成 功進 入了主流 戲

劇世界，我們以 及 其他 類 似的藝 術家得到了認可。狀 況已經 越 來 越 好。我們爭取到了領地，打開了牢籠。”

descriptive design stage directions or, alternatively, through a

我們已經 進 入了新的時期，英國劇場藝 術的圖景已比過去更 加多姿

most visual imaginations to fly.

待 —— 這 視 覺 元 素可以 是 設計、多媒體 或 是 肢體 運 動 。這 種 期 待 進

complete absence of them, leaving the floor wide open for the

Looking back over this rich history of visual theatre Etchells believes that “the questions that drive all these shows are

similar. They’re about ‘what is meaning?’, ‘what is narrative?’,

‘what is language?’, ‘how can we explain and describe the space

多彩。觀 眾 對於一場劇場演出的期待已經包括了對於視 覺元素的期 而被 轉入了當下的新寫作之中，戲 劇文 本之中已經 對 這 些改 變 做出 了反 應 。文 本中或包 括了大 量的關 於 舞臺設計的 指 導，或 完 全 沒有

這 些 —— 通 過 把 權 力完全 轉交 給其他 藝 術家，讓 視 覺 想像力自由地 飛翔。

we’re living in, the culture that we’re living in with all the means

回 顧 這 段 豐富 的 歷 史 ，艾 秋 斯 相 信“ 推 動 這 些 表 演 的 問 題 是 類 似

and grins. “People don’t live in a particular genre anymore.” The

夠 通 過 各 種 方 式 解 釋 並 描 述 我 們 生 活 於其 中 的 空 間，我 們 生 活 於

at our disposal?’, with whatever we can grab hold of,” he stops world, both texturally and visually is quite literally our oyster – how exciting to imagine what in the next 40 years that oyster will look like.

的： ‘什麽是意義？’ ‘什麽是敘事？’ ‘什麽是語言 ？’ ‘我們如何能 其中的文化 ？’”。 “以任 何我們能夠使 用的方式，”他停下來，笑了 笑， “人們不再生活在一 個特定的藝 術門類之中。”如英國諺語常說

的一 般，文字的或視 覺的世界 都是我們的牡 蠣 —— 想像 這個 牡 蠣 在 接下來的40年內的變化，真是一件讓人興奮的事情。

Bianco ©Richard Davenport

CONTEMPORARY CIRCUS: PHYSICAL SURPRISE

當代馬戲：身體的驚喜

TEXT BY 撰文 X JOANNA DONG 董一燃 TRANSLATED BY 翻譯 X CHEN TING 陳婷

Contemporary circus, or Cirque Nouveau, is a term coined mostly to differentiate itself from traditional circus. Yet

the difference is not in the innovation of skills. Compared

with stunning fallen rose pedals scattered on it, an epitome of deceased love.

to traditional circus which is a form of entertainment,

There are several theatre in London have the reputation of

Today, amid the constant convergence trends in theatre, the

two of them here for our readers to have a taste of how they

contemporary circus strives for greater artistic achievement.

skills and body languages of performers also became a source of creative inspiration. Meanwhile, the growing influence

of literature and added dimensions of the theatrical space offered unprecedented artistic possibilities as well.

Contemporary circus in Britain, though not necessarily worldleading, is steeped in history and blessed with favorable

environment which stimulated its sound development in

the past few decades. British contemporary circus excels in

staging contemporary circus shows. We have been brought amaze their audience.

“當代馬戲”，又稱“新馬戲”，往往是針對傳統馬戲而言的。這

種“新”，不 強調技藝的創新，而是強調其區別於 純 粹娛 樂 性質 的傳統馬戲，在藝術上有著更多更深入的追求。在戲劇藝術不斷

跨界和融 合的 今 天，馬戲 演 員特 殊 的技能 和多樣 的身體語言無

不為戲劇創作 者帶來豐富的靈感。同時，逐漸融 入的文學性、整 體呈現的舞臺化也給了新馬戲前所未有的藝術可能性。

exquisiteness as it borrows heavily from dramaturgy while

英國的新馬戲在世界範圍內並不算特別領先，然而由於其深厚的

Gandini Juggling is a fascinating British contemporary circus

有著非常穩健的發展。同時，善於從戲劇制作角度出發去發揮藝

maximizing artists’ physical features. Founded in 1992,

company specialized in juggling, yet the combination of

circus and modern dance has added a sense of elegance to

their performance. Their most famous work SMASHED draws inspirations from the works of contemporary dance artist

Pina Bausch. Using nostalgic, cinematic settings, SMASHED

transformed the amusing act of juggling into a graceful and

sophisticated performance without affecting the rhythm and flow of the entire show. Behind the effortless grace is the

performers’ tremendous confidence and meticulousness, a

true reflection of the theme – intense emotions of love and

jealousy disguised by the calm and relaxing surroundings of

戲 劇 傳 統 和良 好的戲 劇環 境，英國的新馬戲 在 過去的幾十年中

術家的身體特色，使得英國當代馬戲精致考究的特點鮮明易見。 成立於1992年的“甘迪尼雜耍（Gandini Juggling）”就是非常

有特色的一 個英國新馬戲團體，專註於雜耍技巧（Jug gling ），

由於其融入了當代舞蹈的元素，讓他們的作品更顯得優雅別致。 劇團的代表作品《砸碎（SMASHED）》靈感來源自舞蹈劇場大師 皮娜.鮑什的舞蹈作品。通過懷舊的、電影化的場景，作品將傳統

意義 上 娛 樂色 彩 濃 重的雜耍演 繹 得 優雅和深沉；但 是 這 並不妨

礙整個作品的輕盈流暢，那種極度的自信融入在整個作品中，一 切表面上的不經意實則極為嚴謹，這些正如該作品的主題一般， 波瀾不驚的下午茶背後泛濫著愛的濃烈和得失的嫉妒。

afternoon tea.

於此同時，位於卡迪夫的當代馬戲劇團別扭馬戲（NoFit State）

In contrast, contemporary circus troupe NoFit State in Cardiff

《白色（Bianco）》攜帶其獨創的巨大帳篷屢屢在邊緣藝術節亮

has brought the entertaining side of traditional circus to

pure perfection. NoFit State’s work Bianco and their unique

Big Top have been seen repeatedly at the Fringe Festival, leaving the audience with an overwhelming impression.

Bianco is an absolute visual feast – the entire observing

experience could be described as being transported between heaven and hell by the Angel and the Devil: performers

demonstrating up close the beauty of human physique and

sexual attractiveness; dramatic stunts on the pure white truss as an embodiment of the kind of youth sentiment Romeo

則是 將傳 統 馬戲 的娛 樂 性開 發到了另一 個 極 致。該團體的作品 相，成 為令諸多觀 眾難以忘卻的記憶。這是一場視覺的盛宴，整 個觀演的經歷仿佛被天使與魔鬼輕牽著手往來于天堂與地獄。

演 員們完 美的肌肉線條 勾勒出整 個 演出的 性 感氣 質，一切 都發 生在身邊。那些純白而質樸的網格上面，攀爬著羅密歐與朱麗葉

式熱烈的少年情懷；而晶瑩的水晶球卻沉靜了一切的躁烈，吟唱 著如水的柔情；最震撼的一幕緊緊地扣住主題，在場地的正中，

女 演 員被 緩 緩 升起 到高空，隨 之 展現的是 她身著的長 達 幾十米 的白色長 裙 。稀 疏 散 落 的 玫 瑰 花 瓣，在 裙 子上 刺目而 淩 亂 地 勾 勒，這難道就是有關愛情的葬禮。

and Juliet once had; crystal ball as the symbol of tenderness

在倫 敦 ，有一 些 劇 場 是以 上 演 馬 戲 作 品而 文 明 的，今 天 我 們 就

builds up to its climax as the female artist was being raised

Roundhouse）來體 驗 他 們是 如何為觀 眾們帶來歎為觀 止的作

and serenity against the sweeping turbulence. The show

up in midair, slowly unveiling her 10-meter-long white gown

來 給 大家介 紹其中的一家─ ─ 位 於 倫敦 北部的圓 屋 劇場（The 品的。

A BRIEF INTRODUCTION OF CONTEMPORARY CIRCUS

當代馬戲簡史

TEXT BY 編輯整理 X STRUAN ROBINSON REFERENCE 資料來源 X JOHN ELLINGSWORTH TRANSLATED BY 翻譯 X CHEN TING 陳婷

For most people the word ‘circus’ will usually call to mind classical

一提到“馬戲團”，多數人就會想起紅黃相間的馬戲蓬、動物表演、

clowns and long chains of wagons and trailers - whilst circus

如今的馬戲團早已面目一新，與之前截然不同。首先，當代馬戲公司

images of red and yellow tents, performing animals, painted

may have indeed looked like that at one point in its history, its

image has since changed. The circus of today looks very different.

Contemporary circus companies have altogether abandoned

the tent for site-specific performance spaces; acts which would

白面的小醜以及長長的大篷車 和拖車隊伍。但 這種場面已是歷史， 已摒棄了馬戲蓬，取而代之的是與場地緊密互動的“專場式”演出空

間。其次，三百多年前的表演形式不斷改變和替換，馬戲已實現了與 戲劇、音樂劇和藝術展的融合。

have appeared three hundred years ago have been improved or

理解現代馬戲，就需要研究馬戲的起源。馬戲在歷史上共有三次重要

musicals, and art exhibitions.

1968年至今（當代時期）。本文要講述的就是第三個階段：當代馬戲。

replaced, and the art form of circus itself has merged with theatre,

發展時期：1768年（古風時期）之前，1768至1968年（古典時期）以及

In order to understand circus as it appears in the modern-day,

古風時期的馬戲團被稱作“馬戲藝 術”，主要形式為雜耍、走繩索、

circus history there are three major developments: the period

常可見，例如古羅馬鬥獸場，觀 眾在入口處可以看到玩雜耍的人，在

we actually have to look back to its historical beginnings. Within before 1768 (the archaic era), the period from 1768 to 1968

(the classical era), and the period after 1968 - of which we are concerned with now - (the contemporary era).

The archaic era refers to the ‘circus arts’ - physical disciplines

雜 技、馴獸 和小 醜等肢體 類表演。此 類表演在最古老的文明國度時

座位 上空會有人 走 繩索，場地裡可以看到馴獸師。盡 管他 們 總在同 一地 點出現，但卻 都是 獨自表 演，並非 一 個 團體，缺 少合 作 與 凝 聚 力。直到176 8 年一 位 英國人的出現，才將這些單一的節目表演整合 成完整的演出。

like juggling, rope-walking, acrobatics, animal training and

這個人便是菲利普·艾特雷（Philip Astley）。他曾是一位擅長馬術和

most ancient societies, for example, at the Coliseum in Ancient

演。艾特雷並不是第一 個表演騎術的人，但卻最早開始將雜技、走繩

clowning. Traces of these ‘feats of activity’ can be found in

Rome, a spectator would have likely encountered jugglers at the entrances, rope-walkers above the seats, and animal-trainers in

the rings. Whilst these acrobats and jugglers would often perform

雜技的騎士，在倫敦建立了一所騎術學校，開始在馬戲篷進行馬術表

等其他技術融 入表演中，並 創造了在同一 個馬戲 蓬內上演一系列表 演節目的形式。他對顏色、戲服和裝飾的選擇成為了馬戲的標準，從 而建立起這種藝術形式的規範和準則。

in the same place, they were not working with each other. These

1986年，馬戲再次經歷演變。表演者開始對古典馬戲的標準和認知

cohesive spirit, until in 1768 when one man brought these once

術，傳遞有關社會、個人和政治等信息。馬戲表演者在被稱作是“新

disparate elements together.

產生質疑，希望用傳統馬戲的技術和方法，創造出“意義深遠”的藝 馬戲”的運動中探索更多可能性，當代馬戲正是由此運動演變而來。

That man was Philip Astley, a former British cavalier with a

傳統馬戲團表演場所通常是馬戲蓬內鋪滿鋸屑的圓形場，而當代馬

riding school in London and began staging equestrian shows

包括詹姆斯·提瑞（James Thierree），曾在隡德樂斯威爾斯劇院、東

talent for trick riding and equestrian acrobatics.He opened a

in a ring. Astley was not the first to put on riding displays, but

he was the first to incorporate other acts of skill into his show,

such as acrobats and tightrope walkers. He created the format of having a succession of acts under one Big Top roof, which would dominate the classical circus genre for two hundred

years. His choices of colour, costume, and decor would become synonymous with circus as an art form, establishing its artistic codes and boundaries.

戲早已突破馬戲蓬的限制，表演搬進了劇場劇院，同臺演出的藝術家 京藝 術劇場以及芬蘭國家歌 劇院 巡回演出。部分馬戲團開始嘗試 現 場交互表演（演出場地不是常規的劇場），比如無形馬戲團（Invisible Circus）就曾在布里斯托被遺棄的建築場地表演過，從破舊的奧迪修

車廠到警察局，最近一次是在一座廢棄的教堂裡。傳統的馬戲蓬並沒 有完全被取代，很多馬戲公司對其進行了改造。沖天飛人藝術團（Les Arts Sauts）是法國高空秋千和空中雜技的馬戲團體，他們根據節目

需要，設計了一系列獨特的帳篷，例如被稱作“泡影”的白色圓形頂還 有巨型錐狀場地，為他們表演驚人的空中雜技提供了空間。

However, in 1968, circus changed again when artists began to

不少馬戲公司既保留了艾特雷時代的節目，也增加了全新的技巧，如

wanted to experiment with the techniques and methods of the

《西城故事》的大致內容改 編而成的作品《iD》,就把 輪 滑和霹靂舞

question the codes and assumptions of the classical circus. They old circus in an attempt to make a more ‘meaningful’ art - one

capable of making social, personal or political statements. They

口技、霹靂舞和跑酷等。例如艾羅瓦茲馬戲團（Cirque Eloize）根據 融入了馬戲的敘述結構中，且並不顯得突兀，因為這些技術難度大、 專 業 要求高，可以 與傳 統高空秋千和雜 技相 提 並論 。由於馬戲 是現

At The Circus by Ottokar Walter

performers were separate entities, lacking collaborative and

Whilst many circus companies continue to perform acts which

would have been seen in Astley’s day, they’re also including new and different skills which would not of, such as beat-boxing,

breakdancing, and parkour. Cirque Eloize’s iD, a loose rework of

West Side Story, uses rollerblading and breakdancing as part of

the storytelling in their circus performance. It is unsurprising that these new skills do not feel out of place within circus as they are usually technically very difficult and highly specialised, much in

the same way that traditional trapeze work or acrobatics are. New directions have come particularly from the urban arts, as circus Noddles © Sean Purser

reflects the culture and expectations of the modern-day. Just as

Astley recognized that to keep his equestrian routines fresh and engaging he had to incorporate a variety of acts, contemporary circus has realised that in order to appeal to a contemporary audience they must do the same.

Circus has since fused and merged with other art forms; the

genre’s boundaries are entirely porous. It pops up in theatre, such as Peter Brooks’ famous 1970 interpretation of A Midsummer

Night’s Dream, where, among other circus flourishes, Puck

appeared on trapeze, as well as Cirque de Soleil’s pioneering

combination of circus skills with dramaturgy. Cirque Bonjour have incorporated puppetry and magic into their work and Northern

English troupe Skewed Circus have interrelated circus stunts with rap and hip-hop music in what they call ‘pop-circus’. looked at new possibilities within their art in a movement coined

Perhaps the most withstanding feature of contemporary circus

‘contemporary circus’.

new skills, environments, genres and most importantly audiences,

‘new circus’ or ‘nouveau cirque’, which later became known as

In traditional circus, the performance space would typically be

is its ability to adapt and improve. As it comes into contact with the art form will continue to develop and hold meaning.

a circular ring often covered in sawdust under a Big Top tent,

where as now contemporary performance venues are no longer confined to being under canvas. Today, circus is performed in

代文化與社會期望的寫照，新的馬戲表演都會從城市藝 術中汲取靈

having toured Saddler’s Wells, the Tokyo Metropolitan Theatre

給人耳目一新的感覺。當代馬戲亦是如此。

theatres and opera houses with artists such as James Thierree

and the Finnish National Opera. Some circus groups have also

感。正如當年艾特雷意識到表演只有融合不同元素，才能吸引觀眾，

started experimenting with site-responsive work (performances

馬戲 從 此 與其他 藝 術形態相互 結合交融，界限已不再明顯 。既可以

intended for theatrical use). The Invisible Circus, for example,have

如他1970年導演的莎翁名劇《仲夏夜之夢》，呈現了各種不同馬戲節

which take place in unconventional structures originally not

performed in abandoned spaces around Bristol, from an old Audi

garage, to a police station, and most recently: a derelict cathedral.

However, the tent has not disappeared entirely as a venue; many circus companies have updated the classical Big Top to fit their performance needs. Les Arts Sauts, a French flying trapeze and

aerial company, designed a series of unique tents to match their

像戲劇大師彼得·布魯克(Peter Brook)一樣將表演搬上劇場舞臺，

目，包括劇中人物帕克出現在空中秋千上的場景；也可以像太陽馬戲

團那樣 將馬戲技巧與戲劇故事相結合。類似的範例還有魔偶馬戲團 （Le Cirque Bonjour），他們加入了木偶戲和魔術的元素，以及來 自英國北部的偏斜馬戲團（Skewed Circus）則是將馬戲表演結合說 唱和嘻哈音樂，稱之為“流行馬戲”。

work; including a white dome referred to as ‘The Bubble’ and

不斷的演 變 和進 步可以說 是當代 馬戲 最 突出的特點 。隨著技術、場

mid-air stunts.

保持它的獨特意義。

an immense cone, giving them the scope to perform incredible

地、題材和觀 眾的變化，馬戲 這種藝 術形式也將 在未 來 繼 續 變革，

Bianco ŠRichard Davenport

NOFIT STATE

別扭馬戲團

TEXT BY 撰文 X AVA DAVIES TRANSLATED BY 翻譯 X CHEN TING 陳婷

NoFit State is a circus troupe like no other. Borne as a product

別扭 馬戲團（NoFit State）是 個獨一無二的當代馬戲團體。作為撒

surrounding them, they have been part of British culture for

今的 27年來，一直 是 英國文化的一 部分，也是 英國藝 術界 不可多 得

of Thatcherite Britain and a creative reaction to the recession twenty-seven years and are a valuable asset to the UK arts

institution. The company’s ethos is fascinating – a travelling troupe with a moveable tent, they live, work, tour and train

together, creating a sense of familial cohesion in their pursuit of ‘beautiful carnage and organised anarchy’ that their audiences want to become part of.

From their inception in 1986 NoFit State pushed boundaries.

They could be found juggling and busking at anti-Thatcher and anti-Apartheid demonstrations before finally deciding to set

up their own circus company that specialised in political satire

and was often shut down for being too controversial. While this air of zeitgeist political rebellion has faded somewhat, NoFit

State has maintained their sense of anarchic, mischievous fun.

Now, however, they choose to subvert expectations of circus performance: while traditional circus ideas are not discarded completely, the company see the term as having a looser

definition. They take inspiration from different art forms and

harness these in order to create shows that are more influenced

切 爾 時 代 的產 物，它們 創造 性 地反映了當時 社會的蕭條 。自成 立 至 的財富。別扭 馬戲 有 著 奇妙的理 念：他 們帶 著帳 篷四處 遊 歷，將生

活、工作 、巡 遊 和排 練 融 為一 體，在 追 求“優 美 的屠 殺 與有 秩 序 的 無政 府狀 態”中，吸引觀 眾參與其中，營造出一種家族凝 聚力。

別扭馬戲團從1986年誕生那一刻起就在打破規則，表演的場所都是 各種 反撒切 爾、反種 族隔離的抗 議活動現場。隨後 他 們成立了自己 的馬戲 團公司，專注 於政 治諷 刺作品，也時常因題材備受 爭 議而被

迫停演。儘管這種受時代 精神影響的政治反抗特色已經逐漸褪去，

但 是 別扭 馬戲 團仍會在 無政 府主義 和惡作劇中尋找 樂 趣 。如今，他 們選 擇去顛覆 人們對馬戲 團的印象：適當保留傳 統 馬戲 的理 念，在

此 基 礎 上 豐富馬 戲 的 內 容，從 其他 藝 術 形 式 中 汲取 靈 感 並 領 會 實

質，創造出深受現代 舞 蹈 和浸沒 戲 劇影 響的作品，而非只 是小丑和 馬戲 蓬的老調常談。別扭 馬戲團注 重觀 眾的參與，與太陽馬戲團截

然相反，觀眾不再是坐在台下遠遠欣賞，而是全情投入到表演中。別

扭 馬戲團的表演儘 管故事性很強（例如20 0 9年基於作家加夫列爾· 加西亞·瑪律克斯（Gabriel Garcia Marquez）作品《百年孤獨》而 創作的《Tabu》），但對失敗、愛情和性等根本主題大膽而真實的演 繹，才是他們真正過人之處。

by the mediums of modern dance and immersive theatre than

在 吸 收 傳 統 馬 戲 理 念 與 摒 棄 舊 習 之 間 ，別 扭 馬 戲 團 試 圖 尋 找 平

Cirque du Soleil, seeking to create work, which rather than simply

何一 個地方便 支 起帳篷表演，這種 巡遊的精神也是來自公眾對馬戲

cliched images of clowns and Big Tops. They are the opposite of allows their audiences to watch and admire from afar, directly

engages with the mind and soul. Though their productions do

have strong narratives, (Tabu, a 2009 show, took inspiration from Gabriel Garcia Marquez’s One Hundred Years of Solitude), NoFitState truly excel when they grapple with fundamental

themes like failure, love and sex which are explored with bracing honesty and courage.

The company strive to strike a balance between traditional

ideas of circus performance and the rejection of convention

衡。27年期間，他們漸漸重塑了對馬戲表演的定義。他們可以走到任

團演員生活最初的認知：旅途中的一群人，忽然出現在眼前，即而為

觀 眾 獻 上精彩的表演，然後 無聲息地離開。但 別扭 馬戲團也融 入了

現代視覺劇場的元素，利用現場音樂演奏和影像的形式將傳統與創 新 結合，依 託 原 創音樂 與 舞 蹈來傳遞情感，顛覆公眾 對馬戲 團的偏

見。作為巡遊團體，可以保持一定的靈活性和適應性，他們在國際舞

臺上的成 功 也證實了這一點 。過去五年內，別扭 馬戲團已在18個國 家為超過百萬的觀眾帶來了精彩演出。

別扭 馬戲 團最 新 作品《白色（Bianco）》便 是 他 們 核心價值 最 淋漓 盡 致的體現，也 驗 證了當代 馬戲團的地位 。他 們在 英國各地 巡 迴 演

Noddles © Sean Purser

Bianco ©Richard Davenport

Bianco ŠRichard Davenport

Open House © Andrew Billington

and preconception, and have been quietly reinventing the

past, suggesting a new vibrancy to the art form in their sprightly,

year tenure. Their touring ethos, embodied in the way in which

audience, weaving through the spectators as they make their

concept of circus performance throughout their twenty-seven they pitch a tent to perform in at whatever venue they come

to, arises from the classic image in the public consciousness of

circus life – a travelling community who turn up out of nowhere,

spontaneously call an audience, dazzle them, then leave without a trace. But NoFitState also combines elements of contemporary

energetic performers who get up close and personal with their way to the makeshift stage. ‘Bianco’ is a celebration of life and

this is something that the company can whole-heartedly say they embrace, combining death-defying stunts with stunning visual beauty and a real sense of visceral human toil.

visual theatre, utilising live music and film to create a show

Above all, what NoFitState strive to create is a sense of escapism:

preconceptions of circus by creating shows which express

what they look to produce. And so by creating visually arresting

which intertwines tradition and innovation, challenging public their emotional content through fusions of original music and

movement. Their position as a predominantly touring company allows a degree of flexibility and ability to evolve, something

that is reflected in their international success; they have visited eighteen different countries and played to over a quarter of a

that perennial, romantic image of running away to the circus is and thematically challenging works, which transport their

audiences to another world for a few hours, they are able to achieve their aims.

million people over the last five years.

出，並根據現場環境，對表演不斷進行改進，這正與《白色》傳遞的

‘Bianco’ is one of the latest shows by NoFitState which

隨意走 動，尋找 最 佳觀 賞位 置，這也 為現場增添了些無關主 題的生

exemplifies their core values and demonstrates the relevance of contemporary circus today. The show travels around the

country, evolving and developing in accordance to its temporary surroundings, an aspect of the performance, which gains

relevance as ‘Bianco’ deals with themes of change, time and

transience. As a promenade performance, the audience are

變化、時間和稍縱即逝的主題息息相關。由於是環境表演，觀眾可以 動和樂趣。《白色》擺脫了過去馬戲團一成不變的形象，讓充滿激情

的演員走進觀眾，穿越人群，走向臨時搭建的舞臺。他們以這樣的形 式，試圖為馬戲這種藝術注入全新的活力。這部作品歌頌生命，而這

正是別扭馬戲團所崇尚的。它在展現驚險特技與精彩 視覺效果的同 時，也蘊含著勞苦與生俱來、與身同在的主題。

encouraged to move around the ring in order to get the best

別扭 馬戲 最 終試圖實現的是一種 逃 避主義，一幅逃離現實、沉浸在

‘Bianco’ moves away from tired images of circuses in decades

中，穿梭了時空，別扭馬戲團因此也達到了目的。

vantage points, adding a sense of irreverent fun and liveliness.

馬 戲 團中的 浪 漫 畫 面 。觀 眾 也在 幾 個 兒 時 的 視 覺 衝 擊 和 心靈 震 撼

THE ROUNDHOUSE

圓屋劇場

INTERVIEWED BY 採訪 X JOANNA DONG 董一燃 EDITED BY 編輯整理 X STRUAN ROBINSON ＆ SARAH PETTITT TRANSLATED BY 翻譯 X CHEN TING 陳婷

Originally built in 1847 as a railway turntable engine shed,

位於倫敦喬克法姆的圓屋劇場落成於18 47年，當時還是一間火車站

London’s culture and arts than its railways. Its conversion from a

路運輸的發展，當時的車庫已無法繼 續 使 用，才 從 廢 棄的車庫徹 底

Chalkfarm’s Roundhouse is now better known for serving

disused locomotive house to a permanent cultural centre began 15 years after its completion, when progressions within the

railway industry meant that engines would no longer fit within

its walls. No longer fit for purpose, the venue passed hands until 1960 when English dramatist Arnold Wesker founded his own theatre, known as Centre 42, on the premises. In 1964, having

的扇形車庫，後 來 成 為當 地 的文化 藝 術場所。建 成1 5 年後，由於 鐵 轉變為文化中心。直到1960年，英國劇作家阿諾德·威斯克（Arnold

Wesker）接手這個已停用的場館，建立了名為42中心的劇場。196 4 年，威斯克籌集到足 夠資金（相當於 今天的530萬英 鎊），把劇場改

造成集 戲劇、影院、畫廊、圖書館、青年俱樂部、餐廳和舞廳為一體 的創意表演藝術中心。

gathered the sufficient funds (￡5.3 million in today’s money),

圓屋劇場 從此因其打破了藝 術的界限而一舉成名。上演的劇碼包括

space with its own theatre, cinema, art gallery, library, youth club,

劇作《暴風雨（Themes on the Tempest）》，以及吉尼斯世界紀錄

Wesker converted the building into an innovative performing arts restaurant and dance hall.

Since then, the Roundhouse has made a name for itself for

presenting boundary-breaking theatre, from critically acclaimed

director Peter Brook’s 1968 experimental work Themes on the Tempest to Ken Campbell’s 24 hour long play The Warp

which tells the story of central character Phil Masters - according to the Guinness Book of World Records, the longest play ever performed. Previous Roundhouse productions have even

caused controversy and made news items, most notably the

備受業界讚賞的戲劇導演彼得·布魯克（Peter Brook）1968年的前衛

中最長的戲劇-肯·坎貝爾（Ken C ampbell）長達24小時的作品《茶 經（The Warp）》, 故事圍繞主人公費爾·馬斯特斯（Phil Masters）

展開 。圓屋 劇場曾因其 劇碼引起爭議而成 為新聞話題，最出名的是

1970年演出的肯尼士·泰南（Kenneth Tynan）代表作《加爾哥答風 情畫（Oh! Calcutta!）》。劇中舞臺上演員全部赤身裸體，加上淫穢

色情的音樂 素描（ 其中一首為甲殼 蟲 樂隊主唱約翰·列儂 創作），以 至於被部分英國媒體稱為色情作品，引起軒然大波。然而，這部作品 卻因其藝 術價值和商業 成功而被搬上了西區劇院，在倫敦 戲劇最核 心的地段表演了整整四年。

1970 performances of Kenneth Tynan’s revue Oh! Calcutta,

圓 屋 劇 場 的 風 格 在 經 典 、前 衛 、備 受 爭 議 和 古 板 拘 謹 中 反 復 。

musical sketches (one of which was written by Beatles front

Shakespeare Company，簡稱RSC）建立了合作關係，並複製了RSC

in which all performers appear naked on stage and perform

man John Lennon) about lewd and sexual subjects. At the time, the production caused something of a scandal with the some

members of the British press calling it “pornography”, however,

the show proved to be both an artistic and commercial success

and went on to transfer to London’s theatrical hub: The West End where it ran for four years.

自 2 0 世 紀 9 0 年 代 起 ，圓 屋 劇 場 與 皇 家 莎 士 比 亞 劇 團（ R o y a l 在 斯 特 拉特 福 德 的新庭 院 劇 院，建 造了自己的“ 圓 屋 庭 院 ”劇 院，

演出了三季 R S C 的劇 作 。20 0 8 年，劇團前藝 術 總 監 邁 克 爾·博 伊德 （Michael Boyd）將作品《 歷史的輪迴（Histories Cycle）》搬上

了圓 屋 劇場的舞臺，受到觀 眾和評論界一致 好評。英 國《觀 察家 》 報稱之為“千載難逢的戲劇觀賞經歷”。

The Roundhouse has moved between the controversial and the

圓 屋 劇 場 外 觀 獨 特，呈圓 形 尖 頂，由黃磚 砌成，是 倫敦 最易辨 認 的

a partnership with theRoyal Shakespeare Company (RSC) since

年，該 劇場與全 歐 洲其他圓形劇場合 作，委 託世界 著名戲 劇導演羅

classical, experimental theatre and straight-laced. It has enjoyed the 1990s, having presented three seasons of the renowned

company’s work within the ‘Roundyard’ - a purpose built replica of the RSC’s Courtyard Theatre in Stratford-Upon-Avon. Former

artistic director, Michael Boyd, transferred his ‘Histories Cycle’ to

the venue in 2008, where it proved to be a hit among audiences and critics alike - the Observer calling it: “once-in-a-lifetime

劇場之一。劇場 也不斷利用其建 築 特色來襯托演出內容。例如2012

伯特·勒帕吉（Robert Lepage）為圓形劇場量身打造了360度全景新 劇。 《撲克牌第一部曲：黑桃（Playing Cards 1:SPADES）》於2013 年初首次亮相英國。《撲克牌》共分四部曲，每部圍繞撲克牌的一種

花色。首部曲《黑桃》以2003年美國入侵伊拉克的戰爭背景為主題， 場景設定在沙漠中的城市拉斯維加斯。

theatrical experience”.

圓 屋 劇 場的 演出並不只 是在 劇 場內部，有時 甚至會在 劇 場 地下。圓

Its distinctive circular shape, pointed roof, and yellow brick,

的陰暗面（The Dark Side of Love）》就是在劇場地下的多夫曼中心

have made the Roundhouse one of London’s most instantly recognizable theatrical venues. A recurring theme is to use the presenting house’s unique shape to reflect or enhance

the work it shows. In 2012, the Roundhouse joined forces with

屋 劇場聯合皇家莎士比亞 劇團，與倫敦國際 戲 劇節共同製作的《 愛 （Dor fman Hub）上演的。演員都是來自英國和巴西的青少年，以行 進 式 表演呈現了《哈姆雷特（Hamlet）》、 《 奧 賽羅（O thello）》及 《羅密歐與茱麗葉（Romeo and Juliet）》中的劇情，強烈而富有感 染力，把愛情刻畫成陷入地獄般的絕望，而非升上天堂般的喜悅。

The Roundhouse Main Space

the 360-degree network of round venues across Europe to

commission a major new work by world-renowned theatre-maker

Robert Lepage, specifically designed to be performed in the round.

Presented for the first time in the UK in early 2013, Playing Cards

1: SPADES was the first in a planned series of four plays, each shaped around one suit in a deck of cards. The first part, SPADES, explored the theme of war and was set in the desert city of Las Vegas at the onset of the US invasion of Iraq in 2003.

Work isn’t just displayed within the former railway building but actually below it as well. The same year the presenting house showed The Dark Side of Love, a co-production with LIFT

in association with the Royal Shakespeare Company, staged

in the intimate Dorfman Hub deep beneath the Roundhouse.

Featuring scenes from Hamlet, Othello and Romeo and

Juliet and performed in promenade by a cast of London and Brazilian teenagers, The Dark Side of Love was an intense and atmospheric experience where love represented not an ascent into heavenly bliss, but a descent into hellish despair.

The Roundhouse’s success is multi-faceted and has not just been confined to one media; it has attracted some of the biggest

names in music with performances by Elton John, the Rolling

Stones, Jimi Hendrix, and Led Zepplin throughout the punk rock era of the 1970’s. It has been the setting for music videos for

the likes of the Manic Street Preachers, Stereophonics, and the Lost Prophets and has played host to the iTunes Festival and

BBC Electric Proms; in 2010 it even created its own record label: Roundhouse Records. The venues on-site Roundhouse Radio launched in 2008, a community radio station developing the

careers of young radio presenters, producers and DJs and has

streamed the Roundhouse’s artistic program to audiences around the globe, producing over 130 live broadcast since its inception.

圓屋劇場的成功因素是多方面的，且不局限在一個領域。在朋克搖滾盛 行的20世紀70年代，圓屋劇場吸引了包括艾爾頓·約翰（Elton John）、 滾石樂隊（Rolling Stones）、吉米·亨德里克斯（Jimi Hendrix）、齊柏林 飛艇（Led Zepplin）在內的音樂界巨星前來表演，並曾被狂躁街道傳教

者（Manic Street Preachers）、立體音響樂隊（Stereophonics）、洛斯

帕飛樂團（Lost Prophets）等樂隊選為MV拍攝地點，也舉辦過iTunes 音樂節和BBC電子音樂節，甚至在2010年成立了自己的唱片公司：圓屋

唱片（Roundhouse Records）。此外，圓屋劇場還於2008年在場內成 立了社區電臺，名為圓屋電臺（Roundhouse Radio），為年輕的電臺播

音、製作和DJ提供職業發展機會，將自己的藝術節目面向全球聽眾廣 播，自成立起已播出130多期直播欄目。

Amongst these theatrical, musical, and multi-media landmarks

儘管在戲劇、音樂、多媒體等領域取得了一 個個里程碑式的成就，圓

is its ability to adapt and move with the times both in terms

和參與的項目真 正實現了當年威 斯克的願 景，那就 是 成 為一 個“ 文

and achievements, what stands out most about the Roundhouse of the work it shows and the projects it puts its name to, truly fulfilling Wesker’s wish of a venue that acts as a “cultural hub,

which by its approach and work, will destroy the mystique and snobbery associated with the arts”.

The Roundhouse could be the most famous venue in London for

staging circus, from innovating contemporary circus performance

化中心，其作品和操作模式將結束藝術神秘和自命不凡的一面”。

圓屋劇場對當代馬戲表演的創新以及舉辦各類 馬戲節，都使其稱得 上 是 倫敦 最 著名的馬戲 劇場 。因此，本 期我們 採 訪了兩位製作人帕

梅拉·維什（Pamela Vision）和布魯斯·漢娜（Hannah Bruce），來 詳細談一下圓屋劇場的馬戲節目。

to a variety of circus festivals, so we interviewed Pamela Vision

ART.ZIP: 首先我想問問，圓屋劇場是怎樣成為如今這個鼎鼎大名的

the Roundhouse.

築有著怎樣的歷史呢？

and Hannah Bruce, to talk more about the circus programmes at

ART.ZIP: How did the Roundhouse become a famous circus

venue - perhaps the unique shape of the building is a clue?

What is the history of the building?

馬戲團表演場所的？是不是和它獨特的建 築 外形有關呢？那這棟建 PV&HB: 沒錯，這棟 建 築本身就像是一 個馬戲團，但實際上這棟樓

本來 是 給火車掉 頭 轉向用的。它原本在一 條火車 軌 道的最末 端，在 20 06年時重新翻新過，於是便有了現在這一獨特的外形。

PV&HB: You’re right - the building is almost like a circus tent -

這個場地對馬戲表演有著特別的優勢，就是其他場地沒有的挑高高

around. It was at the end of a train line and was the shell of an old

條件作此類演出，它具有相當的靈活性。我覺得整棟建築的規模的確

however, originally the building was a place where trains turned railway building which was refurbished in 2006 - hence it has its unique shape.

The great thing for circus is that it has a lot of height which most venues don’t have and it also has the round shape. We don’t

always present circus in the round, but we have the option to do that if we want to, which makes it really flexible. I guess just the scale of the building works really well for circus - it’s just such a huge space. Circus has a lot of bodies flying very high and you can really see that.

ART.ZIP: So the venue inside is very flexible - and it can be

adapted to the different requirements of the changing shows?

Pamela Vision & Hannah Bruce

屋 劇場最 傑出的一點仍是不斷與時代共同進步的能力，呈現的作品

PV&HB: Exactly. For example, we can make the seating different

depending on the show - so we have a great deal of flexibility to work with different companies and it allows us to have a wide range of different performances at the Roundhouse.

ART.ZIP: So, initially, when the building was adapted into a theatre venue, it was not tailor-made for circus?

PV&HB: No - well, that’s a good question - I think the idea

was always there that circus would be a strong part of the

programme. When it was first opened there was already a

commitment to circus and so I guess the kind of design for the refurbishment of the building had that included. It has never

been exclusively for circus, so a large part of it is about being a

flexible space. There is a lot of music, there is theatre, there are

also a lot of commercial events and that kind of thing, so we have a big range of different activities.

度，還有那獨特的圓形構造。盡管我們不常上演馬戲表演，但我們有 很適合馬戲表演─ ─這可是多大的一個空間啊。馬戲表演中，很多表 演者需要在高空飛來飛去，而在這個空間裡我們都能完整的看到。

ART.ZIP: We are curious about the kind of audience circus

ART.ZIP: 所以場地本身其實是很具靈活性的？它能夠適應不同表演

to see circus? For example, traditionally when people think

P V& H B: 正 是 如 此，我 們 可以根 據 不 同 表 演需 求 來 調 整 座位 高 度

attracts. Can you tell us a bit about the type of people who come about circus they might think about going to see a performing tiger or something like that - what sort of circus do you show

at the Roundhouse. Do you always programme contemporary

的不同需求？

─ ─ 我 們 在 和 不 同 的 劇 團 合 作 時具 有 相 當 大 的 靈 活 性，而 這也 使 我們可以 給 觀 眾帶來諸多不同種 類的表演。

circus? And what kind of people does it attract?

ART.ZIP: 所以一開始，這棟建築實際上被改造成了一個戲劇表演場

traditional, although sometimes there are traditional influences

PV&HB: 不是的，這是個很好的問題，在我看來，馬戲表演一直是我們

PV&HB: We do programme contemporary circus, not really

- but never tigers or animals! What we are trying really hard to

do, because we are the only circus festival in London, is develop the art form here in England. In Europe the art form is very, very important within the culture, like in France for example but

in England it is still quite new. People don’t know quite what to make of it - so we are always trying to push that envelope

地，而不是為馬戲表演所量身訂造的，對嗎？

所重視的一部分。當圓屋劇場剛開業時，我們對馬戲表演就寄予了很

大的重視。所以我覺得對建築的設計也把這部分的規劃包含了進去。 但與此同時，圓屋劇場也從不僅僅是為了馬戲表演，更多的時候，它

是一個具有相當靈活性的場地。其中就有音樂表演，戲劇表演，還有 很多商業活動等等，我們的活動有著一個很大的跨度。

further and further and make it more interesting and collaborate

ART.ZIP: 我們對馬戲團會吸引怎樣的觀眾感到好奇，你能跟我們聊

audiences. Our audiences are very wide - we are well known as

到老虎或是其他 動物表演，在圓屋 劇場上演的是怎樣的馬戲 呢？你

between dance and theatre and find new ways to interest

a music venue and well known as a young people’s venue so we

get a huge young take up and we offer a lot of really good cheap price tickets for people under 25, so we get a huge amount of those people discovering new forms of theatre.

And also the way we programme the circus festival is constantly trying to think about attracting new audiences and finding new ways of interacting with audiences. So a major part of our job

is to be constantly thinking about how we reach people. So, for

example, next year - not as part of CircusFest because CircusFest is

only every other year and the next CircusFest is 2016 but next year in 2015 at the same time as CircusFest we have a company called Circolumbia coming. They have a really strong connection with a

聊有哪些觀眾會來看馬戲團表演嗎？許多人在想到馬戲時，都會聯想 們是否經常策劃當代馬戲表演？而它又會吸引怎樣的觀眾呢？

PV&HB: 我們策劃的多為當代馬戲，而不是傳統意義上的馬戲表演， 盡管有些時候會有傳統因素的影響，但我們從來沒有老虎或其它動

物在 這裡演出過！我們主辦 倫敦唯一 一 個馬戲 表演節，我們一直在 致 力做的，是在英格蘭地區培養 發展出一種藝 術形式 。而這種藝 術

形式在歐 洲是非常重 要的，比如在法國，但在 英 格蘭這 還 只能 算得 上一 個新興 事 物。觀 眾不知道 該 如何去欣 賞，所以我們 總是試圖尋 求挑戰，將表演策劃的更有意思，並且和舞蹈、戲劇進行結合，不斷

尋求 新的模式引發觀 眾的興 趣 。我們有著各種各樣的觀 眾，正因為 我們是以為音樂和年 輕 人 服務的場地而聞名，所以我們的觀 眾中有

大量的年輕人，與此同時，我們也給25歲以下的年青人很大的優惠， 所以許多年輕觀眾都在不斷欣賞和嘗試新的戲劇表演類型。

very young, teenage audience. They work a lot with hip hop music

我 們 策 劃 馬 戲 表 演 節 的 方 式，也 是 不 斷 地 在 尋 求 吸引新 觀 眾 和 探

because it ties in with the programme of the music in the building

如 何 接 觸 到 觀 眾 。例 如 ，明 年 我 們 會 邀 請 到 一 個 名 為“ 哥 倫 比 亞

and Columbian reggaeton music and so, for us, that is a perfect link but it also brings contemporary circus. It brings a kind of South

American style of circus which has a lot of big group acrobatics

which aren’t often seen in the UK. All of these things link in with thinking about the audience, even while we are thinking about

the style of circus and the programme. Our audience is not a static

thing. It is constantly growing and it’s constantly changing and we are constantly trying to reach new people.

ART.ZIP: So talking about programming the shows in the

索 與 觀 眾 互 動 的 新 方 式 。所 以 我 們 的 工 作 很 大 一 部 分 是 在 思 考

（Circolombia）”的劇團。他們和青少年觀 眾互動相當緊密。他們

使用不少嘻哈和哥倫比亞雷擊盾音樂等表演元素，在我們看來，他們 正是絕佳的合作夥伴，因為那和我們的音樂項目有所相關，與此同時

又引入了當代馬戲。他們帶來了一種拉丁美洲式的馬戲表演，其中有

多人和集體式的體操表演，這在英國是比較少見的。而所有的這些都 和我們對觀眾的考量息息相關，而與此同時，當然也有對馬戲表演風

格和節目安排上的規劃。我們的觀眾不是一成不變的，觀眾群永遠在 不斷擴張，不斷變化，而我們也在不斷嘗試吸引新的觀眾。

building - as we see it there are not a huge amount of circus

ART.ZIP: 說起圓屋劇場的節目安排，正如我們所說，英國沒有很多

What are your resources?

PV&HB: 因為我們組織的是一個國際表演藝術節，所以我們會在引入

acts in the UK - how do you plan the acts for such a long period?

PV&HB: Well because we are an international festival what we

balance is a kind of ‘best of’ what is happening internationally.

We bring in at least two shows that are international, really large

馬戲表演，那你們是如何策劃活動的呢？

全球範圍內最出色的的表演和培養英國本土表演之中做一 個平衡。 我們會帶來至少兩場國際化的、大規模的、十分新穎而有趣的，並且 在挑戰和更新馬戲形式，而在英國一般無法看到的表演。與此同時，

scale, really new and interesting that are changing the form

我們也在培養 英國的馬戲 表演藝 術家，我們提 供場地 和時間，協 助

balance that with developing UK artists, so we work all the time

以 將他 們帶入表 演藝 術節中。同樣，我們 也 和倫敦的諸多其他合 作

of circus and that we just don’t see here in England. Then we

developing UK artists . We offer them space here and time and

development, support to develop shows - sometimes over two years - which we can then bring to the festival. We work really

closely with partners around London, so there are a few places which really develop circus - Jacksons Lane in Highgate, The

Albany in Deptford, Stratford Circus, Arts Depot and Shoreditch Town Hall. They also help because they have smaller spaces

which makes it easier for artists to start in. Oh, and of course the National Centre for Circus.

Yes, we have always had a relationship with them but recently we have established a really key partnership with the National

Centre for Circus Arts, which used to be called the Circus Space.

So what we are doing with them is developing, a more formal relationship with them because obviously they have a lot of

他 們完 善表 演，有時 這往 往需要兩年的時間，但在 那之後我 們 便 可 夥 伴 有所交流，在倫敦 還 是有幾處場地在 鼓 勵馬戲 表演的，其中包

括高門地區（Highgate）的傑克遜巷（Jacksons Lane）， 德普特

福德（Deptford）的奧爾巴尼（The Albany），斯特拉特福德馬戲團 （Stratford Circus），藝術倉庫（Ar ts Depot）和肖爾迪奇市政廳

（Shoreditch Town Hall）。他們各有所長，並能為藝術家早期的表 演提供較小的表演場地。當然，這其中還包括了國家馬戲中心。

沒錯，我們與這些團體一直有著合作關系，最近，我們和國家馬戲藝 術中心合作了一 個相當重要的項目。我們將建 立 起一種 更為官方的

關系，因為每年他們都有不少剛畢業的表演學生，而我們會嘗試和他

們合作，共同幫助他們成長，並開發新作品，並最終在我們的場地上 演。他們也有一 個排練空間，因為圓屋劇場的兩個空間中，一 個相當 之大，而另一 個則特別小，有時候空間上安排不開，所以他們也一同

幫助我們的表演藝術家來完成作品，並最終在我們的大場地中表演。

graduates coming through their programme and so we try and

所以在我 看來，在 節目策 劃中最 重 要的問題 是，思考英 國馬戲 表 演

to show work here. And they also have a creation space - so they

一 部分 也是不斷培養 英國的草根 馬戲 表演環境 。但我覺得，最 重要

work with them in helping to evolve and develop their work and help us with artists we are working with - because we have two spaces, we have a really big space and a really tiny space which has no height, so they work with us to give our artists space to

的整體 發展 狀 況 。所以我們的工作 一 部分旨在 展示國際 作品，而另 的問題 是，我們不能脫離觀 眾和合作 對象。他們對我們而言相當的 重要。

help create work which they can then bring into our big space.

ART.ZIP: 我們發現英國的不少馬戲表演仍保有一種很強的敘事性，

So I guess the key thing, to return to programming, is for us to

馬戲表演的特色？

think about the wider context of circus in the UK. So partly it is to show case international work and partly it is to develop the

grassroots circus scene in the UK. But, I guess, the critical thing is we can’t work in isolation. It is really important to us to have these partnerships.

而其他國家的表演則明顯更為抽象。這是一種 趨勢？還是一種 英國

PV&HB: 這是一個有意思的觀點。在我看來，英國有著一個悠久的基

於文字的戲劇傳統，而莎士比亞仍是一個試金石，如何把文字和馬戲

結合在一起，也是不少藝術家所感興趣的事。我無法預知這是否會成

為一個趨勢，也不好說這是不是我們的一種特色，但你的確能看到不 少這樣的例子，文字正是我們了解和擅長的部分。

ART.ZIP: We have noticed that UK based circus still can contain

我覺得這或許是對觀眾和馬戲表演之間的關系的一種暗示─ ─正因

countries is more abstract. Is this a trend or something specific

字才成了幫助理解的一種工具。而另外一個看法則是，馬戲在英國仍

a very strong storyline whilst some of the circus in other to English circus?

PV&HB: That is an interesting point. I think that England has such a history of theatre based in text - I suppose Shakespeare is the

touchstone and I do think that it is something that a lot of artists

為英國的馬戲表演處於發展階段，觀眾剛剛接觸這門藝術，劇情和文 是一 個較為年輕的藝 術形式，所以對不同藝 術形式的合作是十分有

利的，將其他有經驗的藝術家加入進來，同時也是在吸引他們的觀眾 群，所以我認為這種類型的合作對馬戲表演藝術家是相當有益的。

here are really interested in - how text and circus can come

我覺得這種合作的確是很英國范兒的。我們有一些科班出身的馬戲

end, whether that is going to be our identity or not but you get a

直在做的，正 是不斷地 從 其他 藝 術 形式中引進 好導演，並 鼓 勵 他 們

together. I don’t know if that is what is going to happen in the lot of it here - because I think that what we know is text.

I think also that it may be an indication of the relationship

表演藝 術家，但卻很 少有和他們合作過的導演。近 五到十年 我們一 和馬戲 表 演者 合 作，所以在 英 國的確有 著不少跨界合 作，這 可能比 其他國家來得更多。

between the audience and circus - that perhaps because the

ART.ZIP: 能跟我們說一個戲劇導演和馬戲表演者合作的例子嗎？

bridge if you think more about narrative or text, and combining

一 批 年青人和一 位導演 馬克·斯托 勒 合 作 。我 們 和不少 新興 藝 術家

audience is more new to circus in the UK, it is often helpful to

P V&HB: 在上一屆馬戲 表演藝 術節中，其中一 個節目，我們委 任了

She Would Walk The Sky, April 2014, Ben Hopper

those things. I guess also the third angle on it is because

合作，而馬克是一位現場表演藝術家，他在現場表演圈中已經工作了

collaborate across different art forms - bringing other artists in

演合作過，所以這也是一個全新的探索和挑戰。整個過程花了將近八

circus here is a relatively young art form, it is very helpful to

with experience means you are also bringing that audience as

well, so I guess the kind of collaborative style is really helpful to

不少年頭。他兼用講故事和身體運動的表現方式，但他從未和馬戲表 個月，才達到了他要求的效果，過程雖長，但最終的演出相當驚艷。

circus artists.

ART.ZIP: 談到青少年群體和觀眾，你們有沒有扶持青年馬戲團藝術

I think that is very British, that collaboration. We have a few really

PV&HB: 有的，圓屋劇場的一大宗旨便是和年青藝術家合作。在我們

good circus artists coming out of our training schools but not so many directors that have ever worked with circus artists. What we’ve been doing for the last five or ten years is to try to bring

together really good directors from all sorts of other disciplines and explore working with circus artists - so there is a lot of that

cross collaboration happening here and probably more than in other countries.

ART.ZIP: Do you have a good example of a collaboration between a director and a circus artist?

PV&HB: Well, what we had here at the last CircusFest was a piece that we commissioned, young people, because we do a lot of

work with emerging artists, and a director called Mark Storer who is basically a live artist, so he has worked for years in the live art

scene. He works in a sort of storytelling way as well as a physical

way and he had never specifically done circus before - that was a

家的特殊項目呢？

的各 類 別的節目策 劃中，尤 其 是 馬戲 表演，我們 很 重視年青人的參 與，其中就有我們的馬戲 和卡巴萊 歌 舞項目。我們有一 個定 期會面

的團體，他們正合作創作一 個名為“ 街頭 馬戲”的項目，他們平日有 表演機會，也有日常排練的時間。與此同時，我們和國家馬戲中心的

合作，也意味著這些年輕人將有機會在更為專業的平臺進行深造。 我們同樣和一 些熱衷於與年青人合作的馬戲劇團有所往 來。哥倫比

亞馬戲團就是其中一 個例子，因為哥倫比亞有給家庭貧困的孩子提 供馬戲表演訓練的傳統。所以當哥倫比亞馬戲團在我們這登臺演出

時，我 們 總會安排 我 們自己的年青藝 術家為其暖場，從而給 他 們 提 供一 個專業表演的機會。我們也邀請包括哥倫比亞馬戲團在內的所 有合 作劇團，給 年青 藝 術家 上課 。與 此 同 時，還有其他 的方 式 展示

年青藝 術家們的作品，比如我們同樣承辦 倫敦國際青年馬戲表演節 （London International Youth Circus Festival），正因為如此，我 們和愛博與友劇團（Alber t and Friends）有著很緊密的合作。今年

就有1 2支 全 球各地的青年馬戲團來 到圓屋 劇場,並在倫敦的其他 場

地演出，同時 我們 也 舉 辦了一 些訓 練和課程項目。所以 這也是 一 個

new exploration. It took about eight months to establish the sort of story he wanted to tell - so a really long process - but it was really successful.

ART.ZIP: So talking about young people and young audiences - do you have any special projects to help develop young circus artists?

PV&HB: Yes, right at the heart of the Roundhouse is our work

with young people. That is a really, really important part of our

的訓練和表演模式。

ART.ZIP: 一般戲劇表演中沒有對演員的年齡限制，但馬戲團中的體 力需求必定會對表演者提出要求，那一 般來說馬戲表演者的年齡分 布是怎樣的呢？

PV&HB: 我們對此沒有規定，行業內的一些佼 佼者在他們40多歲時 仍繼續表演，所以這完全取決於表演者個人。

programme across all the different art forms and specifically

這也是 一 個有意思的問題 。對年青表演者而言，最 重要的是觀 察 有

We have a regular group who meet and work on what we call

但這樣的學習往往會帶來無價的經驗。

with circus, we run a lot of projects around circus and cabaret. the Street Circus Project, so they have a chance to perform and

經驗的表演者，或是與他們合作和訓練。盡管他們有著強健的體魄，

they have a regular training session. Also the great thing is this

沒 錯，這 種 成熟 和進 步自然 會體現在他 們之後 編 排的作品中。與此

that potentially those young people might then continue into

他們其中有些人完成了從表演者到導演的身份轉 變。現在也有藝 術

new relationship with the National Centre for Circus Arts means more formal, professional training. We also have relationships with circus companies to come and work with young people.

She Would Walk The Sky, April 2014, Ben Hooper

促 進青年 表演藝 術家交流 和學習的機會，他們可以 見識到多種多樣

同時，我們也留意到許多頂 級 馬戲 劇團現在紛紛由表演者來 指導， 家不再對表演感興趣而轉為從事導演工作，他們會成立自己的劇團， 並傳授自己的經驗。這也說明馬戲確實也是吃年青飯的一門藝術。

Circolumbia, again, is a good example because in Circolombia

ART.ZIP: 在中國，我們有著一個悠久的馬戲表演歷史，但當代馬戲

young people in very disadvantaged areas and they work very

這些現代技巧不太認可，他們不會 從藝 術的角度來看待這些表演。

they have a really deep-rooted circus training programme for

closely to train them in circus skills - when they may not have

many other opportunities. So when Circolumbia come here, we always make sure there is a curtain raiser and that our young people perform just before the Circolumbia show and give

them the experience of a professional performance. We ask all of our professional companies, not just Circolumbia, to give

workshops and professional training to our young people while

仍是一 個 新興事 物。有些人 對表演者的技術提出質疑，還有些人 對 那麼在英國，觀眾們是否也仍在學習如何欣賞馬戲呢？

PV&HB: 是的，在我看來過去的十年間，觀 眾們已經成長了不少，在

這個藝 術節成 立 之後我 們在倫敦已經舉 辦了五 屆。在布里 斯托，那 兒的馬戲 表演學 校也促 成了一 個有影 響力的表演歷史。這十年有不

少人 加 入了馬 戲，也有 不少 新劇團成 立，馬 戲 表 演的 圈 子 的 確 成長 了不少。

they are here. Then we also work in other ways to showcase

我 想這也是 整 個環 境的成長，不僅僅 是 劇團到英國來表演，盡 管他

International Youth Circus Festival is hosted here and we work

戲訓練機制。而當年青人在經歷了訓練培養，並登臺表演後，整個馬

the work of our young people, so for example, the London

closely with a company called Albert and Friends. This year I

think something like twelve youth circuses internationally came

to the Roundhouse and performed here and all through London as part of the festival and there were also workshops and

training sessions. So that is a really interesting way of helping

們的確 給 我們帶來了不小的沖擊 和影響，而英國借此也完善了其馬 戲 表演環境便 成長 起 來，關於馬戲的對話 和談論也逐漸成熟。在英 國，各種合作的機會和環境也相當重要，因為與其把馬戲晾在一邊，

人們會開始用戲劇或是舞蹈的語言來看待馬戲 。他們開始嘗試不同 的欣賞角度，往往也會更有深度和分量。

young people to exchange and dialogue with each other and

更具有互動性的幾場表演，比如暈眩劇團（Punchdrunk）同樣也給

youth training.

形式 之間的界限。但在評論 和輿論中，我們 仍會聽 到人們談 及 馬戲

also to have a chance to perform and to see different styles of

ART.ZIP: Normal theatre means there is no age limit for actors,

however the physical requirements of circus must limit the age

馬戲圈帶來了新氣象，因為它們都促使我們不斷地去分解不同藝 術

是帳篷中才有的，或者馬戲每年夏天才會巡演到某個地方，可見對馬 戲的討論仍有很大的提升空間。

of a performer. What is the age range of circus performers?

ART.ZIP: 那麼除了你們的馬戲藝術節以外，倫敦還有沒有其他展演

performers who are in their forties - so it is up to them when they

PV&HB: 我想這裡的藝術節可能是倫敦最大的馬戲藝術節了，我們有

PV&HB: We’re not prescriptive. There are some fantastic circus feel that their body can’t do it anymore.

It is also a really interesting point. One of the very important

things for younger performers, who may have a lot of strength and technique but not much experience, is the opportunity

當代馬戲的藝術節呢？

著最大規模的國際馬戲表演活動。而我們和其他場地的合作關系也

相當重要。盡管有些場所沒有大型的藝術節，但他們持續不斷地活動 都在一直促進著馬戲圈的發展，比如傑克遜巷（Jacksons Lane）和 藝術倉庫（Arts Depot）這兩個場地正是如此。

for them to work or observe or train with more experienced

另外一個大型藝術節是倫敦國際默劇節（London International Mime

not just about strength.

節目，許多馬戲圈中的人會去看這個藝術節，其中也互有交流和跨界。

performers. It is invaluable because it brings other things - it is

Festival），盡管他們不以馬戲的名義來宣傳，但實際上卻有很多馬戲

Yes, there is a kind of maturity to the work that develops later.

英國國家劇院的“看這裡”藝術節（Watch This Space）有很多馬戲

And we are starting to see some really top circus companies

是否還有另一個一年一度的藝術節，但作為今年的“綠色文化之都”

being directed by people who were performers and are now moving on to directing. A company called Upswing which is

run by Vicky Amedume, who is a really strong performer and she still performs sometimes but she does more directing.

A company called Mimbre, Lina Johansson, she has stopped performing and now directs. So there are a few who are

now starting to make that journey where they are not so

interested in performing themselves and are starting their

own companies and giving their experience. It is still a young art form.

節目，包括布里斯托在內的許多地方也有不少活動，但我不知道那兒

的一部份，布里斯托在十月份將舉辦一場大型馬戲藝術節，其中必定 會有一些相當不錯的表演。盡管我們專註於倫敦地區，但事實上在倫

敦之外有著很多表演，比如大雅茅斯市的海變中心（SeaChange） 便 是 一 個 創 作 據 點 ，每 年 九 月 他 們 都 有 一 個 名 為“ 在 那 裡（O u t

T h e r e）”的 藝 術 節，其 中 就 有 不少馬 戲 活 動 。喬·麥 金 托 什（J o e

Mackintosh）有著不錯的歐洲人脈，他有機會引入不少歐洲的藝 術 家。所以我們在全國範圍內都有著不錯的合作夥伴。

ART.ZIP: In China we have a very strong, very long history

seriously. Also in the UK the collaborative element is very helpful

Sometimes people criticise the technique of the performers and

a limb, people are starting to perhaps think about it in ways that

of circus but contemporary circus is something very new.

people are still quite judgmental towards modern techniques they do not think about it in artistic terms. Are people learning more about how to appreciate circus in the UK?

they are more likely to think about theatre or dance. They analyse it slightly differently or with more weight.

PV&HB: Yes I think in the last ten years it has really grown, since

More immersive shows like Punchdrunk have also helped circus

and there is also quite a strong circus history in Bristol where

down the barriers between art forms here. But we still have it

this festival started and there has been about five in London there is another circus school. The last ten years it has really grown - the amount of people involved and the amount of companies doing it.

I guess it’s a sort of critical mass, not just companies coming to

Britain and performing, although that has been a major influence

because it has become part of that mix and we are breaking

sometimes with reviews and general comments, people can still think that circus is for tents that come every summer to your

local area and there is still more to do here to address that! We

are not as far advanced as somewhere like France where circus is in every town.

but also the knock on effect. From that you start to get proper

ART.ZIP: So as well as CircusFest are there any other festivals

the training and start performing you start creating a critical mass

PV&HB: Well, I think CircusFest is probably the biggest festival

training in the UK. Then once those young people come through where the conversations around circus start being taken more

She Would Walk The Sky, April 2014, Ben Hooper

because it means that rather than circus being stuck out there on

showcasing contemporary circus to audiences in London?

and it has the biggest scale of international work, but like I said,

our partnerships with other venues that present circus are really

Out There which is a lot of circus and develops circus. Joe

a continual programme drip feeding circus in - Jacksons Lane is

so he has the chance to bring in lots of people. So, we have

fantastic and Arts Depot are also doing a lot.

Mackintosh works in a whole lot of European networks and partners all over the country.

The other major festival is the London International Mime

And actually, not necessarily in a festival context, but what is

have a lot of it and most of the circus community goes to see a

scale, starting to bring more and more circus into their programme.

Festival, which although it doesn’t scream circus, it actually does lot of shows and there is a lot of cross over.

The National Theatre’s Watch This Space festival has a lot, as well as various other places - like Bristol for example. I don’t

know if they have a yearly festival, but they certainly have one coming up - they are the Green Capitol of Culture this year

interesting to see, is venues like Sadler’s Wells who are kind of mid

Also Crying Out Loud is quite a strong partner too because

they bring in a lot of interesting international circus and they

have a touring network around the country, so they are really developing an audience.

and they have a big circus festival in October. They’re going

事實上，不僅僅是在藝術節的框架裡，喜聞樂見的還有像是薩德勒威

been focusing on London but there is a lot going on outside

“大聲哭（Cr ying Out Loud）”製作團隊也是一個很好的合作夥伴，

to be bringing in some really good circus for that. We have

London, like SeaChange in Great Yarmouth which is a creation centre and every year in September they have a festival called

爾斯（Sadler’s

Wells）這樣的中型機構，也在不斷引進馬戲節目。

他們引入了不少有意思的國際馬戲節目，與此同時，他們也有著一個 全國巡演的關系網絡，也在不斷地培養馬戲的觀眾群。

Bianco-dossier

important. Perhaps they do not have one big festival, but there is

NOT ONLY A PUPPET

無獨有“偶”

From the moment of its animation, puppet becomes one with its

master. Be it small, colossal, realistic or abstract, behind the puppet lies the inexplicable inspiration of the artist. Puppetry may be one of the

oldest form of theatrical performance, related closely to religious rituals.

Because of its profound history, puppetry is fascinating in its own way.

The master’s movements are to be transformed utterly through the

puppet; the collaboration between masters also makes expansive artistic expression possible.

We visited the Puppet Centre in South London, felt the sincerity and

tradition of puppetry in the UK. We also visited Little Angel Theatre, the

“home of British puppetry,” and recognized the significance of this little

building. Lastly, we closely examined puppetry production The Heads by

the internationally-claimed puppet theatre company, Blind Summit, and got to know about the stories behind.

----從被 賦予生命的那一刻起，”偶”就從 未和他的主 人 分離 。那些 微 型的、碩 大 的、寫實的、抽象的”偶”的背後，是藝術家不能言表的創作靈感。偶戲也許是 歷史最為悠久的一種戲劇形式，這同樣和宗教緊密結合。正是由於這樣的歷史

淵源，讓偶戲有著極為特 殊的魅力。操 縱者自身的動作通 過”偶”有著完全不 同的展現，同時也能通過幾個人同時操作來實現寬廣的藝術表現力。 我們走訪了英國木偶中心（Puppet

Centre），聽創始人講述對於記錄和傳承

英國偶文化的赤誠 和無奈。還將走進有著”英國木偶之家”之稱的小天使劇院

（Little Angel Theatre），了解為什麼這樣一個不起眼的建築能夠有著這樣的 盛名。最後我們還將一起近觀著名木偶劇團”盲頂（Blind Summit）”的作品 《腦袋腦袋（The Heads）》，同時了解這個劇團背後的故事。

Tom and Boy

resignation of the founders in their endeavors to archive and preserve the

40TH ANNIVERSARY OF PUPPET CENTRE

INTERVIEW WITH THE CO-FOUNDER OF PUPPET CENTRE, PENNY FRANCIS

傾心于“偶”40年 專訪木偶中心聯合創始人 潘妮·弗朗西斯

INTERVIEWED BY 採訪 X HARRY LIU 劉競晨 TEXT AND EDITED BY 採訪整理 X AVA DAVIES TRANSLATED BY 翻譯 X MICHELLE YU 余小悅

As a national development agency for puppetry,

作 為全 國性的木偶藝 術 發展 機構，木偶中心 著重 推 廣當代

practice, encouraging innovation, whilst also respecting

形式 上的 創新。為了讓 人們 更 多地 接 觸並 欣 賞木偶 藝 術，

Puppet Centre focuses on contemporary performance

and preserving the heritage of the art form. Established in 1974，Puppet Centre’s strategic role incorporates the use of puppetry in outdoor arts, carnival, dance, opera, screen animation, and theatre sectors. Anticipating

木偶藝 術 實踐，發揚 傳 統 木偶藝 術的同時也鼓 勵其在藝 術

木偶中心自1974年成立起就不遺餘力地推動木偶藝 術的發

展 ，使 其 融 入 到 各 種 表 演 藝 術 中 去，例 如 街 頭 表 演 、嘉 年 華、舞蹈、歌劇、動畫及各式各樣的劇場表演。

and responding to artistic developments and changes

2014 年，木偶中心迎 來了成 立4 0 週年，其 推 廣 並 支 持木偶

role has taken a range of strategic routes over its 40

製作與運用，還是在電影電視裡的木偶使用。木偶中心特別

in audience engagement, the organization’s long-term year history.

Puppet Centre promote and support all forms of

puppetry, meaning the animation of figures, objects and materials on stage, TV and film. It especially

藝 術多樣 化發展 一直 沒有停 歇，不管是 戲 劇 舞台上的木偶

鼓 勵 木偶 藝 術的 創新 發展和品質 提高，因此 提 供了各式各 樣的木偶 教育及培 訓 。正因為木偶中心堅 持 不懈 地 為人們

傳 播木偶的操作及表 演技巧，木偶藝 術在現今各個藝 術 領 域獲得更為頻繁的運用，而不再限於木偶戲劇表演本身。

encourages innovation and excellence in the art

木 偶 中 心 的 專 業 性 使 其 成 為 無 可比 擬 的 木 偶 藝 術 研 究 中

opportunities for the training of professional

的關於木偶藝術的知識輸送到各個產業當中去。可以說，木

form, and also has developed and provided countless and educational practitioners, spreading better understanding of the unique techniques of the

puppeteers to improve their status and widen their

心，他們通過講座、論壇、展覽和藝 術節等方式把那些寶貴 偶中心是英國木偶產 業基 礎 建設中最有效和最不可缺 少的

一 環，為了加強 這一 基 礎 設 施的建 設，木偶中心將 在 201 5 年初出版關於英國木偶產業的全面介紹。

fields of employment. Puppeteers and puppets are now to be

found in the productions of Directors, Writers and Performers of all disciplines, including of course their own.

Puppet Centre acts as a centre of knowledge and research, and a

dispenser of information through its unmatched hub of contacts.

It has staged conferences and forums, exhibitions and festivals.

It is proud to be known as the principal and most effective

advocate for the sector, an indispensable part of its infrastructure.

To strengthen this infrastructure further the organization is about to embark on a sector-wide overview of the needs of puppetry

and puppeteers nationwide which will publish its findings early in 2015.

Penny Francis Penny Francis has been involved with the professional

development of puppetry since 1961 and in 1974 co-founded

潘 妮·弗朗西斯

organization designed to raise the profile and status of the

潘 妮·弗朗西斯從19 61年就開始投 身於木偶 事 業，1974 年創立了木

fourteen years and continues to support the work of the

（Animations）》雜誌編輯工作後，弗朗西斯繼續支持木偶中心基金

the Puppet Centre Trust, a promotion and development

art form. Francis also edited the magazine Animations for

Puppet Centre Trust and Animations In Print. She is an

international councillor for British UNIMA (Union Internationale de la Marionnette) and sits on the International UNIMA Co-

operation Commission. In 1998, Penny Francis was awarded an MBE for services to puppetry and an Honorary Fellowship in 2009 of Royal Central School of Speech and Drama.

偶中心 基金 會，致 力於 發展 並 推 廣木偶 藝 術。從事了14 年的《 動畫

會和《紙上動畫（Animations In Print）》的工作，並同時為英國木偶 聯合委員會（British UNIMA）及國際木偶合作委員會（International

UNIMA Co-operation Commission）擔任專業顧問。1998年，為了 表彰弗朗西斯在木偶藝術領域的卓越成就，英國女皇伊麗莎白二世授

予其大英帝國勳章，2009年弗朗西斯被皇家中央 戲劇與演講學院頒 授榮譽院士。

ART.ZIP: How would you say about the puppet development in

ART.ZIP: 木偶藝術在英國的發展順利嗎？

PF: At the moment, on the one hand, the Puppet Centre is the

尷尬的狀 況 。一方面，木偶中心作 為整 個專 業的基 礎 建 設 沒有得到

the UK?

main infrastructure of the profession but it is in a very bad state.

The Arts Council hasn’t given it any money for its last request and they are also having very bad cuts. The Puppet Centre is in a very bad state at the moment and we are starting special strategy to

try and get representatives in the industry together, to talk about how we can strengthen our infrastructure.

On the other hand, however, the situation for puppetry itself is

very healthy. There are more and more audiences, venues, young

people engaging in the business, and the training for the industry is getting more and more frequent and in better places, for

example, there’s a degree course at university level at the Royal

Central School of Speech and Drama, and in two other colleges too. And as an option, puppetry is increasingly included in the training of performers and actors. They are likely to meet the

need to operate puppets more and more frequently, in mixed

PF: 總的來說，木偶藝術在英國的發展很不錯，可是現在面臨著十分 全力的支 持，英國藝 術委 員會的支助資 金 逐 年減 少，所以 對於木偶

中心的發展 我是 很擔憂的，我們沒法被 動等 待國家 支 持，只能採 取 別的 策 略，聯 合各大 木偶 藝 術機構來 加強基 礎 建 設 。可喜的是，從

另一方面來看，木偶藝 術產 業 正 蓬勃 發展 著。越 來 越多觀 眾關注木 偶藝 術，越 來 越多的劇場和年 輕 人投 入到木偶藝 術產 業中去，而木 偶藝 術的專業訓練也越 來越正式 和規範了，現在包括皇家中央 戲劇

與演講 學院在內的多家學院 都設 立了木偶藝 術的學位課程。另外， 戲 劇 演 員和藝 術 表 演者在 進 行 培 訓 課程的 時 候 木偶 表 演也被 納 入

選修範圍。大家開始注 重如何在多媒體 劇場裡 運 用木偶藝 術，甚至 在大眾劇場裡也更頻繁地使 用木偶來作為劇中重要的角色。例如大 家所熟知的《戰馬（War

Horse）》就運用了大量的木偶，其取得的

成功大家也有目共睹，不僅為國家劇院吸引了大量的觀眾和票房，這

也大大地提高了木偶藝 術的知名度和地位。倫敦西區還有很多熱門 戲劇都大量用到木偶，例如《Q大道（Avenue Q）》， 《獅子王（Lion King）》等等。

media performances and as characters even in straight theatre

有趣的是，儘 管戲 劇裡 運 用了大 量的木偶但 人們卻沒有意識到那是

has been such a fantastic success, has done a lot to promote the

謂的木偶”。並不是牽線娃娃或《龐奇與朱迪（Punch and Judy）》

productions. For example the production of War Horse, which

status of the constituency. People can see how wonderfully they

can capture an audience, and War Horse I believe has made more revenue for the National Theatre than any other production.

Then there was a very popular production called Avenue Q, also in the West End. And then The Lion King is full of puppetry.

The thing is, quite often shows are full of puppetry and people

don’t realise that it’s puppetry! The number of critics who called the puppets in War Horse ‘so called puppets’...No, for some

people a puppet is a thing on a string, and for others it’s a Punch

and Judy, but the range of puppetry is huge. It suffers because it

is as much about fine art and sculpture and design as it is about drama and theatre.

So, this is the two opposite ends of the spectrum: the lack of

money for infrastructure like the Puppet Centre, and the healthy

state of the performances, lots of creativity and opportunities for training. We still have a long way to go but we have good critics

木偶藝 術！有相當一部分的劇評人提到《戰馬》裡的木偶形容為“所

（家喻戶曉 的英國傳 統 木偶劇）才算 木偶表演，木偶藝 術的範圍比 大家所想的要寬泛得多。木偶藝 術並沒有被作為一種正式藝 術形式

來正視，其實它既是藝術、雕塑和設計的結合，也是戲劇的一種表現 形式。

所以 總的來說，就像我 上面所提到的，木偶藝 術的發展現 狀 是兩個 極 端，一方面，像 木偶中心這樣 的基 礎 建 設 並沒有獲 得足 夠的資 金 來完善，另一方面，木偶藝 術正蓬勃發展著，各種 創意項目的合作和 專業的培訓也逐漸豐富起 來 。要走的路還很長，但現在已經開始有

資深劇評人意識到他們在看的是木偶劇場了，這 是一 個好的徵兆 。 受 過專業學術培訓的劇評人比藝 術評論家 少得多，但 幾乎所有出色

的木偶專家都有著純藝背景。藝 術委員會和學院也都很難定義木偶 藝術屬於哪個範疇： “到底是算戲劇呢還是純藝呢還是設計呢？”皇

家中央 戲劇與演講學院把 木偶藝 術納入到設計學院，這是沒有問題 的，但課程設 置 應該包括 木偶 表演，懂得如何操作並 運 用木偶 才有

可能做出出色的木偶設計。你總不能依靠沒有經 過訓練的普通演員 來進行木偶操作吧？

now who understand what they see when they watch a puppet performance. Very few critics are trained in a literary way as well as a fine arts way, but nearly all good puppeteers are fine arts

trained. And it’s difficult for the Arts Council to fix puppetry, and the schools! ‘Do we put it in the drama department or the fine

arts department or the design department’. At the Central school they put it in the design department which is absolutely fine

except you’ve got to allow for training to include performance because you have to be a good manipulator and understand

Find out more：

www.puppetcentre.org.uk

The cast of War Horse, photo by Simon Annand

The Wrong Crowd. Credit: Helen Maybanks

how puppets can be used in performance; you can’t substitute them for actors, can you?

ART.ZIP: What about the development of the Puppet Centre, it is 40th years now, what is your story?

PF: When the Puppet Centre was set up in the 1970s, puppetry was in a pretty bad state in this country. The Arts Council said

‘No, we don’t subsidise puppets’, and that was the beginning of

this new artistry when I came in. I was an amateur puppeteer and

“If we don’t know the answer to your question, we know someone who does.”

my husband made the most beautiful puppets. And there were excellent puppeteers with good ideas for work for adults, but nobody was supporting them.

There was no institution, they were all working alone in their

rooms. And me and two or three other people got together and decided that something had to be done. And the idea was to

improve the status, to get better audiences, to raise the standards

ART.ZIP: 今年是木偶中心成立40週年了，你們是怎麼發展起來的呢？

and make it high profile.

發展並不是一帆風順的。當年木偶中心成立的時候，英國藝術委員會

of performance, to get training going, everything to publicise it

The Puppet Centre made a lot of noise, we had our publications,

very good PR and in 1972 we put on a national festival. And after that the Arts Council said ‘oh alright, we’ll support puppetry in our subsidies.’ And this was a big breakthrough and after that

PF: 木偶中心成立於1974年，就像我剛才說到的，木偶藝術在英國的

就拒絕給木偶藝 術提供資助。我當時是一位業餘的木偶劇表演者， 而我丈夫 則是出色的木偶設計師。當時好些 優 秀的木偶劇表演者一

心想要做一些有深度的、適合成人觀眾的木偶劇場，遺憾的是都沒有 獲得任何支持。

puppeteers were able to apply for funds and now there are still

當時 沒有任 何的專業木偶 機構或 組 織，大家都是孤軍作戰的。最後

quite a few get project funding from the Arts Council.

是單純地想要讓木偶藝 術得到應有的關注，讓更多觀 眾來觀看木偶

very few companies who get regular funding, but still some. And

So bit by bit things were getting better. Initially, talking about

being interested in puppetry provoked reactions like from my mother who said ‘Penny, you’re eccentric.’ She didn’t mean

我 和幾位志同道合的朋友決 定為木偶藝 術做些什麼。最初的想法就

表 演，提高木偶 劇場的表 演水平，讓 愛 好者能 夠 得到專 業的木偶 製 作或表演訓練等等，主要還 是希望木偶藝 術可以受到應有的尊重和 重視。

it kindly! There’s still a bourgeois prejudice against puppetry

木偶中心 的成 立確 實引起了不 小 轟 動，我 們 有了自己出版 物，還有

shows, or if there are, they don’t have enough of a profile for

節。從 此 之後我們便 受到了英國藝 術委 員會的資 金 支 持。當時真 是

because to be absolutely honest, there aren’t enough really good people to be aware of them.

But the Little Angel Theatre are doing some very good shows. The

很 好的公關，1972年我們還一鼓作氣舉辦了一 個全國性的木偶藝 術 受到了相當大的鼓舞，木偶劇團、表演者還有木偶表演項目都得到了 英國藝術委員會的各類補助。

Little Angel is in the forefront, Norwich Theatre is also doing some

所以慢慢地，木偶 產 業的發展 逐漸明朗起 來 。大家 對木偶 戲 的態度

theatres doing exquisite work; work that is lovely to look at and is

很容 易 投 來奇 怪 的目光，我 媽 媽 甚 至 對 我 說：“ 潘 妮，你是 個 怪 胎

very good work, but really and truly puppetry needs these small also interesting in a dramatic way. And it’s amazingly difficult.

有了明顯的改觀 。當初要是 跟 別人說 起你 對木偶藝 術感興 趣，大家 吧。”這不是玩笑，她真的這麼認為。還是有人帶著一種資產階級偏

見 來看待木偶藝 術，但說 實在的，主 要 還 是缺 乏 真 正高質 量的木偶 表演，就算有，也沒有引起人們足夠的重視和認識。

----*註釋：本文中所提及的木偶並非只是木質偶，只是出於習慣統一使 用“木偶”相稱。

可是小天使劇場（Little Angel Theatre）呈現很多不錯的木偶劇場

作品，它是木偶表演的先鋒劇場，諾維奇劇場（Nor wich Theatre） 也有很 好的演出，但 最重要的還 是這些小劇場一直堅 持在做高品質

的劇目，視覺效果震撼的同時劇情演出各方面都是令人讚不絕口的。 要做到這樣的平衡並不容易，甚至是極為艱難的。

THE LITTLE ANGEL THEATRE

INTERVIEW WITH SLAVKA JOVANOVIC, INTERIM DIRECTOR, LITTLE ANGEL THEATRE

小天使劇院

專訪小天使劇院代理總監 斯拉夫卡·約萬諾維奇

TEXT BY 撰文 X AVA DAVIES TRANSLATED BY 翻譯 X ELAINE YU 余寧

The Little Angel Theatre’s modest appearance, tucked

小天 使 劇院位 於 倫敦鬧中取靜的 伊斯靈頓，僅 有百人 左右

seater Islington hall, does little to betray its status as the

屈 一 指 的 木 偶 劇 場 的 地 位 。眾 所周 知，它是“ 英 國 木 偶 之

away from the London bustle in an old one hundred

UK’s premier theatrical puppetry company. It is widely seen as being the ‘Home of British Puppetry’, and is

one of only three establishments in the UK which is a

building-based puppetry company. Since its conception in 1961, the company has brought puppeteering to the forefront of contemporary, boundary-pushing British theatre and reinvented the concept as a legitimate

的座位以 及非常樸 素的 裝 潢，但 這 並不影 響 其作 為英 國首

家”，並且是英國僅有的三個擁有固定演出場地的製作劇院 之一。自1961年的創立以來，公司將木偶藝術跨越性的推向

當代 英 國 劇 院 前列，並 且 重 塑 其 嚴 肅藝 術的 地 位 。該團隊

自約翰和琳蒂萊特夫婦（John and Lyndie Wright）創立伊 始，便 完 全 立 足 於 腳踏實 地 地 表 演和演出實 踐 。劇 院 的木 偶工作室則與劇院密切合作，提供相輔相成的協作。

artistic force. They are completely hands-on, with their

小 天 使 劇 院 以 其 兒 童 劇 場 聞 名，包 括 廣 受 歡 迎 的 經 典 舊

the company a tight knit, close-collaborative feel which

爸爸（Fantastic Mr Fox）》，和《無意義的文字遊戲（The

puppet workshop (located next to the theatre) giving

stems from their beginnings as a husband-wife venture, with John and Lyndie Wright acting as the founders of the establishment.

Though primarily known as a children’s theatre,

with past productions including the wildly popular

作改編童話羅爾德·達爾（Roald

Dahl）的《了不起的狐貍

Jabber wock y）》。不 僅 如 此 ，從 開 設 至 今，它 還 贏 得 了

可 觀 數 目 的 成 年 觀 眾 的 支 持 。作為對木偶藝 術 教育的推 廣，他們舉辦了四個木偶藝術節， “孵化” （HATCH）、 “醞釀” （INCUBATE）、 “懸念” （SUSPENSE）和“首創” （FIRSTS）

中，通 過 對喜愛木偶 的業 余 愛 好者或 是專 業 人士的廣泛培 訓，大力發掘新人才。

adaptations of children’s classics such as Roald Dahl’s Fantastic

Mr Fox and The Jabberwocky, Little Angel has been sure

throughout its tenure to include adult audiences within their

我們采訪了斯拉夫卡·約萬諾維奇，小天使 劇院的代 理總監，希望以 此來更加深入的了解他們這個組織的精神內核。

sizeable reach. As strong advocates of puppet education, their four puppetry festivals, HATCH, INCUBATE, SUSPENSE and

FIRSTS, which seek out new talent, are produced along with

ART.ZIP: 我們發現現在英國有一些戲劇學校和木偶劇團也提供木

established professionals.

的主要區別是什麼？ 小天使劇院有什麼特制內容讓它與眾不同？

the extensive training they give to interested amateurs and

We spoke to Slavka Jovanovic, Little Angel’s current interim director, to learn more about the company ethos.

偶表演課程和培訓。你認為這些課程與小天使劇院提供的課程之間 SJ: 小天使劇院是約翰和琳蒂萊特夫婦在60年前建立的。該劇院長

久以來建立了在英國和世界範圍內的良 好聲譽，無論在其大本營還 是在 巡演，在國內、國際、學 校、社區中心或 專 業藝 術場地，皆以 其

藝 術 含 金 量與製作品質而聞名，貫 徹 始終。並 贏得兒童 和成 年人的 共同喜愛。

ART.ZIP: We have found that many drama schools and also

我們的作品使 用各種不同類 型的木偶，並從 廣泛的文化傳統中汲取

puppeteering courses and training. What would you say were the

品，給倫敦觀眾一個絕佳的機會去體驗這種藝術形式的多樣性。

some of the puppet theatre companies in the UK now offer

key differences between these courses and Little Angel’s courses?

主 題，風格和故事。我們也制作和呈現 其他各種 來訪木偶 劇團的作

What is it in particular that makes Little Angel stand out?

我們的課程和培訓項目都紮根 於高標準的製作工藝 和產品價值，這

Wright over 60 years ago. The company continues to be

界最優秀的藝術家、設計師、木偶表演者和木偶製作者，他們共同熱

SJ: Little Angel Theatre was established by John and Lyndie

樣的理 念被貫徹到了我們公司的每一 個角落。我們的組 織吸引了業

The giraffe the pelly and me, Little Angel Theatre

respected both throughout the UK and abroad for the artistic

quality of its productions, whether at its home base or on tour,

nationally and internationally, to schools, community centres and

衷於分享他們的知識和專長。我們的教育部門致力於鉆研和提供適 應所有年齡階層，不同發展階段的培訓項目。

arts venues, and loved by children and adults alike.

ART.ZIP: 我們了解到，小天使的創始人原本來自南非，而創造了《戰

Our productions use every type of puppet and draw their themes,

來自南非。你認為，這是否說明了南非的木偶文化較有更好的發展？

styles and stories from a wide range of cultural traditions. We also programme a wide variety of visiting puppet companies, giving London audiences a marvellous opportunity to experience the diversity of this art form.

Our courses and training programmes are rooted in the tradition of high quality craftsmanship and production values that

resonate throughout all departments at the Little Angel. The

organisation attracts artists, designers, puppeteers and producers

of the highest calibre, who are keen to share their knowledge and expertise. Our education department prides itself on creating a diverse range of training which offers entry at all different ages and stages of development.

馬（War Horse）》舞臺劇中木偶的漢斯博靈公司（Handspring）也 而作為英國木偶劇院之家，小天使是如何引進來自他國的木偶文化， 並在此地生根發芽的？

SJ: 當然，毫無疑問，約翰·萊特（John Wright），阿德里安·科勒

（Adrian Kohler）和羅勒·瓊斯（Basil Jones） （Handspring木

偶公司創始人 ）都 具有 南非背景，南非有悠 久而豐富的歷 史 文化 底 蘊。木偶藝 術作 為傳 統 文化，一開始 是以 娛 樂 形式 進 入了殖民 地時 期孩子 們的世界的。它現在是 一 個蓬勃發展的當代 藝 術形式 。木偶 戲 劇被 廣泛 用於娛 樂和教育項目，無論觀 眾是 兒童 還 是 成人。它被 劇 場、電視、藝 術 作品、心 理 治療或者是在 商業化制 作中被 接 納與

應 用 。而 且南 非 擁 有全 世界最 盛 大 的 國 際 木偶 藝 術 和 視 覺 藝 術 節 ─ ─開箱偶戲節（Out The Box）。

小 天 使 劇 院 除了上 文 提 到 的 多 元 文化 傳 統 的 節目外，自己也 編 排

ART.ZIP: We know that the founder of Little Angel comes

新項目，如《漢 達的驚喜（Handa’s

who created the puppets in War Horse, are also South African.

Gr as s is Alway s Gre ener - Kar agoz Come s to London）》，

originally from South Africa, and that the company Handspring, Would you say that puppet culture is more developed in South Africa? And as the home of British puppet theatre, how does

Little Angel introduce this puppet culture from other countries and develop them here?

SJ: It is true that both John Wright and Adrian Kohler & Basil Jones (founders of Handspring Puppets) have South Africa in common

Sur pr ise）》，是發生在肯尼

亞一 個 村莊 的 故事;《 另一 邊 的山草 更 綠 - 卡拉 格 茲 上倫敦 記（T h e

則是 土耳 其 版本的潘 趣 先 生，既著名木 戲 劇《潘 趣 和朱迪（Punch and Judy f ame）》，並註 入了傳 統 風格的土耳其 皮影戲 元素。

通 過我們的成人培訓計劃，遠程教育和參與計劃，我們 推 崇全方位 的木偶戲風格與各類文化傳統。

and that the country has a long and rich cultural history. Puppetry

ART.ZIP: 小天使有許多不同的木偶藝術節，為什麼會有不止一個？

of entertainment, mainly for children during the colonial era. It is

SJ: 小天使劇院的核心戰略是支持新的藝術家和新作品。九月份舉

was present in traditional cultures but was introduced as a form now a thriving contemporary art form. Puppetry is widely used

to entertain and educate children and adults. It is used in theatre and television, in artistic work, in therapy and in commercial production. South Africa is host to the largest international

puppetry and visual performance festival on the continent, Out The Box.

As already mentioned in the opening question Little Angel Theatre programmes a range of diverse productions from different cultural traditions, as well as producing it’s own

productions such as “Handa’s Surprise”, set in in a village in

Kenya, and “The Grass is Always Greener - Karagoz Comes

to London”, a play about the Turkish counterpart of Mr Punch (of Punch and Judy fame) and utilising the traditional style of

Turkish shadow puppetry.

Through our adult training programmes as well as the far

reaching Education and Participation Programme we introduce a wide range of puppetry styles and traditions.

ART.ZIP: Little Angel has many different puppet festivals - why are there more than one, and what would you say was the difference between them?

SJ: A core policy of Little Angel Theatre is to support new artists and new work. There is a strategic development programme

which provides opportunities for Research & Development (R&D) as part of INCUBATE, through to scratch performances in the

theatre during the annual HATCH festival held in September.

We also give companies the opportunity to premiere new work during the annual FIRSTS festival in March.

Every two years Little Angel produces the SUSPENSE festival, showcasing puppetry theatre for adult audiences. This

10-day festival runs across multiple London venues and

features the best in current adult puppetry work from both

the UK and abroad. The next festival will commence on 30th October 2015.

他們之間的區別是什麼?

行的年度“孵化”藝術節主要針對新的木偶藝術家、公司和正在制作

的劇本 。 “ 醞 釀 ”藝 術節的其中一 個重 要意義 在 於設 立戰 略發展項

目，為研究與發展木偶相關項目提供機會。三月的年度“首創”藝 術 節為木偶戲劇公司提供首映他們新作品的機會。

Cindermouse

ART.ZIP: Where did the name ‘Little Angel’ comes from?

aspect. In addition, as a performer you need to concentrate on

surrounding area, the “Angel” (which takes its name from the

focus and imbuing it with emotion.

SJ: The theatre is named after the local tube station and

famous “Angel Inn” which has been a landmark in Islington since

other aspects such as giving the puppet life and breath, giving it

the 16th Century) .

ART.ZIP: Besides producing your own shows, you also work with other companies, such as the ENO (English National

Opera). How do these collaborations come about? Can you

tell us about the challenges you face in collaboration and the difference in creating your own show and collaborating with

小天 使 的“懸 念 ”藝 術節每兩年 舉 行 一次，是專門針對成 人觀 眾的

SJ: Little Angel has always worked in collaboration with a variety

動，挑 選 來自英 國 和國 際 上當前最 優 秀的成 人木偶 戲 。下一次的懸

other companies?

of artists and companies, from the ENOto the RSC (The Royal Shakespeare Company), to Kneehigh and Polka. It’s great to

木偶戲 劇節。這 是一 個為期10天的藝 術節，在倫敦多 個場館舉行活 念節將在2015年10月30日舉行。

work in partnership with other companies and organisations. We

ART.ZIP: “小天使”這個名字是怎麼來的？

a great way to share costs and resources. Challenges can come

名來源於16世紀以來伊斯靈頓著名地標“天使驛站”）。

have such a lot to learn from and share with each other. It’s also

in many shapes and sizes. When we did a co-production of The

SJ: “天使” 的名字來自於劇場所在地的地鐵站及地理位置（天使之

Tempest with the RSC, we had the challenge of scale. The Swan

ART.ZIP: 除了制作自己的節目，你們也與其他公司，如ENO（英國國家

Little Angel theatre, which only seats 100 people. We had to

要挑戰是什麼？獨立制作與聯合制作間有什麼區別呢？

Theatre in Stratford-Upon-Avon is much much larger than the

create a different version of the play when it transferred to the

Little Angel, as the stage is about a sixth of the size! This entailed getting rid of 4/5 of the set!

ART.ZIP: How many puppeteers does Little Angel train every year?

SJ: Little Angel Theatre runs courses and classes for people

of all ages over 45 weeks of the year, more or less. Over 400

adults pass through our training centre every year. We also run

courses and professional development off site. Furthermore we have a vibrant programme for young puppeteers through our

歌劇院）合作。你們是怎樣進行合作的？請問你們在合作中遇到的主 SJ: 小天使一直以來都與許多藝術家，劇場公司合作。從ENO到RSC（皇

家莎士比亞劇院），從虹彩（Kneehigh）到波爾卡（Polka）劇院。與其 他公司和組織工作是一件很好的事情，因為我們都能從對方那裡學習

到許多東西，並且可以分擔成本，分享資源。工作中主要挑戰來自於

不同方面，有大有小。比如，我們與皇家莎士比亞劇院合作《暴風雨》 時，在制作過程中，項目規模本身就是最大的挑戰。小天使是一個百 人坐席的劇場，而天鵝劇院比小天使劇院要龐大許多。由於我們自己 的舞臺僅是天鵝劇場舞臺的六分之一大小，因此當我們把項目搬到小

天使劇場演出時必須制作一份新的規劃，而且還要精簡80%的人員！

youth programme.

ART.ZIP: 小天使每年培訓多少位木偶操縱師？

ART.ZIP: How are these puppets created and how do you

訓超過400人。我們還開辦場外課程和專業發展研修課題。此外，我

breathe life into them as characters? What would be the biggest challenge of both creating these puppets physically and also

SJ: 小天使劇院一年為各年齡階層人士提供的課程超過45周。每年培 們的青年培訓計劃為新一代的木偶人提供精心策劃的培訓項目。

making them come to life onstage?

A R T. ZIP: 你 們 的木偶 是 如何制作 的，你 們如何為他 們 的角色帶來

carved and costumed in the atmospheric workshop adjacent to

是什麼？

SJ: Puppets for our professional productions are conceived,

the Little Angel Theatre. We also run professional development training weeks with master puppet makers in the very same

space. In addition to this we run additional training courses in

puppet making and performing at our new Studios in Islington, just 5 minutes walk away from the theatre. You can learn

to make and perform with many different types of puppets, including table top, rod, shadow, glove and objects. The

challenge of making a puppet is thinking about how you want it to move. The same challenge relates to the performance

生 命 ？制 作 這 些 木 偶以 及 把 他 們 帶上 舞 臺 時 你 們 面 臨 的 最 大 困 難 SJ: 我們特別制作的木偶是在小天使劇場旁邊那充滿藝 術氛圍的工

作室 進行設計、制作 與配 裝的。在此空間我們還舉行 過木偶藝 術大 師的專 業研 修 培 訓 周。除 此 之 外，我 們 在伊斯靈 頓 距 劇 場步行 5分

鐘的新工作室裡 進行木偶制作 與演出的額 外培訓課程。人們可以在 這學習制作與操作不同樣式的木偶，包括桌面式、棒式、皮影式、手

套式 和其他物件。制作木偶的挑 戰 是去 想像你將讓 他如何移動。同 樣的挑 戰也涉及到演出方面。尤 為重 要的是，出演者需要專 著許多

細節，如怎樣才能賦予木偶生命與氣息，讓他受到關註，並為它灌以 情感。

BLIND SUMMIT

盲頂劇團

TEXT BY 撰文 X AVA DAVIES TRANSLATED BY 翻譯 X ELAINE YU 余寧

Blind Summit’s mission is to reinvent the idea of

盲 頂 劇 團 的 使 命 在 於 重 新 定 義 木 偶 藝 術，並 將 當 代 木 偶

new audience. In their own words, they say that they ‘see

術為我們這個時代 對戲 劇再創造的關鍵一 環。”馬克·道 森

puppetry and bring contemporary puppeteering to a

puppetry as a radical part of the reinvention of theatre

in our time.’ Mark Dawson acts as Blind Summit’s Artistic Director, and has held the post since founding the

company in 1997 with Nick Barnes. He plays an active,

engaging role within the company; directing, designing, writing and performing, drawing upon his dramatic

戲帶給新的受眾。用他們自己的話來說, （Mark

他們“視木偶藝

Dawson）是盲頂劇團的藝術總監，他自從1997年

與尼克·巴恩斯（Nick Barnes）共同創立公司以來便擔任此

職務。他曾在英國皇家中央演講和戲劇學院深造，因此有良 好的戲 劇功底，在公司當中 他 親 歷 親 為，從導演、設計、撰 寫到演繹事必躬親。

training at the Central School of Speech and Drama.

盲 頂 的木偶 劇形式 嚴 肅而有趣：他 們 的靈 感 來自傳 統的日

Blind Summit work with a rigorous and exciting form

引人入勝的表演。作為一個巡回演出劇團，他們的作品和演

of puppetry: inspired by traditional Japanese Bunraku,

a team of three performers work together with a single

puppet to create a riveting show. As a touring company, they are allowed a degree of flexibility within their

productions - they devise shows, commission new works

本 文 樂 木偶，三位表 演者同 時 操 縱一只木偶 來為 觀 眾帶來

出有一定的靈活性 ─ ─ 他們策劃劇目，向技藝高超的藝術

家委 托定製新劇本，並打造相關的木偶。可以說，盲頂 是在 領 和提 倡創新而 新穎的劇場 形式，而並不局限 於 僅 僅 是木 偶的運用。

from artists with raw talent and create bespoke puppets

20 05年，盲頂打造的《低處生活（Lowlife）》一炮而紅，國

advocate new and exciting pieces of theatre that are not

要表現 ─ ─ 道森和巴恩斯一直認為該公司旨在將木偶戲 劇

for each production. Blind Summit therefore pioneer and purely categorised by their usage of puppets.

Lowlife, the company’s cult hit which began life in

2005 and toured internationally for four years, is a prime demonstration of their company ethos. Dowson and

際 範 圍內巡 演了四年，這部作品可 謂是 他 們 公司精神 的主 帶給更 廣泛的成年觀 眾。這部作品的靈感來自於查爾斯·布 考斯基(Charles

Bukowski)的短篇小說，憑借其憂郁和黑

暗的喜劇基調，在瀰漫著微醺情調的表演之中，這部作品重 新定義了傳統戲劇中木偶戲表演的概念。

Barnes have always maintained that the company seeks

作為一 個靈活的而變通的公司，盲頂為全世界，包括中國觀

gin-suffused cabaret, with its melancholic and darkly

（The Table）》通過一個名為摩西的紙板木偶營造了一個遊

to bring puppetry to a broadly adult audience, and the comedic tone, took from Charles Bukowski’s short

stories to create a show which redefined the concept of puppeteering within theatrical convention.

As a flexible and adaptable company, Blind Summit has

眾帶來了許多特別的作品。他們長演不衰的獨創劇目《桌子

走 於喜劇與哲學之間的迷 人故事。他 們嘗 試 為 觀 眾 講 訴 一 個生命和死亡的故事，同時又“像一 個湯米·庫 珀（Tommy

Copper）和埃迪·伊紮德（Eddie Izzard）之間的十字架”。

舞臺上的圖像充滿了質樸的魅力─ ─ 唯一的道具就是一張 光滑潔白的桌子。這部作品旨在探討聖經人物摩西，尤其是

Mr China’s Son. Liyi Sweeping.

brought multiple productions across the world and to China.

探究他的必死的命運以 及神之代言人的身份。為探索摩西身上的人

creates a fascinating tension between comedy and philosophy

（S ar ter）那 裡找 尋靈 感與 線索，從而設計出一 部關於探索存 在主

Their latest venture, the original devised piece ‘The Table’

through the medium of a cardboard puppet named Moses, who seeks to tell his audience a story about life and death, whilst

義，和幾近荒誕本質的神和人之間關系的劇本。

also being ‘like a cross [between] Tommy Cooper and Eddie

盲頂公司還 堅 持與其他戲劇先鋒人物合作，其中就包括英國國家歌

is to the set is a smooth white table with a slouched, wizened

（Complicite） 《大師與瑪格麗特（The Master and Margarita）》與《狗

Izzard’. The image onstage is an intriguingly stark one - all there cardboard puppet striding about his tiny confines, operated

by three black-clad puppeteers. The show seeks to explore the Biblical character of Moses, delving particularly into the idea of

his absolute mortality and role as God’s mouthpiece. Exploring Moses’ humanity alongside God’s absolute divinity pushed

Dawson to draw upon influences such as Beckett and Sartre

On Emotion

性，和他所代 表上帝的絕對神性，道森從貝克特（Becket t）和薩特

劇院《蝴蝶夫人》中的安東尼·米赫拉（Anthony

Mighella）；同夥劇院

心（A Dog’s Heart）》的導演西蒙·麥克伯尼（Simon McBurney）。 《狗 心》是一部前所未有的由亞歷山大·拉卡托 （Alexander Raskato）

原 創的歌 劇，這也是 他指 導的第一 部歌 劇，被 廣泛譽為是 一種全 新 的創作形式。這場歌劇用到的設備包括了擴音器，吵鬧的電吉他等。

通 過 這 些設備的 使 用，讓 歌 劇不 在 顯 得 那麼高高在 上，更新了人們

對這 種藝 術形式的刻板印象。對於盲頂來說，他 們所採 用的表 達 方

in order to create a devised piece exploring the existential and almost absurdist nature of God’s relationship with mankind.

The company has also consistently collaborated with other

theatrical pioneers, including Anthony Mighella on the ENO’s

Madama Butterfly, and more recently, Simon McBurney’s Complicite on The Master and Margarita and A Dog’s Heart. A Dog’s Heart, an original opera by Alexander Raskatov and which was the first opera McBurney directed, was widely

heralded as a completely innovative form of opera, the likes of which had not been seen before. An opera which contained such directorial devices as arias belted out of megaphones

and brash, braying electric guitars updated the art form into

something less elitist as it was perhaps previously thought to

be, and this proved a natural way for Blind Summit to find their way into the production. Bulgakov’s story of a dog which is

transformed into a man in a horrific, Frankenstein-type story

pushed McBurney to seek out the company in order to create the most fundamental part of the piece. Blind Summit’s dog puppet, a charcoal coloured, skeletal monster which limped across the

stage accompanied by inhuman shrieks and growls interspersed with Peter Hoare’s stunning operatic voice, was the pivot of the production and an image which remained with the audience

long after the dog transformed into a lecherous man at the end of the first act.

One of their most exciting productions seen by Chinese

audiences was the company’s production of Mozart’s seminal

opera, The Magic Flute, which premiered in 2013 at the worldrenowned Bregenz Festival, directed by David Pountney and containing twelve Blind Summit puppeteers. A performance

that can only be described as a huge spectacle was produced on the world’s largest floating stage on Lake Constance, and

contained huge bird puppets operated by three puppeteers and fire breathing dragons. Taking on an ‘Alice in Wonderland’ type

tone, the puppets used were revived in 2014 in a production of

Le Rossignol, directed by Dawson.

As a company, it appears Blind Summit have consistently and

without fail looked to create stimulating theatre above all else,

with their puppets acting as more of a conduit for this aim rather than anything more extraneous.

式 和 使 用 的 表 現 手段 和 道 具 都 是 相 輔 相 成自然 而 然 的，毫 無 造 作 之 嫌。這 只狗的故事逐漸 變化成一 個類 似《科學怪 人 》似的恐 怖 故

事，這也迫使麥克布尼得 找到其他的人來幫助他完成這部劇的最基 本的道具─ ─ 一 個符合要求的狗木偶 。盲頂 最 終呈現 給 大家的，是

一 個灰黑的骨骼 嶙峋的怪獸，在 駭 人的尖叫和咆 哮之中，伴隨 著 彼 得·霍爾（Peter

Hoare）令人驚豔的演唱，這隻怪獸一瘸一拐的走

上舞臺。作 為整部劇的支 點，木偶塑 造的形象深深地烙印在觀 眾的 心中。

盲頂的另一部作品歌 劇《 魔笛（The Magic Flute）》靈感來自於莫 紮特的音樂，它是由世界 著名導演大衛·龐尼（David Pountney）

執導，此劇2013年於布雷根茨藝 術節（Bregenz Festival）首映， 正 是 這 樣 ，這 也 被 熟 悉 這 個 音 樂 節 的 中 國 觀 眾 所 見 識 。這 是 一

出 史 無 前 例 的 表 演，它 在 世界最 大 的 漂 浮 舞 臺 康 斯 坦 茨 湖（L a k e Constance）上演出，帶出由三位木偶藝人操縱的龐大鳥型木偶，以

及會噴火的飛龍。采用了“愛麗絲夢遊仙境”式的色調，這些木偶在 2014年道森導演的《夜鶯（Le Rossignol）》中再次被啟用。

盲 頂一直在為人們帶來 別開生面、刺激 感官的劇院 演出，而且從 未 失敗過。盲頂的木偶已經成為實現劇場藝術創新的最重要渠道。

THE HEADS

《腦袋腦袋》 TEXT BY 撰文 X JOANNA DONG 董一燃 TRANSLATED BY 翻譯 X ELAINE YU 余寧

The Heads was premiered in London International

《 腦袋腦袋》是盲頂在2013年倫敦國際默 劇節上首演的作

productions as there are no storylines. Three photo

事 線 索 。舞 臺 正中，一面黑 墻上 三個 紙 殼板 塑 造 的 相 框 空

Mime Festival in 2013. It is quite different from any past frames made from cardboard paper are hung in the

middle of the stage on a black wall, exerting a sense of openness and deepness. Gradually, three white

heads appear in the frames, emotionless, without any

indication of activities with smells of stillness and death from human body parts. The three heads start to jitter

just as we start to doubt their agility and ability to move.

It is like observing cell divisions under a microscope,

orderly and plentiful, with a good pace. The influence of the music and the surroundings and the illusion of

品。和以往的作品區別較 大，這一次，他們徹 底地放 棄了故 曠，深邃 。演出開始，燈 光強 烈的打 亮了相 框，把裡面的黑 色襯 托得更 加黑暗與神秘 。三個白色的腦袋陸 續出現在畫

面裡，沒有表情，沒有任 何活動的機關，甚至 還有些 像人體 標本的那 種僵 死的恐 怖，就在我們質疑它們的靈活與 表現

力的時 候，三個 腦 袋開始活躍 起 來 。好 似 顯 微 鏡 下細 胞分

裂，規律而逐漸豐富。錯覺漸漸產生，在一張張僵硬的面孔

裡，你開始在音樂和裝飾的影響下覺察情緒、身份、卻又沒 有得到完全的解答。與夢魘有著驚人的相似， 《腦袋腦袋》 為我們呈現神秘，未知和不安全的觀感。

the faces of the stiff heads stimulates emotions and

受 到 立體 主 義 和 超 現 實 主 義 的 啟 發，《 腦 袋 腦 袋 》前所 未

bring us the sensation of mystery, uncertainty and

術家喬恩·懷恩（Jon Whit ten）為本部作品的原 創，為這

questions. Surprisingly similar to nightmares, The Heads

insecurity.

Inspired by Cubism and Surrealism, The Heads has a poetic and philosophical atmosphere. The artist Jon

Whitten has composed music specifically for the show

有地充滿 詩意 和哲思 。更值得 一 提的是 所有的音樂皆為藝 兩 種 藝 術 更 默 契 地 彼 此 交 融 提 供了更 大 的 挑 戰 和 更 多 的 可能 性 。盲 頂 這一次的作品不僅 僅 挑 戰 我們對於木偶 本身 的 認 識，更 是在 挑 戰 我 們 對於 光、音樂和 視 覺 主導劇 場 的 欣 賞體 驗。

and this has brought more possibilities and bigger

這一次的 創新並沒有止 於 這 些，同樣 值得關註的還有對於

new play of Blind Summit not only challenges our

板 做 的，卻嚴 肅 地 呈現 著 古典 主 義 的風 格，那 些 層疊 的 雕

challenges in blending the two art forms. This eccentric understanding of puppetry, but also our experiences of light, music and vision in theatre.

Innovative use of materials is also ground breaking. The three photo frames are solely made of cardboard, but appear to be made in the classic style of plaster with

complicated and heavy detailing with layered carvings,

材 質的 特別 探 索 。如 我 們 之前 提 到的，三只相 框 完 全 是 紙

花，有 著 石 膏相 框 的 繁 復 厚重 感，或者 金 屬 相 框 的尖 銳 和 規 則 。我 們 明 明 看到 紙 板，有 著 那些甚至不願 去 修飾的原 始 顏 色 和瓦 楞，我 們 看到的 卻不 再是 紙 板，錯 覺的 遊 戲 讓

各種可能性得以呈現。對於木偶本身，這一次的腦袋們使用 了乳白色的矽膠質塑造，在強光的投射下，半透明的頭 顱有

著母體中嬰兒般的意味 。這 種特別的質感與 周邊 深邃的黑 色產生鮮明的對比，讓夢境的感知更具有說服力。

or metal frames with sharpness and rules. We see cardboard with

while one, two, three pieces of wind are floating in the dark

Then we no longer see cardboard, this game of illusion allows

there to judge the appearance of the heads, but to open the gate

our own eyes, with its untouched original colour and corrugated. all possibilities. The puppets heads are made from a milky white

silicone mould. Through the strong limelight and the translucent skull can be heard cries creating the image of an unborn baby in

background. You realise that these curious works of arts are not to fantasy, to bring your soul out of your body temporarily; in order to examine what is really going on in your own head.

a mother’s womb. This peculiar texture is in sharp contrast with perception of a dream.

同時，盲 頂 並沒有忘記他 們慣 有的幽默，當一朵在 風中搖曳的花 朵

Meanwhile, Blind Summit have not lost their traditional sense

貼上胡子，生動地為默 片之王查理·卓別林致意時，當它頂 起尖豎的

of humour: when a flower swaying in the wind turns into a tiny

ballerina; when the featureless head wears a top hat and beard, vividly paying respect to Charlie Chaplin, king of silent pictures;

when it salutes punk culture with its sharp and pointy hairstyle,

翻轉 變 成 小 小的芭蕾舞者，當那顆沒有任何特 征的腦袋戴上禮帽，

發型，為朋克 文化敬 禮時，在一朵、兩朵、三朵、輕巧的雲朵 飄在黑 色的背景裡時，你 終於 理 解，這個奇妙的作品並不是 要 審閱這 些 腦

袋的外表，而是要為你打開通往魔幻的大門，暫時靈魂出竅，去審視 你自己的腦袋裡，究竟在想點什麼。

The Heads

the seemingly endless darkness around it, forming a persuasive

THE BEAUTY OF SILENCE 大音希聲

Modern physical theatre is first and foremost influenced by mime and contemporary dance. Presently, an exact, clear definition of the physical theatre is still called for. To the audience, however, the rich, unconventional body movements bring the physical conventional theatre. It is exactly this unmarked border of ambiguity that profoundly inspires creators.

In the history of contemporary drama, many masterpieces were born out of the coupling of drama and physical theatre. Today, a handful of companies - including the formidable Complicite, DV8 and Kneehigh- base their productions heavily on the

tradition of physical theatre, and in turn contribute to it with their unique practices.

----現代 肢體 劇場受到默 劇和當代 舞蹈的影 響較為深刻。關於肢體 劇

場的定義，至今仍然處 於非常模糊的階段。但 是在觀 眾看來，那些 身體的 韻 律，那些 豐富而 不 拘 於 章 法的運 動，正 是 肢體 劇 場 遊 走

於當代 舞蹈和一 般 劇場之間的疆界。正是 這種 難以確 定的範圍， 激發了創造者濃郁的創作靈感 。

在當代 戲 劇的歷史 上，許多戲 劇大師的誕 生正是和肢體 戲 劇的發 展相輔相成，創造了許多不能磨滅的作品。現如今，在為數不多的

以 肢體 戲劇創作為主的劇團中，幾家英國劇團- -同夥劇團，DV8 和 虹彩劇團以他們獨特的實踐各自鼎力。

Dv8, performers Ian Garside, Andi Xhuma, photographer Blandine Soulage-rocca

theatre onto the border between contemporary dance and

THE MASTER AND MARGARITA

《大師與瑪格麗特》 Complicite, The Master and Margarita - copyright Bohumil Kostohryz

TEXT BY 撰文 X JOANNA DONG 董一燃 TRANSLATED BY 翻譯 X LI BOWEN 李博文

In 2013, on stage was a production that has conquered countless audience with its unmatched darkness and unpredictable magic.

It was The Master and Margarita by Complicite.

Established in 1983, the Complicite is dedicated to

presenting visual effects and the art of design in a theatrical context. The Master and Margarita, originally a novel of

substantial temporal and spatial distances, a great number of characters and multiple storylines is perfect for the style

of the performance company. The themes of ethic, romance

and religion in parallel structure constructed the whole story.

The set of the story was the atheistic Moscow and the holy Jerusalem in the 30s of the 20th century.

Mikhail Bulgakov, lived a life that was turbulent and miserable as many of his peers did. The Master and Margarita was

considered his most accomplished work, presenting a world that is only uncanny and utterly strange. In the story, Satan

disguised as professor Woland and his retinue come to Moscow to investigate the changes in humanity. Because of his arrival, many strange things happened one after another: a rain of

money falling in a theatre, people soaring in the sky… In the

society there are many evil figures and shady businesses, but also

precious love and unmatched talents. The “master” that flees into the asylum and his brave girlfriend Margarita are the sparkles

of hope. On the other hand, the story concerns Roman Empire Jewish ruler Pontius Pilate’s trial and execution of Yeshua.

201 3 年 的 舞 臺 上，有這樣 一 部作 品以 其 黑 暗 而 難以 預 估 的魔 力征

服了無 數的觀 眾 。那正 是同夥劇團（Complicite）的《 大師與 瑪 格 麗特》。

創建 於198 3 年的同夥劇團專註 於視 覺 效 果和設計藝 術在舞臺 上的

呈現 。這部穿越 時 空、人物 繁 多、情節 交 錯 的 小 說非常適合用 他 們 的風格來演繹。故事的幾條線索：道德、愛情、宗教平行地撐起了故

事。故事的背景也被設置在20世紀30年代堅信無神論的莫斯科和聖 城耶路撒冷。

布爾加科夫（Bulgakov），這位被喻為“俄羅斯之狼”的作家，有著 很多偉大的藝 術家相似的悲 慘身世。被認為是 他最出色作品的《 大 師與 瑪 格麗特》呈現了一 個光怪陸離的世界。小說一開始由魔 王沃 蘭 德 及 其 隨 從 來 到 莫 斯 科 考 察 人心 變 化引出情 節 。由 於 魔 王 的到

來 和 活 動，生 活 中出 現了很 多 征 兆：劇 院 裡 下 起了錢 雨，被 施 了魔 法 飛 舞的人們……在 這樣 的社會中，有 許多腐敗 醜 惡的人和事，但

是 同 時 也有美 好 的愛 情 和 過 人 的 才華 。因 為怯 懦 逃 進 精 神 病 院 的 “大師”和他勇敢 解救愛情的女友瑪格麗特正是這些希望的火花。

於 此 同 時，羅 馬帝 國 的 猶 太 總 督 彼 拉 多 審 判 並 處 死 約 書亞 的 故 事 平 行進行。

The Master and Margarita. Photo by Hugo Glendinning.

Complicite, The Master and Margarita - copyright Tristram Kenton

Pontius Pilate is an ambivalent figure. As the ruler of Jerusalem,

he is cruel and merciless; as an official, he struggles with himself and is in fact very cowardly. The pressures placed upon him

eventually have him made the decision of executing Yeshua. He

attempts to redeem himself and be cleaned of his sins, but could

The application of multi-media in the production was brilliant.

The whole production did not involve any fixed, large-scale scene, but only a handful of simple equipment. The use of

projection successfully rendered the shifts of time and space – for example, in the identification of locations and in the scene

where Margarita falls from a building. Light worked efficiently in

demarcating the space on stage, motivating movement of trams, generating clashes, constructing interior spaces et cetera. The

artist responsible for the stage design was Es Devlin, considered

Simon McBurney - copyright Eva Vermandel

not escape the punishment that lasts 1900 years.

one of the most important designers in UK today. Previously she worked with Lady Gaga, Take That, and many other artists of

unique styles. She was also the director of design for the closing ceremony of London Olympics 2012. Her efforts made The

Master and Margarita a production full of magic.

Because of its unique narrative, The Master and Margarita has

been long celebrated by artists of all forms. Since its publication, there has been at least several dozens of adaptations in film, TV, drama, ballet, and opera.

人性未泯的地方官員，他矛盾膽怯。政治上的高壓，使他最終還是不

很情願地處 死了約書亞。他試圖贖罪，試圖為自己洗刷罪行，但是他 仍未逃脫長達1900年的良心的折磨。

演出中，多媒體的應用十分出色。整個作品沒有任何固定布景，僅有

簡單道 具 。然而投影應 用把時空轉 換設計得 非常好，集中體現的例 子包括地 理位置的標定和瑪格麗特的墜樓的場景。光在舞臺空間的

分割作用，比如有軌電車的行進，撞擊後的位移，以及黑暗房間用光 線建立起來的四壁和房門等等。負責舞臺設計的藝術家艾斯·德夫林 （Es Devlin）被挑剔的英國媒體評價為英國現今最重要的設計師之

一。曾經合作過Lady Gaga，Take That等極具舞臺性格的演出者的 演唱會，並且擔任倫敦奧運會閉幕式的設計總監。德夫林的參與，讓 這出《大師和瑪格麗特》充滿魔力。

《大師和瑪格麗特》由於其故事的魔幻和玄妙，受到各行各業藝術家 的青睞而進行演繹。據不完全統計，從小說面世以來，有包括電影、 電視、戲劇、芭蕾、歌劇等各種形式的數十個改編作品相繼產生。

Complicite, The Master and Margarita - copyright Tristram Kenton

彼拉多形象具有雙重性。作為耶路撒冷的統治者，他殘酷暴戾；作為

COMPLICITE

同夥劇團

The Master and Margarita. Photo by Hugo Glendinning.

TEXT BY 撰文 X AVA DAVIES TRANSLATED BY 翻譯 X LI RUIXUE 李瑞雪

The company that perhaps created and are now synonymous with the concept of contemporary visual theatre are almost certainly Complicite, set up in 1983 by Simon McBurney,

Annabel Arden and Marcello Magni. Complicite are probably

the most influential experimental theatre establishment in the UK, setting the standard for the younger visual and devised

theatre companies that have sprung up in its wake, such as DV8, Kneehigh and Frantic Assembly. Combining intense physical

theatre and movement with magical usage of light, sound and projection, they tackle texts which grapple with philosophical

and existential questions whilst somehow retaining a light touch to their work.

The founders initially met whilst studying at Cambridge and performing in the Cambridge Footlights, the UK’s foremost

student comedy troupe which has spawned Monty Python,

amongst others. After leaving Cambridge, however, McBurney,

Arden and Magni studied in Paris under Jacques Lecoq, learning

the principles of intensely physical theatre which have now come to define Complicite’s production style.

Complicite show the theatrical world what the power of an

audience’s imagination can do to a performance. In this sense,

they act almost as the audience’s teacher, guiding them with slick but not soulless movement and audacious technological cues, but also allowing us to stretch our imaginations. A production that best exemplifies this must be Simon McBurney’s glorious

production of Mozart’s ‘The Magic Flute’, (which, although not 同 夥 劇 團 幾 乎 可 以 被 視 作 創 建 了 當 代 視 覺 劇 場 這 一 概 念 ，而 且

“當代視覺劇場”也成為了這個劇團的一個代名詞。同夥劇團是1983

年，由西蒙·麥克伯尼（Simon McBurney），安娜貝爾·雅頓（Annabel

Arden），馬塞羅·麥格尼（Marcello Magni）三人共同成立的。同夥劇

團為英國許多年輕的注重實驗劇場實踐的公司樹立了榜樣，比如DV8、

虹彩（Kneehigh）或者是狂亂大會（Frantic Assembly）劇團都受了它 的影響，同夥劇團是目前英國當之無愧的一流實驗劇團。他們的作品

運用強烈的肢體語言與燈光、音響、以及投影手段相結合，來闡釋他 們對哲學以及存在主義的理解。

劇團的三位 創立者相識于在劍橋的求學 期間，并曾經一同參與過 劍 橋腳燈戲劇社（Cambridge

Footlights）的演出。劍橋腳燈戲劇社

是英國最重要的學生劇團之一，誕生了《巨蟒（Monty Python）》這 樣的經 典作品 。他 們在 結束了在 劍橋的學業以後，一同前 往巴黎繼 續深造，并師從雅克·勒科克（Jacques

Lecoq）潛心鑽研身體劇場

的相關課題，這也為他們後來成立的同夥劇團及其風格打下了堅實 的基礎。

同夥劇團向整個戲 劇屆展示：觀 眾的想像力可以為表演本身帶來巨 大的影 響。他 們 似乎成 為了觀 眾們的老師，用他 們大 膽的技術以 及

Lionboy. Original cast: Lisa Kerr (French Cat), Dan Milne (French Cat) and Clive Mendus (Sergei).

Photocredit MARK DOUET.

Complicite, retained many of their directorial tics), where, in place

賦予靈魂且質樸的肢體運動牽引著觀 眾舒展他們的想像力。這種表

in black use pieces of the orchestra’s sheet music to flutter

笛（The Magic Flute）》表演中使用了精緻細膩的木偶，一身黑衣的

of elaborate and delicate puppets, actors and technicians dressed and skitter around stage, symbolising the birds which follow

Papageno and Tamino. Complicite’s work is not easy: they push their audience intellectually, either through the themes which

演特色的最佳例證莫過於麥克伯尼根據莫扎特音樂改變的劇作《魔 演員和技術人 員們象徵著跟隨帕帕吉諾和塔米諾的鳥類，快 速地穿 梭於滿布交響樂譜的舞台之上。

they explore and visually, through their disruptive and initially

觀 看 同 夥 劇 團 的 作 品可並不 是 輕 鬆 的 事 情，無 論 是 作 品 複 雜 的 故

demanding, yet also contain a certain beauty to them; either

著 觀 眾 們 的 智 商 。他 們 演 出 的 作 品 難 度 都 非 常 高，但 卻 都 頗 具 韻

jarring tableaus. The works they choose to put on are deliberately in the stark nihilism of Beckett’s ‘Endgame’ in 2009 or the

kaleidoscopic whirlwind of images in 2012’s ‘The Master and

Margarita’, which tackled Bulgakov’s classic Soviet novel.

Complexity is relished by Complicite: ‘The Master and Margarita’ for one juggles three different storylines, each with their own particular tone, ranging from surrealism and satire

to swooping romanticism. A story about, on the surface, Soviet

censorship, McBurney chose to focus on the idea of storytelling,

pulling a sprawling storyline back to its core and focusing on the intricacies of narration and unreliability. Interestingly, McBurney has commented in the past that he sees Complicite as being

more of an ‘arts organisation’ than a theatre company. His point is clear: the company utilise technology, a wide range of mediums

such as dance and music as well as acting, and have a deliberate

事 線、視 覺表 現 力，或 是不協 調 的舞台著 裝，無 不 時 時刻刻 都 挑 戰 味：無 論 是 2 0 0 9 年上 演 的貝 克 特（B e c k e t t ）那 充 滿 鮮 明 虛 無 主

義 特點的著 作《殘 局（Endgame）》，或是在 201 2年 根 布爾加科夫 （Bulgakov）著作改編而成的《大師與瑪格麗特（The Master and Margarita）》，都為觀眾們呈現了萬花筒般的圖像風暴。

戲 劇的複雜 性一直 是被同夥劇團津 津樂 道的主 題：《 大師與 瑪 格麗 特》這一劇中貫穿了三條不同的故事 線，每 一 條 線索 都 有獨 特的腔 調，涵蓋了從 超現實主義和各類 諷 刺到浪漫 主義的不同風格。編 劇

麥克伯尼選擇專注 於整個故事的敘事手段，在為這個龐 大的故事樹 立其核心內容之後，便 此劇敘事方面的不可靠性和複雜性上大做 文

章 。有趣的是，麥克伯尼過去曾經談 及 過 他 覺得同夥劇團與 其他 劇 團比 較 來 說，更像 是 一 個 藝 術機構 。他 的這一 觀 點 並不 難 理 解，通

過科技、舞蹈、音樂和表演等舞台元素的運用，他們使作品具備更強 而有力的視 覺衝 擊力。但說回來，如果不 將同夥劇團看作是 戲 劇創

作公司，其他的定位也都 不夠準確 。他 們通 過 運 用各種不同的媒介

focus on the visual impact of their work. But to describe

Complicite as being anything other than purely theatrical would be inaccurate: the variety of different mediums they use are all imagination and broadcasting their ideas and themes to their trusting spectators.

The trust an audience must place in Complicite is testament to

the company’s ability to consistently deliver visually arresting and

intellectually stimulating shows. Just when you thought you could pin them down as a company specifically geared towards adult

audiences in their adaptations of works often thought unstageable, their newest production is their first foray into children’s theatre through the adaptation of Zizou Corder’s best-selling young

adult book ‘Lionboy’. Though at first this could seem to be a fairly

radical departure from their usual fare, Annabel Arden’s production delivers. The lions of the title are created not through ‘The Lion

King’ style elaborate costume and headdresses, but through a mixture of body movement and the audience’s imagination. A

Lionboy. Original cast: Dan Milne (King Boris). Photocredit: MARK DOUET

for the purpose of telling a story well, igniting an audience’s

key part of Complicite’s manifesto is pushing their audience to

think and create for themselves, and this is something that is not sacrificed despite the reduced average age of their audience.

Despite at the hefty age of thirty-one essentially becoming the grandparents of visual theatre companies all around the UK,

Complicite have retained a sense of fun, ambition and innovation.

Any production company can be wildly radical and innovative; over the decades.

和表現手段都是為了營造更佳的敘事模式來點燃 觀 眾們的想像力， 從而可以更好地傳遞他們大膽的想法與構思。

觀 眾 對於同夥劇團的信任，充分證明了同夥劇團具有超強的創作 視

覺衝 擊力強並且知識涵蓋面廣的作品的能力。如果你把同夥劇團定

位在一家改 編 和製作高難度作品的以 成年 觀 眾為主的戲 劇公司，那 可就大錯特錯了。他們最新的作品已經開始涉及兒童劇的創作，劇團 最新力作《獅孩（Lionboy）》改編自齊祖·柯德（Zizou

Corder）的

同名暢銷小說 。雖然 此 次的創作在主 題的選 擇上變化 較 大，但 雅頓

最後 呈獻 給觀 眾的作品絕不會像熱門音樂 劇《獅子王》一樣在道具 和服裝上大費周章，相反，作品還是持續了他們一貫的風格，通過細 膩豐富的肢體語言來 挑 動觀 眾們的想像力。同夥劇團一直以來的信

條就是要通 過作品來 啟發觀 眾自發的思考和創造，而這樣的信條不 會因為觀眾年齡層段的變化而改變。

擁有31年歷史的同夥劇團已然成為了英國視覺劇場元老級的公司， 他 們 仍然 持著 特 有的幽默 的風格和創新 精神，依 然 壯心不已 。任 何 的製作公司都可以 是 進擊 和創新的，但同夥劇團在其始終不變的信 念和理想之下，已經在創新和開拓的道路上奔馳了30年。

Lionboy. Original cast: Adetomiwa Edun (Charlie Ashanti). Photocredit: MARK DOUET

but it is Complicite’s sense of heart which has made them endure

DV8 performers Ian Garside, Gabriel Castillo, Taylor Benjamin, photographer Gergoe Nagy

DV8

背離劇團

EDITED BY 編輯 X AVA DAVIES TRANSLATED BY 翻譯 X LI RUIXUE 李瑞雪 INFORMATION PROVIDED BY 資料來源 X DV8 背離劇團

DV8 are a physical theatre company who look to challenge boundaries and subvert preconceptions, whether in their

physical performances or in the intellectually challenging issues

they grapple with. Set up in 1986 by Lloyd Newson, who remains their artistic director today, they have an equal commitment to the process of creation as they do to their final product. Above

anything else, they are unafraid to take risks and create alienating and confounding pieces of theatre that deliberately force their audience out of their comfort zone and into the wilderness.

Their very name is indicative of the work they do: DV8 is an

abbreviation for Dance and Video 8, which suggests their total

commitment to the practice of visual theatre, and the slight pun on ‘deviate’ suggests their artistic intentions with a sly humour.

They use dance to push past preconceptions of what traditional, classical dance can show an audience and demonstrate the

power of dance to create works that are severely contemporary

and pertinent. Newson’s creation of DV8 arose after studying and performing dance, when although he began to feel technically advanced, he felt that the material he was performing was not urgent or vital enough.

“The works I was being asked to perform, with rare exceptions,

were largely devoid of meaning, regardless of what the program notes said. When you’re trained in a movement aesthetic, it’s

easy to be seduced by ‘the look’ of a movement. But what is the point of a pointed foot or a high leg kick? Meaning is constantly sacrificed for the sake of ‘beauty’ and virtuosic displays, so it’s

D V 8 是 英 國 一 流 的 肢 體 劇 團，他 們 的 作 品 不 論 是 在學 術上 還 是 在

表演上，都 致 力於顛覆 人們對于 舞 蹈和戲 劇的既有概 念，他 們一直

都 在嘗 試 挑 戰 極 限 。1 9 8 6 年，現 任 藝 術 總 監 勞 埃 德·紐 森（L l o y d N e w s o n）創 建了D V 8 劇 團，自 從 那 時 起 ，劇 團 所出 品 的 作 品，不

論 是 創作 過 程 還 是 最 後 成 品 都追 求 極高的 藝 術 水 準 。對於 他 們 來

說， “風險 ”這個詞好 像從來沒有出現在DV8的字典中，他們創造出 一 部又一 部特立獨 行的，內容深刻的 優 秀作品 。這 些 演出將 觀 眾從 平日慣常的平靜舒適的觀看體驗中脫離出來，並將他們領 入到一 個 充滿野性的地帶。

DV8是“舞蹈和影像（Dance and Video 8）”的縮寫。從劇團的名 稱上也不難看出他們的風格，彰顯了他們致力於視覺 戲劇的意願。

而 且，這 個 名字 也 極 具 幽 默 感，D V 8 的 英 文 發 音與“ D e v i a t e（背 離 ）”非常 接 近，這 種 一 語雙關 也從 某 種 意義 上闡 釋了他 們 不走尋 常路的創作初衷。劇團用他們獨特的舞蹈風格顛覆了觀 眾對傳統經

典舞蹈的認知，同時也展示和印證了舞蹈對於當代 舞臺的重要性。

紐 森 在學 習當 代 舞 的 過 程中 發 現 ，雖 然 舞 蹈 技 能 可以 通 過 學 習 提 高，但表 演中最核心 和最 實 質的問 題 往 往不是 技 巧，於是，他 便 創 立了DV8劇團。

difficult for such a form to satisfactorily speak about complex

“ 在 過去，無 論作品介 紹裡寫了些 什麼，除了很罕見的幾 部作品 之

people love beauty, the visceral power of movement alone,

易把一 個人的關註 點引向運 動的「模 樣 」。但 踮 起 腳尖或高踢 腿 到

social, psychological and political issues. I appreciate some

but after 37 years in the business it leaves me brain dead. I’m

fascinated by movement and its relationship to meaning, but I’m not a dance junkie”.

Newson’s drive and touch has pervaded every part of the troupe, making them the fiercely dedicated dance powerhouse they

底有什麼意義呢？意義總因為“美”或技藝展示而被犧牲掉，所以這

種 形式總不能很有效 地討論復 雜的社會、心 理 及政治問題 。我 欣賞

人們對於美的熱 愛，對於 純 粹肢體 運 動的力量的熱 愛，然而在 這個 行業內工作了37年的我因此幾乎腦死亡了。我 為舞蹈運 動及意義的 關系而癡迷，但我不是一個舞蹈瘋子。”

are today. There is certainly pain in his productions, but it is

紐 森的這種以內容為核心的信念貫穿和引領了劇團的發展，時至今

pain is expressed.

的過程中經 歷了各種 磨 礪，但 所有的艱 難困苦 都以一種令人振奮的

combined with the total exhilaration of the way in which this

“There are some works that I’ve made which were particularly

日，他 們已經 成 為了以新銳作品 著 稱的 傑出劇團。雖 然在 創作 作品 形式呈現在所有觀眾面前。

apt for that period in time. There are a couple that frankly

“我 創作的作品中，有一 些 是特別契合那個特定的創作時期的。有

those experiences, good and bad. I have to remind myself that

經驗中學習，無論結果如何。我需要提醒我自己，如果我需要從頭開

didn’t work, which I’d prefer to forget. I hope I’ve learnt from

if you are making work from scratch, avoiding repetition and

deliberately taking risks, some failures are inevitable. Our shows

are uncompromising and tough in most senses of the word and there have been a few times I’ve wanted to quit and no doubt some people would have been grateful if I had.”

DV8 performer Hannes Langolf, photographer Stavros Petropoulos

外，我 表演 過的舞 蹈作品大部分 都沒有意義 。運 動美學的訓 練很容

一兩個作品不夠成 功，而我也傾向於忘掉這 些 作品 。我 希望從 這 些

始創作、避免重 復以 及 直面風險的話，失 敗的經 驗 是無可避免的。

我 們 的 作 品 從 不 妥協 、堅 韌、不 容 易被 理 解，有幾 次我曾經 想要 放 棄，我也知道有人希望我放棄。”

Performer Joy Constan

The work that best sums up DV8’s attitude towards their art is

《我們能不能談談這些？（Can We Talk About This?）》是最能體

Theatre after touring in 2012. Newson tackles one of the most

院 上演。這部劇中，紐 森 選取了當下最 具爭議的政 治話題 ─ ─激 進

‘Can we talk about this?’, a production put on at the National

controversial topics in contemporary geopolitics: radical Islam.

Using verbatim responses from a variety of different interviewees, all interviewed by members of the company themselves, and using tightly controlled physical movement, the piece stirred

controversy easily. But this is just testament to the company’s bravery and their ability to stage new, important works other companies would not dare touch. DV8 consistently maintain

that their ultimate focus is the creation of art, and that financial

現DV8精神和創作風格的一部作品，它曾經在2012年在英國國家劇

的伊斯蘭教作為整個演出的主 線。這部作品毫無疑問地引發了激 烈 的討論 和爭議，表演的旁白部份採用了劇團對不同人群進行的真實

採 訪內容，而且採 用了看似非常僵 硬緊繃 的舞 蹈表 達 方式 。這一 作 品也充分顯示了劇團的過 人 膽 識，任 何別人不願或者不敢 觸 碰的領

域都不會嚇 倒他們。DV8始終堅 持把劇團的核心焦 點放在藝 術創作

之 上，作品的盈利問題 顯 得並不是 那麼重 要。除了麥當娜等 極 少數 人以外，DV8很少參與純粹的商業創作。

matters are of far less importance than the work they produce.

“在商業藝 術世界有很多我喜歡的藝 術家，然而大部分藝 術家的藝

DV8 has avoided commercial work.

他 們 的 藝 術感 覺 與 我 的 一 模 一樣 。如 果 有人 能 夠 提 供 我 充 足 的 資

Despite approaches from people like Madonna and Take That,

“While there are many artists I admire in the commercial world,

術感覺與 我不同。盡 管在看到他 們的觀 眾規模 之後，有時候 我 希望 源、時間以及完全藝術指導權，他們應該打電話找我。

their artistic sensibilities are generally not mine, although

DV 8作品的重 要性在 於，這 些 作品 是由普 通 人 共同 創作的，不是明

If someone could offer me what I have with my own company,

過程中都要在場，盡管排練過程一般是漫長而高要求的。自然地，這

looking at their massive audiences, sometimes I wish they were. time and complete artistic control, they should call me.

“What’s important about DV8’s work is that it consists of ordinary people, not stars. I strive for a sense of egalitarianism within

the company. Everyone is expected to muck in and needs to

星。我希望在舞團內創造一種平等。每個人都需要投入，在整個排練 個要求演員全身心投 入的劇團吸引了許多有著高要求的藝 術家。奈

傑爾·查諾克（Nigel Charnock）及溫迪·斯頓（Wendy Houstoun） 在DV8組 建初期就加入了我們，而我仍然對他們關於 激情以 及表演

的教導心存感激。這些年來，我與許多了不起的藝術家合作過，他們 為創作 付出了一切，而演出的成 功與他 們的才華以 及 美 好的 個性密

DV8 performers Andi Xhuma, Ian Garside, photographer Kris Rozental

be available for the entire rehearsal period, which is often long

Sex, Our Dance and Dead Dreams in the eighties to the more

the company attracts committed artists. Nigel Charnock and

few years the interrelationship between text and movement has

Wendy Houstoun were there in the early days of DV8 and I’ll

always be indebted to what they taught me about passion and performance. I’ve worked with many exceptional artists over

the years who have given their all to the work and its success is dependent on their talent and integrity. Making a DV8 work is

a bit like a religious experience but without God; you’ve got to

poetic work of If Only.., and Strange Fish in the nineties. In the last become my main preoccupation.”

不可分。創作一 個DV8演出有一點像一 個沒有上帝的宗教經驗；你需 要完全沈浸於其中，並絕對相信這件事。”

submerge yourself in the process and believe in it totally.”

他們最新的作品是與英國國家劇院共同製作的《約翰（John）》，這

Their newest production is JOHN, a co-production with the

這麼認為的：

National Theatre that, once again, is a verbatim and dance piece.

又 將 是 一 部舞 蹈 和旁白平 行共 存的劇目。對於劇團的未 來，紐 森是

For the future of DV8, Newson mentions:

“我 對 變化充滿興 趣，而我不滿足 於一 條 道 走到黑 。DV8 的組 織 結

“I’m interested in change, of not getting stuck in one way of

議 題的 作品 。在 過去，我曾經 大 量 地 改 變 我 的 創作 方 式；從 上個世

working and being. DV8’s structure is highly flexible, with a Board of Directors who have supported me to present works about the social and political issues that have preoccupied me. There have been a number of times I’ve made major changes to the way I

work; moving from the hard-hitting and aggressive works of My

構 是 非 常 靈 活 的，各 位 總 監 也 非 常 支 持 我 推 動 有 關 社 會以 及 政 治 紀 8 0年代《我的性（My S e x）》、 《我們的舞 蹈（Our Dance）》以 及《 逝去的夢（Dead Dreams）》等 硬 性、進 攻性的創作，到9 0年

代 包括《 如果（If Only...）》以 及《怪 魚（Str ange F ish）》在內的 更 加富有 詩意的作品 。在 過去的幾年內，有關文 本以 及 肢體 運 動關 系的思考占據了我的頭 腦 。”

DV8 performer Hannes Langolf, photographer Laurent Philippe

and demanding. Inevitably the commitment required to be in

KNEEHIGH

虹彩劇團

The Kneehigh Asylum

TEXT BY 撰文 X AVA DAVIES TRANSLATED BY 翻譯 X LI RUIXUE 李瑞雪

Cornwall-based Kneehigh’s humble beginning as a community

theatre workshop in 1980 is essentially the key to understanding them as a company. Led by artistic director Emma Rice, who

started her career in Kneehigh as an actor before progressing into directing, as many of the company do, Kneehigh aim to create

works that are artistically ambitious and visually arresting, but at

the same time maintain a warm accessibility for a broad audience.

They take the concept of a ‘touring theatre’ to new extremes; at

their conception, they would perform anywhere and everywhere, ranging from cliff-tops to village halls. Nowadays, they have

progressed to become a company with a strong sense of their

Cornish identity who tour both nationally and internationally, at one point having one show in the West End, another on OffBroadway, and another in Columbia, South America.

The company’s method of story-telling uses physicality as a

primary medium, with music alongside movement creating a

rich, vibrant mode of story-telling which places the audience first and foremost. This arises, in part, from their position as a regional theatre company: having a clear sense of identity and locality

allows Kneehigh to create shows which are wholly self-assured and grounded in warmth and collaboration. They often create adaptations of seminal works: ‘Brief Encounter’ and ‘Tristan

and Yseult’ being two such examples, with the idea being that

they see their roles in theatre as being storytellers, rather than authors. An extended family as such, their pieces are devised

initially in one of their many coast-side barn rehearsal rooms.

There is no clear manifesto to the work which they produce:

位於英國康沃爾郡（Cornwall）的虹彩劇團（Kneehigh）是從1980 年創建的一 個社區劇團逐漸衍生而來的，現如今已是非常重要的戲 劇團體。總監艾瑪·賴斯（Emma Rice）當年是劇團的演員，隨後逐

漸開始從事導演方面的工作。虹 彩劇團在滿足不同層面觀 眾需要的 同時，致力於製作在藝 術性和視覺衝擊力上具有超前水準的作品。

他們的工作充分闡釋了“巡迴劇院”這一概念，在各式各樣的場地獻

上精彩絕倫的演出：可以是在懸崖上，也可以是村莊的禮堂中。現如

今，他 們已發展 成 為 有著康 沃爾 特 色的劇團，在全 國以 及 全世界範 圍內巡演。從倫敦西區，到外百老匯，甚至在南美的哥倫比亞都留下 過他們的足跡。

劇團使 用形體動作作為最主要的表現方式，並配合音樂的使 用營造

出充滿活力的表演，深深地吸引著觀眾。這一風格和劇團的發展史有

著密切的聯繫：作為一個地方劇團，虹彩通過劇目向觀眾傳達了他們 的熱情，從而也明確了自己的身份和定位。虹彩擅長將經典作品改編

成頗具獨特風格的作品，例如《相見恨晚（Brief Encounter）》和《特 里斯坦與伊索爾德（Tristan and Yseult）》。比起戲劇的創造者來說，

虹 彩劇團似乎更 願意將自己看作是故事的陳 述者，他們躲在海岸邊

的倉庫中進行排練設計。劇團所產出的作品並沒有特別明確的風格，

The Red Shoes at the Kneehigh Asylum, 2010

ultimately, they look to surprise and astonish, and have found

但 是多年來劇團成員對這個集體的信任，讓他們願意嘗試並承擔 任

place in every member of the company which allows them to

工作方式背後的本質，是關註人文、優雅，且行事謙虛。30年的輝煌

that this can only be legitimately achieved through the trust they take the risks that they do. Kneehigh are therefore a company

which are, in every sense, concerned with humanity, grace and

何風險，使得他們的作品總是令人感覺耳目一新。虹彩劇團的故事和 歷史足以說明他們的劇作是何等受歡迎。

humility, in the stories they tell and the way in which they work.

或 許虹 彩也可被稱 為“避 難 所”，這或 許 是因為在 2010年時 他 們建

popularity of their productions.

201 5 年 春 天 作 為演出場 地 上 演 他 們 非常著名的劇 作《行 李 箱 裡 的

Their thirty year anniversary can certainly attest to the power and

Perhaps Kneehigh can best be summed up by ‘Asylum’, their

travelling, purpose-built theatre tent created in 2010 which is

being used in the spring of 2015 to house their internationally

acclaimed production of ‘Dead Dog in a Suitcase (and other

love songs)’. The tent will return to Cornwall, to the Lost Gardens

of Heligan, having toured around the country and embodying

造了專 為 巡 演 而 特 別 建 造 的 帳 篷 劇 場，並 且 這 個 帳 篷 劇 場 將會 在

死狗（Dead Dog in a Suitcase）》。在全國巡演後，虹彩將會秉承

他 們 一貫的為當 地 居民 服 務 的宗旨，帶 著帳 篷 回 歸康 沃爾，在 赫 利

根失落花園（Lost Gardens of Heligan）上演此劇。《死狗（Dead Dog）》是極具虹彩風格的代表作，是由卡爾·格羅斯（Carl Grose） 將《乞丐歌劇（The Beggar’s Opera）》進行改編而成，並由查爾 斯·黑茲爾伍德（Charles Hazlewood）為作品譜曲。這部諷刺義大

利歌劇的作品是現今唯一一部廣受喜愛的具諷 刺意義的民謠歌劇。

Hansel & Gretel at The Lost Gardens of Heligan, 2010

Kneehigh’s simultaneous dedication to local and national

bitingly satirical script focusing on corruption and big businesses.

is an adaptation of ‘The Beggar’s Opera’, adapted by Carl Grose

tempered by the heart which Kneehigh are famous for and gives

performance. A quintessentially Kneehigh production, ‘Dead Dog’ and with a new score by Charles Hazlewood. The original work was conceived by Jonathan Swift and Alexander Pope and written by

But it seems clear that the obvious radicalism of the opera itself is the production a real sense of soul.

John Gay: it satirised Italian opera and is the only piece of satirical

劇本原作由喬 納森·斯威 夫特（Jonathan Swif t）和亞 歷山大·波普

have taken on the fairly niche piece with panache, creating a

藉 這 個 作 品 在 戲 劇 界 中 佔 領 了獨 特 的 地 位 ，用 劇 本 那 種 看 似 荒 謬

ballad opera to remain in the public interest currently. Kneehigh

suitably anarchic and cheeky work which uses its source material as a springboard for an absurd, hilarious and heartfelt show. The actors involved, as usual with Kneehigh, are not just actors, but also musicians within the show who have helped devise and

create the project from its conception. The original piece, with

its fiercely contemporary score and plot, is echoed in Hazelwood

and Grose’s version, which mixes trip hop and grime music with a

（ Ale xander Pope）構思，約翰·蓋 伊（John Gay）執 筆。虹 彩憑 的元 素作 為跳 板，營造了一 部滑 稽且 別具匠心的作品 。與虹 彩 其合 作的演 員們並不只 是 演 員而已，還 是音樂 家，他 們參與到整部劇的

設計 和概 念 創作中，這也是 劇團一貫的 行事風格。原作中激 烈的配 樂 融合了黑茲爾伍德 和格羅 斯的靈 感之後，形成了多重音樂 風格 雜

糅 的，全 新 的，充 滿 了諷 刺 意義 的 劇 作 。顯 而 易見 地，這 部 充 滿 極 端 主 義 風 格 的 歌 劇，正 是 虹 彩 劇 團 所 擅 長 的 領 域 ，而 且也 正 是 虹 彩的參與才 讓 這部劇作完成了點睛之筆。

KNOCKING ON THE DOOR OF NEVERLAND 桃源探夢

In recent years, immersive/site-specific theatre gains

過去的幾年中，在倫敦的舞臺上體 驗 式 戲 劇（Immer sive/site -

viewing experiences and high degrees of participation for

全新的觀演體驗和極高的參與性。在某種程度上，很多非常規的

the audience. To a certain degree, these performances also have managed attracting and developing new audience,

have even created buzz on online forums, effectively closing the gap between the production and the audience, going

specific

theatre）非常熱門。這些作品為參與的觀眾們創造了

戲劇觀眾都被吸引到了演出現場，甚至在網絡平臺上也同時出現 了巨大的論壇，將觀 眾們更緊密地聯系了起來，跨越了時間和空 間的限制。

beyond the temporal and spatial limit.

體 驗 式 戲 劇 選 擇 在 一 個 特 殊 的 非 傳 統 劇 場 的 環 境 中 進 行。這

Immersive theatre normally chooses unconventional theatres.

廠 等 等 。相 似 的，如 果 是 特 別 將 環 境 根 據 劇 情 需 要 模 仿 成 為

It could be a place that is simply incredible: hotel, abandoned factory and as such. Similarly, if a space is to be specifically

manipulated according to the plot, it is then an environmental theatre. In this issue of ART.ZIP, we bring to you a review of

the popular The Drowned Man: A Hollywood Fable, made recently by the Punchdrunk, powerful The Architects made

a few years ago by the cutting-edge shunt, and even theatre productions performed on a rink. As theatre walks out of its

comfort zone, it meets many exciting possibilities. This brings the game to whole another magical level.

個 空 間 可 以 是 任 何 一 個 不 可 思 議 的 場 地 。比 如 賓 館 、廢 棄 工 一 個 特 有 空間，則 被 稱 為 環 境 劇 場 。在 本 期 的 內 容 中，眩 暈 劇

團（P u n c h d r u n k ）帶 來 了剛 剛 隆 重 落 幕 的 熱 門 作 品《 淹 沒者 （The Drowned Man: A Holly wood Fable）》，還有另辟蹊徑 的另一 個 領 先 劇團尚特（shunt ）幾年前的力作《 建 築 師（T h e Architect s）》，甚至還有通 過”冰舞”來展示的戲劇作品。戲劇

在走出劇場的同時，在藝 術的道路上也創造了更多的可能。這也 讓戲劇的世界綻放了魔幻的層次。

The Architects by shunt, photo by ©Susanne Dietz, performers Nigel Barrett, Gemma Brockis & Hannah Ringham

incredible popularity. Productions as such offer fresh

THE ARCHITECTS

《建築師》

TEXT BY 撰文 X JOANNA DONG 董一燃 TRANSLATED BY 翻譯 X SHERRY LUO 羅逸清

The Architects by shunt, 2011/2012, photo by ©Susanne Dietz, performers Gemma Brockis

The Architects by shunt, photo by ©Susanne Dietz, performers Gemma Brockis

After got out of the tube station, the GPS led us to an abandoned

走出地鐵 站，跟著GPS尋找廢棄的餅幹工廠，找到了，還 是猶豫，寒

not quite sure, as the east London in a winter night looks far lack

所有躊躇 著的人們，好 似 愛 麗 絲 掉進 兔子洞，從 走 進 那扇小門我 就

biscuits factory. It seemed to be the right place, but we were still of security.

夜 裡的東倫敦看上去 一 點 都沒有安 全感。有人打開一扇門，呼喊著 不再知道我會看到什麼。

Someone opened a door, shouting and directing all those

這 部 戲 的 創 作 靈 感 來 自 阿 根 廷 作 家 豪 爾 赫 · 路 易 斯 ·博 爾 赫 斯

rabbit hole, no longer certain what I would see after I entered

Asterion）》。然而博爾赫斯的這部作品的根源則來自古希臘傳說。

hesitated souls into the door. I felt like Alice falling down into the that door.

The inspiration of this immersive production comes from

the Argentine writer Jorge Luis Borges’ work, The House of Asterion. Borges’ original source comes from the ancient Greek

myth. First of all, the ‘Architect’ in the title refers to Daedalus,

a craftsman who designed an enormous Labyrinth under the

order of Minos (King of Crete), and was built to trap Minotaur, a

creature of half bull and half man. The creature was living inside

the Labyrinth and being served with young boys and girls as the

（Jorge Luis Borges）的作品《阿斯特瑞恩的房子（The House of

首先這部戲題目中的建 築師指的是 代達羅斯，是希臘神話中的一名 工匠，為了囚禁半人半牛的怪獸彌諾陶洛斯，他受彌諾斯之托為他建 造一座巨大的地下迷宮。迷宮建好後，怪獸居住其中，以雅典城進貢 的童 男童 女為食。後 來著名英雄忒修 斯自願作為童 男之一前去除 掉

這個 怪 物。他 和父 親 埃勾斯 約定，如果 成 功 地 殺 死了怪 物，就在 返

回的時候 於船上懸 掛白帆 。忒修 斯來到克里特 後，彌諾斯的女兒阿

里阿德涅 愛 上了他 。阿里阿德涅為使 愛 人 免 於一 死，指點他在 迷宮 裡不會迷 路的方法。在 大多數 版本的神話裡，阿里阿德 涅 給了忒修

斯一 個線團以使他可以標記出走 過的路。忒修斯成功地在迷宮中找 到了彌諾陶洛斯並 將其殺 死，然 後領 著其他人 走出了迷宮......故事

tributes from the city of Athens. The famous hero Theseus later

volunteered himself to be served as one of the tributes in order

to entered the Labyrinth and kill the creature. He promised to his

father Aegeus, that he would hang a white sail on the boat on his way back if he has succeeded in killing the creature.

When Theseus arrived Crete, Minos’ daughter Ariadne fell in

love with him. She taught Theseus how not to get lost in the Labyrinth, so that he could live. In majority versions of the

mythology, Ariadne gave Theseus a thread, which enables

Theseus to mark his way in the Labyrinth. Theseus successfully saved the people inside after he found and killed Minotaur in

the labyrinth...The story goes long afterwards, but these are the inspirations of this Argentine work as well as this show.

From the moment of walking into the labyrinth, the feeling of a loss in direction and momentum became the theme. Inside the old vintage television that embedded on the wall, there were you, walking into the space in panic, sometimes regular, and

sometimes upside down, accompanied with the sound from

the magnified volume of the electric current, made everything terrifying.

When passing through a room, some weird characters asked

you some questions, but the answers were even more bizarre

than the questions themselves; there was a painted white chair, a model of a cruise liner floating in a rusty sink, when peaking

through a window, you found yourself on the deck of that cruse liner... Round windows, cylinder-shaped ceiling, masts, long and narrow space, and those weird characters appeared again, with more bizarre explanations, made you even more confused and lost. In the end, you finally realized that you were one of those ‘tributes’ for Minotaur.

The fear of isolation and helplessness was growing with the day

and night presented from the turned-on-and-offed-light. Under that light, a pair of young man and woman appeared in the

crowd, they were hanging up in the air, seemed had nothing to do with the surroundings, agile and harmless, but triggered the fear of the controller.

We were divided into men and women walking into the other

side of the Labyrinth. The inner fear deep down from the heart

constantly rushing out by the darkness. Just when this fear about to reached to an extreme, the curtains fell down. Among the

ropes, we saw that pair of young man and woman again, shuttle back and forth. It was finally revealed that they were Ariadne

and Theseus. The ropes then fallen one by one until the last two remaining, then Ariadne fell down, only left with Theseus, the

還很長，但 是以上的部分正是阿根 廷的這部作品以 及 這出戲的靈感 來源。

在 走 進 迷宮的那一刻起，不知所措 便 成 為了主 題 。壁 上嵌著圓弧 屏 面的老式電視，裡面是驚慌闖入的你，時而正立，時而顛倒，放 大的

電 流 聲 十 分 恐 怖 。路過一 個 房間，奇 怪 的人物 與你碰面，問 題 回 答

得比問題本身更讓 人 疑 惑。路過白漆的桌 椅，郵 輪的模 型浮在 鏽跡

斑斑的水槽裡，窺視進一 個窗口，你終於 發現自己已經身處甲板。圓 形的窗，還有柱 形的頂棚，桅桿，還有狹長的空間，那些講著莫名其

妙的語言的人們再次出現，越多的解 釋越 讓 你不知所雲，原 來你就

是“ 貢品”的 一員。與世隔 絕的恐 懼 和無奈 隨 著 那熄 燈亮燈 所闡述 的日夜 交替逐 漸 增長 。射 燈的投 照下，兩個年 輕的男女出現在 人群

中，他 們懸吊在半空，似乎與 周圍的一切無關，輕 靈並不傷害，卻引 發操 控者的恐 懼，我們被 分成男女兩隊再次 走 進 另一面迷宮。黑暗

hero who was about to lead us out of the Labyrinth.

讓人心裡的恐懼不停湧現，在這種恐懼接近極限的時候，圍布落下，

During the one-hour-and-a-half show, the first half spread the

里阿德涅和忒修斯。繩索一根根墜落，直到最後兩根，阿里阿德涅墜

audience into an unexpected darkness, forcing them to expect

落了下去，唯留下忒修斯，這也正是即將帶我們走出迷宮的英雄。

the hope from even a slight of the light.

演出的一 個半小 時 裡，前半部分營造讓 人茫 然和絕 望的氛圍，後半

The characters Ariadne and Theseus were performed by two

的希望。阿里阿德 涅和忒修 斯的扮演者是兩位 雜 技 演 員，沒有一 句

acrobats. Without a single conversation, they presented us the mythical tale of the threads aesthetically and poetically.

部分則將你推進不可預 知的黑暗中，去等 待哪怕一點點光線所帶來 對白，他們把有關原來的傳說中線團的橋段表現得非常唯美和富有 詩意。

The production company shunt is a collective of performing

演 出 劇 團 尚 特（ s h u n t ）是 一 家 以 體 驗 式 現 場 表 演 著 名的 藝 術 團

shunt has awarded twice for Peter Brook ‘Empty Space Award’.

Brook） “空的空間（Empty Space Award）”戲劇獎。

artists who’s known for immersive theatre. Founded in 1998,

體 。創 始 於1 9 9 8 年 的尚 特 劇 團曾 獲 得 過 兩 次 彼 得·布 魯克（P e t e r

The Architects by shunt, photo by ©Susanne Dietz, performers Heather Uprichard, Gemma Brockis & Hannah Ringham

sense of lost and desperation, while the second half pushed the

在 繩索中，我們看到之前的那對男女再次穿梭 期間 。原 來 這 正 是阿

SHUNT

INTERVIEW WITH SHUNT CO-FOUNDER DAVID ROSENBERG

尚特劇團

專訪尚特劇團聯合創始人 大衛·羅森伯格

The Boy Who Climbed Out Of His Face by shunt, 2014, Performer Tom Lyall, Photo by ©Susanne Dietz

TEXT BY 撰文 X STRUAN ROBINSON TRANSLATED BY 翻譯 X SHEN XINYI 沉心懿

“shunt” was founded by ten artists from Central School of

尚特劇團（shunt的本意為”分流”）的十位 戲劇實踐 者相遇於1997

postgraduate course. Its beginnings as a collaborative effort

指，他們的協作模式成為了劇團獨樹一格的標誌，並已延續至今。團

Speech and Drama, who met in 1997 whilst doing a one year has become the group’s defining feature, as embodied in the

company’s title as a ‘collective’. It operates as a company which devises its own material - various, slightly interlocking themes

are agreed upon by the group as a whole before each member brings forward a different proposal for each scene in an effort to challenge the traditional theatre model of a single author.

As a result of the huge amount of collaboration the company does, often what appear to be disparate and unrelated ideas

年 英 國 皇 家中 央 演 講 與 戲 劇 學 院 的 碩 士 課 程 。正 如 劇 團 的 名字所 隊的運作方式是經由集體決 定一系列相互關聯的主題，並在創作過

程中采用成員對素材的獨到見解。因此他們的每一部作品都是由不

同風格的段落所組成，以此挑 戰由一人創作導演的傳統戲劇模式 。

通 過公司的大 量 集體 創作，許多風格迥異，怪 誕的想法能 夠在舞臺 上得以 呈現 。他 們的作品經常 發生在特定場地，而劇本 本身 也在 創 作 過程中得到不斷的改 進 。在很多 情 況下，劇團希望傳達的主 題在 創作初始並不明確，往往需要一段時間的發展才能塑造成型。

come together through the collective creativity of the group.

尚特劇團也許是最早自我定義為“體驗式” （immersive，行業內也

devising process alongside their often-changing environment.

知的眩暈劇團（Punchdrunk）以及你我笨笨車（You Me Bum Bum

Their work tends to be site-specific and evolves during the

Much of the time, the collective’s message is unclear at the

beginning of a run, developing only as the weeks go by and reaching a fully-formed idea by the end of the run. Perhaps one of the first companies to define themselves as being

會翻譯成沈浸式）風格的戲劇公司，這種理念甚至影響了如今廣為人

Tr ain）等戲 劇公司的運行模式，為它們如今的普及 鋪平了道 路。然

而，相比後者的商業化，尚特劇團保持了它一慣的先鋒精神，在主流 戲劇的邊緣區域推行更叩響人心、更具實驗性質的作品。

‘immersive’, shunt have paved the way for companies such as

作為一 個老牌劇團，尚特 在骨子裡有些叛 逆。他們總是與主流的戲

into the public consciousness. But shunt remains, unlike these

絲的喜愛，而他 們 也是尚特劇團作品主 要針對的人群 。認為作品內

Punchdrunk and You Me Bum Bum Train to infiltrate their way arguably more commercialized entities, on the fringe of the

mainstream, delivering productions and performances that are

perhaps a little too disturbing and avant-garde to really become commercial fodder.

As a theatre company, shunt have always proved divisive in

nature, often alienating mainstream theatre critics and appealing mainly to their risk-taking and loyal fans, to whom their work

is most definitely aimed at. A lack of focus and coherence, an

attack on style over substance and a lack of understanding the message behind shunt’s work makes up most of the criticism

劇評論爭鋒相對甚至疏遠，這反而受到那些具有冒險精神的死忠粉 容缺乏重心 和連貫性，作品風格過 於強烈以至於壓過了實質內容，

以 及 缺 乏 對 作 品 思 想 的 解 讀 充 斥於主 流 劇 評 對 他 們 的品 論 。尚特

劇團的作品常常是多種表現 形式的組合，例如對 錄 像視頻裝置的運 用、舞蹈、雜技以及表演，甚至許多人覺得尚特劇團會更適合做一 個

表 演裝 置藝 術公司而非劇團。然而，由於 他 們作品的核心旨在不斷 探索觀 眾和演出者的關系，很明 顯，演出者只能以 戲 劇的形式 將兩

者關系拉 進 、推 遠，如此 心 無 旁騖的摸索才能得到檢 驗。他 們的觀 眾也習慣 於把作品中的不 確定的、不合 邏輯甚至荒誕的因素拿來津

津樂 道。因此很 顯 然，尚特劇團是針對於偏愛觀 眾參與而非傳統舞 臺表演的觀眾存在的。

against them. shunt combine multiple forms of media, such as

尚特劇團作品《建築師（The Architects）》於2012年得到了英國國

suggested by several that shunt work better as a performance

地區的一座廢棄的餅幹廠，這昭示著他們在戲劇圈內另類但受人尊

video installation, dance, acrobatics and acting, it has even been art installation company rather than a theatrical one. But at the

heart of shunt’s work is the relationship between audience and

performer which is pushed and pulled and examined intently by

the collective, a relationship which can clearly only be truly found in the theatrical medium. Their audience tends to be one which

家劇院的制作推廣，特別選擇的演出地點竟是位於東南倫敦伯蒙西

崇的地位 。該作品以希臘神話《 米 諾 陶的忒修 斯》為 線 索 探索空間 和幻覺的的奧義，他們在這 座位 於倫敦南部空間有限的倉庫內搭建 了一 個木質迷宮─ ─ 這座迷宮最終通往一艘奢華的遠洋客輪，為觀 眾創造了一個極度迷幻的觀看體驗。

relishes the uncertainty of a shunt performance; who delights in

他們最近的作品被命名為《攀臉男孩（The Boy Who Climbed Out

and draws out broad themes from them which can be pulled

在格林威治港 海運 集裝箱之間 。和往常一樣，作品本身和空間融為

the non-sequiturs and unabashed weirdness of the production

apart and discussed after the show. It is quite clearly not a theatre company for those who favour proscenium arches and dislike audience participation.

shunt’s piece ‘The Architects’ was promoted by the National

Theatre in 2012 but took place in a disused biscuit factory

of His Face）》，這部時長45分鐘的體驗式戲劇作品將演出場地設 一體。利用查爾斯·金斯利（Charles Kingsley）的兒童文學作品《水 孩子（The Water Babies）》和約瑟夫·康拉德（Joseph Conrad）

寫於後殖民時期的小說《黑暗之心（Hear t of Darkness）》作為該 作品的兩條故事 線索，使 得它蔓 延 著 一種 恐 怖的氣氛，在海港 集裝

箱 之 間 那 種 寂 靜 的 環 境中 尤甚。與暈 眩 劇 團 的 體 驗 式 戲 劇 作 品 相

反，該作品並不允許觀 眾在 場 地內自由穿 行探索，而是 邀 請 他 們緊

The Boy Who Climbed Out Of His Face by shunt, 2014, Performer Gemma Brockis , Photo by ©Susanne Dietz

in Bermondsey, signaling their status as a respected but still

to be a fairly twisted game of ‘follow the leader’. An idea of

ideas of space and illusion and taking cue from the Greek myth of

audience were asked to remove their shoes and socks before they

alternative company. Once again exploring and pushing against

Theseus and the Minotaur, the company deliberately created a

totally confusing sensation for the audience, creating a wooden

labyrinth which gave way to a luxurious ocean liner, all within the confines of a South London warehouse.

The company’s latest production is a 45-minute promenade

piece set in multiple shipping containers in a Greenwich Port called ‘The Boy Who Climbed Out of His Face’. Finishing in late September 2014, a great deal of secrecy shrouded

sensation ran throughout the piece, from the moment the

enter, creating an uncomfortable proximity with the performance itself that was emphasised by the claustrophobic contains of the

set itself which often plunged the audience into pitch blackness.

This is all part of shunt’s ethos - a determined desire to put the audience into a visceral situation so disorientating that they

cannot just remind themselves that they are watching a piece of theatre, but have to admit to themselves that they are living it

instead. Alternately nightmarish and enlightening, ‘The Boy Who

Climbed Out of His Face’ remained a divisive piece for critics

the production. As usual with shunt, the space in which the

and audiences alike.

its cue from Charles Kingsley’s Victorian moral fable ‘The Water

隨表演者的步伐進行一次令人膽戰心驚的“跟我走”遊戲。感官體驗

performers worked became integral to the piece itself. Taking

Babies’ and Joseph Conrad’s seminal post-colonial work ‘Heart of Darkness’, an aura of dread and fear crept into the production somewhat accurately, as true moments of terror tended to

pervade the awkward silences. Unlike the immersive productions of Punchdrunk however, this production did not allow the

audience to wander and explore on their own, but rather invited them on a journey alongside the performers in what transpired

貫穿整部作品，從觀 眾在開場前 被 要求 脫 掉 鞋 襪開始，通 過讓 觀 眾

置 身在令人 感到幽閉恐 懼的漆黑 集裝箱內，營造 並強調了一種 近 距 離體 驗演出的壓抑感。尚特劇團的作品風格 是 如此強 烈，他 們 從 始

至終 都熱衷於用真實的場景把觀 眾從現實中剝離，從而使他們忘記

自己是在觀看表演，而承認自己是故事發展的一部分。撇開作品的恐 怖氣氛 和啟發意義，《攀臉 男孩 》一如既 往 地在 劇評家和觀 眾中極 具爭議性。

ART.ZIP: Where do ideas come from? Contemporary, zeitgeist

ART.ZIP: How does immersive theatre fit into the category of

love and death? Which out of the space or the theme for a

DR: The first time I was immersed was playing Donkey Kong in

issues or ones that are more transcendent, like ideas about production comes first?

DR: Initial starting points for performances might come from a particular space; a physical perspective that we want the

audience to have on an image, an idea for a role that we want

visual theatre?

the 80’s. My avatar was only a handful of pixels but I was him, I

became him, and in order to become him my imagination was

required to fill a gap. This gap is becoming increasingly narrow.

the audience to play or occasionally from an existing text or

I go to the cinema to escape from a dimension - pretty much

last element to get added and the most vulnerable to change

one dimension less. The additional dimension currently offered,

historical account. With all our shows the dialogue is usually the over the run.

ART.ZIP: So much of shunt’s ethos focuses on displacing the

audience and exploring the relationship between performer

and audience. What can that tell us about the value of theatre?

DR: As increasingly more of our culture is consumed alone in front of a screen - live performance is an indispensable

everything else i do is in 3D so what I expect from the cinema is although it advertises itself as a greater immersive experience is, for me, paradoxically less immersive. Imagine a man with

electrodes placed in three distinct areas of his brain - when he

presses the green button he experiences a sensation of sexual

pleasure, the yellow one - a nostalgic pleasure, and the red one a crazy visual hallucination that is also in some way pleasurable.

opportunity to bring people together in the same space. Given

I think this man was used as an argument against hedonism,

it seems unfair to ignore them. When we are disorientated,

hedonism, for the fence has become almost as wide as the two

that the audience has made this effort to leave the couch

uncomfortable, nervous then we might see or feel things in a

different way (or we might get disappointed, frustrated and angry - oh well, there’s just no pleasing some people)

however it could equally be used as an argument in support of

gardens that it divides and consequently it is very difficult to find anywhere else to sit.

ART.ZIP: 你們從哪裡獲取靈感？是 從當代 潮流事件還 是更抽象一

些的主 題，比如 說關於愛和死亡的思考？作品最初是 先有空間還 是 主題？

DR: 表演也許會從某一個特定的空間獲得啟發；一幅圖像，某種觀眾 最終呈現提供一種具象的角度。而我們所有的作品中，對話都是最後 一個被加入的元素，也是整個演出過程中最易變的。

ART.ZIP: 尚特劇團的大多數作品都著眼於觀眾的空間位移，以及探 索表演者和觀眾的關系，這能體現什麼戲劇價值呢？ DR:

現今越來越多的觀眾會選擇坐在屏幕前─ ─但事實上，現場演

出是一種使觀 眾能相聚於同一空間的不可或缺的方式 。當然觀 眾這

麼合作地從沙發上爬起來了，我們更要努力工作來回應他們。當我們 感到不知所措，緊張不安時，我們會用不同的角度看東西（不然我們 會覺得失望、焦慮或憤怒─ ─沒辦法，有些人總是那麼難以取悅。） ART.ZIP: 體驗式演出如何被規類到視覺戲劇呢？

D R : 我 的 第 一 次 體 驗 式 表 演 是 在 8 0 年 代 扮 演 大 金 剛（ D o n k e y K o n g ）。這 無 非 是 一 些 像 素 組 成 的 卡 通 形 象，但 是 我確 確 實 實 是

它。為了使表 演惟 妙 惟肖我需要 彌 補 我 想象力的 缺口。這個 缺口正 越變越窄。

我通過電影院來感受平面空間─ ─ 基本上我們的生活工作都是在三 維 環境中度 過，而電影院 提供的是一種二維空間。盡 管他們現在 廣

Money by shunt, 2010, photo by ©Susanne Dietz, performers Simon Kane

角色的想法甚至是已有的文字或歷史事件等等都能夠為我們想要的

The term immersive is now a marketing idea rather than

告說的多維度電影能帶來更強烈的視覺體驗沖擊，這也許會有些矛

idea: a technique for corporations to attempt to not sound

置有電極：他按下綠色 鍵的時候能 感受到性快 感，黃 色 鍵 是 一種懷

an authentic one, in fact authentic is now also a marketing

corporate. It would seem to me that if a corporation wants to be authentic then they should probably attempt to sound as corporate as possible.

When I’m a doctor - I want to sound like a doctor I don’t want to sound like another patient - that’s confusing.

But these doubts have not stopped us from making what have

been described as immersive experiences usually by other people but sometimes ourselves - for marketing reasons. Pop-up is also a misleading term.

ART.ZIP: How does shunt differ from companies like Punchdrunk which have sprung up in its wake?

DR: There are increasingly more companies in London who are making work outside of the auditorium. We will always

be compared with each other due to our common interest in abandoned buildings and mobile audiences but I’m not sure

how useful it is to compare other elements of our work. The thing that most typifies shunt’s contribution to this whole thing is our pathological inability to capitalise on what has been successful

in a previous project and roll it out in the next. We are constantly Money by shunt, 2010, photo by ©Susanne Dietz, The Machine, set design Lizzie Clachan

making our second album.

ART.ZIP: shunt’s productions are hugely influenced by their

current location/every different audience. Is it difficult to archive and store past productions if every experience is so different?

DR: Neanderthal man, as far as we know, didn’t produce any

art, which makes them, in our eyes... a bunch of Neanderthals.

But maybe they were more into performance art or

immersive events, which are, as we know, notoriously difficult to document.

Their only true legacy is a gently disappearing memory. How did such an ephemeral art form get stuck in such old and inflexible buildings? The shunt archive is a vast and as yet unorganized mass of stuff that Susanne Dietz (shunt associate artist,

documenter and video designer) will hopefully pummel into shape next year.

ART.ZIP: Why has shunt proved so divisive with critics? Do you think the critics are missing out on the point?

DR: Who knows - we have also been divisive with audiences - no one has to like everything. Sometimes critics are factually wrong about what they write - this is more annoying. That’s like us not bothering to turn the amps on.

盾，但 是 對 我 來說 並非如此 。想像一 個人在他 腦袋中的三個區域 放 舊的愉悅 感，而紅色 鍵帶來的瘋狂的感官幻覺 刺激，從 某 種 意義 上 來說也充滿了快感。

我認為這可以 用來當做駁 斥快樂主義的論點，當然它也同樣能支持 快樂主義論。畢竟這兩者的區別非常模糊。

現如今“體 驗式”戲劇更多得 被 用來做市場推廣而不再保有它的本

來面貌了。事實上“真實性”也在廣告上大行其道：這是一種讓一 個 公司聽 起 來不像 是 盈利機構的技巧。但 是 對 我 來 說“真實 性”就意 味著這個公司應該完全按照公司那套行事。

如果我 是 醫生，我 希望我 聽 起 來就像是 個醫生，而不是病人─ ─ 這 挺令人困惑的。

盡管有這些疑問，我們仍舊在制作在大眾理解下的體驗式風格的作 品，有時候我們為了市場推廣自己也會這麼說。

ART.ZIP: Would it be in the company’s interests to go overseas

A R T. ZIP: 和新 近 湧 現 的暈眩 劇團等戲 劇公司相比，尚特劇團有何

audiences? What would be the company’s pick for a production

DR: 在倫敦有越 來越多的戲劇公司把 場地搬到了劇場之外，對廢棄

and bring their productions to other audience e.g. Chinese that could introduce shunt to a Chinese audience that embodies their ethos best?

DR: It would be very difficult to take a shunt production from the past and try to restage it. There would be much greater interest to create something new made specifically for the space and

audience. It would also be of interest to work in collaboration

不同？

的建 築以 及 移 動 觀 眾 的 共 同 偏 愛 使 我 們 總 是 被 相 互 比 較 。但 我 很

懷 疑 因 此 將 作 品 本身 進 行 對比 是 否 有 效 。我 們 對 於 這 種 戲 劇 類 型

最 有代 表 性的 貢 獻 大 概 就 是我 們 對 於往 期 作 品 的成 功 元 素毫 無 認 知能 力，以 至 於完全 無法在新的作品中加以利用。我 們 永遠需要 不 斷得探索創新。

with local artists in the creation of a new performance. Our ethos

ART.ZIP: 尚特劇團的作品都極大地受到了作品發生地點以及每一

malleable over the years and has probably been defined by each

很難將它們存檔和記錄？

(other than to ‘explore the live event’) has been profoundly performance rather than the other way round.

ART.ZIP: Surely the point of theatre is that there is a distinct

separation between audience and performer - what is gained by immersing the audience directly into the action?

DR: I would suggest that given this binary choice then - the point

of theatre is to remove the separation between the audience and

位獨 特 觀 眾的影 響，這使 得 每 一 部作品都風格獨 特，這樣 一來是否

DR : 據資料顯示，尼安德 特穴 居人從 來不做任 何 形式的藝 術創作，

以 至 於在 我 們 眼 中 他 們 只 是 一 群 普 通 的尼安 德 特人 而 已 。但 也 許

他 們 更 樂 意 做 表 演 ，或 是 體 驗 式 的 活 動，而 這 些 都 是 很 難 被 記 錄 證明的。

他們唯一留存於世的是逐漸 消失的記憶。如此短暫如曇花一現的藝 術形式怎麼能被那些老舊笨重的建 築禁錮呢？尚特劇團的檔案數量 十分龐大而雜亂無章，我們期待我們的合作藝 術家以及歸檔人 員和

視頻設計者蘇珊·笛茨（Susanne Diet z）能在明年將它們好好整頓 一番。

ART.ZIP: 為什麼尚特劇團總是與主流劇評家意見不合？你覺得他們 有說到點子上嗎？

DR: 誰知道呢─ ─我們和觀眾也經常觀點不合─ ─沒有人需要喜歡 所有事的。有時候 劇評家寫的東西真的是錯誤的 ─ ─ 這就像我們嫌 麻煩不開燈那樣更惱人呢。

ART.ZIP: 公司會不會有興趣將作品移到海外，並面向外國觀眾，比 如 說，中國觀 眾，什麼樣 的作品最能 夠 將尚特劇團的 精神呈現 給中 國觀眾？

DR: 把以往的尚特劇團作品直接搬到海外會非常難。我們會更有興 趣根據當地的場地和觀眾特點重新創造一臺新的體驗式戲劇作品。

我 們 也很 有興 趣 和當 地 的藝 術家合 作 。我 們 的 作品 精神（ 除了“ 對

現 場活 動 的 探 索 ”）在 過去 幾年中被不 斷打 破，與 其 說有一 個 統 一 的定義，倒不如說每一場演出都在為它增添新的定義。

ART.ZIP: 戲劇的意義在於它區分開了觀眾和表演者，那麼引導觀眾 體驗參與劇情發展有什麼突破呢？

DR: 我得說在這個二項選擇題中，戲劇的意義在於它將觀眾和表演 者之 間 的 鴻 溝 抹 除了─ ─ 這 在傳 統 劇 場或 是 一 個 鐵 路 拱 橋 中 都 是

一樣 的（ 這 是我 們10 年來的家）。而 觀 眾沈 浸 於故事發展會 將 整件

事復 雜 化：他 們 好 似需要一 個 呆 在 那兒的理由，當然他 們的角色 永 遠是觀 眾，但與此同時他們又被賦予了一 個新的角色，一 個平行於“ 觀 眾”的存 在並符合故事發展 邏 輯 。如果 這樣的角色成 為演出不可

忽略 的一 部分，那麼 表 演者必須 使 用某 種 方法和 他 們 產 生 交 流，這 也解釋了他們在演出過程中遇到的一些困境。

performer - this can happen in an auditorium as powerfully as

for the audience to also occupy the performance. We enjoy a

that become more complicated when the audience are in the

try to place ourselves and the audience on a knife edge between

in a railway arch (our home for over 10 years). There are things middle of the whole thing: they seem to need a reason to be

there, they are of course always the audience but now they have a parallel role and that needs to be worked into the narrative. If they are not to be ignored then the performers need to have a

way of communicating with them which also makes sense of the performers’ predicament.

certain amount of confusion and unknowing and we are always

narrative and abstraction. The problem with this route is that it’s very easy to fall of either side and every audience member has a different idea of where the knife should be placed.

This means that we can guarantee that our work will not be for everyone. Luckily there is loads of other theatre.

ART.ZIP: How do you find performance sites? Is there

something specific that you look for? Did you know (for

example) that for The Architects you wanted a disused biscuit

ART.ZIP:

you wanted the jetty?

使用一個廢棄的餅幹廠，或者《攀臉男孩》需要哪個碼頭？

factory or for The Boy Who Climbed Out of His Face that

DR: The question we asked ourselves for those two productions

were - ‘We have a biscuit factory - what shall we do in it?’ And ‘We have a slab of concrete in the middle of the Thames - what can

we use for a windbreak?’ Because you never know what building or site is going to make it through the increasingly arduous task of acquiring it, it has made more sense to us to sort out the site

你們是如何定位或尋找演出場地的？在尋找過程中有特

定的 條 件嗎？舉 個 例子，在 創作《 建 築 師 》初期 你 們 是 否 知道 想要 DR: 我們在創作這兩部作品時面臨的問題是： “好了，這有一 個廢棄 餅 幹 廠，我 們 能 做 些 什麼 ？”以 及“ 在泰 晤士 河中央 有一 些 混 凝 土

板，我們能 用來做 擋風板嗎？”你永遠預 料 不到到底哪一 個 場地 或 建 築能最 終被我們突 破重重關卡而獲得使 用權，所以更好的方式是 我們先解決了供使用的場地，然後在此基礎上去想表演該如何進行。

and then think how it could filled with performance.

ART.ZIP: 你希望觀眾在觀看完尚特劇團的作品後想些什麼？

ART.ZIP: What do you want audiences to come out of a shunt

音才會停下？我希望它永遠別停下來，只要它不停我就不再有責任和

show thinking?

DR: Have we left yet? How did I get so drunk? When will this

ringing in my ears stop? I never want it to stop; as long as my ears are ringing then I am free from responsibility and pain.

ART.ZIP: Is immersive theatre bringing in a new breed of theatre goers?

DR: There are now many companies who have made a great

effort to reach out to new audiences either through presenting work in exciting and surprising locations or making the whole thing more of a fun night out or a social event. It’s difficult to

know whether these audience’s are ‘theatre goers’ or simply the audience for all this new work. But whoever they are - there are loads of them.

How important is the visual aspect to a shunt performance?

Obviously it’s all about sensation so you incorporate touch and sound as well as sight.

ART.ZIP: shunt productions appear to be sensation driven - are

we not missing out on broader themes? This is a problem a lot of mainstream media outlets have with the company.

DR: I’m not sure whether all shunt performances are sensation

driven although that doesn’t mean we are not also missing out

on broader themes. We are always trying to create enough space

DR: 我們真的離開了嗎？我怎麼喝得這麼醉？什麼時候我耳朵裡的聲 痛苦了。

ART.ZIP: 這種體驗式的戲劇模式是否帶來了一批不一樣的新戲劇愛 好者？

DR: 現在有許多的公司都在努力以各種 形式與新興觀 眾溝通，例如

在很有意思的場合呈現 創作，或者以主題晚會或社 交活動的形式出 現 。很 難 說 這 些 人 真 的 是 戲 劇 愛 好 者 還 是 僅 僅 是被 新 作 品 吸引的 人。不管他們是誰，人數真的很多。

尚特劇團的視覺效果在表演中有多重要？很明顯 這是感官體驗的一 部分，所以融入觸覺、聽覺和視覺很重要。

ART.ZIP: 尚特劇團的作品大多都以感官刺激為驅動力，觀眾是不是 會因此忽略了一 些更大的主題呢？這也是主流媒體對你們公司批判 的問題。

DR: 我不 確定我們所有的作品都是以感官體 驗為主，但 是這並不意

味 著 我 們 忽 略了更 重 要 的主 題 。我 們 一直 在 嘗 試 創 造 足 夠 的 空間

來 讓 觀 眾參 與 到 我 們 的 表 演中 來 。我 們 很 喜 歡 加 入一 些 疑 惑 和 謎 題，我 們 同 時 也 樂 於 把自己 和 觀 眾 推 到 抽 象概 念 和 實 際 敘 述 的 刀 口上。隨之而來的問題是觀 眾對劇目的理 解可能會出現向不同方向

發展 的 情 況，而 每 一 個 觀 眾 對 於 這 把 刀 該 放 在 哪 個 位 置 都 持 有 不 同意見 。

這 意 味 著 我 們 的 作 品 絕 對不會 受 到 所有人 的 喜愛 。還 好 劇 院 多 得 是，總有一個是適合他們的。

Money by shunt, 2010, photo by ŠSusanne Dietz, performers Heather Uprichard

PUNCHDRUNK

TEXT BY 撰文 X AVA DAVIES TRANSLATED BY 翻譯 X ZHAO KUNFANG 趙坤方

暈眩劇團

Fernanda Prata, Jesse Kovarsky. Punchdrunk. The Drowned Man A Hollywood Fable. Photo Birgit & Ralf

Fusing installation art, physical and site-specific theatre,

暈 眩 劇 團 是 享 譽 全 球 的 體 驗 式 劇 場 公司，它 的 作 品 融 合了裝 置 藝

company. Set up in 2000 by Felix Barrett, the troupe has garnered

（Felix Barrett）在2000年創立的劇團現在已經成為了擁有眾多追

a huge following and spawned multiple lookalike companies which seek to emulate their global success.

Though no Punchdrunk show can ever be the same as another, there are certain recurring elements in each production which

characterise the nature of the company. They take ‘site-specific’ theatre to a new level, occupying several tens of thousands of square feet by using disused warehouses, factory spaces and

town halls to create an adult-orientated ‘haunted house’ feel to

their promenade productions. These spaces are outfitted by the production team to an unbelievable degree, creating forests,

lunatic asylums, sweet shops and nightclubs in different rooms

which the audience can explore themselves. There are narratives to their shows, which blend classic texts such as ‘Macbeth’

and ‘The Duchess of Malfi’ with contemporary physical

performance, and actors play out these stories across the entirety of the space, darting from room to room and enticing a mask-

clad audience along with them. But the real draw of Punchdrunk productions is the audience’s ability to forge their own narrative.

術、肢體表現和特定場地的劇場表演形式 。這個由菲 利克斯.巴雷特 隨者的國際著名藝術團體。

暈 眩 劇 團 的 每 一 個 作 品 ，都 顯 示 出 他 們 與 衆 不 同 的 品 味，他 們 將 “體驗式劇場”的演出模式運用到了一個新的高度，比如利用幾千平

米的廢棄工廠或是市政大廳來創造一個鬼屋似的空間來進行演出。 暈眩 劇團將這些空間佈置成令人 難以置信的環境，觀 眾們可以在這

些搭建出來的森林、精神病院、糖果店或著夜總會之間遊走並追尋自

我。在他們的作品中，空間在表現戲劇的同時也結合了經典劇本的文 本，比如《麥克白（Macbeth）》和《馬爾菲公爵夫人（The

Duchess

of Malfi）》，觀眾們佩戴者面具來觀看穿梭在各個場景之中演員的表 演。但是，暈眩劇團真正的創舉是帶領觀眾們創造了屬於每個觀眾自 己獨有的故事線索和觀看體驗。在每次的演出開始之前，觀眾們都會

帶上白色的面具，在整部演出當中，觀眾都會沈浸在一種匿名與無畏

的感受當中。你可以脫離人群去整個環境中遊蕩，也許你打開了一個 抽屜，而裡面找到的一封手寫情書也許會對整個故事起到至關重要的

作用；你也可以忽略演員的對白而去尋找更令人興奮的體驗；當然你

也可以隨時離開，不過很少有觀眾會在開場一個小時以內離開。這是 暈眩劇團最擅長的部份─ ─他們會牢牢抓住觀眾的好奇心。

The white masks given out at the beginning of every production

暈 眩 劇 團 的 演 出 從 來 不 會 讓 觀 眾 覺 得 被 動 ，雖 然 他 們 總 是 安 靜

renewed sense of fearlessness. You can break away from the

出 。“ 迷 失 ”是 暈 眩 劇 團 帶 給 觀 眾 的 一 個 重 要 體 驗 。《 月奴（ T h e

grants every audience member a sense of anonymity and a

crowds and rifle through desk drawers, finding an intricately

detailed handwritten love letter which casts fresh light on the story, or even be pulled away by one of the performers for a

one-to-one session; a simultaneously unnerving and exhilarating

地欣賞演員的表演並身臨其境地以線性的方式來完成整場的演 Moonslave）》是 他 們早 期的一 個作品，在一 個空無一人的大 廳當

中，一 臺電 話 一直 響 個 不停，而 場 景中只會有一 個 觀 眾，而 這個 觀 眾得去接 聽它，整個環境中還有一輛為這位觀 眾準備的配有司機的

專車 和20 0 個讓 人毛骨悚然的稻草人。所有的場景和環境都 表現 和

Left: Kate Jackson & Oliver Hornsby-Sayer. Punchdrunk. The Drowned Man A Hollywood Fable.

Right: Sam Booth & Conor Doyle. Punchdrunk. The Drowned Man A Hollywood Fable.

Photo Birgit & Ralf

Punchdrunk are the world’s most recognisable immersive theatre

experience. And whenever you want to leave the show, you

激發出人 類 對恐 懼的感受。當然，他們的這 些 作品經常會 被 拿來和

This is where Punchdrunk excels: in their acknowledgement of a

置在了一 個陌生並充滿敵意的環境之中，而他則必須 通 過努力找到

can, though it is rare for people leave after less than an hour. theatre-going audience’s inherent inquisitiveness.

Passivity is not an option in a Punchdrunk show; and although

it’s true that quietly watching actors and the narrative in a linear

逃離的出路。當然，暈眩劇團的作品更 加“高雅”，而他們通 過 這種 玩“過 家家”形式的演出，迎合了人 類 童心中的本能需求，獲得了觀 眾們的追捧。

fashion gives a better sense of the story as a whole, striking out

暈眩劇團的名聲大噪是因為其2013/14年的作品《溺水者：好萊塢預

of the piece. Disorientation is, after all, key to the Punchdrunk

評。這個作品他 們 使 用了整 個 倫敦頓 皇家 郵局大樓，動用了4 0人的

on your own allows the audience to embrace the immersive spirit experience. One of their first shows, ‘The Moonslave’, was built for

one audience member only and involved a ringing telephone in an empty village hall that called to be answered, a chauffeur-driven

car for the participant and two hundred terrifying scarecrows in a

field. They are intimidating productions to say the least, but prove themselves well worth the initial fear. Certainly, their productions

have on several occasions been compared to video games where

Sonya Cullingford. Punchdrunk. The Drowned Man A Hollywood Fable. Photo Birgit & Ralf

一 些視 頻 遊 戲 進行對比，比如在一 個遊 戲中，毫無防備的主角被 放

言（The Drowned Man: A Holly wood Fable）》，作品廣受觀眾好

演出陣容，並以《沃 伊采克（Woy zeck）》中的兩個愛情故事作為故 事主線。有一些評論家稱此劇“擁有雄心壯誌的嘗試，但作品缺少實

質的內容”，儘 管如此，此劇卻獲得了眾多觀 眾的喜愛，因為觀 眾人 數越來越多，此劇在倫敦不得不一再加演。

而現在暈眩 劇團所面臨的問題 是：是否這些 創作真的包含了引人深 思的想法？或者他們只是 創造了另一 個世界讓 觀 眾們可以在幾 個小

Omar Gordon. Punchdrunk. The Drowned Man A Hollywood Fable. Photo Birgit & Ralf

an unsuspecting hero is dropped in the middle of an unfamiliar

But the question for Punchdrunk now is whether or not these

is admittedly more ‘high art’ than this, but by tapping into that

populist excuses for an audience to lose themselves in another

but hostile environment and has to find their way out. Punchdrunk childish instinct of ‘playing pretend’, they have clearly struck gold with their audiences who are eager for more.

The popularity of Punchdrunk became apparent during the 2013/2014 production ‘The Drowned Man: A Hollywood

Fable’, the run of which was extended due to the immense

pieces contain real thought-provoking ideas, or if they are simply world for a few hours. Their longevity hopefully suggests that

they are no one-trick pony, and we can only wait for their next

production to see if they embrace a more oblique form of theatre whilst maintaining their astounding audience numbers and dazzling spectacle.

reputation of the London-based show. In their biggest ever

venue (at the former Royal Mail sorting offices in Paddington)

and with their biggest ever cast (stretching to forty performers), and with two parallel plots both based around the tragic love

story of ‘Woyzeck’, Punchdrunk at this point arguably stretched

時之內逃離真實的世界。暈眩 劇團持 續的創作 證明他們並沒有江郎

applauded for its boundless ambition. Audiences, however,

個更為立體的戲劇表演形式，而同時保 持現有的驚人的觀 眾數量和

themselves too thin, alienating critics for its lack of heart though flocked to it in their droves.

才 盡，而我們也只能等 待 他 們新的作品，靜觀他 們是否可以 創造一 讓人眼花繚亂的環境創意。

Le Patin Libre. Photo by Alice Clarke.

LE PATIN LIBRE

自由冰舞舞團 TEXT BY 撰文 X AVA DAVIES TRANSLATED BY 翻譯 X ZHAO KUNFANG 趙坤方

Le Patin Libre, which translates as ‘The Free Skate’, are the first

自由冰舞舞團首創了通過“溜冰”形式進行戲劇表演的先河，他們創

they have named ‘contemporary skating’. They completely

舞蹈”的既有認知，也將“冰舞”這個概念從傳統的冬季運動項目的

company of their kind, coining a new form of performance which overturn any notion of a saccharine, ‘Dancing on Ice’ style, and

forgo the glitter and spray-tan that traditionally adorns the sport.

Founded in 2005 by Alexandre Hamel, the Canadian troupe

consists of five principal dancers and devisors, who also act as

their own technicians during shows. The company’s beginnings are a sure signal of their attitude towards skating: Hamel was

kicked out of skate school several times, an incident which clearly still resonates with the troupe’s unpretentious, irreverent style.

Their concept of ‘contemporary skating’ is a fascinating one that has gained traction thanks to interest from Sadler’s Wells and other well-established companies. The medium is influenced

heavily by traditional ice-skating, but also takes inspiration from urban dance routines and martial arts as well as contemporary

circus, creating slick, accessible and contemporary dance pieces

造了“當代冰舞”這樣一種表演形式 。他們徹 底顛覆了人們對“冰上

範疇中解放了出來。該劇團由亞歷山大·哈默爾（Alexandre Hamel） 創建于2005年，在創辦之初這個加拿大劇團算上舞者和技術人員一 共僅有5人。劇團的成立是因為哈默爾幾次三番的被滑冰學校開除，

而他所倡導的樸實無華和玩世不恭的表演理念引起了其他幾位團員 的共鳴。

他們提出的“當代 冰舞”的這一令人興奮的概念引起了賽 德勒·威爾 斯（Sadler’s

Wells）和其他舞蹈劇場的興趣。傳統的冰上運動對

這種新的表演形式有著至關重要的影響，而同時，街舞、武術、當代

馬戲等藝術形式的交融也極大地啟發了當代冰上舞蹈的創作靈感。 對於當代性與實用性並重的思想也反映在自由冰舞舞團的服裝選擇

上：與冰上表演者相比，謹慎的黑色服裝 似乎 往往 更 適合那些幕 後

工作人 員。他 們的表演模 式 顯 然 是 一 個視 覺 劇場：演出展示了舞者 高超的技巧 和能 力，特別是在一 個不 平滑的冰面上，創造了激 動人 心的視覺盛宴。

Le Patin Libre. Photo by Alice Clarke.

on ice. This modern, no-frills approach is reflected in Le Patin

自由冰舞與傳統冰舞運動不同，舞者們並不擔心跌倒，他們在冰上滑

seem more suited to those working behind the scenes than

故事而不是像傳統冰上運動項目那樣注重動作的完美，這與冰上競

those performing on the ice. The form is clearly a subset of visual theatre: the sheer skill and ability on show, particularly on such a harsh surface as ice is, creates a thrilling visual spectacle.

Gone is the pretension that often overshadows the sport: the

dancers are not afraid to fall (purposefully), skid on the ice and

行，並將全部的能量投入到演出當中，他們更注重發自肺腑的來講述 技運動有本質上的區別。最終，他們要用“冰舞”來徹底碾碎架于“冰

舞”之上的禁錮，為了實現這樣的目的，他們在最新的一次表演結束

時，邀請觀眾從看臺上走下來并和演員們一起圍著冰場滑行，并學習

基本的舞蹈技巧而不是滑冰技巧。這樣一種令人神往的場景展現了自 由冰舞舞團致力於消除觀眾與演員之間鴻溝的強烈願望。

throw all their energy into a show that is more visceral and

作為一家十分接地氣的公司，兒童觀 眾佔 據了觀 眾群體中相當大的

influence from the competitive nature of the ice-hockey scene

傳 統意義 上的運 動 範 疇內的“冰舞”有很 大的區 別，他 們 的落 腳點

about the story they are telling than traditionally perfect, taking in Montreal. Ultimately, they look to completely shatter the

constraints placed upon them by their medium, to the extent

that at the end of one of their latest performances, the audience are invited to come down from their stalls and skate around

the rink with the troupe, learning basic dance routines rather

比重。自由冰舞 舞團想要通 過冰上的表演來傳達 他 們的理 念，這與 並不在滑冰技術上的難度和表現，而更多的是通 過 這樣一種形式來

表 達他們在藝 術上的追求，因此劇團的主要目的是 進行一種敘事性 的藝 術表現，而 不是 像冬 季 奧 運會上 那 種 純 競 技性 質的“冰舞”或

無腦娛樂的節目。他們認為，冰舞不應該被定義為一種運動項目，相 反，它應該是一種承載群體和社會意義的藝術形式。

Le Patin Libre. Photo by Alice Clarke.

Libre’s costume choices: discreet black outfits which can often

than technical tricks. This charming prospect demonstrates

heavy, singular bass beat and the movements of the skaters are

insurmountable gap between audience and performer.

appears to be concerned with ideas of body language and

just how far the company are willing to go to bridge the often

Though an extremely accessible company - they have a sizeable amount of children within their audiences - Le Patin Libre

maintain that their aim, first and foremost, is directed towards

the message they want to express. Whereas more conservative, traditional ice skating companies seem pander to what their

audience wants to see the skaters do, Le Patin Libre look to fulfil their artistic needs above all else. They aim to be classified as

performance art with a narrative and message rather than pure, mindless entertainment which they feel is embodied in the

tightly controlled and visceral. Much of the performance narrative influences, with a single movement from one of the performers triggering a waterfall effect with the other four. During the

second half, the audience are invited to get up close and personal with the dancers by sitting on wooden bleachers on the ice. It is in this that Le Patin Libre truly shine, skimming the surface

centimetres away from the audience and at one point cheekily

flicking mists of ice into the audience’s faces. This is testament to their skill - an ability to include and play with their audience and simultaneously create thought-provoking visual theatre.

aesthetics of the Winter Olympics or ‘Dancing on Ice’. They feel

strongly that ice-skating should no longer be seen as a sport, but rather as an art which embraces the collective and social feeling that dance can bring.

The intense traditionalism found normally in figure-skating ,

which hindered the radical company’s initial progress, only serves to highlight the rebellion of the their style and their need to strip back the extraneous, naff and occasionally tacky trimmings of traditional ice dancing. Ironically, the fact that the company’s

style is actually fairly conventional when placed alongside other contemporary dance companies only goes to show the rigid

傳 統意義 上的“花 樣滑冰”概 念在大 眾的印象中有著根深蒂固的影 響，這 對自由冰舞舞團這樣一 個先鋒 藝 術團體的創立之初形成了不

小的阻 力，人們認為這個舞團無非只 是為了強調自己的叛 逆 風格才 要 喊 出“ 要 脫 離 無 趣 的、俗套 的、平淡 無 奇 的 傳 統 冰 上 舞 蹈 ”的口

號。諷刺的是，實際上與其他當代舞團和那些只表演僵化的、精英化 的、一成不 變的 傳 統 冰舞 公司相比，自由冰舞 舞團的風 格還 是 挺中 規中矩的。

elitism and conformity of traditional ice skating companies.

《這就是當代冰舞（This is Contemporar y Ice Skating）》是劇團

This is Contemporary Ice Skating, one of the company’s latest

影。每 一場演出的表 演部份只有4 0 分鐘，主 要包括了一 些 短小 精 湛

shows, acts as somewhat of an introduction to the company’s work. Running at only forty minutes until the audience are

invited to come down and skate for themselves, it consists of short, often comedic pieces which strain against traditional

ideas of figure-skating. One of the pieces even consists of one of the cast performing an urban dance routine on the ice,

whilst his disapproving colleagues attempt to curb his effort at

ingenuity, not-so subtly satirising the company’s own difficulties

最新的作品，這部作品也 基 本上可以算作是公司整體 風格的一 個縮 的喜劇表演，這樣的表演讓觀 眾對“花樣滑冰”有了全新的認識，表

演 過後，觀 眾會 被 邀 請到冰場 裡面和演員一起滑冰 。其中有一幕非 常有趣，一 位舞者在冰面上演 繹 城 市舞 蹈，而另一 位舞者則想盡 辦 法的要把他的表演給搞砸，而這種幽默的表達正是反映和諷 刺了舞

團在嘗試 脫離 傳統“冰舞”束 縛過程中所遭遇和面對的真實處境 。

歸根 結底，整部演出的魅 力所在，就 是 肢體在冰面上 運 動而 形成的 獨有的滑稽狀態。

in branching out from the traditional ice-skating scene. Part

《垂直影響（Ver tical Influences）》是該公司最近的巡演節目，這

farcical nature of the movement on the ice. One short piece is

味，它是 一 個單刀直 入 式的嚴 肅的視 覺 劇場演出實踐，是 一 部 典 型

of the production’s charm, however, arises from the almost

performed by the mostly male cast in open-backed hospital

gowns and another is performed with the cast stripped down to their underwear, pulling away not only their clothes but also the veneer of pretension which so often surrounds figure-skating.

Vertical Influences, the company’s most recent touring show,

takes a step away from the easy familiarity and accessibility for a family audience and takes a more forthright stride towards

serious visual theatre, whilst maintaining a signature light touch.

The lighting is dramatic and sparse, the music revolves around a

部劇不是一部輕鬆的劇目，並不是 很 適合一般家庭觀 眾和大眾的口

的“ 輕 觸 ”風 格 的 演出 。伴隨 著 奇 藝 而 疏 離 的 燈 光 效 果，環 繞 著 詭

異 的 低 音 炮 節 拍，舞 者 們 通 過 由內而 外 的 精 確 肢 體 運 動 來 進 行 表

演。大部份的 敘事和表演都是 通 過 肢體語言來 進 行，由一 位 舞者引 發的動作會像多米諾骨牌一樣 傳遞到其他的四位舞者身上。在下半 場的演出中，觀 眾們 被 邀 請坐到冰 場之中，與演 員們一起 坐在木質 看臺之 上，這 正是 劇團真正大 放 異彩的時刻，演員與 觀 眾之間真正

做到了零距離的接觸，甚至演員在冰上起舞濺 起的冰花都可以 直接 觸碰到觀 眾的面頰。這樣的演出驗證了劇團的表演技巧和把控能力

─ ─ 在與觀 眾進行互動和表演的同時，營造一 個令人值得玩味的視 覺劇場體驗。

Le Patin Libre. Photo by Alice Clarke.

DOUBLE VISION 雙瞳 In theatre, the development of technology has always

在 戲 劇的 發展 過程中，科 技的進 步 給了藝 術家們更 多的靈 感 和

than ever, performers and choreographers consider

攝技術的使用等都越來越多地被創作者考慮，被觀眾所期待。但

inspired artists and realized creative possibilities. More using in live performances recorded videos or utilizing cinematic means, as this is also what the audience

創造的可能 。在現場演出中，無論是視 頻的應 用，或者是電影 拍

是同時，也有很多由於多媒體的濫 用而毀掉整部作品的例子。這 把雙刃劍，要麼劈得電光火石，要麼只留下鏽跡斑駁。

Olympic Opening Ceremony, 59 Productions

anticipates. At the same time, however, abusive use of

multi-media has also damaged many productions. Simply, it is a double-edged sword.

director Katie Mitchell interprets the classical text in her signature theatre works.

59 prodcutions is the champion on this battlefield. In their

在 這 期內容 裡，59 制作公司可謂是多媒體 劇場中藝高人 膽大的

loyalty to the nature of the theatre. On the other hand, 59

忠誠。同時，使用新媒體手段重新將劇場作品制作成電影作品，

eye-opening performances one feels their passion for and prodcutions dares making breakthroughs by remaking

theatre productions into films, distributing the works through the Internet and cinemas. We shall see how legendary female

明星，在他們令人眩目的作品中，有著對於戲劇的本質的熱情和 在網絡和影院傳播的數字劇場（Digital Theatre），也突破著傳

統劇場的邊界。同時我們將一睹傳奇女導演凱蒂·米切爾（Katie Mitchell）是用怎樣的語言來詮釋經典劇本的。

Fink, Hard Believer World Tour 2014.

INTERVIEW WITH LEO WARNER CREATIVE DIRECTOR OF 59 PRODUCTIONS 專訪59製作公司 創意總監里歐·華納

INTERVIEWED BY 採訪 X JOANNA DONG 董一燃 TEXT BY 撰文 X STRUAN ROBINSON TRANSLATED BY 翻譯 X PENG ZUQIANG 彭祖強

59 Productions is a pioneer design company in contemporary global context, their project such as London 2012 Olympic opening ceremony shown their talent to everyone on this planet. Whether creating stage productions, museum installations, live music

shows, large scale events, or films, 59’s team generates creative and technical ideas to help realise ambitious artistic projects. 59’s

creative team covers a range of disciplines, including animation, filmmaking, writing, set, sound and lighting design. These diverse skills are combined with technical expertise and bespoke design to create exciting and innovative work for audiences of all kinds.

-----

59製作公司是英國乃至全世界首屈一指的視覺設計公司，他們主持設計的2012倫敦奧運會開幕式取得了巨大的成功，并向全世界展示了他

們的才華。不管是舞臺設計、博物館陳列、現場演唱會、大型活動、還是電影製作，59製作公司的團隊都能通過他們的創意和技術方案來幫

助打造和實現完美的藝 術表現。他們的團隊包含了各式各樣的優秀人才，動畫、電影、寫作、搭建、音響和燈光設計，不一而足。多元化的團 隊和技能組合讓他們擁有了無與倫比的創造可能性，他們的作品充滿創造力，為不同類型的觀眾獻上充滿創意的令人眼前一亮的作品。

ART.ZIP: Which production do you think is the starting point

ART.ZIP: 可不可以告訴我們，是從什麼時候你們開始將科技帶入到

LW: The idea was never particularly to use technology. I mean

LW: 其實重要的並不在於科技本身，它對我們而言永遠是次要的，只

that gave you this idea to put in technology into theatre?

technology is secondary to what we do; it’s the tool that we use. I think we’re more interested in finding unique ways to tell stories, and the most appropriate way to tell a story. If that involves

the use of technology, then it’s great. But actually increasingly our work uses a lot of different approaches and some of its

very analogue and very non-digital and specifically avoids the

use of video where possible. So it’s just about finding the most appropriate tools to the narrative and to the project. The first project we ever worked on was a totally unique piece called

Sweet Fanny Adams in the Eden, which was in an outdoor space in a garden in Scotland, and that was groundbreaking in any number of ways, because it was multi-locational and

simultaneous. The audience could physically move around the

place and its seven acres, this huge space. It’s like very small sort of performances happening all over the place. We were able to

link up some of those places with video. It was daylight and we were using projection. On paper it was just a ridiculous idea.

Everything about the project was ridiculous - that kind of set

the bar for everything we were going to do afterwards. Almost everything we do has an enormous level of complexity to it -

whether it’s conceptional, technical or aesthetic. I don’t know

why that is, I think we just attract complicated ideas whenever we generate. We came to that really just as content providers

originally and we were asked to make this content which we then delivered and the theatre company said: ‘How do we make this

work onstage?’ and we said: ‘Well, we don’t really know actually,

劇場創作之中來的呢？

不過是個工具而已。在我看來，我們對用獨特和適當的方式去講故事 更感興趣。如果這其中又有著對科技的需求，那就是再好不過了。但

實際上，我們的作品中使用著大量不同的手段，其中有一些甚至是比 較 傳 統或是非數字化的，有時候 我們還刻意回避 使 用視 頻 技術。所 以，說到底 還 是為劇目找到最 合 適的敘事工具 。我們的第一 個創作

是一個名為《伊甸園裡的甜美的范尼·亞當斯（Sweet Fanny Adams

in the Eden）》的作品，作品在蘇格蘭一個花園中的戶外空間上演。 這個作品本身是極富有開創性的，它有著多 個演出地點並具有即興

表演的成分在。觀 眾們可以自由地在那片7英畝 大的場地中走動，而 四處都 有小型表演在 進 行。我們用視 頻 將這 些地方連 接 起 來，在白

天的情 況下使 用投影，這要是寫在策 劃案 上肯定像個荒唐的主意！ 但 那個項目的確有很多平常看上去 很 荒謬的地方，這就 為我們日後

的創作定下了基調。我們的所有項目都有著極高的復雜性，這包括概 念上的、技術上的、還有美學上的復雜性。我很難告訴你為什麼會是

這樣，或許我們的創作總是會 招來 這 些高難 度的點子。我們最開始

僅僅 是以內容供 應方加入了那個劇目，我們的工作就 是 創作並展示 出要求的內容，當劇團問起我們：“這要怎麼在舞臺上實現啊？”的

時候，我們只好回答： “我們也不知道，但我們會找到答案的！”於是 我們建立了自己的體系，並完成了最終的呈現，而那場演出恰好又吸

引了不少觀眾。在那之後，我們參與了《黑盾（Black Watch）》的創 作，那是在國家劇院成立後。我們很早開始就做足了功課，而那也是

幾年之內我們所做過的最復雜的項目。從那之中，我們也獲得了不少

點子和經驗。我們的每個項目都有其獨特的部分，每一次我們有了一 個新點子，或是遇到一個新的需求，在我們看來都像是在創作出了一 個新東西，我們的每一場演出都是這樣。

we’ll find out’. And we built our own systems to deliver it and that

ART.ZIP: 我們對你們的工作方式很感興趣，面對相同的劇目，你們

on to things like Black Watch when the National Theatre was

LW: 其實沒有所謂的範式。有時候我們自己創作，但同時我們也會去

happened to be one of those shows a lot of people saw. That led properly established. We did a lot very, very early and in a way that was the most complicated thing we did for several years;

we extrapolated some of the ideas out of that. So many of our

projects have got a unique element to them, every time we come

是如何工作的？因為很多時候傳統的工作方式並不可靠。

做導演或是編劇。可能在2004年到2009年之間，我們仍沿襲一 個常 規的劇團制作模式，其中有著對導演、舞臺設計、燈光設計和視頻設 計的分工，而 我 們就 是 負責設計 這部份的工作 。但我 們已漸 漸 地 開 始 從事其他的一 些職責，很多時 候 我們 也會做 燈 光設計，舞臺設計

across a new idea or a new demand, it feels like we have invented something for the first time; it’s almost every show we do.

ART.ZIP: We are very curious about the process: how you work with the same productions, because sometimes it’s not the traditional process.

LW: There isn’t a standard process at all. Sometimes we produce our own work, sometimes we direct, sometimes we write. I

think traditionally as in between about 2004 - 2009, we fitted into a fairly standard theatrical production model, where you

have a director, a set designer, a lighting designer, and a video

designer, and we filled that role. And increasingly we’ve moved

和投影設計，有些時候會是導演，或者僅僅是顧問，甚至有時僅僅是

提出幾 個點子。所以實際 上這也是和項目本身的需求息息相關的， 我 們 的 工作 範 圍已 不僅 局 限 於 戲 劇，戲 劇 只不過 是 我 們 的 心之 所 向，但故事和敘事才是我 們的核心，因此 我 們 也開始與 美 術館和畫

廊進 行 合 作。所以我們也在 邁 入 其它非線性 敘事的環 境，它們往往

更 具空間感和實驗性。而在 這 些 環 境中，我們的創作空間又和劇場 中是 完全不同的。劇場中的創作 模 式 直 接且簡單，在世界範圍內也 大同小異。然而若是要設計一場展覽、博物館陳列、裝置，或者是 創 作 一 部電影，所需要的則是 一 個完全不同的創作 模 式，而這 些工作

方式也是 受到我 們 戲 劇 經 驗的影 響，但有些時 候，它又 完全不是 一 回事。

into doing different configurations of that, so quite often we’ll

ART.ZIP: 你們與凱蒂·米切爾（Katie Mitchell）有過很多合作經

design, or direct, or just consult, or just have an idea. So, it really

LW: 這可說來話長了。我們當時正在創作一個名為《浪（Waves）》的

do the lightening design, the set design and the projection

is dependent upon on the project and actually because our work has moved away from solely theatre; theatre is kind of

where our heart is in a way, because it’s about stories, but we’ve increasingly worked in museums and galleries. So, other non-

linear narrative environments where you’re telling a story, but

it’s much more spacial, more experiential. The way we formulate those projects is completely different to how we do it in theatre.

So the theatre model is very simple and very straight forward, and everyone understands it. It’s more or less replicable across the

world. If you’re then designing an exhibition or a museum or an installation or making a film, you apply a totally different model

and mostly those models are inspired by our theatrical working practice, but sometimes it’s just completely different.

ART.ZIP: We found that you have a lot of collaboration with Katie Mitchell, how did this long term working relationship start?

LW: It’s been very complicated. We did a production called

Waves, which was an adaptation or an interpretation of Virginia

Woolf’s novel The Waves. That was the first step if you like in this process of development which we are now calling ‘Live

Cinema’, whereby we have live actors onstage who are filmed

live in environments and stage setting; we build something that is approaching a feature film relayed live. And that relationship started with that production where I came in quite late to the process, because they needed someone to deliver this video,

歷，這個長 期合作關系是怎樣 建立的呢？

劇目，大致由伍爾夫的小說《海浪》改編而來。那可以說得上是我們 正在創作的“現場影院”的第一步實踐。其中，我們在現場拍攝了有 演員的舞臺表演；我們創作了一部現場轉播的將近長片長度的電影。

於是合作關系就是 從那部片子中開始的。而我卻又 是很晚 才加入進 來，正因為他 們需要人手來完成這個視 頻，所以我 才在彩 排第一 天

進組，之前從沒有見過她，我們就這樣在一部又一部的劇作中建立起 了這樣的工作方式，它滲透到了我們的作品中，同時也在變得更加演

繹、復雜和多樣化，這也和我們的素材以及合作方式有關。我們為此

嘗試了許多不同的合作 模式，在明年將要上演的一 個新項目中我們 會嘗試一個新的模式。我們品味相近，無論是美學上的、敘事性的，

還 是有關情感和語調上的。最開始她並沒意識到這一點，因為她 對

絕望和創傷的主 題 感興 趣，而這 些卻絲毫不是我 所喜 歡的。而對於

那些我們一同創作的作品，若是仔細分析，便可以發掘出其中的一些 奧妙。得益於我們工作手段的天性，我們可以和演員及其角色走得很 近，於是我們工作的一部分便成為了對人物形態近乎偵查式的研究，

我對此很感興趣。由此發展而來，我開始對戲劇性和敘事性的部分越

發感興趣，而她也開始對她曾發誓毫無興趣的技術工作有了進一步了 解，比如剪輯方式，我所說的不是剪輯的工具，而是如何把電影拍攝

的模式引入到戲 劇創作中。這樣一來，我們的興 趣 和投 入開始 慢慢 的融合，但同時我們又取長補短，相得益彰。她有著數一數二的和演 員溝通與互動的能力，優雅而溫柔，從演員中發掘出角色的潛力。而

我 又很擅長 捕 捉 這 些場 景。對於 我們來說，這一系列的合作 都是十 分珍貴的經驗。但就像所有的其他合作項目一樣，我們也經歷了艱苦 的磨合期，也曾嘗試放棄或者另辟蹊徑。

so, I started day one of rehearsals, never having met her, and we

ART.ZIP: 另外一個引起我註意的，是你們參與的知名劇目中，比如

stage since then. It’s permeated and become more elaborate,

和提升。

developed this process of working and it’s gone from stage to

more complex, more varied, also in terms of the source material and how we work together. We’ve tried various different

formulations of how our collaboration works, and we’re trying a new one on a new project coming up next year, and that’s very interesting because we have a lot in common. We have very

similar tastes both aesthetically, narratively and in terms of tone

《戰馬（War Horse）》巡演的時候，你會給劇目帶來一些新的改變 LW: 沒錯，有時候機不可失。只要有條件，任何劇作家和藝 術家都不 會放 過 提 升的機會。《戰馬》一路走來相當出彩，它已經多次上演，

並 跨 越了很長的時間，我是在20 07年加入了這個項目。其中的銀幕 部分，是唯一 一 個 從 始至今 保留下來的元 素，所有的其他 環 節 都 經 歷了多次重新制作和設計。最初曾有著很多的現場影子木偶，在那之

後 便被 錄 制 好的影子木偶 戲 所替 代，接下來 又被 動畫 所替 代，但它

War Horse. National Theatre Premier. 2009.

and emotion, which she finds very strange, because she’s kind of

一直在不斷地 朝更精 致的方向演進，但從一開始我們就 想將其保留

I’m inherently interested in. In terms of the work we do together,

投影 在一 個本來就 相當有現場感和生命力的劇目上 。所以在這出戲

obsessed by the idea of despair and trauma, which are not things it gives a very interesting kind of character analysis to get inside - a very interesting sort of study. Because of the nature of the

成一個手繪的部分，它強調的應是圖像如何被賦予生命，而非將視頻 中，隨著我們自身技藝的進步，我們的確在劇目提升中做了很多嘗試。

technique we use, we can get very close to characters and actors,

ART.ZIP: 通常戲劇的觀眾至多數千人，但在奧林匹克開幕式中，你

find very interesting. So, over time what’s happened is that I’ve

頻時的體驗和電視機前的觀 眾肯定是有所不同的。你是如何完成這

and it’s about examining human form in forensic detail which I

got more and more involved in the dramatic and narrative and

emotional side of things, and she’s got more and more involved in things she swore she would never care about, in terms of the mechanics of editing - by which I don’t mean the technology, I mean the sort of application of the filming process to her

theatrical work. So, our interests and sort of input have started

to mesh a little bit, but we have very good complimentary skill

sets in which she’s second to none in terms of her ability to work with actors and to extract - in a very beautiful and gentle way these kind of character studies from actors, and I’m very good at recording those. It’s been a very valuable, very worthwhile

collaboration for us. As with all collaborations like that it’s gone

through periods of great intense activity and then sort of backing off and trying something else.

面對的是一 個數量上大了不少的觀 眾群。何況 現場觀 眾看到你的視 樣一 個大制作的？

LW: 我們當時也是邊學邊做，因為我們從沒有制作過規模如此之大

的 演出。當時 我們也在 某個時刻意識到了這出戲不只 是為了現場觀 眾 。作 為戲 劇工作 者，我 們自然而然的首先 就 會 考慮 到體育場 裡的

觀眾，但實際上所有的轉播員和制作人，以及國際奧委會成員，都對 電視上會出現什麼樣的視 覺效果感興趣。這不是因為體育館中坐著 150 個國家首腦，而是電視機前有十五億觀 眾在收看直播，所以我們

為了直播做出了不少改 變，現在看來，若是當時時間允許，我還會做

出更多的改進，例如安置在體育場內的LED燈光，若是我能熟悉它們 在現場的用處，或許我會用得更炫。還有對戲劇感、顏色和動作的強

調，而不是 一味的注 重 那些 微 妙的細節和美 感。丹尼是 一 個非常好 的合 作夥 伴，他 和我 們 一樣，對 故事和敘事以 及 融匯 其中的主旨感 興 趣，他熱衷 並擅長制造 景觀，但 這 並不代 表 他喜 歡四處設 置 發亮

的東西。所有的安排都要和英國、英國文化、英國歷史等等有關。我

Vivid Live. Sydney Opera House, 2014.

ART.ZIP: Something interesting that I found in the research is

們所接到的任務 也是 如此，不 在乎如何去 炫 耀，而是 如何去實現 這

War Horse for example, you make some new improvements to

的，和攝 像機 鏡 頭 所能捕 捉的一 一對齊，我們最 終制作了不少本來

that when you take something that is established touring, like the production.

LW: Yeah, that’s true. I mean it’s very hard to let things go.

Any theatre-maker or maker of art, if the capacity is there to

make improvements, you want to do it. War Horse has been a fascinating journey because it’s been through so many

iterations and actually it’s spanned quite a long period already,

樣一 個願 景。所以 整個過程比較 紛繁 復雜，我們需要把我們所制作

沒打算 製作的內容 。於是觀 眾們 也在電視 上看到了這 些內容，它們 剪 輯銜接到了直 播中，我 們之前 對此也沒有計劃 過 。但 其中也不乏

一 些 優 美的片段，現 場的觀 眾可能 就 無法看到了。這樣的制 作 耗 時 很長，包括 那些極 為 精美的鳥瞰 式 鏡 頭，配 合 著 燈 光 效 果，這 些 鏡 頭現在已經完全不復蹤跡。

I mean it was 2007 when we first did it. The screen element

ART.ZIP: 你有沒有一些獨立出品的劇作呢？

sustained ever since then, but almost all the content has

目，你需要和那些 沒有自帶 制 作團隊的 搖滾 樂 隊合 作，所以我 們 便

which was the only real scenic element on the floor that has been through various regenerative and redesign processes.

So originally there was quite a lot of live shadow puppetry, and that was replaced by recorded shadow puppetry, and

that was replaced by animation, and it’s got better and more

sophisticated, but always we are trying to keep the core idea of it being hand drawn and being about pictures coming to life

rather than imposition of video on top off an otherwise already

tactile visceral production. So we’ve taken a lot of opportunities with that show to make and implement improvements as our skills have improved and the technology has improved. It’s always a battle.

ART.ZIP: War Horse will come to China next year and also

Katie Mitchell’s Miss Julie is coming. So, during these two

LW: 有的，我們現在正給幾個項目工作 ─ ─ 有幾個較小的搖滾樂項 攬下了制作的活兒，與此同時，我們也在其他的一些劇團項目中，接

下了不同程度的制作任務 ─ ─ 這些幫助我們自己建立起了一套制 作機制，而這正是我們未來兩年的工作重點。其中一個大項目，是一 個跨 行業的藝 術作品，它將我們參與的所有不同行業合並到一起，

我們期待它成 為一 個精彩 絕倫的現場表演。除 此之 外，我們還有一 些其他較為小規模的獨立項目，包括虛擬視覺、視覺增強，和一些普

通的戲 劇和搖滾 樂項目。而這 正 是我們公司的一 個方向，不是單打

獨鬥而是不斷地深入 創作的本源，不僅 僅 是為他人的創意服 務，而 是 成 為創意發生的一 部分。某 種 程 度 上而言，這 正 是公司成 立的原 因，而我們也是在一段時間後才走到了這一步，現在回頭看早期的商

業計劃無疑 使 人會心一笑。一直以來我們都是依靠受 雇工作來支持 我們自己的創作，十年之後兩者終於有了一 個平衡，但這一條路我們 走了很久。

shows touring China will there be any change in your work to

ART.ZIP: 許多人都向我們抱怨過英國藝委會對項目資助資金的緊縮

LW: Well, Miss Julie /Fraulein Julie - it’s very unlikely we’ll rework

方面的顧慮？

these pieces?

that because the nature of those projects means that they are

a nightmare to rebalance because of the technical complexity of what the performers have to do onstage - if you change

anything you have to re-rehearse it for weeks. So, unlike War

Horse, where you can make a tweak to the content or update

the animation or change the projectors or something, it’s just a technical improvement. With the work with Katie and the ‘Live

Cinema’ medium, it’s all about human performance and control, so without having substantial periods of re-rehearsals, it’s very

hard to make an alteration to tour. So, actually, weirdly with those shows which in a way should be more organic and more fluid,

they have to be locked down, they have to be more rigid. So you

probably won’t see a huge difference between Fraulein Julie as it was in 2010 to seeing in China in 2015.

政策，這樣一來，大家有了更少的資源去創作新作品。你們有沒有這

LW: 幸運的是，我們的工作 遍布全 球，永遠有著 做不完的工作。所 以我 們 仍 有 著用不 完 的 合 作 和實 驗 的 機會。但世事難料，如果再來 一次金融 危機，那我們的工作可就不好說了。但現在來看，我們在澳 大 利亞、北 美和歐 洲甚至在中國，都 有著 很多不同的工作 機會 和工

作方式 。這樣 來看，從藝 術上、經 濟上、或 是合作 者上、我們 都有不

少的工作 機會。英國藝委的資助削減在業界確實是災 難性的打擊， 但它也反映出了一 個長 期問題：如果你砍 掉了藝 術 領域中的種子 基

金，那只會讓 藝 術安於 現 狀，藝 術家們只會不斷重 復 那些 成 功的項

目，這種重復本身也是一種風險，無論是藝術上的還是制作上的。我 們的許多作品並耗費不了多少錢，那也是因為我們所 做的是把一種

富有創意的想象嫁接到一 個問題上。有時候解決問題的方式是給鋁 制結構加上個60度角的臺燈，而不一定是用20個巨型投影照亮整個

體育場 。某 種 程 度 上而言，艱苦 條 件同 時 也在促 進 藝 術 發展，但我 可不希望藝 委以 此 為辦 事宗旨！但在我 看來，只 要 把資助看作是實 驗的前 提 條 件，就一定會出現 問題 。但我不對 我自己的作品感到擔

心，讓我擔心的是戲劇，以及整個表演藝術和行為藝術界。但我們不

屬於任 何一 個戲 劇門類之下，因為我們的作品跨 越了不少風格和門 類，我們公司並沒有受到任 何直接的財政影 響。這樣一 個狀 態來 之

不易，但也是因為我們在許多不同的國家和產業中工作，我們有著多 樣的工作方式，這一點上來看，我們是幸運的。

ART.ZIP: Usually for the theatre you have an audience of several

own self-initiated productions, and that is absolutely what we’re

bigger audience. The people in the stadium who saw your video

enormous project is a cross art piece which combines all of the

thousand, but for the Olympics opening ceremony you had much work could have had a very different experience of the people who saw it on TV. How did you deal with such a big project?

LW: That was an extraordinary thing to learn about as we were going. We’d never done something of that scale before. There was a very key moment when you realise you are not making it for the live audience. Our inclination as theatre-makers is

to do for the people who are in the stadium, but of course all the broadcasters and producers and international Olympic

committee are interested in is what’s seen on TV. It doesn’t

matter that you’ve got 150 of the world’s most powerful people in the stadium, it’s 1.5 billion people that are going to be

watching it on television, so we did make quite a lot of changes with that in mind and there are things even now that I would

have done differently that we didn’t have time to change, like the use of the stadium mounted LED pixels, I’d have probably used

doing. That is actually the main focus of the next two years. One different industries we work in into one, hopefully spectacular live production. And then we are working on other smaller

self-initiated projects including some augmented reality stuff,

some virtual reality stuff, some straight theatre production, some straight rock n’ roll production. And that’s very much where we

see ourselves going as a company, not kind of going it alone but actually being more and more involved in the genesis of things,

not just coming in to service somebody else’s creative ideas, but being part of that idea-making process. In a way that’s why we

found it as a company that it’s taken us a while to get round to that. It’s funny looking back at early business plans. It’s always going to be about using commissioned work to finance our

own commissions and finally after ten years that’s coming into a convergence, but it’s been quite a long journey.

a lot more had I realised at the beginning of the process what it

ART.ZIP: A lot of people have talked to us about the Arts

beauty, and more emphasis on drama and colour and action.

to create new productions. Do you have this kind of concern

was we were going to be doing. Less emphasis on subtlety and

Danny was a brilliant person to work with in that because he, like

us, was only interested in the story and the narrative and the kind of core idea in all of it. He likes the spectacle and he’s very good

at spectacle, but he’s not particularly interested in flashing things around. It had to be about what he wanted to say about Britain,

and British culture and history, and so on. The brief on that front was pretty clear; it wasn’t about us showing off, it was about us

servicing his vision. So the process was very different and aligning what we were doing to what the cameras were going to see was very different and we ended up producing quite a lot of

forth-end broadcast content which we never commissioned to do or intended to do, so that people got some of that material on TV cut into full frame on the broadcast, which we had no expectation of doing whatsoever. But there were also really

beautiful bits of work which no one except the people in the

stadium got to see. You know things that took months, you know completely beautifully rendered helicopter shots of the stadium with this kind of light pulsing out - some fabulous stuff which is now lost forever.

ART.ZIP: Are there any independent productions from yourselves?

LW: Yes, we are now involved with leading the production on a number of projects - actually interestingly on the smaller

rock n’ roll projects where you’re dealing with bands that don’t necessarily have a production infrastructure of their own, so

we’ve ended up producing them and also we’ve taken varying

degrees of production responsibility with theatre projects as well, which has led us now to have the infrastructure to support our

Council cutting the funding, so people have limited resources about the funding?

LW: Well, that’s very difficult. We’re very lucky in that because we work all over the world and we have way more offers of

work than we can handle. So there isn’t a risk of our ability to

collaborate or experiment to run out at the moment, but who

knows? If there’s another global crash, maybe that would cease to be the case, but we have the opportunity to work in very different ways in Australia or North America or Europe or the UK or even in

China recently, or even the far east. From that point of view, there seems like there’s lots of very rich fodder to work with artistically, financially, and in terms of collaborators and so on. The UK Arts

Council cuts are catastrophic across the board because it’s a long term problem: if you undercut the seeds funding in the arts, you simply reinforce the status quo, so you have people doing the

same stuff they already know is successful again, and that’s a real risk of repetition, whether it’s artistic repetition or repetition of a production. A lot of our work isn’t necessarily expensive; it’s not inherently expensive because what we do is to apply a creative imagination to a problem, and sometimes the solution to that is 60 angel poised lamps on an aluminium structure, it’s not

necessarily 20 enormous projectors around a stadium. There’s

a degree to which austerity sort of fosters creativity - I wouldn’t want the Arts Council to jump on that particular band wagon! I think in so far as funding is a pre-requisite of experimentation,

there’s a real worry there, but I’m not worried about our work, I’m

more worried about the theatre, and performing arts and live arts world, but I am about any one genre of theatre and because we span so many different genres and different working practices,

we are not under any direct threat as an artistic company. But

communicating an idea or environment or feeling. It’s not about

spread ourselves so broadly, it’s partly because our work is in lots

that can be great also, sometimes that can open up entirely new

of different countries and industries, and we have lots of different processes. So we’re lucky.

ART.ZIP: Do you have any advice to the Chinese theatre artists if they want to develop their work in a more individual way?

“there’s this new technology, lets find a way of using”, although possibilities that turns on a light bulb - you can do something

that you always assumed was impossible. But mostly it’s about having a story you want to tell.

LW: I think just don’t get locked down into doing what people

ART.ZIP: 對於那些想要獨立創作的中國戲劇藝術家，你有什麼樣的

successful things. I think it’s good to take inspiration from as

LW: 不要重復 別人所做 過的東西。效仿現有的成功作品，本身也是

have done before. There’s a big risk in emulating existing

many different media, genres and as many different cultures

as possible. What is amazing about what’s happening in China at the moment is this appetite for absorbing new things from everyone. From an artistic point of view what you don’t want to do is narrow your focus whether you’re making theatre or art or whatever it is. The greatest artists say - which I don’t

count us amongst by the way! - that it’s slightly irrelevant what medium they’re working in. If you look at someone like Anish

Kapoor - genuine giants of art, they don’t limit themselves to one particular material or one particular surface, it’s about expressing an idea in a variety of different ways and their work will go

through these kind of huge shifts between different materials and different spaces. But it’s all about seeking out a way of

建議呢？

一種 風險。我 覺得能從許多不同的媒介、風格和文化中提取 靈 感 是

相當可貴的。在中國，最 難 得的正 是當下人們 對 新 鮮 事 物 和向 他 人 學習的 極 大 興 趣 。而 從 藝 術 角度 上 來看，最不應 該 做 的，是自我 約

束和封閉，無論你是在創作戲劇還是藝 術。最好的藝 術家會說 ─ ─

盡 管 我 們 離 這個目標 還 很 遠 ─ ─用什麼樣 的 媒 介不是 最 重 要的問

題。如果你看看安尼施·卡普爾（Anish Kapoor）這樣的藝 術家，他 們都不會 把自己局限在任 何單一的材料或是表面上，最 重要的是 用

多樣的方式 來展現一 個概念，而作品本身也會在不同的材料和空間 中發生巨大轉 變。說到底都是與 尋求一種溝 通 想法、環境或是 感覺

的方 式 有關 。而 不是 說一種“ 啊！我 們 有了這 種 新 科 技，趕 快 找 個 能使 用它的方法。”，盡管那樣不失為一 個策略，有時候它也能點亮

一些新的可能，開拓出那些之前看作是不可能的機會。總而言之，你 一定要有一 個想要說的故事。

David Bowie Is... V&A, 2013.

it’s a very privileged position to be in and it’s partly because we

THE FORBIDDEN ZONE, SALZBURG FESTIVAL 2014, Credit by Photo Stephen Cummiskey

BANNERMAN ON LIVE 生動的旗手 TEXT BY 撰文 X STRUAN ROBINSON TRANSLATED BY 翻譯 X PENG ZUQIANG 彭祖強

The marriage between the live action of stage and the smooth cinematic experience of screen is central to Katie Mitchell’s

most recent work, Forbidden Zone. Emphasis upon the visual

is a recurrent theme throughout her plays; from the illustrative

projections in Some Trace of Her to the striking image of two

actors powering the lights of the auditorium with exercise bikes in Lungs. Her work is something of a hybrid, a cross between stage and video - what Mitchell calls “live cinema”.

Talking about the 2007 adaptation of Women of Troy, critic Jane

Edwards notes that Mitchell’s work is characteristically “more visual than other directors” - her belief is that plays are about

making sense of human behaviour, and that images can speak

volumes about a character just as much as words. The delivery of such multi-media productions requires pre-planning: recording segments of film, finding, capturing and creating images to

“crystallise the characters feelings and thoughts”. Ben Whishaw,

who worked with Mitchell on Some Trace of Her, explains that

“images are so eloquent”, they are snapshot of human behaviour, an effective way of theatrical communication.

However, the frequent use of video imagery has regularly drawn

criticism with some reviewers claiming that Mitchell “imposes her

trademark style regardless [of whether it is artistically necessary or

appropriate to the text”. Michael Billington, Theatre critic for the Guardian, asks whether or not the narrative of Virginia Woolf’s Waves was “enhanced by the sight of an actor fluttering a fan in a

對 現 場 表 演 和 熒 幕 觀 影 體 驗 的 結 合 ，在 凱 蒂 · 米 切 爾（ K a t i e Mitchell）的近作《禁區（Forbidden

Zone）》中尤其重要。在她的

戲劇中，對視覺元素的強調是一 個常規主題：從《她的軌 跡（Some

Trace of Her）》中的描述性投影，到《肺（Lungs）》中兩個演員使用 動感單車給大廳的燈光充電。她的作品是舞臺和錄像的結合─ ─用 她自己的話說，就是“現場影院（Live Cinema）” 。

評論家簡·愛德華茲(Jane Edwards)在對米切爾2007年的改編作品《特 洛伊女子（Women of Troy）》的評論中，留意到米切爾的作品“比其它 很多導演的作品要更為視覺化。”她一直堅持戲劇是有關於探索人的

行為，而圖像的敘事性和文字一樣強大。而這種多媒體制作的呈現則 需要不少的提前計劃：對電影片段的錄音、搜集、捕捉以及制作“凝聚

角色情感與思考”的圖像。與米切爾在《她的軌跡》中合作過的本·衛肖 （Ben Whishaw）就認為“圖像永遠是意味深長的”，它們是人類行為 的片段，同樣也是一個完成戲劇溝通的有效途徑。

然而，對影像 的 頻 繁 使 用，也使 米 切 爾 招 來了質 疑，一 些 評 論 家 認

為米切爾“在不顧 是否符合藝 術需要，或是否切合戲 劇內容的情 況

下，一 律 使 用其 標 誌 性 的風 格 。”英 國《衛 報 》的 戲 劇 評 論 家 邁 克 爾·林頓（Michael Billington）則質疑她的作品，如弗吉尼亞·伍爾夫

bowl of water” or distracted from. That’s not to say that Mitchell’s

（Virginia Woolf）作品《浪（Waves）》的劇情中， “演員在一碗水

most recent production is a German-English bilingual tragedy

是說 無 人 欣賞米切爾的風格，在德國，她的最新創作是一 個德英 雙

style is not appreciated: it is, only further a field in Germany. Her

about Fritz Haber, the inventor of the very first chemical weapons

THE FORBIDDEN ZONE, SALZBURG FESTIVAL 2014, Credit by Photo Stephen Cummiskey

during the First World War, and the effect that it had on his family

中扇風”的橋 段 到底 是 促 進了還 是 消解了作品的表現 。但 這也 並不 語劇目，一場關於弗里茨·哈伯（Fritz

Haber）的悲劇。哈伯是一戰

中化學武器的發明人，劇目也涉及到了這對他的家庭三代人 造 成的

over three generations. With multiple narratives crossing two time

影 響。在不同時空的多線條 敘事 框 架 裡，米切 爾與多媒體公司59製

company 59 Productions to deliver a complex storyline with a

線，實時 拍攝的影院品質的高清 影像和文 本交 織 融匯，共同呈現在

zones, Mitchell has collaborated with multi-media production

seamless, cinematic-quality film is shot in real-time on stage in front of a theatre audience interweaved with the text.

作公司（59 Productions）合作，創作出了一個天衣無縫的複雜故事 觀眾的面前。

The corps de ballet from the Royal Opera House’s production of The Nutcracker

THE GLOBAL STAGE AND DIGITAL THEATRE 全球舞臺，數字劇場 TEXT BY 撰文 X JOANNA DONG 董一燃 TRANSLATED BY 翻譯 X SYNDI HUANG 黃煥欣

David Morrissey and Julia Ford as Macbeth and Lady Macbeth. Photo by Helen Warner.

While people have been repeatedly stressing that the world is

當 人們 一 再 強 調 世界 成 為了一 個 地 球 村 的 時 候 ，戲 劇 舞 臺 也 因 互

the popularity of the internet, has begun to blur. Nowadays, only

備 上 登 錄，就 可以 隨 時 坐 在 劇 場 中 最 好 的 位子，觀 看 最 新 的 英 國

becoming a global village, the concept of theatre stage, due to

to login in your computer or mobile devices, you are always able

to grab the best seat watching the latest British elite dramas. This may sound too idealistic, however, Digital Theatre does realize

聯網 的普及 變 得邊界 模 糊 。如 今，只需要 在自己的電 腦甚至移動設 舞 臺 精品 。這 聽 起 來 也 許 太 過 理 想 主 義 ，然 而 數 字 劇 場（D i g i t a l Theatre）實現了這一理想。

this ideal.

創建並坐落於倫敦的傳媒公司數字劇場（Digital Theatre）由英國戲

Digital Theatre, located in London, was founded by two British

於20 09年創立。通 過與許多著名的劇團和制作人的密切合作，使得

theatre professionals Robert Delamere and Tom Shaw in 2009.

Because of its close cooperation with many famous theatrical companies and producers, Digital Theatre has cumulated

privileged resources to record outstanding stage performances

into high-definition videos for internet broadcasting. Its partners includes many Britain’s leading theatre companies, such as

Royal Shakespeare Company, Royal Court Theatre, Young Vic Theatre, and the number of partners has been increasing.

In this year’s growth, Digital Theatre has gradually identified

three core businesses: online platform, educational resources and cinema viewing, in order to cover different audience. On

劇人羅伯特·德拉米爾（Robert Delamere）和湯姆·肖（Tom Shaw）

數字劇場擁有得天獨厚的豐富資源，將舞臺上演出的優 秀作品錄制

成高清視頻在互聯網上傳播。合作者包括皇家莎士比亞劇院（Royal Shakespeare Company）、皇家宮廷劇場（Royal Court Theatre）、

青年維克（Young Vic Theatre）等諸多英國領先的劇團，合作方數目 上仍一直保持著上升的趨勢。

在今 年的 發展 壯 大中，數字劇場 逐 漸確 定了三個 核心 業務：在 線 平 臺、教育資源以及院線點映。通過三個不同的業務，覆蓋不同的觀眾

群體。在 數字劇場的網 站上，我 們 看到精心選 擇的劇目全 部是自近 幾年來，擁有優異的票房記錄和戲劇評論的作品。作品分為戲劇、歌

劇、舞蹈、音樂劇等，戲劇類中又 細化為莎劇、經典劇本 和新寫作。 僅就莎劇一類，就有來自皇家莎士比亞劇院，莎士比亞寰球劇院、阿

the Digital Theatre website, all the works are carefully selected with huge box office success and great critic feedbacks. The

works are divided into drama, opera, dance, musical and other

這些作品的私人屏幕，這簡直就是戲劇愛好者的天堂。

categories, while drama is refined to Shakespeare, classical and

為了能夠更 好地復 原劇場觀看的體 驗，數字劇場同時 還 選擇電影院

the Shakespeare scripts have different versions from the Royal

的需求，很多人 遺 憾地徘 徊在 劇場門口等 待 退 票 。數字劇場為人們

new writing plays, which are with various versions, for example, Shakespeare Company, Shakespeare’s Globe Theatre, Almeida Theatre and etc. With a computer, all these works are within access in front of private screen. It is indeed the paradise for drama lovers.

In order to better re-present the theatrical experience, Digital Theatre also chooses to operate with cinemas. Those greatly sought after and with tremendous box office success works

often cannot meet the needs of all audience, as many people

shamefully wait outside the theatre for any possible return ticket.

Therefore, Digital Theatre provides another possibility which will be accessible for more audience in the near future.

Also worth to mention is the Digital Theatre Plus, up to date

the world’s most advanced digital high definition performance arts resource. This is an online education platform mainly to

present a selection of the most classical and the latest British

and American stage works in full length, the behind-the-scene

線 來合作。那些極其熱門，門票大 賣的作品很多時候 不能 滿足觀 眾 提供了另一種可能性，在不久的未來同樣可以一飽眼福。

另外還值得一提的是數字劇場專業版（Digital Theatre Plus），是目 前全世界最先進的數字化高清表演藝 術資源。這是一 個在線的教育

平臺，在這個平臺上，集中展示了精選的英美最經典、最新的全本舞

臺作品，劇場大師 和一流表演藝 術家的幕 後 采訪，以 及由英國學者 和戲劇實踐 者深入 編撰的教學指導教材。數字劇場專業 版（Digital

Theatre Plus）的開發團隊，平均擁有40年的行業經驗，確切地了解 如何幫助學生們更好地分析和了解劇本、提高教學收獲。

在數字劇場專業版（Digital Theatre Plus）的理想中，教育永遠不應

該因為地理的原因而受到阻隔。英國擁有優秀的劇場資源，這些都應 該被世界各地的教育者和學生以更為經濟的方式所共享。目前，數字

劇場專業版（Digital Theatre Plus）在全世界擁有耶魯大學、哥倫比 亞大學、紐約大學等世界一流大學的用戶群體。在亞洲，香港演藝學 院也成為第一家將在數字劇場專業版（Digital Theatre Plus）引進教 學的戲劇專業高等學府。

interviews of theatre masters and first-class performance

但是無論怎樣，數字劇場一再強調，他們是無法取代傳統劇場的。劇

by British scholars and drama practitioners. The development

致的照片也無法阻止人們去體驗地球另一端那些真實的風景。

artists, and educational guidance materials compiled in depth team of Digital Theatre Plus, with an average of 40 years of industry experience, thoroughly understands how to help students to better analyze and understand scripts, and improve teaching results.

Robert Delamere, Richard Armitage,Yael Farber and Tom Shaw at The Crucible on screen premiere (c)David Jensen

爾梅達劇院等不同劇團的版本，能在一臺電腦前同時擁有觀看全 部

For the concept of Digital Theatre Plus, education should never be restrained by geographical reasons. The UK boasts excellent theatre resources that should be shared in a more economical way by educators and students around the world. At present, Digital Theatre Plus embraces users from Yale University,

Columbia University, New York University and other world-class universities. In Asia, the Hong Kong Academy for Performing

Arts is the first higher educational institution to introduce Digital Theatre Plus to professional drama education.

But above all, Digital Theatre has conformingly expressed they

are unable to replace the tradition theatre, the charm of which

is incomparable. It is just similar to the photographic technique which has undergone hundred-year development that despite

of the most exquisite photos, people have not been prevented from experiencing the authentic scenery on the other side of the world.

場的魅 力不可言 說，這 就仿佛照相 技 術已經發展了百年，但 是再 精

MUCH ADO ABOUT NOTHING by Shakespeare, Credit: Johan Persson

INTERVIEW WITH

JOSEPH SEELIG CO-FOUNDER OF LONDON INTERNATIONAL MIME FESTIVAL

專訪倫敦國際默劇藝術節聯合創始人

約瑟夫·塞利格 TEXT BY 撰文 x JOANNA DONG 董一燃 EDITED BY 編輯整理 x STRUAN ROBINSON

Joseph Seelig is co-founder and co-director of the annual London International Mime Festival.

He was formerly international programme director of the Hong Kong Festival and artistic director of the New Zealand Festival. As the director of HQ Theatres and the Birmingham

European (BE) Festival, Seelig also serves as consultant to Arts Council, Total Theatre and Jeunes

Talents Cirque for his expertise in visual theatre. In 2008, Joseph Seelig was appointed Chevalier dans l’Ordre des Arts et des Lettres by the France Republic, and in 2011, Seelig was elected Honorary Fellows of the Royal Central School of Speech and Drama.

約瑟夫·塞利格（Joseph Seelig）是一年一度的當代視覺劇場演出季——倫敦國際默劇節（London International Mime Festival 后稱LIMF）的創始人和聯合藝術總監。他也曾任劇場經理、藝術家經紀

人、歌劇制作人、巡演演出商等。他同時還擔任伯明翰歐洲藝術節主席（Birmingham European (BE)

Festival）並且是英國第二大區域性戲劇運營商HQ戲劇公司的聯合創始人。他還擔任很多藝術組織視 覺藝術方面的顧問，例如：英國藝術委員會（Arts Council）, 全劇場（Total Theatre）以及青年人才計 劃（Jeunes Talents Cirque）。他曾在2008年榮獲國際戲劇協會卓越成就獎（International Theatre

Institute Award for Excellence），並且在同年榮獲法國文化藝術騎士勛章（Chevalier dans l’Ordre

des Arts et des Lettres）。2011年被授予倫敦大學皇家中央戲劇與演講學院（Royal Central School of Speech & Drama）榮譽學者。

Circus Ronaldo, AMORTALE © Benny De Grove

ART.ZIP: How do you come up with the idea of London Mime Festival? Is that

ART.ZIP: 倫敦默劇節的這個主意是怎樣產生的？這和您

JS: I was first an actor a long time ago, but it didn’t last for very long, then I wanted

JS: 首先，很久很久以前，我曾經是一名演員，但是沒做多

related to your interest or experience?

to go into management. I was the programme of the director of an arts centre in

London called The Cockpit, and this was in the 1970s. It was a venue run by the

Inner London Education Authority. In those days there was a lot of fringe theatre,

more than there is now, but it was hard to get audiences. I knew some artists, not so much mimes, but they were clowns, performance artists who did interesting work without any words, and they used to come to my theatre, but it weren’t

so successful, we didn’t get much of an audience but had more of an audience

overseas. And there was a woman called Nola Rae, who I was very friendly with, she was a very great mime clown, and much better known on the continent, in Holland, France, Germany, than in England. And we thought if we made a festival

of work like hers with other people as well this would attract publicity and we would get more audiences. We didn’t know so many people to approach, but we

put an advert in The Stage, the theatre newspaper. We had twelve companies, all

British, everybody had two nights at this little theatre with only 150 seats. Some

shows were very good, some really quite bad. It was a great success, every night

的個人背景，興趣和經歷有哪些關係嗎？

久。之後我希望能夠從事一些管理工作。於是後來我在倫 敦的考克皮特（The

Cockpit）劇場做節目編排和藝術總

監。那是70年代（20世紀）的事情了。這家劇場是內倫敦 教育局（Inner London Education Authority）下屬的四家

劇場之一。在那個年代，小劇場非常多，甚至超過現在，但

是觀眾情況卻不樂觀。我們曾邀請過一些小醜演員，或者 是現場表演藝術家前來演出，但是當時並不很成功，因為

沒有這樣的觀眾群。所以很多英國的視覺表演藝術家是

牆裡開花牆外香，在外國更為知名。其中有一位藝術家叫 諾拉·芮（Nola Rae），一位非常有才華的女啞劇演員，她

在荷蘭、法國、芬蘭都比她在英國知名得多。所以我們決 定專門為這樣的藝術家們做一次戲劇節，這樣也許能夠引

起媒體和公眾的注意，從而吸引觀眾。但是我們不知道如 何去邀請到這些藝術家，後來我們就找到《舞臺報（The

Stage）》, 那份著名的戲劇類報紙，做了一個廣告。最終，

was full and it attracted a lot of newspaper coverage and achieved what we had

我們邀請到了12個劇團，全部是英國劇團，在這個150

from overseas. So from 1978, which was our second year, we have been an

樣，但是結果很好。我們吸引了很多媒體關注，並且所有

set out to do. So we decided to do it again, only next time with some people

international festival, then the next year another theatre decided they wanted to be involved and very quickly lots different theatres in London expressed interest.

It quite quickly became seven or eight theatres with an international programme, we were doing tours outside London and it was getting a bit out of control. So we pulled things back to the size it is now, manageable. People ask us why we

don’t make it bigger, but the truth is that now the size is just right. If you were

very enthusiastic or very crazy, you could see everything, and you can in our

programme, you can see every show in the seventeen or eighteen day period.

If we made it bigger, you would lose this and that, so I think you would probably

lose something. So that’s its background. And it is quite an achievement to have

something like this, which has been running for so long –it’s the longest running London festival by far. We have to reinvent ourselves every year – we missed out two years in the early days – and you have to start from scratch because people

don’t remember you here. So it’s very important that it’s every year and very important that it works.

ART.ZIP: It was a bit surprising the shows were all sold out at the very

座的劇場，每個戲演出兩天。一些戲不錯，另一些不怎麼 的演出票都售空了。我們兌現了我們的期待。於是我們 決定第二年再來一次。第二年有了一些外國劇團的參與， 於是，從1978年起，我們的戲劇節成為了國際性的。再後 來一年，另外一家劇場參與了進來，很快的，倫敦有很多

劇場都表現出他們的興趣。於是從十二個英國戲開始， 我們成長為國際戲劇節，我們甚至還把戲帶到倫敦以外

的英國其他各地。當時有一些失控。後來，我們很慎重地 考慮過規模，這需要是一個可控制的規模。人們說，你們 辦的很好很成功，為什麼不要做大呢？其實你看現在， 一年十七八天的戲劇節，如果你真的很感興趣或者很瘋

狂，你是可以把所有的戲都看了的。我想這也是我們的

初衷。我們很自豪，這是一種成就，我們運行了這麼久， 倫敦沒有其他一個藝術節有這麼久的歷史。在最開始的

階段，我們曾經錯過過兩年，一切都要重新開始。你知道 觀眾們的記性很不好，所以每一年都要持續辦下去很重 要，否則一旦錯過一次，就要重新開始。

beginning.

在倫敦，有差不多一千五百萬人口，似乎填滿一個150座

find 150 people, but of course it is. But it’s always been like this, a large proportion

愚蠢，但是很大一部分觀眾不知道要看什麼。我們對於

JS: Absolutely. There are 15 million people in London, so it shouldn’t be hard to of our audience don’t really know what they’re coming to. I don’t mean that

they’re stupid, but it’s impossible to describe our shows, it’s not like a play – you do

Hamlet and everyone knows the story. We are putting on new work, visual work,

with no text. We do our best to describe something honestly and attractively. But

I think a large number of our audience want to take a risk, they think ‘that sounds interesting’, they want to go on this journey and are pleased that they have taken

this risk. A lot of the time we have people come up to us and say “I was going to bring a friend but I said I was going to the Mime Festival and they heard ‘mime’ and didn’t come, but actually it was wonderful! I can’t describe it.” and the next

time the person did come with them. The audience is adventurous. Everything is full all the time n. Our financial situation is precarious, we need to sell 90% of tickets to survive. But people are adventurous.

的劇場並不是難事。然而並不是這樣。我並不是說觀眾 每個戲的介紹真的是一項很困難的工作，比方說到《哈 姆雷特（Hamlet）》，大家都知道很清楚會看到什麼，可

是我們是演出創新作品，視覺作品，沒有語言的作品。我 們只能盡力去描述，用誠懇和有吸引力的語言去描述。 我想我們大多數的觀眾願意去冒這個風險。我們總聽到 這樣一種說法，我很想帶一個朋友來，可是他（她）沒有

來，他們說默劇也許不是他們喜歡的。可是如果他看過 演出說，這個戲真的很棒，可是我無法形容，也許他的

朋友們下次也會自己來試試看。不是每一次我們都能滿 場，但是我們需要巨大的觀眾數量，因為我們需要票房

的收入來維持運營。我們需要90%的上座率才能生存下 去，但是所幸，人們對這個戲劇節很感興趣。

ART.ZIP: What did you expect to achieve at the beginning of the festival in

ART.ZIP: 你們最開始的期待和現在取得的成就有什?區

JS: At the beginning we just had the ambition for that one year, it may be that

JS:

comparison to now, do you see any difference?

the person that I started it with just wanted to further her own career! At the beginning of the festival we would have said to our audience, look we have a lot

of this new work, it’s difficult to describe, but it’s very good and entertaining and

serious as well – when you say mime, people think of Marcel Marceau, but when somebody says music or painter you can think of more than one composer or artist. The festival contains very little actual mime. Mime is more than that – it is used to describe visual theatre. When people think of mime, they think it’s not

serious, just a series of sketches. The shows we put on have very serious themes, those are dealing with gripping themes which can express emotions eloquently

別？你們對於未來有怎樣的期待呢？

最開始的時候我們就是希望辦好那一年的。那位我

們合作的藝術家諾拉也許最初只是希望這能對她的事業 有所幫助。我們的目標是希望運轉下去，帶來賞心悅目、 出色且嚴肅的藝術作品。我們稱呼它默劇節，但是你看

不到傳統意義上的默劇，啞劇。提到繪畫，你絕不會一下

就想到某一位畫家，一種畫法。所以對於默劇而言，我們 也是希望用這個詞來形容視覺劇場，而不是單純一種演

出方式。另外，觀眾們一提到默劇，小醜，雜技等，就會 想到純粹的娛樂而非嚴肅作品。但是比如我們在皇家歌 劇院小劇場一起看的那出《哈利肯（Harlekin）》就很嚴

Mat Ricardo Showman © Sin Bozkurt

without language – almost more eloquently. It’s not dance but it expresses its

肅，同樣在那裡演出的《老國王（The Old King）》也是

and legitimate theatre, try something you would not otherwise see – because if

有力地抒發情緒，例如舞蹈也是這樣。我們現在的目標

message without words. Our ambition now is very similar. It is to say this is valid it was not for our festival you might not see these shows in London.

ART.ZIP: Do you feel any difficulties in bringing all those international works to London?

個非常嚴肅的作品。沒有語言的運用，但是同樣能非常

和最初也是相似的，做出色的、不尋常的劇場。在我們提 供的戲劇節平臺上有很多作品在其他地方是不可能被觀 眾看到。

JS: Only financial. We travel a lot and we see lots of work. We bring shows that are

ART.ZIP: 把國際作品帶到這裡來的困難有哪些？

countries on the continent, some artists earn a great deal more. It’s not because

們要看太多的作品了，但是選擇參展作品只有三個重要

available, affordable and stageable. I’ll explain the last two. Affordable – in some

the tickets cost more, it’s because theatres are subsidized in a different way. When we put on a show, the amount from the Arts Council and whatever we get from the box office has to pay for the whole thing. So companies do say ‘we have twenty people, we can’t afford to come for what you can pay us’, but mostly

people see that it is important to play in London and get reviewed by important

newspapers than to play in the middle of nowhere in Germany even though you

are getting a bigger fee. But the third component, a very important one, is that lots of the work we see is not designed for formal theatre spaces like the ones we use. More and more on the continent, less so here, you see a performance in an old warehouse or factory and there are very few of these in London, at least at the moment. So some shows which we would really like to bring over, we can’t,

JS: 其實主要是財政上的困難。為了選擇合適的節目，我 的原則，第一，劇團有合適的演出檔期；第二，演出費用

不會太高；第三，可以在正規舞臺場地演出。第一點我就 不用多解釋了。第二點，費用上，有一些國家的藝術家們

可以獲得很高的演出報酬，這並不是因為演出的票價昂

貴，而是政府有補貼。但是在英國，除了票房收入和英國 藝術委員會的一小部分基金，就沒有什麼費用了。但所幸 對於很多劇團而言，他們很看重能來倫敦演出，因為他

們在這個藝術節上能被最知名的大報劇評人看到。這遠

比在什麼不知名的德國小城演出重要多了，即使在那裡 演出會有很好的收入。第三點，你們可能會發現，現在越 來越多的演出都是在不尋常的場地，比如廢舊工廠、倉

Cie 111. Bory Ito, PLEXUS © Aglae_Bory

because we don’t have an appropriate space, not in January at least though, you

庫、公共汽車車廂等等。但是在倫敦，尤其是一月份的倫

to see, and the most difficult thing is trying to survive the financial reality of it.

的地方，但是我們的藝術節是在一月，這個沒有辦法。但

could do it in the summer. But having said that, we get most of the things we want

ART.ZIP: Do you personally view all these performances before bringing them

敦，這簡直不可能，夏天也許可以在室外或者什麼空曠 是無論如何，資金是最大的問題。

to London?

ART.ZIP: 你們是怎麼發現和選拔這些作品的呢？

I mean) – usually we’ve both seen them. If we haven’t seen a work, it’s either

術總監）必須都看過這些作品，但是有一種例外，比如

JS: Oh yes. The only things that we haven’t seen (my colleague Helen and I, because it’s brand new and we have commissioned it from a company we know, such as this year from Blind Summit – it wasn’t the best thing in the world but

we know them very well, and we thought we’d ask after they had a big hit in the festival last year. So we hadn’t actually seen it - we saw some rehearsals of course, but we won’t have taken anything we hadn’t seen from an already created show,

it’s too much of a risk. We took a survey a few years ago, and one question was

‘why do you come’, and the most common answer was that ‘because we trust

the festival’, which is good. But if someone were to say ‘we saw this show and

thought it was terrible’ and I hadn’t seen it, what could I say? It does happen, there are people who see a show they really don’t like, and because they feel very

close to us, they will write. Not so often, but sometimes, I’ll get people saying they didn’t like something, and I will reply saying ‘this is why we chose it, for these

reasons, it was good for this and that reason, and I did like it, but I’m sorry you had

JS: 通常情況下，我和我的同事海倫（默劇節的另一位藝

說，這個 作品 是 從 沒有演出過 的，但 是 來自於 我 們熟

悉並且信任的劇團。比如有一個作品《腦袋腦袋（The

Heads）》來自一家叫作盲 頂（Blind Summit）的劇 團，我們是到彩 排的時候才看到作品的。去年的默 劇

節上，他們的作品《桌子（The Table）》大獲成功。雖

然 我不敢 說這部新作是世界上最棒的作品，但 是質量 是有保障的。上一次我們看到他們的《桌子》中有三個

部分，大家都最喜 歡開始 一 個木偶在 桌子上的那個部 分，但 是我對於後面的相框裡面飄 動的頭的那一部分

很感興趣，就問他們是不是願意發展成為一 個獨立的 作品 。我 覺得這也許和他 們以往的創作 方式不同，是 在別人的建議下完成一個作品。

a disappointing evening.’

很多年前，我們曾經做過一個觀眾調查問卷，了解大家

It’s useful if something goes to Edinburgh and is a big success, then there’s good

的選拔標準。就好像有人告訴我一個戲太差了，我沒有

word on it, and it has a name, and maybe it has some good reviews, but we don’t

rely on Edinburgh at all. We travel in Europe and see things long before they get to

Edinburgh, if they ever get to Edinburgh. There aren’t so many festivals like ours,

there’s probably only one festival like ours, but we have a very good network.

來這個戲劇節的原因，得到最多的答案是他們信任我們 看過，我能和他一起抨擊那部戲嗎？這些年來，也有人給

我們寫信，說某部作品讓人很失望，等等，我都會回復去 解釋當初我們選擇這部作品的原因和意圖，但是如果我 之前都沒有看過這部作品，我怎麼去和觀眾們解釋呢？

We’ll travel to Holland or Scandinavia to see one show if that’s worthwhile, and

愛丁堡邊緣戲劇節等這樣的戲劇節提供了一個很有幫助

it over but it’s important.

口碑，甚至是一些大報的劇評。但是我們不會依賴戲劇

often that’s disappointing – it wasn’t what you thought it was or you can’t bring

I’ve been doing this a long time and I am still optimistic. There are some things I don’t want to go to and I’ll find someone who is in that country who I ask to go

on my behalf. And if they then tell me it’s fantastic, then I will go. For every twenty shows you see, nineteen and a half are no good, or no good for us. You have to

see an awful lot to get it down to a small number. If you’re running a curated

festival, that’s what you have to do. If you’re running a more general festival

like the Edinburgh festival with music, opera, theatre, then it’s sort of easier, you don’t have to listen to the Chicago Symphony Orchestra playing a Mozart

的選擇平臺，因為好的作品在那裡也許已經贏得了一些

節。我們在世界各地選戲，很多外國作品如果能來愛丁 堡，通常已經在很多歐洲大陸國家演出過。歐洲有一些

類似我們性質的戲劇節，其實，也不過就一兩個，不過我 們有很好的關係網。即使我們沒有太多的經費，但是我 們也會為了別人推薦的一部戲，去德國，法國，或者是斯 堪納維亞半島。我們覺得這是值得的。雖然有時候看到 的作品可能不適合帶來演出或者不好，這會讓我們很失 望，但是這些過程都是必須的。

piano concerto – first of all, you know they’re going to do it very well, especially

我是個很挑剔的人，比如我認識的朋友和我介紹什麼地

But you have to go and see the dancers or theatre, and if you say that one of your

選擇，但是選拔性質的藝術節就是這樣的。也許比較而

if they’ve got a great conductor and soloist – and you can hear it on a recording.

jobs is to bring new work and new experiences to people, then they have to have a very high quality. Not everyone has the same taste as I have, but the quality is high. That’s what we have to find and what we have to bring.

ART.ZIP: How long does it take to initiate this lineup?

JS: A long time. We already know some things we would like to have next year

and the year later. Whereas with classical music you have to book things two years ahead and with opera five years ahead, because the great stars are so busy. With

方有一個戲不錯，我通常會去看，但是十有八九我不會

言，一些其他類別的藝術節相對容易一些，比如說古典 音樂，你不用去懷疑芝加哥交響樂團的演奏水平，而且 你也可以聽錄音。但是舞蹈和戲劇就不一樣。尤其是你

的工作是帶給別人新的作品或者體驗，就需要是質量很

高的作品。但並不是說每個人都要和我一樣的品味，但

是，戲的質量是一定的。所以我們需要對這個尋找的過程 負責。

theatre, things work with a much shorter time scale. Sometimes when we book

這個選擇的周期很長。我們目前已經定了一些我們明年

Often it’s the things you find at the very last minute that are actually the best. So

音樂，你也許需要提前兩年預訂，或者歌劇的話甚至需

something a long way ahead, something goes wrong six months beforehand.

we’d like to be able to plan a year, if not two years ahead, if we could but we can’t.

I could tell you a couple of things we’d like to tell you we’d be having next year, but quite honestly I don’t know if we’ll be having them!

ART.ZIP: It seems there are very few dance pieces in the Mime Festival…

JS: Well again it’s personal taste, but I am glad you say that, that there are only a few as I’d like to hear you say that there was none. We don’t want any dance. The

area of theatre that we occupy is between dance on one side and spoken drama

會演出的作品，還有一些也需要安排到後年。例如古典

要五年，因為那些明星們非常繁忙。戲劇的周期短很多。

但是有時候有很多不可預知，比如說有人受傷了或者怎

樣，很多最後一分鐘才發生的狀況。我們希望能提前一 年或者兩年訂好名單，但是總有不可測的情況發生，所

以我只能現在告訴你們我們希望演出的節目，而不是到 時就能演出的。

ART.ZIP: 舞蹈屬於默劇節所涵蓋的範疇嗎？

on the other, in that territory and neither one nor the other. The reason for that

JS: 我很高興你們問到這個問題。其實一個舞蹈作品都沒

with dance there are so many opportunities in Sadler’s Wells, all kinds of dance

劇節能劃出一個在舞蹈和話劇之間的領域。我們推廣沒

is twofold – we are promoting visual theatre, we don’t want spoken text, and

festivals, so many opportunities happening all the time. We don’t want to tread on anybody else’s toes. But for instance, we have brought over The Old King – I

don’t think that’s a dance performance at all, it may be under the umbrella of

this famous Belgian company, but there’s a form of dance which most people wouldn’t recognize as being dance. Dance is interesting because these days

dance is everything – someone standing onstage and talking about training as a dancer and moving without any music – some people think that’s dance, but I don’t.

ART.ZIP: The website is very nicely organized with an archive of old shows – it’s very simple and has all the shows.

有，第一是由於個人品味的原因，因為我們希望我們的戲

有文字存在的視覺劇場。另一方面，舞蹈的機會太多了， 各種各樣的舞蹈藝術節，一直都有。我們不想做別人已經

在做的。比如我們曾經的一個演出作品， 《老國王（The Old King）》，即使它是來自一個比利時當代舞團（Les

ballets C de la B），但我們不認為那是舞蹈作品，或者說 是在這個著名舞蹈劇團的名下，非常規概念下的舞蹈方

式。這年頭什麼都能叫作舞蹈，一個人在舞臺上講解如 何訓練舞者，沒有音樂伴奏著移動也被當做舞蹈作品， 我並不認同。

ART.ZIP: 有關紀錄這些作品，你們是怎麼做的呢？

JS: Thank you. Well unfortunately that’s it, that’s the archive, we must do something

JS: （指向背後的鐵卷櫃）三十年的東西，都在這裡了。

of the complete thirty-seven years we have been doing this and we’re not quite

在上面呈現。也許這些資料有一天就要捐贈給哪個圖書

about it. The website is a very small distillation of it, obviously we have a record sure what to do with it. In the end you’ve got to take out the boring bits and give it to a library if anyone wants it. But we really should write a book –we’ve

been meaning to but obviously if you’re not going to sell a lot of copies, you need to raise enough money to do it. It would need to be mostly photos, and funnily

enough the photos from the earlier years aren’t very good. If a company has lots of money and has a good idea about PR, then they will get an actual photographer to take photographs of rehearsals and all sorts of things, not just somebody sitting

there at the back of the theatre which never works. A lot of the companies we have found have been small scale, so the press material isn’t very good, but I think

we’ve had far better press materials in the last fifteen years than the twenty which came before that. So it’s quite difficult to know how to organize this book so that

it doesn’t make the early years look very underpowered. The website is the last ten years really. It’s important, I think, for if we stop – the Arts Council who have loyally

funded us from the beginning are very interested to know about our policy for the succession, as Helen and I aren’t as young as we once were. I don’t want to stop the

festival, I enjoy doing it, but would someone else taking over do the same thing? I don’t think so, they’d be mad to. When we finish, either the festival continues in a

very different way, or it shouldn’t continue, and somebody should set something

else up. Somebody should make it their own taste. Because unlike most festivals,

it’s very personal for us. If Helen and I like it then we want to have it. We don’t feel we need to have a show for this bit of our audience or whatever, we don’t think like that. What all the theatres want is stuff for families and they ask us what we have

OKTOBRE @Daniel Michelon

for children. And well, you know, we haven’t.

我們的網站上只是一些很基本的信息。很多內容不能

館之類的。我們應該寫本書，其實早就應該了。你知道這

樣的書並不會是暢銷書，所以需要籌錢來出版。應該是

一本圖書，不過一些早期的作品，照片資料並不好，都是

黑白的照片，質量也一般。你知道，如果一個劇團有足夠 的遠見，資金或者公關能力，他們真的應該好好請人來

紀錄他們的作品，比如排練啊等等的一切。而不是就僅 僅是坐在劇場後面把影像記錄下來。但是很多演出的劇

團規模很小，沒有能力，所以他們的媒體資料很有限。過 去的十到十五年，我們有比以前好得多的資料。最開始

的二十年東西真的不多。所以怎麼去整理這些資料也是 問題。處理不好也許會讓最開始的那些年的作品對比起 來顯得沒有力度。不過很高興你們問到並註意到我們的

資料記載。只有之前十年可以看到宣傳冊，再往前就只有 名稱。但是這個很重要，英國藝術委員會資助我們，也需

要了解和紀錄我們成功的部分。海倫和我開始做這個戲 劇節的時候還很年輕，我還不想停下來，還希望繼續做

下去。如果別人接管了，還會一樣在意，做一樣的事情嗎? 我覺得我們不幹了以後，要麼這個節會是以一種很不一 樣的方式進行，或者就幹脆停下來了。說不定別人就會 開始做別的什麼。我覺得就是應該按照他們自己的品味

來做，和很多戲劇節不同，這個戲劇節非常個人化，海倫 和我喜歡它，就做了，我們不會刻意地考慮這個戲是給這

些觀眾的，那個是給那些觀眾的。很多劇場都很喜歡那

ART.ZIP: The music and lights were important, it’s really different from previous shows. We’re also curious, you use a lot of high technology in your shows over the last few years, is this a positive thing?

種全家人一起看的戲，孩子們的戲，但是我們也許可以不一定非 要這樣考慮。

JS: Absolutely. I think you’re trying to attract a new audience all the

ART.ZIP: 在過去的三十年，科技發展給視覺劇場帶來了哪些變

are interested in this and I think that you should always use the most

JS: 我覺得這是一個非常好的事情，你必須去吸引新的觀眾，不可

time, you can’t rely on the same audience all the time, younger people

sophisticated, modern methods you can. I’m sure if the electric guitar

was around when Mozart was writing music, then he would have written for the electric guitar, not for the harpsichord. I can’t think of any show which we’ve done with new technology that has not benefitted from it.

You have to do something with it of course, but it’s so exciting.

ART.ZIP: People are proud of playwrighting in Britain, so I can

化呢？

能一直依仗一批觀眾。我覺得年輕一些的觀眾對於科技很感興

趣。而且我覺得對於創作者而言，你必須盡力嘗試應用最新的各 種手段。如果莫札特在創作他的音樂時，如果有電吉他存在，他

可能也會嘗試應用在他的作品裡的。我們所有的演出作品中，都

是為了創作需要來巧妙地應用現代科技的，而且都從中受益，無 論是視頻、音頻等等這些現代手段，它們被應用得真的都很棒。

interview audiences who are focused on the writing and the author.

ART.ZIP: 我們很想了解默劇中沒有劇本，它們是怎麼被創作出

JS: No, almost never. But somebody conceived it – there’s no script,

JS: 確實，這些作品可以說都沒有劇本。不過有很多是改編，

But in the Mime festival there is no script, right?

but it would say conceived and devised by whoever. There are people whose names are associated with and whose names are at the very top

– Anton and DEREVO is one. The number of shows that are devised by

six people – they’re few and far between. If you asked Mark Down from Blind Summit, he would say ‘I devise it’ or ‘Nick and I do’.

ART.ZIP: Apart from the festivals, what are your leisure activities?

JS: I play a lot of sport, I know I look too old but I do! It’s a peculiar game,

來的呢？

或者說 靈 感來源 於或者 發展 於一 些 劇作。很多劇團比如像安 東尼（Anton Adasinsky）還有瑞士的那個齊默爾曼＆德·佩羅特 （Zimmermann & de Perrot）劇團等，都是他們劇團幾個人一

同發展出來的一個作品。他們有很多演出的指示文字或者是舞

臺管理性文字，因為很多作品都需要非常嚴謹地配合，那些天 衣無縫的配合真的很棒。這些藝 術家他們也許不是哈羅德·品 特(Harold Pinter)，但是他們同樣是戲劇的創作者。

I play Fives, and it’s like squash without a racquet, like handball. We play

ART.ZIP: 您的業余愛好是什麼呢?

in Birmingham which specializes in experimental theatre, it’s called the

很常見的運動叫作Fives（Eton Fives，一種場地手球運動）。另

it in a court, a court with three walls. But I am also chairman of a festival BE Festival. They don’t actually pay anybody but each evening they have

three short pieces, all below 30 minutes, and between the shows the

audience has a meal together, about 150 people eating together and

then you go back and see the next show. It’s very interesting, there’s nothing like this sort of model anywhere else in the country. So I have

other jobs, I’m a director of a company which manages theatres outside London, I go to the cinema…I drink too much! I used to be out all the time because I was artistic director for some years of the Hong Kong

Festival and then the New Zealand Festival. So I had to go to opera and concerts and do lots and it was great fun, but I had to be out almost every night seeing something and not just theatre. So it’s nice now not having to do much. I’d love to have lived in Paris or Madrid, but London is

very special and I feel lucky to live here. England is suffering, but it’s still a very special place to be. But I’ve seen lots of different places. I would love to go to South America or China, but even if I did I’m sure I would still be happy to live in London, and I wouldn’t like to retire to a village, but I like

the buzz. My wife loves the country and has a little place in Cornwall and it’s nice for the day but I would go mad if I had to live there.

JS: 我雖然看上去很老了（笑）但是我很愛運動。我玩一種不是

外，我在另一個藝術節，伯明翰歐洲藝術節（BE Festvial），是 一個實驗藝術節工作。每天晚上，有三個演出，每個都不超過30 分鐘。在演出之間，觀眾們會一起進餐。大約150人，然後回來之

後再看演出。我的意思是說除了這個默劇節，我還有很多工作。 另外，就沒什麼特別的了，我會去看電影，去酒館，我應該少喝點 酒了（笑）。我以前經常到處跑，比如以前做香港藝術節的藝術

總監，我也曾是新西蘭藝術節的藝術總監等，因此我去看很多演

出，音樂會，歌劇等等，因此我每天晚上基本都要出去，但是不 一定是看戲，也會是其他演出。我和我的妻子和孩子們生活得很 開心。倫敦是很特別的城市，我很高興以前有機會在法國和西班 牙生活，但是謝天謝地，我很幸運能生活在倫敦，盡管現在經濟

不景氣，但是它還是很有魅力。因為工作原因我經常出差，去過 很多地方。但是我沒有去過南美，我也沒有去過中國，希望有機

會能去。但是無論哪裡，我想我最後還是最喜歡倫敦。我不會退

休之後去個什麼小鄉鎮生活，我的妻子熱愛自然。她在康沃爾有 個房子，她有時會去那裡，安安靜靜寫些東西等。但是我不能在

那裡長待，我不喜歡那樣的生活。我喜歡熱鬧。如果偶爾希望安 靜，我會選擇待在家裡看看書什麼的。

Find Out More: www.mimelondon.com

THEATRE & THE VISUAL 戲劇與視覺 TEXT BY 撰文 x LI BOWEN 李博文

“By questioning the primacy of the text, in wordless, visual interruptions, the theatre draws on the legacies of the avant-garde attack on

the senses. By bridging the visual and the textual in confrontational ways, theatre perhaps appears more readily as a mode of production

that reflects the cultural, political, and intellectual preoccupations of the twenty-first century, even if the most challenging work seems to risk transforming the theatre into an atrocity exhibition.

As a form that explores the culture work performed by visual representation, theatre arts are not simply means of bringing texts to life.

Instead, the theatre becomes a medium – or a set of related media – typified by the production of live images, often alongside other

effects such as communal, social or reciprocal experience, choreographed movement, technological mediation, and the delivery of texts, music, and other sound scores.”

“通過在無言的、重視視覺的幹擾性表演中質疑文本的重要性，戲劇藝術繼承了先鋒藝術家們對感官進行攻擊的偉大遺產。通過讓視覺與文本相

對峙，戲劇藝術成為了一種反映二十一世紀文化、政治以及智力偏見的文化生產模式，儘管那些最具有挑戰性的作品幾乎要把戲劇藝術轉變成一

場殘忍行為的表演秀。”

“作為探索文化作品視覺再現的藝術形式，戲劇藝術不僅僅意味著為文本帶來生命。相反，戲劇藝術成為了一種媒介——或一系列相關聯的媒

介——這種媒介生產現場圖像，並同時制造社群的、社會的或相互的經驗；編排運動；協調科技，並傳達文本、音樂以及其它聲音效果。”

Theatre & Series is a series of publications on the relationship between the theatre

《戲劇與…》系列叢書旨在討論戲劇與相關學科或理論

by Jen Harvie and Dan Rebellato, published by Palgrave Macmillan. Theatre & the

政治研究等——這一系列叢書由簡·哈維（Jen Harvie）

and its others – museums, the body, sexuality, politics, just to name a few – edited Visual (2012) by Dominic Johnson belongs to the ambitious series (“small books

on theatre & everything else,” says the back cover); as a handy brochure, it renews the aged relationship between the theatre and the act of looking, attempting a

reconsideration of the role of the audience/spectator, and a re-distancing between the viewing subject and the theatre, in a solid and enlightening way.

Two neutralities are questioned in this book: the neutrality of vision, and the

neutrality of the relationship between the verbal and the visual in theatre. Johnson

的關係——包括美術館研究、人類身體研究、性別研究、 及丹·瑞貝拉托（Dan Rebellato）編輯，由著名的麥克米 蘭出版社（Palgrave Macmillan）出版。由多米尼克·約翰

遜（Dominic Johnson）撰寫的《戲劇與視覺（2012）》

是這一雄心勃勃系列叢書（書的封底寫著： “關於戲劇

以及其它一切的小書集”）其中的一本。作為一本方便 的小冊子，這本書更新了戲劇與觀看行為的古老關係， 嘗試重新思考觀眾身份的意義，以一種嚴謹、啟發式的 方式重新思考觀者主體與戲劇藝術的距離。

argues that the human perception – specifically that of the eye in this case – is not

《戲劇與視覺》質疑了兩件被人們想當然地接受了的

developments that are more powerful than one might have thought. In Part One,

與視覺的“自然”關係。約翰遜認為人類感知——尤其

neutral and static, but is in fact political and historical, subject to manipulations and

Johnson links the modern idea of visuality to Italian Renaissance architect Filippo

Brunelleschi’s invention of linear perspective around 1425, before explaining Leon Battista Alberti’s theory of perspective in On Painting (1435). Stressing the artificial

nature of this invention of perspective in painting contributes to an understanding of the non-neutral nature of vision in theatre, and of the fact that social and

technological development – such as the development of artificial light in theatre

– changes perceptual experiences in theatre. “What it means to be an audience is different from one historical moment to another.” Also, the relationship between the verbal and the visual in theatre is in fact marked by power struggles – the verbal always having the upper hand and the visual marginalized until about a hundred

years ago. This is evident in the English word for the one who goes to the theatre: “audience”, rooted in Latin audire meaning “to hear”.

This writing certainly goes along with the development of a specific kind of theatre that questions the authority of the text and the idea that the theatre is a literary

form, by performing without or with only limited spoken words, and by embracing the condition of the society of the spectacle, in which the eye and what corresponds

with it are championed. To Johnson, important theatre figures responsible for the

事情： “自然的”、不變的視覺，以及戲劇藝術中文本

是視覺——並不是自然的、不變的，而是政治性的、歷 史性的，受各種力量控制，也有著悠久的發展歷史。在

本書的第一部分，他追溯了視覺的歷史：意大利文藝

復興時期建築家菲利波·布魯內萊斯基（Filippo Brunelleschi）於1425年前後提出了線性透視，其後，萊 昂·巴蒂斯塔·阿爾貝蒂（Leon Battista Alberti）於1435 年在《論繪畫（On Painting）》一書中再次發展了透視 的理論。約翰遜強調了透視的人為性——無論在今天人

們覺得透視的發生是一件多麽自然的事，這其實是人 為創造的一種視覺現象。理清了這一點，我們就能夠更

好地理解戲劇藝術中各視覺現象的非自然性以及政治

性。事實上，許多社會科技發展對戲劇中的感官體驗都 帶來了巨大的影響。比如，戲劇藝術中人工燈光技術的

發展。 “觀眾身份的意義因時代而改變。”另外，戲劇藝 術中話語與視覺元素的關係事實上是某種權力爭鬥。

直到大約一百年前，話語永遠是占上風的；戲劇中的視

覺元素往往被忽視、邊緣化。這在我們描述戲劇體驗 的詞語中也有體現：英語中觀眾一詞為“audience”，

early radical vitalization of the visual in theatre in the twentieth century

而此詞來自於拉丁語動詞“audire”——意為“去聽”。

Samuel Beckett among many others.

《戲劇與視覺》一書的出現當然與某種特殊戲劇藝術的誕生

Regarding the visual in the world of the theatre, Johnson cites the

話／獨白，質問了文本的權威，挑戰了“戲劇是一種文學藝術”

include avant-garde Antonin Artaud, Jean Genet, Eugene Ionesco and

important work of performance artist Franko B – who “belongs to a long history of artists who have used the body in carefully staged (‘mediated’)

events while departing from the traditional legacies of theatrical performance,” signifying also in context the intimacy between the visual and the body in the theatre – and speaks of the rarely discussed vision of the actors. The actors in traditional theatre, because of practical reasons

(the blinding stage lighting) and conventions, do not have a vision. “In

有關。這種特 殊的、年 輕的戲劇藝 術 通 過 完全或部分去除 對 這個概念。我們甚至可以說，這種特殊的戲劇藝術擁抱了景觀 社會的現狀，張揚地強調了視覺以及所見之物的重要性。約翰 遜認為，在20世紀中，對於推動這個現實有著重要貢獻的戲劇

藝術家包括先鋒戲劇理論家／實踐者安東尼·阿爾托（Antonin

Artaud）、讓·熱 內（Jean Genet）、尤金·尤內斯庫（Eugene Ionesco）、塞繆爾·貝克特（Samuel Beckett）等等。

traditional theatre, the performer is therefore a peculiarly antisocial figure:

與觀眾的視覺同樣重要的，是舞臺上表演者的視覺。約翰遜提

yet they usually feign participation in a social contract; situations rarely

者來說，藝術家弗蘭克“從戲劇表演的傳統中出發，與一系列重

the situations in which actors perform approximate reciprocal relations,

arise in which a visual exchange can be achieved as a properly relational

encounter.” To those who are interested in and are familiar with traditional theatre, it is nothing novel; but to Johnson the valorization of the actors’

vision and the encouragement of the reciprocity is an important aspect of the overall vitalization of the visual in theatre: almost magically, it grants the blind characters vision, contributes to the breakdown of the “fourth wall” and brings forth an “unique social relation” that is not to be found in traditional theatre nor in reality.

In the last section beautifully titled The Pleasures and Pains of Looking,

for those who might find the visual in contemporary experimental theatre

baffling and intolerable at times, Johnson points out that: “Performance and visual culture can train the eye, and revise the values we ordinarily

ascribe to objects of vision. These acts of looking are necessarily difficult,

及了表演藝術家弗蘭克·B（Franko B）的代表性作品——對於作 要的藝術家一般，在嚴密地構建（調解）出來的事件中使用身體

進行表演”——這些作品不僅在這個語境中強調了視覺與身體的 親密聯系，也強調了表演者的視覺的重要性。出於技術原因（舞

臺上刺目的燈光）以及慣常要求，傳統戲劇藝術中的演員並沒有 真實的視覺。 “在傳統戲劇藝術中，表演者是一個特殊的、反社 會的人物：演員表演的環境近似相互關聯的環境，但他們經常假

裝參與了社會契約；很少有讓表演者與別人真正四目相對的機

會。”對於熟悉傳統戲劇藝術的觀眾來說，這不是什麽了不起的 事情；然而對於約翰遜來說，鼓勵表演者去真實地觀看，鼓勵互 相地註目，是思考戲劇藝術中視覺性的重要一環：如魔法一般，

某種特殊的戲劇形式給予了舞臺上的角色以視覺，為“第四面 墻”的倒塌做出了貢獻，並帶來一種獨特的社會關係，這種社會 關係不存在於傳統戲劇之中，也不存在於現實之中。

even costly in a psychic sense, regardless of whether the effects they

在本書的最後 一 個章 節《觀看的愉悅與 痛苦》中，約翰遜 指

image, there is magic: the flash of inspiration that accompanies or confuses

予視覺物件的價值。這些觀看行為必須是困難的，甚至是耗費

produce are pleasurable or painful.” And: “Where there is pleasure in an a set of work processes. Moreover, where there is magic, there is fetishism.”

For a discussion of the act of looking in depth, Johnson in this chapter brings in the formidable theories of fetishism – that is, theories of objects and social relations – formulated by respectively Karl Marx and Sigmund

Freud. Though apparently rather distant from the topic of the title, and the theories are not interpretive tools as Johnson admit, to Johnson, “...they

suggest how the fetish – as a theory of the magic of the image – conditions the way we look at objects and bodies in the theatre.” The import of the

theories is narrated with two examples: Niel Bartlett’s puppetry and Annie Sprinkle’s performance.

In Bartlett’s case, it is argued that the spectator’s desire oscillate between

the objects (puppets) and the relations they represent (“the lives of two

gay men in apartheid-era South Africa”). The puppet as fetish works on concealing and emphasizing the social relation. It is further argued that unlike in the capitalist society where the fetishism suppresses a social

出： “表演與視覺文化能夠訓練眼睛，並重新評估我們慣常賦

精力的，無論這些觀看行為創造的效果是愉悅的還是痛苦的。” 作者另外提到： “只要一個圖像之中包含愉悅，這圖像中就有魔 法：即，伴隨或擾亂創作過程的靈光一現。並且，只要有魔法，

就有拜物主義。”作者繼而在本章節中深入地討論了當代拜物 主義（Fetishism）——關於外在事物以及社會關係的理論——的

主要理論來源：卡爾·馬克思（Karl Marx）以及西格蒙德·弗洛伊 德（Sigmund Freud）。儘管對於這些理論的深入探討與《戲劇

與視覺》一書主題只有著間接的關係，並且約翰遜承認這些理 論並沒不是解讀戲劇作品的工具，他指出： “這些理論指出了拜

物——作為關於圖像的魔法的理論——決定了我們在劇場中觀看

事物以及身體的方法。”，繼而，他通過兩個重要的例子闡述了 這些理論的重要性：尼爾·巴雷特（Niel Barlett）的偶戲，以及安 妮·斯普林柯（Annie Sprinkle）的表演藝術。

以巴雷特的作品為例，約翰遜指出，觀者的欲望在物件（木偶）

以及這些物件代表的社會關係（“兩個同性戀男人在南非種族

relation, in the theatre the active relationship between the object and

隔離時期的生活”）之間搖擺。作為拜物物件的木偶同時隱

former porn star and sex worker Annie Sprinkle, through performances

拜物主義在資本主義社會中起著壓迫社會關係的作用，在劇

its pleasurable effects can be “politically enabling.” On the other hand, involving close examination of her cervix or the theme of oral sex,

“gestures to the ways in which even a pleasurable visual experience might hide traumatic narratives, and suggests that the theatre is a supple mode of addressing the abuses of the past.”

Regarding the pain in relation to the visual generated in the theatre, Ron

藏了並強調了某個特定的社會關係。約翰遜借此說明，儘管 場中，一個物件與其造成的愉悅感覺之間的關係可以是“解

放式的”。前色情電影明星／性工作者安妮·斯普林柯則通過

展露子宮頸、或以口交為主題進行表演。對於約翰遜來說，這 樣的作品“指向了愉悅視覺經驗可能會隱藏傷痛性敘事的方 法，並指出了戲劇藝術是討論痛苦過去的合適方式。”

Athey’s performance is cited as the work that has achieved the cultural

在討論戲劇藝術中圖像帶來的痛苦時，約翰遜提及了羅恩·

Athey’s performance, in brief, causes in the viewer pain and horror by

就， “擾亂了戲劇式觀看的事件。”艾滋病患者阿塞通過直接

project of “troubling the event of theatrical looking.” The AIDS survivor rather straightforwardly inflicting pain upon himself. The performance is so extreme that Johnson goes as far as asserting “Athey cites and exceeds

the iconography of Christian martyrdom.” In turn, the audience is “asked

to identify with the physical and psychic weight of his experience, as a

body under attack,” “remember more robustly the pains of others, and recalls that the inevitabilities of social interaction include pleasure as well

阿塞（Ron Athey）的作品。他認為阿塞的作品完成了一個成 在自己的身體上造成傷害，為觀者帶來痛苦和恐懼。他的表 演是如此的極端，以至於約翰遜給出了宏大的結論： “阿塞引 用並超越了基督教殉難主義。”觀者則被“要求認同一個受攻 擊的身體經驗的物理及心理重量，”“以更積極的方式銘記 他人的痛苦，並銘記社會互動同時包括著愉悅和痛苦。”

as pain.”

著名跨性別攝影師拉·格蕾絲·沃凱諾（Del LaGrace Volca-

The provocative, honest foreword by Del LaGrace Volcano is very

的讀者可能會認為這前言比《戲劇與視覺》的主體內容更加

interesting. Perhaps, one might say, even more interesting than the main body of the title. But the foreword and the main text by Johnson

really work very well together, one being autobiographical, sensational, and speaks directly of the condition of the society of the spectacle,

though rather dramatic and theatrical in itself; the other academic, informative and reflective. The title manages to offer a clear picture of

the development of the visual in the theatre. John suggests for further reading titles by Maaike Bleeker, Mark Franko, Catherine Soussloff, Shannon Jackson, Amelia Jones among others. The contemporary

practitioners championed in the book, including Franko B, Annie Sprinkle, Ron Athey, Neil Bartlett, are all very interesting and are worth looking into – for any prepared spectator.

no）為本書所作的前言聳動而真誠，非常值得一讀。甚至，有 有趣。然而，事實上，本書的前言與主體內容以美妙的方式互 相補充：前言是自述式的，充滿感情，並直接討論景觀社會的

現實狀況，儘管可能有些過於戲劇化；由約翰遜完成的主體 內容學術性十足，富有知識性。本書清晰地描繪了戲劇藝術

中視覺方面的發展。約翰遜建議感興趣的讀者對麥克·佈雷 克爾（Maaike Bleeker）、馬克·弗蘭科（Mark Franko）、凱瑟

琳·索斯勞弗（Catherine Soussloff）、商農·傑克遜（Shannon Jackson）、阿米莉亞·瓊斯（Amelia Jones）等學者的

著作進行深入閱讀。而書中提及的戲劇藝術實踐者——弗蘭

克·B、安妮·斯普林柯、羅恩·阿塞、尼爾·巴雷特等人——均 非常有趣，值得戲劇愛好者在做好了心理準備之後深入地去 了解。

FUEL 燃料劇團

TEXT BY 撰文 x DU XINXI 杜欣禧

‘Produce fresh work for adventurous people by inspiring artists.’

‘充滿靈感的藝術家為冒險者們所創作的新作品’ Fuel is a London based theatre producing company founded by Louise

“燃料”是由路易斯·布萊克韋爾（Louise Blackwell）和凱

partnership with a lot of very exciting artists across the UK including Will

劇制作公司，一直以來與包括威爾·亞當斯戴爾（Will Adams-

Blackwell and Kate McGrath in 2004, the company producing works in

Adamsdale, Clod Ensemble, not name but a few. To this date, many of their work are with various theatre productions, from actual proper theatre to

street arts, and in all different kinds of place such as outdoor show, workshop and national tours both nationally in the UK and internationally. The artists

working with Fuel usually have a very direct and playful relationship with

their audiences as they challenge their audiences both intellectually and emotionally. Louise Blackwell and Kate McGrath choose the artists very carefully and usually support the artists to develop their own ideas, along with their carefully chosen projects.

Louise and Kate also believe in new talents, and let new talents to generate new ideas and develop experimental work that people would love. By the

特·麥格拉思（Kate McGrath）於2004年在倫敦創辦的一家戲

dale），克拉德·安森博（Clod Ensemble）等在內的眾多非常

優秀而且令人激動的藝術家們合作並幫助他們制作作品。直 至今日， “燃料”的作品覆蓋了各種不同的戲劇類型，從傳統 的戲劇到街頭的藝術作品，以及許多戶外表演，也包括了工 作坊以及在英國乃至世界範圍內的各種巡演。與“燃料”合

作的藝術家們往往是直率而幽默的，他們從劇情以及情感上 打動著觀眾。路易斯和凱特在藝術家和作品的選擇上非常謹

慎，他們鼓勵並支持藝術家去發展和完善自己的想法，同時

他們對有才華的青年藝術家抱有很大期望，路易斯和凱特經

常為年輕的藝術家們提供場地，讓他們來大膽嘗試新的靈感 和創作實驗性的先鋒作品。

end of their 6th year, Fuel and their co-artists had over 250,000 audiences

在公司成立后的六年裡，與公司合作過的藝術家和觀眾人數

a good number of loyal audiences which is constantly growing on a daily

了4000人次。 “燃料”多年來培養了許多忠實的觀眾，而且這

and 4349 people took parts in their related workshops. They have developed

basis from all over the world. The company believes that their work would be perfect for the audiences attracted to live performances who may not be hugely interested in traditional theatre.

Fuel Theatre is having their 10th year birthday this year, and had announced

a brand new season of work to mark this anniversary in the summer. The programme included Requardt and Rosenberg’s Roof which was a part of

Bristol’s Mayfest, and part of London for LIFT Festival. Also included Sound and Fury’s installation-based work Charlie Ward was also part of the new

season, as well as their cross-platform work from Phenomenal People

which was an event that celebrates inspiring women. Another project was Uninvited Guests’ The Last Tempest, which is a part-music part-theatre

sequel to Shakespeare’s play The Tempest. There is also a sound installation

which imagines the world in ten years’ time from the eyes of 10 years old children project named Ten Years from Now.

就超過了25萬人次，其中參加其組織的工作坊的人數也超過 樣的觀眾人數還在全球範圍內不斷增長。 “燃料”相信他們 的作品很容易吸引那些不經常去傳統劇院看戲的觀眾。

今年是“燃料”製作公司成立的十周年,為此他們特別在今年 夏天策劃了一個全新的表演季，當中包括曾在布裏斯托和倫 敦上演過的瑞夸爾德和羅森博格（Requardt ＆ Rosenberg） 的作品《屋頂（Roof）》, 同時還有聒噪藝術組合（Sound and

Fury）創作的的裝置藝術作品《查理·沃德（Charlie Ward）》。

另外還有“燃料”與女性組織“非凡之人（Phenomenal People）”的跨界合作──向偉大女性致敬的作品,以及與“不速

之客”劇團（Uninvited Guests）合作的以半音樂半戲劇的形

式續寫莎士比亞《暴風雨（The Tempest）》的續集《最後的 暴風雨（The Last Tempest）》。這次紀念十周年的表演季還

包含了一件聲音裝置作品《十年後（Ten Years from Now）》， 展現了在孩子眼中10年後的未來場景。

The Last Tempst. Credit: Tom Medwell

SOME OF FUEL’S WORK

部分作品

The Last Tempest

最後的暴風雨

The Last Tempest is a sequel to Shakespeare’s The Tempest, in which

《最後的暴風雨》是莎士比亞的悲喜劇《暴風雨》的續集，故事講

over with Miranda and Ferdinand. In this play, both of Prospero’s former

事，在普洛斯彼羅揚帆離開了小島後他的這兩位仆人都自由了，於

Caliban and Ariel are left alone on the island where Prospero sailed

servants are set free to tell their versions of the story in their own magical words that their master taught them and conjure-up their world.

述了普洛斯彼羅的仆人卡力班和精靈愛麗兒被留在了小島上的故

是他們用前任主人教給他們的語言去講述了自己眼中的故事，並 用魔法召喚來了屬於他們自己的世界。

This is a piece of collaborative and devised theatre work with Uninvited

這是一出與“不速之客”劇團（Uninvited Guests）以及音樂作曲

and filled the magical but yet familiar island with guitar and evocative

莎士比亞筆下魔幻的小島充斥著悠揚的吉他聲與其他奇妙的聲

Guests and collaborated with Neil Johnson, the composer and musician, sounds, it was part-theatre and part-gig, which attracted both theatre-

goers who know Shakespeare’s work and those audiences who were new to his work.

家尼爾·約翰遜（Neil Johnson）一起合作的多元化戲劇作品，讓 響，整個作品既像是一部戲劇又像是一場音樂會，同時吸引了許

多本來就熟知莎士比亞作品的觀眾和對莎士比亞作品不是很熟 悉的觀眾。

Ten Years From Now Ten Years From Now is a work created by Gareth Fry, designed by Lizzie Watts and Pete Malkin, which is a sound installed invitation

to imagine the world in a decade’s time through ten years old

children played in an ice cream van, which is a magical place to

children’s imagination. The ice cream vans can be seen everywhere in the UK, they send a message to all to come and meet friends and have a treat.

十年後 《十年後 》是一部由加雷思·弗萊（Gareth Fr y）創作，由莉茲·沃茨 （Liz zie Wat t s）與皮特·馬爾金（Pete Malkin）合作設計的音效

裝 置作 品 。這 是 一 張 給 所有 觀 眾去 通 過 一 群10 歲 孩 子 的 眼 睛來 觀 看未 來十年后世界的邀 請函，而表演場地則是在 所有孩子心中最為 誘人的地方之一:

冰激凌售賣車裡面。而作為演出場地的冰激淩車

Bigstock Ice Cream Van

遍佈於整個英國，歡 迎著所有觀 眾的參與。

Love Letters Straight From Your Heart Love Letters Straight From Your Heart is a forthcoming work in November by Uninvited

Guests and Fuel which will be played 8 years after its first performance back in 2006. This work

will be a mix of wedding, a wake, and a radio dedication to long lost loves and current lovers, to mums, to dads, and to absent friends.

Everyone is invited to share their all sorts of love stories with Fuel and let their love letter be part of the show, while witness other people’s romantic gesture or sign of friendship.

來自內心深處的情書

《來自內心深處的情書》是一出現在正在上演的作品,

這部由“燃料”製作公司和“不速之客”劇團

一起合作的作品曾在2006年首演。這部作品是獻給一切愛人的情書，無論是現在的愛人，還是失去 多年的愛人，或者是家人以及朋友。

在演出前“燃料”製作組一直在尋找故事，他們向許多人發出了邀請，希望大家成為“情書”的作者， 同時也一起見證其他人的浪漫故事。

Love Letters. Credit: Murdo McLeod

Find Out More: www.fueltheatre.com

RAMBERT DANCE COMPANY

蘭伯特當代舞蹈劇團

Rambert’s new home at South Bank. © Nick Guttridge

TRANSLATED AND EDITED BY 採訪整理 x HARRY LIU 劉競晨

Founded by the Polish ballet dancer Maria Rambert in 1926, Rambert (previously known as Ballet Rambert before evolving to Rambert Dance Company) is one of the UK’s longest running and well-established dance companies. Whilst initially a purely ballet centred institution, they have advanced over the decades to become one that is focused primarily on contemporary dance, though their inclusion of a live orchestra into

every piece they perform is a nod back to the traditions of the past. So valuable is the company’s work and influence within the UK’s dance scene that the Arts Council England donated £7 million pounds dedicated to

the building of Rambert’s new home on London’s Southbank, which opened this past March in a glittering ceremony presided over by the Queen.

Mark Baldwin, Rambert’s artistic director since 2002, is an ex-dancer and choreographer who danced for

Rambert for ten years. After leaving to work with Sadler’s Wells, he returned as the head of the company and is largely responsible for the reinvigoration of Rambert, commissioning new pieces to be performed every season which hinge upon collaboration and the fusion of different art forms.

Rambert are known throughout the dance industry as a company who deliver consistently on style and quality, and their oeuvre consists of a mix of revived pieces and newly devised ones. Clearly the thing that truly

defines Rambert as a company is their commitment to the past and their acknowledgement of the influence that history has on the company’s work. Each programme consists of a broad mix of shows, from little known

20th century pieces, to revivals of well-loved classics, as well as innovative, beautifully devised contemporary

spectacles. This sweeping approach to the world of dance demonstrates their company attitude: an attempt to create a wide spectrum of dance which can appeal to everyone and anyone.

1926年，波蘭芭蕾舞蹈演員瑪麗亞·蘭伯特（Maria Rambert）創建了蘭伯特芭蕾舞團，後來此舞團發展演變成為了今 天的蘭伯特當代舞蹈劇團，蘭伯特是英國歷史最為悠久且極富盛名的舞蹈公司。雖然最初蘭伯特只是一個純粹以芭

蕾舞為中心的機構，但他們很早就開始關注當代舞蹈，經過幾十年的發展，他們現在已經成為了最為前衛的、以當代 舞蹈為主要方向的團體，但他們仍然保留了使用現場樂團為演出伴奏的傳統形式，這也是他們對自己過往傳統的一

種傳承和禮敬。蘭伯特舞蹈劇團對英國舞蹈領域產生了重大的影響和作出了卓越的貢獻，英格蘭藝術委員會為其捐 贈了七百萬英鎊用於其購置位於泰晤士南岸的新總部，今年三月蘭伯特新址正式啟用，英女王伊麗莎白二世出席了此 次極具意義的慶典並為啟用揭彩。

馬克·鮑德溫（Mark Baldwin）從2002年開始出任蘭伯特的藝術總監，他曾經以舞者和編舞的身份在蘭伯特舞團工作 了十年，後來鮑德溫到薩德勒威爾斯劇場工作（Sadler’s Wells）。當他再次回到蘭伯特的時候，他成為了公司的主要

領導者并帶領蘭伯特一步一步發展壯大。在他的帶領下，每季度蘭伯特都有新的舞蹈作品問世，這些作品均融合了各 種不同的藝術形式。

在舞蹈界，蘭伯特以獨特的作品風格和高質量的製作而著稱，他們的作品包括了重新製作的過往劇目和新設計製作

的劇目。顯而易見，正是其對舞蹈發展歷程作出的貢獻和承諾，以及其一直致力於製作具有影響力的作品的意念塑 造了蘭伯特這個品牌，每一季的演出都涵蓋了各個類別的作品：有鮮為人知的上世紀舞蹈作品，也有家喻戶曉的經典

作品，還有充滿創新和設計精美的當代改編劇目。蘭伯特這種對舞蹈世界各個方向兼容並包的創作手段展示了他們

特有的藝術觀點：試圖建立一個最為廣泛的舞蹈譜系，可以讓每一個人，讓任何人都參與和融入到舞蹈的世界當中。

Interview with Mark Baldwin Rambert’s artistic director

專訪蘭伯特舞團藝術總監馬克·鮑德溫

ART.ZIP: Would you please tell us about this photographic project with Marcus,

ART.ZIP: 你們最近和攝影藝術家馬可斯一起合

MB: I was introduced to Marcus by Angela Towler the Rehersal Director at Rambert

想法的呢？

how does it start? What’s the story?

and a former lead dancer in the company. I visited Marcus at his studio in London to witness his work created from multiple layers of images – thrilling to look at and full of

delicious detail. He and Angela had dreamt up the idea to make images that depict a whole dance work in a single image. The prototype rehearsal montage appeared in the

eyewitness pages of The Guardian newspaper and we have continued to collaborate on both my new work The Strange Charm of Mother Nature and the extraordinary Four

作創作了一副宏大的攝影作品，什麼促成了這個 MB: 我是通過舞團的排練總監安琪拉·特拉認識

了馬可 斯。當時 我 們 一起 拜 訪了馬可 斯 的工作 室，觀看了他獨特的多影像攝影作品——每一張 作品的細節都那麼吸引，讓人琢磨。安琪拉和馬 可斯萌生了一個有趣的點子，把一個完整的舞蹈 作品呈現在一張獨立的攝影作品裡，這至少需要

Four Elements.© Benedict Johnson

Elements by Lucinda Childs.

拍攝3000張照片。這個合作項目的第一版作品被刊登在

ART.ZIP: Do you collaborate with other artists too? Any interesting projects

攝主體是我的新作《大自然的奇特魅力（The

to name?

MB: We do collaborate with visual artists including Kader Attia (The Comedy of

Change), Mat Collishaw (Labyrinth of Love), Katie Paterson (Strange Charm of

《衛報》上，然後我們又繼續合作發展了另外兩幅，拍 Strange

Charm of Mother Nature）》，還有露辛達·查爾德斯的《 第四元素（The Four Element）》。

Mother Nature), Gerhard Richter (Rambert Cunningham Event), Mark Lancaster

ART.ZIP: 你們也曾經與其他藝術家合作過嗎？有哪些

building and have permanent art installed by Goshka Macuga, Abigail Reynolds,

MB: 我們和很多視覺藝術家有過合作，比如和卡德爾·阿

(Sounddance) and Jennifer Bartlett (Four Elements). We have moved into a new

Gary Breeze and Catherine Yass. The company also engages theatre designers such as Jon Morrell (Subterrain), Jon Bauser (The Castaways) and Jean-Marc

Puissant (Terra Incognita) and a feature film designer Michael Howells (What

Wild Ecstasy).

ART.ZIP: How would you define the Rambert company ethos?

MB: I am the artistic director of Rambert and studied fine art at university so artists

are very important to me. Marie Rambert who founded this company in 1926 after having worked with Ballet Russe and Sergei Diaghilev where she was taught that to make original works for the stage involves introducing a choreographer

to a composer and an artist. This is the template to create something new for the stage as those three artists collaborate to make something more power than

有意思的項目呢？

提亞（Kader Attia）合作的《關於“變”的喜劇（The Com-

edy of Change）》；與馬特·科里肖（Mat Collishaw）合作

的《愛情的迷宮（Labyrinth of Love）》，與凱蒂·帕特森 （Katie Paterson）合作的《大自然的奇特魅力（Strange

Charm of Mother Nature）》，還有格哈德·里希特（Ger-

hard Richter）、馬克·蘭卡斯特（Mark Lancaster）、詹妮

弗·巴特利特（Jennifer Bartlett）等等。我們現在搬到了

新的場地，這裡我們陳列了很多藝術作品，包括戈什卡· 馬庫加（Goshka Macuga）、阿比蓋爾·雷諾茲（Abigail Reynolds）、加里·布瑞茲（Gary 斯（Catherine

Breeze）和凱瑟琳·亞

Yass）等人的作品。我們公司也和很多

劇場設計師合作，比如喬恩·莫雷爾（Jon

Morrell）、喬

Left: Rooster. © Hugo Glendinning Right :Subterrain. © Chris Nash. Dancers: Kirill Burlov & Malgorzata Dzierzon

they could do individually. This triangle is the basic ethos we still use to generate new works

恩·巴澤爾（Jon Bauser）和讓﹣馬克·布呂松

師邁克爾·豪厄爾斯（Michael Howells）。

for today.

We have spent the last ten years training new choreographers which is an important part of

（Jean-Marc Puissant），還有專題影片設計

the company’s work. Usually these emerging choreographers come from a pool of dancers

ART.ZIP: 你會怎麼描述蘭伯特基本的理念

Wells dedicated to launching three of these choreographers.

MB: 我現在是蘭伯特的藝術總監，我大學是

working in the present company. In 2016 we hope to have a whole programme at Sadler’s

ART.ZIP: How do you choose what you want to perform? Are there certain elements a piece must have?

MB: We perform three works in one evening which is traditionally called a triple bill. The triple bills act to give the performance a range of ideas, musically, visually and physically.

I’ve often likened this experience to a superb meal – first course, main course and pudding (although not necessarily sometimes in this order). I am looking for works which engage

audience members who have never seen dance before and also work that is for those

audience members who are very familiar with our art form. Depending on which theatres we tour to our programmes change. We perform twice a year in London and need four new

works a year. We have also taken on extra special projects which are larger than the pieces

呢？

學純藝術的，所以藝術家對我來說格外的重 要。瑪麗·蘭伯特1926年成立了這個公司，在

那之前她曾經為俄羅斯芭蕾舞團和謝爾蓋·佳

吉列夫芭蕾舞團工作過，也正是在那裡，她認 識到要將一部原創作品帶上舞臺需要編舞、

編曲和藝術家共同合作，這三者的有機合作 和努力是舞臺表演創作的基本配備，他們的 合作和碰撞能創造出遠遠超越其個體能力的

作品。這種“鐵三角”的形態依然是我們當下 創作新作品的基本原則。

I have mentioned for instance a site specific work such as the Rambert Cunningham Event

在過去的10年裡，我們一直致力於培養和訓

by Phil Selway from Radiohead. We are at present in negotiations with the artist Pablo

要的一項工作。通常來說，這些年輕的編舞人

performed in our new building with sets and costumes by Gerhard Richter, with music

練年輕的編舞人才，這也是我們公司非常重

才都是來自於現有舞蹈團的舞者。在2016年，我們希望能在薩德勒 威爾斯劇場上演三部全新編舞的作品。

ART.ZIP: 你們是如何選擇演出劇目的呢？有沒有什麼要素是必須 MB: 我們在一個晚上會演出三個劇目，傳統上來說，我們把這種演 出叫做“三聯單”，這種演出形式可以給觀眾更多的體驗，從不同的

演出創意、音樂風格、視覺體驗和實際感受上都能有不同的體驗。 我經常把這種體驗比喻為吃一次“大餐”──頭盤、主菜、甜點（當 然，有時候並不一定是按照這樣的順序。）我們要選擇的劇目需要

從兩方面來滿足我們的觀眾，一方面要能夠激起那些第一次觀看舞 蹈劇目的觀眾的興趣，同時在另一方面，又可以滿足那些熟悉舞蹈 藝術的觀眾。根據我們巡演場地的不同，我們也會調整我們的演出

劇目。每年我們在倫敦有2個演出季，而每年我們都需要準備4部新 作品。有時候，我們也有一些特別的活動，比如我提到的，我們的

蘭伯特·坎寧安活動（Rambert Cunningham Event），這活動比我

們通常的演出規模都要大，演出的佈景和服裝是由藝術家格哈德· 里希特（Gerhard Richter）設計的，音樂則是“電臺司令（Radio-

head）”的菲爾·塞爾韋（Phil Selway）負責，目前，我們正在和藝 術家巴勃羅·布朗斯坦（Pablo Bronstein）在討論如何將海頓的《創

世紀》帶到舞臺之上。我們的演出安排需要挑戰所有舞者，讓他們

保持在最佳的表演狀態，同時我們的演出還要考慮到三類觀眾，倫 敦的觀眾，倫敦外的觀眾（英國以內，倫敦以外的觀眾，他們真的是 另外一群完全不同的觀眾），海外觀眾。我們每年兩次的演出是在 薩德勒威爾斯劇場，這裡是展示國際範圍舞蹈的主要陣地。我們新

一季的演出將會給觀眾展現我們舞者的卓越技巧，某種程度上這

Bronstein about staging Haydn’s The Creation. The programmes

should challenge the dancers, keeping them on top form. The

programme should also cater to the three different audiences we play to; inside London, outside London (they really are different worlds) and abroad. The two seasons we show in London a year are

at Sadler’s Wells, a major international dance receiving house. The new programmes should help to show off how good our dancers are and

differentiate our repertoire in a crowded market. The founder of the

company, Marie Rambert, described the company as the Tate Modern of dance, which puts up different pictures to show its audiences rather like a changing exhibition. I can choose historic works such as

Merce Cunningham, Richard Alston, Lucinda Childs, Frederic Ashton and Anthony Tudor. Alongside established choreographers with the

introduction of separate performances for aspirant choreographers

也是在炫耀我們的演員是多麼的優秀，這也正是讓我們在這個競爭

激烈的領域中獨樹一幟的原因。蘭伯特的創始人瑪麗·蘭伯特把自 己的公司形容為“舞蹈界的泰特現代美術館”，通過我們的作品來 梳理舞蹈發展史。我會選擇很多歷史上重要的作品，如梅爾切·坎

寧安（Merce Cunningham）、理查德·阿爾斯通（Richard Alston）、

露辛達·查爾德斯（Lucinda Childs）、弗雷德里克·阿什頓（Freder-

ic Ashton）和安東尼·都鐸（Anthony Tudor）。在成名的編舞作品 展示的同時，我們也會安排獨立的介紹新銳編舞藝術家的作品，並 在我們的排練室裡展示他們的作品。我們也擁有當代舞蹈的檔案

資料，見證了當代舞蹈在這個國家發展的整個歷程。做一個類比，

這就好像藝術史在當代藝術發展和展覽當中所扮演的重要角色是 一樣的。對我來說，所選擇的作品必須在各個方面都很完美，舞臺

表現力、音樂（這點對我們非常重要，我們有自己的現場樂隊）、無 與倫比的舞蹈──必須擁有用不同方式打動觀眾的能力。

and showings of work in progress in our large studio. we have an

ART.ZIP: 蘭伯特公司長盛不衰的秘訣是什麼？蘭伯特的發展中是

history. My feeling is that it is important to refer this resource rather like

MB: 前幾年的全球經濟危機確實影響了我們的資金籌措，觀眾量也

archive which shows that contemporary dance in this country has a art history is reflected in contemporary art exhibitions and work. For

my part the work must be good on all levels; art on stage, music (very

important for Rambert, we have our own orchestra) and the dancing fabulous with an ability to engage audiences in different ways.

否也有過艱苦卓絕的階段？

受到了影響。對於公司來說，開發好的合作劇目，挖掘那些有能力 吸引觀眾的藝術家，恰到好處的音樂運用，讓節目充滿智慧、個性 張揚，充滿驚奇都是我們公司成功的關鍵。

Sounddance. © Chris Nash Dancers: Dane Hust & Miguel Altunaga

要考量的？

ART.ZIP: How has Rambert achieved such longevity as a company? What’s the most

ART.ZIP: 在一個節目從觀念成型到最後展

MB: The global financial crisis has affected our funding and audiences. Searching for the

MB: 我 們 會 給 編 舞 6周的 時間 來 完 成一個

difficult part or stage you’ve been through?

combinations of programmes, looking for artists who have the ability to reach out to an audience, using music which is intelligent, flamboyant and thrilling is also important.

ART.ZIP: How does the creative process develop from conception to opening night?

MB: We give visiting choreographers usually about six weeks to create a piece, which can be

from 20 minutes to almost an hour. A choreographers in practice will talk to their composer and choreographer long before they begin rehearsals in the studio. Our conductor, Paul

Hoskins, will need to liaise with the composer to engage musicians for the tour and have the score copied out while the sets, backcloth, costumes are made and fitted during this

The Castaways © Jane Hobson

period. The last thing to be added is the lighting designer. The choreographers have the

現在大家面前，這是一個怎麼樣的過程呢？

作品，長度在20分鐘到一個小時。在實際操 作中，編舞會和編曲一起合作，但編舞的構 思和準備工作 早 在排 練 之前 很 久便已經開

始了。我們的演出指揮保羅·霍斯金斯（Paul

Hoskins）需要安排編曲和演奏人員進行溝 通，為巡演作準備，也要安排其他各類的後勤 工作。最後，燈光設計師也會加入進來，完成 現場燈光的設計。編舞會在我們22位舞者當

中挑選演出的人員，我們有11位男舞者和11 位女舞者。

choice of choosing from a pool of 22 dancers, 11 female and 11 male dancers.

ART.ZIP: 蘭伯特舞團從成立至今已經走過了快一個世

ART.ZIP: Rambert is a dance company that’s almost 100 years old and it’s

MB: 每個不同的歷史時期，舞團都着眼於不同的藝術風

clearly evolved throughout the decades. Where do you imagine Rambert will take their audiences next？

MB: Every decade sees the company engage with different ideas in movement.

The present dancers are quite punchy, strong and fit and are kept at a technical

pitch. I envisage the company’s technical expertise will take the audiences in new directions as we engage artists and composers to situate them in the times we live and to develop a vocabulary of movement material that embraces abstract and emotional issues, ideas to do with space and time and comment on dances own history. For instance a contemporary responses to a historic

work. In contemporary art terms where contemporary music and contemporary dance meet the every changes ideas and concepts in contemporary art. The

development of sports medicine and dance technique to allow the dancers who have a much larger physical range and stamina. And the continual development of emerging choreographers.

ART.ZIP: What can dance express to an audience that other mediums cannot?

MB: Dance can express the high thrills of watching humans move in musical

time like athletes of the theatre. Dance can engage an audience’s emotional response through pure movement. Dance can show the breadth and variety of

qualities found in music. Dance has capabilities of flashing up over time a whole variety of feelings and worlds. Dance can speak directly to our primitive selves,

physicalizing ecstasy, abandonment and despair, need I add pure happiness etc.

紀的歷程，您覺得下一步舞團的方向將是會怎樣？

潮和運動。當下的舞者都極具衝擊力，強壯而健美，並

且都有很棒的技術功底。我覺得下一步舞團將會引領觀

眾到一 個新的領域，我們將藝術家和編曲設定在探討 我們所處時代 和生活，抽象的概念和情感問題將是非

常重要的關鍵詞，我們會將創意與時間空間相結合，當 然也會遵循舞蹈藝術發展的本身邏輯。舉例來說，我們 會嘗試用當代 精神來詮釋歷史經典作品。從當代藝 術

角度來看，當代舞蹈和當代音樂的結合，將會給當代藝 術的理念帶來新的可能性。當代的運動醫學以及舞蹈

技術的發展，也讓舞者擁有了更寬廣的表現力，當然， 與編舞的持續和密切協作也是方向之一。

ART.ZIP: 與其他藝術形式比較，在藝術表達上來說，舞 蹈有哪些獨特的優勢？

MB: 舞蹈可以讓觀眾感受到直觀的緊張與刺激，當人們 觀看在音樂中起舞的肢體，就和觀看競技體育的感受非

常相似；舞蹈可以通過純粹的肢體動作來激發觀眾的

情感共鳴；舞蹈結合音樂，可以展現樂曲的廣度和多樣

性的特質；舞蹈是一種轉瞬即逝的形式，但通過它，人

們可以體味時間的流逝和世間各種不同的感受；舞蹈可 以讓我們直面本我，不論是狂喜、失落、絕望，當然還 有那純粹的快樂與幸福。

Delirium. Credit: Hugo Glendinning. Performers: Dominic Burdess, Julie Bower, Clive Mendus, Carolina Valdés, Nick Lee, Joseph Alford, Lucien MacDougall

THEATRE O

TEXT BY 撰文 x AVA DAVIES

TRANSLATED BY 翻譯 x LI RUIXUE 李瑞雪

O劇院

Theatre O is a difficult company to pin down: they have produced only a handful

of shows in their 14-year tenure, with their artistic directors Joseph Alford and Carolina Valdes also choosing to collaborate with auteurs such as Katie Mitchell (on a children’s Christmas production of The Cat in the Hat at the National Theatre in 2009) and the Young Vic Theatre (on Juliet Stevenson’s ‘Happy Days’

in 2014), rather than solely create standalone works. They don’t have any specific

theatrical influences: Alford comments that “first and foremost ‘life’ is our biggest artistic influence - what it is to live and struggle in the world and how to express

those struggles and lives in a visually poetic and visceral way. We want to tell stories that come from looking out at the world, not gazing inward to the small world of theatre.” Their name arises from the exclamation, ‘oh’, which can express

feelings of joy, sadness, pain and confusion, all of which are elements of life which the company choose to embrace whole-heartedly.

Their rehearsal rooms are collaborative and friendly, relaxed atmospheres where burgeoning ideas and threads can be nurtured and turned into living, breathing

pieces. The process of creation is almost as important as the product itself: they admire artists such as Ridiculusmus, Katie Mitchell and Romeo Castellucci, whose

focus and attitude towards their work infuses the company’s drive. A broad range

of techniques is used to showcase their ideas – physical theatre tends to be a main factor, as is the tactical use of music. Alford defines visual theatre as “theatre

that finds visually poetic metaphors to express different human experiences” and a medium that also creates “a physical and imaginative empathy between the audience and what they are seeing”, a definition which sums up Theatre

O’s oeuvre. The UK theatre scene’s preoccupation with text-based work is O劇院的風格很難被簡單概括：在劇院藝術總監約瑟夫·奧爾福德（Joseph Alford）和

卡羅來納·巴爾德斯（Carolina Valdes）的帶領下，從其成立至今的14年中，他們不僅獨 立創作了許多的劇目，而且與很多劇院和個人合作製作了眾多的作品，比如與導演凱

蒂·米歇爾（Katie Michell）合作完成了2009年在英國國家劇院上演的兒童劇《帽子裡 的貓（The Cat in the Hat）》；還有與倫敦青年維克劇院（Young Vic）合作完成的2014 年上演的朱麗葉·史蒂文森（Juliet Stevenson）的《幸福時光（Happy Days）》。O劇院

似乎並沒有一種特定的藝術風格，奧爾福德認為： “藝術創作的靈感來自於我們的生

活，怎樣去用真摯且詩意的方式來表達我們在生活中面對的重重困難，以及我們究竟 是為了什麼而努力生活，這些便是我們關注的核心，這也是藝術創作之中最為重要的部 份。我們要放眼全世界去講述真實的故事，而不是把自己關在一個狹小的劇場空間之

內。”O劇院的名字來自于字母“O”的發音， “喔”的發音象徵著我們感到喜悅、悲傷、 痛苦亦或是困擾時會發出的聲音，這樣的隱喻也從側面印證了劇院“一切來源於生活” 的藝術宗旨。

O劇院的排練室裡充滿了友好和放鬆的氣氛，這裡推崇協同作業和相互合作。很多作 品的最初想法和構思都是在這裡誕生的，并在這裡不斷的孕育發展成為了我們所見到

的那些令人歎為觀止的藝術佳作，對他們而言作品的創作過程與最後的成品同樣重 要。他們非常重視與藝術家的合作，例如與瑞迪庫魯斯慕斯（Ridiculusumus）、凱蒂·

米歇爾、羅密歐·凱斯特盧奇（Romeo Castellucci）這樣的藝術家合作，將他們強烈的

個人風格融入到作品中，可以合力促進劇院的快速發展，同時，劇院也非常注重對於戲

劇中各種表達手段和技術的運用，例如他們現在主要採用身體劇場的表現手法，而且 對音樂的運用也是非常的在意。奧爾福德認為視覺劇院是“用詩意的隱喻來表達人們 體驗”的一個場所，同時也是一種“可以與觀眾產生互動并充滿想像力的一個介質”，

The Secret Agent. Credit: Joseph Alford. Performer: Leander Deeny

insufficient for the company, who seek to “find the theatrical forms

這兩種對視覺劇院的闡釋其實也正是對他們作品的最恰當的描述。當

on that profound and unexpected level” and push the audience

作的重點，但這對O劇院來說是遠遠不夠的， “將文本敘事的不完整性

that cut through the inadequacy of words and engage with us

to experience and be challenged by, rather than just passively watch, a performance. It is Theatre O’s belief that creating arresting images pushes the audience to draw upon the “unconscious

physical memory of [their] life experiences” and thus “receive and

下的英國戲劇界，很多劇院還都將“以文本為核心”的戲劇作品作為工

作為切入點，以此來探尋一種令人驚嘆的戲劇表達方式”是O劇院的創 作特色，他們通過調動觀眾的情緒來讓他們融入到演出當中，而不是讓 他們被動地接納舞臺上所發生的一切。

interpret instinctively”. And unlike many visual theatre companies,

O劇院相信，通過創造禁錮的圖像可以喚醒觀眾的“潛意識的關於過往

images, believing that in excess these can act as replacements for

與其他的視覺劇院不同，O劇院並不依賴投影和高科技設備，因為他們

Theatre O does not have a reliance on technology and projected

the audience’s imagination and lull them into a sense of unfulfilling security and comfort.

Theatre O certainly acknowledge the complexity of the relationship

between audience and performer, recognising that visual theatre and the audience are symbiotic. Alford comments that as the

經驗的身體記憶”也可以通過這種記憶來“發現和釋放人類的本能”。 覺得過多的設備應用和線索會侵佔觀眾的想像空間，而且會把觀眾帶入 一個過於安全和舒適的語境，從而減弱了演出本應帶給觀眾的那種充 滿刺激和不安的情緒。 （編者案：想像一下大家去遊樂場坐過山車，尋求

的本來就是腎上腺素飆升的快感，如果換做是一個慢條斯理的沙發座 椅在平路上以3邁速度“飛馳”的效果，估計大家就不會買賬了。）

audience, “We are recognising situations and emotions…through

O劇院非常了解演員與觀眾之間的複雜關係，并深刻意識到劇場和觀眾

the essence of what that experience is (as we see it) - therefore it

識到人們是通過對整個環境的認知體驗來形成我們對外在的印象，不

that experience ourselves. What [Theatre O] try to do is dig into

is not just a replication of the experience, but an interpretation.”

The company does not want their audience to be complacent: they have to infer information from the images shown to them

之間的關係是相輔相成的。奧爾福德表示： “通過多年的實踐，我們認

管是客觀的還是主觀的。我們想要做的，就是要挖掘到底是什麼構建了 和形成了這種認知體驗，它來自于哪裡？只有了解了這種體驗，我們才

能不僅僅是通過模仿來表現一種情緒，而是可以發自內心的來展現情緒

Astronaut. Credit: Andrea López. Performers: Eva Vilamitjana, Carolina Valdés, Toni Arteaga

by the performers, and draw on their own past experiences to give the production meaning.

Their feted 2013 adaptation of Joseph Conrad’s turn of the century novel

的本來面目。”劇團也一直在挑戰觀眾的認知水平，觀眾們通 過演員所獲得的影像，必須通過自己的消化和腦補才能形成 完整的意義。

The Secret Agent began life at the Edinburgh Fringe before transferring

2013年，他們改編自約瑟夫·康拉德（Joseph Conrad）小說的

governmental bureaucracy, responsibility and corruption and the

前，曾在倫敦青年維克劇院上演。這部巡演作品將小說中涉及

to the Young Vic Theatre. The novel addresses prescient themes of

touring production draws out the essence of this in an admirably cogent running time. The account of the play’s conception is classic of Theatre

O – starting out with a minimal script and their devisor-performers in a rehearsal room, the production took shape through improvisation

alongside the actual script by the professionals, until a coherent form was created.

Theatre O unequivocally support the idea that life informs theatre and theatre informs the way in which we see the world. They are an optimistic

company, forward-looking and exciting, who place faith in and never patronise their audiences. They understand that theatre can operate on a gut, profound level and they seek to create that feeling every time an audience sits down to watch one of their shows.

作品《特務（The Secret Agent）》在愛丁堡邊緣藝術節公演

到的政府官僚作風、責任感以及腐敗等問題用令人欽佩的說 服力在有限的表演時間裡表達的淋漓盡致。這部劇的創作模

式也一樣沿襲了O劇團的創作傳統：先是在排練室中用最簡單 的劇本進行演練，並在演員逐漸添加即興表演後將劇本內容 逐漸豐滿。

O劇院一直相信“生活影響了戲劇，而戲劇又影響了我們看待

世界的方法”。他們是一個樂觀向上的戲劇公司，他們總是看

到事物的積極一面，高瞻遠矚，充滿激情，他們將信念帶入自 己的作品，而且絕不打算寵壞他們的觀眾。O劇團清楚地知

道，他們要做的是大膽前衛的藝術創作，他們追求的是讓每一

個觀眾在每一次觀看他們演出的時候都能夠看到一部獨一無 二的演出，而且這種感受絕對不會與其他人有所雷同。

CENTURY OF CHINESE CINEMA

中國百年電影 EDITED BY 编辑 x STRUAN ROBINSON

TRANSLATED BY 翻譯 x HARRY LIU 劉競晨

Noah Cowan, previously co-director of the Toronto International Film Festival (TIFF)

2014年6月到10月，英國電影協會BFI（ British Film In-

He writes: “We have aimed to achieve a balance between the canonical and the

整個活動期間包括了各種論壇、講座以及電影放映活

put together the selection of films to be included in the program to reflect this. unjustly neglected, the historically vital and the thematically intriguing, and we have tried to cover as wide a spectrum of the key genres as possible”.

The selection spans the classic 1920’s martial-arts films (wuxia pian, or ‘chivalrous

combat films’) to the 1980’s Hong Kong New Wave movement which reinvented them; the Golden Age of Shanghai Cinema to the post war films of the mid century; from household names of the Pre-Cultural Revolution to the Mainland cinema

of the Sixth Generation. The centenary travels the breadth of China’s cinematic history and is planned to generate discussion just as much as it is to look back and

remember, as Cowan outlines: “Just as we seek to trace a dialogue between cinema traditions, our series is designed to encourage discussion, not close it down”.

The first Chinese film was a recording of the Peking opera, The Battle of Dingjunshan, in November 1905, Beijing. One fresh new art form (film) recording

another’s existence (opera). China’s cinematic beginnings are in the merging of a relatively recent medium with one already long established. So, perhaps it’s apt,

therefore, that one of the most critically-acclaimed Chinese motion pictures to find popularity in the West is Chen Kaige’s Farewell My Concubine (1993) – a film which

intersperses the telling of Peking opera with the rest of the film’s narrative. When ART.ZIP interviewed Noah Cowan, ahead of the launch of the BFI’s season, he spoke

of how this merging of art forms is what separates Chinese cinema from its Western counterparts, explaining: “one of the reasons Chinese cinema is so exciting is that

there’s porousness between media and art forms that becomes much fussier when

stitute）舉辦了以中國百年電影發展為主題的放映季， 動，來回顧和探討這一百年間中國電影的發展歷程。

對於西方觀眾來說，中國這一百年間的電影發展是在

國際電影藝術發展史上失落的一環，由於這一百年間 戰爭和不停息的社會變革，中國電影的聲音被淹沒在

政治的喧囂與社會的動盪不安之中，是次英國電影協 會也正是希望借此次《中國百年電影》放映季來為西 方觀眾梳理和展示中國與衆不同的電影發展歷程。因 為在這一百年間，中國的社會經歷了翻天覆地的變革，

很多電影遺失了，也有很多被禁，而正是在這樣艱苦卓

絕的環境中，中國電影產業仍然堅強地生存并不斷發 展，也正因為如此，關注和梳理中國的電影發展更顯 得尤為重要。前多倫多國際電影節聯合總監諾亞·考恩

（Noah Cowan）也是基於這樣的初衷精選了此次參演 的電影，他表示： “我們希望這次的演出季能夠在複雜

的情況中尋求一個平衡，既能展現不同類別的電影形 式，又能兼顧到不偏頗的有所選擇；既能夠從歷史宏

觀上把握關鍵的作品，又要讓整個活動的主題生動有 趣，我們希望能夠盡力將儘可能多的重要電影作品展 示給大家。”

這次演出季播出的作品囊括了從上個世紀20年代經典 武俠電影到80年代徹底改變了香港電影的“新浪潮”

Chen Kaige: Farewell My Concubine (1993)

you’re dealing with European cinema”.

運動；從上海電影的黃金年代到20世紀中葉的戰後電影；從文革前

The program looks at the period of Shanghai’s golden age of Cinema,

中國電影發展的歷程，那些過往的片段和逝去的記憶正如預想當

one where this new exciting art form knew no bounds, and could

present a glittering idealistic vision of what life ought to be like for China’s people. Shanghai presented an anything goes attitude and

was “able to shatter age-old taboos and champion utopian ideals”. The

那些家喻戶曉的名字到今天的第六代電影人。當我們回顧這一百年 中那樣引發了關於中國、關於電影的各種各樣的探討，正如考恩所

說“我們希望追尋電影發展中的軌跡，希望通過我們的活動來激發 和鼓勵對電影的討論”。

early masterpieces The Highway (1934) and Street Angel (1937) were

1905年，中國誕生了第一部電影作品《定軍山》，雖然它其實就是

along progressive lines by experimenting with innovative visual

式紀錄了傳統京劇的表演。中國電影的發端就是建立在新藝術媒介

able to “question how the art of cinema itself might be reconceived techniques and unusual narrative structures”.

As art imitates life, it is no surprise that given the onset of the 1937 SinoJapanese and the Second World War, several key films of this period should take the war as their subject, most notably among them, Fei Mu’s 1948 masterpiece Spring in a Small Town. A film which would

break away from its predecessors’ appeasement of the Communist Party’s demand for the inclusion of leftist subject matter and instead

focus more on the inter-personal conflicts of its narrative’s characters.

A new print made by the China Film Archive in the 1980’s, would see

resurgence in its popularity and lead to it being named as the greatest Chinese film ever made by the Hong Kong Film Awards.

When marking China’s cinematic centenary, the absence of film is just as significant as its presence. Cowan talks of how the Cultural Revolution launched in 1966 “paralysed cultural and intellectual life” in China and

翻拍了同名的一部京劇的演出，但這是第一次運用了新的“膠片”形

與一個已經擁有悠久歷史的藝術形式相結合基礎之上的，這種結合

某種意義上來說是非常有效的，這也是為什麼陳凱歌的《霸王別姬 （1993）》受到了很多西方觀眾的喜愛──用電影的形式講述了一 個圍繞京劇展開的故事。在此次英國電影協會中國百年電影展播季

之前，在與考恩先生的採訪中，他也談到不同藝術形式之間的融合 方式也是東西方電影發展的一個很顯著的差異，他說： “中國的電 影產業令人興奮的一個原因就是在藝術表達的媒介和藝術形式還

都並不完善，具有大量的探索空間和可能性，但同比歐洲來說，在完 善的體系之下就很難進行大量的有突破的嘗試了。”

此次選取的作品中的一部份着眼於中國上海電影的黃金年代，那

時候電影這種藝術形式是全新的、天馬行空的，通過當時的電影 作品為中國人呈現了和描繪了熠熠生輝的、充滿理想的、美好的生

活願景。當時的上海是一片充滿朝氣的土地，在這裡“一切皆有可 能”，用考恩的話來說就是“要打破陳規舊俗，要實現烏托邦的理

想。”1937年的經典電影作品《馬路天使》就是一個例子，這部早期

Jia Zhangke: Touch of Sin (2014).

would lead to a multitude of films that could never and would never be made. Film and its content became censored with motion pictures such as Breaking with Old Ideas (1975) requiring storyline approval

的電影作品就提出了如何運用創新性的視覺技術和不尋常的敘事結 構來重新構架和重塑電影藝術本身的問題。

from government officials and characters being rewritten if thought

藝術來自於生活，電影也不例外，在1937年中日之間爆發戰爭，到後

the idea of film as a vehicle for propaganda. Feature film production

重要作品都與戰爭主題息息相關，其中1948年費穆的《小城之春》

inappropriate. The idea of film as entertainment was superseded by ground to a halt with virtually no films made between 1967 – 1972, that

was until “the mainland emerged from the shadow of this cataclysmic

event” with so called ‘scar films’ of the pre-Cultural generation film makers: the Fourth Generation.

來的第二次世界大戰，都映射到電影作品當中，這段時期中的很多

便是值得注意的一部。這部電影與以往的左派電影不同，它着重於 探討和展現角色人物之前的矛盾衝突。1980年，中國電影檔案館為 這部電影製作了新的拷貝，此片的重新發現立刻獲得了觀眾的追 捧，並被香港電影獎評為最傑出的中國電影。

Under the title ‘New Waves’, the BFI looked at the Fourth Generation’s

當在籌劃此次中國電影展播季的時候，我們發現在這一百年間，那

preceding years. The ‘scar films’ (simple, affecting dramas which

的少。考恩也在採訪中談到了1966年開始的“文革”是如何打亂了

attempts to make sense of the ordeal their country had faced in the focus on individual tragedies) were analysed alongside a Q+A by one of their most well recognized pioneers Xie Fei. Screenings of his films accompanied the discussion such as Black Snow (1990),

the story of a petty criminal (Jiang Wen) who returns to Beijing at

the onset of the Mainland’s entry into the global capitalist market

and falls for a cabaret singer. It paved the way for Sixth Generation luminaries Lou Ye and Jia Zhangke in its portrayal of new China

at its most contradictory. There were screenings of one of Wu Tianming’s most well regarded films, The Old Well (China, 1986), a

些沒能呈現在大眾視野內的電影作品其數量並不比公演的電影來 中國的文化和精神生活，而且這個特殊的歷史時期導致了中國電影 發展特有的困境，電影和故事內容將受到審查，比如1975年的《決

裂》，就被要求按照官方的要求進行敘事，不合適的人物形象也被要 求重新塑造，電影不再是單純的娛樂項目，而是變成了官方政治宣 傳的工具。1967至1972年，專題片電影的製作幾乎停止了，直到後

來中國逐漸走出了“十年浩劫”的陰影，才出現了“傷痕電影”，這些 誕生於文革前的電影人被稱作中國第四代電影人。

在“新浪潮”這個部份，英國電影協會展現了中國大陸第四代電影人是

piece of work that would help reshape Chinese cinema.

如何努力來呈現特殊歷史時期中中國經歷的嚴酷環境，對於“傷

The season looked at key Hong Kong New Wave director Ann Hui’s film

影放映同時也有相應的討論會，例如1990年的《本命年》，故事

Boat People (1982), the last of her “Vietnam trilogy” recounting the plight

of Vietnamese refugees after the communist takeover following the Fall of Saigon, and Edward Yang and Hou Hsiao-hsien’s work The Terroriser

(1986) and A City of Sadness (1989). Together the pair put Taiwanese

cinema on the international map with work that explored the island’s

rapidly changing present as well as its turbulent, often bloody past with

Yang’s The Terroriser a complex multi-narrative urban thriller that reflected

痕電影”的闡釋也是借用了知名導演謝飛的一段問答。謝飛的電 講述了姜文飾演的犯人刑滿釋放，他回到了從小生活的胡同，經

歷了人間冷暖，後來愛上了一個歌廳歌手的故事，謝飛的作品為 後來的第六代導演的傑出代表娄烨和贾樟柯開闢了道路──描 繪和刻畫中國最充滿矛盾的那一面。放映中還包括了中國導演

吳天明的最為重要的一部作品，完成于1986年的《老井》，這部 作品也是對重塑中國電影形象極具建設作用的一部。

the pressures and uncertainties of city life.

這次的演出季也特別關注了幾位重要的“新浪潮”香港導演

The ‘New Directions’ section of the BFI’s program looks at Chinese

三部曲”的最後一部，講述了越南難民在西貢陷落後所處的困

cinema’s most recent work: exciting and daring films made from 1993

to 2006 by acclaimed filmmakers such as Sixth Generation auteurs Jia Zhangke and Wang Xiaoshuai, Hong Kong Second Wave directors Wong

Kar-wai and Stanley Kwan, and Taiwan’s Second New Wave filmmaker Tsai Ming-liang. Films by the Mainland’s directors Jia Zhangke and Wang

Xiaoshuai reflect on marginalised individuals in contemporary urban

和他們的作品，許鞍華導演1982年的《奔投怒海》是其“越南

境。來自台灣的楊德昌1986年的《恐怖分子》和侯孝賢1989年

的《悲情城市》，他們兩人的作品將台灣電影展現在國際屏幕 之上，他們聚焦于台灣社會的劇烈變遷和動盪，楊德昌的《恐

怖分子》更是展現了血腥的過往，紛繁複雜的城市生活，反映了 當下社會人們承受的各種壓力和不確定的生活狀態。

and provincial life, and the negative impact of China’s social-economic

在“新方向”單元，英國電影協會將目光投向了當下的中國電影

– led by Wong Kar-wai and Stanley Kwan – created lush, highly stylised

電影作品，特別是中國第六代導演中的賈樟柯和王小帥；香港

changes. The Second Wave that appeared in the late 1980s in Hong Kong

films that introduced a powerful new aesthetic to international cinema.

Wong’s offbeat, post-modern Chungking Express (1994) depicts urban

loneliness and unrequited love.

So, what of Chinese cinema in the next one hundred years? Cowan

muses that “In the near future, there’s going to be changes to funding

structures and the government’s approach to filmmaking in the mainland as well as further changes in Hong Kong that are going to encourage

作品，特別是1993年到2006年那些充滿大膽嘗試和令人興奮的 第二次浪潮導演王家衛和關錦鵬；台灣第二次新浪潮導演蔡明 亮等都令人矚目。第二次浪潮出現在上世紀80年代末的香港，

以王家衛和關錦鵬為代表的香港電影人開創了一個繁榮的，極

具風格的電影流派，並將這種極富衝擊力的新電影美學展現在 國際範疇之上。王家衛的電影很另類，充滿了後現代的文化特

色，如1994年的《重慶森林》就是描繪了一個孤獨的城市故事 和那不求回報的愛情故事。

more independent production”. So, will this mean a Chinese film industry

那麼，未 來中國電 影的方向是在何方 ？考恩考慮了一下回答

Chinese filmmaking may become more Americanised or European?

陸政府對待電影的態度和管理方式也會發生變化，香港將會更

that will retain its own sense of national identity or is there still a risk that Cowan believes that “Chinese cinema has done a very good job at

resisting outside influence, except when it wants it. Hong Kong could have just made Hollywood remakes and it would have been fine in terms of its local box office for 50 years [but] it chose to go down a different

pathway”. In fact, in some instances it’s been the reverse: Chinese films have been remade by Hollywood, such as Andrew Lau and Alan Mak’s

Infernal Affairs (2002), a thrilling story of an undercover cop and criminal

infiltrating one another’s gangs, which would later be rebranded to an American audience as Martin Scorsese’s critically acclaimed The Departed

(2006). So, if the present is anything to go by - and Cowan remarks that “the Chinese film-industry is on fire right now” - then the next one hundred years look fruitful for Chinese cinema.

道： “在不遠的將來，中國電影的資金結構將會發生改變，大

多地鼓勵獨立電影的生產。”這麼說來，中國電影將會繼續保 持他獨特的中國特色，還是說中國電影產業也會有步上歐美電

影產業雷同化的後塵？考恩相信： “中國電影產業在保持其獨 立性方面做得非常好，香港在50年內其實都可以僅靠模仿好

萊塢的電影就可以獲得不錯的本地票房，但他們選擇了走一條

不一樣的道路。”事實上，很多情況下，這種狀況已經出現了反 轉，一些中國電影已經被好萊塢翻拍并展現在大屏幕之上，比

如劉偉強和麥兆輝2002年的《無間道》講述了一名臥底警察和 警察團隊中內鬼之間發生的驚心動魄的故事，後來被翻拍為美

國觀眾熟悉的，由馬丁·斯科塞斯主演的美國版《無間道（The Departed）》。對於如何評價當下的中國電影，考恩說到： “中 國的電影產業，毫無疑問，當下正是在如火如荼一般的發展！”