ART.ZIP issue 6 by Jingchen Liu

THE MASTER AND MARGARITA 大師與瑪格麗特 EDINBURGH FESTIVAL FRINGE 愛丁堡邊緣戲劇節 2012 GLOBE TO GLOBE WORLD SHAKESPEARE FESTIVAL 2012 “從環球到寰球”世界莎士比亞戲劇節 A BRITISH INTERPRETATION OF CAO YU’S MASTERPIECE THE SUN IS NOT FOR US 曹禺著作的英國解讀─太陽不是我們的 ROCK ‘N ROLL INTERVIEW WITH MARK FISHER 石破天驚─專訪馬克 • 費希

Issue 06, 2012 International Edition €15 / £10 / $17.50 / ￥100

熱點話題

HOT TOPIC 009 007

The Master and Margarita

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009

Einstein on the Beach

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011

World Cities 2012-Pina Bausch

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013

Saved

大師與瑪格麗特

沙灘上的愛因斯坦

世界•城市2012-皮娜•鮑什

017

Matilda

021

瑪蒂爾達

London International Mime Festival

沈默的狂歡－倫敦國際默劇節

The Suit

外套

Chariots of Fire

烈火戰車

023

The Riots

025

Can We Talk About This?

暴亂

我們能談論這些嗎？

拯救

固定專欄

EXCLUSIVE COLUMN 114

118

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Rock ‘N Roll─Interview With Mark Fisher

114

109

Misreading of West End London

118

石破天驚─專訪馬克•費希

倫敦西區的誤讀

Never Compromise—Belarus Free Theatre

永不妥協─白俄羅斯自由劇團

Dr. Dee

歌劇《迪伊博士》

每期專題

SPECIAL FEATURE 049

091 Script Development

International Theatre Festival

國際戲劇節

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2012 Globe to Globe

World Shakespeare Festival

2012 “從環球到寰球”世界莎士比亞戲劇節

031

Richard III

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Titus Andronicus

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World Stages London—Interview

理查三世

泰特斯•安多尼古

with Gongxin Wang

世界呈現倫敦—對話王功新

049

Edinburgh Festival Fringe 愛丁堡邊緣戲劇節

劇本創作

061

The Orphan of Zhao 趙氏孤兒

063 A British Interpretation of Cao Yu’s Masterpiece—The Sun Is Not For Us

曹禺著作的英國解讀：太陽不是我們的

071

The Peach Blossom Fan 桃花扇

075 Let’s Talk about New Writing 漫談“新寫作”

On and Off the Stage

臺上臺下

081 Forever Young—Interview with David Jiang

童心未泯─對話蔣維國

091 Can Chinese Puppetry

and Shadow Puppetry be Contemporary?

木偶、皮影可以當代嗎？

095 Indiligent Poet—Interview with Yuxuan Man

不勤奮的詩人─滿宇軒

ISSUE 06 2012

ISSN 2050-4152

Publisher 出版人

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

Executive Editor 執行編輯 Michelle Yu 余小悅

Guest Editor 特約編輯 Yiran Dong 董一燃 Jing Wang 王晶 Translator 翻譯

Shoran Jiang 姜嘯然 Chang Yu 于暢

Creative Director 創意總監 Ye Li 李燁

Art Director 藝術總監

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

Visual Design 視覺設計 Bulletpin Studio

Contributors 鳴謝

Dr. Joel Anderson, Dr. Simon Donger, Mark Fisher, Yike Han 韓宜珂, Kathy Hall 李惠馨, Syndi Huang 黃煥欣, Dr. David Jiang 蔣維國博士,

Dr. Ruru Li 李如茹博士, Jiaou Li 李佳謳, Shangtong Lin 林上童, Jincheng Liu 劉金城, Kedong Liu 劉科棟, Dajun Luo 羅大軍, Makita Ma 馬怡, Grace Ng 吳可盈, Gareth Rees, Meg Ryan, Shu-wing Tang 鄧樹榮, Chong Wang 王翀,

Gongxin Wang 王功新, Xiaoying Wang 王曉鷹,Shijuan Weng 翁世卉, Simon Tim-Keung Wang 王添強, Ace Xie 謝達明

Address 雜誌社地址

37 Camden High Street，NW1 7JE，London，UK Website：www.artzip.org

特邀編輯簡介董一燃

戲劇評論撰稿人，獨立製作人。曾從事奧運市場諮詢類工作，出於對於戲劇的熱愛，轉行藝術事業，就讀倫敦大學中央戲劇與演講學院。曾參與包

括英國國家劇院及衛報等機構的製作及評論的專業培訓。研究方向涉及經濟全球化與藝術的關係，政府藝術政策，藝術贊助及公益基金運營，觀眾培養及戲劇教育。

個人博客： www.imlifestyler.com/users/joannadong Yiran Dong

Theatre reviewer, independent producer, Yiran used to work as marketing consultant for Olympic projects. However her enormous

enthusiasm for theatre lead her to art industry and went for further study in Central School of Speech and Drama, University of London. Yiran also engages various professional training programs by National Theatre and the Guardian in production and theatre review. Research topics: relationship between economic globalization and art, government’s arts policy, art fund management, audience development, theatre education.

Blog: www.imlifestyler.com/users/joannadong 王晶

舞台設計師、表演藝術研究者。設計作品涉足歌劇、話劇、舞劇、戲曲等多種戲劇樣式。現居倫敦，英國Prof. Gavin Henderson, CBE院長獎學金獲得者，就讀倫敦大學中央戲劇與演講學院研究生，研究方向：Scenography。個人官網：www.wangjing.co.uk Jing Wang

Stage designer, performance art researcher, Jing has designed for a variety of performance including opera, drama, dance, musical and so on. Currently based in London, Jing was awarded principal scholarship by Professor Gavin Henderson CBE when studying in Central School of Speech and Drama, University of London. Research topic: scenography.

Website: www.wangjing.co.uk Co－operators 合作夥伴

D&Ad, Today Art Museum Beijing 北京今日美術館, Soho.com/Arts 搜狐藝術頻道, Art China 新浪收藏頻道, Oriental Art Master 《東方藝

術大家》, Art Value 《藝術當代》雜誌, Royal Acadamy of Arts 皇家藝術學會, National Portrait Gallery 英國國家肖像畫廊, Tate 泰特美術館,

Serpentine Gallery 蛇形畫廊, V&A Museum 維多利亞和阿爾伯特博物館, The Barbican Centre 倫敦巴比肯藝術中心, Frieze Art Fair Frieze 藝術博覽會, London Design Festival 倫敦設計節, Whitechapel Art Gallery 倫敦白教堂藝術畫廊, The Design Museum 英國設計博物館, David Roberts Art Foundation 戴維·羅伯茨藝術基金, Hayward Gallery 海沃德畫廊, Royal College of Arts 皇家藝術學院

Central School of Speech and Drama 倫敦大學戲劇與演講學院, Shakespeare’s Globe Theatre 莎士比亞寰球劇院, Royal National Theatre

國家皇家劇院, National Theatre Company of China 中國國家話劇院, Young Vic Theatre 青年維克劇院, University of Leeds 利茲大學, Royal

Shakespeare Company 皇家莎士比亞公司, Ming Ri Institute for Arts Education明日藝術教育機構, Lyric Hammersmith Theatre 利瑞克哈默史密斯劇院, English National Opera 英國國家歌劇院, Théatre du Rêve Expérimental 薪傳實驗劇團, Tricycle Theatre 三輪車劇場, Michael Rose

Ltd. 邁克爾羅斯有限公司, London International Mime Festival 倫敦國際默劇節, DV8 Physical Theatre DV8劇團, Suspense Festival 懸吊戲劇節

EDITOR’S NOTE 主編寄語

表演藝術作為各種藝術形式的集大成者，囊括和集中了包括文學、音樂、舞蹈、表演、美術等各藝術門類的表現形式，在英國當下的表演藝術，無疑是藝術界的一顆耀眼的明珠。為了讓廣大看客更深入和系統的了解表演藝術背後的故事，我們特地邀請到了董一燃和王晶這兩位熟悉中英兩國表演藝術動態和發展的研究者為大家講述舞臺上下的點點滴滴。英國的表演藝術在全球獨樹一幟，其一直以來都在探索和開拓表演藝術的疆界，借助新的科技手段和其他藝術形式的相互沖擊，英國表演藝術為廣大觀眾帶來了太多的驚喜和震撼。本期雜誌不僅涉及到話劇、歌劇、音樂劇、舞劇、木偶劇等不同的戲劇表演形式，更關註於幕後創意、戲劇人、行業狀態等關於表演藝術不為觀眾所熟知的方方面面。

Performance art, as the integrity of various art forms, includes literature, music, dance, performance and fine art. The British contemporary performance art is regarded as a most well-known art kind in the world. In this issue, we have invited Yiran Dong and Jing Wang, two research experts in

performance art and its development in both the UK and China, to introduce the various forms of performance art, to let our readers further understand the stories behind performance art.

The British performance art has established its very own uniqueness. It has always been exploring and challenging the boundary of performance art by the means of new technology and experimentation of different art forms. Therefore, it has been bringing for viewers tremendous pleasure and surprise. This issue of ART.ZIP not only covers a wide range of performance art forms, such as drama, opera, musical, dance performance and puppetry, it also pays great attention to people involved for the creativity, and the industry development, which are rarely known by the general public.

HARRY LIU 劉競晨

Editor-in-chief 主編

GUEST EDITORS’ NOTE 編輯致辭

What is theatre? Among the numerous interpretations, that of Peter

戲劇是什麼？在無數種解讀中，戲劇大師彼得•布魯

one, he notes, ‘A man walks across an empty space while someone else

間，同時另一些人在觀看他，這就是戲劇表演所需

Brook, the English theatre master, seems to be the most down-to-earth is watching him ... this is all that is needed for an act of theatre’ (The

Empty Space, 1968:11). Stripping away all the complicated, esoteric and

affected embellishments, there stands the real theatre, naked but not

flurried. In the hustle and bustle of London, theatre exists in its own way, sometimes appearing in the gorgeous West End theaters, sometimes in abandoned factories or bars. It looks by accident but actually arranged;

its unpredictability and instability helps create the feature of mystery and elusiveness. It lives perfectly with this city, and seems to be the secret weapon of her charm. Yet the richness of London and the flow of her population infuse theatre with eternal vitality and make it ever fresh.

In this issue, we try to capture some of its unique forms through a variety

of performance sprees, such as attending international theatre festival, play script writing projects and etc. Instead of providing a clue, we are rather setting up a mirror to reflect the city for you. Meanwhile, we, with great enthusiasm, leave a large amount of words to the ultimate element of

theatre—man. Either in showing artists’ inspiration, revealing their process

of creation, or recording their artistic practice, man is always the one that we concern most. With the unique perspective of observing Chinese and British art, hopefully we manage to narrate theatre objectively enough. Please

forgive our overt enthusiasm as well as some biased opinions, for all these have nothing to do with but love.

克的版本似乎最為樸實：當一個人走進一個空的空要的一切。於是，在去掉了種種繁複，深奧，裝腔作勢的修飾之後，戲劇赤裸裸的站在那裡，真實卻不驚慌。在倫敦這座忙碌的城市裡，戲劇以它的方式存在着，時而現身在華麗的西區劇場，時而在廢棄的工廠，又或者亮相於粘膩的酒吧。它的不經意卻又早有安排，它的不可知和缺乏穩定，讓戲劇看似神秘，難以琢磨。它和這座城市惺惺相惜，仿佛它就是成就她魅力的寶器。然而，也正是這座城市的豐富，人口的流動，為戲劇注入永恆的生命力，使其得以常青。在這一期內容裡，我們試圖在密佈的戲劇事件中捕捉一些它獨特的形態，例如國際戲劇節，戲劇的構造等等。與其說我們是在編織一條線索，不如說我們在為讀者豎起一面折射城市生活的明鏡。同時，我們以極大的熱情把大量文字留給了戲劇的終極元素——人。無論是呈現藝術家的創作靈感，還是展示他們創作的過程，抑或是記錄他們存在的藝術實踐，人，都是我們最關心的脈絡。藉由中英藝術觀察的獨特視角，希望我們能足夠客觀地講述這些發生。請原諒我們不經意流露的熱忱，還有時而偏頗的論調，這些都與熱愛有關，別無它意。

YIRAN DONG/JING WANG 董一燃/王晶 Guest Editors 編輯

The Master and Margarita 大師與瑪格麗特 Left to right: Cesar Sarachu, Henry Pettigrew, Tim McMullan, Johannes Flaschberger, Clive Mendus, Paul Rhys Copyright: Tristram Kenton

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BARBICAN CENTRE 巴比肯藝術中心

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演出場地：Barbican Centre 巴比肯藝術中心更多信息：http://www.complicite.org/flash/

Like a scanned image on Google map, Moscow under Stalin’s

rule is projected onto the bare wall of the theater. Flurry dancing souls in this strange space makes a devil’s party. Soviet Russian writer and playwright Mikhail Bulgakov’s The Master and

Margarita is staged by the UK’s leading contemporary director

Simon McBurney. A remarkable re-creation, a fantasy world

unfolds at the Barbican theatre. Exquisite images, simple stage,

vivid puppetry and spectacular lighting bring this complex fiction to the stage. The Moscow atheist and the Holy City of Jerusalem

interweave on the stage, pouring out the eternal themes of body and soul, sin and punishment, love and hate. A masterpiece of contemporary performance in the UK, The Master and

Margarita is well deserved.

斯大林時期的莫斯科就像Google地圖的掃瞄影像，整座城市被投射到 Left to right: Sinéad Matthews, Paul Rhys, Richard Katz Copyright: Tristram Kenton

了劇場裡裸露的後牆上，亂舞的靈魂發在這個奇異的空間裡，彷彿是一 Ensemble Copyright: Bohumil Kostohryz

Simon McBurney Copyright: Eva Vermandel

次惡魔的聚會。俄羅斯小說家、劇作家布爾加科夫(Mikhail Bulgakov)的《大師與瑪格麗特（The Master and Margarita）》被英國當代傑出的導演西蒙·麥克伯尼（Simon McBurney）搬上了舞台，一次非凡的再創造，一個奇幻的世界就這樣在巴比肯的戲劇廳裡展開了。精妙的影像、簡潔的舞台、生動的偶戲和具有多維空間體現力的燈光構想將這部人物繁多、情節交錯的小說靈巧地“翻譯”到了舞台上，那個堅信無神論的莫斯科和聖城耶路撒冷在舞台縱橫交錯，講述着靈與肉、罪與罰、愛與恨的永恆主題。若在英國要推選出一部屬於當代的舞台傑作，《大師與瑪格麗特》當之無愧。

Einstein on the Beach 沙灘上的愛因斯坦

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BARBICAN CENTRE 巴比肯藝術中心

Einstein on the Beach, Spaceship Left to right Kate Moran, Helga Davis (foreground) and ensemble Copyright Lucie Jansch

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演出場地：Barbican Centre 巴比肯藝術中心更多信息：ht tp: //w w w. b ar bic an .org.uk /th eatre /

event-detail.asp?ID=11928

In 1976, the era with rock, marijuana and

drugs, Philip Glass and Robert Wilson met at

their best age, and a historic work-Einstein on

the Beach-was born at the Brooklyn Academy

of Music in New York. At that time, the play was hard to understand and even caused

many debates. What on earth is this work? Yet

its extraordinary significance remains till today. 36 years later, it starts its world tour from the Barbican Theatre in May 2012.

1976 年，在那個還留有搖滾、大麻、毒品餘溫的年代，菲利普•格拉斯（Philip

Glass）與羅伯特•威爾遜

（Robert Wilson）相逢在他們最美好的青春年代，一部具有歷史意義的作品誕生在紐約的布魯克林音樂學院。《沙灘上的愛因斯坦》橫空出世，幾乎沒有誰看懂了這部歌劇，人們為此爭論不休，這究竟是一部怎樣的作品？36年後，這部在演出史上具有非凡意義的作品開始了世界巡演，2012年5月登上了倫敦巴比肯戲劇大廳（Barbican Theatre)。

Einstein on the Beach, Trial Ensemble Copyright Lucie Jansch

Five-hour play Einstein on the Beach is like a long journey. Without the blunt narrative, music, dance combining with drama made audience of 36 years ago experience an

unprecedented art. 36 years later, audience of today are still overwhelmed by such a

contemporary work. The play drags loads

of people to Barbican but occasional leaves

occurred in the packed auditorium during the five hours play. Maybe audience’s patience is

getting less and less. As part of the celebrations of 75th birthday of Philip Glass, it launches a

new round of world tour. The two old friends,

after so many years, get a reunion finally. What a play, on and off stage, isn’t it?

表演長達五小時的《沙灘上的愛因斯坦》像是一次漫長的旅程。擺脫直白的敘事，音樂、舞蹈和戲劇融為一體的表演形式讓36年前的觀眾覺得正在觀看一部前所未有的藝術品，而36年後今日的看客覺得自己正在觀看一部十分當代的作品。巴比肯依舊因為這部作品而爆棚，只是在五小時之後，原本座無虛席的觀眾席零零星星有了空缺。或許36年後的今天，觀眾的耐心不及當年了。這部製作龐大的經典之作，是作為格拉斯先生為期一年的75歲生日慶典活動而展開的新一輪全球巡演。兩位闊別多年的青春友伴，在多年之後又是一次重逢，可謂台上台下都是戲。

Einstein on the Beach, Knee Play Left to right chorus, Kate Moran and Helga Davis Copyright Lucie Jansch

Einstein on the Beach, Knee Play Left to right Helga Davis, Kate Moran Copyright Lucie Jansch

Copy of Robert Wilson and Philip Glass Copyright Lucie Jansch

World City 2012 Pina Bausch 世界•城市2012-皮娜•鮑什 TEXT BY 文字提供 x ART.ZIP

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BARBICAN CENTRE 巴比肯藝術中心

Ruth Amarante, Rainer Behr, Damiano Ottavio Bigi in Bamboo Blues. copyright Jong-Duk Woo

Pina’s sudden death in 2009 brought great pity to the world. Born in

2009年皮娜的突然辭世，給了這個世界莫大的遺憾。皮娜出生於德國烏

(Tanztheater Wuppertal) not only made this town renowned, but also

Wuppertal)不僅讓這座小鎮享譽世界，更讓德國的表演藝術在世界上

Wuppertal, a small town of Germany, Pina’s Wuppertal Dance Theatre creates different performing arts of Germany. In 2012, as one of the

London Olympiad’s repertoire, World Cites 2012 at the Barbican and

Sadler’s Wells Theatre were presented to commemorate one of the greatest dancers of the time-Pina Bausch.

珀塔爾(Wuppertal)小鎮，而因為她的烏珀塔爾舞蹈劇院(Tanztheater 有了不同的樣貌。作為2012倫敦文化奧林匹亞的劇目，《世界城市2012 （World Cities 2012）》在倫敦巴比肯藝術中心(Barbican Centre)和莎德斯威爾斯劇院（Sadler’s Wells Theatre）拉開了序幕，以此紀念這個時代最偉大的舞蹈家之一──皮娜•鮑什(Pina Bausch)。

Tanztheater Wuppertal Pina Bausch World Cities 2012, Nur Du Aleš Čuček and Nayoung Kim credit Bettina Stöß

Pina Bausch World Cities 2012,Ten Chi Eddie Martinez, Azusa Seyama, Fernando Suels copyright Ursula Kaufmann

Pina Bausch Wolrd Cities 2012, Agua - Ensemble Copyright Oliver Look

Wuppertal Dance Theater (Tanztheater Wuppertal) started its cityinspired creation in Rome in 1986. The dance work titled Viktor is

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the first and the opening of this city co-production, then followed

Saitama (Japan), Calcutta (India), San Diego (Chile), etc. This dance program is also the final creative project by Pina Bausch. Talking

about the motivation and concept of this series, Bausch said, the

greatest thing of creation is to work in different places, to experience different customs, to enjoy various folk music and those strange

things for us, yet all these belong to us in some way, and then being transformed to dance. There is no need to be afraid of getting to

know the unknown, we should embrace them, experience them,

enjoy them, and let it all start from Rome. As to internationality of

theatre, Bausch insists her own philosophy, we are not merely tourist, and we are the world on its own. New adventures and experiences would constantly infuse our world with new life.

London in 2012, because of Pina Bausch, because of World Cites

2012, delivers greater Olympic Spirit.

以城市為靈感的創作始於1986年，在羅馬的特別經歷激發了皮娜的第一部城市合作──維克托（Viktor），之後便有了世界城市系列，日本的崎玉(Saitama)，印度的加爾各答(Calcutta)，智利的聖地亞哥(San Diego)等。此舞蹈計劃也是皮娜生前的最後一個創作項目。皮娜在談到構想這一系列作品的動機時說，創作對我們來說最大且最好的影響就是能夠長年在不同的城市裡工作，瞭解不同的習俗、民間音樂、生活習慣，還有那些對於我們來說陌生的事物，但同時也是屬於我們的事物，然後將其“轉換”為舞蹈。這是一種瞭解未知的積極方式，無需懼怕，只需感受它們、體驗它們，這一切都是從羅馬開始的。當談到舞蹈團的國際性時，皮娜說道，我們不僅僅在城市裡旅遊，其實我們自己原本就是一個多樣的“世界”。這個“世界”在經歷一次次的冒險和體驗後而不斷地被賦予新的活力。因為皮娜的《世界城市》，2012年的倫敦似乎更具有奧林匹克精神了。

演出場地：Barbican, Sadler’s Wells Theatre 巴比肯藝術中心，莎德斯威爾斯劇院更多信息：http://www.pina-bausch.de/en/pina_bausch/

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LYRIC HAMMERSMITH THEATRE 利瑞克哈默史密斯劇場

Saved Calum Callaghan (Fred) Photo by Simon Kane

Saved Photo by Simon Kane

Saved Susan Brown (Mary) & Morgan Watkins (Len) Photo by Simon Kane

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演出場地：Lyric Hammersmith Theatre 利瑞克哈默史密斯劇場更多信息：ht tp: //w w w.lyric.co.uk /produc tion-archive/

entry/saved/

http://www.royalcourttheatre.com/whats-on/saved

Everyone who sits in Lyric Hammersmith Theatre must prepare to view this

相信每個坐在利瑞克哈默史密斯劇場（Lyric Hammersmith

expect. 47 years ago, this play by Edward Bond, one of the greatest playwrights

《拯救（Saved）》，那種震撼遠比預料中來得更猛烈些。47

classic play Saved of 1965, yet the shock they get is far stronger than they of the 20th century, had aroused huge controversy before it was staged,

for the disturbing scene that a baby was stoning to death in its pram. Bond

refused to alter the script even Lord Chamberlain tried to censor it according

to the Theatre Act 1843. Lawrence Oliver, who was the Artistic Director of The

Theatre）的人都有所準備，再一次看到這部1965年的作品年前，如今被評價為20世紀最偉大的劇作家之一的愛德華• 邦德（Edward Bond）的這部作品還沒有上演就引發爭議，劇中一幕是小混混們用石頭砸死嬰兒車裡的孩子，英國戲劇協會依據當時的戲劇審查制度要求刪改這部分的演出。時任英

National Theatre at that time defended the play Saved, confirming artistic

國國家劇院藝術總監的勞倫斯·奧立弗（Laurence Olivier）為

time, and even led to debate in the House of Lords. It was this play that roused

求。這部戲在當年掀起層層波瀾，甚至驚動政界引發上議院

aspirations in the plot design. This play stirred up the British society at that

re-examination on theater and ultimately led to abolition of theatre censorship in the UK. It was also this play that made contemporary British theater

strengthen its rigorous style of emphasis on scripts. Last performance of this

play in London was presented 27 years ago, while today the performance still catches special attention of British theater festivals.

《拯救（Saved）》作了辯護發言，肯定了劇情設置的藝術訴的辯論；也正是這部戲，喚醒了英國戲劇界對於戲劇藝術的重新審視，最終終結了英國的戲劇審查制度；也正是這部戲，堅定了當代英國戲劇重視劇本的嚴謹風格。上一次在倫敦的演出是在27年前，因此這一次的上映也引起了英國戲劇界的格外關注。

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ROYAL SHAKESPEARE COMPANY 皇家莎士比亞劇團

《瑪蒂爾達（Matilda）》是一部根據英國兒童作家羅爾德 •達爾（Roald Dahl）於1988年出版的同名小說而改編的音樂劇。說起羅爾德•達爾的幾部作品，大家肯定會非常熟悉，例如《查理的巧克力工廠(Charlie

and

the

Chocolate Factory)》，《了不起的狐狸爸爸 (Fantastic Mr. Fox)》等等。

Matilda is a musical adaptation of a fiction of the same name by

British children’s author Roald Dahl published in 1988. As far as

Roald Dahl’s works are concerned, they are very familiar to us, such as Charlie and the Chocolate Factory, Fantastic Mr. Fox, etc.

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演出場地：Cambridge Theatre 劍橋劇院更多信息：http://www.matildathemusical.com

本劇由皇家莎士比亞劇團(Royal Shakespeare Company)製作，馬修•沃奇思（Matthew Warchus）執導，丹尼斯•凱利(Dennis Kelly)改編，蒂姆•明欽（Tim Minchin）擔任音樂創作。2011年年底，《瑪蒂爾達》被成功地搬上了西區劍橋劇院（Cambridge Theatre）的舞台。該作品橫掃英國各大戲劇獎項，包括2012年奧利弗（Olivier

Awards）多項大獎，甚至被譽為英國現代史上最成功的音樂劇作品。2013年春天，該作品更將遠

赴紐約百老匯巡演。值得一說的是本劇的小演員們。共有3組，每組8個小演員來飾演該劇的8位兒童角色。由於兒童演員的流動性很大，上映同時，該劇還在做新演員的海選和培訓。英國戲劇行業非常重視觀眾的培養，在關注當下劇場繁榮發展的同時，戲劇教育和培訓，甚至是直接的實踐都由各級別各類型的劇場來擔當。一方面既為劇場本身培養觀眾或者是未來的觀眾，而另一方面，廣泛的參與對於提高一個國家的國民素質起著不可低估的作用。看過英國兒童演員或者青少年演出的朋友們可能都會深深地讚歎這些孩子們的天賦和努力，同時也一定會佩服能夠把孩子們成功帶上舞台—甚至是主流商業舞台—的戲劇工作者。

Matilda is produced by the Royal Shakespeare Company and directed by Matthew Warchus,

The RSC Production of Roald Dahl’s Matilda The Musical. Photo by Manuel Harlan. 11.1-0229

with original songs from Tim Minchin and adapted by Dennis Kelly. At the end of 2011, this production was successfully staged in Cambridge Theatre in West End London. It swept all

the major theater awards in the UK, including seven Olivier Awards in 2012. It was even hailed as the most successful musical in the contemporary history of the UK. In the spring of 2013, it will be on tour at Broadway in New York.

Bertie Carvel as Miss Trunchbull in the RSC Production of Roald Dahl’s Matilda The Musical. Photo by Manuel Harlan. 11.1-0120

The child performers of this production are worth mentioning. There are a total of 3 groups of

children, and each group is made up of eight children to play eight roles of in this production. Due to the mobility of child performers, when the play is on stage, new child performers are

still recruited and trained. In British theater industry, audience development is very important. Thus, as contemporary theaters thrive, theaters of various types at all levels also undertake the task of theater education and training, and even direct practice. On the one hand, the

theaters themselves can attract audiences or future audiences; on the other hand, the role of The RSC Production of Roald Dahl’s Matilda The Musical. Photo by Manuel Harlan. 11.1-0263

getting more audience involved in terms of improving national quality of a country can not

be underestimated. Those who have seen performances by children or junior performers may deeply admire for their talent and great effort. What’s more, those people contribute to bring the kids on stages and even the mainstream commercial stages are as much impressive.

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YOUNG VIC THEATRE／PETER BROOK 青年維克劇院／彼得•布魯克

Peter Brook © Colm Hogan

As one of the most important theater masters in the second half of the 20th

彼得•布魯克（Peter

China, Peter Brook is usually known via his theory, or through pirated video

更多的是因為他的理論，又或者是通過極為難購的盜版電影，他

century, Peter Brook never separates his theater theory with practice. In that are extremely difficult to purchase; and his name has been closely

related with keywords as “empty space” and “theater environments”. In

Europe, his theater practice has never stopped. Audience in London is lucky to see his work The Suit this year. It is a new interpretation of his own work

Le Costume created in 1999. The story begins in the dusty heat of a 1950s

South African township, a young worker returns home and finds his wife in bed with her lover. The lover escapes, leaving behind his suit. In revenge, the husband instructs his wife to treat the suit as an honored guest.

Surprisingly, his wife falls in love with this suit eventually, for her endurance of this cruel and pitiless punishment is limited. In the performance,

minimalist properties are used and diverse music is applied, from Schubert’s music to African folk songs, which helps to tell this simple, absurd story in a beautiful and sad way.

Brook）被譽為20世紀下半葉最重要的劇場

大師，他的劇場理論和實踐從未分離。在中國，認識彼得•布魯克的名字已經和“空的空間（Empty

Space）”“環境劇場（Theatre

Environments）”這些關鍵詞形成了緊密的一體。但是在歐洲的舞臺上，老先生的戲劇實踐並沒有停止，因此，倫敦的觀眾們有幸在今年觀看了這一部作品《外套（The Suit）》。這是一部根據布魯克1999年的作品Le Costume重新演繹出來的新版本。在20世紀 50年代的一個炎熱落後的南非小鎮，一個年輕的工人返回家裡，發現妻子與她的情人在床上。後來情人逃脫，留下了他的西裝外套。為了報復妻子，丈夫命令他的妻子將外套作為貴賓一樣對待，然而，他沒有想到的是妻子最終竟真的愛上了這件外套。對於這種殘酷和無情的懲罰，妻子的忍受是有限的。劇中使用極簡的道具，並且採用了從舒伯特到非洲民歌等的多種音樂類型，將這個簡單而荒謬的故事演繹得美麗而憂傷。

Matilda (Nonhlanhla Khewsa) Photo by Johan Persson Paul Noble Public Toilet, 1999 © Paul Noble / Gagosian, London

Matilda (Nonhlanhla Khewsa) Photo by Johan Persson

Philemon (William Nadylam) and Matilda (Nonhlanhla Khewsa) Photo by Johan Persson

Maphikela (Jared McNeill) Photo by Johan Persson

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演出場地：Young Vic Theatre 青年維克劇院更多信息：http://worldstageslondon.com/show/the-suit.php

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JAMES MCARDLE, TAM WILLIAMS & ENSEMBLE. Photography by Manuel Harlan

TAM WILLIAMS. Photography by Harlan

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演出場地：Gielgud Theatre 吉爾古德劇院更多信息：http://chariotsof fireonstage.com/

In 2012, one of the biggest events in London is the Olympic

Games. Cultural activities brighten the life of London. Besides

several large-scale theater festivals, Chariots of Fire, caught up

the theme of the Games is also on stage. Adapted from the movie of the same name released in 1981, this production tells the story of two British athletes in Paris Olympics in 1924. One is a devout

Christian running for the glory of god and the other is a British Jew running to overcome the prejudice. The movie once won several Oscars awards, and was ranked 19th in the BFI’s (the British Film Institute) Top 100 British Films. This production is co-produced by the original film director Hugh Hudson, with original music

from the master Vangelis who produced the soundtrack for the film. The stage is designed to imitate an indoor stadium, where several competitive racing scenes are created in such limited

space. Comparing with the movie, this play is publicized under the banner of patriotism, for it is closer to the audience and catches

the 2012 London Olympic Games. Like the well-known play War

Horse, Chariots of Fire has become one of the most popular plays in the United Kingdom, and its innovations in art wins applause of all.

2012年，倫敦最盛大的事情之一莫過於2012倫敦奧運了。藉著這個契機，文化活動也是異常活躍，在戲劇方面，除去幾個大型戲劇節，這一部以奧運為題材的作品也被帶上了舞台。《烈火戰車（Chariots of Fire）》改編自1981年的同名電影，這部作品講述了1924年巴黎奧運會上兩名英國短跑運動員的故事。一位是為信仰而跑的虔誠的基督教徒，一位是為了摒棄人們歧視的英國猶太人。這部電影曾經榮獲奧斯卡多項大獎，入選英國電影協會評選的100 部最佳英國電影。聯合原先的電影導演休·哈德森（Hugh WARM UP. Photography by Manuel Harlan

Hudson）共同製

作，並邀請電影原作希臘配樂大師範吉利斯（Vangelis）加盟音樂創作。舞台設計上頗有新意，劇場被改造成一個室內體育館，在有限的空間內營造了多次竟技賽跑的場景。比較電影，這部舞台作品由於更接近觀眾，並且在演出時間上臨近奧運，因此在宣傳上飄揚著愛國主義的旗幟。和觀眾們早已耳熟能詳的《戰馬（War Horse）》一樣，《烈火戰車》在英國都已經成為非常主旋律的劇目了，但是能做到藝術上的一定創新和突破，該劇值得稱道。

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LONDON INTERNATIONAL MIME FESTIVAL/

SUSPENSE FESTIVAL 倫敦國際默劇節/懸吊木偶戲劇節

Tips DEREVO, Harlekin C D. Hartwig. Royal Opera House’s Linbury Studio Theatre

Circle of Eleven,Leo, photo by Heiko Kalmbach, Southbank Centre’s Purcell Room

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演出場地：Barbican Centre, Royal Opera House, the

Roundhouse and etc. 巴比肯藝術中心，皇家歌劇院，圓屋劇場

更多信息：http://www.mimelondon.com

http://www.suspensefestival.com/content/home

Moses photo credit Nigel Bewley

Plucked A True Fairytale by Invisible Thread at SUSPENSE

The Great Puppet Horn by Pangolin’s Teatime at SUSPENSE

At the beginning of this year, the noted London International Mime Festival

今年年初，備受矚目的倫敦國際默劇節又一次“默默地”開幕了。作

where, there are wonderful new acrobatics, physical theater, performing

劇、表演藝術、舞蹈及物件劇（或木偶戲）等被帶到倫敦的主流舞

opened once again “silently”. As a leading platform for mime in Europe,

arts, dancing and Object Theater (or puppetry) are presented every year on the mainstream stages of London, including Barbican Centre, the

Royal Opera House and the Roundhouse. Awarded the Fringe First in the

Edinburgh Festival Fringe 2011, The Table by Blind Summit unveiled the

opening of this year’s Mime Festival at Soho Theatre. In addition to its own independent repertoire, the famous puppet theatrical company Blind

Summit also actively cooperated with other companies in recent years,

such as English National Opera’s Madam Butterfly directed by Anthony

Minghella, and The Master and Margarita directed by Simon McBurney. Similarly, there is a special puppetry festival in the UK called Suspense

Festival. It is held every two years, and every time puppet artists all over the world are invited to perform on stages in London. It is known for its special venues including barge and some other astonishing places.

為歐洲領先的默劇展示平台，每一年各種精采的新式雜技、肢體台上演，包括巴比肯藝術中心（the Barbican Centre）, 皇家歌劇院（the Royal Opera House）及圓屋劇場（the Roundhouse）。開幕劇由著名木偶劇團盲頂（Blind

Summit）帶著其作品《桌子（The

Table）》在蘇豪劇場（Soho Theatre）上演。這齣戲曾在2011年的愛丁堡邊緣戲劇節上獲得優秀先鋒劇目的殊榮。這個劇團除了自己的獨立劇目以外，近年來也活躍於與其他公司合作，例如參與製作了英國國家歌劇院（English National Opera）的《蝴蝶夫人（Madam Butterfly）》以及《大師與瑪格麗特（The Master and Margarita）》等作品。相似的，英國還有一個專門的“懸吊木偶戲劇節（Suspense Festival）”,每兩年舉辦一次，每次都會邀請來自世界各地的木偶藝術家在倫敦演出,演出的場地更是包括渡船在內的各種令人意想不到的場所。

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Cyril Nri Christopher Fox Sarah Ball Grant Burgin

The Riots Lewis Whyld

The Riots

The Riots Kingsley Ben-Adir Selva Rasalingam

位於倫敦西北的三輪車劇場（Tricycle

Theatre）並不好找，然而

在倫敦的戲劇圈裡，每每提到它的名字，很多人都能清晰地定義它：政治劇場。在該劇場自成立以來的三十幾年間，一直為倫敦的觀眾呈現與時事緊密相關的政治故事或者由政治事件衍生出來的故事。這部《暴亂（The Riots）》就是根據去年的倫敦暴亂而作的一部“實錄劇”。從動亂開始，每一時刻都是通過不同身份的人來陳述而構成的。鬧事的小孩，警察，受襲擊的普通市民、政要、醫生、記者、律師、公交車司機、店員...每個人的角度不同，陳述的事件也就不一致，暴亂在他們的訴說裡生動而繁雜。可貴的在於這部作品並沒有試圖定義和總結，它只是儘力呈現和復原，讓一切聲音有個出口，一切聲音都得以聽見。每次演出之後，觀眾都可以留下參與討論，在原基礎上增加更多的聲音。這個活動同樣也受到學者的關注，倫敦政治經濟學院（LSE）的社會經濟學者也把他的研究工作帶到了劇場實踐中。

Located in northwest London, Tricycle Theatre is not easy to be found. Yet among theaters in London, its

name is familiar to many and being defined as a political theatre. Since its establishment of more than 30 years

ago, Tricycle Theatre has presented a variety of political stories related to current affairs or stories derived from political events.

The Riots builds a real-time picture of last year’s

riots in London. As the story unfolds, every moment is constituted of accounts by different people, such as the people who took part in the riots, police,

ordinary citizens who were victims, politicians, doctors, journalists, lawyers, bus drivers, sales assistants...whose accounts are not consistent with each other due to

their own perspectives. These accounts make the story vivid and intricate. The play does not attempt to judge or conclude the riots but tries to reproduce the scenes

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and let all voices being heard. After each performance, audiences are invited to discuss and then more voices will be added to the play. Many scholars are attracted by such practice, such as a scholar from LSE (London School of Economics and Political Science) even brought his research work to the theatre.

演出場地： Tricycle Theatre 三輪車劇場更多信息：ht t p: // w w w.t r i c yc l e. co. u k / h o m e /a b o u t- t h e - t r i c yc l e - p a g e s /

about-us-tab-menu/archive/archived-theatre-production/the-riots

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演出場地：National Theatre 英國國家劇院更多信息：www.dv8.co.uk

CWTAT Performer: Lee Davern © Matt Nettheim

CWTAT Performers: Hannes Langolf Christina May © Matt Nettheim

CWTAT Performer: Hannes Langolf ©Matt Nettheim

DV8 7190Seeta Patel © OliverManzi

DV8’s name comes from an American comic yet it is not to be investigated

DV8的名字來自一部並不暢銷的美國漫畫書，究竟這個劇團DV8

is for sure that it is the outstanding works of this dance theatre make the

的是讓DV8聲名遠颺的是這個舞蹈劇團的卓越作品。2012年8月，

Can We Talk about This?—by DV8. The story explores topics of free

我們能談論這些嗎？(Can We Talk About This? )》故事探討了自由

what is the relationship between the name and this comic. However, it

name famous. In August 2012, National Theatre staged the latest work— speech, censorship and Islam. Many real historical events were mentioned throughout the play. For example, the incineration event of Salman

Rushdie’s work—The Satanic Verses (1989) and the murder of filmmaker

Theo Van Gogh and so on. DV8 strives to review these events so as to have further discussions on the political pluralism, freedom of publication and

the art censorship through their works. Founded in 1986 by Lloyd Newson, DV8 has produced 17 highly acclaimed dance pieces and four award-

winning films by far. As the pioneer inviting disable dancers to perform, the unique forms of artistic development in physical performance wow all.

Physical Theatre和這本漫畫有什麼關係並不可查，但是可以確定英國國家劇院（National

Theatre）上演了DV8的最新一部作品《

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International Theatre Festival

國際戲劇節 As appealing platforms, international arts festivals enable many productions become available to more audience. During such a special year, 2012, eyes of the world have been on London for so long that plays on stage here turn a remarkably new chapter as well. ----------

具有號召力的國際性藝術節是許多作品得以面對更多觀眾的平台。在2012年這樣一個特殊的年份，世界的目光在英國停駐了良久，這也讓所有有幸在此上演的劇目注定書寫出了不同的篇章。

W atch IT - b y Jace k Hu b n e r - 28

2012 GLOBE TO GLOBE

WORLD SHAKESPEARE FESTIVAL 2012 “從環球到寰球”

世界莎士比亞戲劇節

37 plays in 37 languages were shown in this festival. With unprecedented

37齣劇目，37 種語言。此次活動充滿了前所未

various theatres from different countries. During the whole six weeks, national

不同的語言，被不同國家的劇團演出。整整六

ambition, the festival brought all Shakespeare’s plays in different languages via theatres, well-known artists as well as new theatres presented Shakespeare’s plays in their own languages every day in this unique venue where original appearance of Shakespeare’s time was reproduced.

有的野心，莎士比亞的全部戲劇作品都將被以週，國家級劇院，知名藝術家以及新型的劇團，每一天都會在這座獨特的、復原莎翁時代原貌的劇場裡以他們自己的語言演繹莎士比亞。

It is a high-profile act to call on artists from various countries to perform

如此高調地號召全世界各國的藝術家響應

motive of Shakespeare’s Globe, and even that of the British government is

一位英國劇作家的作品。莎士比亞寰球劇場

works of a British playwright under one roof within limited time, thus, the

tinted with chauvinism in the eyes of many critics and scholars. However, it is undeniable that performances in more than a month create unprecedented

opportunity for audience in London and even audience all over the world to know Shakespeare, a name equating to “theater”, in different linguistic and cultural contexts.

Due to linguistic and cultural differences caused by geographical differences, as well as some historical reasons, two theatres in China were invited to

participate in this festival, namely the National Theatre Company of China that represents the level of mainstream theatre of mainland China, and the Tang Shu-wing Theatre Studio that is an independent theatre from Hong Kong.

They respectively performed Richard III in Mandarin and Titus Andronicus in Cantonese, which present two types of distinct Chinese performance art for overseas audience in one festival.

Richard III was staged in London, which reminded audience between this

參與，在唯一指定的劇場，緊湊的時間，演出 (Shakespeare’s Globe)，甚至英國政府的動機在很多評論家和學者的眼裡有着沙文主義的色彩。但是不可否認的是，為期一個多月的演出活動為倫敦乃至世界觀眾帶來了前所未有的機會去瞭解這個幾乎已經和“戲劇”等同的名字在不同語言，文化背景下的認知。由於地域差異造成的語言文化差異，以及部分歷史原因，中國地區有兩個劇團受邀參加該次戲劇節，一個是代表中國大陸主流戲劇的國家話劇院，一個是來自香港的獨立劇團 “ 鄧樹榮工作室”，分別以普通話和粵語演繹《理查三世（Richard

III）》和《泰特斯•安多尼古

(Titus

Andronicus)》，在同一戲劇節，為海外觀眾們呈現了兩種截然不同的中國戲劇風貌。

monstrous story and current affairs. Perhaps this is the charm of Shakespeare’s

《理查三世》在倫敦的上演讓它的觀眾不由將

historical and geographical differences, and an old and even fictional story

許，這也正是莎翁作品的魅力，有關人性的剖

works, to be specific, the dissection of humanity in his works is beyond enables people to associate it with the present with the same feeling.

The director, stage designer and producer of this production respectively

introduced their concepts of the work and stories that happened during their visit to the United Kingdom.

這個畸形的故事和不久前的時事做了聯繫。也析，足以跨越歷史和地域，一個久遠，甚至虛構的故事卻能讓世人聯貫眼下，脊背發涼。該部作品的導演，舞臺設計師及製作人分別向我們介紹了創作的意圖以及此次來訪英國的故事。

Richard III

理查三世 Edited by 採訪整理 x Yiran Dong 董一燃, Jing Wang 王晶 TRANSLATED BY 翻譯 x Yu Chang 于暢 Images by courtesy of 圖片提供

National Theatre Company of China 中國國家話劇院

The director Xiaoying Wang1

導演：王曉鷹 1

We hope that we can perform this play of Shakespeare for

希望能用我們的理解來為英國觀眾演繹莎士比

This play is about power in a kingdom as early as 400 years

力的故事。但是，通過這個故事，我們很想探討

the British audience according to our understanding of it.

ago; however, through this story, we would like to explore

our understanding of ambition and desire for power, and test how a power struggle twists human nature and drives an

ordinary man to extremes. Thus, what we are talking about is

亞。這齣戲講的是早在400多年前，有關王國權我們對爭奪權力的野心和慾望的理解。我們想檢驗對權力的爭奪將怎樣扭曲人性，並將一個普通人推到邊緣。由於我們所講的不再是一個英國的理查三世的故事，因此他是不是駝背，或

no longer a story of Richard III; accordingly, whether he is a

者是否醜陋都不重要。我們將他的外表和內心

and we presume that his appearance and innermost being are

是更關注他的內心世界。但是，這樣就存在很多

hunchback or not, or whether he is ugly or not is unimportant, consistent with each other. We do not intend to reproduce British history, but pay more attention to Richard III’s inner

world, which, however, causes many problems. For example, in Shakespeare’s work, this role is a disabled man, and

readers in 400 years after the creation of this work has gotten accustomed to accepting such an image; nevertheless, in our production, we do not attach particular importance to the

appearance of Richard III. Normally, he is one ordinary man,

but there will be some changes in his appearance when the

demon in his heart makes trouble. In the entire performance, there are a total of three enthronement ceremonies, namely

the enthronement ceremony of Edward IV, that of Richard III

and that of Henry VII. The forms of these three ceremonies are

設置為一致。我們並不著意重現英國歷史，而問題。在莎士比亞的作品裡，這個角色是殘疾的，這樣的形象被之後 4 0 0 年的讀者都慣以接受了，在這裡我們並沒有特別關注理查的外形。通常情況下他是個常人，在內心的惡魔作怪的時候外形上會產生一些變化。在整場演出中，一共有三場登基典禮，愛德華四世，理查三世及亨利七世。三場典禮被設計成一樣的形式，用以表現人性中共同的對權力的慾望，而不僅僅是理查三世的，這在歷史上比比皆是。＂一個王國，換一匹馬！＂我們看到一個循環，而不僅僅是一個人。

designed as the same, so as to reflect the common lust for

劇本改編：羅大軍

mind, but also can be seen everywhere throughout history.

參演全球莎士比亞戲劇節，最初我們打算排演

see a cycle, rather than just a man.

部戲瞭解並不多。並且我們打算製作一部劇目

power in human nature, which not only found in Richard III’s ‘My kingdom for a horse’, from these words of Richard III we

The script adaptor Dajun Luo To participate in the World Shakespeare Festival, we originally intended to perform Henry V. However, the audiences of

China do not know much about this play of Shakespeare, so we decide to make a production that can not only be

presented in the UK, but also be included in the repertoire of the National Theatre Company of China, and finally,

we choose Richard III. This play of Shakespeare has been

performed in China in at least three versions. To meet

requirements of performances in the Shakespeare’s Global, such as the control of the number of performers and staff, two-hour stage construction and many other factors, we re-create the original script, making some deletions and

alterations to it. We adapt the play on the basis of several

versions of translations, focusing on Liang Shiqiu’s version of translation. The principle of adaption is that literary flavor of

《亨利五世》，但是中國觀眾對於莎士比亞的這不僅僅是能夠在英國演出，更希望能成為我們中國國家劇院的保留劇目，於是最後選擇了《理查三世》，莎士比亞的這部戲在中國至少演出過三個版本。為滿足在環球莎士比亞劇院演出的要求，如演職人員數量的控制、兩小時裝臺時間等諸多因素，我們對於劇本進行了再創作，做了部分刪除和改動。我們將多個翻譯版本作為改編的基礎，主要以梁實秋的翻譯本為主。我們改動的原則是：既要看到莎士比亞筆下的文學色彩，又不能失去這個戲與當今時代的關係。我們看莎士比亞的戲不是僅僅在看皇宮貴族的事，同時也是在看我們自己的事。在這個時代演繹這部作品，我們也想探討“我們為什麼活着？““我們該去追求些什麼？”這個版本裡我們重點刻畫了“皇冠是自己給佩戴的“。我們還想運用中國元素來表現莎士比亞，於是使用了三星堆 2 文化的視覺符號。在這部戲裡我們也使用了中國戲曲的表演方式，比如用京劇演員的身段語言表現”安夫人“的內心世界。

Shakespeare’s work should be reflected and meanwhile the relationship between this play and the present should not be ignored. When we see a performance of Shakespeare’s

play, we not only see matters of royal and aristocratic family, but also our own matters. When performing this play in this era, we also want to explore “why do we live?” and “what should we pursue?” In our version, we attach importance

to indicating “a crown is worn by oneself ”. We would like to

use Chinese elements to show Shakespeare’s play, so we use visual symbols of Sanxingdui Culture2. In the performance, we also use the ways of performance in Chinese opera, for

example, the inner world of Mrs. Annie is reflected through figures of Peking Opera performers.

The stage designer Kedong Liu With a wood, high, open-air and enclosed stage, the physical conformation of the stage of the Shakespeare’s Globe is very similar to that of ancient stages in China, so I graft the forms

of Chujiang (entering on the stage) and Ruxiang (exiting) on a Chinese opera stage onto Shakespeare’s play. The Dwelling in the Fuchun Mountains, a painting by Huang Gongwang who

is a Yuan Dynasty painter, is placed in the rear of the stage, so that Chujiang and Ruxiang are reasonably arranged. Xu Bing,

the famous Chinese artist, specially writes some unique words for the play of Richard III, which, together with rice paper,

constitutes a Shoujiu (curtains on an ancient Chinese opera stage), namely the stage background of traditional Chinese

opera. We transfer the emotions conveyed by Chinese paper and China ink to Shakespeare’s era, and we expect that such a spatial design would produce a chemical reaction in the

Shakespeare’s Globe in London. Unfortunately, due to a delay in transport by sea, not all visual effects are reflected on the

stage as we expected, so there appears “the empty space” in the UK.

舞臺設計：劉科棟面對物理空間與中國古戲臺十分相似的環球劇院舞臺時，木質、高臺、露天、圍合方式，讓我將中國戲曲舞臺的“出將、入相” 架構到了莎士比亞的劇作裡。並將元朝畫家黃公望的《富春山居圖》居於舞臺後區，出將、入相便有了合理的出場。著名藝術家徐冰特地為《理查三世》抒寫了獨特的文字，這些文字與中國紙張構成一道“守舊”，也就是中國傳統戲裡的舞臺背景，將中國紙、墨所承載的情感和方式置入莎士比亞的時代。這樣的空間設計期待在英國倫敦的環球莎士比亞劇場實現一次化學反應。可巧因為海運延誤之故，所有的視覺呈現完全沒有如期體現在舞臺上，於是便有了這一次在英國的“空的空間”。

The producer Jiaou Li The Shakespeare’s Globe has its own unique resources, namely

a recreated theater of Shakespeare’s time. In this space, artists all over the world are invited to stage plays created a few hundred years ago in their own languages and ways in one theater,

which will be a “carnival” (quoted from the official website of

the Shakespeare’s Globe). In mid-2011, the organizers contacted Director Wang Xiaoying of the National Theatre Company of

China, hoping that he can present Richard III for this theater

festival. The NTCC raises funds by itself, apply for the subsidies of

the Ministry of Culture, and find sponsorship from some personal funds, all of which contribute to the participation in this theater

festival. Because of the weather, the costumes and properties for

Richard III fail to be transported on time, but the Shakespeare’s Globe gives us a lot of support and finds some musical

instruments and properties within two days, guaranteeing our

performance. This is the first time when a Chinese stage play is performed on the mainstream stage of the UK.

製作人：李家謳據主辦方的意願，莎士比亞環球劇場有着自己獨特的資源，那就是復原的莎士比亞時代的劇場。在這個空間裡，邀請世界各地的藝術家，以他們自己的語言和方式在同一個劇場上演幾百年前的劇本，將是一次“嘉年華”。2011年中旬，主辦方聯繫到了中國國家話劇院的王曉鷹導演，希望其為這次盛會呈現《理查三世》。劇院自籌資金，申領文化部的基金，並受到了部分個人資金贊助，才得以促成此次參演。因為天氣原因，《理查三世》的服裝和道具都沒能按時抵達，環球劇場方面給予了很大的支持，在兩天之內湊到了部分樂器和道具才保證了演出。這是中國話劇第一次在英國主流舞臺上演出。

1. According to the interview with the Royal

1 . 根據莎士比亞皇家劇團的

Shakespeare Theatre.

採訪整理

2. Sanxingdui (literally “three stars mound”) is the name

2. 三星堆：位於中國四川廣

of an archaeological site and its deduced culture in

Sichuan, China, now believed to be the site of an ancient Chinese city. The previously unknown Bronze Age

culture was re-discovered in 1987 when archaeologists

excavated remarkable artifacts, that radiocarbon dating dated as being from the 12th-11th centuries BC. The

culture that produced these artifacts is now known as the Sanxingdui Culture, and archeaologists are identifying it with the ancient kingdom of Shu.

漢地區，屬青銅時代文化遺址。距今已有5000至3000年歷史，是迄今在西南地區發現的範圍最大、延續時間最長、文化內涵最豐富的古城、古國、古蜀文化遺址。三星堆古遺址被稱為20世紀人類最偉大的考古發現之一，也被譽為“長江文明之源”。

Titus Andronicus 泰特斯•安多尼古 Text by 撰文 x Dr. Ruru Li 李如茹

TRANSLATED BY 翻譯 x Dr.Ruru Li 李如茹, Chang Yu 于暢 Images by courtesy of 圖片提供 x Dr. Ruru Li 李如茹

Titus Andronicus, which is known for blood and gore has never been a popular Shakespeare’s play. In China, the only record of

performance of it is a student work from Shanghai Theater Academy in the first Shakespeare Festival in 1986. This version of Titus Andronicus is a new production created by Director Tang Shu-wing on the basis of the version staged in Hong Kong Arts Festival

in 2008 and the subsequent Titus 2.0. It is better to say that Shakespeare’s plays are just a reason to explore theatre than to say that

this production aims to explore the meaning of Shakespeare’s plays. Titus Andronicus has a minimalist style of theater, and thus the Shakespeare’s Globe is a perfectly suitable place for performance.

----------

以血腥，暴力著稱的《泰特斯•安多尼古》從來不是一個熱門的莎翁劇本。在中國，唯一的演出紀錄是在1986年首屆莎士比亞戲劇節上的上海戲劇學院學生作品。這一個版本是鄧樹榮導演基於2008年香港藝術節的版本及其後續演繹的《泰特斯2.0》創作的新作品。與其說這部作品在挖掘莎劇的內涵，不如說莎劇只是一個對於戲劇表演探索的理由。《泰特斯•安多尼古》秉承簡約劇場的風格，環球劇場是得天獨厚的場所。

Titus Andronicus is the first play of Shakespeare, which is a revenge

《泰特斯•安多尼古》是莎士比亞首個劇本，一

absurdity, and can be regarded as the most brutal and violent work

謬，堪稱莎翁最殘酷暴力的作品。然而，在現今

story that happened in ancient Rome. It is full of bloodiness and

of Shakespeare. However, our so-called highly civilized society is

still filled with all kinds of violence, how can such a play attract the audience? ‘The play is cruel. Yet the cruelty is not limited to one’s body but in one’s thoughts. That is to say both the language and ideas can be cruel. Everyone has also the chance to be cruel and violent. As Buddhism believes ‘an idea derives from one’s heart;

an idea can make a person a Buddha.’ Thus I feel the spirit behind the plot and story is relevant to us today… Today’s world is full of

violence that we can see. Yet there are hidden ones. Violence can

be the language, concrete behaviour or even the eye expressions.

I hope that this production shows how we should control our own violence and make the world in peace’. Director of the play Tung Shu-wing said.

個在古羅馬發生的復仇故事，充滿了血腥和荒紛亂、充斥各式暴力的社會，這樣一個劇目要如何吸引觀眾？“沒錯，它的題材很殘酷，但殘酷不純粹侷限於身體上，而是意識上，即語言、想法上的殘酷，每個人也有機會犯種種殘酷行為，正如佛家所言’一念在心，一念成佛 ’，所以我覺得這個題材和故事背後的精神與今天的我們依然息息相關。劇本探討的是深層次的人性，或許每個人都有暴力的傾向，只是都各自抑壓着。這個世界充斥明暴力，但也有很多暗暴力湧現。暴力可以是語言、具體行為，甚至眼神。我希望透過這齣話劇表達人該如何控制自己的暴力，令世界變得更和平。” ─ ─導演鄧樹榮

Aspects of the production may be criticized. Indeed, I would

在某些方面上，這部作品也許會引起爭議。

continue through the rest of the performance, while the chairs

故事的敘述方式並沒有持續，椅子也不再使

question why the potent style of story-telling in act one did not were not used again. Yet it should be noted that the Cantonese Titus Andronicus was not tailored for the 2012 ‘Globe to Globe

Festival’ but had originated some years previously to address the diverse perspectives and cultures of Hong Kong’s inhabitants.

First presented in 2008 and then recreated in 2009 after receiving comments from local audiences, the production expressed the

practitioners’ understanding of Shakespeare’s play and the way that

this work – overcoming its cultural distances from the era and locale of Shakespeare’s life – could assist twenty-first-century Hong Kong

artists to explore their concerns about today’s society and to pursue their individual artistic style. Not only an example of the diversity of

today’s theatre in Hong Kong, it is also a statement that Shakespeare is ‘not of an age, but for all time’ and for everyone in the world.

事實上，我也在想，為什麼在整部作品中，講用了。應該注意的是，這部作品並不是為此次戲劇節量身定做的，而是幾年前為體現香港的文化多樣性而創作，作品曾在 2 0 0 8 年首演，2 0 0 9 年吸取當地觀眾建議改編後重演。這部作品體現了創作者對於莎士比亞戲劇的理解，以及他們創作的方式 — — 踰越了在時間和空間上與莎士比亞生活的差異。這很有利於21世紀的香港藝術家去體現他們對於當今社會的擔憂以及展示每個人不同的藝術風格。這種多樣性不僅僅是體現在當下的香港劇場，更是體現在現今世界，莎士比亞不僅僅是一個年代的，而是與時俱進的，是呈獻給世界上每一個人的。

World Stages London

Interview with Gongxin Wang 世界呈現倫敦

對話王功新 Interviewed by 採訪 x Jing Wang 王晶

TRANSLATED BY 翻譯 x Syndi Huang 黃煥欣 IMAGES BY COURTESY OF 圖片提供

Young Vic Theatre 青年維克劇院, Gongxin Wang 王功新

World Stages London is a once-in-a-lifetime theatre festival. Eight leading London theaters for the first time work together, inviting artists all over the world to present the world on contemporary stages from the perspective of London. The theme of this theater festival is London in the world, the world in London. Wild Swans that was jointly produced by

Young Vic Theater, American Repertory Theater, and Actors Touring Company staged the documentary work of British Chinese writer Jung Chang with the same name; and Wang Gungxin, a Chinese visual artist, for the first time participated in theater productions. ----------

“世界呈現倫敦（World Stages London）”是一次絶無僅有的戲劇藝術節。倫敦八家領先的劇場首度聯合，邀約來自世界各地的藝術家合作，在當代舞臺上以倫敦的視角呈現世界的面貌。世界的倫敦，倫敦的世界，是此次戲劇節的主題。由Young Vic Theatre，American Repertory Theater以及Actors Touring Company聯合製作的《野天鵝（Wild Swans）》將華裔作家張戎的同名文學作品搬上舞臺。中國視覺藝術家王功新首度跨界參與舞臺劇創作。

Wild Sw an s - th e Red G uards Ph oto by Ch ris N ash

Art.Zip: Is Wild Swans produced by Young Vic Theatre your first

ART.ZIP: Young Vic Theatre製作的舞臺劇《野

Wang: Yes, it is indeed my first time to take part in this kind of

W A N G : 這次確實是我第一次參與劇場舞臺藝

incidental. When director Sacha Wares called and invited me to

Theatre 的合作也算是機緣巧合，最早薩莎•沃爾斯

theatre project?

crossover work. This collaboration with Young Vic Theatre is quite be part of creating this play, I thought she might have called the wrong person by mistake. Then she explained it is because she

saw my artwork in an exhibition before, and found it very relevant to this play. Therefore, she asked me to take part in the visual creation for the play.

天鵝》是您第一次參與劇場藝術的創作嗎？

術的創作，也算是“跨界”了吧，這次與Young

Vic

（Sacha Wares）導演給我打電話邀請參與這個劇創作的時候,我還以為她打錯電話找錯人了呢，後來薩莎•沃爾斯說是因為在一次展覽上看到了我的作品，覺得我的影像作品非常適合這個劇，所以才特地找到我來合作這個劇的影像創作部分。

Art.Zip: Do you find any difference when reading the script of

ART.ZIP: 能否談談您閲讀《野天鵝》這部文學

Wang: It is interesting that I actually rarely read script before,

WANG: 這個問題很有意思，對小說這種文學形

asked me to start with reading the English script, which I found

始接觸這個劇的時候，導演和編劇首先讓我看

Wild Swans from the original novel?

but I am very familiar with novel. The director and scriptwriter little difficulty. The script is filled with conversations to depict

and develop the story. But since I have been involved in visual art for a long time, I am more used to think and work in a

visual way, which is quite different from thinking in this kind of

conversational way. Therefore, when I read the script, I needed to get back to the novel to ensure the plot and story development. Art.Zip: What triggers you to be part of Wild Swans

collaboration, or decide to make this creative crossover? Wang: There are several reasons. First, I found it very attractive because theatre was very new to me, as I did not have the experience before to be involved in this kind of art form.

作品和劇本這兩個不同文學載體的感受？

式我還是很熟悉的，但劇本確實很少看，剛開

的是英文劇本，這個問題倒不大，但是劇本是全部通過對話來描繪情節和展開故事的，可能是由於我長期從事視覺藝術的工作，特別願意用形象來思維和工作，所以我是一邊看著劇本，一邊對照小說來確認故事發展的狀態和環境，劇本這種以語言對話的表現形式和我從前習慣的思維模式不是很一樣。 ART.ZIP: 您為什麼會接受《野天鵝》的創作邀約？亦或是您希望嘗試一次跨界的藝術創作？

WA N G :接受這個劇的創作邀請有幾方面的原因，首先來說，參與戲劇的創作對我來說

And also Young Vic Theatre and the director Sacha Wares

很新鮮，也是以前沒參與過的藝術形式。另

viewpoints of art attract me most. Besides, the contemporary

他們的學術水準和關注的藝術方向非常吸引

have a great reputation in this field. Their high-level skills and visual art, or its concept, has always been restrained in limited spaces, such as museums and galleries, this kind of black or

white spaces, where the artworks are always displayed in certain planned places. I think this has limited the visual art form to

some degree. In terms of visual art, or being involved in visual art, I acknowledge the essence is not just the art form itself,

but how we see and examine the way we live through this art medium. For me, this is the basis and nature of art creativity. Hence, whenever any form of art has been formularized, we have to question it in a critical way. This is the way how I

approach to work. I am hoping through crossover collaborations I can find more possibilities in visual art, with regard to its forms, representations, means of modern technology, and also the relationship between the artwork and space.

Art.Zip: How do you find working with the Wild Swans director? WAng: It is quite a long process. I reckon any collaboration

comes with adjustment and adaptation. To make the story short,

我。此外，我覺得當下的影像藝術，或者說當代藝術概念一直是被限制在博物館或者畫廊這種白空間或者黑匣子裡，作品總是被放在設定好的空間，這是否在某種程度上限制了影像藝術的發展。我覺得不僅僅是影像藝術，作為從事當代藝術的人，最本質的不是藝術形式本身，而是對於我們來講，通過藝術這種方式對我們自身生活方式的審視和質疑，我覺得這是我們做藝術的出發點和本質，因此，當任何一種藝術形式被程式化以後，我們都會用一種質疑的思維去思考，這也符合我做藝術的出發點，我也是希望通過跨界這個方式企圖找到更多的可能性，對於當代藝術本身，對影像藝術，從方式，表現形式，到運用當代科技的方法，還有作品與空間之間新的關係。 ART.ZIP: 能否具體地談談您與《野天鵝》導演合作的過程？

the greatest experience I have found from this collaboration

WANG: 這是個很長的話題，任何的一種合作都

personal contemporary artworks, I can just pay all the attention

說，經過這次合作，我最大的體會是在合作的

is learning to make mutual compromise. When creating my to my own opinions. However, while doing collaborations,

especially in theatre, I realize it is necessary to maintain mutual compromise. It is the lesson I have learned from working for

this play and with the director. I think this is very critical with W IL D S WANS ki n gw i l l 17

外，Young Vic劇院以及此劇的導演非常優秀，

respect to the nature of the theatre, which is very different from

producing my own artworks when sticking to personal opinions

是磨合的過程，相互適應的過程，比較簡單的過程中相互妥協。我從事當代藝術的過程中，在對待自己的創作和作品時候，我可以真正做到不妥協，但是在和別人合作的過程中，尤其是戲劇的創作過程中我認識到大家必須相互妥協。通過這個劇和導演的合作，我可以說是學會了一種在合作上的妥協，由於話劇這種藝術形式

is more vital. As an artist, to be a partner with the director

本身的特點，這種妥協是必要的。不像是在我自

to the director’s opinions.

時候很偏執。在話劇創作的時候，我作為一個

throughout the production process, I need to respect and listen

Art.Zip: It seems it is typical for individual artists to work on their owns, while theatre requires collaboration. Did the collaborative

和導演共同創作的藝術家的角度，還是要在很多時候要尊重導演的意願。

work bring you any difficulties?

ART.ZIP: 作為藝術家，獨立而個人的工作方式

Wang: It is not quite much of a difficulty in general. But I did at

合作的工作方式。這樣的工作方式是否給您帶

the beginning find myself not getting used to this collaborative work, as I mainly did my personal work before. Therefore, I was

是顯著的特點，但是在劇場藝術中是一個集體來了不少的困惑？

often quite self-centred to pursue and keep pushing my own

WANG: 困擾倒談不上，但一開始確實不是很適

other collaborators, and I did not expect a large amount of time

追求把自己的想法發揮到極致，但在這劇的創

ideas. But for theatre, as I mentioned before, I had to work with having been spent in planning and communicating. Although I am very familiar with visual art, the technical facilities and

editing skills for creating theatre art visuals sound fresh to me.

Therefore, I must communicate thoroughly with the technicians to understand the technical possibilities, so as to work out the

best way to present the play, and also the best way to work with the director. The language for communication was a problem. Even though I have lived in America for many years, I still find

some difficulties in communicating in English concerning the

technical specialties and complicated concepts. For this reason, a lot of time has spent in communicating between the technicians and translators in order to convey the accurate information and

feedbacks. Moreover, the production process was taking place in Beijing, London and Boston, three different places further away. Consequently, we had to sort out the difficulties of information transmitting and sharing. And any new ideas or small changes required an enormous amount of communication.

應，在以往的個人創作當中，我是會比較偏執，

作過程中，我上面也說到了，必須和各個部分進行溝通合作，讓我沒想到的是在合作過程中大部分時間都花費在了協同和溝通上。我雖然是從事影像藝術的創作，但舞臺影像的設備控制，編輯方式對我是一個新的領域，必須與技術人員進行大量的交流，瞭解技術上的可能性，才能找到準確的表達方式，才能更好的和導演相互配合，這其中又包括語言上的問題，雖然我在美國生活很多年，但遇到專業性的技術問題和複雜概念的交流的時候還是不如母語運用得得心應手，因此，在技術人員，翻譯人員之間傳達準確的信息及反饋都耗費了非常多的時間，而且，這個劇創作的時候，我們是在中國北京、英國倫敦還有美國波士頓幾個不同的地域進行，這期間需要克服很多信息傳遞，分享的困難，這些因素都導致了每一個很小的想法或者變化都會經過非常複雜的交流和溝通才能實現。

But in general, I am very impressed from this collaboration by

這次的合作讓我感觸最深的也是英國劇院這

UK and the US) project has made a profound impact on me,

跨地域的合作，這次全球跨時區協同合作對我

the productivity of British theatre. This cross-country (China, the to enable experience the specialized and internationally high standard of British theatre art, and their sophisticated project management skills.

Art.Zip: How about your collaboration with the stage designer

邊的製作能力，這次的團隊作業經常是中英美來說是一次非常有意義的體驗，而且通過這樣的合作也體會到英國劇院藝術在製作方面的專業化和國際化，對項目管理的管控和操作非常的嚴謹細緻。

Miriam Buetherh. Did you have any influence on each other?

ART.ZIP: 您與《野天鵝》的舞臺設計米瑞安•布

Wang: It is a great pleasure to work with Miriam. We have

間產生了怎樣的相互影響？

worked very well together. She was able to understand and W il d S w a n s - Ka t i e Leu n g a s Er H o n g and Ron Nakahara a s D i r e c t o r Yo n g P h o t o by C h r i s N a sh

己創作藝術作品的時候需要非常執着，甚至有

希（Miriam Buetherh）合作的過程中，您們之

accept most of my ideas. But the director Sacha mentioned at

WANG:

many of her ideas have been turned down by Miriam, which

的理解並且接受，在合作之初，導演說她與米

the beginning, she has worked with Miriam for many years. And brought her much trouble. However, Miriam and I have had a lot in common concerning the structure and visual presentation of

我和米瑞安在這次合作中配合的相當

愉快，也非常默契，我很多的想法她都能非常快瑞安合作了很多年，導演提出的想法有時候會被米瑞安很直接的 “ 槍斃”掉，給導演製造了所

theatre. Therefore, everything went quite smoothly between us. I assume it is quite a fate of luck.

Art.Zip: What is your inspiration for Wild Swans with respect to

visual art?

Wang: Although I often watch theatre, I did not have the

experience of being part in the production process. I was very

探討劇的結構和影像表現形式的時候，我的想法和米瑞安很契合，溝通非常順利，也是非常有緣分。 ART.ZIP: 能否談談您在《野天鵝》這部作品裡影像藝術部分的創作構想？

excited when being offered this opportunity, hoping to bring

WANG: 首先我覺得我沒做過戲劇，但經常看舞

in this field before. Therefore, I was not restrained by any rules

個劇的時候我很興奮，希望將自己個人的影像

my personal visual creation into the production. I had not been of theatre creation, and I was able to use my own way for the creativity. This probably is what the director was looking for,

since she did not approach any theatre related experts, but an artist who is unfamiliar with this field. She seemed wanting to

challenge and explore the possibilities of theatre with other art form creativity.

臺劇，但沒親身參與過戲劇的創作，我接到這

創作的方式帶入其中，雖然我是外行，但我正是以這種沒有固定模式的法則來參與創作，而且導演也正是希望這樣，他並沒有找個舞臺美術專家，而是找到一個藝術家，也是希望藉由通過舞臺以外其他的藝術形式的創造力來開拓這個劇的結構。

My inspiration is to expand the visual space of the stage and

我更多的構想是把舞臺和劇院空間的概念拓展

on the audience when the play came to the end, and place

眾的身上，而且將音響設備放到每一個座位下

theatre. At the beginning, I was attempting to project the visuals sound systems under each audience seat in order to achieve the purpose of expanding the stage to cover the whole theatre. This

was to make the whole theatre as a stage, to demolish the ‘fourth wall’, the wall that is between the stage and the audience.

開，最初想法是在劇結束的時候將投影打到觀面，然後讓舞臺擴大，把劇院作為整個展示空間來運用，破掉所謂的“第四堵”牆，就是觀眾與舞臺之間的牆。我希望在劇結束的時候運用影像將舞臺擴展開來。

Sacha, Miriam and I were all very excited about the idea, eager

米瑞安、導演和我都很興奮，希望把這些想法

idea is, there are always restrictions, such as budgets, regulations,

約，比如預算，法規等，比如為了保護觀眾，法

to make it come true. However, no matter how wonderful an etc. For example, by law, we are not allowed to project visual

images on the audience. It is due to audience health and safety

protection, since the projection might do harm to the eyes of the audience. And the director also concerned about the aspect of story narration and overall presentation. Therefore, we needed to compromise in the end, and knocked down the idea. It was

quite a pity. But it is how thing happens sometimes. In this play,

I have applied many video language, such as ‘Stop’, or arranging performers into the visuals to create the effect of being in

swapping existence between the real and the artificial creation. Art.Zip: When you sit in the auditorium watching Wild Swans,

how do you find this play from an audience’s point of view? And

Wild Swans - KaLing Cheung as De -H o n g a n d J u l y a n a S o e l i s t y o as Yu -F a n g Ph o t o by C h r i s N a sh

謂的很多麻煩，但是我們這次的合作過程中，在

實現，但很多時候想法受到各方面的限制和制律不允許把投影打到觀眾身上，怕傷害眼睛等等，而且導演也要考慮到劇情和整體的表現效果，後來就必須得妥協，雖然很無奈，但是沒有辦法。在劇裡，我運用了很多影像語言本身的因素，比如運用“暫停”這樣的錄影語言，或者是將真實的演員疊加到影片之中，產生演員在虛擬影像和現實之間互換的這種效果等等。 ART.ZIP:

當您坐在劇場中，觀看《野天鵝》這

部舞臺劇時作為觀眾的您對於這部戲是怎樣的感受？對於您自己的影像創作部分又是怎樣的感受？

how about your part of creation for the play?

WANG: 這個感受挺有意思的，當你創作的時候

Wang: I felt very interesting indeed. For the production work,

個劇上演的時候它變為了一個整體，當你和觀

I just participated in part of the process, while as an audience, I

experienced the whole process, from the beginning till the end of the show with other audience. I did not merely pay attention to

my own creation itself, but the entire play as a whole. In the past,

你是從一個比較局部的角度來參與，當最後這

眾一起從入場到結束，變成了不單單是關注自己創作的影像那一部分，而是整個影像對整個劇的作用。不知是不是因為我參與了這個劇的創作，以前經常去看舞臺劇，不過很多戲看過了

I could just watch a play only for one time, and did not have the

就不會有耐心再看一邊。可是這個戲，從開始

watched the rehearsals and the shows for many times, I am still

真的是看了還願意再看，好多人也問我這個事

patience to watch it again. But for this play, even though I have

not fed up with it yet. It is probably because I have been involved in this production. I am willing to watch it again and again. Many people are quite curious about this. To be honest, I am indeed

obsessed with this play. There is always something new, beside the part I produced, surprises me when I watch it again and again.

Art.Zip: Your artworks are often presented in galleries or similar public spaces. But for this time, it is in the theatre with specific

到排練到結束我看了好多遍了，說句真誠的話，情，這個劇還是真的每次看的時候都能找到吸引我的東西，不僅僅是我做的那部分。 ART.ZIP: 您的藝術作品常常呈現在畫廊或者公共空間，但此次在劇場空間裡的呈現，同時還

具有典型的時間性和敘事性。這樣一次創作方式對於您的個人創作有什麼啟發嗎？

timing and story telling. Does it have any impact on you?

WANG:

Wang: From this production, I find theatre focus more on

情感，或者通過故事，特別是故事情節，所以影

narration and sequence, the story narration in particular, to

express emotions. In this case, the visuals follow to lay more

weight on depicting the time and the story. This is the way how I

applied visuals for this play with the purpose to develop the story and context. This production experience makes me realize the

difference between visual art creation and theatre production.

There are more functionalities and focuses when creating visual art. But it is not necessary to practise all the elements on my artworks.

If it is for my own practice, I would prefer to pick the main focused elements of visual art, which are different from those of theatre, such as high-resolution visual images and colours.

Art.Zip: Is there any difference between the relationships of

通過參與劇場這種表現形式，更能體

會到戲劇更注重敘事性和時間性，來傳達一種像在這個劇更多的是偏重來描述一種時間性和敘事性。我在這個劇採用的方式都是配合和描述劇情的發展和語境。作為我個人的創作上來講，這個劇讓我更認識到影像藝術與戲劇的不同，影像藝術會有更多的功能和不同的關注點，但我不一定會將這些功能帶入我的作品，我自己的作品上可能會選擇更拉開影像藝術和戲劇表達方式上的這些不同，比如高清影像的形象，色彩這些可能有別於戲劇關注點的方面。 ART.ZIP: 在劇場中觀眾與作品的面對面，與在畫廊裡觀眾與作品的面對面有什麼不同？

theatre-to-audience and gallery-to-viewers?

WANG:

Wang: It could be quite a very specific but at the same very

說，戲劇是在一個時間段內觀眾有充足思想準

abstract answer, as it is related to two kinds of art forms and

the ways how audience and viewers experience these two arts.

Simply to say, audience enter the theatre expecting to experience in a full story from the beginning till the end within specific timing. On the other hand, people go to a gallery not to be

required to enter there in any specific time, nor do they look for any whole story narration. If viewers are not interested in some visual artworks in the gallery, they can choose to walk away.

However, once audience buy tickets for a show and sit in the

theatre, no matter if they pay any interests in the story or not, but due to moral respects, they would stay there until the end. These are the fundamental differences between the two relationships. It is also the essential reason that I took this collaboration

這個問題很具體又很大，牽扯到兩種

藝術方式及受眾群觀看方式的不同，簡單上來備的進入到一個故事當中去，從頭到尾的欣賞一個完整的情節，而畫廊裡面對時間上的強制性不強，任何人任何時間都可以走進畫廊看到影像作品，所以在畫廊裡的影像作品強調敘事和時間性對觀眾來說意義不大，因為觀眾走進畫廊心理上的準備是來欣賞一件藝術作品而不是來從頭到尾聽一個故事。影像作品在畫廊裡，觀眾看兩眼覺得很難進入，很難理解，可能不喜歡，然後轉臉就會走，甚至有的都不會走近觀看，但是戲劇不同，觀眾買了票，坐在劇場裡，不管喜不喜歡，基本上還是尊重一個社會規則就是要把它看完，這可以是說最表面的一個不同。

opportunity, not just to find out the differences between these

這也是我願意參與這個跨界和這個劇創作的

and viewers, but to question these existing differences which are

看方式的不同就有所不同，而是對一種既有規

two art forms and the relationships of them with their audience

worth bearing in mind: why stories have to be narrated from the

一個本質出發點，不能說影像藝術與戲劇有觀則和習慣的質疑，為什麼故事就一定要從頭講

beginning till the end; why theatre has to be presented in limited

到尾？為什麼戲劇一定要在黑屋子裡上呈現？或者說為什麼畫廊裡的

convey the messages through full story telling?

該存在。

dark places; and why the artworks in the galleries could not

藝術作品就不能通過一個故事來傳達觀念？我覺得這種質疑的態度應

Edinburgh Festival Fringe

愛丁堡邊緣戲劇節 Text by 撰文 x Yiran Dong 董一燃

TRANSLATED BY 翻譯 x Chang Yu 于暢 IMAGES BY COURTESY OF 圖片提供

Edinburgh Festival Fringe 愛丁堡邊緣戲劇節,

Made in Scotland Showcase 蘇格蘭製造，Ace Xie 謝達明

Edinburgh Festival Fringe is the largest arts festival in the world, and in the 25-day Edinburgh Festival Fringe 2012, 2,695 works from 47 countries were staged. The Fringe is also the freest theater festival in the world, for it establishes no selection committee to ensure the

diversity of entries. Thus it is a heaven for the presentation of many experimental works. The organizing committee is mainly responsible for unified publicity for the festival, programming and ticketing, while negotiation of theaters and publicity for shows should be in the

charge of each theatrical company. In 1947, to promote British arts in the wake of the Second World War, the British government decided to host an invitational international arts festival in Edinburgh; however, when the first Edinburgh International Festival was held, eight

theatrical companies turned up uninvited, and performed outside the main venue. They did not have professional stages and facilities

and made no preparation, but they performed according to local conditions, which provided the audience with fresh experiences. Since

then, every year, when the International Festival is held, the Fringe is held as scheduled at the same time. To this day, the original features

have still been retained. Most performances are not given in perfect theaters, so any conceivable place such as bars, schools, churches, the open air, etc. can be a venue for a performance. Since there are a great number of shows, it becomes great fun selecting what you like for

enjoyment as well. Selection lists of many well-known theater critics will be quickly spread shortly after the start of the Fringe, causing that a lot of shows will be instantly sold out. Nevertheless, most of shows still need to attract the attention of the audience through a variety of ways, thus street publicity also becomes a unique landscape of the Fringe. ----------

愛丁堡邊緣戲劇節（Edinburgh Festival Fringe）是世界上最大的藝術節，今年長達25天的藝術節彙集了47個國家2695部作品。愛丁堡邊緣戲劇節也是世界上最自由的戲劇節，不設選拔委員會，以此保證參加作品的多樣性，因此這裡是很多實驗作品展示的天堂。組委會的主要工作是完成統一宣傳、節目編排和售票。劇場洽談和劇目宣傳都要各個劇團獨自負責。1947年，二戰結束後，為了振興英國藝術，英國政府最終選定愛丁堡組織邀請性質的國際藝術節，然而在第一次藝術節舉辦之際，有八家劇團沒有被邀請參加，這八家劇團卻都前往愛丁堡，並在主會場之外進行了演出。他們並沒有專業的場所，設施和準備，卻發揮了因地制宜的優勢，讓觀眾耳目一新。從此之後，每年，與國際藝術節同期，邊緣藝術節也如期舉行。時至今天，當初的特色依舊保存。大多數劇目的演出並不是在完善的劇場上演，比如酒吧、學校、教堂、戶外等等任何可以想像的地方都可以是演出的場所。由於劇目的繁多，挑選觀看也成為很多戲迷的一大樂趣。很多著名戲劇評論家的選單在藝術節開始後不久就會被瘋傳，導致很多劇目門票瞬間告罄。但是大多數的劇目還是要通過多樣的方式吸引觀眾，因此街頭宣傳也成為愛丁堡邊緣藝術節特有的一道風景。

Even a greatest artist would remain modest when he faces the

即使是最偉大的藝術家，面對愛丁堡邊緣戲劇

equality and freedom. In such an arts festival, it is a problem

的，因此是否能與觀眾見面都是問題，顯然和

Edinburgh Festival Fringe, for the nature of this arts festival is

that whether a production can be seen by the audience or not, which is obviously different from an ordinary theater that has a condescending feeling, thus, in most cases, only the word

節也會保持謙虛，藝術節的性質是平等與自由通常劇場的那種居高臨下不同，更多的情況下，只能用緣分二字形容誰能看到誰的作品。

“destiny” could explain the result that who can see whose works.

今年的愛丁堡邊緣戲劇節上有四部來自中國的

Fringe. Although they are small in number, they can represent

國當代戲劇的不同狀態。一部學生作品，一部香

There are four works presented in this year’s Edinburgh Festival

different states of contemporary Chinese theater to some extent. There are a student work, a work from an independent theater

studio in Hong Kong, and two works recommended by Beijing

Fringe Festival, among which Two Dogs’ Opinion on Life is the most mature one and it has been staged for nearly a thousand times, while remaining works are relatively experimental.

When Two Dogs’ Opinion on Life was performed in Edinburgh,

the name was shortened to Two Dogs, and the poster for it took

a world map as its background. In a few years after the play came

into being in 2007, it has been staged for nearly a thousand times in large and medium-sized cities in China and its commercial success makes plenty of people optimistic about the market

potential in China. The performance in Edinburgh is not the first time that Two Dogs is presented for foreign audiences, for it

once participated in Festival d’Avignon and was staged in the

Kennedy Center, thus, it is performed in a more relaxed way than

作品。雖然數量不多，但基本上可以分別代表中港獨立工作室作品，兩部北京青年戲劇節選送作品，其中最成熟的《兩隻狗的生活意見》已經上演近千場，其餘幾部作品相對具有實驗性質。《兩隻狗的生活意見》在愛丁堡的演出更換了劇名，簡略為《兩隻狗》，海報更是以世界地圖為背景。從20 07年面世至今短短幾年時間已經在中國的各大中城市上演了近千場，它的商業成功讓無數人看好中國市場的潛力。這不是《兩隻狗》第一次面對外國觀眾，曾經參與過阿維農戲劇節（Festival d’Avignon）並在甘迺迪中心演出過的《兩隻狗》比很多中國本土作品都顯得要放得開一些。此次演出使用英文非常出人意料，中式英文（Chin glish）的喜劇效果也是作品的再次創作，因地制宜地進行改變的靈活性非常值得稱道。

many other Chinese works. The use of English in this performance

《我是月亮》是南京大學藝碩劇團的學生作

creation of the original work. Flexibly making changes according

把學生們的作品帶給了英國人民。在愛丁堡密

comes as a surprise, and the comic effect of Chinglish is also reto local conditions is highly commendable.

I Am a Moon is a student work from Yesoo Company, Nanjing

University, China. This time, Professor Lv Xiaoping who has been

stressed that theater is for the people brings the work of students to the British audience. In the close-packed arrangement of

品。一直強調戲劇是人民的呂效平教授這一次集的日程中，演員們不僅要迅速適應劇場和有限時間的遷換場地，而且還要迅速地融入了街頭宣傳的隊伍。雖然是中文演出，但是愛丁堡的觀眾早不懼怕語言的障礙，願意坐下來看看這樣一部來自中國的原創作品。

venues in Edinburgh, adapting quickly to a venue and changes

《打轉教室》是香港鄧樹榮工作室的一部肢

also quickly join street publicity activities. Although the play

性。這部作品融入了舞蹈，武打，雜技，小丑表

in venues is a challenge for every theatre. The performers

is performed in Chinese, the audiences in Edinburgh have no

longer been afraid of the language barrier, and are willing to sit down and take a look at such an original work from China.

Detention is a physical theatre produced by Tang Shu-wing

Theater Studio, Hong Kong. Works of Director Tang Shu-wing

體戲劇作品。導演鄧樹榮的作品一直很具實驗演，打擊樂等元素。演員中有兩位分別有武術、健美、攀岩背景，導演處理也充分地考慮了這些元素，用以豐富演出。該劇在戲劇節街頭宣傳的舞臺上曾經演出過片花，女主演的高超身體技藝為本劇迎來不少觀眾。

have always been greatly experimental. This work combines

《電之驛站》是薪傳劇團導演王翀的作品。是

off-the-wall clowning and throbbing percussion. Two of the

網頁作品信息的。這一點應該和導演本人的留

various elements such as dancing, martial arts, acrobatics,

performers respectively have a background in martial arts and

bodybuilding and in rock climbing, which is taken advantage of

幾部中國大陸地區作品中唯一一個擁有獨立學經歷有關，作品的歸檔和單部作品的信息頁宣傳是國內劇團經常忽略的細節。在看作品之

L e av i n g L i m b o A e r i al 2 © Matth e w A n dr e w s 2012

The manipulation and orchestration of the performance environment-is an increasingly popular and key area in performance studies. It is including space, text, lighting, sounds, costume, performers, spectators. [Pamela Howard (2002) What is Scenography? Routledge] Scenography is not simply concerned with creating and presenting images to an

audience; it is concerned with audience reception and engagement. It is a sensory as well as an intellectual experience, emotional as well as rational.” [McKinney JE; Butterworth P (2009) The Cambridge Introduction to Scenography. Cambridge University Press.]

----------

Scenography: 是一門體現表演環境的“交響曲”，是近年來倍受矚目的表演學研究的關鍵領域。其由空間、文本、燈光、聲音、服裝、演員、觀眾所構成。以藝術的角度去思考表演的視覺性、體驗感、以及空間的組成。它不僅著意在如何建立和呈現給觀眾視覺圖像，它更加關註大眾的接受性和參與性，它是一種感覺也是一種知識經驗，是感性與理性的融合。

in the presentation to enrich the performance. The trailer of the

前，讀了網站上導演的話：“北京的戲劇與中國

festival, in which the female protagonist’s superb physical skills

展無關。體制內外的戲劇人駕着體制內外的華

production is shown on the stage of street publicity in the theatre attract a lot of audiences for this production.

E-Station is the work of Director Wang Chong from Théatre du

Rêve Expérimental, which is the only production having its own

independent webpage about its information among the above-

mentioned productions of mainland China. This should be relevant to the director’s experience of overseas study, for archiving of works and webpage publicity for one work are details usually

overlooked by domestic theatrical companies. There are some

的現實無關。北京的戲劇也與世界戲劇的發車，在官場和歡場間的半空中飛來飛去，一塵不染，從不落地。他們用歌功頌德、男盜女娼、裝瘋賣傻的作品序列把劇場也變成了官場和歡場。”“通過在樓道、大廳、鬧市街頭等非常規場所近乎修煉式的訓練，《電之驛站》的演員們在高速流轉、眾聲喧嘩的社會環境中用沉默的身體創造出一個全新的時空：只和戲劇、身體與社會的現實相關，與官官和歡歡無關。”

interesting words by the director worthy of mentioning here.

這段話透露着很多有意思的信息，比如這個劇

“Beijing’s theater has nothing to do with the reality of China, nor

驗式的創作方式，現實主義的取材，以及這部

does it have anything to do with the development of theater

all over the world. People who work inside and outside theater

system drive their cars inside and outside the system, flying in the space between bureaucratic ground and entertainment ground

spotlessly and never landing the ground. They produce series of works praising our officials to the skies, portraying out-and-out

scoundrels, and pretending to be crazy and stupid, which change theaters into bureaucratic ground and entertainment ground.

During the rehearsals, the performers of E-Station interacted with

團的獨立性質，對於純粹戲劇的藝術訴求，體劇的肢體表演特徵等。作品頗有源頭，靈感取自太田省吾導演無言劇三部曲《水之驛站》、《地之驛站》和《風之驛站》中緩慢的劇場美學。同時創作的野心很大，試圖詮釋人與電器，電子產品在這個時代的複雜關係。

從Scenography 1 的角度看《電之驛站》

various unconventional public spaces such as corridors, lobbies and

走進酒店的大堂，取了演出票，轉上樓梯，便

physical bodies in the high-speed operation and hubbub of the

像參加一次科技產品發佈會般冷冷地排放著，

busy streets, transforming them into new spaces with their silent

society, which are only related to theater, physical bodies and social

reality, rather than bureaucratic ground and entertainment ground.” These words reveal a lot of interesting information, such as this theatrical company’s independent nature, artistic aspirations

for pure theater, experiential ways of creation, realistic themes, as well as physical theater characteristics of this production,

etc. The origin of this work is worth mentioning, it is inspired

by the theater aesthetics of quietude in Director Ohta Shogo’s

silent trilogy, namely The Water Station, The Earth Station and

The Wind Station. Meanwhile, it is highly ambitious to try to

interpret the complex relationship between people and electrical appliances and electronic products in this age.

Looking at E-Station from the perspective of scenography1 Walking into the lobby of the hotel, grabbing the ticket in hand

for the performance, climbing a flight of stairs, I came into a space

到了一個類似於會議室的空間，裡面的座椅就這裡似乎與戲劇無關。座椅對面的區域被稱為表演區，仔細一看地上佈滿了鍵盤，纜線，開放的冰箱裡也不知堆放了何物。表演區的下場門處坐著一位安靜的女子，擺弄着只有她才明白的電子音樂操盤器。愛丁堡藝術節這樣無意的空間安排成全了《電之驛站》這樣一個充滿“ 冷漠”的戲。在一個沒有任何感情色彩的空間裡演出一個並不歌功頌德的戲自然是相得益彰的，但是怎麼讓滿地凌亂的鍵盤和不知所云的冰箱充滿自己的語彙，可能導演還需要在 Scenography上做點功課。此戲看到末，還是那位下場門處安靜的女子讓我走上前對她說：“ 你的聲場設計真不錯。”

觀者眼裡的《電之驛站》走進劇場時，滿地整齊排列熟悉的白色蘋果鍵盤，背景是臺敞著門的冰箱。演員走上舞臺的時候，人體，這樣不理性的事物出現在冰冷而統一的鍵盤間，這種工整立刻被打破了。電線接通軀體，那意料外的緩慢移動讓這種聯繫有

similar to a conference room, where seats were silently placed

着強烈的焦灼感。這也許可以算得上是掙扎，

products, and this space seemed to have nothing to do with

扎沒有了回合，沒有了方向。在對電器的模仿

just like participating in a launch of scientific and technological theater. The area opposite to these seats was regarded as a

performance area, where the floor was covered with keyboards and cables, and an open refrigerator was stacked with things I

had no idea. A woman sat quietly at the exit of the performance area, playing with electronic music controllers that only she

knew how to operate. The unintentional spatial arrangement

of Edinburgh Fringe Festival contributed to the presentation of

E-Station that is a play full of “indifference”. The performance

of a production that does not praise our officials to the skies

and a space without any emotions naturally complement with each other; however, how to make keyboards scattered across the floor and the refrigerator express themselves, perhaps the director still needs to put more effort into scenography. After

seeing the performance, I walked up to that quiet woman sitting at the exit and said to her, “the background music you designed is excellent.”

Walking into the theater, I saw the familiar white Apple keyboards that are neatly arranged on the floor against a background of

an open refrigerator. When performers walked onto the stage, human bodies that are irrational things appeared between

indifferent and uniform keyboards, which immediately destroyed

the original neatness. Wires were winded onto bodies, and such a

connection made the audience have a strong sense of anxiety due to unexpectedly slow movement of the performers, which may

also be regarded as a struggle; and in the control between people and electrical products, the balance between them made such a struggle have no round and no direction. When the performers

imitated electrical products, their imitations of copiers and cameras

在人與電器彼此的控制裡，持平的力讓這種掙裡，複印機和照相機的片段很耐人尋味。那每一次或規律或突然的閃光下，電器完全成為情緒的載體，或者說人的延伸，讓經歷者不知所措。在最後，掙扎轉化成瘋癲，人類徹底荒謬了，在一如既往冰冷而統一的電器裡，凸顯出喪失理性的愚蠢。但是這部作品試圖表達的信息太多，一些地方不可捕捉。比如那些全部為盜版的蘋果鍵盤，比如冰箱上缺失的“MADE

CHINA“的爛紙箱。這些關注全球化的元素似乎是另一個複雜的話題。王翀談起他的新戲《雷雨2.0》以及尚未上演的《喬布斯的美麗與哀愁》還有《椅子2 . 0》。於是話題從《電之驛站》開散出去。導知名劇作，往往是把雙刃劍，容易博眼球，也容易遭質疑。王翀的作品裡，向來不乏大牌，他被人無數次過地問過為什麼，他的作品裡，也有很濃重的洋派痕跡。真的坐下和他交流，你會發現這簡單得和男人偏愛漂亮姑娘沒有什麼差別，純粹是喜歡，並希望自己般配，還有，熱切地希望把泡妞的快感和觀眾分享。很多名作，對於中國的普通觀眾而言，都是從碰巧看到的作品裡認識的，這樣的碰巧難之又難。為此，王翀樂此不疲地兼當“傳教士”，卻絶不照本宣科，經常唱着嘻哈就把經講了。如果當年莎士比亞不是以有板有眼的故事，劇本一點點引進中國，到了王翀的手裡，不知又是一個什麼樣子。與其說王翀在排大師，不如說他在玩大師，這種玩，是推玉石球，把摸紫砂壺的高級玩法。

were rather intriguing. Every time there was a regular or sudden

最真實的王翀還是奔波在各個戲場間的時候出

or the extension of people, making those who experience such

迷一樣和節目冊較着勁，生怕踩到地雷但熱切

flash, electrical products completely became vehicles for emotions, changes totally at a loss. Finally, the struggle changed into

madness and human beings became completely irrational,

showing the stupidity of loss of reason among electrical products

現，對視覺和科技有着特別的熱情，和所有戲渴望金蛋。在他永不吝嗇的稱讚或鄙薄裡，可以看到王翀對於優秀的追求。

that were still indifferent and uniform. Nevertheless, what this

在這一次愛丁堡戲劇節上，中國作品都沒有什

can not be conveyed, such as those pirate Apple keyboards, or

佼佼者永遠只有那麼幾部。但是另一個很重

production is trying to express is so much that some information the broken carton on the refrigerator missing the words “MADE

IN CHINA”; these elements concerned with globalization seem to

be another complicated topic. Wang Chong also talked about his new productions, Thunderstorm 2.0 as well as The Agony and

The Ecstasy of Steve Jobs and The Chairs 2.0 which have not yet been staged. So our topics expanded, becoming no longer

limited to E-Station. Directing well-known plays is often a double-

edged sword, which can easily attract other’s attention on the one

麼聲音，這也是很正常的事情。幾千部戲裡面，要的原因是中國當代戲劇藝術並不為外國所知曉。在中國，當代戲劇已經很大程度上被等同於了話劇，這個特有的名詞也讓中國當代戲劇受到很多形式上的限制。話劇來到中國不過 100多年的歷史，這也不能和很多歐洲國家幾百年，幾千年的積澱匹敵。在外國觀眾的眼裡，中國當代戲劇洋味兒十足，這也挫傷着他們觀看的興趣。坐擁幾百種傳統戲曲藝術的中國卻把

hand, and become subject to question on the other hand. In Wang

arts festival usually select works that are

which the reason has been asked too many times, and his works

do not deny that Chinese stage plays can

Chong’ productions, there has never been lack of big names, for

also have very strong exotic flavor. However, when communicating with him face to face, you will find the reason is as simple as the reason why a man loves a pretty girl—simply fond of beauties,

hoping that he and the beautiful girl can be well-matched, and eagerly expecting to share the pleasure in falling in love with

such a girl with the audience. Many famous works are known by ordinary Chinese audiences through productions they see by

coincidence, and such coincidences are rather rare. Therefore,

Wang Chong enjoys doing “missionary” work, however, he does not copy what the original works express, but presents these

works in his own way, just like preaching a sermon in hip-hop. If

Shakespeare’s plays are not introduced in China bit by bit through stories and productions, but get into the hands of Wang Chong, I

wonder what they will look like. Thus, it is more appropriate to say that Wang Chong plays with great masters’ works than to say that

he stages their works; such playing is an advanced playing method like making jade balls turn around and appreciating dark-red pottery teapots.

Chong is the person who rushes back and forth between theaters, has a particular passion for visual arts and technology, and feels at a loss like other theater fans when he faces a program, fearing to

step on “mines” but earnestly desiring to get “golden eggs”. From approval or scorn that he is never stingy about expressing, his pursuit of excellence can be seen.

In this time’s Edinburgh Festival Fringe, Chinese works do not

the most typical of an area. However, I

benefit a lot from the participation in a

variety of international theater festivals,

which is artists’ opportunities to see more works of others and attempts to establish international working modes. Edinburgh Festival Fringe provides a platform for

dialogue, where countless performers

themselves are also audiences, emulating and learning from each other. On such a platform, a relaxed attitude is the most important, for no production has to

undertake a task of making national theater thrive. At the same time, however, the

limited number of Chinese productions

participating in Edinburgh Festival Fringe raises a problem for Chinese theater, that is, how to make more effective use of

government funds to encourage Chinese theater to engage overseas exchanges,

which is not only for the purpose of making foreign audiences see Chinese theater, but also enabling Chinese artists to have a lot

of contact with foreign contemporary arts

and then to review and explore national art from different angles.

have much response, which is a normal thing. One reason is

大多數的舞臺留給了一個舶來品，這對於全世

stand out from the rest, while the other very important reason

實在參加海外戲劇節上，我還是更相信選拔性

that among thousands of productions, only several of them can is that contemporary Chinese theater has not been known by

foreign audience. In China, contemporary theater has largely been equated to stage plays, and this unique term also causes many

formal restrictions on contemporary Chinese theater. Stage plays in China only have a history of less than 100 years, which can not compare with many European countries where stage plays have

a history of hundreds of years and even thousands of years. In the eyes of foreign audiences, contemporary Chinese theater is filled

with western characteristics, which also dampens their enthusiasm for it. In China where there are hundreds of forms of traditional

Chinese opera, most of stages are left to stage plays that are an exotic theatrical form, which is a great pity for theater theorists

and practitioners all over the world. In fact, as far as participation in overseas theater festivals is concerned, I believe more in

standards of entries with selective nature. Looking at the status

quo of arts all over the world, we can find that a well-developed

界戲劇理論家和實踐者而言都是一種遺憾。其質的參賽標準。一個成熟的藝術節，在縱觀世界藝術的現狀後，通常會挑選到最能代表一個地區的作品。但是我並不否認中國戲劇參與各種性質的國際戲劇節好處，這是藝術家們能看到更多其他藝術家作品的機會，也是建立國際化工作方式的一種鍛鍊。愛丁堡邊緣戲劇節提供了一個對話的平臺，無數的演出者自己也是觀眾，在彼此觀摩和借鑒。在這樣的一個平臺上，心態放鬆最重要，沒有一個戲要兼顧民族戲劇繁榮的重任。但是同時，參與愛丁堡邊緣戲劇節的中國戲劇的有限數量，也為中國戲劇

Pap e r b e l l e , Fr o z e n C h ar l o tte Pr o du cti o n s , p h o to g r ap h e d b y Pau l W att

提出了一個問題，如何能更有效地利用政府文化基金來鼓勵中國戲劇海外的交流，這不僅僅是為了讓外國觀眾看到中國戲劇，也是為了中國藝術家更多接觸國外當代藝術，從不同的角度再去審視和發掘民族藝術的一種途徑。

L e av i n g L i m b o L an di n g - W ate r © Matth e w A n dr e w s 2012

Script Development

劇本創作 In addition to the above-mentioned participation in a variety of arts festivals in different ways, different treatment of scripts is also a way of the overseas development of Chinese theater. In

the environment of British theater in 2012, some very interesting phenomena seem to indicate a possibility and a future.

Scripts are the soul of theatrical creation, which may not be fully recognized in contemporary performing arts. However, when it is not easy for productions to tour, the convenience and flexibility of scripts can be easily seen. Translation, adaptation and re-creation of Chinese

plays, as well as new productions by Chinese playwrights in Western creation environment all constitute the overseas existence of Chinese theater in a sense. ----------

除了上文提到的以不同的方式參與各種藝術節，對戲劇文本不同的處理也同樣是中國戲劇在海外發展的一種方式。2012年在英國戲劇環境下，一些非常有意思的現象似乎在昭示是一種可能性，一種未來。戲劇文本是戲劇創作的靈魂，這也許在當代表演藝術中不能被完全的認同，但是在作品不能被輕易巡演時，劇本的快捷性和靈活性就被凸顯出來。無論是中國劇本的翻譯，改編，再創作，或者是中國編劇在西方創作環境下的新創作，都在某種意義上構成中國戲劇在海外的存在。

G rah am Turn er (Dr Ch en g Yin g) an d Siu Hun Li (G uard)

The Orphan of Zhao

趙氏孤兒 WRITTEN 撰文 x Yiran Dong 董一燃

TRANSLATED BY 翻譯 x Chang Yu 于暢 IMAGES BY COURTESY OF 圖片提供

Royal Shakespeare Company 皇家莎士比亞劇院

Adaptations of traditional Chinese plays ——The Orphan of Zhao

於2 012 年10月3 0日上演，由皇家莎士比亞劇

The Orphan of Zhao produced by the Royal Shakespeare Company

趙氏孤兒( The Orphan of Zhao)》也是世界

was staged on 30 October 2012 as a part of the World Shakespeare Festival that tries to show works of playwrights all over the world at

Shakespeare’s time. The Orphan of Zhao is well-known in the West

due to Voltaire’s translation referring to Chinese Hamlet. However, this translated version that was hotly disputed at that time is not Gr a h a m Tu r n e r (D r Cheng Ying) and Ll o y d H u t c h i n s o n (General Han Jue)

adopted in this new production. The Royal Shakespeare Company

recreates the original play according to the current English translation as well as film and television versions. The new adaption is written

by British poet James Fenton. In his early works, the post-World War II US-Japan relations and the Vietnam War which are concerned

with the Oriental are mentioned, but this is perhaps the first time for Nia Gwynne (Dr Cheng Ying’s Wife) a n d G r a h a m Tu r n e r (Dr Cheng Ying)

him to date back to such a distant era of the Oriental. The Director of this new adaption is Gregory Doran, whose black actor version

of Julius Caesar is currently on tour in London; and his involvement with different cultures seems to pave the way for this adaption of

The Orphan of Zhao. In the process of creation, the creators try to

strengthen the links between this production and China where it is

Gr a h a m Tu r n e r (D r Cheng Ying) and C h r i s L e w Ku m H o i (Ghost of the Son)

originally created through organizing performers to get involved in

traditional Chinese theater workshops and inviting Chinese directors to participate. This show will unfold a new understanding of the scripts of Chinese plays to Western audiences and artists.

院(Royal Shakespeare Company)制作的《莎士比亞戲劇節的一個部分。該戲劇節試圖展現與莎士比亞同期的世界各國的劇作家的作品。《趙氏孤兒》在西方由於伏爾泰的翻譯而較為知名，被稱為東方的《哈姆雷特》。然而，此次的《趙氏孤兒》並沒有遵循當時那個倍受爭議的翻譯版本，皇家莎士比亞劇場根據現行的英文譯本，以及影視戲劇作品，重新改編了這部作品，並由英國詩人詹姆斯• 芬頓（James Fento n）擔任編劇。在他早年的作品裡，二戰後的美日關系，以及越戰都曾有他對於東方的涉及，然而追溯這樣一個遙遠時代的東方恐怕還是首次。另外此劇導演格里高利 • 多蘭（Gregor y

Doran）的全部黑人演員版的《凱

撒大帝（Julius Caesar）》目前正在倫敦巡演，對於不同文化的涉獵似乎給這一次《趙氏孤兒》的選擇做了相應的鋪墊。在該劇的制作過程中，創作者試圖通過組織演員參與中國傳統戲劇的工作坊以及邀請中國導演參與創作來增強該劇與原創國的聯系。這部演出的呈現將為西方觀眾和藝術家對於中國戲劇文本的認識揭開一個新的篇幅。

A British Interpretation of Cao Yu’s Masterpiece

The Sun Is Not For Us

曹禺著作的英國解讀

太陽不是我們的 WRITTEN 撰文 x Jing Wang 王晶，Yiran Dong 董一燃 TRANSLATED BY 翻譯 x Chang Yu 于暢

IMAGES BY COURTESY OF 圖片提供 x Dr. Ruru Li 李如茹

Cao Yu is one of the greatest playwrights of the twentieth century in China. Inspired

曹禺先生是中國20世紀最偉大的劇作家之一。

Tokyo – Dr. Ruru Li, Cao Yu’s stepdaughter, has organized a series of events across the

女、英國利茲大學現代語言文化學院的李如茹

by his centenary in 2010 – commemorated in mainland China, Hong Kong, Macao and UK and North America, including exhibitions, lectures, forums, film screenings, and stage performances, to promote the knowledge of Chinese culture abroad.

The Sun Is Not for Us, a devised theatre piece drawing on characters and plots of four

canonical plays by Cao Yu, occupies a vital position in the above activities. Led by David

受曹禺先生誕辰一百週年的啟發，曹禺先生的繼博士1組織了一系列與曹禺先生和現代戲劇有關的紀念活動。活動包括展覽、演講、論壇、電影放映和舞臺表演。舞臺劇《太陽不是我們的》是一部改編自曹禺先生四部經典作品的新作。主創者為著名導演、學者蔣維國博士 2（前香港演

Jiang, a famous professional director working inside and outside China, a group of

藝學院戲劇學院院長）及其帶領下的利茲大學

reading and discussing five original play scripts. The production explores love, hatred,

院、現代語言文化學院與英語學院。這部新編劇

British students from the University of Leeds created this brand new work after carefully family and marriage from the perspective of Chinese women. It expresses British young

people’s understanding of Chinese classics on stage. Having premiered in Leeds in 2011,

學生，他們分別來自三個學院：演出文化創意學作靈感來自曹禺先生經典作品中女性人物的生活與掙扎，從二十一世紀英國青年的視角出發，

it was recreated in 2012 and presented at the Edinburgh Festival Fringe. The production

創造了一部有關愛、恨、家庭與婚姻的演出。這

Festival in November and tour Qianjiang (Cao Yu’s ancestral town in Hubei province) and

五部作品後，在他們自己認識的基礎上，採用四

is now going to perform at the 2012 Shanghai International Contemporary Theatre Chengdu for local Chinese students.

It is hoped, therefore, the performance may prove of great significance in enhancing

non-Chinese people’s awareness/understanding of contemporary Chinese theatre and

部作品是由英國的年輕人通過閲讀曹禺先生的個劇本中的人物與故事，重新架構、創造與演繹。該劇在利茲與2012年愛丁堡藝術節演出後，即將參加本年度上海國際當代戲劇節，并將巡演潛江（曹禺的故鄉）與成都，因此，整部作品

Chinese culture. The entire project is cross-cultural and interdisciplinary, and is intended

對於中國當代戲劇在海外的推廣，以及幫助外

between the outside world and China.

跨文化，跨學科的嘗試，以戲劇為橋梁，增進外

to work as a cultural bridge to foster genuine dialogue and mutual understanding

This article is our attempt to record these British young people’s feelings and experiences through their creation of the production, and audiences’ reflections after seeing the performances.

國青年理解中國文化方面意義重大。這是一次部世界與中國之間真正的對話与相互理解。我們試圖用參與者和觀众的聲音來記錄這次創作經過帶給英國年輕人的感觸。

Selected team members’ writing about

學生演員、舞臺工作人員關于

their first phase of work

第一階段工作筆記摘錄

Alanna Flynn, playing the role of Mingfeng

阿爾納•弗林(Alanna Flynn)劇中飾演鳴鳳

Cao Yu’s plays, I felt slightly out of my depth. They were long

感困難。它們都是很長的劇本，人物很多，名字

When we first began the process of scouring through all five of plays, often with many characters with confusingly similar names (from an English viewpoint). However, after reading each play

we were asked to pick the scenes we found most significant in displaying the idea of women suffering. After performing our

chosen scenes, the group would discuss what issues we felt were portrayed and what the relationships between the characters

were. This really helped me to understand the plots of the plays and the situations of women in that time, as they were very

different to how women are treated nowadays in western society. Frederick Simmonds, playing the roles of Juexin and

當我一開始被要求閲讀曹禺的五個劇本時，深很像（當然是我英國人的想法了）。然而，閲讀了每一個劇本以後，當我們把閲讀中感到最重要的、表現了婦女受難的部分展現在舞臺上時，劇本中的故事與社會以及歷史、文化的方方面面發生了聯繫，我也開始理解那些人物了…… 總體來說，我感到這一階段工作教了我很多演出的技巧，而更加重要的，這是一次很好的學習機會，讓我懂得了中國婦女在歷史上苦難的處境。弗雷德里克•西蒙茲（Frederick Simmonds)

George Zhang

劇中飾演覺新、張喬治

scenes and started talking more in detail about the presentation

地討論我們對於這部演出的體現。我個人對於

Most recently we have finished showing together the desired

of the play. Personally, one aspect stood out to me as being very interesting: the contemporary versus old debate. Throughout

the play there are many references to traditions that would be

characteristic of a pre-modern China. However we are putting on

the play in a contemporary setting, using the translated texts and young western actors. Should these traditions be respected only to be misunderstood by modern western audiences?

最近我們剛剛做完了公開排練，並且開始更多其中一個方面非常感興趣：有關當代與傳統的討論。在這些劇本中，有很多表現了20 世紀初現代中國的特點。然而，我們的演出是在當代環境裡，并且用的是英語，同時我們這批西方青年演員出於對於傳統的尊重，我們希望直接採用原劇本中的元素，但是這樣做會不會使此地的觀眾誤解呢？

Victoria Burgess, playing the role of Sifeng

維多利亞•伯吉斯（Victoria Burgess）

about the type of theatre performed in China. In order to make the

在沒有進入劇組以前我完全不知道中國劇作家

design and management team needed to read and study all of the

的劇作，整個團隊包括演員、設計與管理都要

Before beginning the process I knew very little about Cao Yu or

most out of all of Cao Yu’s plays the whole ensemble including the plays. We workshopped this process over January, February and

March. By doing this it meant that all the team were on the same

page, literally, as we read all of the plays and discussed them. I am absolutely thrilled to be offered such an invaluable opportunity,

not only as an actor but as a young person to be given a chance to perform a play in China taken from a playwright who is obviously so important in Chinese history.

Rose Collard, playing the role of Mother Jiao

劇中飾演四鳳

曹禺和中國的戲劇。為了最大程度地體現曹禺閲讀整個曹禺的劇作。我們在一月、二月、三月期間開始了這項工作，這也意味着我們全隊一直在一起，就在一個頁面上，因為我們都一直在讀、在討論。我非常高興擁有這樣一次寶貴的機會，不僅僅是作為一個演員，更加是作為一個年輕人，獲得演繹一個重要中國劇作家的作品的經驗，并且到中國去演出。芮思•科勒德（Rose Collard）劇中飾演焦母

The Sun Is Not for Us seemed a fantastic opportunity, and the

《太陽不是我們的》是一次絶妙的機會，通過

devising was very appealing to me. I feel that looking at Cao Yu’s

對我非常具有吸引力。我覺得從英國青年的角

thought of exploring Chinese theatre through the process of

plays so thoroughly and from an English perspective has been a

hugely influential process for all of us involved, opening our eyes to the fascinations of another culture.

集體創作的工作方式來探索中國戲劇這一做法度出發、徹底地閲讀曹禺的劇本，已經很大程度上影響了我們所有的人，開拓了我們看待另一個文化的眼界。

Toto Guo, playing the roles of Qiu Hu and Pan Yueting

郭頭頭（Toto Guo）劇中飾演仇虎、潘月亭

structure, tone and, specifically, language is distinctly Chinese and

尤其是他的語言都是絕對的中國，既讓我感到

It was the style of Cao Yu’s writing that interested me the most. The felt unfamiliar and refreshing. At the same time, I could see links

between his themes and structure with Western playwrights (such as Ibsen) which was also intriguing and something new I’ve learnt.

曹禺寫作的風格吸引了我。劇本的結構、味道，陌生、新鮮，又讓我看見它們與西方劇作家（如易卜生）作品中主題與結構之間的聯繫，這非常令人神往，也讓我學習到了很多。

Lara Owen, playing the role of Fanyi

勞拉•歐文（Lara Owen）劇中飾演蘩漪

this is the first time I have been able to collaborate with students

次與不同學科、年級的同學合作的機會。我們

Having being a student of Chinese and English for three years from other departments and from different year groups. We have really taken ownership of project and it is unique as it

showcases the work of six months of collaborative thinking

with our director David Jiang. As a student of Chinese I think it is fantastic that Leeds students’ work will be able to be featured in

such a prestigious festival. That my University is promoting these connections with China, such a rising power, is really exciting.

作為中國學和英國文學的三年級學生，這是一真正實現了創作的自主權，這也是獨一無二的方式，因為它展示了與我們的導演蔣維國先生一起六個月合作性的工作思維。作為利茲大學學習中國學的學生將參與如此著名的戲劇節也會是十分精采的經歷。利兹大學努力促進與中國這樣一個正在崛起的大國之間的聯繫，這本身也是一件非常激動人心的事情。

Oliver Jacques, Stage Manager

奧利弗•賈克斯（Oliver Jacques）舞臺監督

This is the greatest opportunity I have ever been offered. This

這是我歷來所獲得的最好的一次機會。曹禺的

and playing the role of Juehui

project has not only given me the chance to develop special

skills in management and in acting, but also to become a more rounded and committed person.

并飾演覺慧

演出不僅給我提供機會讓我發展在戲劇管理與戲劇表演方面的技巧，更加讓我成為一個全面的、具有責任心的人。

Susan Daniels, Fellow in Arts and Cultural Education,

蘇珊•丹尼爾斯（Susan

I am fascinated by the ways in which the arts are used to shape

我著迷於這種通過藝術的方式去形成國家間內

Chair of China Working Group University of Leeds

the perceptions of nations both internally and externally. This culturally bridging project allows students and staff a unique opportunity to be action researchers in the construction, deconstruction, and evaluation of such perceptions.

Daniels）藝術與文

化教育教授，利茲大學中國工作小組負責人

部的與外部的理解。這個文化橋樑的項目給學生和教員們提供了一次非常獨特的實踐與研究的機會去構架、解構這些理解，同時再度評估這一理念的價值所在。

Audiences’ feedback

觀眾反饋

SHU－WING TANG3, Director, Hong Kong

鄧樹榮 3，中國香港導演

I’ve heard that none of the cast members are from Acting.

我聽說這個戲的演員都不是學表演專業，從一

mise en scène was minimal: a way of expressing the director’s

舞臺上用簡約的方法去處理和演繹劇本，有一

Generally speaking, a few actors were quite outstanding. … The treatment and interpretation of the original works. Some of the lighting design, for example the silhouettes, created the non-

realistic scenes full of metaphor. The emphasis of this production was to lead the students from different disciplines to work in

different areas of the theatre and to understand the plays and

the playwright’s ideas. … The production has helped Western students see China and gain some knowledge of Chinese

theatre. … The body is a tool which can cross cultures. It is the

foundation. Physical training is the creative process. No matter

般的標準來看，有幾位演員表演比較突出。…… 些燈光的設計，比如光影的那些部分，營造了一些不是很寫實的場景，有一種隱喻的感覺。重點是要幾個不同部門的學生去瞭解這些劇本，劇作家創作的精神 ……能夠讓西方學生去瞭解中國，對中國的戲劇有一些認識……身體是跨越不同文化的一種工具，身體這個東西是基礎，對於形體的訓練重點是在創作的過程。無論是最後呈現為話劇還是肢體劇，背後的精神都是一樣，就是大和小的關係……身體的表達

whether the final presentation is conventional verbal drama

可以把一些話帶出來，尤其是在演繹比較老的

relationship between ‘big’ and ‘small’. The physical expression can

繹來烘托。

or physical theatre the idea behind it is the same. It is a type of

bring out the words, especially when we try to interpret classical plays. Lines in these plays are often difficult to deliver, and the physicality is needed to help.

Shihui Weng4，Assistant Producer

National Theatre of Scotland

First of all, I found all the scenes were clear and expressive. The display of the women’s condition in a closed society was obvious. I feel

more modernity could be explored further. Even now the concept of equality between men and women in China is different from that in the West. We never had campaigns about women’s rights. … These young British actors are all first- or second-year university students,

and they are supposed not to be able to understand the condition

of the Chinese women. Thus we gained a sense of disjunction when we saw them act these Chinese female characters; the theatrical

經典劇本上，因為臺詞不好講，需要身體的演

翁世卉 4，蘇格蘭國家劇院聯合製作人

首先我覺得這個戲要表達的畫面很清晰，上個世紀的中國封閉社會裡女性的各種狀態展現得非常明顯。我覺得可能還有更多的當代性可以挖掘。因為即使到現在，中國男女平等的概念也沒有像西方這樣開放，中國從來沒有過女權運動。…… 這些英國的年輕演員都是大一大二的學生，還是天天喝酒買醉的年齡，應該完全不能理解這樣的一個狀態。讓這些年輕人去飾演這個狀態有一種錯位的意味，探索的意義比較大，對於他們自己，參與演出去瞭解當時的那些歷史和處境一定收穫非常大。大衛•安德森（Davey

Anderson）5，蘇格蘭

exploration thus achieved significance. For these actors, I’m sure they

國家劇院導演，編劇，作曲家

the women’s conditions through the performance.

覺得這部作品把那個特定的時代和環境下男女

gained a great deal when they came to understand the history and

Davey Anderson , writer, director, dramaturg, 5

composer of Scotland National Theatre

I’m not knowledgeable about this play and the original script,

我對於這個戲還有原著劇本都不瞭解，但是我關係展現得很好，我能感到巨大的壓力……演員們很努力地去表達這些感情豐沛的角色…… 這個女性的視角也是一個很好的選擇。

but I thought it’s fasnating to explore the man and women’s

王翀 6，中國北京導演

pressure…very well try, well acting this emotional play…it’s very

部戲裡面，有很多可以指認的點，這個是什麼故

relationships at that particular time and place, I can feel that high

well choice from this female angel… CHONG WANG , Director, Beijing 6

I had not seen Cao Yu’s plays performed in English before. … In today’s production, there were many moments when we could recognize

the original characters and related stories. This is most fascinating. I

must say this is the type of appreciation that audiences acquire when they watch classics being re-interpreted. I very much like the angle

this production sets. From the female point of view, the performance

links Cao Yu’s different plays together. … This can be done only when you stand aloft and gain an overview of these plays. I’ve just done my production Thunderstorm 2.0, which is also a performance focusing on women and exploring the sadness between the two contrasting images. This is a good way to explore the themes of the plays, and

I like it. No doubt, as a way of learning, all the participants, whether

they were on the stage or backstage, gained much expertise from this production. They must have learned knowledge of theatre, of stage,

and of the texts. This is an excellent method of teaching. However, this demands huge resources, as well as educators’ time and energy. It is

excellent but it is not easy. Good education should follow this model and educators need to throw themselves into it.

我從來沒有看過曹禺（的戲）用英文演出...在這事，是什麼人物，這是很有趣味性的，可以說是對經典的再詮釋的時候，給觀眾的一種觀看的快感。非常喜歡這個視角，從女性角度來連接這些作品⋯⋯是站在俯瞰曹禺諸多作品的視野上做出的。我剛剛導演的《雷雨2.0》恰好也是從女性的視角，去挖掘兩位人物身上具有對照性的悲哀。我很喜歡這樣方式的主題挖掘。毫無疑問，作為教育的一種方式，對於每個人，舞臺上的舞臺下的，參與進來學生們，肯定都有特別大的收穫，去瞭解方方面面的關於戲劇的，關於舞臺的，關於文本的等等知識。是一種特別好的教育經歷⋯⋯這種方式耗費很多資源，很多教育者的心血，很好也很不容易，好的教育都應該這樣，用心去做。

Susan Gellaitry, an enthusiastic member of audience

Susan Gellaitry 一位熱心的普通觀眾

to sigh, laugh, cry and smile with them as they are brought memorably to life by this

何邊界，而這一群演員演得活生生，令人難忘，

Like Chekov and Shakespeare, his characters can crisscross all boundaries allowing us engaging cast of actors.

如同契可夫與莎士比亞，曹禺的人物可以跨越任讓我們和他們一起嘆息、暢懷、痛哭與微笑。

an anonymous audience

無名觀眾的話

worth seeing.

與我們經常看到的戲劇不一樣，值得一看。

There was pathos, humour and several dramatic moments. This is a different drama and

全劇中有痛苦與幽默，有些瞬間非常戲劇性。

1.Dr. Ruru Li, Senior Lecturer in Chinese Studies at the University of Leeds. She has written extensively on Shakespeare performance in China (including a monograph Shashibiya:

1.李如茹：英國利茲大學現代語言文化學院高級講師，博士生導師。撰寫了多部有關中國的莎士比亞演出以及

Staging Shakespeare in China 2003) and on Chinese theatre (modern/traditional). Her recent books include The Soul of Beijing Opera: Theatrical Creativity and Continuity in the Changing World, and Translucent Jade: Ruru Li on Stage and in Life. The latter

比亞）》；她近期的著作：《The Soul of Beijing Opera:

a 2-series TV documentary film. She is the curator of the successful exhibition Cao Yu:

劇魂：時代變遷中的戲劇傳承與創造）》；《晶瑩透亮的

is a pictorial biography of her Beijing Opera performer mother and has been adapted into

Pioneer of Modern Chinese Drama, which has been touring in the UK, North America

and in China. Having received some basic training of Beijing Opera as a child, Li runs

workshops and regards regular contact with the theatre as essential to her academic work. She is also the originator of the research network Performing China on the Global Stage. 2.Dr David Jiang, former Dean of the School of Drama at the Hong Kong Academy for Performing Arts 2001-09; Honorary/Visiting Professor of Hong Kong University,

中國劇場（傳統／當代）的專著，其中包括：《Shashibiya： Staging Shakespeare in China 2003（在中國上演莎士

Creativity and Continuity in the Changing World（京玉——李玉茹舞臺上下／家庭內外》；《李玉茹演出劇本選集》等。她成功策展了“曹禺：中國現代話劇的先鋒”,

並

巡展英國、北美、中國。童年時曾接受京劇基礎訓練的她

常帶領工作坊，並接觸劇場實踐，這對於其學術研究起到非常關鍵的作用。她也是互聯網“寰球舞臺演出中國”表演藝術研究的創始人。

Shanghai Theatre Academy and Central Academy of Drama in Beijing) is currently

2.蔣維國：著名戲劇導演，曾任香港演藝學院戲劇學院院

at Leeds. He has worked with various professional theatres and taught in drama

學院名譽、客座教授。現任英國利茲大學研究學者。他曾

the visiting research fellow of the School of Performance and Cultural Industries

departments in China, Taiwan, Hong Kong, New York and in Leeds. Works includes:

長（2001-2009），香港大學、上海戲劇學院、中國中央戲劇在許多專業劇院工作，並在中國大陸，香港，臺灣，紐約及

WWW.com, Mozart’s Death, The Wilderness (English), Truth, Wuling (English), Macbeth, Much Ado about Nothing, Chen Yun, The Sun is Not for Us, Tale of the White Snake Madam, etc.

《大川之靈》、《莫扎特之死》、《真理》、《X小姐》、《家》、《雷

3.Shu－wing Tang，the Artistic Director at Tang Shu Wing Studio Theatre Company,

太陽不是我們》、戲曲與音樂戲劇：黃梅戲《無事生非》、越

past Dean of School of Drama at The Hong Kong Academy for Performing Arts Education, MA of Unversite de Sorbonne Nouvelle. Tang’s major awards include Distinguished

利茲從事戲劇教育。其導演作品包括話劇《共和國掌櫃》、雨》、《柔蜜歐與幽麗葉》；英語戲劇《WWW.com》、《女人

最後的一天》、《原野》、《武陵人》、《馬克白》、《桃花扇》、《劇《九斤姑娘》、《福春嫁女》、《白娘子》等。

Interpretative Performance, 1993 Tashkent International Theatre Festival; 1993 Excellent

3.鄧樹榮：鄧樹榮戲劇工作室藝術總監。曾任香港演藝學

the 2003 Hong Kong Drama Awards; Best Director in the 2006, 2007 and 2011 Hong Kong

大學獲戲劇碩士。曾獲1993年塔什幹國際戲劇節優異演

Alternative Performance of the Hong Kong Drama Awards; Best Actor in a Leading Role in

Drama Awards. In 2007, he was awarded Certificate of Commendation by the Secretary for Home Affairs of the Hong Kong Government; l’Officier de l’Ordre des Arts et des Lettres by the French Government. In 2008, he was awarded Award for Arts Achievement (Drama) by the Hong Kong Arts Development Council. In 2010, he was awarded The Next Big

Thing Cultural Award by the Muse magazine and Princess Chang Ping (dance version) was awarded Outstanding Production of the 2010 Hong Kong Dance Awards. 4.Shihui Weng, associate Producer of National Theatre of Scotland.

院戲劇學院院長（2009-2011）。留學法國，於巴黎新索邦譯獎，1993香港舞臺劇獎優異另類演出獎；1997年亞洲文

化協會謝普誠獎助金；2003年香港舞臺劇獎最佳男主角

獎；2006、2007及2011香港舞臺劇獎最佳導演獎；2007年獲香港特別行政區民政事務局局長嘉許獎狀及法國文化

部頒發「藝術及文學軍官勳章」(L’Officier de l’Ordre des

Arts et des Lettres)；2008年獲香港藝術發展局頒發藝術成就獎(戲劇)；2010年獲瞄雜誌盼發”大件事”文化獎，其執導的《帝女花》(舞劇) 獲2010香港舞蹈年獎。

5.Davey Anderson, works in theatre as a writer, director, dramaturg, composer,

4.翁世卉：蘇格蘭國家劇院聯合製作人。

National Theatre of Scotland 2006-07 and Associate Playwright with the Playwrights’

5.大衛•安德森: 作家、導演，編劇、作曲家、音樂劇導演。現

6.Chong Wang, an avant-garde theatre director and award-winning translator.

6.王翀：新浪潮戲劇發起人，北京大學法學士、夏威夷大學

Lin Zhaohua and Robert Wilson. In 2008, Wang Chong founded Théatre du Rêve

翻譯並導演了多部後現代戲劇，他的作品曾在中國大陸、香

musical director and workshop facilitator. He was Director in Residence with the Studio Scotland 2010-11.

He has studied theatre in China and the U.S., working with renowned directors

Expérimental, a Beijing-based performance group. It soon became one of the most active touring companies in China. His works have been performed in China, Hong Kong, Japan, U.S., Canada, U.K., and France.

任蘇格蘭國家劇院導演，蘇格蘭編劇工作室聯合編劇。

戲劇碩士，曾在加州大學和紐約水磨坊中心學習戲劇。王翀港、日本、美國、加拿大、英國和法國巡演，引起媒體和學術界的關注。王翀在2008年創立了薪傳實驗劇團，成員均為80

後戲劇人，劇團迅速成為中國最活躍的青年藝術團體之一。

The Peach Blossom Fan

桃花扇 WRITTEN 撰文 x Yiran Dong 董一燃

TRANSLATED BY 翻譯 x Chang Yu 于暢 IMAGES BY COURTESY OF 圖片提供 University of Leeds 利茲大學

Coincidentally, 2012 graduates of the School of Performance and Cultural Industries, the University of Leeds also present a classical Chinese play— The Peach Blossom Fan. We have the honor to interview some of the participants, whose experiences from initially coming into contact with the script, to staging the script, and then to publicity and final performance may intuitively present us with such a process from text to stage. ----------

無獨有偶，2012年利茲大學演出和文化產業學院的本科畢業生們也選擇呈現了一部中國古典戲劇《桃花扇》。我們有幸參訪到了部分參與者，他們在從最初接觸劇本，到劇本舞台化，再到最終演出，宣傳等的經歷也許可以很直觀地為我們呈現這樣一種從文字到舞台的過程。

Date: May 12, 2012

Venue: Stage@Leeds, School of Performance and Culture Industry，University of Leeds Introduction of the play:

Peach Blossom Fan is a collaborative venture of third year

students from the School of Performance and Cultural Industries at the University of Leeds, United Kingdom. The production is being overseen by David Jiang, the former Dean of the Hong

Kong Academy’s School of Drama, and Becs Andrews, a winner of

演出時間：2012年5月12日演出地點：利茲大學表演與文化產業學院演出性質：桃花扇是利茲大學表演與文化產業學院大三畢業班學生的一次合作實踐。作品由前香港演藝學院戲劇學院院長蔣維國老師以及林博睿雙年展（Linbury Biennial）舞台設計獎得主貝克斯• 安德魯斯（Becs Andrews）督導。

the Linbury Biennial Prize for Stage Design.

戲劇背景：

Background of the play:

營，三易其稿寫出的一部傳奇戲曲劇本，共有

The Peach-Blossom Fan (pinyin: Táohuā shàn) is a musical and historical play in 44 scenes that was completed in 1699 by the

early Qing dynasty playwright Kong Shangren after more than

10 years’ effort. The play recounts the dying of the Ming dynasty through the love story of its two main characters, young scholar Hou Fangyu and courtesan Li Xiangjun.

Interviews:

《桃花扇》是清初作家孔尚任經十餘年苦心經 44個場景。通過男女主人公侯方域和李香君的愛情故事反映明末南明滅亡的歷史。

採訪記錄：主要演員：達西•波恩（Darcie Bone）瑞恩•威

廉斯（Rhian Williams）

ART.ZIP: 這是一出翻譯自非英語語言的戲劇，

Main Actors/Actress: Darcie Bone，Rhian Williams

你們花了多長時間來閲讀材料？

ART.ZIP: This is a play translated from other language. How long

D&R: 我讀了三天。這部戲很長，所以我們把他們

D&R: I read it about 3 days. It is very long, we have to cut it down.

ART.ZIP: 你們最後使用的劇本和之前你們閲讀

ART.ZIP: The language from the original readings, comparing with

D&R: 區別很大，我們希望把這部戲做得現代一

did you take to read the materials about this play?

Everyone takes similar time, one week, I will say.

the language you are using in this play, is there any different? D&R: Yes, we planed to modernise it, but it couldn’t be fully

organized. So we kept a lot of the poetry in it. We are a kind of

throwing it to western audiences related to Shakespeare. There

are a lot of verse and poetry in it. We are also interactions of the characters. It’s a kind of mixture of naturalistic language and poetry, etc.

分成段來讀。平均每個人花了約一週的時間吧。

的劇本區別大嗎？

些，但是需要很好地組織素材。我們保留了很多詩化的語言。我們有一點像在為西方觀眾做現代版的莎士比亞，依舊有很多韻律和詩句在裡面。我們為原來的角色增加了很多互動，最後是以一種半口語，半詩歌的形式的語言存在的。

我覺得我們還是很好地保持了最重要的部分，我們是一同討論決定什麼是最重要的事情的。

I think that they keep the key point very well. As I said, we always

最終我們決定有兩件事最重要，一個是跨越

We decide to keep two key things. One is the timeless thing, which

線。另一個就是我們保持這個戰爭的背景。語

as a group to pick what is important and what is the key things.

we picked this love story. And the other thing we picked is the war time background. The language is very different. Some parts of

the original text need rewritten, which can’t sound too old which

needs to suit what we play it. They did a very good job to balance

時空的事情，這就是我們選擇的愛情故事為主言上變化很大，很多部分都是重寫的，我們需要讓語言適合我們演的，於是語言上是傳統和現代的結合。

the traditional language and the language we use today.

ART.ZIP: 我們聽導演執導說你們也接受了一些

ART.ZIP: We heard from the directing supervisor saying that you

這裡學到的用在這齣戲裡面？

have been introduced some Beijing Opera knowledge. Do you

京劇相關的嘗試培訓？你覺得你們有沒有把在

think you are using some of the learning?

D&R: 是的，我們用了一些動作。我們改變了一

D&R: Yes, we use some of the movement. We changed some of

性角色的站姿，一隻腳在另一隻的三分之一後

the way we did. Such as the way of using the fans and the female roles standing pose, one foot is 1/3 behind the other, etc. In

wearing and makeup, there are big hairs, a lot of hair pieces, full

些之前設置的動作。比如說如何用扇子以及女

面一些等等。在服裝化妝上，有很多頭飾，梳得很高的髮型，從頭到腳都有裝飾。

costume, etc.

ART.ZIP: 對於這些服裝，它們和西方服裝區別

ART.ZIP: For this kind of wearing, it’s very different from western

作也因此不同了？

costume. How did you feel when you put them on? Do you feel

很大，你們穿上後的感覺是怎樣的，會不會讓動

your body movement is different?

D&R: 設計服裝的女生決定不製作非常傳統的

D&R: The girl in charge of costume has decided not to make it very

例如那些寬腰帶，三四層的衣服。很難走路。對

traditional Chinese. But for us, it’s still very different from us. Such as the very wide belt and 3 or 4 layers wearing. It’s quite hard to walk.

For me, I play as a man. The trousers are with ribbons and narrow cut bottom. It is very difficult to walk wearing them. It’s quite hot as well. But I’m always doing some naturalistic acting, so it’s alacrity for me. ART.ZIP: It’s already very difficult to play a Chinese role as a

westerner, but you are playing a man as a girl. What do you think about your acting?

D&R: I didn’t do it as a very tough man and I’m more naturalistic in my performance. Other than think about this role as a man, I’m thinking more about this character. My character is a poet

and a scholar, so he is very intelligent, calm and relaxed. I’m more focusing on personality of the character.

ART.ZIP: Do you think this experience will be helpful for you to look at other non-English plays from other countries?

D&R: Yes, I think I will be more confident and easier to do the research in other productions.

Costume designer: Becca Phillips ART.ZIP: This is a very traditional Chinese play, is there any

中國服裝。但是對於演員而言，還是很大不同。

於我來說，我需要扮演一個男性角色。那條褲子有綁腰帶還有收腿的褲腳，難以行走而且穿著很熱。但是我的動作比較自然，幅度比較小，所以對我而言還算靈活。 ART.ZIP: 對於西方演員而言，扮演中國人已經很難了，而你作為女性又是扮演一位男性角色，你覺得表演得怎麼樣？ D&R:

我沒有非要扮演一位硬漢，而是比較自

然。不是刻意想著性別，我更多思考的是人物性格。我的角色是一位詩人，一個學者，所以他應該是很智慧、冷靜和放鬆的。我更多是從人物性格入手。 ART.ZIP: 你認為這段經歷對於你瞭解非英語語言的戲劇有哪些幫助嗎？ D&R:

我想以後我會更加自信和容易地去做其

他戲劇的調研等工作。服裝設計師：貝卡•菲利普斯（Becca Phillips） ART.ZIP: 這是一部很傳統的中國戲劇，你覺得對於服裝設計的挑戰是什麼？

challenge for you as a costume designer?

B：事實上，我覺得最大的挑戰首先是預算。我

B: Actually, the budget is very low. I only have 200 pounds to

自慈善商店和布料商店。第一個挑戰是我們找

dress up all the cast. I got materials from charity shops or the

fabric shops. The first challenge is to find Chinese clothing. Even

the Chinese clothes stores here are of modern style other than in

traditional style. So I have to do a modern twist. The first thing I do

is to use English clothes but with oriental decorations. It allows me to save some budget. Some of the elements look like Japanese

style. But it is purely because of the limited budget and resource.

I did a lot of research that I know the difference between Chinese

clothes and Japanese clothes, but I can’t really use them exactly in this performance. But it is helpful to make it more like a modern

需要用200鎊來為所有演員着裝。大部分材料來

不到中國布料。即使是中國服裝，也是很現代的，所以我只能做成現代和古典的結合。比如我會在西方服裝上裝飾以東方元素。這使得我能夠在有限的預算裡完成任務。一些元素看上去也許很日本，但是這也是預算有限造成的。在調研中我清楚地瞭解中國和日本服裝的區別，所以我做的既不中國也不日本，這樣的方式反而讓服裝看上去很現代。我做資料收集主要是通過互聯網和電影等方式。

twist. I did my research through Internet and some Chinese films.

導演：蔣維國（David Jiang）

Director: David Jiang

ART.ZIP: 作為導演，您怎麼看待這次演出？

ART.ZIP: As a director, what do you think of the show?

D：第一次演出後，很多人就說，很可惜，這個

D: After the show, many people felt pity that the performance could

演出，不大容易保留下去。人走了戲就散了。每

not be staged outside the university. It is very hard to keep student

work, for people’s gone, the play has gone. Each performance made

history. This play is a trial for everyone, what I can do is to make them

work together. This is very different from what a theatre director does, for I am not holding a firm direction. It could be said as a good try in terms of education, which students make use of what they can get,

and I am connecting them. Many students felt fresh to read Chinese play script, and such an experience would help them in culturally

mutual tolerance in the future. I encouraged them, saying now that

you overcome all these, there would not be anything tougher. We are trying to present the new, but not reproduce the old. So it is no need to fear for not knowing China, or making something not Chinese.

We are attempting to produce a contemporary play, as long as some Chineseness stays, that’s enough.

戲沒有辦法拿出去演出。因為這是一個學校的一場演出就是一個歷史。這個演出是每個人七零八碎的嘗試，我做的就是負責把他們聯繫起來。這和以往作為純粹的戲劇導演很不一樣，並不是我有一個很明確的想法。這是一種為了教育目的的一種嘗試，根據他們自己的材料，醞釀到了一定的時候，我的任務就是把它們聯繫起來。很多同學提到了這次接觸中國的劇本對於他們來言很新鮮，在以後的工作中也許有助於文化的包容性。我就和他們講，這麼難的東西都啃下來以後做其他的東西都會容易起來。我們做的是當代的，而不是去復古。這方面不要怕不懂中國，不像中國的東西。但這個不用擔心，這是一個當代戲劇的嘗試。只要有中國的元素在裡面就可以了，更多的是一種嘗試。

Let’s Talk about New Writing

漫談“新寫作” WRITTEN 撰文 x Yiran Dong 董一燃，Yike Han 韓宜珂 TRANSLATED BY 翻譯 x Chang Yu 于暢

When typing Chinese characters “xin xie zuo” (new writing) in a

只要在搜索引擎裡敲入 “ 新寫作 ”（ N e w

“Tian Qinxin • New Writing Project”. New Writing, a term originated

關“田沁鑫•新寫作計劃”的信息。New Writing

search engine, you can immediately see lots of information about in the UK in the mid-20th century, now has become a proper

noun in Chinese. The project started to be carried out in March

2012 and quickly spread throughout China due to the influence

and charisma of this renowned domestic director, which brings a spring of Chinese theater. At the same time, the National Theatre of Scotland, the foreign cooperator of this project, also does its

publicity on the other side of the ocean, which is the first Chinese

contemporary theater season that will be presented in early 2013.

Writing）三個字，你立刻可以看到這一系列有這個起源於英國20世紀中葉的名詞，如今被冠以了專有的中文。2012年3月開展的活動，由於這位國內知名導演的影響力和號召力迅速傳遍全國，這也是中國戲劇的一個春天。此次活動的國外合作單位，蘇格蘭國立話劇院(National Theatre of Scotland)與此同時也在大洋彼岸宣傳著這將於2013年初呈現的首個中國當代編劇戲劇季。

New writing, different from new scripts, emphasizes playwrights’

新寫作，不同於新劇本，它著意強調當代世界，

British theater revival movement in the wake of the World War II,

束後，英國劇場復興運動中，時任皇家宮廷

perceptions of the contemporary world or contemporary life. In the George Devine, as the artistic director of British Stage Company, the Royal Court Theater at that time, took Look Back in Anger that is a

New Writing work of John Osborne as the opening performance of that year and came up with Royal Court’s slogan “the playwrights’

theater”, since then the term “new writing” was born in the United Kingdom. For decades, new writing theaters have become bases

of grooming playwrights; and many theaters in the UK have called themselves new writing theaters so as to show their own artistic

pursuit. The National Theatre of Scotland was established in 2006, many outstanding new writing plays are created there and many

new writing writers have cooperated with it, including Sarah Kane who is familiar to Chinese readers; thus, it has rich experience of cooperating with local playwrights and international theatrical

companies. Co-producer Weng Shihui, as one of the main persons in charge of this activity, also spares no effort to contribute to the

cooperation between the National Theatre of Scotland and China

on this project and ensure the smooth progress of this activity. After two rounds of training in script writing, productions of six selected playwrights will be performed in the first Chinese Contemporary

Theater Season held in the UK in Òran Mór with a theme of “A Play, A Pie and A Pint”.

或者當代生活帶給劇作者們的感悟。二戰結劇場（Royal

Court

Theatre）英國舞臺公司

（English Stage Company）藝術總監的喬治• 狄萬（George Devine）以約翰•奧斯本（John O s b o r n e ）的新寫作作品《回望憤怒（ L o o k Back in Anger）》作為當年的開幕演出，並從此樹立ROYAL

COURT劇場是“劇作家的劇場”

的口號，從此 “ 新寫作 ”一詞在英國誕生。幾十年來，新寫作劇場成為培養劇作家的基地，英國許多劇場也陸續冠以新寫作劇場的稱謂，示明自身的藝術追求。蘇格蘭國家話劇院成立於 2006年，在這裡曾經誕生過諸多優秀的新寫作劇本，與他們合作過的新寫作作家更是包括中國讀者熟悉的莎拉•凱恩（Sarah

Kane）。他們

有著與當地作家以及國際劇團合作的豐富經驗，該劇院此次活動的主要負責人之一，聯合制作人翁世卉也為此促成此次中國項目的合作，以及保證活動的順利進行鞠躬盡力。在經過兩輪的劇本創作培訓後，6 名最終入選的編劇的作品將在Òran Mór劇場參加“一部新戲，一個派，一杯酒” 首個在英國舉辦的 “中國當代戲劇季”演出。

As for contemporary China, a lot of foreigners get to know it from

對於當代中國，很多外國人的認識始於2008年

overseas students around them. Chinese works can rarely been seen

留學生。在海外，銀幕上無聲，書本上罕見的中

the Beijing Olympics in 2008, or from continuous influxes of Chinese on screen and in books overseas, let alone seen on theater stages. Thus, this new writing activity provides Chinese playwrights with a valuable opportunity to re-examine themselves and their own

country and show their feelings with literary language by drawing inspiration from British ways of script writing. At the same time, in

London, a capital of culture, Royal Court Theatre is unwilling to stay out of the limelight, so it also carries out a new writing project, in

which a broader range of writers participate, including East Asia and Southeast Asia. Perhaps on Western mainstream stages, “Unheard

的北京奧運會，或者源於周圍不斷湧入的中國國，在戲劇舞臺上更是難覓蹤跡。中國的編劇，如何受到英國劇本創作方式的啟發，去重新審視自己，審視自己的國家，用文學的語言去展示出他們的感悟，這一次新寫作活動提供了不可小覷的平臺。於此同時，身處文化之都的倫敦，皇家宮廷劇院劇場也不甘寂寞，他們的新寫作項目的作家範圍更廣泛一些，包括中國在內的東亞，東南亞地區。在西方主流舞臺上，“ 前所未聞的聲音（Unheard Voices）”也許確實是一

Voices” is indeed an apt expression. Among the 10 playwrights on

個貼切的說法。在入圍的10 名編劇中，有唯一

Unheard Voices: Yike Han1

韓宜珂 1：前所未聞的聲音

The reason why I heard of Royal Court Theatre’s activity of

得知皇家宮廷劇院“ Unheard Voices”這一活

teacher in the University of Glasgow, is very keen to encourage

爾瑪•蒂米萃加維克(Selma Dimitrijevic)非常

the shortlist, Han Yike is the only one from mainland China.

“Unheard Voices” is that Selma Dimitrijevic, my script writing her students to contribute to various theaters. The first

assignment of her writing class is to contribute our own works to five British theaters. What helps me to get this opportunity to be shortlisted is precisely a writing assignment at my first semester, which is a short play with approximately 10 pages.

一位來自中國大陸的編劇韓宜珂。

動，是因為我在格拉斯哥大學寫作課的老師塞熱衷鼓勵學生向各個劇場投稿。她的寫作課第一項作業就是找出五家英國劇場，並向其投出自己的作品。而讓我得到這一機會的也正是我第一學期的寫作課作業，一篇大概10頁左右的短劇。

The activity of “Unheard Voices” includes about 11 classes, and class

皇家宮廷劇院這一活動大概有11節課，上課時

in a rather detailed way, from seeking inspiration to dialogues and

細膩，從“尋找靈感”到對白、人物行動⋯⋯幾乎

hours are from 19:00 to 21:30 every Thursday. Courses are divided

characters’ actions…which are almost a process of the creation of a play. Young playwrights who participate in this activity should

submit their own works when the courses are completed. In my

opinion, there is actually not much difference in curriculum planning between script writing teaching in China and that in the United Kingdom. Even basic training such as fifth-sentence dialogue

exercises, monologue exercises, as well as lots of discussions of script reading…are substantially the same. In fact, Chinese students lay a

relatively solid foundation of technical training in script writing. Take me for an example; I studied in the Dramatic Literature Department

of the Central Academy of Drama in my undergraduate years, where a student needs to do six months’ prose exercises and six months’

sketch writing exercises before writing scripts, and should even make

間為每周四的晚上7點到9點半。課程劃分非常是一部戲形成的過程。而參加這一活動的青年編劇們也需要在結業那天提交一部自己的作品。在我看來，中國的戲劇寫作教學和英國相比，在課程設置上其實並沒有太多差別。甚至五句話對白練習、獨白練習、以及大量的劇本閱讀探討⋯⋯這些基礎訓練也都大致相同。事實上，中國學生關於劇本寫作的技術訓練還是比較紮實的。舉例來說，我本科就讀的中央戲劇學院戲劇文學系，在寫劇本之前，需要經歷半年的散文練習，以及半年的小品寫作練習。甚至大一期間，需要完成120 本劇本小說的閱讀筆記。

reading notes of 120 plays and works of fiction in the freshman year.

但是，從文本轉換到舞臺這一環節上，國內可

However, in respect of the process from text to stage, China still

內，學戲劇的學生缺乏將自己的作品舞臺化

needs to learn a lot from the UK. A big problem is that domestic theater majors lack opportunities to stage their own works.

Although academies of theater such as the Central Academy of

Drama and Shanghai Theater Academy all offer basic courses in

direction and performance and students in these schools also have the opportunity to perform in small theaters or black box theaters, generally speaking, these performances are almost seen by the

students themselves. In contrast, in Royal Court Theare’s courses,

a special lesson is for students to communicate with professional

actors and directors, so as to find problems with their own scripts

or room for re-creation from another perspective. Even in the script writing course in the University of Glasgow, there is also Reading Night, where students’ works can be presented on professional

以向英國學習的還很多。最重要的一點，在國的機會。盡管中戲、上戲這一類的戲劇學院開設有導表基礎課，學生也有在小劇場或黑匣子表演的機會，但總體而言，這些演出幾乎是學生之間自產自銷式的。但皇家宮廷劇院的課程裡，有專門的一節課讓學生可以和專業的演員、導演溝通，從另一個角度發現自己文本的問題或可再創作的空間。甚至格拉斯哥大學的戲劇寫作課也有閱讀之夜（Reading night），將學生的作品呈現在專業的舞臺。在我看來，擁有一個了解舞臺的機會，對一個青年劇作家或者剛剛開始舞臺劇寫作的學生來說，是非常重要的。

stages. In my opinion, it is very important for a young playwright or

另外一件我觀察到的比較有趣的現象是寫作

to get familiar with stages.

選擇專業的編劇。但皇家宮廷劇院青年計劃的

a student who just starts stage play writing to have an opportunity

課老師的選擇上，中國的戲劇學院幾乎都是只

Another interesting phenomenon that I found is the selection of

導師卻不是如此。兩位導師─ ─亞歷山大•沃德

choose professional playwrights, while it is not necessarily the

A n i m a s h a w u n）─ ─ 前者是編劇出身，她的

script writing teachers. Academies of theater in China almost only same case with teachers in Royal Court Theare’s Youth Project.

To be specific, there are two teachers, namely Alexandra Wood

and Ola Animashawun. The former has a playwright background, whose new production Wild Swans (adapted from Chinese

writer Jung Chang’s novel of the same name) was recently staged at the Young Vic Theatre; while the latter is more engaged in

directing and producing, in addition to serving as a head of Royal Court Youth Project in a long term. It is also the same case with script writing courses in the University of Glasgow, which are

delivered by Romanian playwright Selma Dimitrijevic and Philip Howard who is the former artistic director of Traverse Theatre in Edinburgh. I think such an arrangement also confirms my

above-mentioned opinion, that is, script writing courses in the UK

（Alexandra Wood）和奧拉•安麗瑪莎瓦（Ola 新作品《野天鵝（Wild

Swans）》改編自中國

作家張戎的小說《鴻》，最近剛在Young Theatre

Vic

上演；而奧拉除了長期擔任皇家宮廷

劇院 “青年計劃 ”的負責人外，更多的是從事導演、制作這方面的工作。格拉斯哥大學的戲劇寫作課也同樣如此，由來自羅馬尼亞的劇作家塞爾瑪•蒂米萃加維克（Selma Dimitrijevic）搭配愛丁堡導線劇院（Traverse

Theatre）的

前藝術總監菲利普•霍華德（Philip Howard）。我認為這種搭配也印證了我之前的觀點，英國的戲劇寫作課程，除了對寫作的考量外，更加注重文本的舞臺化和實踐化。

attach more importance to staging scripts and putting them into practice, besides giving consideration to writing skills.

Yike Han, a theater major in the Dramatic Literature Department of the Central Academy of Drama at undergraduate level, currently studies Playwriting & Dramaturgy (MLitt) at the University of Glasgow. ----------

韓宜珂，本科就讀於中央戲劇學院戲劇文學系。現就讀格拉斯哥大學 P la ywr itin g & D r a ma tu r gy（ML itt）。

ON AND OFF the STAGE

臺上臺下

In regards of theatre, the concept of on-stage and off-stage is pretty relative, and unified as well. Together they constitute a

rich performance art world. In the following section, by introducing these theatre professionals, we could have a peek at the pluralism of theatre and their diverse way of presenting the world. ----------

對於戲劇，臺上臺下是一組十分相對的概念，也是一組十分統一的概念。臺上與臺下，戲內與戲外才能組成一個豐富多元的戲劇世界。下面這幾位戲劇人，從他們的生活和思考中便折射出了他們作品不同的特質和表現世界不同的方式。

Zimmerman n & de Perr o t. Han s Was He i r i C Mario Del Curto, Strates . B ar b i can Th e atr e

Forever Young

Interview with David Jiang 童心未泯

對話蔣維國 WRITTEN 撰文 x Yiran Dong 董一燃, Jing Wang 王晶 TRANSLATED BY 翻譯 x Chang Yu 于暢

IMAGES BY COURTESY OF 圖片提供 x Dr. David Jiang 蔣維國

ART.ZIP: What kind of influence do your experience of learning

ART.ZIP: 在國外的學習和生活的經歷對於您創

J: Before I went abroad, I held an idea, that is, to see more and

J:出國以前，抱著一個想法，就是多看，多學。

the era of Chinese play was under the significant influence of the

大大進入中國戲劇界的時候。”洋”，”現代派”，

and living abroad have on your creation?

learn more. The late 1970s and 1980s is a period of time when

West, and ‘foreign things’, ‘modernism’ and ‘avant-garde’ became the trends that attracted the attention of so many people. With a very strong curiosity and interest in all things occurring in the strange world, I read some English play scripts that were rare

at that time; I wonder what were all those schools and systems on our lips about, and how much we actually know! From the little bit of books that I had read, I could find that there were

many flaws and fallacies among then popular acknowledge, so I wanted to see with my own eyes and experience in person. I

do not deny that I have always been fond of ‘foreign things’ and I seldom make my plays without ‘foreign elements’, and this is

the very reason that I need to know what is the real and genuine ‘foreign thing’.

Learning and living abroad has a decisive influence on my

creation, because it broadens my knowledge and my circle of

life, and brings me a very different development in all aspects

of art, like artistic understanding, thought and method. Besides, looking back at the domestic art at a ‘foreign’ place, I feel my

insights and ideas have changed a lot, for example, after going

abroad for several years, I once watched the domestic program of ‘Spring Festival Gala’ by chance, looking at those Chinese-

flavored folk songs, dances, and other performances (that are

even somewhat outmoded), I suddenly felt they are so precious, pure and valuable that they can deservedly stand out and

become a unique genre in the art circles of the world; whereas

some programs that blindly ‘imitate foreign things’ are not worth to watch ( and I also warn myself not to make such mistake). For another example, before I went abroad, I thought the Western stage were full of all kinds of post-modern things, but I found

it quite the contrary after going there, what I saw is the sound

foundation of realism in today’s American and British play, and

it is the same case in writing, directing, playing and designing. It

作有怎樣的影響？

一九七零年代末和一九八零年代，是西方影響 ”前衛”，成了多少人矚目的方向，我從當時稀有的英文戲劇書中啃了幾本，對那個我們隔閡而不瞭解的世界裡發生的一切有着極強烈的好奇和興趣，我想，成天在說西方什麼什麼派、這體系那體系，人家到底是怎麼回事，我們又知道了多少？！從我讀到的那一點點書裡就可以發現當時流行的認知有很多缺陷和謬誤，所以我想要親眼看、親身感受。我不否認我從來很喜愛”洋”，我做的戲又常常離不開”洋”，那我就要懂得真正的、貨真價實的”洋”啊。在國外的學習和生活對我的創作起着決定性的影響，因為我的知識面和生活圈拓開了，藝術的見解、思維、方法各方面都有了和以前很不一樣的發展。而且置身在”洋”地，再看國內的藝術，我覺得自己的眼光和觀念似乎產生了不少的變化 — — 舉例說，出國幾年後一次偶然看國內 ” 春晚”節目，看到那些很中國味的民間（甚至有點”土”的）歌、舞、表演我頓時覺得特別寶貴、清純、有價值，以至可以無愧在世界藝壇上獨樹一幟；而對於一些一味”仿洋”的節目就不那麼看得上了（而且警告自己不要犯這類毛病）。再如，和出國前覺得西方舞臺完全是一片”後現代 ”的五花八門正相反，我看到的是美國、英國當今戲劇中寫實主義的底蘊十分厚實，編、導、演、設計都如此，並沒有陳舊過時之嫌，實，絲毫不會妨礙現代感，創新的作品是架構在精深實在的基礎上的，所以再前衛也十分耐看。這些觀念漸漸在我意識中形成，不斷思考着什麼是中國藝術中最有價值的，什麼是中國藝術可以和應該發展的，什麼是中國藝術教育要聚焦的，等等。我想，這些都在影響着我的創作。

does not look outmoded, nor can it hinder its modernity in the

ART.ZIP:在香港演藝學院擔任院長期間對於您

of profundity and reality, no matter how modern it is, it is still

和管理者角色間的比較）

least, because innovative works are constructed on the basis

attractive. These concepts are gradually formed in my mind, and I

的藝術創作上有怎樣的影響和制約？（藝術家

keep thinking what is most valuable in Chinese art, what Chinese

J: 在香港當戲劇學院院長後，我導戲的數量減

focus on, etc. I think all these influence my creation.

團導戲則看有沒有時間的許可而定，所以八年

art can and should develop, what Chinese art education should

ART.ZIP: What kind of influence and constraint do the period when you served as a dean in the Hong Kong Academy for

少了，每年保持在學院導一臺戲，至於為別的劇中有三年是單純的每年一戲，有一年因為工作重而整年未排戲。這也許可說是一種”制約”？但另一方面，戲劇學院每年學生公演七八臺戲，劇

Performing Arts have on your art creation? (Comparison between the roles of artist and manager)

J: When I served as a dean of the School of Play in Hong Kong, I

directed less plays. I tried to keep directing one play in the School every year, as for directing plays for other troupes, it depended on my time, so among the eight years, in three years I merely

had one play every year and in one year I did not rehearse any play owing to large amount of work. Perhaps this is a kind of

‘constraint’? But on the other hand, students in the School of

Play would perform seven or eight plays every year, the selection of plays and the arrangement of their staff, including directors

and actors, were proposed by related teachers and department

目選取、人員安排包括定導演和演員等，由相關的系主任和教師提出，由我最後選定（考量中外古今題材、不同風格的平衡及適應學生學習的需要等），相似於一個劇團的藝術總監，每個戲的排練過程中我都會去看並交換意見，從別人的創作中我得到收益和啟發。比如有些戲是我自己不會選的甚至之前不知道的，那麼我會先對劇本鑽研一番，然後又看我同事和學生怎樣在舞臺上架構起來，這個過程對於一個做導演的我來說，也是增長藝術經驗的：我作為一個導演在當管理者的時候仍不會丟棄導演眼光、導演思路，我覺得，本性難移吧。

heads, and I would fix them on at last (I would consider whether

說多一點，我覺得”導演 ” 的職能裡面就包含着

they can meet the needs of students’ learning, etc.), similar to an

導演可以只顧 ”純藝術 ” 而絶對不問雜事的？照

their various subjects and different styles are in balance, whether art director of a troupe, I would look over the rehearsal process of each play and exchange views, and I could benefit and gain inspiration from others’ creation. For example, when meeting

some plays that I would not choose or even did not know before, I would firstly do some research into the plays, and then see

how my colleagues and students construct them on the stage; this process for me, as a director, can also broaden my artistic experience. As a director, I will not throw away the vision and

thought of a director at the time of serving as a manager, I think,

一定的 ” 管理 ”成分。我在想像是否有頂級大牌我的想法，一個導演大概總難免會被捲入一些屬於管理、安排方面的事務。也許正因為此，我應聘院長面對招聘小組問我有無管理經驗時脫口而出回答說：”我當了多年導演。”我覺得，角色轉換不一定是難事。重要在於適應。 ART. ZIP:談談您從藝術家到教育家（自己的創作與引導別人創作）角色的改變？

this is what is called ‘one’s nature is hard to change’.

J:同樣，藝術創作和藝術教育是兩個不同領域，

Moreover, I think the functions of a ‘director’ have contained

一定會有益於教學”，因此我總是非常提倡我學

some about ‘management’. I am wondering is there a big-name

但之間有着很多共通，我信奉”豐富的創作經驗

院的教師們自己多導戲多演戲（我們叫outside

director who is able to be absorbed solely in the ‘pure art’ and

j o b，有時間限制，要申請並得到批准，因為不

hard to avoid being involved in some affairs of management

可以教學生！不做實踐，教着教着一定乾涸。何

ignore all chores. In my view, for a director, it is probably always and arrangement. Perhaps just because of this, in the interview

for the dean, when the interview panel asked me whether I have

management experience, I replied without thinking: ‘I have been

I think the change of role is not necessarily a matter of difficulty;

慣地急於自己去創作。有時，還真要”忍得住”。

an artist to an educator (creating on your own and guiding others)? J: Similarly, art creation and art education are two different

areas but have a lot in common. I believe ‘the rich experience of creation must be beneficial to the teaching’, therefore, I always advocate that the teachers in our school should direct and

perform plays in person from time to time (we call it outside

job, it has a time limit and needs application and approval, so as not to affect their teaching), in this way, they can acquire

alive and new knowledge and experience to teach students!

Teaching without practicing will be bound to dry up. Moreover, art education can never be inseparable from practice, so the teachers should always keep engaging in creation.

Nevertheless, indeed, education is to ‘guide others’ rather than

‘creating on your own’, that is to say, it aims to enable students to 《共和国掌柜》

是時時捲入創作的。但教育的確是”引導別人”而不是”自己創作”，就

ART.ZIP: Talk about the change of your role in terms of creation from

《大川之靈》

況藝術教育總是和實踐不可分，所以教師也總

a director for many years.’

the key is to adapt.

《白娘子》，音樂劇場

能影響教學），這樣才有活的、新的知識和經驗

learn how to create; so, do not be habitually anxious to create on

是說目的在於讓學生學會創作，那麼就不要習舉例：我曾在上海戲劇學院導演系指導製作一個英國喜劇，由於學生都是學導演的，那麼教學的重點就是要讓他們掌握導一個戲的過程和技法，所以我把一個班學生分成了三個組，每組自行排出一版，我總體引導、整修。到了演出階段，三組輪流上演，場次數目相同。其實三組的處理是有很多不同的，而且也與我可能的處理有不同，但我讓他們去發展自己的導演設想，我除了整合外不作改動。我告訴自己絶不手癢去改成我自己習慣的模式。這可能也是我在英、美受到的影響，這裡的老師們（包括導演們）總是注重千方百計激發學生的自身的創造力，而不是總要學生跟從自己那一套。 ART.ZIP:作為華裔藝術家，您常年生活在國外，但

您有不少作品創作於國內（包括港、澳、臺），面對華人觀眾，您怎樣理解以及如何解決這個gap? J:其實沒有這個 gap，不會有gap，因為首先我

是中國人。再，就是始終記住與合作者共同創

your own. And sometimes, it really needs to ‘constrain yourself’.

作。個人經歷使我在大陸、香港、臺灣都生活和

Department of the Shanghai Theater Academy, since all the

確實存在着很多不同之處，甚至在文化和語言

For instance: I once directed a British comedy in the Directing

students majored in directing, the focus of teaching is to enable them to grasp the process and techniques of directing a play,

thereupon, I divided the students of a class into three groups and asked each group to rehearse a version, and I was responsible

for the overall guidance and modification. In the phase of their

performance, the three groups would perform same number of

scenes in turn. In fact, there were a lot of differences in processing between all the three groups; what’s more, their processing

was also different from my possible processing; in spite of this, I still let them develop their own ideas of directing and made no

alteration except for some integration. I told myself don’t itch to change it into my style. This may also be due to the influence of the UK and US on me, where the teachers (including directors)

工作過，這三處的中國人除了都有中華傳統外，方面都是如此，要知道講的都是中國話，但用詞、話題、句子的意義、語感，都很不一樣的！大陸人覺得好笑的東西，臺灣人也許根本笑不起來。香港人的生動比喻，其他人也許完全不懂。因此在創作舞臺劇時，必須意識到觀眾對象，但這只是調節的問題— —我看大量的大陸、港臺戲劇，坐在觀眾席裡，很清楚感受到人們的觀賞習慣的差異，我敏感因為我是中國人，那麼依據這些感覺，與不同的演出者合作，根據他們的創作個性、傾向、方法來經營我自己的創造，就不會和那裡的觀眾產生距離。合作過程實際上是我在向我合作者”學”的過程。

always make every attempt to stimulate students’ own creativity,

ART. ZIP:在戲劇創作中您通常採用怎樣的導演

ART.ZIP: As an ethnic Chinese artist, you living abroad all year

J:先說一聲，我當導演不是” 科班出身”，是自己

Hong Kong, Macao and Taiwan), when facing the Chinese

瞎摸也是有緣由的吧，那就是我歷來對除了表

rather than forcing students to follow their own modes.

round, but a lot of your works were created in China (including audience, how do you understand and solve such a gap?

J: As a matter of fact, there is not and will not be such a gap;

because, first of all, I am a Chinese; next, I always keep in mind that I am creating works of art together with my collaborators.

I have lived and worked in mainland China, Hong Kong and

Taiwan; although the Chinese people in these three places all have Chinese tradition, there are indeed lots of differences between

them, even in respect of culture and language, you know, they

all speak Chinese, but their wording, topics, meaning and sense of sentences are quite different! Something that the mainland

people feel funny may not amuse the Taiwanese in the slightest,

方法論？

摸索而慢慢做起來的，那麼可以說是瞎摸。但演之外的其他一些東西也相當有興趣，比如我

對色彩、光和影、音樂、文學、甚至包括建築，都有一份愛好，這樣我在接觸戲劇作品的時候，無論是做戲還是看戲，都會不由自主地關注這些方面，那也就是會產生一些對戲的架構、把握、處理方面的思考，大概這是一種非常朦朧的 ”導演意識 ”？所以早在戲劇學院表演系學習的時候，逢到排演片斷或者小節目，我會常常不自量力地拋出一些大概可稱為是”導演”性質的意見，或者竟自說自話插手指揮。偶而得手，欣喜且受鼓舞，於是越做越多。

and the vivid metaphors used by Hong Kong people may not be

但我又是有參照的，那就是我的老師們、劇團

play, the audience as the objects must be taken into account, but

我很多影響。然後就是對新思潮的學習。在戲

followed by other people at all. Therefore, in the creation of a stage this is just a problem about adjustment —— I have seen a large

number of plays of mainland China, Hong Kong and Taiwan, sitting in the auditorium, I can clearly feel the differences in their habits of seeing a play, I am sensitive to these because I am a Chinese; then, relying on my feelings and according to the creative personalities,

tendencies and methods of different performers whom I cooperate with, I carry on my own creation, and thus, there would be no gap between the audience and my creations. And the cooperation is

的導演們，他們排戲、處理戲的方法無疑給了劇學院我學的是正宗斯坦尼斯拉夫斯基體系 (Stanislavsky System)，曾將之當做金科玉律，雖在有些地方有疑慮，卻斷斷不敢有”反斯 ”之舉。後來新思潮大量湧入，新作品也越看越多，加之外國的資料（文字的和形象的）給予的啟迪，看到了無窮的創造可能性，便不可控制的投向打破寫實主義的當代的多元的方向。

actually a process that I am learning from my collaborators.

因此，要說導演方法論，我是”雜牌”。但我可以

ART.ZIP: In your theatre creation, what kind of methodology for

那就是，我要的是有厚實底蘊的當代風格（和

directing you usually adopt?

模糊地表述一下我導演時大體的信念和路子，味道）。現代的、不受拘束的、強烈生動的表現

J: First, I need to say that I did not receive any professional

手法是我永遠醉心並努力追求的，唯恐追之不

was groping my way blindly. But even a blind groping still has its

要紮實不馬虎。

training and I became a director all on my own, so, it can be said I reason, that is, I have always been quite interested in some things else in addition to performance, for example, I am also fond of

ART.ZIP:在《太陽不是我們的》的創作中，你怎

thus, when I am in contact with theatre works, regardless of

國文本的語境下？

color, light and shadow, music, literature and even architecture, acting or seeing them, I can not help paying attention to these,

麼實現演員們的自主性創造力，在這樣一個中

which means some though about the framework, understanding

J:簡單一句話的回答是：放手。相信他們的創造力。

is a very hazy ‘director consciousness’? So, when I was still a

是非常挑戰的經歷。我之前給美國、英國的學生

and processing of them will come to my mind, this probably

student in the Acting Department of Theatre Academy, whenever we were rehearsing some clips or small shows, I would often overconfidently propose some views which probably have

the nature of ‘director’, or even simply have a hand in it. The

occasional success would make me delighted and inspire me with much confidence; thereupon, I did it more and more.

Nevertheless, I still had something for reference, that is, my

teachers and directors of troupes, their methods of rehearsing

and processing plays certainly influence me a lot. In addition to 《柔蜜歐與幽麗葉》

及，但同時我會注意給予手法以涵義，藝術上

this, that is my learning of new thought. I studied Stanislavsky’s

system in the Theatre Academy and regarded it as a golden rule,

《太陽不是我們的》的創作是一個非常特殊的也都導過戲，非常清楚他們和中國學生之間的不同，也能掌握如何與他們一起工作的方式，所以如果僅是在英國製作一個戲，不能說有什麼特殊或挑戰。事情是，這次制定的目標不是簡單找一個劇本排出來上演，而是把中國戲劇的精品曹禺劇作放到一群英國年輕人手上，由他們的感受出發作為基礎，表演出他們眼中、心中的曹禺筆下的人物，演出一出屬於”他們的”戲來。這就是說，要作一次再創造。本來導演對演員就不該是簡單的”我導你演”，現在在這樣一個意圖下更是不能導演說了算，那就必須最大地碰撞出演員自身的創造力，他們的東西越多，越符合這個製作的初衷。

although I had some doubts, I dared not to have an objection to

不過演員們都是英國人，一開始對中國作品是

and more new works and inspired by many foreign materials

是學生，不說”教育”也有教育的意義在內。我們

it. Later, as a great deal of new thought poured in, I read more (with texts and images). Then, I saw endless possibilities of

creation, and thereby could not help devoting myself to the contemporary pluralism that breaks the realism.

So, as far as the methodology for directing is concerned, mine is without a term. But I can roughly express my general principles

and ways of directing, that is, what I want is a modern style (and

taste) with solid and profound foundation. A modern, unfettered and extremely vivid technique of expression is always what I

am fascinated with and striving after; but meanwhile, I will also

place emphasis on giving meaning to my techniques. Treating art should be down-to-earth and should not be careless.

ART.ZIP: In your creation of The Sun Is Not For Us, how did you

realize the performers’ independent creativity in such a context of Chinese text?

J: The answer is simple: let it go. Believe their creativity.

The creation of The Sun Is Not For Us was a very special and

制訂的方針是：第一階段：讀劇本！這是一切的基礎。於是他們”被逼”讀五個曹禺的劇本（英譯本，當然）— — 這是有點艱苦的！好在他們還很有興趣讀。接下來就是討論，大家說出讀本子後對劇中故事、人物、週遭環境、背景，進而到他們所接收到的感覺感情、故事所包含的思想，重點是，站在今天英國人的角度，他們怎麼看這一切。這一步是極其重要而關鍵的，因為這決定了以後創作的方向。從閲讀、討論進入創作，我們繼而進行的是”試探選場”，即由演員們找出他們最印象深刻的人物及場景，自己試着排一小段，拿出來演給大家看，於是我就知道了他們的”觸動點”和”興奮點” 在哪裡，有的和我自己的選擇相同，也有不同的。這樣，我根據眾人的試驗品，歸合攏來，直到這時才初步選定了場次，和分配了角色。很明顯，這和一般排戲的程序是很不相同的。

very challenging experience. I have directed plays for American

在一開始排練我指導較多、拉出初稿、並作了公

between them and Chinese students and able to grasp how to

們自身的創造，公開排練見觀眾聽意見後我即

and British students before; I am quite clear about the difference work together with them, so if just to produce a play in the UK,

it is not much special or challenging. The fact was the goal was not simply to find a script to rehearse and then perform, but to let a group of British young people perform a masterpiece of Chinese play —— the play of Cao Yu, and asked them to act

Cao’s characters in their eyes and minds on the basis of their own understandings, so as to perform a play ‘of their own’. That is to

say, it needed a re-creation. Originally, the relationship between

the director and the performer should not simply be ‘I direct you perform’, now, with such an intention, the director is much less

a final-decision-maker; for this reason, it is necessary to stimulate

開排練來徵求意見，由於我要的是更多出於他提出要大家自由敞開地發表見解，提出方案，並且分組試排。我強調，現在這是一個自由開放的階段，把大家的想法完全發揮出來、演出來，我作為導演暫退一邊。當時我 ” 鼓動群眾”的話中包括”現在我鼓勵你們反叛”和”你們扔開我排練”等誇張之詞。我知道，之所以可以在此時這樣做，是因為演員們已經對劇情和人物有了相當的理解，並已經有了一個粗架子作為基礎了。這個階段被證明是極其有收穫的，每次大家集中來看呈現時，都可以欣喜地看到許多新東西。

the performers’ own creativity as far as possible, the more their

此後當然導演又復位了，但我基本上保留了所有

with its original intention.

成一個整體，把舞臺、地位、燈光、投影、音樂

own elements are there, the more this production will be in line

However, all the performers were British, and they had little knowledge about Chinese works, so the guidance is still

necessary. Besides, since they were all students, even we did

not mention about ‘education’, it was still a matter of educating. We formulated the guidelines: step one: read the script! This is the foundation for everything. Thereupon, they were ‘forced’

to read five English versions of Cao’s script —— this is a hard 黃梅戲《無事生非》碧翠與白立荻

瞭解極少的，所以引導仍屬必須。再加上演員

work! Fortunately, they were very interested in it. The next step

is discussion, after reading the script, they are asked about their

他們的創造發明，只是把所有場景編排穿插構音響等都捏合到一起。所以整個過程中，雖然在中國文本這個基點上我始終占主導，但具體處理上我相當放手，而且是”壯了膽 ”放手，那就是說不怕”走了味”，因為要的就是從他們發出的 ” 味”。這裡是有”危險性”的，我不是沒有擔心過，但我自信能駕馭，最終的結果不會是離譜的。

views on the story, characters, surroundings and background in the play, and then the feelings and emotions they accepted as

well as the ideas contained in the story, in which the key point is

ART.ZIP: Have you ever been faced with the situation that the

performers do not trust you? How did you solve such a problem?

how to see all these things from a standpoint of today’s British

J: The relationship between the performer and the director

determines the direction of following creation.

occupations but are destined to be inextricably interpreted

people. This step is extremely important and critical, for this

After reading and discussion, then we began the creation, the next step is ‘tentative scene selection’, in which, the performs

would choose the characters and scenes that impressed them

most, and then try to rehearse a small piece to show to us; in this way, I could find out the ‘touching points’ and ‘exciting points’

in their performances, in which some of their choices were the same as mine and some were different. Then, I would gather

their tentative works up and take them all into account, and until this time had the scenes been preliminarily fixed on and roles

been assigned. Obviously, this is quite different from the general rehearsal procedure.

is a very interesting thing. These two belong to two types of together, as long as the rehearsal is not under the completely ‘autocratic’ system, it will be a process with collision, and

therefore, sometimes it is difficult to avoid frictions and even

conflicts. But fortunately, there were very few controversies in my past experience, even there were some, they were well-meaning and normal. I only remember that once the play performers

were not used to my way of rehearsing and unwilling to try it as I

suggested, thereby I took a ‘detour’ and still achieved my desired

goal in a way that everyone can accept. I think as long as the play was finally produced and performed well, the performers would trust me. All of us aimed to performed the play well and no one wanted to deliberately give me a hard time.

I gave more directions at the very beginning of the rehearsal;

And in this time The Sun Is Not for Us, from my description

seek opinions. Since what I want is a play with more elements of

performers. Collision? It is a bit heavy to call it ‘distrust’; while as

I would refer to the original script and hold open rehearsal to

their own creation, after the open rehearsal and getting opinions from the audience, I asked them to speak out their views and put forward proposals freely, and then tired out in groups. I

emphasized that now it was a free and open stage, all of you

should give full play to your ideas and perform them out, I as a

director just stood aside for the moment. (At that time, in order to ‘arouse them’, I would say ‘now, I encourage your rebellion’,

‘do your rehearsal, just ignore me’ and some other exaggerated

of the creative process, you can see that I got on well with the

for ‘disagreement’, there were some now and then, but the good news is I am always very open to it from the very beginning: if

you don’t agree with mine, just show me yours, I’ll see it, if it is proper, I can adopt yours; if not proper, I still can let you try a

few more times, but in the end if you fail, I will say no to you. In general, my attitude is to let it go, so there was no collision or something like that.

words’.) I could do this at that time, because I knew that the

performers had already had a rather deep understanding of the

plot and characters, and also had a rough framework as the basis. This step has been proved to be extremely fruitful, and whenever

ART.ZIP:您是否有面對過演員對您的不信任？您如何解決這樣問題？

of new things.

J:演員和導演的關係是一件很有趣的事情。屬於兩個種類的工作範疇卻

Of course, thereafter, I went back to be a director, but I basically

式”的制度下排練，會是一種拉扯碰撞的過程，因此也有時難免有摩擦甚

we got together to see the shows, we could delightedly find a lot

retained all their inventions, I just had all the scenes laid out so

as to made them a whole and integrated all the stage, position,

lighting, projection, music and sound together. So, in the whole process, although I have always been dominant as regards the

basic point of Chinese text, in the processing of specific matters, I gave them a rather free hand, even more, I ‘made so bold’ as

注定了要密不可分地交融在一起的這兩者，只要是不在那種完全”獨裁至衝突。不過慶幸的是，在我過去的經歷中爭議很少，有也是良性的、正

常的。只記得有一次戲曲演員不習慣我的排戲方式，不願試我要求的演法，我採取”迂迴”，以大家能接受的方式仍然達到我需要的目標。只要戲最終做出來了而且做得好，演員會信任我。大家還不是都為了排好戲，沒有誰想故意和我過不去吧。

to give them a free hand, which means I was not afraid of ‘the

而這次《太陽不是我們的》，從我對創作過程的描述可以看到，演員和我

standpoints was exactly what I want. It was certainly somewhat

頭開始我對此就持很開放的態度：你不同意的，拿出你的來，我看，看了

change of flavor’, because the ‘flavor’ proceeding from their

‘dangerous’ and I did worry about it, but I was confident that I

could make it and the final result would not be wide of the mark.

的關係密切。碰撞？說 ”不信任”重了些，”不同意”倒是時而有之，好在從合適我改成你那樣的，不合適的，我還是讓試幾次，到最後不行，我就說放棄。因為我的總體態度是放手的，所以就沒有出現過什麼頂撞。

《共和国掌柜》

Can Chinese Puppetry and Shadow Puppetry be Contemporary?

木偶、皮影可以當代嗎？ WRITTEN 撰文 x Simon Tim-Keung Wang 王添強 TRANSLATED BY 翻譯 x Chang Yu 于暢 IMAGES BY COURTESY OF 圖片提供

Ming Ri Institute for Arts Education明日藝術教育機構

THE ORIGINS OF PUPPETS

木偶、皮影的原始特質

AND SHADOW PUPPETS

由陶俑、木俑變成偶戲，脫胎自陪葬文化的中國

Chinese puppetry that was born out of the funerary culture and

出土的一個漢墓陪葬機關木俑，關節可靈巧坐

developed from pottery figurines and wooden figurines has gone through a tortuous course. In 1983, a wooden figurine buried

with the dead in a tomb of Han dynasty was excavated in Lai Xi,

Shandong Province, it has flexible joints for sitting and standing, and its hands can also move. Such an ingenious wooden craft,

木偶走過一條曲折的道路。1983年，山東萊西立，並手部可動作。精巧木工技術，當然不止是一件普通陪葬品，極可能已成一件道具，一件真人“替身”，明顯先需要表演動作，才作陪葬的“禮器”。一步步，木偶戲由葬禮化身娛樂事業。

of course, is not just an ordinary funerary object, it most likely

西方，木偶在祭祀中，是通向靈界的 “ 媒介”，與

is obvious that it needs to perform actions before serving as a

向神秘世界的“媒介”，由“還魂”法術，化作宗教

had been made into a prop or a “stand-in” for real man, and it funerary “ritual implement”. Gradually, puppetry steps out of funeral into entertainment undertakings.

In the West, a puppet is used in sacrifice as the “medium”

中國漢朝宮庭“弄影還魂術”一樣。開始時，是通表演，最終成為舞臺藝術。“替身”與“媒介”是中國木偶、皮影的原始功能，也是當代舞臺藝術的重要元素。

towards the spiritual world, which is similar to the “theurgy for

木偶、皮影不單只是兒童戲劇

China. The puppet, at the outset, is the “medium” towards

荷蘭藝術家杜達•派瓦(Duda Paiva)的獨腳戲《晨

religious show, and at last becomes a stage art.

膠偶”魔鬼附身，演員同時飾演“偶”的操控者及技

revival through shadow” in the court of Han Dynasty in ancient the mysterious world or “theurgy for revival”, then turns into a

“Stand-in” and “medium” are the original functions of Chinese puppets and shadow puppets, which are also the important elements in the contemporary stage art.

Puppetry And Shadow Puppetry Are Not Just Children Theater In Dutch artist Duda Paiva’s monodrama Morningstar, a

lifter mechanic accidentally drops into the underworld and is

possessed by a “rubber puppet” demon, the performer acts both the puppeteer and the mechanic simultaneously; the “puppet”

星(Morningstar)》，升降機技工誤降地府，被“橡工，“偶”原是魔鬼的“替身”，也是表演魔鬼的“媒介”。但，技工發現原來自己可替代戲偶操控者，控制魔鬼。人最終更可替代魔鬼，人比魔更甚。如果，這不是獨腳戲；魔鬼不是形象突出的“偶”；如果飾演不是一分為三，時分時合；“替身”的“偶” 不是由被控制到被消滅，最終“人”才是魔，前衛舞臺必然失色。“替身”、“媒介”的哲學性，成就了木偶、皮影在當代前衛舞臺的地位。木偶、皮影，當然不單單是兒童劇。更因這些功能，成為當代普及教育、諮詢輔導、心理治療的重要成份。無可否認，現代木偶出現的確由兒童劇場開始。

originally is a “stand-in” for demon, and it is also a “medium” for

二十世紀二十年代，歐陸文化、學術界深信舞臺

is able to control the demon in place of the puppeteer. What’s

精神文明的藝術場所。應運而生的不單止是兒

acting the demon. But, the mechanic finds that in fact he himself more, man can replace the demon, and even worse than demon. If this is not a monodrama; if the demon is not the prominent

“puppet”; if the performer does not sometimes act three roles and sometimes act one; if the “puppet” of the “stand-in” is

not changed from being controlled to being destroyed, and ultimately man becomes the demon, it is inevitable that the

藝術對兒童教育的重要，開展以培養兒童觀眾童劇。木偶因其造型、色彩突出，加上兒童萬物有靈的幻想世界，成為兒童劇最受歡迎的表演工具。兒童劇是現代木偶戲的重要部份但不是全部。歷史上，中國也不甘後人，三十年代上海現代木偶之父虞哲光先生，已運用木偶進行兒童劇及教育工作。

avant-garde stage will lose its charm. It is the philosophical

是，我們輕看了木偶、皮影

and shadow puppetry in the contemporary avant-garde stage.

中國木偶、皮影，從兩千年歷史到精緻雕刻，

meaning of “stand-in” and “medium” that give status to puppetry Of course, puppetry and shadow puppetry are not just children’s

從劇團體制到表演技巧，到近代兒童劇，都從

theater; or rather, just because of these functions, they become

and shadow puppetry’s status of antique

counseling and psychotherapy. But undeniably, the emergence

of passing on and developing, and have

an important part in the contemporary universal education, of modern puppetry indeed started from children’s theater. In the 1920s, European cultural and academic circles were

and heritage, so that they lose their vitality less energy than Western modern drama and music drama?

so confident of the importance of the stage art for children’s

Is that because that we miss the glorious

cultivate children audience’s artistic sentiments. Thereupon, not

in the Ming and Qing dynasties too much

education and tried to carry out artistic education in order to only did the children’s theater come into being, but also the

puppet, owing to its distinctive shapes and colors as well as the children’s fantasy world where everything is animate, became

days of puppetry and shadow puppetry and avoid facing the competition and challenge in reality?

the most popular prop in children’s theater. Children’s theater is

Is that because that Chinese puppetry

history, China’s puppetry also has made great progress, in the

critical success factor, or because that all

an important part of modern puppetry but not the whole. In the 1930s, Yu Zheguang, the “father” of modern puppet in Shanghai,

had already applied puppets to children’s theater and education.

Yes, We Do Make Light Of Puppetry And

and shadow puppetry really do not have of us really make light of them and fail

to make an in-depth study of them from

artistic theory, philosophical reflection and educational function?

Shadow Puppetry Chinese puppetry and shadow puppetry have never lagged

沒有落後於世界形勢，更是西方藝術界津津樂

of history to the exquisite carving, from the system of troupe

家、學者救亡的呼喚，問題在哪裡呢？

behind the world in all aspects from the two thousand years to performance skills and then to modern children’s theater;

道的學習對象。但，為何時至今日，不斷聽聞專

moreover, they are the example for the Western art circles. But,

是，我們太在意模仿真人表演，太追求西方商業劇

scholars for saving them? What’s the problem?

失去了自己的個人魅力，比不上“演員”成了次貨！

till nowadays, why do we constantly hear the calls of experts and Is that because that we care too much about the imitation of the

場的效果，沒有認真研究木偶的哲學特質？使木偶

performance of real man, overly go after the effects of Western

是，我們太鍾情於宣傳推廣，沒有好好研究木

qualities of the puppetry? So that the puppet loses its own

不上“動漫”成了附屬品！兒童木偶劇更成為了長

commercial theater, and do not carefully study the philosophical charm, becoming a faulty thing inferior to an “actor”!

偶教育本質？使木偶失去吸引兒童的色彩，比篇的公益廣告呢？

Is that because that we devote too much to the publicity and

是，我們太固執於木偶、皮影是表演，聽不進各

the puppetry? So that the puppet loses its attraction to children,

教育中造福下一代呢？

promotion and fail to carefully study the education essence of becoming an accessory inferior to a “cartoon”! Moreover,

children’s puppetry even becomes a lengthy public-service advertisement!

Is that because that we are too stubborn in the notion that

puppetry and shadow puppetry are performance, and thus turn

a deaf ear to a variety of educational ideas and hold that they are less beneficial to the next generation in the universal education

種的教育理念，比不上其它藝術的教育，在普及

是，我們太尊重木偶、皮影是古董、遺產身份，使它們失去了傳承、發展的青春力量，比不上西方的話劇及音樂劇的活力呢？是，我們太懷念明、清兩朝木偶、皮影的光輝歲月，逃避面對現實的競爭與挑戰呢？

than other forms of artistic education?

是，中國木偶、皮影真的沒有成功因素，還是我

Is that because that we have too much respect for the puppetry

術理論、哲學思考及教育功能的深入研究呢？

們由下至上實實在在輕看木偶、皮影，沒有藝我是大熊 - 黃廸祺拍

Tips

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Tips

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Ming Ri Institute for Arts Education

Mr. Simon Tim-Keung Wang

2002 after renaming from “Ming Ri Theatre Company”.

theatre practitioner since 1983, he worked with the Hong Kong Repertory Theatre, then the School of Technical

“Ming Ri Institute for Arts Education” has been set up in Having experienced different stage of attempt --- the amateur drama group “Anonymity Dramatic Club” in

1984 and Hong Kong’s first professional children theatre company “Ming Ri Theatre Company” in 1996, the

institute has been developed to a non-profit-making charitable organization emphasizing the importance of both arts and education in the 21st century.

We deeply believe that the art of drama is a key element

to cultivate creativity, ability of problem solving, abstract thinking and the sense of cooperation. All these are the characteristics of a “all-rounded person”.

Ming Ri Institute for Arts Education provides services

about arts and education through her subordinate organizations which are: Kidstheater website, QTN

Wong Tim-keung is the Director and one of the founding directors of Ming Ri Institute for Arts Education. A

Arts of The Hong Kong Academy for Performing Arts and the Theatre Workshop. Outside his office hours, he and a group of like-minded theatre practitioners founded the Anonymity Theatre with the mission of exploring and addressing social needs through theatrical arts. Under his initiative, the group became one of the first full-

time professional theatre companies enjoying autonomy in Hong Kong. Today it has become an institution geared to providing arts education for children and family audiences. For more than two decades, Wong

has been dedicated to the development of children’s theatre, drama in education, and the preservation and development of puppetry. He was awarded an Asian Cultural Council grant in 1993 to go on attachment in the USA to study the development of children’s theatre. It was followed by another grant from the Hong Kong

Arts Development Council (HKADC) in 1997 to study arts education and puppet theatre in the USA. He was presented with the Drama Practitioner Annual Achievement Award by the HKADC in 1999 for his contribution

to theatre-in-education and children’s theatre in Hong Kong. In 2008, Wong was elected to be a member of the Executive Committee of UNIMA (Union Internationale de la Marionette), a non-governmental organisation

affiliated to UNESCO. The appointment made him the first ever ethnic Chinese to be elected to such a post since UNIMA was founded in 1929. He is armed with the mission of serving as a bridge between the puppet art of China and the West.

website, VPS website, “Ming Ri Theatre”, “Arts Education

At present, he is the Vice President of the China Puppetry and Shadow Arts Association and serves on

Exchange Centre”.

also a part-time lecturer in “Creative Drama”, an elective course for in-service teachers, in the School of

Centre”, “Puppet School”, “International Puppetry Arts

the Advisory Council of the Center for Child Development of the Hong Kong Baptist University. He is Continuing Education of the Hong Kong Baptist University.

明日藝術教育機構概覽明日藝術教育機構於2002年正式改名成立。機構經歷了1984年“佚

王添強

名”年代的業餘劇社、1996年為香港首個全職從事兒童劇藝的“明

香港明日藝術教育機構總監、創團董事。自八三年起，先後任職香港話劇團、香港演藝學院科藝學院及舞臺工作間等，並以業餘時

日劇團”等不同時期的探索，至今發展成一個以藝術和教育並重的

間與一群有志於通過戲劇文化探討和回應社會需求的舞臺藝術工作者創立《佚名劇團》，其後更帶領機構成為香港首批全職的自

二十一世紀非盈利社會服務機構。我們深信，戲劇藝術提供了創意

主劇團、並發展成兒童及其家庭為觀眾對象的藝術教育機構。王添強二十年來致力推動兒童劇藝、教育戲劇、木偶保存及發展工

培養、解困能力、抽象思維、與人合作能力等全人建立的獨特功能，

作。九三年獲亞洲文化協會獎學金赴美國考察兒童劇的發展。九七年獲香港藝術發展局資助，再次赴美國考察有關藝術教育及木

這正好成為二十一世紀教育改革所需元素的環境支援。

偶劇藝。九九年獲香港藝術發展局頒發“戲劇藝術工作者年獎”，以表揚其對教育戲劇及兒童劇藝的貢獻。王添強更於2012年連任為聯合國教科文屬下組織——國際木偶聯會(UNIMA)自1929年成立以來的首位華人執行委員，以及當選成為國際木偶聯會木

明日藝術教育機構通過旗下不同成員提供藝術和教育服務。他們分

偶教育、發展及治療委員會主席及遺產委員會副主席，以肩負中西方木偶藝術界別的橋樑。王添強現擔任公職包括：中國木偶皮

別是：Kidstheater網站、QTN網站、VPS網站、《明日劇團》、《藝術教

影學會副會長、香港浸會大學兒童發展研究中心顧問等。王添強現時亦受聘於香港浸會大學持續進修學院在職教師學位課程之“

育中心》、《戲偶學院》及《國際戲偶藝術交流中心》。

創作性戲劇”選修科導師。

Indiligent Poet

Interview with Yuxuan Man 不勤奮的詩人

滿宇軒 Interviewed by 採訪 x Yiran Dong 董一燃

IMAGES BY COURTESY OF 圖片提供 x Yuxuan Man 滿宇軒

Yuxuan Man, now lives in Europe. He is a young artist, theater director, dramaturgy, writer and poet (not diligent). ----------

滿宇軒，旅歐青年藝術家、劇場導演、Dramaturgie（中國大陸的旅德戲劇學者李亦男根據德語原文翻譯為“戲劇構作”）、作者和詩人（並不勤奮的）。

art.zip: Living in France in these years, what do you see from

art.zip: 在法國生活的幾年裡，在戲劇表面你

influence do these have on your creation?

你的創作有什麼影響？

the surface of theatre, and what do you see beneath it? What

看到了什麼，表面之下又看到了什麼？這些對於

Man: Although I have lived in France for less than two years,

Man:在法國的這不到兩年的時間裡，其實我與

and I (existing as an individual life) am aloof from the external

個體生命存在）與外部環境（社會）比較疏離，

there actually is still a “distance” between France and me,

environment (the society), it is probably because that I still remain some of my habits in China. I’m used to observe at a certain

distance, for I think if I get too close, the truth will often disperse itself, thus I will be more confused, just as what is expressed in Antonioni’s Blow-Up. So, some problems are sill in a stage of

thinking and exploring, such as the “European crisis”, “Specters of Marx ── crisis of capitalism”, “strikes, demonstrations

and riots ── street democracy and collective performance”,

“political appeal and self-performance”, “relationship between

法國的社會還是比較“隔膜”，我自己（作為一個

可能和在中國時的某些習慣一樣，會習慣有一定距離的觀看，如果距離太近，真相往往會自己消解掉，反而更會看不清，如同安東尼奧尼的《放大》。所以，有些問題還是在一個思索的階段裡，比如 “歐洲的危機”、“馬克思的幽靈─ ─ 資本主義的危機”、“罷工、遊行、暴動 ─ ─街頭民主與集體表演”、“政治訴求與自我表演”、“自拍現象與自我表演的關係”、“ 當代即一個全民表演的世界”、“話語由誰提供”、“媒介即全部”等

self-photographing phenomenon and self-performance”,

等，有些問題可以反觀當今的中國社會，可以對

provides discourse”, “medium is all”, etc., and some other

問題時可能會清晰一些，但遠還沒到下結論的

“contemporary era: a world of all-people-performance”, “who problems can make us review the present Chinese society and enable us to make comparisons; from such a retrospective

perspective, we may view the problems in China more clearly, but it is still far from the time to draw conclusions. All contemporary

European artists are actively responding to and discussing these problems in their works, in “theaters”, “galleries” and some “art houses”. Of course, the “theater”, “gallery” and “art house” all

have “class attribute”, and they still server for “bourgeois art” and “white art”, and only those European middle-class intellectuals who are relatively steady in all aspects will come to consume these “serious thoughts on man, society and metaphysical

problems”, European underclass ── blacks, Arabs, Asians, urban

poor people, rural peasants and beggars on the street will seldom appear in these places, because they are still more concerned

with “bread” and some cheaper and more direct material benefit

── in France and even Europe, the most popular art are still the recreational “commercial theater” ── American blockbusters,

musicals that tell lyrical and touching stories, pop music concerts, the plays and shows for travelers (such as some classical opera in

照比較，視線是“回望式”的，這樣在看待中國的時候。歐洲當代藝術家在他們的作品中都在積極回應和探討這些問題，在“劇場”、“美術館”、 “ 藝術院線 ”裡。當然，“劇場”、“美術館 ”、“ 藝術院線 ” 都是有“ 階級屬性 ” 的，依然還是“ 布爾喬亞式的藝術 ”，依然是“白人藝術 ”，都是在所有方面相對穩定和固定的歐洲中產階級知識分子來消費這些“對人、對社會、對形而上問題的嚴肅思考 ”，歐洲的社會下層階級 ─ ─黑人、阿拉伯人、亞洲人、城市裡領低保的窮人、鄉鎮的農民、街頭乞丐是不會出現在這些場所裡的，基本絶少見到，因為他們還是更關心“ 麵包” 和一些更廉價更直接的實惠─ ─法國乃至歐洲最大眾的文藝還是屬於娛樂化的“商業院線”─ ─ 美式大片、提供抒情性和感人故事的音樂劇、流行音樂演唱會或者專門吸引遊客的“旅遊戲劇”、 “ 旅遊表演 ”（比如著名的巴黎歌劇院演出的一些古典歌劇和供奉着布萊希特的柏林人劇團演出的那種強調幾十年如一日的所謂 “原汁原味” 的戲劇）等。

the famous Paris Opera House and the so-called “genuine” plays

ART.ZIP: 怎麼看待中國的傳統，尤其是文學藝

by Bertolt Brecht), and so on.

中國藝術家，你覺得有什麼優勢和劣勢？這個

that emphasize stereotypes in the Berliner Ensemble established

ART.ZIP: What do you think of the Chinese tradition, especially the literary and artistic tradition? Will you retrospect it and

術上的傳統？你準備追溯嗎？以什麼方式？作為

快速變化的國家的現狀會給你帶來靈感，或是一種創作的摧毀？

in what ways? As a Chinese artist, in your opinion, what

Man: “中國的傳統”，這種說法是可疑的。我並

and unpredictability in this rapidly changing country bring you

“傳統”，懷疑這種所謂傳統的有無。“傳統”應該

advantages and disadvantages do you have? Will the chaos inspiration or a kind of destruction?

Man: “Chinese tradition” is a dubious saying. I don’t know what “Chinese tradition” is, and I have doubt about this “tradition”, I

doubt the existence of this so-called tradition. “Tradition” should be a kind of “values” formed in the history and completely

preserved in the continuation of history; if there is such kind of values, they have been interrupted for at least a century

and already gone for a long time. If you are referring to the

values conveyed by the Chinese classical literary and artistic works such as Kunqu opera, Beijing opera and A Dream of

Red Mansions, I can only say that they probably are beautiful, but nowadays, they seem somewhat “hypocritical”, “affected”, “artificial” ── unreal and a bit “weak” ── and at a loss, like

those classical paintings in the Louvre that are hanging high

there and appreciated by passing tourists in a hasty manner, in

face of the contemporary ── today’s reality, they feel nothing but powerless and are unable to explain it. Such values are too

far away from the my experience in the present day, and cannot be converged at the level of both knowledge and experience. After the interruption of classical experience, new convincing

mainstream values haven’t been formed yet in this country. I’m deeply suspicious of that kind of behavior of clamoring all the

day for a cultural “dialogue” with the West; today, we even have no satisfactory mainstream values at all, whereby shall we have dialogue with others?! In fact, our country in today’s world is

the “non-mainstream”; we are even not playing the same set of cards with them, whereby shall we have dialogue with them?! So, there is no this so-called “dialogue” at all. In a Postcolonial context, none of us are still “pure Easterners”, for there have

been no “purity”, the nationality has lost its sometime function of definition of and limitation on cultural attribute, and “we

不清楚什麼是“中國的傳統”。並且我懷疑這個

是一種經過歷史形成的並在歷史的延續中比較完整的保存下來的 “價值觀 ”，如果真有這種價值觀，那麼它至少斷裂了一個世紀了，早已經不存在了，都過去了。如果你說的是崑曲、京劇和《紅樓夢》等中國古典文藝作品中傳達的價值觀，我只能說它可能是美的，但在今天會顯得有些 “矯情 ”、有些 “做作”、有些 “假 ”─ ─不真實，有些“虛弱”─ ─無所適從，如同盧浮宮中被束之高閣然後被不斷變換的旅遊者們走馬觀花式瞻仰的那些古典繪畫，它們無力面對也無法解釋當代─ ─ 今天的現實。這種價值觀距離我的當下經驗太遙遠，在知識和經驗層面無法對接。在古典經驗斷裂之後，這個國家到現在並沒有形成新的有說服力的主流價值觀。我對那種成天叫嚷着要在文化上與西方“對話 ”的行為深表懷疑，我們今天根本沒有能夠拿得出手的主流價值觀，你憑什麼與人家對話？！實際上我們這個國家在今天的世界上就是“非主流”，我們與人家玩的都不是一套牌，你拿什麼與人家對話？！所以根本就不存在這種所謂的“對話”。在後殖民語境下，我們都已不是“純粹的東方人” ，早已沒有“純粹”，曾經的一紙國籍喪失了對於文化屬性的定義與限制的功能，“ 我們都是‘ 西方人’”─ ─“一種‘不同的 ’的西方人”。我們的那些“ 文化叫嚷”不過是我們的一種“文化意淫”。所以我不喜歡在藝術作品中過於強調中國藝術家的身份感，我不會這樣做作品。我必須面對的是一個已經全球化、資本化、平面化、媒介化、碎片式、消除差異、機械複製、海量信息、不斷異化的後現代世界─ ─而這些才是每時每刻撲面而來的，無可逃避無可遁形。

are all ‘Westerners’” ── a kind of ‘different’ Westerners”. Our

ART.ZIP: 談談你的近作和打算？

do not like to overemphasize my sense of identity as a Chinese

M an : 我現在的美學方向是 “ T h e P o s t

What I have to face is a globalized, capitalized, planarized,

劇場”。計劃在2013年創作一個這種美學方向的

“cultural clamor” is no more than a kind of “cultural lust”. So, I artist in my works of art, neither will I do my work in this way. constantly alienated post-modern world that is full of

mechanical reproduction and massive amounts of information ── and this is something unavoidable and always with us.

-Structuralism Theatre Arts”，即”後結構主義

劇場作品，以後在一段時間之內陸續會有3、4 個系列作品，它們會叫做 “虛無與時間三部曲（或四部曲）”，第一部也就是明年要做的這個劇

ART.ZIP: Talk something about your latest work and your plans.

場作品的名字叫“《灰色的奢侈品》(後史詩,或

Structuralism Theatre Arts”. I plan to create a theatrical work in

de Luxe gris》(poème post-historique, ou

Man: Now, I am engaged in the aesthetic area of “The Post-

this area in 2013, and there will be three or four serialized works

successively in a period of time afterwards, which will be entitled

the Nothingness and Time Trilogy or Tetralogy, the first theatrical work, i.e. the one I will produce next year, is called Gray Luxury

Articles (post-historic poem or the structure for the expression of a tragedy ), its French title is Article de Luxe gris (poème

post-historique, ou expression de la structure d’une tragédie).

In respect of its text and dramaturgy, it will take the texts of The

End by Beckett and Jacques and His Master by Kundera as its main framework, and also will be related to Faust, Hamlet, Hamlet-machine, Rosencrantz and Guildenstern Are Dead, Waiting for Godot, Don Quixote, The Myth of Sisyphus, A Dream of Red Mansions, Peony Pavilion, Specters of Marx, and other texts, images or theories. This is an avant-garde theatrical work, which is a contemporary art presented in a large theater,

and it will be particularly cross-border, so that the various arts in the same space will be very vague in their boundaries and thus difficult to be categorized. We attempt to construct a semiotic,

narratological and intertextual structure system by means of all

the audio-visual information we provide in this work, which will be a maze of meaning. If all goes well, it will be premiered in

Beijing according to plan, then, if possible, it will participate in some arts festivals in Europe and the United States.

表現某種悲劇的結構 )”，法語名字是《 A r t i c l e expression de la structure d’une tragédie)。在Tex t和Dramaturgie（戲劇構作）方面，根據貝克特的《終局》和昆德拉的《雅克和他的主人》兩個文本為主體架構，並且涉及《浮士德》、《哈姆雷特》、《哈姆雷特機器》、《羅森格蘭茨和吉爾登斯敦已死》、《等待戈多》、《堂吉訶德》、《西西弗斯的神話》、《紅樓夢》、《牡丹亭》、《馬克思的幽靈》等文本、意象或理論。這是一個大劇場的前衛作品，是一個在大劇場裡呈現的當代藝術，它會特別的跨界，以至於在一個空間之內的各種藝術的邊界會非常模糊而難以歸類。我們企圖在這個作品中嘗試着通過所有我們給出的視聽信息建構一個符號學、敘事學、互文本的結構系統，這會是一個意義的迷宮。如果一切順利，計劃先在北京首演，然後如果有可能會去參加歐美的一些藝術節。

ROCK ‘N ROLL INTERVIEW WITH MARK FISHER 石破天驚專訪馬克 • 費希 INTERVIEWED BY 採訪 x JING WANG 王晶

IMAGES BY COURTESY OF 圖片提供 x MARK FISHER STUDIO 馬克 • 費希工作室

Mark Fisher OBE, architect, founder and CEO of STUFISH. Graduated from Architectural Association School of Architecture in 1971. Devoting to show design for 40 years, clients include the Rolling Stones, U2, Pink

Floyd, Madonna, Lady Gaga and etc. Other main projects include opening and closing ceremony of London Olympic Games, opening ceremony of Beijing Olympic Games, Turin Olympic Games, Guangzhou Asian Games，and Cirque du Soleil’s KA stage design,

馬克 • 費希(Mark Fisher)，大英帝國傑出勛章獲得者（OBE), 建築師。STUFISH創始人、董事。1971年畢業於

tectural projects in China

他四十年的職業生涯，其中著名樂隊和歌手包括：滾石（Rolling Stone)、U2、平克 • 弗洛伊德 (Pink Floyd)、

etc. Current working archiare Han Show Theatre and film theme park.

Concert the Rolling Stone’s A Bigger Bang Outdoor Tour

Concert U2 360

英國AA建築聯盟建築學院（Architectural Association School of Architecture) 。為娛樂演出的設計貫穿於

瑪丹娜（Madonna)、Lady Gaga等。主要大型演出作品包括：倫敦奧運會開閉幕式 (執行總監)、北京奧運會開幕式設計、都靈冬奧運動會開幕式、廣州亞運會開幕式、太陽馬戲團KA秀劇場設計與演出空間設計等。正在進行的中國建築項目有為武漢漢秀劇場（Han Show Theatre) 和電影主題公園等。 www.stufish.com

ART.ZIP：YOU ARE VERY PROFESSIONAL ARTIST

MARK：I saw the audience, they are all just very

ARCHITECTURE. WHAT DO YOU THINK ABOUT THE

was really the idea. It sounds crazy, but you know

NOT ONLY IN PERFORMANCE ARTS BUT ALSO IN RELATIONSHIPS BETWEEN THE AUDIENCE AND ENTERTAINMENT SPACE?

MARK：Well, the audience, in the end, are the most

important people in the projects. They are paying

their own hard earned money to be entertained. The entertainment business in the end is about giving entertainment and culture to people. So eve-

rything that we do as a design studio, everything

we do with the people is really supporting the audience, making the audience experience positively

and that ideally has some thoughts and imagina-

tion behind. So it’s not just superficial. We work

with the artists to create shows that have meaning or interest and will connect with the audience. So

the audiences understand what it is. We are indeed

like pop artists, creating popular arts for the masses. ART.ZIP：I AM IMPRESSED BY THE STAGE DESIGN

YOU DID FOR ROLLING STONES ‘A BIGGER BANG OUTDOOR TOUR2005’. AS FAR AS I AM CONCERNED,

THIS IDEA CAME FROM THE ITALIAN CLASSICAL OPERA. WOULD YOU TALK ABOUT THIS DESIGN?

excited and drunk. They are part of the show that it’s fun. In a show like that, the Rolling Stones has

good time music, but you are not trying to save the

world. You are just trying to give people a good time. So those people are in a very special position,

wave to their friends and they can have party and they have got this great band playing down there, and it’s all very exciting and that’s it, not trying to do anything else. Which

is for example just to be

clear, creating a show like that for the Rolling Stones is very different

ART.ZIP：您的藝術成就不僅體現在表演藝術的空間設計，還有建築設計上，能否談談觀眾與娛樂空間的關係？

MARK：觀眾歸根結底是演出項目中重要的群體，在任何項

from what I did with

目上都是這樣，他們將自己辛苦賺來的錢去獲取一種娛樂消

Olympics where it was all

的、包括和別人合作的所有項目的目的也在於使觀眾獲得積極

Zhang Yimou on the about meaning, the idea of making a symbol for

‘One World, One Dream’

to come out the floor at the climax of the opening

費。娛樂產業最終是將娛樂和文化帶給觀眾。我們工作室所做的體驗，希望為他們帶來思考和想像，而不僅僅停留在表面。我們與藝術家共同創作一場使人愉悅的演出，也是為了與觀眾溝通，要讓觀眾明白它是什麼。所以我認為我們算是流行藝術家吧，力圖為更多的人群創造一種流行藝術。

ceremony，that’s

ART.ZIP：我非常感喜歡您為滾石樂隊 “石破天驚”2005－2006

something where you

利古典歌劇劇場。參與這場音樂會的部分觀眾置身在演出空間

about meaning. That is

世界巡迴演唱會設計的舞台空間，據我所知這一創意來自意大裡，他們的感受發生了奇妙的變化。能否具體談談這個設計？

MARK：我看到很多在場觀眾非常興奮。將觀眾融於演出空

間中確實也是這個演唱會整體舞台設計的最初想法。這聽上去很瘋狂，但非常有趣。在一個娛樂活動裡，正如“滾石”所帶

來的那些美好的音樂，你不是力圖去拯救這個世界，你只想儘力給人們帶來快樂。所以這些人在舞台上奮力朝着他們的朋友揮舞，他們也成為了演出的一部分。舉一個明顯的例子，與“ 滾石”樂隊的合作完全不同於與張藝謀導演合作北京奧運會開

BBC The Queen’s Jubilee Concert

are doing something that you want everyone in

world that we live in. But they are very different and

That is the symbol of China’s message to the world

the Rolling Stones that we are making some kind

the world who is watching it on TV to say ‘I got it’! on the Olympics which I think we did really well.

It was just a fabulous moment when that thing

came out. Everything, the acrobats, the singers, the beautiful picture with all the faces and everything came together in one thing. You didn’t have

to be so clever as a viewer of TV, or you didn’t have

to understand English or Chinese, you just had to understand ‘One World, One Dream’. This is China giving this message to the world. Whereas in the

Rolling Stones it’s just ‘hey, come on let’s have a party’, that’s all you are trying to do. There are these very different ends to what we do, to what I do as

an artist and they are both important in the social

I don’t confuse them, I mean I am not thinking with of message we are just having a party. But with

Zhang Yimou, we are definitely not having a party, this is the biggest thing that China is going to do

幕式。北京奧運會開幕式需要傳達的是意義，這個意義是作為

putting it on the line, this

面冉冉升起一樣，這便是“意義”。並且希望世界上每個角落的

for 100 years and we are is what China believes.

The interesting thing is

to have that range to understand what you are

doing, so that you don’t get it wrong.

“同一個世界”的象徵，正如“同一個夢想”在開幕式高潮處從地人通過電視看見它，然後說“我明白了！”。這是中國通過奧運會向全世界傳達的信息，我認為在那次開幕式設計上我們做到了很好的象徵意義。當一切都呈現出來的時候，那真是非常美妙的時刻。所有一切，當雜技演員、歌手、所有的面孔和一切美麗的圖畫融合在一起, 即使不懂英文或者中文，你便能讀懂“ 同一個世界、同一個夢想”，這就是中國通過開幕式給予全世界的訊息。然而，在“滾石”演唱會上它只是說：“嘿，來吧，讓我們一起來派對”。作為演出，在終極目的上，這裡有非常多的不同，作為藝術家我所作的事情和我身處社會這個大世界所作的事情，他們都是重要的，但他們又是非常不同的，我不會混淆他們。當你弄清這個範疇並瞭解你在做什麼的時候，你就不會弄錯了。

ART.ZIP：STUFISH IS CURRENTLY WORKING ON A

FEW CHINESE PROJECTS, SUCH AS THE HANSHOW

THEATRE AND THEME PARK, I COULD SEE QUITE

film theme park building, because there are some

INGS. SHALL WE TALK SOMETHING ABOUT THAT?

the idea of bells, music pleasure and then just mak-

TYPICAL CHINESE SYMBOLS FROM YOUR DRAW-

MARK：A city is a place where you go in the evening for entertainment. In Chinese urban life, lanterns

are part of the landscape in the evening. So a lantern is sort of subconscious thing to the Chinese, a

red lantern is about good times in the evening. It’s

a place about the evening pleasure and it also can

be a very beautiful object and that was really what we were trying to do. It could have a name, it could

have a picture and then we could also work with that we are not just going to build a red lantern. We

want to build a modern building, and this is coming back to legibility. We want to build a modern

building that when an ordinary citizen of Wuhan walks pass it, and they got, ah yes, red lantern, I get

it. I understand why this building is called the red

lantern even though it is a modern building and it is interesting that, it’s a little bit of making people think but connecting it to their everyday life they

think about. The same about the golden bells, the

significant bells associated with Wuhan and so I had

ing this composition of the bells as if they were ringing, but again it is abstract. But if you see it and you

know what the building is called, then you think, oh yeah, I understand. This is not a random thing, this is a thing connected to my city, to the history of my city. It’s also connected to the part of my

city that is to do with

music and with not necessarily entertain-

ART.ZIP：STUFISH目前在中國正在進行的項目包括大連萬達集

團投資於武漢的“漢秀”劇院和主題電影公園，從設計圖上看，這是一座有着典型中國文化符號的建築，能否談談這個建築？

because it is

MARK：城市是一個你晚上想去消費娛樂的地方。在中國的城市

things to do with the

徵著在中國的一個夜晚、一段美好的時光。這是屬於晚上的樂

ment,

more formal but with culture of my city. So

I can understand why it is there, it is not a totally random object,

it is not like someone

has shown up in Wuhan and decided to

生活裡，燈籠是夜晚風景的一部分。因此，燈籠常在潛意識裡象趣，也可以是一個非常美麗的對象，這是我們真正試圖做的事。

我想，我們不只是要建立一個“大紅燈籠高高掛的”建築，我們要建設一個現代化建築，一座容易解讀的建築，讓隨便一個普通武漢市民走過去都能知道這個大紅燈籠的符號意義。相同的，以金色編鐘為視覺符號的電影主題公園的建築，是因為武漢常有一些顯著的鐘聲才使我有了這個構想。組合這個金鐘與鐘聲同樣是抽象的。建築，不是一個隨意的事情，這是一個連接居民居住的城市

Asian Games Opening Ceremony 2010

sketch, concert Pink Floyd, the Wall, 1979

put a big egg besides the lake or a sausage or a pair

thing that I know about the Chinese. Although I

is thoughtful in a way that I hope the people of Wu-

Chinese, and I hope I have good Chinese friends.

of chopsticks. We have put something there which han will understand and appreciate and think, ‘yes, this is a piece of our culture, our history but it has been interpreted in a modern way’.

ART.ZIP：WHAT DO YOU THINK OF THE RELA-

TIONSHIP BETWEEN THE HAN-SHOW PROJECT AND THE ENVIRONMENT?

MARK：I don’t think it matters. I don’t think you want every single building in a city to tell a story.

You just want selected important buildings in a city to tell a story, the rest of the city becomes

the background. That’s important, otherwise you get overloaded and nobody understands what is

going on, for example a block of apartments, you don’t need the block of apartments to tell you a story, about being apartments or a hotel to tell you

a story. I believe, about the Chinese, I mean what

can say I know about the Chinese, I can’t say any-

have spent a lot of time in China, talked to many There is something about the Chinese approach which I think comes from your ideogram alphabet.

Dalian Wanda Group Wuhan Movie Theme Park

Your approach to understand the world is symbolic as a culture, you want to know why things are the

以及其歷史的作品。所以它不是一個完全隨機的對象，它不是

think because you would

者放上一段香腸，或者一雙筷子。我們的設計都經過深思熟

way they are all the time. I think, but of course we

隨便把什麼東西帶到武漢，比如把一個大的雞蛋放在湖裡，或慮，希望武漢市民能夠理解並欣賞他們，並認為這是一座將

wanna know why, but

我們的文化、我們的歷史以現代方式來傳達的建築作品。我們

conversation in America

產生出的現代作品，是有根源的。

you could have the same

and nobody would ask

的作品是能夠被人們所理解和賞識的，是結合了歷史，文化而

you why, that is my point.

ART.ZIP：您怎樣看“漢秀”劇場與周圍環境的關係？

always ask you why, be-

MARK：我覺得沒有什麼關係，並不是每一個獨立建築都要講

the reason why the thing

性，其他的建築可以作為背景。這是很重要的，否則信息就會

The point is Chinese will

cause you want to know looks the way it is, you

are not an abstract cul-

述一個故事。我們只是需要選擇一些重要的建築讓其有敘事過載，你不需要在公寓建築設計上也像講述故事一樣。對於中國我並不能說非常瞭解，雖然我已經花了很多時間在中國與很多中國人交談。關於中國的思維方式，我認為有一些是來自於漢字字母的結構。作為一種文化，你想知道為什麼事情會是這樣，語言的方法是認識世界的方式。相同的談話在美國，

ture in that way. I mean you have a highly abstract

figure it out. It’s always dangerous when people

oped from how they were created, and that they

this for 40 years and they think I want to be like

alphabet in that, and the ideograms are so develare very very abstract but with explanation, you can

be told exactly why the thing is like this, that this is

the house, this is the man, this is the tree, this is the river and that this is that symbol, because this is the story behind it. That is the world that you are totally

brought up in as a Chinese person when you live in that language and it affects the way you think and

the way you understand the world, and it makes

you different from us, you must find this when you try to translate.

The cultural intellectual approach here to things is absolutely different. To me, this is one of the most interesting things about going to China and work-

ing in China is understanding this and learning about it and trying to work with it in a positive way, because I think it is really interesting and I think this is really where this conversation about symbolism and legibility comes from. I think this difference

between East and West is profound and it leads to a huge amount of misunderstanding at every level

between our cultures, which is stupid. Because I think the Chinese is so patient with the West and

the West is so impatient and really doesn’t understand that the Chinese people. When you are

in a conversation with a Chinese person, they are processing your words in a totally different way

to the way in which you are saying to them, and

because they are speaking back to you in English.

They are processing their thoughts in a totally different framework to talk to you. As a Westerner, and you receive it as a Westerner. You think, oh this is a

Western person talking to me, but it’s not, and so

this whole thing about symbolism is so important

in the visual arts like architecture, show design and

everything else it’s really the base of it. So that is something that I hope I understand in a small way and it’s been the thing that has most informed my approach to working in China as a designer and an architect.

ART.ZIP：WHAT WOULD YOU SUGGEST TO YOUNG

CHINESE DESIGNER?

MARK：Get lots of practice! It is the only way. You just have to do it, make lots of mistakes, slowly

look at somebody like me who has been doing

him. But the reason I am like what I am is because I have been doing it for 40 years! This is the same with lottery; it is the same with playing the piano

or the violin or being an artist or a photographer. It takes time, and so how

do you become like me?

就沒人會問你為什麼，中國始終問你為什麼，因為你希望知道

you will be right there

字，這是房子，這是人，這是樹，這是河，這是符號，因為這

Do it for 40 years and in 2050. Ready to go. I

understand that young

people are impatient for everything, but I

原因，這是我的觀點。你們有一個高度抽象的字母，表意的文是它背後的故事。作為一個中國人生活在這種語言中，它會影響你的思維方式和認識世界的方式，它使你們與我們的世界不同，你必須找到並嘗試着作出闡釋。

never knew when I was

這裡的文化對我來說是完全不同的，到中國工作也是希望去瞭

I was going to do that

東方和西方之間對於象徵意義與可讀性的差別是深刻的，它導

18, 20 that this is what

never really was part of my view of the world. I

just wanted to do things that

were

interesting

that I could feel satisfied

by intellectually things, that

were

interesting

things, that were not

trivial things, that al-

解和理解這種文化，並試圖以積極的方式來用它工作。我認為致了大量的誤解，在每個層度之間的文化，誤解是愚蠢的。因為我覺得中國對於西方是充滿了耐心，而西方對於東方常是不耐煩的，他們真的不明白中國人。在西方語言的對話中，西方人總是用自己的語言習慣去理解中國人的話，而中國人卻會試圖用西方人的語言習慣去理解西方人。但這是不對的，所以在視覺藝術上的溝通很重要，無論建築，設計或其他視覺藝術都是這種視覺語言的基礎。所以我希望我能從小的地方開始理解，這也是我去中國做設計師和建築師的原因。

lowed me to work with

ART.ZIP：對中國的年輕設計師有什麼建議嗎？

that allowed me to ex-

MARK：進行儘可能多的實踐，這是唯一的方式。你只需要做

me opportunities to use

當人們看我或像我這樣的人時，常說很想成為像我或他一樣

my skills and things,

plore my paticular, give

my skills. So I have ended up in entertainment,

had it been slightly different. I may have ended up building airplanes

or anything else, I don’t think waking up as a

child there was a burning ambition to work in

the entertainment business, I just woke up with

a burning ambition to have an interesting life.

到這一點，把錯誤慢慢弄明白。不開始行動才是最危險的。的人，但我認為我之所以成為今天的我就是我在這個行業一直堅持了40年！這與陶瓷家、鋼琴家、小提琴家、攝影師一樣，這需要時間，所以要怎麼才能變得像我這樣？堅持做上 40年，從今天算起你就會在2050年蓄勢待發。但據我所知，年輕人都缺少耐心，但我在18、20歲的時候也不知道以後要幹什麼，也沒有一些對世界的看法。我只是做自己想做的事情，認為有趣的、不平凡的事情，做一些能讓我發揮所長的事情。我如果不是選擇從事娛樂領域設計的話，可能就去製造飛機或別的東西。我不認為誰是一覺醒來就有勃勃雄心致力於娛樂圈工作，我只是抱著勃勃雄心起來去做事，去過我認為有趣的生活。這就是我想說的，我不知道用什麼方式去衡量生活，但我認為自己擁有一個非常有趣的生活，因為我從來不退縮。

That is all, I don’t know how else you can measure it, and I have had an extraordinarily interesting life because of that, and because I have never said no. So here we are!

ART.ZIP：DO YOU LIKE POP MUSIC? WHO IS YOUR FAVOURITE? MARK：Some of it but not all. Well, I am an old guy, so I still enjoy the Rolling Stones and the

people I grew up with, and they are still producing new stuff. So I am very lucky that I get to work with these people whose music I really really like. We are even at the moment doing a show with the Rolling Stones right now. At home I listen to jazz, classical music, don’t listen too

much of the music I work with. But when I am working and I am in the room with a bunch of

live musicians I really love it, and I can even say that of being in a room with Madonna or Lady Gaga. We have worked with Lady Gaga and she

is fantastic because she is a brilliant musician,

ART.ZIP：你喜歡流行音樂嗎？你最喜歡誰的音樂呢？

ing the piano and you think this is as good as

MARK：某些吧，不是全部。我是一個老傢伙，所以我還

songs at home because there is some stuff I re-

新的東西。我很幸運一開始便與這些我真心喜歡的音樂人

you can be there when she is singing and playit gets. I have actually listened to some of her

ally like. Mostly I would sit down and listen to somebody playing Mozart on the piano if I am relaxing.

是喜歡滾石樂隊，那些陪伴我成長的人，他們仍然在創作在一起工作。我們甚至現在還在為滾石做演唱會。在家，我聽爵士、古典，沒有特別去聽那些工作上會碰到的作品。但是，當我在錄音室與現場演奏的樂手在一起時，我確實非常喜歡，比如說，和瑪丹娜、Lady Gaga。Lady Gaga，她真的太棒了，她是一位才華橫溢的音樂家，她的演唱和鋼琴演奏讓我覺得非常贊。其實我在家也聽她的歌曲，有一些曲目我真的很喜歡。如果我想要放鬆的話，通常我會坐下來聽別人演奏莫扎特的音樂。

Cirque Du Soleil, The KĂ&#x20AC; Theatre, 2004

MISREADING OF WEST END LONDON 倫敦西區的誤讀 TEXT BY 撰文 x YIRAN DONG 董一燃

TRANSLATED BY 翻譯 x CHANG YU 于暢 IMAGES BY COURTESY OF 圖片提供 x

THE SOCIETY OF LONDON THEATRE 倫敦戲劇協會, TONY AWARDS 托尼獎

West End London is usually known by most Chinese audiences as a theatrical stage at the highest level of the world. However, when you walk into any theater in the West End with great respect and watch a play for the first time, you will find

the marvelous performance a bit too approachable, and a night in the name of art seems to be slightly noisy with various tour-

ists crowding the theater. Even in the Unit-

倫敦西區，這個擲地有聲的名字通常被中國的普通觀眾解讀為世界最高水準

is deeply rooted among the people, a play

觀看演出後，你會發現，似乎演出精采得有點過於平易近人，一個以藝術為

ed Kingdom where a slogan that art is for all

full of pleasure but not thought-provoking will still make you doubt this “highest level” of theatre.

的戲劇舞台。然而，當你抱著崇敬的心情第一次走進西區的任意一家劇場裡名義的夜晚在週遭各色遊客的簇擁下略顯嘈雜。即使在藝術既為大眾的口號深入人心的英國，一個充分愉悅而欠缺了思考的夜晚還是讓你不免懷疑，難道這就是“最高的水平”？

Simply say yes or no is not sufficient to answer the

This, of course, is still not enough to answer the

between audiences and theater. Like most forms of

nature of theaters in the West End. Most of theaters

above question, let us first review the relationship art, theater also derives from religion. Ritual perfor-

mances in sacrificial ceremonies have been gradu-

ally separated and developed into theater over the years. However, compared with other forms of art,

the biggest feature of theater is that theatre can not exist on its own without audience. Therefore,

the relationship between audience and theatre has

always been emphasized in theatrical artists’ crea-

tion. Such an emphasis, however, does not mean that the creators converge with audiences’ taste,

but that they communicate with audience through

their own creativity so as to make audience under-

stand their creative intentions and then evaluate

their ways of presentation. Therefore, the evalua-

tion of a play often varies, which is not only caused by audience’s personal preference but also by their

different levels of appreciation. For example, the

feelings of an audience who knows theatre well and an ordinary audience will be quite different,

when they are watching the same classic play. Such

differences are often caused by the degree of their familiarity with the play and knowledge of theater

above-mentioned question. Then let us look at the in the West End were established from the late 19th

century to the early 20th century, and there are nearly 50 theaters in total, among which the major-

ity is self-financing commercial theaters and there

are only a few are funded by the government, such

as the Royal National Theatre and the Royal Opera House. The West End is located in the center of London, which is an expensive location. The size of each theater there ranges from a seating capacity of over 400 to that of over 2000, and to fill these theaters to capacity means to fill a large stadium to

在“是與不是”的簡單答案不足以回答上述的問題時，讓我們先

the selection of produc-

是源自宗教。在祭祀儀式中的表演在漫長的歲月裡逐漸獨立出

capacity. Therefore, in

tions, a theater must consider attendance. In

respect of forms of theat-

er, musicals become a major component part of theater in the West

End, for they are easy to understand. A lot of pro-

and even production. In addition, a large part of

duction companies have

cities or other countries, of whom a large number

musicals and thus create

audiences of the West End are visitors from other come from non-English-speaking countries. Thus,

most popular productions are often those that are

widely known or easy to understand, and strive to communicate with audiences clearly.

much acquaintance with many

classic

musicals

that are passed down from one generation to

the next and flourish all

來回顧觀眾與戲劇演出的關係。和大多數藝術形式一樣，戲劇也來成為戲劇。然而比較其他的藝術形式，戲劇最大的特點是表演不能在沒有觀眾的情況下獨立存在。因此，觀演關係一直在戲劇藝術家的創作中得以重視。然而，這種重視並不意味着對於觀眾品味的趨同，創作者是在通過自己的創造力同觀眾溝通，從而讓觀眾瞭解自身的創作意圖，並對於其表述方式予以評價。因此，對於一齣戲劇的評價，往往因人而異，這不光是由觀眾的個人喜好決定的，也是由不同觀眾的欣賞水平決定的。舉一個例子，一位深諳歌劇的觀眾和一位普通觀眾在觀看同一部經典歌劇的感悟是不盡相同的。決定這些區別的往往是對於這種藝術形式，甚至某出作品的熟悉和瞭解的程度。另外，西區的觀眾中有很大一部分為來自英國其他城市以及世界各地的遊客，很多遊客都來源於非英語國家。因此最受觀眾歡迎的戲劇作品，往往是廣為人知、通俗易懂的。在表演上，也力求清晰明了的創作溝通。這當然仍不足以回答最初的問題，接着讓我們來看一下西區劇場的性質。西區的劇場大多建於19世紀末、20世紀初，近50個劇院中以自負盈虧的商業劇院為主，只有皇家國家劇院（Royal National Theatre），皇家歌劇院（Royal Opera House）等為數不多的幾家由政府資助。西區位於倫敦的市中心，寸土寸金之地，每間劇場規模從400多觀眾席至2000多觀眾席不等，每天晚上，填滿這些劇場的坐席就相當於要填滿一個

因此，對於一齣戲劇的評價，往往因人而異，這不光是由觀眾的個人喜好決定的，也是由不同觀眾的欣賞水平決定的。

大型體育場。因此，劇場在劇目的選擇上必須要考慮上座率。在戲劇形式上，音樂劇因其通俗易懂成為西區戲劇的主要一個組成部分，很多製作公司也因熟知而擅長，創作出很多經典

the time. Classic ballet performances and as such

British theater in front of you, but if you really want

tural differences. As for stage plays in the West End,

side the West End will bring you extraordinary plays

are also widely accepted, for they overcome culthey can be more appropriately regarded as small theatrical works which are selected from London and other regions of the UK according to the ‘audience favorite list’ and then re-produced according to business rules. Since these works have already

been recognized, there naturally will be no need to worry about publicity and ticketing. There are also

some rather confident producers creating original

stage plays, which are mainly adapted from classic plays with widespread popularity, usually works of British writers.

In summary, the artistic value of theatrical produc-

to feel the charm of theater, dozens of theaters outof all kinds.

Lawrence Olivier Awards (referred to as Olivier

Awards in China) is presented annually by the Society of London Theatre to recognize excellence in

professional theatre. Named after the renowned

British actor Laurence Olivier, they are given for West End shows and other productions staged in London. The Olivier Awards are recognized internationally as the highest honor in British theatre and

are considered to be the theatre industry equiva-

lent of the British Academy of Film and Television Arts for television and film.

tions in the West End is undeniable, for they fully

The awards are presented annually across a range

performances, giving audiences enjoyment and en-

and affiliate theatre. Any production that staged

consider the relationship between audiences and

suring perfect and professional production. How-

ever, due to the nature of theaters in the West End, breakthroughs are rarely made there, experimental

works and foreign plays are rarely seen either, and

most of productions are adapted from local or other English-speaking countries’ classic works. In addition, as we have mentioned, a large proportion

of audiences in the West End are tourists, theaters

there even become one of the reasons to come to London for a lot of tourists. Therefore, it can be

said that the West End is a business card of British

theater, which places the most exciting part of the

of categories covering plays, musicals, dance, opera

between February 16 and February 15 the follow-

ing year, in a theatre represented in membership of the Society of London

Theatre is eligible for en-

音樂劇作品代代傳承，長演不衰。經典歌劇芭蕾等也因跨越了文

if it has run for a mini-

排行榜”擇選出來自倫敦及英國各地受觀眾喜愛的小劇場作品，

try for the Olivier Awards

mum of 30 performances. Entries for the awards

do not necessarily have to be new productions.

化差異而被廣為接受。西區的話劇很多則更像是根據“觀眾喜愛根據商業規則重新製作。有了之前的觀眾基礎，自然也不愁宣傳和票務。另有一些非常自信的製作人也製作原創話劇，這些話劇往往以經典劇作為主，擁有廣泛的知名度，通常以英國本土作家作品常見。綜上所述，西區戲劇的藝術價值是不可否認的，因為它們充分地考慮了觀演關係，保證了作品的觀賞性，製作精良專業。但是，由於劇場的性質，西區的劇場很少突破，實驗性質的小眾作品罕見，外國劇目也非常罕見，大多數劇目為本土、或者其他英語語系的經典作品。正如上文提到的，西區的觀眾中有很大比例的是遊客，西區劇場甚至成為了很多遊客來倫敦的理由之一。因此，可以說西區是英國戲劇的一張名片，它把最為精采的部分擺在你的眼前，但是如果想真正瞭解戲劇的魅力，倫敦西區之外的幾十家劇場往往會給你帶來不一樣的精采。勞倫斯奧利維爾獎（中國翻譯為：奧利弗獎）是每年由倫敦劇院協會評選頒佈的卓越專業劇院獎項。該獎項以英國著名演員勞倫斯·奧利維爾之名命名，評選範圍為西區及其它在倫敦上演的作品。奧利弗獎是國際公認的英國戲劇行業的最高榮譽，地位相當於英國電影和電視藝術學院獎。

The Antoinette Perry Awards for Excellence in Thea-

are also given, including a Special Tony Award, the

Awards, recognizes achievement in live Broadway

belle Stevenson Award. The Tony Awards are con-

tre, more commonly known informally as the Tony

theatre. The awards are presented by the Ameri-

can Theatre Wing and The Broadway League at an annual ceremony in New York City. The awards

are given for Broadway productions and perfor-

mances, and an award is given for regional theatre. Several discretionary non-competitive awards

Tony Honors for Excellence in Theatre, and the Isa-

sidered the highest U.S. theatre honor, equivalent to the Oscars for motion pictures,

the

Grammy

該獎項評選範圍涵蓋戲劇、音樂劇、歌劇、舞蹈及非西區劇場。由

Emmy Awards for televi-

日期間演出至少30場以上的劇目才有資格參選。參選作品並不

Awards for music and the sion.

倫敦劇院協會成員選送的，於每年二月十六日至次年二月十五一定是新作品。安托瓦內特佩里優秀戲劇獎，更常見的非正式稱謂為托尼獎。該獎項是由美國劇院協會和百老匯聯盟評審優秀的百老匯劇院的成就。頒獎典禮每年在紐約舉行，除去授予百老匯的演出作品獎項，還設有地區性劇院獎項。托尼獎還設有部分非競爭獎項包括特殊托尼獎（Special Tony Award）, 托尼劇場榮譽獎（Tony Honors for Excellence in Theatre）, 以及伊莎貝爾·史蒂文森獎（Isabelle Stevenson Award）。每個賽季，在托尼獎的官方網站上都會登發當季的評選規則。托尼獎被認為是美國劇院的最高榮譽，齊名的其他行業獎項包括奧斯卡電影獎，格萊美音樂獎和電視艾美獎。

TWO HIGHEST AWARDS IN THEATRE

LAURENCE OLIVIER AWARDS VS TONY AWARDS

舞台雙雄——奧利弗獎 VS. 托尼獎

LAURENCE OLIVIER

TONY AWARDS

Laurence Olivier Awards, de-

Franchetti. It depicts Lord Olivier

in the Royal College of Art, Lon-

AWARDS 奧利弗獎

signed by the sculptor Harry as Henry V at the Old Vic in 1937.

托尼獎

Rosse in 1949, who once studied don

勞倫斯·奧利維爾獎(中國譯

由曾就讀倫敦皇家藝術學院的

Franchetti依據Laurence在

1949年設計

為:奧利弗獎)是雕塑家Harry 1937年OLD

VIC版本的亨利五

美國藝術導演Herman Rosse於

世中的造型而鑄造 Awarded for

Best in London theatre

Excellence in Broadway theatre

Presented by

The Society of London Theatre

American Theatre Wing and The

評獎名義

頒獎單位

最佳倫敦劇場作品

倫敦戲劇協會

最佳百老匯作品

Broadway League

美國戲劇派百老匯聯盟

Country

United Kingdom

United States

First awarded 起始時間

1976

1947

國家

英國

美國

ARTouch 是一个与艺术和创意产业相关的非营利公益研究组织, 于 2012 年在伦敦创办。 ARTouch 从政治经济学以及发展学的视角关注在全球化背景下的中国人在英国创意产业中的发展状况。ARTouch 完全依靠志愿者独立运行，致力于提供与主流声音不同的另一种视角。目前研究题目包括，用政治经济学视角关注有官方背景的中国艺术海外展览，中国海外艺术家发展困境等。了解更多信息，请登陆 www.artouch.org。欢迎与我们在新浪微博互动: ARTouch 艺触 ARTouch is a not-for-proﬁt, volunteer-run research-based organization, founded in London 2012. ARTouch is interested in observing the development of Chinese in UK creative industry through political economy perspective and developmental approach, in the context of globalization. ARTouch is dedicated to providing an alternative voice. Current research topics include ‘Revitalising political economy in understanding Chinese Overseas Arts Exhibitions with Governmental Background’, ‘the barriers to Chinese UK-based artists’ development, etc. For more information, Please go to www.artouch.org. Please follow us on Sina Weibo: ARTouch 艺触

NEVER COMPROMISE BELARUS FREE THEATRE 永不妥協白俄羅斯自由劇團 TEXT BY 撰文 x YIRAN DONG 董一燃

TRANSLATED BY 翻譯 x CHANG YU 于暢 IMAGES BY COURTESY OF 圖片提供 x YOUNG VIC THEATRE 青年維克劇院

Scars, scars, scar, a topless actor circled his scars in red ink in the middle of

the stage. Then, he raised his head, facing the audience and smiling shyly, ‘girls like my scars, and they said that they are very sexy.’ At this time, an

expression of sudden seriousness crossed his face and he said, ‘however, if scars are sexy, Minsk must be the most beautiful and sexiest city in the world.’

傷疤，傷疤，傷疤，一位赤裸着上身的男演員在舞台的正中用紅色的水筆圈着

formance can be deservedly regarded as a

疤，她們說，這很性感。”然而，他的表情突然嚴肅起來，“但是，如果說這是一

With such a scene and such lines, this per-

Dzenis Tarasenka in Minsk, 2011. Photo by Nikolai Khalezin

自己身上的傷疤。他抬起頭，面向觀眾，靦腆地笑着：“姑娘們都喜歡我的傷

memorable one. It is not given in Belarus in

種性感的話，那，明斯克，將是世界上最美，最性感的城市。”有了這一幕的積

English, but in London in deep and com-

澱，有了這一句台詞，這部戲已經可以了。這不是在白俄羅斯，這不是英語，

plex Russian.

這是在倫敦，這是渾厚複雜的俄語。

At London International Festival of Theatre, the

started armed repression, more than a thousand

sounds. Many odd voices all over the world are

ing Natalia Koliada, the founder of Belarus Free

style here is not as friendly and peaceful as its name heard here. They are experimental and with strong political overtones; they are neither pleasant nor

dogmatic; they value theatrical arts and do not ignore levels of creation with striking themes; and

theater is the way they speak, it does not matter which language is used.

Minsk is a play performed by Belarus Free Thea-

tre in 2011. Belarus Free Theatre can not even be

regarded as a theatrical company, for under the current political system in Belarus, it has no offi-

cial registration, no premises, nor any other facili-

ties. Rehearsals and performances (always free of charge for the public) are normally held secretly in small private apartments, which, due to secu-

rity and the risk of persecution, must constantly be

changed. On several occasions, performances were

given in street cafes and in the countryside, in the woods. Members have been repeatedly harassed by the authorities and some were sacked from their jobs at state-run theatres. All their productions

demonstrators were beaten and arrested, includ-

Theatre, which brought international attention and caused protests against the arrests. Fianally the

倫敦國際戲劇節，風格卻從不像它的名字聽上去那麼友好和平

yet many members of

緣，政治色彩濃重，不愉悅，也不教條，他們遵守劇場藝術為

arrested were released, Belarus Free Theatre lost everything

and

went

into fleeing and hiding.

的方式，是什麼語言並不重要。戲劇《明斯克（Minsk）》，2011來自白俄羅斯的自由劇團

On its website, Belarus

為在現行的白俄羅斯政治制度下，它的存在並不合法，也不能

that Minsk was created. Free Theatre clarified the main aim of its performances, that is, to “break

through stereotypes of

the Belarusian popula-

tion that are imposed by the ideological system of Belarusian dictatorial regime”.

Belarus Free Theatre has

ernment’s presidential election contrary to public

with the United King-

opinion was held in Belarus. Then the government

上，並不因為題材的醒目而忽略創作的水平。戲劇是他們說話

It was in such a context

were conducted underground. At the end of 2010, a massive protest demonstration against the gov-

和。世界上許多褶皺的喉嚨，是在這裡發出聲響的。他們邊

indissoluble

bond

dom. It was established in

（Belarus Free Theatre）。我甚至不能說這是一個劇團。因被承認。沒有場所，沒有設備，演出通常只能在私人的住所進行，並因安全和管制問題不得不經常變更地址。有時候，演出甚至要在街頭的咖啡館，農村或者樹林裡進行。劇團成員們被當局不斷地警告和騷擾，一些同為國立劇團工作人員的成員被開除出了體制之外。全部創作活動一直保持地下狀態。2010 年年底，白俄羅斯發生大規模抗議政府違背民意的總統大選的示威遊行，後被武裝鎮壓，數千人被政府軍警襲擊逮捕，其中就包括白俄羅斯自由劇團的創始人尼古拉 • 卡拉真（Nikolai Khalezin）。後因該事件引起國際社會的抗議和聲援，被捕者才得以釋放。但是很多劇團成員從此失去了他們的一切，走上了逃亡和躲藏的道路。這部作品《明斯克》就是在這樣的背景下創作的。劇團的網站上闡明了他們的宗旨，就是“打破白俄羅斯被獨裁專政所束縛的廣大民眾的僵硬思想”。該劇團和英國有着不解之緣，2005年劇團成立的第一場演出是英國女作家薩拉 • 凱恩（Sarah Kane）的《4.48精神崩潰（4.48 Psychosis）》。這部戲在中國也很著名，今年曾在北京的蓬蒿劇場演出。隨後，2007年，該劇團作品《作為哈囉德 • 品特（Being Harold Pinter）》參與了紀念英國著名劇作

2005, and its first production was 4.48 Psychosis,

chairs then became properties for erotic dancing

is also very famous in China, which was performed

ings. On the second day of armed repression of the

by British playwright Sarah Kane. (This production

in Penghao Theater in Beijing this year.) In 2007, its

original theatrical work Being Harold Pinter participated in academic activities and performances

in commemoration of famous British playwright Harold Pinter, during which Harold Pinter himself

got involved in the after-performance discussion. In

2011, Minsk was premiered at the Edinburgh Fes-

tival Fringe; and this time, Minsk 2011 was invited

to participate in the London International Theatre Festival, performing in Young Vic Theatre which is one of the best small theaters in London.

Provocative erotic dancing was approved, pros-

titutes were sent to sweep streets, and demonstrations in favor of homosexuality were subject

to armed repression, all these absurd events occurred at the same time, fully showing multiple

standards under the dictatorial regime. The actors’ performances were brilliant, although a rather lim-

ited number of properties were used in the entire

theater, the actors showed countless moving and memorable scenes through the coordination be-

tween their bodies and these properties. When night fell, the stage became a messy and chaotic

factory which was also a lively dance hall, where

workers pushed each other to stretch their dirty hands holding enamel bowls through holes in their

chairs, jeering by striking the bowls violently and taking liberties with the shrewish woman cook, and

and those holes were metaphors for sexual feelprotest triggered by closure of the club, Minsk started to snow, so the actors sprinkled a bag of sugar on the ground,

showing

bitterness of the

reality with deliberate sweetness. A

girl wearing a garland was stripped

off her left clothes,

THE ACTORS SHOWED COUNTLESS MOVING AND MEMORABLE SCENES THROUGH THE COORDINATION BETWEEN THEIR BODIES AND THESE PROPERTIES.

splashed with black ink ruthlessly, and dragged on a piece of white paper, leaving visible traces

on the paper, but the girl was singing all the time. Then, her body was rudely wrapped in the paper and tied up with tape. However, her increasingly

faint voice did not disappear. Eventually, she was extricated, just like a chrysalis breaks its cocoon and becomes a butterfly,

and her sound of singing

家哈囉德 • 品特的學術和演出活動，品特本人也參與了觀看和

was carried on people’s

演。這一次，《明斯克》受邀參加倫敦的國際戲劇節，在倫敦

became loud again. She shoulders, parading like a Queen. Although I did

演出後的討論。2011年，《明斯克》在愛丁堡邊緣戲劇節首最好的小型劇場之一Young Vic Theatre演出。

not see smiles, at least I

暴露的色情舞蹈被審核通過，妓女被派上大街清掃街道，同性

the performance, the ac-

下多重標準。演員的表演非常出色，整個劇場使用的道具非常

saw hope. In the end of tors sat on a row of chairs

in the front of the stage

戀遊行被武裝鎮壓。這些荒謬的事件同時發生，盡顯獨裁專制有限，但是演員們通過自己的身體和道具的配合展現了無數動人和難忘的場景。晚上是邋遢混亂的工廠，晚上是熱鬧的舞場，工人們推搡着從椅子上的洞裡伸進拿着搪瓷飯缸的髒手，起鬨地使勁敲打作響，調戲着潑辣的廚娘，隨即，那些椅子又成了艷舞的道具，洞裡充滿性的隱喻。在俱樂部被關閉所引發的抗議事件被武裝鎮壓的第二天，明斯克開始下雪，演員用一袋砂糖灑在地面，用那刻意的甜去演示現實的苦。頭戴着花環的姑娘，剝下最後的衣裳，被狠狠潑上黑墨，被人在白紙上拖扯，留下醒目的痕跡，姑娘始終在歌唱，身體被粗暴地用紙張裹起，膠帶貼上，然而那微弱下去的聲音並沒有消失掉，最終她的身軀如蝶破繭，歌聲也再一次洪亮起來。她被抬上人們的肩頭，如女王般巡遊，我雖然看不到笑容，可是至少看到希望。在演出的結尾部分，演員們挽起褲腿坐在舞台前的一排椅子上，假裝是坐在Nemiga

Yana Rusakevich in Minsk 2011. Photo by Nikolai Khalezin

河的岸邊(這是一條被強制掩埋，

with their trouser legs rolled up, pretending to sit

effect on us. Three young Russian girls were sen-

buried and contained within a fabricated culvert)

songs critical of Putin’s government. Artists all over

on the shore of Nemiga River (a river forced to be

and talk about their present and future in a relaxed

manner. They were saying those days when they return to Minsk, that sense of uncertainty, that sense

of not longing, that sense of confusion and fear, and that sense of loss slowly faded into a Belaru-

sian folk song. We were not allowed to applaud the performance, for it is not permissible to applaud for

such a voice of freedom under the dictatorial regime, but we still applauded, which was precisely what this production told us.

On the day when this article was finished, there was a piece of Russian news which had a sobering

tenced to three-year imprisonment, for they sang the world protested against such a tragedy, and Madonna even specially

made a protest for them

管道流通的暗河)輕鬆地談論着他們的現在，他們的未來。人

We do not know such an

那份迷惘和恐懼，那份失去，在一首白俄羅斯的民歌裡被徐徐

in her concert in Russia.

experience of these girls will bring what changes

in their creation or even their lives, however, they

們都在說著，自己回到明斯克的日子，那份不確定，不憧憬，掩蓋。我們不許鼓掌，因為這在那份獨裁政權之下，為這樣的自由之聲鼓掌是不被允許的，可是我們還是鼓掌，也正是這部戲告訴我們的。

did not become a part of

在本文結尾的當天，有一則來自俄羅斯的新聞頗讓人尋味。三

life has already become

三年的監禁，全世界的自由藝術家都在為此聲援，瑪丹娜甚至

the silent majority, their different.

個年輕的俄羅斯姑娘因為演唱的歌曲批判普京的執政府而面臨在她俄羅斯的演唱會上特意為她們抗議。幾位姑娘的經歷，不知道會為她們之後的創作道路，甚至生命帶來怎樣的改變，但是沒有成為沉默的大多數，她們的人生已經不同。

YV_Minsk image ART2

DR. DEE 歌劇《迪伊博士》 TEXT BY 撰文 x JING WANG 王晶

TRANSLATED BY 翻譯 x CHANG YU 于暢 IMAGES BY COURTESY OF 圖片提供 x

ENGLISH NATIONAL OPERA 英國國家歌劇團

Dr. Dee, Damon Albarn, Melanie Pappenheim, Clemmie Sveaas, (c) Richard Hubert Smith

Dr. Dee, Paul Hilton, Melanie Pappenheim, Christopher Robson (c) Richard Hubert Smith

As the stage lights die away, the theater gradually restores the state that

‘even breathing can be heard’, at this moment, there comes a faint caw of a crow. No one knows where the crow flies from, it disturbs the audience

who are ready for the play, then flies to the stage where the curtain has just opened. Flying towards the dark stage, it stops on a rooftop in the

center of the stage, there is nothing but a deep blue light shining on it, which is pecking at the board, like nibbling on a decaying corpse.

當場燈漸弱的時候，劇場漸漸恢復到“連呼吸都能聽見”的狀態，此時隱隱傳來一隻烏鴉聒躁的聲音。不知它從何飛來，驚擾了即將觀劇的人們，只見它飛向了大幕剛剛開啟的舞台，一座幽暗的舞台上，它着落在舞台中央的一個屋頂上，只有一盞幽藍的光投射到它，徘徊地啄擊着木板，像是在讒食着一具腐朽的屍體。

There is a cabin of an old ship lying across in the

astronomy and astrology. Piles of books apparently

players are sitting in. A guitarist wearing a T-shirt

amazing reading speed and remarkable memory.

mid-air over the stage, where eight ancient music and jeans is standing casually in a corner of this space, overlooking the coming story on the stage.

This guitarist is the composer of this opera Damon Albarn. Along with the ancient music of the Renais-

sance, a mysterious force brings us back to the 16th century England.

Dr. Dee tells about the ups and downs of the life of John Dee, who is a British mathematician, astrono-

mer, navigator, alchemist and astrologer born in 1547. Dr. Dee on stage is a mysterious, grotesque, hysterical but very gifted character, just like the combination of the three charac-

ters of Dr. Faustus by Christopher

Marlowe, The Alchemist by Ben

Jonson and Prospero in The Tempest by Shakespeare. This is a con-

can not fill his ‘thirsty’ soul in comparison with his

Books are increasingly enlarging, until they become the main part of the stage scene. Along with his action of the life, these stretchy ‘books’ as projected

images that are frequently moving on the stage represent that rich humane world. He is so talented that finally he wins the

favor and appreciation of

一艘舊船隻的艙體，橫跨在舞台半空，八名古樂演奏者

Dee to divine the best

置在這個空間的一角，他俯視着舞台中即將開始的故

Elizabeth, who then asks time for her coronation, and Dr. Dee therefore

reaches the climax of his

坐於其中。一名身穿T恤仔褲的吉他手隨性地將自己放

事。這名吉他手也就是這部歌劇的作曲丹蒙·阿爾伯恩

（Damon Albarn）。一股神秘的力量伴隨着文藝復興時期的古樂將我們帶到了16世紀的英國。

“知識”、“權利”、“加冕”、“帝國”、 “占卜者”、“時光隕逝”、“警言”、

temporary play about the explora-

tion of knowledge, rights, humanity

“選擇”、“墜落”、“遺忘”

歌劇《迪伊博士（Dr.

Dee）》講述的是

出生於1547年的英國數學家、天文學家、航海家、煉金術士、星象學者伊恩博士跌宕起伏的人生。舞台上的迪伊博士這個人物就像是克里斯托弗 topher

馬洛(Chris-

Marlowe)的《浮士德博士（Dr.

and vanity, which not only shows the tragic life of

life. At the beginning of

Faustus）》、本 · 瓊森（Ben Jonson）的《煉金術士

the origin of modern science during the reign of

continues

羅（Prospero)這三個人物的結合。神秘、怪誕、歇斯

this legendary figure, but also enables us to trace Elizabeth I. It is a story of five hundred years ago,

but having a contemporary soul. This is the key reason that I want to introduce this work.

There are a number of ‘key words’ about his life represented in each of the two acts of this play, such

as ‘knowledge’, ‘rights’, ‘coronation’, ‘empire’, ‘sooth-

sayer’, ‘passing time’, ‘warning’, ‘choice’, ‘falling’ and ‘forgotten’. Like a parabolic curve, they sketch a

vivid and lifelike portrayal of Dr. Dee. As the curtain opens, Dr. Dee, a wise man once enjoyed great glory, is lying on the deathbed, nursed by his miser-

able daughter. When the orchestra in the pit begins to play the symphony, numerous symbols in the

world of knowledge are projected on a big transparent screen. As the screen gets out of the audience’s sight, the old Dee has suddenly turned back

to be a gentleman of his young age, roaming in the ocean of knowledge, eagerly learning mathematics,

the second act, Dr. Dee the

adven-

ture in his life, and in the

face of human limits, he continually

challenges

and adventures, trying to interpret the ancient language of angels. As

（Alchemist）》和莎士比亞筆下《暴風雨》普洛斯彼底里而又極具天才之能事。這是一部有關探討知識、權利、人性與虛榮等問題的當代歌劇，不僅展現了這位傳奇人物悲劇性的一生，也讓我們可以追尋到現代科學在伊麗莎白一世統治時代的起源。一個五百年前的故事，卻有着當代的靈魂。這是我想介紹這部作品的關鍵。

time goes by, people

在這兩幕歌劇中，每一幕裡呈現的是有關他人生中的眾

patience with him, but

者”、“時光隕逝”、“警言”、“選擇”、“墜落”、“遺忘”，就

began to gradually lose he ignores the ‘warning’ in his life and still insists on his attempt.

When facing the choice between ‘faith’ (which

can be understood as a vanity of human beings

of proving themselves) and love, he follows his

‘faith’ and loses his wife.

多“關鍵詞”，如“知識”、“權利”、“加冕”、“帝國”、“占卜

像是一條拋物線，形象而貼切地給迪伊博士畫了一張素描。大幕開啟於迪伊博士躺在垂死的那張病床上，由他

那長期飽受苦難的女兒照料着這位曾經無限榮耀而智慧的父親。當樂池裡交響開始奏起時，一塊透明的大幕投射上知識世界裡的無數符號。當大幕消失在觀眾的視線外時，老年的迪伊已經搖身成為青年時代的才俊，他如饑似渴地蕩漾在知識的海洋裡，學習數理、天文、星象。層層疊疊的書在他一目十行般地閲讀速度和驚人

的記憶力裡顯然填飽不了他那顆“饑渴”的靈魂。書由小至大，直到成為舞台場景裡的主體。這些可以伸縮的“ 書本”在舞台裡頻繁地移動，伴隨着他的人生動作（一

生與書籍為伴），也作為影像投印的載體表現着那個豐富的人文世界。他的才華倍受青睞，最終受到伊麗

莎白的賞識，並讓迪伊為她占卜加冕的最佳時機，迪伊博士因此跨入人生的頂峰。第二幕開始，迪伊博士繼續

Afterwards, he continues his downfall, and falls to a

broken, lonely death. ‘In the process of the constant pursuit of infinite knowledge, he never faces him-

self, until he loses the most precious thing for him.’ said the director Rufus. When speaking of this play,

Damon Albarn who is the lead singer of Blur, a band founded in 1997, also said that ‘such situation occurs

at any time, while we are often making decisions

based on the subconscious faith, we are also being blinded by the opportunities. Or in other words, we

are often blinded by the outward appearances of

vanity. When people always try to show their great foresight, it may also lead to an irreparable blindness.

This is a tragedy. I was singing in the play, ‘Nightingales are delighted while owls are frowning’, the play begins with the birdsong and ends in birdsong. This is just like a cycle.’

When the greed reaches a limit, even if it is the desire for knowledge, it may also bring about a disaster.

着他人生中的冒險，在面對人類的有限性時，他不斷地挑戰和冒險：企圖詮釋一種古老的被稱為天使的語彙。在不斷流逝的時間裡，眾人對於他漸漸失去耐心，但他卻忽略人生中的“警告”一意孤行地進行着這項嘗試。在面對“信仰”（這裡可

理解為一種人類證明自身的虛榮）與愛情的選擇時，他追隨了“信仰”，失去了愛妻。接下來他的人生持續地滑落，跌入谷底，直至死去。“在不斷追求無限知識的過程中，他從不面對

自己，直至失去對於他最為珍貴的東西。”導演魯弗斯·諾裡斯

(Rufus Norris)如是說。成立於1997年的Blur樂隊主唱丹蒙·阿爾伯恩(Damon Albarn),在談到這部歌劇時也說：“這種情形隨

時都在發生，我們常常依據潛意識的信念作着決定同時我們也被機會所矇蔽。或者說我們常常被虛榮的表象所矇蔽。當人能總想高瞻遠矚時也會釀造成一種無法挽回的盲目。這就是悲劇。在劇中我唱到，’夜鶯欣喜而貓頭鷹皺眉’，全劇開始於鳥鳴也結束於鳥鳴。這就像是一個輪迴。” Coliseum Roof (c)Grant Smith

當貪婪到達極致時，即使是對於知識的渴求，帶來的可能也是一場災難。

The Elizabethan England once again returns to

the ‘contemporary’ is the use of projected images.

ish Olympic cultural activities, Dr. Dee can be re-

longer a rare thing, as early as the mid-20th cen-

public view. As a play participating in the 2012 Brit-

garded as a masterpiece in terms of its creativity, although there are considerable controversies over

its music, almost every new play has faced such a situation. However, for English National Opera, as a

benchmark, that ‘creates opera for the future’, creativity is always their pursuit, for this reason, ENO is

full of vitality today. It is a challenge to the artists to present the story and characters of 500 years ago

in a finite space within two hours. But the finite-

ness of theatrical art is exactly where her charm lies; it is enough to test the creativity of the artists to

show their infinite imagination in the finite space,

The imaging technology used in theatrical art is no

tury Svoboda, Czech architect and master of stage design, has made a beginning and kept practicing his exploration constantly, and his design had im-

portant influence on the later theoretical art. The

image part that is designed and produced by ‘59 Productions’ indeed improves upon this play, the

fantastic images, like ‘stars’, ‘numbers’ and ‘alche-

my’, sometimes overlap with each other and some-

times separate from each other on the stage. This sense of visual illusion does make me feel as if I am travelling through the Renaissance era.

besides, it also requires that such creativity is able

Musician Damon Albarn is a well- known rock star

direct manner. Therefore, in addition to telling the

rillaz might be quite familiar with him. Damon was

to be conveyed to the audience in an effective and story very well, the visual expression

in the UK, and those who know about Blur and Go-

is particularly important. The whole

伊麗莎白一世的英格蘭再次回到了公眾的視線，作為2012英國文化奧林

land and the England in the Renais-

品，儘管在音樂上頗受爭議，不過幾乎每一部新歌劇均面臨這種局面。

play places the contemporary Eng-

sance in the same space, in which the ‘contemporary’ is the old-style

cabin hanging over the center of the stage, where the ancient music players and the guitarist are in, and the

‘classical’ is the story of that era that

is going on on the stage. Such a visual structure is a very effective way to

help the audience to understand Dr.

Dee, that is to say, it will not make them feel like this: how could such

a remote story have anything to do

with our present life? Instead, it will make the audience think about the

‘past’ and the ‘present’ when watching it. Another means to express

匹克活動的參演劇目，歌劇《迪伊博士》從創造力上而言算是一部上乘作但對於“為未來而創作歌劇”作為標竿的英國國家歌劇院（English National Opera），創造力是他們一直的追求，也就有了現在ENO如此的活力。如

何在兩個小時內，一個有限的空間裡曾現500年前的故事和人物，這給了

藝術家們一個挑戰。劇場藝術的有限性也正是她的魅力所在，在有限裡展現無限的想像力，足以考驗藝術家的創造力，而且這種創造力還要能直接有效地傳遞給觀眾。因此除很好地講述故事外，視覺上的表達尤為重要。整部歌劇將當代與文藝復興時期的英格蘭並

置在一個空間裡，“當代”就是在舞台中央懸空的舊式船艙，古樂演奏者和吉他

歌手置身其中，“古典”便是舞台上發生的那個時代的故事。這種視覺結構的方式非常有效地幫助了觀眾理解《迪伊博士》,

既不覺得這麼遙遠的事情與我們

現在的生活有什麼關係？也讓觀眾在觀

劇場藝術的有限性也正是她的魅力所在，在有限裡展現無限的想像力，足以考驗藝術家的創造力，而且這種創造力還要能直接有效地傳遞給觀眾。

看的過程中不斷地思考“過去”與“現在”

。“當代”的另一個手段表現在投影語彙的使用，影像技術運用於劇場藝術早已不是什麼稀奇之事。捷克建築師和舞台設計大師斯沃博達早在20世

紀中葉就開了此先河，並且一生不斷地持續實踐他的探索，他的設計對於後來的劇場藝術產生了重要影響。由”59 Productions”設計並製作的影像

部分，着實給這部戲添了重力，“天體”、“數字”、“煉金術”夢幻般的景象在

舞台上時而疊加，時或抽離。這種視覺上的幻覺感，讓我着實像是在文藝復興時代裡穿越了一次。

born in a middle-class family in England, whose fa-

play, a musical play, rock, or an ancient music of the

cipal of a college of art, and mother was a stage

ing it to heart lest for fear of ignoring such a good

ther was the manager of Soft Machine and a prin-

designer. Damon had taken part in shows when

he was a child, so he is no stranger to theatrical art. He has an aversion to the narrow notion of ‘Great

British Empire’ just like any other British rock youth.

In 2007, he in cooperation with Chinese-American

director Chen Shizheng created the play Monkey :

Journey to the West. He is very curious about the

world outside England, and he is also a man full of

weird ideas, so, in his works, you can hardly find repetitive things. He traveled to China and Africa and

used the music elements there in their own works. Of course, he is also influenced by the contemporary minimalist musicians, like Glass. When I sat in the theater listening to this play, I wonder, is this a

Renaissance era? After much thinking, I stop tak-

play at the present time. Because, creation has al-

ways been ‘On the Road’! If there is no spirit of ‘On the Road’, there

音樂人丹蒙·阿爾伯恩在英國可謂是家喻戶曉的搖滾明星，瞭

conductor stops

國中產階級家庭的丹蒙，父親曾是微軟經理人，藝術院校的校

would

‘walking ’. As the his baton, caws

of another crowd

of crows reach my

ears,

and

they are also flying to the stage of the mysterious era.

解Blur樂隊、Gorillazd的人對於他應該不是很陌生。出生於英

長，母親是一位舞台設計師。小時候的丹蒙還參與過表演，所

以他對於劇場藝術毫不陌生。他身上有着英國搖滾青年們對於“ 大英帝國”偏狹觀念的反感，2007年他曾與華裔導演陳士錚創

作了歌劇《西遊記》，他對於英國以外的世界充滿了好奇。他也是一個有着奇奇怪怪想法的人，於是在他的作品中很難看見重複的影子。他遊歷中國、非洲，並且將這裡的音樂元素用在自己的作品中，當然他也很受當代極簡主義音樂家如格拉斯的

影響。當我坐在劇院裡聆聽這部歌劇時在想：“這是歌劇？還是音樂劇？還是搖滾？或者文藝復興時代的古樂？”想來想去，我不再糾結於此而忽略了一部當下這部好戲。因為創造一直就是“ 在路上”！沒有“在路上”的精神，那麼就不會有“行走”了。

當指揮收棒後，又是一群烏鴉的聒躁，它們又飛向了那個神秘時代的舞台。

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