ART.ZIP issue 15 by Jingchen Liu

THE ENCOUNTER 《邂逅》 WONDER.LAND 《奇·境》 UNICORN THEATRE: CHILDREN’S THEATRE AS ART NOT EDUCATION 獨角獸劇場：兒童劇場是一種藝術，而非教育

CHILDREN’S THEATRE IN BRITAIN: THE MOVE FROM CONTENT TO FORM 英國兒童劇場：從內容到形式之路 THE LIGHT AND SHADOW OF INK: THE SPIRIT OF INK IN QU LEILEI 筆墨光影——曲磊磊的水墨精神

ISSUE 15, 2016 INTERNATIONAL EDITION €15 / £10 / $17.50 / ¥ 100

JINCHENG LIU 劉金成 PUNCH 撞 Exhibition: 17 Mar. - 3 Apr. 2016 Private View: 16 Mar. 2016 Opening Date: 17 Mar. 2016 Art Talk: 23 Mar. 2016 Exhibition by appointment until 15 Apr. 2016

Bloomsbury Gallery 34 Bloomsbury Street London WC1B 3QJ United Kingdom +44 (0)20 7580 3164 www.bloomsburygallery.london

False Real / Series - 25 / Oil. Acrylic on Canvas / 82x61.5cm / 2016 www.jinchengliu.com XY COLLECTIVE

Supported by XY COLLECTIVE

XY COLLECTIVE

熱點話題

HOT TOPIC 011 009

The Encounter

017

011

Almeida Greeks

019

《邂逅》

艾爾美達劇院希臘戲劇節

021

Kenneth Branagh Theatre Company

肯尼斯·布拉納戲劇公司《人與超人》

American Buffalo

021

Manchester International Festival

015

Hamlet

023

wonder.land

《哈姆雷特》

Royal Shakespeare Company in China

皇家莎士比亞劇團在中國

Man and Superman

013

《美國野牛》

025

曼徹斯特國際藝術節

027

International Beckett Season

029

國際貝克特戲劇節更多熱點

《奇·境》

固定專欄

EXCLUSIVE COLUMN 137

143

133

Theatre for Young Audiences: A Critical Handbook

143

The Light and Shadow of Ink: The Spirit of Ink in Qu Leilei

137

Shakespeare in Education

149

Gallery, or gym?

153

Her Orchestra 協奏

《青少年劇場之實用手冊》莎士比亞教育

筆墨光影——曲磊磊的水墨精神美術館？健身房？

每期專題

SPECIAL FEATURE 047 031

Theatre for Young Audience 青少年劇場

077

The Wind in the Willows 《柳林風聲》

033

Children’s Theatre in Britain:

079

The Dragon 《龍》

英國兒童劇場：從內容到形式之路

085

Fevered Sleep “噪眠”創意公司

Unicorn Theatre:

087

Against Captain’s Orders:

041

the Move from Content to Form

Children’s Theatre as Art Not Education

獨角獸劇場：兒童劇場是一種藝術，而非教育

047

051

057

A Journey into the Uncharted 《反抗船長命令：秘境之旅》

National Theatre:

092

The Energy Show 《能量秀》

英國國家劇院：對未來藝術的投資

101

Running Wild 《叢林奔跑》

Lyric Hammersmith: New Blood

103

Nutcracker! the Musical 《音樂劇: 胡桃夾子》

107

Noye’s Fludde 《諾亞的洪水》

111

Where the Wild Things Are 《野獸冒險樂園》

114

“Imaginate” Bravery 勇敢“狂想”

121

Southbank Festival: A Hub of Festival

125

Dance Umbrella: Moving the Younger Generation

Investment in the Future of an Art Form

利瑞克哈默史密斯劇場：新生

Chickenshed Theatre:

Great Art and Culture for Everyone 雄雞之屋：藝術面前人人平等

061

Polka Theatre: From Page to Stage

065

The Bath Egg 巴斯卵形劇場

067

Young Everyman Playhouse 大眾劇院青少年劇場

069

Tiger and Tiger Tale 《虎生》，與《虎生‧童話》

129

On the Edge 在邊緣藝術節

074

Bedtime Stories 《睡前故事》

131

The Spark Festival 星火戲劇節

波卡爾劇院：躍然紙上的劇場

南岸藝術節：節日之灣未來的舞步

ISSUE 15 2016

ART.ZIP

ISSN 2050-4152

Publisher 出版人

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

Executive Editor 執行編輯 Michelle Yu 余小悅 Editor 編輯

Ke Qiwen 柯淇雯 Li Bowen 李博文 Sarah Pettitt

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

Honour Bayes, Jesc Bunyard

Monica Chung, Sophie Guo 郭笑菲

Jay Lai 賴駿杰, Summer Liu 劉楊慧子

Struan Robinson, Amy Holson-Schwartz

Syndi Huang 黃煥欣, Tao Yangyang 陶陽陽 Stella Zhang 張薇, Orange Zhao 趙丹鈺 Zou Shuang 鄒爽 Translator 翻譯

Nicholas Anderson, Cai Sudong 蔡蘇東

Avita Guo 郭顏, Shoran Jiang 姜嘯然, Jill Angel Chun 秦文娟 IT Project Manager IT主管 Ace Xie 謝達明

Media Officer 媒體主管 Iris Shih 施孟慧

Advertising Manager 廣告客戶經理

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

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

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

THE ENCOUNTER 《邂逅》 WONDER.LAND 《奇·境》 ISSUE 15, 2016

UNICORN THEATRE: CHILDREN’S THEATRE AS ART NOT EDUCATION 獨角獸劇場：兒童劇場是一種藝術，而非教育

CHILDREN’S THEATRE IN BRITAIN: THE MOVE FROM CONTENT TO FORM 英國兒童劇場：從內容到形式之路

ISSUE 15, 2016 INTERNATIONAL EDITION €15 / £10 / $17.50 / ¥ 100

THE LIGHT AND SHADOW OF INK: THE SPIRIT OF INK IN QU LEILEI 筆墨光影——曲磊磊的水墨精神

Visual Design 視覺設計 Bulletpin Studio Thanks to 鳴謝

Almeida Theatre 愛爾美達劇院

Arts Council England 英國藝術委員會 Barbican Centre 巴比肯藝術中心

Barrowland Ballet 巴羅蘭德芭蕾舞團 Bath Egg 巴斯卵形劇院

Chichester Festival Youth Theatre 切斯特藝術節青年劇場 Chickenshed Theatre 雄雞之屋 Dance Umbrella 舞蹈傘藝術節

Fevered Sleep “噪眠”創意公司 Imaginate Festival 狂想藝術節

Institute of Contemporary Arts 當代藝術研究院 Institute of Education Press 教育研究院出版社

Kenneth Branagh Theatre Company 肯尼斯布拉納戲劇公司 London International Mime Festival 倫敦國際默劇節 Lyric Hammersmith 利瑞克哈默史密斯劇院

Manchester International Festival 曼徹斯特國際藝術節 National Theatre 英國國家劇院

Peaceful Lion Productions 和平獅戲劇製作公司 Polka Theatre 波爾卡劇院

Punchdrunk Enrichment 暈眩（濃縮）劇團

Royal Shakespeare Company 皇家莎士比亞劇團 Science Museum 科學博物館

Southbank Centre 南岸藝術中心 Spark Festival 星火藝術節

Tangram Theatre 七巧板戲劇公司 Unicorn Theatre 獨角獸劇院 Upswing 上升劇團

Wyndham’s Theatre 溫德姆劇場

Young Everyman Playhouse 大眾劇院青少年劇場 Address 雜誌社地址

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

EDITOR’S NOTE 主編寄語

Since 2012, we have been presenting annual theatre-centred editions every year. Theatre in Britain is a highly industrialised artistic conglomeration, and has far-reaching impacts on British

society and art. It carries on the humanistic traditions and values of the country, and extends and shapes reflection and understanding of the current society.

In any form of art, if it wishes to maintain its thriving vitality, it is necessary to cultivate its audience

and evolve into what echoes with the times—British theatres’ exploration and practice, in this regard, is too fruitful to neglect. They infuse the most creative ideas into productions for the young, arousing in them interests in art and passion for life. In this issue, we focus on British theatre

for the young, examining how theatres, creative practices, marketing, humanistic education and audience cultivation are organically interwoven.

從2012年開始，每年我們都會為讀者帶來一期圍繞戲劇展開的專題內容。在英國，戲劇是一個高度產業

化的藝術集合體，其對整個英國社會和藝術的發展都產生了深刻的影響，一方面戲劇傳承著這裡的人文傳統和價值觀，另一方面，戲劇也不斷拓展著和建構著人們對當下社會的思考和認知。

對於一種藝術形式，如果希望其一直保持旺盛的生命力，那麼對於受眾群體的培養，以及相應地演進出更為符合時代風格的表現形式都是極其必要的，而英國戲劇在這些方面所作出的探索和實踐是非常引人矚目的，他們將天馬行空的創意用戲劇的形式展示給年輕的觀眾，喚起他們對藝術的興趣和生活的熱

愛。這一期我們將聚焦英國青少年劇場，看一看他們是如何將“劇場”與創意實踐、市場運作、人文教育以及觀眾培育有機結合到一起的。

HARRY LIU 劉競晨

Editor-in-chief 主編

PERFORMANCE INFINITY, also known as PI, is a London based consultant agency for theatre performance. With a keen interest

in both commercial and non-commercial performance practices,

education and academic research, it was established with an aim

towards contributing to audience development and culture diversity in the UK, while working towards the development of the Chinese performance industry.

PERFORMANCE INFINITY是設立在倫敦的專業表演藝術咨詢機構，成立於 2012年。在英國，致力於倫敦劇場的中國觀眾培養，支持中國藝術家在海

外的戲劇實踐，促進文化藝術多元性；在中國，以多種方式推廣英國表演藝

術資訊、學術成果、劇場管理經驗等。在實現兩國資源互補的理想下，促進商業演出、非商業戲劇實踐、學術研究和戲劇教育的平衡。

GUEST EDITOR’S NOTE 編輯寄語

When we were children, the world was big and rich and full of surprises and

amazements in our inexperienced eye. When we grow up we are used to the rules of an adult world and know what we should and should not say. We experience the

world in a way that is somehow subjective and judgmental. We become what we

want to have become, yet not knowing who we really are. A theatre is impossible

without the audience, and a theatre for a young audience is subject to the most critical and straightforward minds. They clap and laugh, as they wish, to agree, and weep and boo to disagree. They are the best litmus test of works—what, after all, exhilarates more than the most cordial cheers?

當我們還是孩子的時候，世界龐大而豐富，充滿了由於缺乏經驗而呈現的驚喜和驚訝。當我們逐漸熟悉起成人世界的規則，學習該說什麽不該說什麽，對於這個世界的體驗

更多了主觀的色彩和判斷。我們變成我們希望變成的人，卻不在知道自己到底是誰。戲劇缺少了觀眾無法獨立存在，為年輕觀眾們準備的戲劇作品面臨最苛刻和直接的觀眾群體。他們選擇隨時用拍掌和笑聲贊揚，哭聲和吵鬧表達不滿。但是這仿佛也成為了靈敏的試金石，有什麽比收獲最真誠的贊美更開心的事呢？

SHOW TIME STAGE ONLINE

w w w. x y c o l l e c t i v e . c o m NEVER STOP MAKING GOOD IDEAS BET TER.

The Encounter 《邂逅》 Complicite, The Encounter, Simon McBurney image credit Robbie Jack.

2016年二月，巴比肯劇場將迎來同夥劇團創始人西蒙· 麥克伯尼（Simon McBurney）精彩絕倫的個人秀《邂逅（The Encounter）》。

故事發生在1969年，《國家地理（National Geographic ）》

攝影師洛倫·麥金太爾（Loren McIntyre）為了尋找原始人的足跡，身陷在巴西熱帶雨林的一處偏遠地區。沿途的遭遇顛覆了他對世界的認知，不斷地挑戰著人類意識的極限。

藝術大師麥克伯尼用攝影師的個人旅程為藍本，在現場利用物件和音效喚醒了亞馬遜雨林最深處的共鳴。演出

全程由立體聲技術支持，在奧利弗獎（Olivier Award）得

主加雷斯·弗賴伊（Gareth Fry）獨創的聲音世界裡，觀眾可以通過耳機，循著聲音去想像，去質疑我們的時間觀念

Complicite returns to the Barbican in February 2016 with Simon McBurney’s spell-binding solo performance, The Encounter.

在2月28日和3月3日兩場帶字幕的演出中，現場將運用一

In 1969, National Geographic photographer Loren McIntyre became lost in

讓聽力有障礙的觀眾也可以無障礙的觀看演出。

a remote part of the Brazilian rainforest while searching for the Mayoruna

people. His encounter was to test his perception of the world, bringing the limits of human consciousness into startling focus.

Threading scenes of his own life with details of McIntyre’s journey, Simon Complicite, The Encounter, Simon McBurney image credit Robbie Jack.

和自我意識。

McBurney incorporates objects and sound effects into this solo performance

to evoke the depths of the Amazon rainforest. His storytelling is served by the enveloping presence of binaural technology. The show’s ground-breaking sound design by Olivier Award Winner, Gareth Fry, is transmitted to the

audience through provided headphones and plugs into the power of the

imagination, questioning our perceptions of time and our own consciousness. Captioned performances on 28 February and 3 March will trial Talking Birds’ Difference Engine, a discreet new tool for making events and performances

accessible to deaf or hard of hearing audience members through captioning to a mobile device – smartphone or tablet.

The performance of The Encounter on 1 March 2016 at 7.30pm will be live

streamed to Complicite’s YouTube channel and website.

種全新數字技術工具，通過智能手機或平板電腦的字幕，

Tips

小貼示

Time: 12 Februar y- 6 March 2016 Venue: Barbican Theatre

Complicite, The Encounter, Simon McBurney image credit Robbie Jack.

Almeida Greeks 艾爾美達劇院希臘戲劇節 The Almeida Theatre described itself as a small room with an

international reputation, which has announced its new season:

of Ancient Greek plays bringing new life to old politics. The Greek plays, intended to bring the wit and wisdom of the ancient

world to a new generation, will tackle family drama, freedom Ilan Galkoff, L Williams, A Wright, Eve Benioff Salama, Luke Thompson in Oresteia. Almeida. By Manuel Harlan

and politics in the election year. The season, launched by artist director Rupert Goold, will include productions of Oresteia,

Bakkhai and Medea. The ambitious project is only one of many events, talks, readings and performances taking place between June and October as part of Almeida Greeks, a festival to tie in

with the theatre’s trio of Greek tragedies playing in the current season. It will begin at the British Museum and finish on the Almeida stage.

Almeida Associate Director Robert Icke reimagines Oresteia for the modern stage, who co-created 1984, a critically acclaimed

adaption, with Duncan Macmillan. Oresteia depicts a family

drama, which spanning several decades, a huge, moving, bloody saga, Aeschylus’ greatest and final play asks whether justice

can ever be done — and continues to resonate more than two millennia after it was written.

艾爾美達劇院（The Almeida Theatre）是一所空間小但具有國際聲譽的優秀英國劇院。該劇院於今年五月帶來了全新一季希臘戲劇節，為

古希臘戲劇中的舊政治注入了新鮮血液。希臘戲劇節意欲通過家庭糾紛及選舉年涉及的政治自由議題將古文明世界中處理事務的智慧與才

能傳播予年輕一代。希臘戲劇節由藝術總監魯伯特·古爾德（Ruper t

Goold）執導，分別由《俄瑞斯忒亞（Oresteia）》、《酒神（Bakkhai）》、《美狄亞（Medea）》三部劇構成。希臘戲劇節首演于大英博物館并在

十一月結束于艾爾美達劇院，同期六月至十月還舉辦了許多活動、演講、閱讀及表演，為觀眾呈現了完整的希臘季悲劇三部曲。 Tips

小貼示

Time: May- November 2015

Venue: The Almeida Theatre

艾爾梅達劇院合作導演羅伯特·艾奇（Robert Icke）將經典悲劇《俄瑞

斯忒亞》搬上現代舞台，其曾與鄧肯·麥克米倫（Duncan Macmillan）聯合執導的知名戲劇《1984》大獲成功。《俄瑞斯忒亞》是希臘詩人兼悲

劇作家埃斯庫羅斯最偉大的一部著作，描述了一首宏大、動人的血腥史詩。該劇從跨越幾十年的家庭生活中尋找公正何在，在兩千年後的今日依然引起強烈的共鳴。

Ian McKellen, The Odyssey, Islington Town Hall, photo by Manuel Harlan Kate Fleetwood in Medea at the Almeida Theatre. Credit Marc Brenner.

導的《酒神》，用全新手法描述了歐里庇得斯在自由與剋制、理智與情感、人類與上帝之間對死亡的抗爭。

《美狄亞》這部全新作品是由一群不知名戲劇演員被帶入殘忍生活的表演。該劇由艾爾美達劇院藝術總監魯伯特·古爾德和具有爭議的女性作家蕾切爾·卡斯

柯（Rachel Cusk）共同指導。美狄亞的生活隨著婚姻的破裂也逐漸走向末路，該劇對女性議題的關注如何做一個女人及妻子，是埃斯庫羅斯在經典劇作《美狄亞》中對性別政治的重點討論。

Bakkhai is a new version by Anne Carson and directed

by James MacDonald. Euripides’ electrifying tragedy is a struggle to the death between freedom and

restraint, the rational and the irrational, man and god. One of world drama’s most infamous characters is

brought to ferocious life in this new production by

Almeida Artist Director Rupert Goold and controversial feminist writer Rachel Cusk. Medea’s marriage is

breaking up, and so is everything else. Testing the

limits of revenge and liberty, Euripides’ seminal play cuts to the heart of gender politics and asks what it means to be a woman and a wife.

Ben Whishaw and Kevin Harvey in Bakkhai. Almeida Theatre. Credit Marc Brenner.

由安娜·卡森（Anne Carson）改編，詹姆斯·麥克唐納（James MacDonald）執

American Buffalo

American Buffalo 《美國野牛》

A hit with critics and public alike, Damian Lewis, John

Goodman and Tom Sturridge star in the major new revival of David Mamet’s gripping 1975 play American Buffalo

at Wyndham’s Theatre which ends on 27 June 2015.

Winning the New York Drama Critics’ Circle Award

for best play, American Buffalo examines the fickle

nature of honour among thieves. During a single day

in an unremarkable junk shop on a nondescript street crooks scramble to pull off a fast heist for easy money. As they plan the unlikely caper, an increasing tension between them tests their friendship and threatens to shatter everything they fight for. Hilarious and

appalling, this brute race for a lowlife version of the

American dream is brilliantly syncopated by Mamet’s

rapid-fire two-bit bum’s lingo. Mamet’s attention to the

topics about morality and human relationships exposes the existential dilemma and mental crisis of the people

Damian Lewis as Teach in American Buffalo

in Chicago in the mid-70s, three small-time would-be

living in the modern society.

American Buffalo is considered as a classic of the

American canon and recognised as one of Mamet’s

masterpieces. It premiered at the Goodman Theatre,

Chicago and opened on Broadway in February 1977. The play was also adapted into a 1996 film. Tips

廣受媒體與大眾好評的《美國野牛（American Buf falo）》于溫德姆劇場（W yndham’s Theatre）上映，并于6月27號結束演出。該劇由達米安·李偉

小貼示

Time: 16 April-27 June 2015

Venue: Wyndham’s Theatre

斯（Damian Lewis），約翰·古德曼（John Goodman）與湯姆·斯圖裡奇（Tom 執導曾于1975年風靡一時的同名戲劇。

《美國野牛》獲得了紐約戲劇評論家最佳作品，試圖檢驗在變化無常的世道下盜賊之間的友情與信義。劇情從70年代芝加哥一家平淡無奇的舊貨店展開，三個下層社會的小人物整日夢想著飛來橫財。當他們願望得逞時，內部卻出現了

友情危機并危及到他們的目標。大衛·馬麥特對美國下層社會人物的生動描繪得益於其獨具特色的對話藝術，風格輕鬆幽默但其對美國商業社會的辛辣諷刺

也引人思考。馬麥特對道德問題、人際關係的關注，深刻挖掘出真正代表美國

平民內心世界的焦慮、迷茫、衝動與悲涼情緒，也同時揭露出現代人的生存困境和精神危機。

《美國野牛》被認定是美國戲劇界的經典之一，也是馬麥特創作才能和潛力的完美展現。該劇初次于古德曼劇場上演，并于1977年2月登臺百老匯劇院，在 1996年被改編為同名電影。

John Goodman, Tom Sturridge and Damian Lewis in American Buffalo, Wyndham’s Theatre, London.

Sturridge）合作，演繹了由當代著名美國劇作家大衛·馬麥特（David Mamet）

本年度最受歡迎戲劇當屬由英國近年名聲大噪的影星

本尼迪克特·康伯巴奇（Benedict Cumberbatch）於巴比肯劇院（Barbican Theatre）出演的《哈姆雷特》。該

劇由2010年備受矚目的《有錢人（Posh）》導演林澤·特

納（Lyndesy Turner）執導，將戲劇場景置於華麗巴洛克風格的丹麥小城埃爾西諾（Elsinore），鹿頭掛飾、先祖畫像和水晶吊燈等中世紀裝飾元素將觀眾瞬間帶入

劇中。著名舞臺美術設計埃斯·德芙琳（Es Devlin）用斷壁殘桓豐富了佈景，一派黑暗頹敗的景象再現了中世紀

In what is the most hotly anticipated theatre event of the year,

Benedict Cumberbatch will appear as the title role in Hamlet at the

Ciar n Hinds (Claudius) in Hamlet at the Barbican Theatre. Photo credit Johan Persson.

Barbican theatre. This new production by Lyndsey Turner, who wowed audiences with her direction of Posh in 2010, sees Hamlet plunged

into a Baroque-style Elsinore, clad with stags’ heads, ancestral portraits, and oversized chandeliers. However, it’s not just opulence that

occupies Es Devlin’s shadowy-blue set: a thick grit mound piles and

pours through corridors. It spreads and is all-consuming much like the corruption and blackness that runs throughout Denmark.

Hamlet is a 17th century tragedy written by English playwright

William Shakespeare, which deals with the themes of madness,

revenge and suicide and is arguably Shakespeare’s most well-known

play. It contains one of the most quoted speeches of all time: “To be or not to be”, and focuses on the Prince of Denmark’s quest for revenge following the death of his father. The title role has been played by

some of the greats in English drama from Laurence Olivier to John

Gielgud, through to Mark Rylance and Jude Law. Now, another big name in the world of theatre and film is to take on the role.

丹麥的暗藍格調。 Tips

小貼示

Time: 5 August–31 October 2015 Venue: Barbican Theatre

Benedict Cumberbatch (Hamlet) and Kobna Holdbrook-Smith (Laertes) in Hamlet at the Barbican Theatre.

Benedict Cumberbatch (Hamlet) in Hamlet at the Barbican Theatre. Photo credit Johan Persson.

Hamlet 《哈姆雷特》

Benedict Cumberbatch (Hamlet) in Hamlet at the Barbican Theatre. Photo credit Johan Persson.

Cumberbatch first came to prominence playing the ultra-intelligent and acerbically witty detective Sherlock Holmes in a modern adaption for the BBC by Mark Gatiss and Steven Moffat. His

《哈姆雷特》是莎士比亞於17世紀創作的最負盛名且

legion of fans from across the world. He became high in demand for

癲、復仇、自殺等莎士比亞的經典戲劇主題，經典臺

performance in the television series earned him critical acclaim and a big budget blockbusters and BAFTA award-winning films; his stardom was so great that there were fears it might even overshadow Turner’s production itself. Upon tickets going on sale to the public, the show

sold out within just seven hours. This is not, however, Cumberbatch’s first major theatrical hit: he interchanged roles of Creature and Victor

Frankenstein with Johnny Lee Miller in Danny Boyle’s dark and much hyped 2011 production, Frankenstein.

被引用最頻繁的一部悲劇，劇本細緻入微地刻畫了瘋

詞“生存還是毀滅（To be or not to be）”在丹麥王

子為父報仇過程中被深刻詮釋。《哈姆雷特》曾被英國大牌明星多次演繹，從勞倫斯·奧利弗（Laurence

Olivier）到約翰·吉爾古德（J o h n G i e l g u d），從馬

克·瑞蘭斯（Mark Rylance）到裘德·洛（Jude Law）。這一次，康伯巴奇飾演的哈姆雷特會將帶來怎樣的精彩演繹？

This production is not afraid to do things differently. There are strobe

本尼迪克特·康伯巴奇出演由馬克·加蒂斯（M a r k

iconic speech “To be or not to be” appeared at the very beginning of

BBC劇集《偵探福爾摩斯（Sherlock Holmes）》，劇

lights, slow-motion, the set is permanent, and for the previews, the

the play. It will run for twelve weeks as well as being made available to cinema goers.

Gatiss）和史蒂夫·莫法特（Steven Mof fat）改編的中機智詼諧的夏洛克大受觀眾歡迎。他出彩的表演為他贏得了全球各地的粉絲，各大影視公司也競相

邀請，他的名聲之大甚至有可能蓋過了特納導演本身。《哈姆雷特》開始售票僅七小時就被一搶而空，

其創新的拍攝手法將帶來一部特別的經典演繹。該劇上映12周，現場錄影版也將同期在影院播映。

Judi Dench (Paulina) and Kenneth Branagh (Leontes) in The Winter’s Tale. CREDIT JOHAN PERSSON

Kenneth Branagh Theatre Company 肯尼斯·布拉納戲劇公司

Actor and director Sir Kenneth Branagh brings a new season of five plays to

the Garrick Theatre in London under his new theatrical enterprise: the Kenneth Branagh Theatre Company. Branagh will appear in four of the plays as he is Tom Bateman (Jack Wakefield) and Hadley Fraser (First Halberdier) in Harlequinade. CREDIT JOHAN PERSSON

excluding himself from Romeo and Juliet, which he will direct. The season

will include Shakespeare’s The Winter’s Tale, The Painkiller by Francis Veber,

Harlequinade by Terence Rattigan, and John Osborne’s The Entertainer.

The season commences with The Winter’s Tale on October 17th, which is

co-directed by Tony and Olivier award-wining director Rob Ashford. Ashford has previously worked with Branagh when he directed the sell-out show,

Macbeth, at the Manchester International Festival.

The veteran actor, who was knighted for his services to drama in 2012, has enlisted some of the biggest names in theatre to appear in his company,

including Game of Thrones star Richard Madden, Derek Jacobi, Lily James,

Zoë Wanamaker, and Rob Brydon.

Tips

小貼示

Time: 17 October 2015 -12 November 2016 Venue: Garrick Theatre

The Winter’s Tale is a tragicomedy which deals with the nature of

obsession and redemption. It is often referred to as a “problem play”

two acts centre upon comedy and result in a happy ending. Throughout history, the play has been performed intermittently but was revived in

1754 in a production by David Garrick called Florizel and Perdita. Like

Branagh, Garrick too managed and acted in his own theatre company

and so it’s fitting that this series of plays should take place in the theatre that bears his name. In this production, Branagh will play Leontes opposite Dame Judi Dench’s Paulina.

The Painkiller is an adaptation of Veber’s Le Contrat and is a richly dark comedy which involves two men, two hotel rooms, and an adjoining door. One of the men is a hitman whilst the other is a cuckolded

photographer intent on dying. What ensues is farce, slapstick, and a case of mistaken identity.

Harlequinade by celebrated English dramatist Terrence Rattigan,

focuses on members of a professional theatre company as they attempt

著名北愛爾蘭演員兼導演肯尼思·布拉納爵士（Sir

Kenneth Branagh）以自己命名的新劇院將駐場倫敦

西區蓋瑞克劇院（Garrick Theatre），并參與指導新一

季五部戲劇。布拉納將執導并參與出演其中四部，除

to put on a production of Romeo and Juliet with a husband and wife

playing the lead roles. The unique and eccentric nature of the theatre profession is satirized in this post war farce.

John Osborne rose to fame with his first play Look Back in Anger,

了《羅密歐與茱麗葉（Romeo and Juliet）》，其他四

which was a story about an angry young man who finds himself caught

自弗朗西斯·維貝（Francis Veber）的舞台剧《止痛藥

Osborne would be willing to write a play about an angry middle-aged

部分別為《冬天的故事（The Winter’s Tale）》，改編（The Painkiller）》，取材自泰倫斯·拉提根（Terence

Rattigan）的《滑稽演出（Harlequinade）》以及約翰·奧斯本（J o h n O s b o r n e）的《賣藝人（The Enter t ainer）》。

《冬天的故事》是一部融多样人性之嫉妒、猜疑與

in a love triangle. Upon seeing the production, Laurence Olivier asked if

man and Osborne obliged, producing The Entertainer. Kenneth Branagh will take on Olivier’s former role as Archie Rice, a failing music-hall

performer, whose public and private life descend and meet one another. The season will conclude on the 12th November 2016.

救贖的悲喜劇。它經常被指設為一部“問題劇本”，

《止痛藥》取材於法國導演弗朗西斯·維貝（Francis Veber）的黑色幽默喜劇

以皆大歡喜結束。回顧該劇上演歷史，經過多年的

開在兩個房間中，其中一位是職業殺手，另外一位是喋喋不休想要了結自己

前三幕集中於心理戲，后兩幕才迴歸至該劇主調，暫停直至1754年大衛·蓋瑞克（David Garrick）以

名為《弗洛里澤與潘狄塔（Florizel and Perdita）》改編上映。蓋瑞克同布拉納一樣，熱衷於指導并出演

《合同（Le Contrat）》。該劇發生在監獄中，兩個有故事的男人被一扇門隔的攝影師，分別由布拉納和羅伯·布萊頓（Rob Br ydon）飾演。他們的相遇引來了一系列的衝突和鬧劇。

自己的戲劇，所以《冬天的故事》的上映也是緬懷

改編自英國劇作家泰倫斯·拉提根（Terence Rattigan）的同名劇本《滑稽演

斯（Leontes）一角與飾演波琳娜（Paulina）的朱

笑皆非的事。獨特且古怪的劇院氣氛引來對戰後戲劇行業的諷刺與思考。

蓋瑞克的最好方式。在劇中，布拉納將出演莱昂特迪·丹奇女爵士（Dame Judi Dench）對戲。

出》講述了一個專業劇團在《羅密歐與茱麗葉》首映前夜發生的各種令人啼

約翰·奧斯本（John Osborne）在他的首部作品《憤怒的回顧（Look Back in Anger）》后名聲大增，勞倫斯·奧利維爾（Laurence Olivier）請求與其合作推出了另外一部大作《賣藝人》。布拉納延續了《賣藝人》中主人公艾奇·萊斯

（A r c h i e R i c e ）的故事主線，講述了一位窮途末路的音樂表演者的種種經歷。這一季的演出主要以經典復演為主，將在2016年11月12日畫上句號。

Lily James and Richard Madden. Credit Johan Persson.

because its first three acts deal with psychological drama but its final

Man and Superman 《人與超人》 Man and Superman is playing until 17th May of 2015 in the National Theatre. A romantic comedy,

an epic fairytale, a fiery philosophical debate, Man and Superman asks fundamental questions about how we live. Ralph Fiennes takes the role of Jack Tanner in this exhilarating reinvention of Shaw’s witty, provocative classic.

Jack Tanner, celebrated radical thinker and rich bachelor, seems an unlikely choice as guardian to the alluring heiress, Ann. But she takes it in her assured stride and, despite the love of a poet, she decides to marry and tame this dazzling revolutionary. Tanner, appalled by the whiff of domesticity, is tipped off by his chauffeur and flees to Spain, where he is captured by bandits and meets The Devil. An

extraordinary dream-debate, heaven versus hell, ensues. Following in hot pursuit, Ann is there when

Elliot Barnes-Worrell (Straker) & Ralph Fiennes (John Tanner). Photo by Johan Persson.

Tanner awakes, as fierce in her certainty as he is in his.

Tim McMullan (Mendoza) & Ralph Fiennes (John Tanner). Photo by Johan Persson.

Tim McMullan (Mendoza) and the company. Photo by Johan Persson.

Tips 《人與超人》在英國國家劇院（National Theatre）上映至2015年5月17日。這是一

部浪漫的喜劇，一個史詩般的童話，或是一場激烈的哲學辯論，《人與超人》向觀

眾提出了一個最基本的問題——如何生存。英國演技派影星拉爾夫·費因斯（Ralph

小貼示

Time: Until 17 May 2015

Venue: National Theatre

Fiennes）在該劇中飾演傑克·坦納（J a c k Ta n n e r），生動表現出原作喬治·蕭伯納（George Bernard Shaw）的機智詼諧，再一次為坦納的角色塑造了經典。

傑克·坦納是一位有名的激進思想家和富裕的單身漢，在命運的偶然下成為了安（Ann）的監護人。安有意追求坦納并決定與他結婚。但是坦納對家庭生活充滿了

恐懼，在知道此消息后逃往了西班牙。在那裡他被土匪抓獲并遇到了魔鬼，一場介於天堂與地獄的辯論隨之展開。此精彩辯論被冠以“地獄中的唐璜”，設置在時空之外的傑克的夢境中，很有說服力地呈現了蕭伯納關於“進步”、 “進化”和“生命

Indira Varma (Ana). Photo by Johan Persson.

The company. Photo by Johan Persson.

力”的先進觀點。在安狂熱的追求下，坦納最終無可奈何地接受了婚約。

Manchester International Festival 曼徹斯特國際藝術節 Returning for its fifth year, the Manchester International Festival

played host to leading lights in the world of theatre, music, and dance with performances by FKA twigs, Turner Prize-winning artist Douglas Gordon, and Jamie XX.

Since its inception in 2007, the biennial festival has showcased the

talent of some of the biggest names in the arts industry. 2013 saw artist and filmmaker Steve McQueen commemorate fallen soldiers of the MIF15 Tree of Codes

Iraq war with a bold and moving artistic project entitled Queen and

Country. In the same year, Kenneth Branagh returned to Shakespeare after a decade long hiatus to perform Macbeth alongside Alex

Kingston. In previous years, American rapper Kanye West, Britpop rocker Damon Albarn, and celebrated Chinese director Chen Shi-Zheng have all performed at the festival.

曼徹斯特國際藝術節（Manchester International Festival，簡稱MIF）步入第五年之際，其在劇院、音樂、舞蹈以及表演領域始終佔據國際領先地位，選址曼

徹斯特寓意著借工業革命的歷史先驅形象推動新藝術形式的發展。此次與藝

術節合作的著名音樂人有FKA twigs, Jamie XX以及透納獎獲得者藝術家道格拉斯·戈登（Douglas Gordon）。

曼徹斯特國際藝術節始於2007年，每兩年舉辦一屆，精選來自全世界各地的天

Neck of the Woods image, Credit Douglas Gordon

才之作。2013年藝術家兼製片人史蒂夫·麥昆（Steve McQueen）創作了《女王與

國家（Queen and Countr y）》，以紀念在伊拉克戰爭中死去的戰士。同年，英國著名演員肯尼斯·布拉納（Kenneth Branagh）在十年後重歸莎士比亞戲劇，並與亞利克斯·肯斯頓（Alex Kingston）共同出演了《麥克白（Macbeth）》。在更

早些年前，美國著名說唱歌手肯伊·威斯特（Kanye West），英倫搖滾樂隊Blur靈

魂主唱達蒙·奧爾本（Damon Albam）及華人優秀導演陳世爭執導的歌劇《西遊記》均亮相曼徹斯特國際藝術節。 Tips

小貼示

Time: 2 to 19 July 2015

Venue: Across Manchester

Inside-soundtrack7

This year, however, the viewing public will be able to drop-in on the rehearsal process of rising star FKA twigs as she creates an original

dance piece set to her own music. Over seven days twigs will construct and practise seven new works each based on a narrative from her own life. Glasgow-born artist Douglas Gordon retells Charles Perrault’s 17th

century tale, Little Red Riding Hood, in a visual theatre piece entitled

Neck of the Woods. Gordon teams up with concert pianist Hélène

聲線F K A t w i g s 吸引了觀眾的矚目，個人音樂

Grimaud, who provides the musical landscape as a backdrop to Charlotte

衝擊。在七天的表演中，twigs將創作七件基於

a contemporary ballet, Tree of Codes, inspired by Jonathan Safran Foer’s

創作舞蹈為本次藝術節帶來了全新的視聽覺

她生活經曆的全新作品。本屆藝術節還特別邀

請了格拉斯哥藝術家道格拉斯·戈登（Douglas G o r d o n ），他與著名鋼琴家海倫 ·格里莫

（Hélène Grimaud）、傳奇演員夏洛特·蘭普林（Charlot te Rampling ）共同創作了《叢林

之王（Neck of the Woods）》。本作改編自法國作家夏爾·佩羅（Charles

Perrault）17世紀

的經典童話故事《小紅帽（Lit tle Red Riding Hood）》，并賦予了原作全新的、融藝術、音樂和戲劇的視覺體驗。水星音樂獎得主Jamie XX

創作了芭蕾《代碼之樹（Tree of Codes）》。該

作靈感來源於美國當代作家喬納森·薩弗蘭·福爾（Jonathan Safran Foer）的同名原作，他的

實驗電子音與巴黎歌舞劇院芭蕾舞團的舞姿及四射的燈光交相輝映，共同譜寫出一出精彩的芭蕾現代舞劇。

Rampling’s narration. Mercury Prize-winning composer Jamie XX creates book of the same name. He experiments with trance and electronica as dancers from the Paris Opera Ballet and Random Dance intertwine and separate illuminated by bright orbiting coloured lights.

MIF Highlights 2007-2013\26 - Zaha Hadid - Jean-Guihen Queyras-5

這一年，不同以往的是，英國個性新興電子女

wonder.land at MIF Brinkhoff Moegenburg.

wonder.land 《奇·境》

The National Theatre reimagines Lewis Carroll’s 19th Century work, Alice’s

Adventures in Wonderland, with an exciting new production for the

digital era. The musical’s title is as updated as the production itself, stylized as the domain name: wonder.land.

Tips

小貼示

Time: 23 November 2015 -31 Januar y 2016 Venue: National Theatre

Artistic director of the Manchester International Festival, Alex Poots,

conceived the idea of retelling Carroll’s Victorian story for the modern age.

Rufus Norris directs this coproduction between the festival and the National Theatre. Blur frontman Damon Albarn writes the score with book and lyrics by Moira Buffini.

wonder.land at MIF Brinkhoff Moegenburg

Alice has been modernized to Aly: an inner-city

英國國家劇院改編了19世紀路易斯·卡羅（Lewis Carroll）的經典之作《爱丽丝漫

dysfunctional home and school life. She escapes her

也與作品一同被賦予了新的風格：《奇·境》。

immediate troubles by disappearing down the rabbit

游仙境》，為數字媒體時代帶來了一部令人振奋的全新作品。這部音樂劇的標題

hole provided by the internet to a psychedelic virtual

亞利克斯·普茨（Alex Poot s）主導策劃，他同時身兼曼徹斯特國際藝術節的藝術

as her avatar and alter ego Alice, a blonde puffed

的故事。新上任的英國國家劇院藝術總監魯弗斯·諾里斯（Rufus Norris）擔任合

world in an online game. It’s here that Aly operates

sleeve clad princess, who encounters an assortment of strange and terrifying characters as she journeys towards self-discovery.

The production is a kaleidoscope of colour saturated

with stunning visuals created by 59 Productions. It will begin its run at the Manchester International Festival before moving to The National Theatre in November and then to Paris’ Theatre du Chatelet in 2016.

指導。《奇·境》的構想源於亞利克斯用當代的視角重新闡述卡羅在維多利亞時期作指導，並由著名英國樂隊Blur的作曲及主唱達蒙·奧爾本（Damon Albarn）和莫利亞·布菲尼（Moria Buffini）分別負責配樂和歌詞部份。

一個更現代的名字取代了愛麗絲——艾麗（Aly）。艾麗是一個在城市長大的青少年，住在一棟了無生氣的房子中并過著學校和家之間的兩點一線的无趣生活。為了逃脫困擾和麻煩，她通過網絡遊戲掉入兔子洞並進入了一個迷幻的虛擬世界。

艾麗變身為一個梳著蓬鬆亞麻色辮子、穿著寬鬆衣服的公主。在仙境里艾麗操控著她的化身，邂逅了或怪誕妖豔或令人恐懼的各色人物，似曾相識的故事情節使艾麗無法區分虛幻與現實，從而引導她走向了一條自我探索的旅程。

這部作品由 5 9 製作公司（ 5 9

Productions）聯合製作，將觀眾領入了像萬花筒一樣色彩繽紛的視覺聖地。

它將從曼徹斯特國際藝術節開始巡演，十一月份在英國國家劇院 (N a t i o n a l

Theatre)上映，2016 年將被巴黎杜夏特勒劇院（Theatre du Chatelet）引入上映。

wonder.land at MIF Brinkhoff Moegenburg

teenager living on a dull housing estate with a

Royal Shakespeare Company in China 皇家莎士比亞劇團在中國 As Chancellor George Osborne on his visit to China, the UK Government has pledged £1.5

million to the RSC, to boost business and cultural links between China through a complete

translation by the RSC of all Shakespeare’s

works into Chinese. Three programmes are

planning to celebrate the 400th anniversary of

the Shakespeare’s death, which will help foster

mutual understanding on cultural relationships. The Artist Director Gregory Doran said, “I have been hugely excited by the ambitions of our

Chinese cultural partners and their interests in

working with the Royal Shakespeare Company on these three initiatives. China’s rich dramatic Henry V 2015 © RSC

heritage mirrors the epic scale, complexity and universality go Shakespeare’s work.”

為了促進中英經濟文化交流，同期伴隨著英國財政大臣喬治·奧斯本（G e o r g e O s b o r n e ）的中國參訪，

英國政府投資150萬英鎊予皇家莎士比亞劇院（Royal Shakespeare Company, 簡稱：RSC）促其開展莎士比亞

戲劇中文翻譯計劃。為了慶祝莎士比亞逝世400週年，三個文化項目（分別為莎劇舞台翻譯計劃，中國戲劇經

典翻譯計劃和《王與國（King & Country）》三部曲中國巡演）的實施將進一步加深兩國的文化關係。皇家莎士比亞劇院藝術總監格雷戈裡·多蘭（Gregory Doran）表

示： “我感到非常榮幸中國合作夥伴對於我們提出的三

個項目有極大興趣，中國豐富的戲劇遺產與史詩般恢宏且具有普世性的莎士比亞劇作可相得益彰。” Tips

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Time: 18 Februar y-13 March 2016

Venue: Beijing, Shanghai, Hong Kong

Henry V production photos 2015 Photo by Keith Pattison © RSC

The Shakespeare’s Folio Project:

The RSC will commission the translations from Chinese writers

and translators, who will be embedded into the RSC’s rehearsal process. Chinese Shakespeare expert, Professor Zhang Chong,

from Shanghai’s Fudan University is translating Henry V working alongside Rongjun Yu who is an award-winning playwright,

Director of the Shanghai International Contemporary Theatre

Festival, Vice President of the Shanghai Performing Arts Group

and Deputy General Manager of Shanghai Dramatic Arts Centre. 莎劇舞台翻譯計劃：

皇家莎士比亞劇院委任中國編劇與譯者進行莎劇翻譯，同時參與排演

工作，與英國導演、演員共同工作。中國莎士比亞專家張沖教授，正與

中國國家一級編劇，上海演藝集團副總裁，上海話劇藝術中心副總經理

Chinese Classics Project:

The RSC is also working in collaboration with

academics and theatre organisations in the UK and

King & Country China Tour:

The tour will be lead by the Artistic Director Gregory Doran in 2016, which include productions of

Shakespeare’s Henry IV Part I, Henry IV Part II and Henry V. The projections will premiere in London and

tour to China, finally finish the tour in the Brooklyn Academy of Music in New York.

《王與國》三部曲全球巡迴﹣中國巡演：

由藝術總監格雷戈裡·多蘭（GregoryDoran）攜領的《王與國》團隊，帶著最新作品《亨利四四世(上) (Henry IV Part I)》、《亨

利四世（下）（Henry IV Part II）》及《亨利五世 (Henry V)》，從倫敦拉開序幕，巡演至中國，并于2016年3月于紐約布魯克林音樂學院結束行程。

China to create 14 classical Chinese plays into English, in what the DCMS hopes will allow “audiences here to experience the best of Chinese culture for the first time”. The project is to explore and discover

dramas written and performed in China during the

same period of Shakespeare’s lifetime (sixteenth and seventeenth centuries). 中國戲劇經典翻譯計劃:

皇家莎士比亞劇院與中英兩國的學者及劇院機構合作，為中國的經典劇作創作14部全新的譯本。英國文化部門DCMS也

同樣希望英國觀眾能得到最好的初次中國文化體驗。這次項目重點徵集莎士比亞同時期（16到17世紀）中國的戲曲經典和故事等。

Henry V production photos 2015 Photo by Keith Pattison © RSC

喻榮軍進行《亨利五世（Henry V）》的重譯工作。

Robert Wilson, Krapp’s Last Tape, photocredit: Lucie Jansch

Beckett is coming to the Barbican in this exciting new monthlong season celebrating thirty years of the Irish playwright’s works. Nine productions and a film series will form the

Barbican’s Beckett program, including Waiting for Godot, Not

Pan Pan Theatre, All That Fall, photocredit Ros Kavanagh

I, and Footfalls.

為了慶祝愛爾蘭戲劇三十周年，貝克特戲劇節在倫敦巴比肯中心迎來為期一

個月的表演慶祝活動。該戲劇節有九部戲劇作品和一系列電影播放活動，其中

包括三部卓越作品《等待戈多（Waiting for Godot）》、《非我（Not I）》和《落腳聲（Footfalls）》。

Lisa Dwan, Rockaby, photocredit: John Haynes

Sydney Theatre Company, Waiting for Godot, Hugo Weaving, Luke Mullins and Richard Roxburgh © Lisa Tomasetti

International Beckett Season 國際貝克特戲劇節

Company SJ, Rough for Theatre I, Trevor Knight and Raymond Keane, photocredit Hazel Coonagh

Samuel Beckett was born in Dublin, Ireland in 1906 though lived much

薩繆爾·貝克特（S a m u e l B e c ke t t ）1906年出生於愛爾蘭都

teaching post in Paris where he met now renowned fellow Irishman

巴黎任教并結識了著名的愛爾蘭作家詹姆斯·喬伊斯（James

of his adult life in France. Upon leaving university, Beckett took up a

and author James Joyce. Beckett began writing essays on Joyce’s work

though it was not until 1932 that he wrote his own first novel Dream of

Fair to Middling Women. It was only after the Second World War that

Beckett became a critically acclaimed playwright and author. In 1949 he

wrote Waiting for Godot, which would become his most popular piece of work.

The play is an absurdist tragicomedy limited to two acts, in which

two tramps, Vladimir and Estragon, await the arrival of a mysterious

character, Godot. The play has divided and perplexed audiences for

decades and in 1999 it was voted in a National Theatre poll “the most significant English language play of the 20th century”. It has been

analysed and described as being psychological, philosophical and even autobiographical, though the author maintained that too much was read into the play’s meaning and the ambiguous identity of Godot.

The season will showcase Hollywood actor Hugo Weaving, known for

his roles in the Matrix and Lord of the Rings franchises, as Vladimir in

this souped-up rapid production from the Sydney Theatre Company. It

will be actress Lisa Dawn, however, who will kick off the season with the

柏林，但他成年生活大都在法國度過。離開大學后，貝克特在 Joyce）。他熱衷於研究喬伊絲的作品，于1932年撰寫了首

部作品《夢見形形色色的女人（Dream of Fair to Middling Women）》，直至第二次世界大戰之後成為了一位廣受好評的

劇作家和作家。1949年貝克特寫出了為世人熟知的戲劇傑作《等待戈多》。

該劇是一部荒誕悲喜劇，發生於兩個流浪漢埃斯特拉貢（Estragon）和弗拉基米爾（Vladimir）之間。他們正在等在

一個神秘人物戈多的到來。該劇困惑觀眾數十年，1999年在

一項國家劇院的民意調查中被評為“20世紀最重要的英語劇作”。《等待戈多》被分析理解為心理、哲學甚至自傳，雖然作者認為該劇及戈多的角色被過度解讀。

曾在電影《魔戒：指環王》中飾演精靈王子的好萊塢著名影星雨果·維文（Hugo Weaving）前來助陣，出演弗拉基米爾一角。

丽莎·道恩（Lisa Dawn）以《非我》拉開戲劇節序幕，以超現實且令人惶恐的獨白表演驚豔全場。 Tips

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striking piece Not I - a surreal and disconcerting dramatic monologue in

which nothing but an actress’ mouth is lit on the stage about eight feet up while the lone actress spits out machine-gun fire sentences relating four incidents from her life.

Time: 2-21 June 2015

Venue: Barbican Centre

London International Mime Festival 2016 9 January - 6 February 2016, Across London

Aliceâ&#x20AC;&#x2122;s Adventures Underground 9 April-30 August 2015, The Vaults, Waterloo

Ninagawa Company:Kafka on the Shore 28 - 30 May 2015

Barbican Theatre

Sino-UK Performing Arts Industry and Education Forum: Creating Stronger Synergies 19-20 October 2015, Intercontinental Hotel Shanghai Puxi

McQueen 12 May - 27 June 2015, St. James Theatre

War Horse in China 2016, Beijing Shanghai Guangzhou

Photograph 51 5 September - 21 November 2015, Noël Coward Theatre

London Theatre Company: New Theatre Open

Spring 2017

One Tower Bridge

SPILL Festival 2015: On Spirit

Curtain Up: Celebrating 40 Years of Theatre in London and New York

28 October – 8 November 2015

9 February – 31 August 2016

Across London

Victoria & Albert Museum

THEATRE FOR YOUNG AUDIENCE 青少年劇場

When I was in Prague in October, I was lucky enough to come across an amazing arts festival. I was not sure if I was the only one who read the preface to the event, but the plain and

straightforward description will stay with me. It read: “Most

of us have children. I have experienced childhood five times.

The first was my own, the second and third were through my

now adult sons, the fourth is ongoing as I live it alongside my

youngest child, and the fifth is the child of this community: our little festival.”

When I was a child I did not have as many encounters with the theatre as I would have liked. I do hope, however, that through our collective contributions, the next generation

of children can enjoy more possibilities in theatre than I or

my contemporaries ever did. A life which has theatre in it is you will hear, or what you will witness onstage. Theatre

makes the various aspects of your life seem relatable to others and vice versa. It enables you to savour the best moments,

experiencing a character’s pains and joys in the confines of an

auditorium so that when you step outside you are prepared for when you encounter them in your own life.

布拉格的十月，很幸運地遇到一個奇妙的藝術節。我不知道是不是

Children grow into what has become of you and me: adults.

忘卻。 “我們隊伍中的大多數都有孩子。我有三個孩子，這讓我如此

They can follow suit and be at peace with the world, or they

can battle with aspirations and ambitions, or they can wander at crossroads. If, however, they are an art lover, in all of these circumstances life will not be lost on them.

Theatre can appear in many places, often in unexpected spaces which are hidden in office buildings, stretching

inside residential areas, or even suspended atop business

只有我認真地讀了節目冊的序言，那些平實而直白的語言讓我不能幸運地擁有了四次童年……”。當我還是孩子，我並沒有如此幸運地遭遇戲劇；我也並沒有孩子，我也不能為我自己的孩子創造一個擁

有戲劇的童年。但是很希望用我們微薄的努力，為更多的孩子創造

一種可能。擁有戲劇的人生是十分幸運的，因為你永遠不知道在那方舞臺上，你會遇見誰，聆聽怎樣的故事，經歷怎樣的生活。這一切

都會成為對於人生的某種期待，讓你更臨近那些最美好的時刻，感受那些接近真實的痛苦，然後泰然度過屬於你的時時刻刻。

developments. Theatre venues in whatever form make our

孩子們都會長大，成為你我的樣子，或隨波逐流地平和，或雄心滿滿

dreams whether that’s in dance, theatre, opera, musicals, or

擇。但是也許他們恰好熱愛藝術，那是再好不過的可能，因為這樣我

cities vibrant and offer children the chance to build their

art. There is no greater joy for a theatre than to present – either to its intended audience or to a group of its peers. Very often these companies are celebrating something larger and more exhilarating than just the theatre itself.

We should give the best quality of theatre we can to our

children, to the next generation, in order to broaden their futures and their horizons.

地拼搏，甚至迂回在那些沒有任何提示的十字路口，唯有自己可以選們就可以放心，這樣的一生不會六神無主，不會黯然失色。

我們試圖用不同的方式展開對於這個特別的話題的描述。從地理位置上，用圖釘標註出那些或隱藏於辦公樓，或舒展在普通的居民社

區，或淩空於商業樓盤的一隅的奇妙空間。正是這些星星點點，勾勒

出了城市溫柔的一面，為孩子們提供了一個個造夢的巢穴。甚至沿著鐵軌，把觸角伸向更遠方的城市，去探尋不同的夢想開始的地方。對於這些無形的夢，我們又試圖尋找一件件外套去勾勒他們的面

貌：舞蹈、戲劇、歌劇、音樂劇、環境劇場……同時去認識那些深情的創作者去講述每一次的創作經歷。對於劇場，最大的快樂莫過於呈現。呈現給它應有的觀眾，呈現給彼此。用最樸素的方式尋找著各自的知己，慶祝遠遠大於劇場這一方空間的快樂。

讓我們把我們擁有的最好的東西給你們，我們親愛的孩子們，為你們每日每夜的成長，為你們即將迎接的未來。

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

incredible—you never know who you will meet, what stories

Sion Dan Young (Christopher) and the cast of The Curious Incident of the Dog in the Night-Time, Photo by BrinkhoffMögenberg

CHILDREN’S THEATRE IN BRITAIN: THE MOVE FROM CONTENT TO FORM 英國兒童劇場：從內容到形式之路

TEXT BY 撰文 x HONOUR BAYES TRANSLATED BY 翻譯 x CAI SUDONG 蔡蘇東

“In the 1990s no one did new writing and then there was this renaissance and move towards new

writing and now everybody does some new writing in their programme. It’s the same with theatre for young people now - it’s really hard to find a theatre that doesn’t do some family and children’s programming.” －－Purni Morell, Artistic Director of the Unicorn Theatre

“1990年代，沒人從事新寫作。而隨後而來的，便是新風吹起，新寫作抬頭，如今，每個人在自己的項目裡都或多或少地涉及到新寫作。如今的青少年劇場也是這樣的——現在真的很難找到沒有從事家庭和兒童項目的劇場了。”－－普爾尼·莫雷爾（Purni Morell），獨角獸劇場（Unicorn Theatre）藝術總監如是說。

Today theatre programming for young people is a central strand

如今，青少年劇場項目是英國劇場生態裡重要的一支。但，以前可不

last century the theatre industry has gone from wanting to simply

少年，到認為自己有教育青少年的責任，再到如今的想要為他們創造

within the UK’s theatre ecology. But it wasn’t always so: over the entertain young minds, to feeling a responsibility to educate

them into the current desire to create thought provoking art for

是如此：經過上世紀到本世紀，劇場產業已經歷了從單純的取悅青發人深省的藝術作品之演變。

and with them.

二十世紀初，兒童劇場僅僅被視為裝點門面的東西。作品演出周期

At the beginning of the twentieth century children’s theatre

果。但是從19 4 0年代後期開始，專門面向青少年群體的劇團便開始

was seen as a token event. Productions were mounted for short seasons, often at Christmas in large commercial theatres, and marked by spectacular visual effects. But from the late 1940s

onwards companies started popping up with a focus on young people. They drew inspiration from the models of work being

developed in the Soviet Union and Eastern Europe, which saw

短，經常是在聖誕季的大型商業劇場上演，追求壯觀精彩的視覺效湧現。當時的蘇聯和東歐把文化豐富性看成是教育的一部分，他們

從這些地區的青少年劇場作品典範中得到啟發。這便是“教育劇場” （Theatre in Education，簡稱TIE）運動的基礎，教育劇場影響並

定義了英國劇場對面向青少年劇目的態度——青少年戲劇的目的在於教育，以及增長青少年的知識。

cultural enrichment as a vital adjunct to education. These were

1960年代中期教育劇場的發展在青少年劇場從業者中引發了一場激

which has influenced and defined British theatre’s attitude to

討論一直持續到現在。隨著教育劇場從業者動機越來越政治化，他

the foundations for the Theatre in Education (TIE) movement,

performances for young people – that they should be used to educate and inform.

The growth of TIE from the mid-1960s led to a vigorous debate

among those working for younger audiences as to the primacy

烈的爭論，爭論的焦點為形式和內容以誰為先的問題，這個問題的們的工作越發遠離神話和幻想，越發喜歡創作有著等級制度背景和

充滿英雄色彩的主人公，還有神奇的解決問題的方法，以及被動的女性角色。許多家長和教師看來很敏感的時下主題，都被看作當時標準的範本。

of form or content that still rages today. The increasingly political

我們傳統上認為的英國與歐洲兒童劇場之不同點，也得以從教育劇

fantasy, with its adherence to hierarchical and heroic protagonists,

時的話說，便是，簡而言之，歐洲劇場把青年人當作成年人一樣看

motivation of TIE practitioners led them away from myth and

magical solutions to problems and the passive role of women.

Contemporary subjects, many of them sensitive ones in the eyes of parents and teachers, became the standard repertoire.

The TIE mentality marks what has traditionally been the

difference between children’s theatre in Britain and our European counterparts. This difference, as Morell eloquently describes in

our interview on page 41), comes down to treating young people as equals and many of the huge leaps forward currently being

seen in British programming for young people have come from companies and artists looking to Europe.

場思維上看出。這個差別，用莫雷爾在接受我們采訪（詳見第41頁）待，許多目前英國青少年劇場方案取得的重大進步便來自於那些遙望歐洲的劇團和藝術家。

在去年一個由倫敦兒童劇團天使之團（Company of Angels）主辦

的研討會約克咖啡劇場藝術節（Theatre Café Festival York）上，我觀看了來自奧地利、德國、荷蘭、挪威、葡萄牙和羅馬尼亞的六場戲劇試演（staged reading），這些都是復雜、大膽的作品，其中不乏聚焦死亡、遺棄和帶有精彩超現實構思的作品，這都表明了，比起

他們的英國同行，歐洲劇作家們對於年輕觀眾的接受能力有信心得多。我當時就認為，研討會證明了，從這些對觀眾來說極具挑戰和復

雜的歐洲作品上，英國的青少年劇場要學習的東西還很多。但是僅

Last year at a symposium, Theatre Café Festival York, hosted by London based

僅一年後，當看到身邊發生的一切後，我相信，

plays from Austria, Germany, the Netherlands, Norway, Portugal and Romania.

劇場作品，同時還伴隨著一股認識上的潮流，即

on children’s theatre company Company of Angels, I saw six staged readings of The sophisticated and adventurous programme - which included pieces

focusing on death, abandonment and some deliciously surreal structuring -

我當時的想法錯了。英國同樣有著復雜的兒童形式的質量與內容一樣重要。

showed that European writers were much more confident about what young

而在其中扮演領導地位的便是莫雷爾的獨角獸

Theatre Café proved there was much to be learnt in British theatre for young

年人和成年人並肩而立，並無不同。莫雷爾邀請

audiences could handle than their British counterparts. I felt at the time that

people from the challenging and sophisticated provocations of these European theatre makers. But looking around me only a year later I believe I was wrong; sophisticated work for children is happening on British shores with a move

towards understanding that the quality of the form is as important as content. Leading the charge in this is Morell’s Unicorn Theatre, which has taken a

劇場，他們受到歐洲派觀點的深刻影響，認為青原本主要從事成年劇場創作的先鋒前衛藝術家

為青少年創作不對年齡妥協的劇目。過去的幾

年間，該項目愈發炙手可熱，使得劇院成了任何倫敦劇迷的必到之處，不管是有孩子的，抑或是沒有孩子的劇迷。

huge amount of influence from the European idea that young people stand

倫敦還有其他各種風格、考慮年輕觀眾個人品

avant-garde artists, who primarily make-work for adults, to come and create

題）並任其選擇的青少年劇場。溫布爾頓的波爾

shoulder to shoulder with their adult neighbours. Morell has programmed

shows for younger eyes, with no compromises to age. Over the last few years

the programme has been electric, with the theatre becoming one of the go to places for any London theatre goer, one with kids or not.

London also boasts several other children’s theatres that offer a range of

styles, providing young audiences with a choice that takes into account their

personal tastes (not something that is always considered when programming for children). The Polka Theatre in Wimbledon has a strong TIE background.

Their Curtain-Up! scheme offers free theatre tickets to disadvantaged schools

whose pupils would otherwise not have the opportunity to experience theatre due to financial or other difficulties. Meanwhile in North London theatres like

the Little Angel Theatre and the Puppetry Barge programme intricate puppet

shows made and performed by specialist puppeteers that astonish adults and children alike.

Although the Unicorn Theatre is perceived as the national theatre for young people in the UK, the National Theatre itself has also created a series of

superb theatrical performances that are family focused and push theatrical

boundaries: War Horse went from a triumphant run on the Southbank into

a substantial one on the West End. Based on a children’s novel and using

virtuosic suit work - a popular young people’s theatre staple – it pushed the

form of life sized puppetry into another level; The Curious Incident of the

Dog in the Nighttime – another children’s book adaptation – dazzled with its technical mastery; while their 2015 Christmas show wonder.land saw an

internationally acclaimed musician – Damon Albarn – create his first musical. Around the country theatres like the Contact in Manchester and companies like Junction 25 in Edinburgh and 20 Stories High in Liverpool are creating work with young people that speaks directly about their experiences and those of their local communities.

Immersive theatre legends Punchdrunk meanwhile are creating experiences for children that have been getting better reviews than the company’s

味（這可不是兒童劇場策劃中總是會考慮的問

adult offerings. Against Captain’s Orders, A Journey into

卡劇院（Polka Theatre）有著濃厚的教育劇場背景。他們的“企簾！

Maritime Museum in Greenwich. Parents and their children went

要麽因為經濟原因，要麽由於其他困難本來沒有體驗劇場的機會。同

on the same journey as equals with one child apparently putting

a consoling arm around his father at the end to assure him: “It’s all right, Daddy, we did it!”

（Cur tain－Up！）”項目為殘疾人學校提供免費劇票，那裡的學生時，在倫敦北部的諸如小天使劇院（Little Angel Theatre）和木偶船（Puppetr y Barge）項目中，上演了讓成人和兒童都嘆為觀止的由專業木偶演員表演的精彩木偶劇。

And it is not only the art that is becoming more challenging,

儘管大家認為獨角獸劇場是英國的國家級青少年劇院，但是英國

of their organisation, from producers, directors and technicians to

的優秀作品，拓寬了劇場邊界：《戰馬（War Hor se）》從南岸一路

theatres everywhere are taking young people into every aspect

PR. At the Tricycle Theatre in London they have an annual event

called Takeover. Now in its third year this 11 day programme sees young people take over the building and pack it with theatre,

film, music, poetry and events. Another fantastic example is at

the Liverpool Everyman where the young company works as an intrinsic part of the adult one, often working hand in hand on productions and sharing resources equally.

國家劇院（Na t i o na l T h e a t r e）也創作了許多針對家庭的一系列

凱旋進入倫敦西區。該劇目基於兒童小說創作，並結合了高超的藝術手法 —— 這可是青少年戲劇的流行主菜 —— 把真人大小的木偶表

演提升到了另一個境界；《深夜小狗離奇事件（Curious Incident of the Dog in the Nighttime）》——另一出兒童讀本改編劇——出色的技術水平讓人驚艷不已；2015年聖誕節演出《wonder.land（奇·

境）》則請到了蜚聲國際的音樂人達蒙·阿爾本（Damon Albarn）創作自己的第一部音樂劇。

Serena Manteghi and Aaron Anthony in Sadness and Joy in the Life of Giraffes credit to Jim Varney

the Uncharted was a thrilling adventure around the National

This move towards the understanding and celebration of

在全國範圍內，曼徹斯特的觸點劇院（Contact Theatre）和諸如愛

flowering of work made for young people by young people.

劇公司（20 Stories High）也與青少年們一道創作了不少講述他們自

autonomy within our younger audiences is also seeing a

Islington Community Theatre’s (ICT) most recent performance,

Brainstorm, saw a company of teenagers investigate the

丁堡的25號交叉口劇團（Junction 25）和利物浦的20故事嗨起來戲身經歷和關於所在社區的作品。

workings of the adolescent brain. ICT is formed on a democratic

同時，沈浸式劇場傳奇暈眩劇團（P un c h dr un k ）也創作了不少兒

theatre-maker and a 12-year-old can have a conversation on an

令：秘境之旅（ A g a i n s t C a p t a i n’s O r d e r s : A J o u r n e y i n t o

structure that aims to create a place where a professional equal artistic basis.

The pool of makers is drawn from a wide source with the

young people who join ICT referred by teachers, youth workers and social workers, which widens the diversity of the group

童體驗作品，其好評度超過針對成年人的作品。《反抗船長命

t h e U n c h a r t e d）》便是在格林尼治的國家海事博物館（National Maritime Museum）進行的一段驚悚探險。家長和孩子們一同踏上相同的旅途，劇場結束後，一位孩子摟著他的父親，安慰著說：“沒事了，爸爸，我們成功了！”

(itself a rarity in British theatre). They are offered a long-term

不僅僅是這門藝術本身變得更具挑戰，各地的劇場也正把青少年帶

together as a company. This experience feeds into the work

的三輪車劇院（Tricycle Theatre）每年都有一個活動，稱之為“接管

commitment lasting from 10 – 20 years old, so they grow up itself, which is also long-term and iterative. Brainstorm is high

quality ensemble work, layered and complex and it shows that young people can and are making work that is as interesting

and challenging as some of the most inventive theatre currently being made in the UK.

入劇場組織的各個方面，從創作、導演、技術支持到公共關係。倫敦

（Takeover）”。今年是本活動舉辦的第三年，在這個為期十一天的項目中，青少年接管了整座建築，開展戲劇、電影、音樂、詩歌等各

種活動。另外一個絕佳的例子來自於利物浦的大眾劇院（Ever yman Theatre），在這裡青年劇團成了成人劇團重要的組成部分，他們經常攜手創作，平等地分享各種資源。

This is an exciting trend that is spreading. As Contact Theatre’s

在青少年觀眾中形成認識和贊頌自治的潮流的同時，青少年為青少年

that: “young-people-led work is as valid an artistic proposition

Theatre，ICT）最近的劇目《頭腦風暴（Brainstorm）》，展現的便是

Artistic Direct Matt Fenton observed, it is increasingly the case

for audiences as the work presented on any main stage across

the country”. British audiences are flocking to see work by young people: we’ve set aside our inherent suspicion of teenagers and now want to listen to them. Again Europe has a role to play in

創作的作品也四處綻放。伊斯靈頓社區劇場（Islington Community

一群青少年研究成年人大腦運作方式的故事。伊斯靈頓社區劇場有

著民主的構架，他們的目標是建立一個平臺，使專業戲劇作者和1 2 歲的青少年得以在平等的藝術平臺上對話。

this shift, which is arguably down to Belgian theatre collective

這裡的戲劇作者來源廣泛，有由教師推薦而加入伊斯靈頓社區劇場

We’re Gonna Tell You Who We Are So Shut Up and Listen, a

場已屬異類）的多樣性。他們的委任期很長，從10歲一直持續到20

Ontroerend Goed’s influential 2008 show Once and for All

company that Morell also regularly programmes at the Unicorn.

Brainstorm and works like it highlight an exciting overturning of

the historical precedent that British theatre for children is there to impart wisdom to its young audiences. Rather, it creates a space

where young people can share with adults what they really think

的學生，也有青年工作者和社會工作者，這增加了該團體（在英國劇

歲，因而參加其中的年輕人便成了一個團體一起成長。這樣的經歷融合進劇團的作品中，因而他們的作品也是長期循環進行的。《頭腦

風暴》是高質量的集體作品，層次多樣、復雜深入，展示了年輕人能

夠，且正在創作有趣且有挑戰性的作品，這樣的作品和目前英國最具創新能力劇場的作品不相上下。

and feel, and not the other way around.

這種令人興奮的趨勢正在傳播開來。如觸點劇院的藝術總監馬特·

This move is one, which has roots in the work of companies like

品和在本國主要舞臺上上演的作品一樣，都是成立的藝術命題 ”，

Quarantine who have a long history of making work that includes young people. In theatre reviewer Lyn Gardner’s write up of

their production in That Night Follows Day, she descries the performance: “a group of children arrange themselves as if on

best behaviour in a school gym, gaze at the audience and tell us some home truths. It’s an hour-long litany of accusation whose effect is to create a sense of how much of childhood is about

being coerced and bullied into doing things that you don’t want

芬頓（Mat t Fenton）所觀察到的， “ 對觀眾而言，青少年主導的作

現在越發如此。英國觀眾對青少年創作的作品趨之若鶩：我們已經摒棄了對青少年與生俱來的懷疑，現在我們希望傾聽他們的聲音。

值得再次一提的是，歐洲在這種轉變過程中起到了重要作用 ——

而這主要歸功於（雖然這種說法還有爭議）比利時“感覺良好劇團（Ontroerend Goed）”2008年極富影響力的作品《我們會告訴你我們是誰，請閉嘴並好好聽著(Once and for All We’re Gonna Tell

You Who We Are So Shut Up and Listen)》，這個劇團也是莫雷爾經常在獨角獸劇院策劃演出的夥伴劇團。

Lois Chimimba (Aly), Hal Fowler (Caterpillar) and Carly Bawden (Alice). Photo credit: Brinkhoff Mögenburg

to do by adults. “You make us promises and sometimes hope you

《頭腦風暴》及類似作品濃墨重彩、興奮地書寫了對英國兒童劇場

tell us no.”” Just as with TIE young people’s theatre is being used

今，它創造了一個青少年向成年人（而非後者向前者）分享真實的所

will not remember them. You tell us to sit still, to stay quiet. You

to educate, but it is the adults who the ones being educated, not the children.

As Morell passionately argues, theatre is a place that can

house the contradictions of the world. It gives us a place to

explore the tensions and challenges that we face day to day.

It gives children the skills and the creativity necessary to face those challenges. As the shift of children’s theatre moves

more towards this idea it is an exciting time to be working in or watching the world of young people’s theatre. We should

value it and take it seriously and that means treating it with the

respect that we would to any work of art: young or old, we need to treat all audiences, and makers, the same.

歷史的顛覆。在以前，兒童劇場是被用來向年輕觀眾傳授智慧的。如思所感的空間。

這種轉變，來源於諸如隔離劇團（Quarantine）的作品，它們都有著

悠久的創作屬於年輕人劇目的歷史。在林·加德納（Lyn Gardner）為

《夜以繼日（That Night Follows Day）》寫的評論中，她是這樣描述的：“孩子們在這就像是在學校體育館裡那樣，表現出最好的規

矩，他們注視著觀眾，講述著逆耳的忠言。這簡直就是長達一個小時的冗長控訴，效果是，我們得知原來童年充斥著那麽多成人的強迫和恐嚇，讓你去做你不想做的事情。 ‘你向我們許諾，有時卻希望

我們不會記住這些許諾。你要我們靜靜地坐著，安靜地待著。你總是

對我們說不。’”正如教育劇場的觀點，青少年劇場的目的是教育，但說到底被教育的不是兒童，卻是成人。

正如莫雷爾指出，劇場是容納我們世界各種矛盾的地方。它給了我們

空間，去探索我們每天面對的緊張和挑戰。它給了孩子們面對這些挑戰所需的技藝和創造精神。隨著兒童劇場愈發轉向這個理念，從

事、觀看青少年劇場會是令人興奮的。我們應該珍視它、認真地對待

它，這意味著，我們要像對待任何藝術品一樣尊重地看待它：不管面對的是哪個年齡層，我們對於觀眾，還是創作者，都需一碗水端平。

* Reference: Department of Culture Media & Sport, 2015, Taking Part 2014/15 Annual Child Report - Statistical Release.

Almost two thirds of the Arts Council Englandâ&#x20AC;&#x2122;s Naitonal Portfolio organisations have a focus on activity that contributes directly to achieving engagement with and provision for children and young people.

1+ 5

CH I L D REN

AG E 5 - 15

62% MUSEUM

E N G AG E D

6 9 % H E R I TA G E

2014-2015

70% LIBRARY

Over one in five projects funded annually through the Arts Councilâ&#x20AC;&#x2122;s Grants for the Arts programme have a focus on children and young people.

87% SPORTS

ART E N G A G E D ACTIVITIES

98% ARTS Popularity

Reading and writing activities FIlm or activities

30.3

6.7

Music Activities Theatre and drama activities Computer activities

16.6 0

8.3 20

52.8%

11.1

In School Time Only

Out of School Time Only

36.0% 40

68.8%

Both In and Out of School Time

39.5%

36.5

Dance activities

7.9

10.7

34.2

Street arts, circus, festival or carnival events

12.5

24.6

39.4

69.0%

12.5

24.6

77.9%

7.0

32.2

31.9

92.2%

81.7%

44.7

38.7

Arts and crafts activities

5.0

54.3

32.9

PLAYHOUSE I always feel that theatres for the young are as saintly as

我一向感覺，那些擁有年輕人的劇場，有著教堂

genuine expressions of their happiness and sadness. There is

真實的快樂和憂傷。也許這就是相似的聖潔感。

churches. For on those most innocent young faces, are always such a sense of holiness and purity residing in these theatres and they leave me in great care and reverence. Now, finally I have the chance to present their names, and I will also share the reasons why I am touched by them. Hidden amongst buildings a few

hundreds of metres from Tower Bridge, lies Unicorn Theatre. As elegant and legendary as its name, it has been accompanying

the growth of countless children as the best theatre for children in London and even in the whole of Britain. Polka Theatre,

located in southwest London, which almost looks like a house

in fairy tale, is a place where children and parents spend joyous

weekends and many classic stories have been staged—it is like a

substantial book, only more colourful. With a similar location, the Lyric Hammersmith provides mouldable clay for the young and

prospective artists, by helping them polish their works, with great patience, and staging these innocent yet sincere productions.

The Chickenshed Theatre incorporates education into its work, and stages plays as an effective way of education, promoting

equality among humanity. We must also mention the National

Theatre, with its outstanding theatrical expertise this institution has been bringing numerous literary works for children on

stage to different age groups and is a reminder of childhood

for almost everyone here. The two theatres away from London,

Bath the Egg and Everyman Theatre in Liverpool are where many

theatrical artists had their first affinity with the art. These theatres, because they are involved with children’s art, are so meticulous

and careful, for fear that there is any hint of roughness that might intrude into a child’s gentleness.

It is time that we ran a bit deeper into theatre for children.

一般的神聖。因為那些未經世事的臉上，有著最我們小心翼翼地，雙手掬捧出這些名字，因為那

些一直打動我們的理由。現在，終於是時候講述

這些理由了。距離塔橋的直線距離也不過幾百米，但是隱匿在樓群裡的獨角獸劇場（Unicorn

Theatre）和它的名字一樣優雅傳奇。作為全倫敦、甚至全英國最好的兒童劇場，不知有多少孩

子在這裡成長。坐落在倫敦西南的波爾卡劇場（Polka Theatre）看上去簡直就像童話中的房

屋。在這裡，孩子們和大人們一起熱鬧地度過這周末的快樂時光。太多的經典故事就是在這樣一個舞臺上舒展呈現，像一本大書，卻更為多

彩。同樣處於西南部的利瑞克哈默史密斯劇場

（Lyric Hammersmith Theatre）則傾向於為年輕人，這些未來的藝術家們提供了可供塑造

的黏土，用足夠的耐心拋光、打磨，最終把這些

稚嫩卻真誠的作品呈現。同時具備了教育功能的雄雞之屋（Chickenshed Theatre）則把戲劇

當作最有效的教育手段，用戲劇傳遞著人人平等的精神。不能不提的是英國國家劇院（National

Theatre），曾將無數本屬於孩子們的文學作品，用

嫻熟的戲劇手段，打造出屬於各個年齡層次的觀眾的作品，喚醒了每一個人的童年回憶。遠離倫敦

的兩個劇場，巴斯的卵形劇場（Bath the Egg）和

利物浦的大眾劇場（Everyman Theatre），更是很

多戲劇藝術家的啟蒙之所。因為是給孩子們的劇場，所以一切更為細致而小心，生怕有一絲生硬，觸犯了孩子們的柔軟。

是時候推開大門，開始我們的探索了。

UNICORN THEATRE: CHILDREN’S THEATRE AS ART NOT EDUCATION

獨角獸劇場：兒童劇場是一種藝術，而非教育

TEXT BY 撰文 x HONOUR BAYES TRANSLATED BY 翻譯 x SHORAN JIANG 姜嘯然 EDITED BY 編輯 X MICHELLE YU 余小悅

The Unicorn is a theatre tailored to young audiences (those

獨角獸劇場（Unicorn Theatre）是一家為21歲以下青少年“量身打

company founded by Caryl Jenner in 1947. It has long since

年成立的一家小規模巡演公司。劇場一直堅持著珍娜的信念――最

under the age of 21). Originally, it was a small touring

adhered to Jenner’s belief that ‘the best theatre for children should be judged to the same high standards as the best

of theatre for adults’. Today, the Unicorn is the UK’s leading professional theatre for young audiences, dedicated to

inspiring and invigorating young people towards the arts. It has successively won the ‘Artist Association Award’ for Best

造”的劇院。其雛形是創始人卡里爾·珍娜（Car yl

Jenner）在1947

頂尖的兒童劇院應該擁有和最頂尖的成人劇院一樣的評估標準。如

今，獨角獸劇場已經成為英國最具代表性的青少年劇場之一，其作

品曾獲得過“藝術委員會獎(Ar ts Council Award)”的最佳兒童新劇（Best New Play for Children）獎項，更被《Time Out》雜誌評為英國家庭劇場前五位。

New Play for Children.

獨角獸劇場每個季度都會推出煥然一新的節目單，不僅有新的劇作

It has a different programme for each season, including new

《亨利五世(Henr y V)》和《浮士德博士(Dr. Faust)》。除此之外，獨

works as well as the classics such as Henry V and Dr. Faust. The Unicorn has for many years cultivated and encouraged young people to see new plays. Every year over 60,000

children and parents come through its doors. The company

collaborates with local primary and secondary schools assisting teachers and improving their students’ understanding and engagement with theatre.

With 2015 marking its tenth anniversary at its current home on

Tooley Street, the Unicorn will be expected to produce some of its best work to date to signify the occasion.

作品，也有以兒童獨特視角去重新詮釋的經典名劇，如今年上演的

角獸劇場始終堅持著培養和啟發青少年戲劇創作的原則，平均每年會有超過6萬的兒童和父母參與到劇院的互動活動中來。其與當地

中小學的合作也頗具特色―― 提倡通過戲劇手段來協助教師完成

教學任務並提高學生們對戲劇的認知和參與度。與之相對應的合作模式也十分豐富，具體操作和內容會根據學生的年齡和接受程度進行適當調整。

與過去的飄無定所相比，現在的獨角獸劇院不僅擁有獨立的專業劇場和排演中心，還有配套的公共區域設施和咖啡館。隨著十周年紀

念日的到來，作為英國青少年劇場的代表之一，其作品也被觀眾賦予了更多期望。

“別人總是說，新做一部音樂劇是不可能完成的任務，不是麼？”波尼·莫雷爾（P u r n i

M or e ll）笑容滿面地說道， “ 我們一開始心裡總是想‘ 那能有多難？’可是當實際操作的時候就會發現，其實真是挺難的！’然而

獨角獸劇院是英國最成功的兒童劇院，而我和莫雷爾，該劇院的藝術總監，正在探討的兒童音樂劇《壞人（Baddies: the Musical）》，一

部為 6歲以上兒童及其家庭打造的劇目。但是，就之前整整十分鐘的討論，我們還一次

都沒有提及過兒童，我們談論的僅僅就是英

Unicorn Theatre exterior

到最後，我們還是可以做到的。”

國音樂劇的現狀。這也許正因為她在2013年

對《衛報（The Guardian）》所說的， “獨角獸劇院首先是被看作一個劇院，只是恰巧我

“It’s the law isn’t it that it’s not possible to do a new musical,” Purni Morell says with a

們的觀眾是兒童。1”

grin spreading across her face. “We were quietly all a bit like ‘how hard can it be?’ and

英國的傳統將戲劇視為對青少年的首要教

we’d got it.”

童戲劇應該是能夠啟發思考的優秀的藝術

then we started workshopping and were like ‘oh it’s really hard!’. But then we felt like

Morell is Artistic Director of the Unicorn Theatre, the UK’s most successful children’s

theatre, and the show we’re discussing, Baddies: the Musical, is pegged as a family

育環節。而對於這一傳統，莫雷爾相信，兒

作品。對於她而言，雖然兒童觀眾年紀小，但他們和成人一樣需要好的藝術。

vehicle, suitable for anyone six and up. But in our ten minute discussion so far we haven’t

莫雷爾的堅持可以說是獨角獸劇院成功的

she said to the Guardian in 2013, “It’s very important to me that we’re seen as a theatre

院就成為了倫敦最好的劇院之一，不單單

mentioned children once, just the state of the British musical. This might be because, as first and foremost, and it’s a coincidence that our audience happens to be children.”

Flying in the face of a British tradition that has seen theatre for young people as primarily

原因。自 2 0 1 2 年莫雷爾上任起，獨角獸劇

只是最好的兒童劇院。我們至少可以說，莫雷爾為劇院帶來的當代藝術家都讓人印象

educational, Morell believes that theatre for children should be about making good and (children do tend to be smaller), they’re not different at all.

It’s arguably the reason why the theatre is doing so well. Since she started in 2012 the

Unicorn has become one of the best theatres, not just the best theatre for young people, in London. The range of contemporary artists Morell has brought on board has been

impressive to say the least. From impossibly cool Belgium hipsters Ontroerend Goed to

live art legends like Tim Crouch and Chris Goode, it’s her commitment to offering up the most cutting edge, and sometimes challenging, work to her audiences that has seen them flocking to the Unicorn in droves.

Morell’s programming and commitment to treating children as adults parallels a

continental outlook that puts form on an equal footing with content. This is because

she sees the world as being much more complicated place than the simple black and

white, right and wrong mentality we might be tempted to tell our children. Art, as in life, is about finding spaces to best talk about and deal with those contradictions and she believes the metaphorical structure of theatre is a brilliant way to reflect that.

“I suppose I’m more interested in form than content because I think [theatre] is about

Purni Morell, Artistic Director at Unicorn Theatre. 2015. Photo by © Syndi Huang

thought provoking art. For her although different audiences can come in different sizes

sitting around and going ‘look the problem with life is that a lot

深刻。從比利時炫酷的“感受良好劇團（Ontroerend

that contradict each other,” Morell says, “and that’s the problem

Goode）。正是莫雷爾的努力將這些最先鋒、甚至頗具挑戰性的作品

of things are going to happen at the same time as each other,

and we can hold these things in a theatre because on a very basic level we’re telling you to believe something’s happening while

manifestly it isn’t. We trade in metaphor, that’s what we do, and there’s a lot of room in that to let a lot of different truths exist.”

It’s a much more philosophical than educational outlook and one that doesn’t sit naturally with what she believes is a judgemental streak that runs through British culture. “[In Britain] there’s very

呈獻給觀眾，因此前來獨角獸劇院的人們總是成群結隊的。

莫雷爾將兒童觀眾與成人觀眾一視同仁，她亦贊成歐洲大陸的普遍觀點“形式和內容一樣重要”。莫雷爾認為，世界是複雜的，我們並不應該告訴孩子世界總是黑白分明，是非分明的。藝術，就如在生活裡，在不斷找尋空間來討論與處理那些矛盾，莫雷爾確信劇場本身的象徵屬性正是一種很好的反映方式。

little quarter to get something wrong,” Morell says baldly. “I think

“相對於內容，我對形式更加感興趣，因為我覺得（戲劇）就是坐在

take the high ground in some level, our apparent success in the

著這樣那樣相似的問題，”莫雷爾說到， “劇場可以把這些都包括在

every social situation is an opportunity for an English man to

world to date as Britain means we’re still trading across that in a funny way,” she goes on. “So we all talk to each other like we’ve

got the answer and what ends up happening is we start speaking

那裡，看著一堆事情同時發生，卻又彼此矛盾，現實生活中就是充滿內，我們貌似在講一些發生的事情，但我們都明白這些都不是真實的發生。我們運用各種比喻，讓不同的真相得以同時存在。”

for each other, and we start protecting each other because we

這或許更是一個哲學問題而不是教育見解，莫雷爾所認為的這種植

when dealing with children. The fear of getting things wrong,

不敢犯錯，”莫雷爾直言不諱地說到， “我覺得在任何場合，在某種

think we know best.” This feeling becomes particularly acute

or of being unable to protect those who we see as vulnerable, makes our attitude to children and young people reductively patronising both socially and culturally.

She feels this is deadly. In the same Guardian interview as

before she writes “My experience in the rest of Europe told me

was that theatre was an artform of the emotions, rather than of

Othello The Remix Photography by Michael Brosilow

Goed）”，到現

場藝術的傳奇人物蒂姆·克勞奇（Tim Crouch）與克利斯·古德（Chris

根于英國文化中的愛下判斷的特點並不是好事。 “（在英國）大家都程度上，英國人都覺得自己高人一等，從前大英帝國的成功讓現在的

我們仍然以如此可笑的方式辦事。”她繼續說到， “我們與人交談的時候好像總是有既定答案似的，最後變成我們開始為別人發言，開

始保護弱的一方，因為我們覺得我們懂得最多。”當我們和小孩相處時這種思想尤為突出。這種害怕犯錯，或是害怕不能保護“弱者”的想法導致我們總是以居高臨下的態度對待孩子們。

the intellect, and that you can do exactly the same for children

莫雷爾覺得這種想法非常危險。之前提及的《衛報》採訪中，她提

of Macbeth, much of the drama comes from you knowing

而非才智的藝術形式，因此為成人劇場創作和為兒童劇場創作應該

as you do in theatre for adults. If you go and watch a production that what Macbeth is doing, and the course he’s embarked on, is a bad plan. The drama comes from the fact that you, as the audience, know more than the character does. Sometimes,

traditionally in English children’s theatre, there has been the

habit to do the opposite, to assume that the people on stage

have got something to tell the audience; that the performers and characters know more than the children in the audience. I think that’s the death of drama.”

Rather than imparting wisdom from the stage she wants to create a space where people (young or old) can have discussions about

life. With Baddies, she and writer Mark Teitler wanted to put one

of the greatest modern pressures facing young people under the

microscope. “Mark came to me and said I want to write something about success and why it’s important and what that’s all about,” she says. “If you go into schools now, they’re astonishing in that

到， “在歐洲其他地方的經歷告訴我，戲劇是一種情感的藝術形式，

是一樣的。”當你去看《麥克白（Macbeth）》這樣的劇目時，很多時候你已經知道麥克白在幹嘛，事情的發生和經過是怎樣的，但其實這並不是好事情。作為一名觀眾，你看到的演出其實是按照從你事

先就已經所知道的劇情來發展，甚至你知道的比演員角色知道的更多。有時候，在傳統的英國兒童戲劇中的這種觀影習慣正好相反，我

們總是預設舞台上的演員會告訴觀眾什麼，表演者和角色肯定比臺下的兒童觀眾知道得更多。在這種情況下，我覺得戲劇已死。”

相較於在臺上傳授智慧，莫雷爾更想創造一個空間，在那裡無論長幼都可以探論生活。在《壞人》一劇中，她和作家馬克·泰特勒

（Mark Teitler）希望可以讓青少年認真探討他們所面對的其中最大

的現代壓力。 “馬克跟我說他要寫一些關於成功的事情，為甚麼成功如此重要，還有到底成功是什麼，”莫雷爾說， “現在校園裡隨處都

能看見‘成為最好的自己’這樣振奮的話語，表面看來都挺好的，但其實並不是。”

they’ve got all these motivational messages about the place like

現代社會越來越以成敗論英雄，文化在教學中的地位讓莫雷爾

not being discussed or looked at at all is what’s happening to

Greenwood）和學校公關經理艾拉·麥克法迪恩（Ella MacFadyen）努

‘be the best you can be’. On the face of it that’s great, but what’s everybody else, which is sort of by definition most people.”

Under an increasingly results based method of calculating success, culture’s perceived place within education is one which worries

擔憂。獨角獸劇院的學習輔助人員凱瑟琳·格林伍德（C a t h e r i n e

力不懈地創造並經營與學校的深度合作關係。 “ 凱瑟琳和艾拉與老師們的關係很好，不僅知道他們每一個人的名字，還定期給他們打電話。”

Morell. The Unicorn works very hard to create and manage in-

當我問到這種與劇場合作的教學模式是否會給教師們增加工作負擔

Catherine Greenwood and Schools Relationship Manager Ella

一件很痛苦的事，但是我堅信這是值得的。因為這些合作項目與平

depth relationships with schools through their Learning Associate MacFadyen. “Cath and Ella talk very personally to teachers, they

know everybody’s name and call them regularly,” Morell says when I ask her how the theatre approaches increasingly time pressed

的時候，莫雷爾說：“我知道要讓教師們花時間去得到合作許可是時的校內工作很不一樣，當你能夠克服這些項目的各種障礙以後，你會發現劇場教學模式其實是更接近你理想中學校的樣子。”

educators. “They say ‘I know it’s a massive pain for you to get the

獨角獸劇院的教育項目可謂十分完善，外展服務項目包括：校園合作

precisely a break from all of that [red tape] and although you’ve

年的合作計劃，在此期間，學生們可以觀看所有劇目並參與各類型的

permission but the reason why we think you should is because it’s got to go through this little hump, actually you’ll find that [in the theatre] is more like what you want school to be like in a way’”.

A quick overview of the Unicorn’s education programme shows it is extraordinarily comprehensive, with outreach projects

（Collaborate）——獨角獸劇院與一所小學及一所中學進行長達一活動；項目探索（Explore）——這是一個深度合作的項目，針對七、八、九學年的學生；七年級項目（The Year 7 Project）——作為中學

的第一年，七年級是轉折點，戲劇老師可以帶領學生觀看戲劇並在課堂上與其他同學分享觀戲體驗。

including: Collaborate - a year-long partnership between the

最後的這個項目突出反映了戲劇與學校合作教學最重要的部分，兩

During this time the pupils see all productions and take part

習材料，而這些材料也能使用於劇院與其他學校的合作中。

Unicorn and one primary school and one secondary school. in projects; Explore, which is an in-depth programme that

者互相影響。學校教師會定期與獨角獸劇院的工作人員開發新的學

works with the same students over three years; and the Year 7

與英格蘭藝術委員會（Ar ts Council England）強有力的合作關係

benefits of bringing this transitional year group – it is the first

大力支持。莫雷爾相信這是因為獨角獸劇院有望成為國家級的青少

Project, created after feedback from drama teachers around the year of senior school - to see a production and how this shared experience can then be explored back in class.

使得獨角獸劇院在追求最高品質的藝術和豐富的教育項目上得到了

年劇場。 “ 某個國家如果擁有一個國家級的劇院，這就肯定了戲劇作為藝術形式的文化地位，也就是說，國家支持戲劇。”莫雷爾解釋

It is this final project that highlights the most important part of the theatre’s pedagogical collaborations – they are a two way

street. Teachers regularly work with the Unicorn staff to develop new learning materials that inform the rest of the theatre’s work with other schools.

The team is supported in pursuing the greatest artistic quality and an enriching educational programme through a strong relationship with the Arts Council England. Morrel believes

this is because they are seen as a potential national theatre for young people. “Having a national theatre in a country affords

the show. But the idea of a family programme to me is an enjoyable thing that a family does together”.

Morell also thinks the future lies in “art that can exist for children among themselves,” as she puts it. “They don’t need adults to participate in that, we can just get of the way and some eight year olds could happily have a critical debate between them

just like you and I could.” She stops and smiles finally happy with her conclusion – a future where the young people of today are making the decisions of today as well as tomorrow.

that artform a certain cultural status, it says ‘we want this’,” she

道， “（獨角獸劇院）在英國劇院的結構中尤為特殊，因為我們投資

portfolio in that we can invest in young talent to make sure we

保証我們接觸到的並不是單一類型的觀眾。”

explains. “[The Unicorn] is particularly unusual in the British

have relationships regionally and internationally, really making

在年輕人身上，無論是區域性的還是國際性的投資，這種做法能夠

sure that the audience we get is not just one type of person.”

長久以來，兒童戲劇一直被視為劣於成人藝術，莫雷爾認為這種態度

While there have long been rumbles that children’s theatre is seen

覺得人們不再把兒童觀眾視為二等觀眾了，”她說， “但是我確實覺

as being inferior to adult art, Morell thinks this attitude is changing with most mainstage theatres now programming children’s work.

“I don’t think people see young audiences as secondary anymore,” she says, “but I do think there is still an issue among the press and among the way industry programmes work [that improvement could be made].” Most national papers do not regularly cover

已然在發生變化，現在大部份的主流劇院也開始上演兒童劇目。 “我

得在媒體與產業運作上還是存在問題（還是可以大有改進的）。”她繼續解釋說大多數的國家級報紙沒有定期報道兒童藝術的內容，大

多數劇院還只是聘請兼職編導來為兒童觀眾創作或者選劇。 “一般藝術總監不負責挑選兒童劇，”她說， “甚至在某種程度上來說兒童劇仍被看作是次要的。”

young people’s art and, as she goes on to explain, most theatres

“ 在成人藝術裡有些事情總是覺得理所當然，例如風格品味，但同

mainstream theatre’s production for children. “It’s not the Artistic

釋道， “人們會覺得‘南倫敦已經有一家兒童劇院了，為什麼還需要另

will use a part-time programmer to choose and facilitate a

Director programming this work,” she says, “and that suggests to me that there is still an extent to where it’s seen as a provision.”

“There are certain things that are taken for granted in adult art

樣地將此置於兒童藝術上人們卻覺得難以理解，”莫雷爾進一步解

外一家呢？’但是人們不會質疑為甚麼成年人同時需要阿爾梅達劇院

（Almeida Theatre）和唐馬倉庫劇場（Donmar Warehouse），因為人們知道這兩家劇院的風格不一樣，迎合不同觀眾的口味。”

that aren’t great in art for children, like taste,” she continues

“有個假設就是，只要孩子們在這開心快樂，這就是好的，”她繼續

children’s theatre in South London so why do we need another?’

以這種爭論是沒有意義的。”

getting into her stride. “People would go ‘there’s already a

But they wouldn’t ask why we both need the Almeida and

Donmar Warehouse because they understand they do different things, they cater to different tastes.”

“I think there’s an assumption with kids that as long as they’re

having a good time then it’s good,” she continues apace. “But you know kids love McDonald’s and that’s not food. That argument isn’t useful.”

Along with taste she feels a distinction between ‘children’s’ and ‘family’ theatre is needed to progress art provision for young people. “What very rarely happens is that people take their

children to the theatre as a gift and say ‘you know what I’ll come

道， “但是你也知道，孩子們也喜歡麥當勞啊，但那能叫食物嗎？所除了品味，她覺得兒童戲劇和家庭戲劇之間應該有所區別，從而為

小觀眾們發展藝術儲備。 “基本上大人不會把帶孩子去看戲視作送給孩子的禮物，也不會跟他們小孩說， ‘因為你喜歡這個戲，所以我

們一起看然後一起討論。’”莫雷爾說， “大人們只是因為覺得孩子會喜歡所以帶孩子來，看戲的時候自己卻全程在玩手機。對我來說，家庭戲劇應該是全家人一起享受的。”

莫雷爾認為，未來在於“可以為兒童存在，且存在於兒童中的藝術” 裡。她如是說， “這種藝術不需要成人參與，八歲的孩子也許可以像

成人一樣快樂地進行批判性的辯論。”莫雷爾笑著，愉快地作出了總結——今天那些做決策的孩子們，在未來亦可以如今日一樣。

with you and then talk to you about it afterwards because you’re

interested in it’,” she says. “What they’ll do is come with their kids

and say ‘oh well the kids liked it’ and then text people throughout

1. ‘Arts head: Purni Morell, artistic director, Unicorn theatre’. Interview by Matthew Caines. 2013.

The Velveteen Rabbit

Baddies: the Musical. Photos: Manuel Harlan

Joey and Goose in War Horse at the New London Theatre, photo credit Brinkhoff Mögenburg

NATIONAL THEATRE: INVESTMENT IN THE FUTURE OF AN ART FORM 英國國家劇院：對未來藝術的投資

INTERVIEWED BY 採訪 X JOANNA DONG 董一燃 TRANSLATED BY 翻譯 x SHORAN JIANG 蔡蘇東

Located on the edge of the South Bank, the National Theatre is one of the most

坐落於南岸邊上的英國國家劇院（ N a t i o n a l

title; it has consistently made immeasurable contributions to protecting and

它被冠上“皇家”、 “國家”這樣的耀眼名號，還因為它

improving the British theatre industry as a whole.

The National Theatre stages around 30 productions each year, ranging from

Theatre）是英國最具代表性的劇院之一。不僅是因為作為英國戲劇產業的先進動力，為維護和發展戲劇作出不可估量的貢獻。

re-imagined classics to modern masterpieces. Most of them are picked from

國家劇院每年上演大約 3 0 部作品，既有經典不朽的

directors, creative artists and performers. The theatre also has a thoughtful

從NT工作室（NT St udio）這個鼓勵新劇創作的平臺

NT Studio—a platform for nurturing innovative work from new writers,

understanding of the significance of maintaining British dramatic culture, offering young people regular courses and activities, such as short-term

courses for 16-21 years old and NT Connection. The company actively embeds its educational programmes into schools and communities nationwide. From September 2015, ‘On Demand in Schools’ started to make three acclaimed

curriculum-linked productions free to stream on demand in every secondary school in the country. There is a wealth of online resources which include documents and videos related to almost all aspects and goings-on in the

performing house. To a large extent, these online resources has benefitted

from the groundbreaking use of new media in recent years. From NT Live to

other digital media platforms, the National Theatre has always strived to break the traditional mode of presenting to theatre-goers.

復排劇，也有現代氣息濃厚的新作品。其中大部分是中挑選出來的。國家劇院深刻意識到傳承國家戲劇文

化的重要性，不但定期開設針對青少年的課程活動，

如16-21歲的短期課程、NT連線（NT Connection）項目等，還積極地把教學內容滲透到英國的各個中小學和社區中。從2015年9月起， “校園需求（On Demand

in Schools）”計劃開始為全國每所中學免費提供3部與課程相關的作品的播放權限。其官網上也有大量的

線上學習資源，例如作品相關的文檔、短片等。這些線上資源的共享很大程度上得益於近年國家劇院對新媒

體的突破性運用，從NT現場（NT Live）到數字媒體平

臺，國家劇院一直在嘗試打破傳統呈現戲劇的模式，為戲劇愛好者們打破時間和空間的界限。

Interview with Ben Power,

Deputy Artistic Director at National Theatre

ART.ZIP: In the board notes of February 1973, we see that Peter Hall spoke of the country’s “need” for a repertory

of children’s plays and that it was the

National Theatre’s duty to provide this.

專訪英國國家劇院

代理藝術總監本·鮑爾 A R T. Z I P :在 1 9 7 3 年二月份的董事會記錄

中，彼得·霍爾（Peter Hall）說到了國家需要有兒童輪演劇目，而國家劇院有責任提供

這樣的劇目。您覺得為甚麼兒童劇場在我們、以及兒童的生活中如此重要呢？

Why do you think it is so integral that

BP:作為國家劇院，我們有義務推出能夠盡

our children’s?

所有年齡層次的人們的作品。還不僅僅如

children’s theatre is in both our lives and

BP: As the National Theatre we have an obligation to make work for as broad a

range of audiences as possible and this includes people of all ages. More than

可能覆蓋各種觀眾的作品，這也包括了面向

此，在面向青少年的作品上投資，就是對藝

術形式未來的投資。抓住了青少年觀眾的想象力，我們就能讓他們終身投入到劇場藝術中來。

that though; investing in work for young

ART.ZIP:國家劇院少年兒童項目（Primar y

the art form. In capturing the imaginations

泰特（Jackie Tait）說： “兒童劇場之所以重

audiences is an investment in the future of of young audiences we want to hook them into theatre for life.

ART.ZIP: Jackie Tait, Primary and Early

Years Programme Manager at NT, says

and Early Years Programme）經理傑奇· 要，在於它也是與兒童的成年監護人共享的經歷。”當制作兒童劇場作品時，如何考慮不

僅僅面對兒童，也要面向觀眾席中的成年人進行表演。國家劇院的導演、劇作者以及項目管理者是否也考慮過這些問題？

Ben Power. Deputy Artistic Director at National Theatre

well-known and well-respected theatres in the UK. This not just because of its

that “an important part of theatre for children is that it is a

BP: 當然，我們也會考慮前來觀看劇目的所有觀眾。我認為，最好的

piece of children’s theatre how mindful does one have to be of

年觀眾。這也是我們的家庭劇場給觀眾帶來的體驗。

shared experience with their adult carers”. When creating a

targeting and playing to the adults in the auditorium and not

just the children. Is this something that crosses the NT directors’, writers’, programmers’ minds?

BP: We do, of course, try and consider the full range of audience members who are coming to see the show. I think the best

theatre for young audiences will always - in its wit, humanity, theatricality - appeal to adults as well and this is certainly the

ART.ZIP: 國家劇院的許多流行的劇目，比如《戰馬（War Horse）》、

《深夜小狗離奇事件（Curious Incident of the Dog in the Night time）》都是基於兒童文學作品創作的。再比如說正在上演的

《奇·境（wonder.land）》，也是來源於兒童讀本。你認為，這些作品中是什麽使其如此受歡迎及成功？面向兒童觀眾及完全面向成人觀眾有何不同的挑戰？

experience we’ve had at the NT on our family shows.

BP:最重要的東西永遠是故事本身，特別是為了要吸引和保持青少年

ART.ZIP: Many popular plays from NT like War Horse, Curious

成功和流行的文學作品，所以有著很強的情感敘事，這也是改編作

Incident of the Dog in the Nighttime are based on children’s literature works. And also the current one like wonder.land,

的興趣，故事更是尤為重要。你所提及的那些作品，都是改編自非常品中的最中心要素。

is also inspired by the children’s book. What qualities do you

ART.ZIP:能否請您談談在一些劇目的創作過程中兒童們是如何參與其

different challenges posed by a child audience as opposed to a

作和設計其2010年的作品《美女與野獸（Beauty and the Beast）》，

think it has that makes it so popular/successful? What are the solely adult one?

BP: The most important thing is always story and this is even

中的？比如說，凱蒂·米切爾（Katie Mitchell）邀請兒童們與她一起創

同時，她也邀請當地學校的孩子到排練現場一起構思和發展《糖果屋歷險記（Hansel and Gretel）》這部作品。

more the case with theatre that needs to grab and hold

BP:自從凱蒂·米切爾三部青少年劇目推出以來，國家劇院的幾乎所

adapted from hugely successful and popular works of

否清晰，是否幽默，在什麽時候觀眾的注意力會分散，讓成年的戲劇

the attention of a young audience. The work you mention,

AMIT SHAH as Marta the Stepmother, JUSTIN SALINGER as Johann the Father, RUBY BENTALL as Gretel and DYLAN KENNEDY as Hansel

青少年劇場永遠是充滿智慧，人性和戲劇性的，這當然也能吸引成

有青少年作品都把觀眾包含進創作過程中。我們向觀眾詢問劇目是

at the centre of the adaptations.

ART.ZIP: Can you tell us a bit about the actual involvement of children in the creative process of some shows? For example,

Katie Mitchell invited children to create and devise alongside her for her production of Beauty and the Beast in 2010, and also extended an invitation into the rehearsal space to local school children to conceive and develop ideas for Hansel

and Gretel.

BP: Since Katie Mitchell’s three shows for young people, almost all of the work created for young audiences at the NT has brought that audience into the process. Asking about clarity, checking

BP: The NT Learning Department does brilliant work engaging with educational institutions and organisations of all kinds but I think that the best theatre should always aspire to affect and

change those who experience it. Theatre puts you into the shoes of someone else and so has the potential to engage with an

audience empathetically as well as intellectually. I think everyone working in theatre has been changed by it and believes in its

power and importance, never more so than when the audience is young.

制作者與青少年一起，檢查他們對於觀眾反應的假想是否正確，這是很重要的一環。而且這也總是創作過程中令人享受的一環。

humour, finding out when attention is lost... it’s vital for adult

ART.ZIP: 傑奇·泰特也提出，劇場構築了“極佳的學習環境”——國

audience want with the young people themselves. It’s always a

標？同時，您認為，兒童能從劇場中學到什麽？是不是除了傳統的教

theatre-makers to sense-check their assumptions about what the wonderfully enjoyable part of the process.

家劇院和教育權威或組織展開了哪些方式的合作，以達到這樣的目學內容，還有道德上的收獲？

ART.ZIP: Jackie Tait also talks about theatre as being a

BP: 國家劇院學習部（NT Learning Depar tment）在和各種教育機

work with educational authorities or organisations to this

希望感染和改變其觀眾。劇場讓你對別人的經歷感同身受，也可以

“wonderful context for learning” - in what ways does the NT end and what type of things do you think children can learn from theatre? Is it not just educative information but moral lessons too?

構以及組織合作中做了很多出色的工作，但我認為，最好的劇場總是

和觀眾進行情感和智識的交流。我想每個參與劇場工作的人都會被劇場所改變，對劇場的力量和重要性深信不疑，尤其是當他們面對的觀眾是青少年時，這種信念就更加堅定了。

Left: Sion Dan Young (Christopher) and the cast of The Curious Incident of the Dog in the Night-Time, Photo by Brinkhoff Mögenberg Right: Carly Bawden (Alice) and Joshua Lacey (White Rabbit)

literature, had very strong emotional narratives and these were

LYRIC HAMMERSMITH: NEW BLOOD

利瑞克哈默史密斯劇場：新生

Lyric Hammersmith, 2015. Photo by © Syndi Huang

INTERVIEW EDITED BY 採訪整理 X STRUAN ROBINSON TRANSLATED BY 翻譯 x SHORAN JIANG 姜嘯然

The Lyric Hammersmith began life as a private opera house located in West London in 1895. In addition to its ongoing constructions and contributions to the theatre industry, it has gone on to become the leading light for producing original plays in the UK. In 2009, Sean Holmes joined the Lyric as Artistic Director. He went on to win the Olivier Award for Outstanding Achievement in an Affiliate

Theatre in 2011 and has helped to turn the Lyric into a multifunctional art community with both the avant-garde and the accessible. In recent years, the Lyric has been particularly conscious about producing plays for young audiences. A majority of productions

currently being staged are for children and families. They have educational programmes which are very well-structured, and have

been divided into four sections: ‘Lyric Young Company’, ‘Creative Learning’, ‘Targeted Work’ and ‘Next Generation’. One of the benefits is that people under 25 years of age only need to pay an annual fee of £10 to participate in a wide range of courses and activities

in cooperation with other arts organisations. Furthermore, the Lyric has engaged with an important and often overlooked group of

people: NEET (those who are not in education, employment or training), offering them a variety of creative activities and regular literacy classes culminating in an Arts Award Qualification. The programme aims to help develop their potential and maintain their confidence. The Lyric also pays attention to the issue of unemployment amongst young people, providing internship opportunities, employment

training courses and master-classes. While helping to alleviate the pressure of unemployment, the Lyric is also providing new blood to the creative industry in Britain.

建立於1895年，利瑞克哈默史密斯劇場（Lyric Hammersmith Theatre）最初只是一家位於西倫敦的私人歌劇院。隨著多次的改造和對原創戲劇的貢獻，利瑞克哈默史密斯劇院一舉躍居英國原創劇院的領先位置。2009年，藝術總監西恩·霍爾姆斯（Sean Holmes）的加入不僅

使劇院的名氣有了更大的提高——其作品獲得了2011年奧利弗獎（Olivier Award）劇院聯盟傑出獎，更將劇院打造成了一個既具有“先鋒精神”又“平易近人”的社區藝術中心。

近年來，劇院尤其關注青少年的戲劇作品，目前正在上演的大多數劇目都是針對兒童和家庭觀眾的。其開設的教育項目也十分系統化，主要分為四大板塊： “利瑞克青年公司（Lyric Young Company）”、 “創意教育（Creative Learning）”、 “目標工作（Targeted Work）”和“新生代計劃（Next Generation）”。其中的福利包括未滿25周歲的青少年只需要繳納£10的年費，就能免費參加與其他藝術機構合作的課程和

活動等。此外，劇院還關注到一個特殊群體——“尼特族（‘NEET’）”，通常指那些未受教育、未受專業訓練和失業的人——為他們提供帶資格認證的基礎文學課程，幫助他們發揮潛能、恢復自信。

更吸引人的是，劇院將目光投放到青少年的就業問題上，提供了各種相關的實習機會、就業訓練和大師班課程等。在協助解決就業問題的同時，利瑞克哈默史密斯劇院為英國引以自豪的創意產業綿綿不斷地輸送新鮮血液。

Interview with Nicholai La Barrie,

Director of Young People and Emerging Artists at Lyric Hammersmith

ART.ZIP: The Lyric is at the forefront of engaging with young

people and making theatre accessible. I understand that this

work is spilt into four strands: can you tell us about the first: the Lyric Young Company? What is it and what opportunities and

專訪利瑞克哈默史密斯劇場

青年藝術家項目總監尼克萊·拉·巴瑞 ART.ZIP:我們都知道，在吸引觀眾（尤其是年輕觀眾）走進劇院這方

面，你們劇院一直很成功。而這主要是得益於劇院的四個項目。您能

先跟我們聊聊第一個——利瑞克青年人公司（Lyric Young Company）嗎？它是一個怎樣的項目？加入的成員能享受到怎樣的待遇呢？

benefits are available to those who join?

NLB: 利瑞克青年人公司是我們的招牌青年項目。在這裡，年輕人們

NLB: The Lyric Young Company is our flagship youth theatre.

間和作品上的歸屬感，還讓他們覺得自己是這個大家庭的一份子。

It’s through the company that young people can become part of all the classes and workshops we have here. It gives them a sense of ownership over the space and over the work that we do with them. The company makes them feel part of a much

能夠參加劇院所有的課程和表演工作坊。這不僅給他們帶來一種空

成員的年齡一般在 7到2 5歲之間，也包括我們劇院的專業青年團體 (Young

Ensemble)。公司為他們提供了各種講座、演講、大師班，

求職建議和折扣票（每場戲有10張只需10 鎊的折扣票）。隨著我們邁入了新的階段，接下來我們將會通過面試挑選50至60個年輕人加

bigger group. It’s wide-ranging, with attendees aged from seven Nicholai La Barrie. Director of Young People and Emerging Artists at Lyric Hammersmith. 2015. Photo by © Syndi Huang

to twenty-five and includes the Young Ensemble, who are in our

professional theatre work. Members have access to talks, lectures, master classes, careers advice, and cheap tickets. We do ten for

a tenner, so, every show in our theatre you can get a ten pound

ticket to come and see. As we move into our new phase, there’s going to be a really intensive group of about fifty to sixty young people, who will be in our elite company for which you have to

audition. We’ll have one show in development and one show in production every year from now on. This means that for those

young people who are coming to work with us, who are just that

little bit more talented, more dedicated, they’ll get a chance to be in performances.

ART.ZIP: What is “Acting Up”? How many different ages is it available to?

NLB: It’s an acting class – our light touch engagement with

acting for any young person, aged between seven and twentyfive. If you’ve never done any kind of acting before and you

want to come and check out a class, that’s where’d you go. It’s really fun, there’s lots of games and ideas. You also gain some

critical skills such as communication tools, greater confidence,

and the ability to talk well in front of a crowd. They put on light touch shows as well.

ART.ZIP: What do you do in your Targeted Work? You have a

START Programme – who is this aimed at and what happens in terms of events and activities for those who take part in the project?

NLB: The Targeted Work is specifically aimed at working with young people who are hard to reach, have difficult

circumstances, or who wouldn’t otherwise have an opportunity to access the theatre and creative arts. We work very closely

with the local authority, referral units, the youth offending team,

入到精英小組。從今年開始，我們每年都將制作一部作品同時籌備

或發展另外一部。所以，這也代表著我們對加入我們的年輕人提供了更多的機會，只要他們具有一定的天賦而且願意投入精力，他們就有機會參與演出。

ART.ZIP:“ 動起來（Acting Up）”是一個什麽項目？有年齡限制嗎？ NLB: 這是我們為7至25歲的青年人設置的一個引導性的基礎表演課程。如果你之前完全沒有接受過任何專業訓練但對表演很感興趣，

那麽這個課程就很適合你。課上的氣氛很輕松，有很多遊戲和新奇

的想法。同時，你也能學到一些實際技能，例如溝通技巧、如何增強自信心和在人前發言的勇氣。他們也會排演一些輕喜劇。

social care, and the refugees’ team. The work is based around

ART.ZIP: 那麽“目標工作（Targeted Work）”又是怎樣的項目呢？

address some of the issues that these children have grown up

它的受眾主要是誰？會有哪些方面的活動呢？

building basic skills through the arts. On a wider level, it can

with in a safe way – often in a theatrical, musical or dance way.

我注意到你們其中有一個項目叫做“開始（START Programme）”，

We can bring up situations and talk about it or look at it through

NLB:“ 目標工作 ”這個項目主要是為那些平時很少有機會，或者很

deal with a situation and move it on further. It’s also intended to

社區當局、收容中心、青少年犯罪組織、社會福利和難民活動組都有

a character’s eyes. We’ve seen good results with this, it helps

grab those young people and give them something to do that’s dedicated and disciplined. They come in every day, they work on a show, and then they perform what they’ve created. We

have local employers and businesses who come in towards the end to try to provide opportunities for these young people to get into work.

難走進劇場的人們提供了一個接近劇院和創意藝術的機會。我們和十分密切的合作。我們主要是通過藝術活動幫助他們獲得一些基本

的技能。更廣泛地說，它能通過戲劇、音樂和舞蹈手段來幫我們處理一些兒童成長過程中面臨的問題，並以某些特定角色為載體來討論和審視生活中類似的情景。在這方面，我們取得了一些可人的成績。這個項目幫助我們解決了一些難題，同時我們也期望它能吸引青少

年做一些專業的、有規律的事情。他們每天都來參與制作，並展示他

ART.ZIP: Do you see any improvements or changes in these

們自己創作的東西。當地的公司和企業也都會前來為這些年輕人提

NLB: Massively. Usually, it’s a six week project and what tends to

ART.ZIP: 在您看來，他們有什麽提高或者變化嗎？

know what they’re here for. They start engaging with the process

NLB: 變化很大。這個項目通常是六周，大家一開始都不知道到這裡

to see changes in the group. These are young people who may

到了第三周，你就能從他們身上看到一些變化。其中很多年輕人可能

happen is that you find that they come in and they don’t really

and working with a director. It’s around week three that we start not have been in any education for two or three years, so they

haven’t had a structure for a little while. In week three, they start

forming bonds or breaking bonds, some may begin to completely

rebel against START, some may take it on board and work through

the process. Generally, what you’ll find is half of the group is doing one and half of the group is doing the other. It’s a real balancing

act. Then by week six, everybody realises that a lot of change has taken place: people who were previously uncommunicative will now be talking to you, people who couldn’t come in on time

will now be arriving on time. Sometimes these micro-changes will add up to much bigger things because it allows someone

to reengage with society or have a newfound confidence with

供工作機會。

來做什麽。慢慢地，他們開始融入到制作過程中並和總監互動。大概兩、三年都沒有上過學了，所以他們需要一段時間的適應期。在第三

周裡，他們就開始與之建立或者脫離關聯，一些人表示非常反感這個項目，而另一些人則選擇繼續堅持。這個概率通常是一半一半的。到

了第六周時，大家開始發現自己身上的各種變化：之前有溝通障礙的人現在能跟你聊天了；愛遲到的人也變得守時了。有時候，這些微妙

的變化卻能產生很大的影響。因為它們讓你感覺自己重新融入到這個社會，或因為英語作為自己的第二語言而感到自信。他們也許還會發現，以前生活中的被認為是阻礙的東西現在也可以被看作是動力。

A R T. Z I P : 您能再介紹一下“ 新生代計劃（ N e x t G e n e r a t i o n P r o g r a m m e ）”嗎？它又提供了怎樣獨特的機會呢？

English as a second language. They might feel that stuff that

NLB:“ 新生代計劃”主要針對18至25歲的剛畢業於戲劇學院或戲劇

limiting factor can now be seen as an empowering one.

發現，除了提供平臺讓他們自導自演以外，還有很多可以發掘的方

has happened to them in their life which was once viewed as a

ART.ZIP: What is your Next Generation Programme? What are the different opportunities on offer?

公司的年輕人，也對熱愛表演的青年開放。當時我們做研究調查時

面。他們也能參加大師班和各種思考項目，並有機會進入一家專門研究種族和戲劇關係的機構，了解有色人種在這一領域變成主導者的

過程。另外，他們還能經常和我們的藝術總監西恩·霍爾姆斯（Sean

Lyric Young Company

young people?

NLB: Next Generation works with people who are aged eighteen to twenty-five, just coming out of drama school, or forming

companies or who seriously want to take on acting. There are a couple of different points in the year when we do research

and development as well as giving them space and time in our

theatres to create their own work and present it back to us. The

group will also have access to master classes, big think projects,

and an organisation that looks at race in theatre and the process of how people of colour become leaders in that field. They also

talk closely with our Artistic Director Sean Holmes. These young

people will tend to go on to become Associate Directors in other theatres or Assistant Directors of shows.

ART.ZIP: In what way does the Lyric assist schools as part of its Creative Learning Programme?

NLB: The mandate that we’ve set ourselves is to work with every single primary and secondary school in Hammersmith and

Fulham. We’ve offered out twenty hours of free space to every

school. So, if you’re a primary school and you want an hour for a

class, a workshop, a tour, or a resource pack, you can come here. We build a strong and active relationship with the schools and

we like to think that they see us as their first port of call for art in the borough. We also give away three thousand free tickets for

Holmes）互動。這些年輕人將來更有可能成為劇院的副總監或劇目

ART.ZIP: Does a theatre have a responsibility to the community

ART.ZIP: 那麽利瑞克哈默史密斯劇院是如何協助學校來完成創意

NLB: Absolutely. Theatres are like community halls. We must invite

NLB:我們的目標是和每所位於哈默史密斯（Hammer smith）和富

them experience what the theatre is and what its existence means

都提供20個小時的免費場地租用服務。如果這所小學想租用一小時

the pantomime every year.

who live around it?

those who live around us into the space, engage with them, and let for the enrichment and wellbeing of their lives. One of the things we do is Free First Nights, which is where we give away all the tickets

for the first night of the show to the community to see it for free. It’s

fantastic because you get a mixed, diverse audience who are raw and untheatre. It allows local people to see what we do and doesn’t cost

的助理導演。

教育目標呢？

勒姆地區（Fulham）的小學、中學都建立聯繫。我們為每一所學校

的場地來上課、進行工作坊、參觀或者獲取資料包，那他就可以來我們這兒。我們和很多學校建立了非常積極穩固的合作關係，也希望在他們需要進行藝術活動時，我們是他們在這區的第一選擇。另外，我們每年還會為學生們提供3000張看聖誕童話劇的免費戲票。

a penny. The fact that the ticket is free is great for us too because it

ART.ZIP: 劇院對當地的社區是不是都有一種使命感呢？

is so visceral, they’ll make a noise if they like something and tell us at

NLB: 肯定的。劇院就像社區的活動中心一樣。我們必須邀請和吸引

gage and improve how a show sits with the audience. It’s also just

神生活意味著什麽。我們有一個“首夜免費（Free First Nights）”的

allows audiences to be honest and not snobby. The feedback we get the end if they don’t. This has often meant that we’ve been able to lovely to present your work to a local community of your peers.

ART.ZIP: Why is it so important that we have theatre in a child’s life?

NLB: It’s what sets us apart from animals. We have this incredible

當地的居民來感受戲劇的魅力，並讓他們了解到劇院對豐富他們精活動，每場演出的第一晚都會邀請當地社區居民免費觀看演出。這個

活動非常有意義，因為它能吸引到各種各樣的觀眾，尤其是那些很少

進劇院的人群。這給了他們一個了解我們劇院的機會。同樣的，這個活動對劇院本身也有好處，因為觀眾會給予最真實的反應，他們的反

饋都是本能的，遇到喜歡的事物他們會大聲說出來，不喜歡的也會在事後告訴我們。這也為我們在定位觀眾群和改進方面提供了可信

Lyric Young Company

gift of imagination and empathy: to see beyond the sum of our parts. Animals are very practical: they look for food and

water. We are able to do something more. We can develop a

的反饋信息。總之，為社區夥伴們呈現你的作品真的是一件很開心的事情。

cultural language and talk about art, music and poetry. Theatre

ART.ZIP: 為什麽說戲劇對兒童生活很重要呢？

to imagine, empathise and engage with people of different

NLB:這是我們與動物的區別。人類在想象力和同理心上有非同一般

make our world a safer place. When we watch relatable human

實際，只會尋找水和食物。但是我們能做的事情就多了。我們能發明

is an education in culture. In light of recent events, the ability cultures seems all the more important. I believe theatre can

stories played out on stage, we begin to view people who were previously regarded as ‘other’ as suddenly being very like us.

ART.ZIP: The Lyric not only encourages young people to view their shows, it also pushes them to be in them. The recent

production of Bugsy Malone received very good reviews and

praise for its young performers. Why do you think the show was so successful?

NLB: Sean, the director of Bugsy Malone, included the

audience in an everyman’s tale, finishing it off with a fantastic

的天賦 —— 能看見除了自身以外的其他事物。動物們的想法都比較語言文化，還能談論藝術、音樂和詩歌。戲劇也是文化的一種教育形

式。根據近來的一些事件，我們發現想象力、同情心和與不同文化的人群相處的能力似乎更加重要。我相信戲劇能使我們的世界變得更

好。當我們看到舞臺上引人入勝的故事時，也會漸漸發現“其他人” 與自己的相似性。

A R T. ZIP:利瑞克哈默史密斯劇院不僅鼓勵年輕人來觀看劇院的作品，還希望他們能參與到作品中來。最近的《龍蛇小霸王（B ug s y

Malone）》頗受好評，劇中的青年演員們也受到了不少贊譽。你認為這部作品取得成功的原因是什麽？

celebration at the end. He also entertained the idea of kids

NLB: 這部作品的導演西恩（Sean）讓觀眾融入了一個屬於每個人的

inherently enjoyable thing to watch. He broke the fourth wall,

角色，而實際上也是在扮演他們自己，從而獲得一種天然的喜劇效

portraying adults but really portraying themselves, which is an which adds to how included and immersed you feel in the

characters and the tale. And of course, it ends with a massive food fight. It’s inclusive and celebratory.

童話故事裡，並以一個精彩的歡慶會結束。他讓孩子們扮演成人的

果。他打破了“第四面牆（the Four th Wall）”，與觀眾直接互動，讓觀眾感覺自己深深地融入到角色和故事本身。最後，演出以一個大型的食物大戰結束，臺上臺下打成一片，非常歡樂。

CHICKENSHED THEATRE: GREAT ART AND CULTURE FOR EVERYONE 雄雞之屋：藝術面前人人平等

INTERVIEWED BY 採訪 x JOANNA DONG 董一燃 TRANSLATED BY 翻譯 x SHORAN JIANG 姜嘯然

Chickenshed Theatre is named after its birthplace: a disused

As a company with an emphasis upon diversity and creativity,

Ward set up the theatre company with the philosophy that

audiences, it has also demonstrated a spirit of inclusion, which

chicken shed in North London. In 1974, Joe Collins and Mary diversity and inclusiveness should be a way of life. Chickenshed Theatre is the first truly inclusive theatre in the UK. It presents a

variety of plays related to social issues and is open to people of

Chickenshed has not just shown a priority on cultivating young lives up to its slogan of: ‘Great art and culture for everyone’.

all backgrounds, races, and abilities. It has been praised for the

雄雞之屋（Chickenshed Theatre）得名於其發源地——一個位於北倫

patrons with disabilities.

Ward）相遇，兩人不謀而合，認為創意應該滲透在每個人的生活之中，

way in which it engages with socially marginalized groups and

There are mainly two types of productions at Chickenshed:

original and entertaining performances for young people and

their families, and new works about social issues inspired by the

敦的廢棄的雞棚。1974年，喬·柯林斯（Jo Collins）與瑪麗·沃德（Mary 繼而成立了這家戲劇公司。同時，這也是第一家真正意義上的包容性劇院，汲取了各種與社會問題息息相關的戲劇主題，還針對各種不同背景、種族和能力的人群開放，尤其關注社會邊緣人群和殘疾人士。

people around them. There are different educational platforms

雄雞之屋上演的作品主要分為兩大類：一類是針對青少年和家庭的

include a BTEC extended diploma in Performing Arts, and

的社會問題。對於青少年的戲劇專業教育，劇院提供各類具有學位

and theatre-related courses on offer for young people, which a Foundation Degree. The ‘Young Creators’ helps students

who want to gain further training and practical experience. Chickenshed has reached hundreds of schools and worked

alongside teachers co-delivering curriculum using stories and

plays. Their ethos is to enhance children’s learning experience. In 2000, Chickenshed launched a ‘Shed’ project which

influences the delivery of the performing arts by creating a

wider understanding of inclusive theatre practice. There are

娛樂性質較強的原創演出；還有一類作品主要反映與生活密切關聯

認證的課程和教育平臺，例如 BT EC 戲劇表演文憑，基礎課程文憑等，另有“青年創造者（Young

Creators）”項目幫助學生們獲得進

一步的專業培訓和實踐經驗。此外，雄雞之屋還在各校巡演、舉辦工作坊，運用與教育目的相符的戲劇主題來協助學生增強學習體驗。

在 20 0 0 年，劇院發起了一個“小棚（She ds）”計劃，希望在全英國推廣包容性劇院的實踐意義。現已建立的19 個“小棚 ”起初都是在雄雞之屋接受藝術指導培訓後，秉承著“包容性”的共同理念，找到了不同的發展方向。

19 established ‘Sheds’, each of which has its own developing

作為一個以多元性和創造性為發展宗旨的劇院，雄雞之屋不僅僅關

vision of inclusive theatre.

每個人”的口號。

direction but remains tied to Chickenshed through a shared

注青少年群眾，它那包容性的精神才是真正響應了“藝術和文化屬於

Interview with Dave Carey,

Director of Creative Development at Chickenshed Theatre

ART.ZIP: How do you identify Chickenshed among British

theatre landscape? As a pioneer of engaging diverse participant, especially young people, what influence you think Chickenshed

專訪雄雞之屋創意發展部門總監戴夫·凱里

ART.ZIP: 在整個英國劇院的大環境下，您是如何定位雄雞之屋的？作為一個聯結行色各異的參與者的先鋒，尤其是年輕一代，您認為雄雞之屋為英國戲劇產業帶來了什麼樣的影響？

brought to the British theatre industry?

DC:我認為，我們確實把人們腦海中“差異”的界限延展了。當我們

DC: I think we have certainly pushed the boundaries on what

者。但是，在最近的20年裡，我們展示了對於“差異”更加廣泛的理

people view as diversity. When we started out we were seen as champions of disability within a mainstream community. However in the last 20 years we have demonstrated the

importance of embracing a far wider understanding of diversity. Our participants and members span a huge cross-section of

society. I think it would be very difficult to find a more diverse cast and audience make-up in London – or anywhere else!

But by its very nature it is always changing and developing.

Society changes and moves forward. Accepted use of words and language changes, definitions change. I like to think we have

been at the forefront of pushing the inclusive agenda in theatre and the wider society.

ART.ZIP: Could you give us an example about how exactly you working with young people from very different background.

剛起步的時候，別人認為我們是在主流社區中的殘障人士的捍衛解，以及包容差異的重要性。我們的參與者與會員分佈於社會的各個層面。我覺得，不論是演員還是觀眾，在倫敦，甚至是其他地方，很難再找到比我們涵蓋得更廣的劇場了。也恰恰是這個特點，使得我

們不斷地改變與發展。社會變遷，不斷前行，對於詞彙與語言的接受使用在變化，定義也在變化。我更願意這樣想，對於劇院以及更廣闊涵義的社會，在不斷地擴大其包容性上，我們身處前沿。

ART.ZIP:您可以給我們舉個例子，說說與不同背景下的孩子們共同工作的切身經歷嗎？就以現在正在上映的聖誕表演作為例子如何？

DC: 在我們現在的劇目《聖誕的十二天（The Twelve Days of Christmas）》

中，我們有4個班底，超過600名的演員，他們有著差異巨大的背景，無論是社會或經濟背景，又或是能力方面。那我們如何可以與跨度

如此之大，數量如此之多的人們一起工作呢？這是多年來實踐培養

How about taking the current Christmas show as an example?

DC: In our current production, The Twelve Days of Christmas, we have a total ensemble of over 600 performers, spread across four rotas and spanning a huge range of backgrounds - social,

economic, and in terms of ability. How do we work with such a diverse range and such large numbers? Well, it’s an approach

that has developed over years of experience, but the obvious and opening statement is that everyone is an individual and at Chickenshed we try to find a way of treating everyone as

and learning in a way that creates a whole. I would also say an

important part of our process is to know that we, as practitioners,

are still learning and that our process of learning is inspired by the young people we work with.

ART.ZIP: We found that many staff have worked here for a very long time, for example yourself, could you please let us know

more about why Chickenshed is so attractive to you and what your biggest achievement through your work?

DC: I’ve been involved with Chickenshed’s work for well over

20 years now. What drives myself, and our incredible staff, is a

shared commitment to see change, to be a part of change and to

Dave Carey

such. We allow everyone into the process of creating, devising

12 Days of Christmas

witness change, be that in individuals or the wider community.

出來的方法，但是開誠佈公地說，每個人顯然都是一個個體，在雄雞

brings our creative community of performers together. We work

劃與學習中，並以此創造出一個完整的劇目。還有很重要的一點我

Theatre is the greatest tool we have to use, and that is what

with such incredible groups of people and bring them together

in environments that simply do not occur elsewhere. As an artist and creator I take tremendous inspiration from the people and mix of people we work with.

I am very proud of a show we created a few years ago (Crime

of the Century) based on interviews with gang members and

之屋我們盡力找到一視同仁的方法。我們讓所有人參與到創作、策

想說的是，作為一個從業者，我們在工作過程中仍在不斷學習，而這持續的學習過程，也是受到了與我們一起工作的孩子們的激勵。

ART.ZIP: 我們發現這裡的許多工作人員都已經工作了很久，比如說

您，您能不能跟我們說說，為什麼雄雞之屋如此吸引人，那在您工作中，最大的成就又是什麼呢？

young offenders that is now touring schools, theatres and other

DC:我已經在雄雞之屋工作超過20年了。吸引我、還有我這些非凡的

to talk to about these issues.

論是作為個體還是在一個更廣泛的群體。劇院是我們可以運用的最

institutions, and is engaging with the very young people we want

ART.ZIP: As you have worked with some Chinese young people in some projects. Could you please let us what is the biggest difference from working with local kids? How is your advice

to leverage the creativity of young people through theatrical

同事們的是一個共同的期許——看到變化，成為變化，見證變化，不

棒的工具，也正是劇院，將這些匠心獨具的表演者彙聚一堂。我們有幸與如此出類拔萃的人們一起工作，並且將他們彙集到這個環境之中，而非別處。作為一名藝術家與創作者，我從這些一起工作的不同的人身上獲得了巨大的靈感。

activities and education?

幾年前我們創作的一部劇《世紀之罪（Crime of the Centur y）》，

DC: I’m asked this question a lot. There is the obvious fact that

創作出來的，現在這部劇已經在學校、劇院以及其他機構巡演，而且

children, from anywhere in the world are the same, but of course it

is more complex than that. For sure if you allow creativity to flourish within a child you will see a natural and exciting development of

我特別引以為傲。這部作品就是基於訪問幫派與青少年罪犯成員而

也已經與非常年輕的孩子們建立了聯繫，而這些孩子正是我們想要談論這個話題的群體。

skills, and that remains a constant wherever I’ve been in the world.

ART.ZIP: 您也曾經與一些中國的孩子們工作過，您可以談談與他們

different learning processes that engage with children and how best

們，您是如何建議他們通過劇場活動與教育來激發創造力的呢？

But what’s been important for me to get my head around is the

to exploit that to achieve positive results. There is a very obvious

的合作和與這裡當地孩子的合作，最大的不同在哪裡嗎？對於孩子

element working with children in China. Ask them to follow an

D C :這個問題我被問到過很多次。世界上任何地方的孩子都是一樣

and they are incredibly fast. They pick up songs, melodies, words

定的是，如果你培養澆灌他的創造力，你就會看到其能力自然流露和

activity, to observe and copy from one practitioner from the front and movement faster than any young people I’ve worked with! And yet I have found that if you then ask them to work in a small group with a more abstract creative idea, and without adult supervision then they tend to find that a more difficult challenge.

的，但有一個不言而喻的事實，就是實際情況當然比較複雜。可以肯發展，我所到之處的孩子們始終如此。但對於我來說，重要的是孩子

們學習過程的差異，如何最行之有效地開發而到達最好的效果。與中國的孩子們工作有一個特點很明顯，就是當他們參與一個活動的時候，他們觀察和模仿前排演員的能力是驚人的強大。他們學習歌曲、

旋律、詞彙還有動作的迅速程度，高於我合作過的其他任何孩子。但是我發現，如果讓他們在一個小組裡，在沒有任何成年人的監督下去創造一個更為抽象的想法，這對於他們來說是相對困難的挑戰。

Dot, Squiggle and Rest photo by Stephen Cummiskey

POLKA THEATRE: FROM PAGE TO STAGE 波卡爾劇院：躍然紙上的劇場

INTERVIEWED BY 採訪 x STRUAN ROBINSON TRANSLATED BY 翻譯 x CAI SUDONG 蔡蘇東

Polka Theatre originally began life in the 60’s as a touring puppetry company but by the year 1979 it had become the UK’s first theatre

venue dedicated exclusively to children. The company’s theatre and grounds were officially opened with a gala performance attended by Her Majesty Queen Elizabeth the Queen Mother. As it has expanded over the years, Polka Theatre has gone on to receive annual funding from the Arts Council of England.

It has a rich programme of children’s plays and is known for its ability to adapt popular tales for the stage. Every Polka show is

accompanied by a learning programme whether that be an online resource pack, rehearsal diary, show-related workshop or after-

show talk. In 1994 Polka set up its ‘Curtain-Up’ scheme, which provides free tickets for a year-group of students to watch one of their

Main House shows and includes a transportation subsidy of £200. Polka also makes their work attainable to children with special needs through their ‘Art Access’ scheme and for children under the age of six there is the ‘Early Year’s Theatre’ programme.

Currently, Polka has two main theatre venues, which accommodate audiences of 300 and 90 respectively. The public facilities include, galleries, a café, and toy stores. A playground is also considerately provided for the children. For many families, Polka will accompany their child as they grow up as their first port of call for theatre.

波爾卡劇院(Polka Theatre)成立於1979年，嚴格意義上來說是英國最早專門為兒童建立的劇院。而在這十年前，波爾卡劇院還只是一個主要從事設計、手工業和木偶制作的巡演公司。隨著公司的逐漸擴大，劇院的成立不僅得到了英國藝術委員會的資金扶持，伊麗莎白女王也曾出現在開幕酒會上，表示對其關注兒童戲劇的認可與支持。

波爾卡劇院的作品形式非常豐富，尤其擅長將當下流行的童話故事改編成舞臺劇 —— 例如著名英國兒童繪本作家安東尼·布朗（ Anthony Browne）的《大猩猩（Gorilla）》——再在此基礎上開辦針對不同年齡的工作坊。此外，波爾卡劇院還開設了一系列的短期課程供感興趣的孩子們選擇，不少會以參與者自己設計並表演的形式結業。除了校內外的工作坊和提供給教師的戲劇資源外，為了讓更多兒童有機會接觸到戲

劇，從1994年起，劇院開始實施“開幕計劃 (Curtain-up Scheme）”——為經費困難的學校提供免費戲票並發放200英鎊的交通補助；特殊人群可以通過“藝術通道（Arts Access）”得到有安全保障和特殊需求的觀戲環境；甚至連6歲以下的兒童都能參與特定的“早教劇院 (Early Years Theatre)”項目去體驗戲劇文化。

目前，波爾卡劇院主要有兩個表演場地，分別可容納300名和90名觀眾；劇院另設有咖啡館、小型美術館和玩具店。波爾卡劇院還十分貼心地為小朋友們提供了遊樂場所。也許對家長和孩子們來說，波爾卡劇院不只是一個陪伴孩子們成長的幸福樂園，還是第一次接觸戲劇的地方。

Interview with Peter Glanvill, Artistic Director

專訪波卡爾劇院藝術總監

ART.ZIP: Polka Theatre has such a long history of producing

ART.ZIP: 波爾卡劇院自從1979年至今一直有著長久的制作青少年

as 1979 up until the present day, could you tell us a bit about

發展狀況？

of Polka Theatre

theatre productions for young audiences stretching back as far the development of the industry over that time in the UK? PG: Children’s theatre has grown in status, quality and

output considerably over the past 36 years, largely due to

the pioneering work of companies like Polka Theatre. Most regional theatres across the UK will now produce at least

one new play for children or for family audiences, attracting

actors, writers and designers of the highest calibre every year. I think this is aligned to our growing understanding of the

developmental needs of children and young people. Indeed,

the importance of our work continues to be reinforced as we

彼得·格蘭威爾

劇場作品的歷史，能不能請您談談自那時以來英國青少年劇場業的

PG:在過去的36 年中，兒童劇場不管是在社會地位、質量還是產量上都進步巨大，這很大程度上要歸功於諸如波爾卡劇院所推出的先

鋒作品。英國的大多數地方劇院如今都會每年至少創作一部兒童或者家庭戲劇作品，因而吸引了優秀的演員，劇作家以及設計師。我想

這和我們對兒童及青年人成長需求認識的不斷深入是相互一致的過程。確實，當我們越發認識到藝術以及創新活動對所有年齡段的孩子有著積極的作用，我們作品的重要性便會被持續地強調。

ART.ZIP:不是所有的青少年劇場都會覆蓋如此廣的年齡層觀眾（從

0到14歲），面對不同的目標觀眾，作品之間的差別肯定是很多的。

learn more about the positive impact the arts and creative activities have on children of all ages.

ART.ZIP: Not every theatre for young audiences would cover

比如說，貴劇院基於安東尼·布朗（Anthony Browne）的作品所創作的《大猩猩（Gorilla）》以及《迷你大猩猩（Mini Gorilla）》，您能談談這兩個版本之間的不同嗎？

such a wide range of age groups (from 0 to 14), there must be

PG:我們把孩子放在作品創作的中心位置，讓他們和專業藝術家一

of those they’re aimed at. For example, you have productions

作品有哪些不同的欣賞層次，以及我們的作品如何和觀眾發生共

many differences between productions depending on the age like Gorilla and Mini Gorilla based on Anthony Browne’s book, could you describe the differences between these two versions? PG: We place children at the heart of the work we create,

involving them in the research and development process

alongside the professional artists. Through this we understand

the differing levels of appreciation of the work we create, how it

resonates. There is such a big difference between a two year old

同參與到研究和創作的過程中。這樣我們就明白觀眾對我們創作的鳴。兩歲的孩子和四歲的孩子，或者七歲的孩子和十歲的孩子之間

實在太不相同了。為了讓我們的作品做到真正的原汁原味，對觀眾有持續的影響，我們制定了清晰的年齡層次參數。兩個版本的《大猩猩

（Gorilla & Mini Gorilla）》，雖然根本上講述的是同個故事，在長

度、語言使用和音量上卻有所不同。演員們用輕柔的方式和孩子們

直接交流（意味著舞臺阻隔較小），我們也修訂了一些我們認為小孩子們會感到害怕的場景或影像。

and a four year old, or a seven year old and a ten year old. For

ART.ZIP: 提到安東尼·布朗，你們還有沒有其他類似的有趣合作？

our audiences, we create clear age range parameters. The two

PG: 明年是羅爾德·達爾（Roald Dahl ）誕辰一百周年，為了紀念他，

in length, language usage and sound levels. The actors engage

and the Giant Peach）》。我們也很高興近期能與《咕嚕牛（The

our work to really be authentic and have a lasting impact with

versions of Gorilla, whilst essentially telling the same story, differ

directly with the children in a gentler manner (less fourth wall)

and scenes or images that we think the younger children might find scary are edited.

ART.ZIP: Having mentioned Anthony Browne, have you had any other similarly interesting collaborations in the past?

PG: Next year is the Roald Dahl centenary and for this we are re-

mounting our critically acclaimed production of ‘James and the Giant Peach’ . We are also delighted to currently have worked with Julia Donaldson (writer of The Gruffalo) on an adaptation of ‘The Paper Dolls’.

我們會重新上演我們廣受好評的作品《詹姆斯和大仙桃（J a m e s Gruffalo）》的作者茱莉亞·唐納森（Julia Donaldson）推出改編版本的《紙娃娃（The Paper Dolls）》。

ART.ZIP: 把圖畫書上的故事轉變成戲劇作品，這個過程會遇到什麽挑戰？

PG: 一本圖畫書五分鐘就可以讀完，所以挑戰是，要在保持故事主題和敘事的同時，發展可以拓展為45分鐘的戲劇形式。我最近導了《紙娃娃》，書中有兩頁原來講述的是小女孩的回憶，我們把它變成了一段八分鐘的木偶芭蕾舞。這樣抓住了書中的氣氛，也涵蓋了許多書中

插圖的內容，同時又不至於顯得太過逐字演繹。的確，圖畫書裡的視覺呈現有時候可以借鑒為講述故事的方法。

ART.ZIP: What are the challenges posed by transforming stories

ART. ZIP:除了戲劇作品，你們還有許多工作坊。工作坊是什麽樣一

PG: A picture book can often be read in 5 minutes, so the

PG: 我們有創意學習部（Creative Learning Depar tment），在劇目

and narrative of the story, but discover a dramatic form that

題、角色、關係和戲劇時刻。同時，這也為孩子們習得表演能力、戲

from a picture book to a theatre production?

main challenge is to find a way of being true to the themes

extends this into 45 minutes. I recently directed ‘The Paper

Dolls’ , and two extraordinary pages in the book , which

showed the young girls memory were turned into an 8 minute puppet ballet . This captured the atmosphere of the book and

drew on many of the illustrations, without being overtly literal. Indeed, the visual images from picture books can often be the way into telling the story.

ART.ZIP: There are lots of workshops that run alongside the

theatre productions. What are they and why do you run them?

種形式？您為何要運營工作坊？

上演前後舉辦工作坊。這使得孩子們能更深入地探索許多戲劇中主劇制作技巧提供了一個安全、受支持和有趣的氛圍。

ART.ZIP:我們了解到波爾卡劇院還有一個幫助默頓（Merton）地區殘疾孩子觀看演出的項目。您能給我們介紹一下嗎？

PG: 我們的“開幕計劃” （Cur tain Up）項目向默頓地區的殘疾人學校以及周邊行政區那些從未到過波爾卡劇院的孩子們提供免費戲

票。這是我們使命中核心的一部分，我們堅信每個孩子都應該有享受現場戲劇的機會。我們做了很多工作，才拿到足夠的資金支撐和

維持我們工作中這個非常重要的方面。我們同時通過出演一些令人

workshops both pre and post show. These allow children to explore many of the themes, characters, relationships and

why do you think theatre still remains a popular and relevant art form with children 36 years on from when you began?

dramatic moments from the plays in more depth. They are also

PG: Theatre, whether for adults or children, is a space where we

making skills in a safe, supportive and fun atmosphere.

shared experience, we have the opportunity to make sense of

an opportunity for children to develop their acting and theatre-

ART.ZIP: We understand that you have a scheme which helps disadvantaged children in the Merton area to attend theatre performances. Can you tell us a bit more about this?

PG: Our Curtain Up programme offers free tickets to children from disadvantaged schools in Merton and neighbouring boroughs, who have never been to Polka Theatre before. This is a core

aspect of our mission, the belief that every child should have the

explore our humanity. Through different stories and the live,

ourselves, our relationships and our relationship to the wider

world. Inspirational and engaging theatre can transform us and the world we live in.

放松的表演（面向自閉癥兒童）、還有音頻協助、綜合手語表演確保我們的作品能夠面向所有的觀眾。

opportunity to experience live theatre. We work hard to achieve

ART. ZIP:每年光顧波爾卡劇院的兒童多達 9萬人次，倫敦西區則有

work. We also ensure that our work is fully inclusive by providing

何劇場如此受到兒童的歡迎？

funding to maintain and build this important aspect of our relaxed (autism friendly) performances , audio described

專門針對兒童觀眾的戲劇演出，從從業36年的經歷來看，您覺得為

performances and integrated sign language performances.

PG: 不管是面向成人還是孩子的劇場，都是我們探索人性的空間。通

ART.ZIP: 90,000 children visit Polka a year and there are many

以及我們和更加廣闊世界之間的關係。充滿靈感、讓人參與其中的劇

West End shows that are aimed specifically at a child audience,

過不同的故事、生活和共同的經歷，我們能夠搞清楚自己，我們之間場能夠改變我們，以及我們生活的世界。

Left: Peter Glanville Right: Gorilla Photo by Robert Workman

PG: We have a Creative Learning department who provide

THE BATH EGG 巴斯卵形劇場

TEXT BY 撰文 x STRUAN ROBINSON TRANSLATED BY 翻譯 x JAY LAI 賴駿杰

In 2005, architects Haworth Tompkins transformed the shell of

500 youth theatre companies to stage 12 exciting plays at 41

committed to delivering a year-round programme of culture

talent and new writing.

a dilapidated cinema in Bath into a professional theatre venue

and performing arts for young audiences. The Bath Egg gets its name from the distinctive oval shape of its auditorium and has

venues in the form of a festival celebrating young people’s

for the past decade produced notable theatre for children and

2005年時，建築師海沃斯‧湯普金斯（Haworth Tompkins）試著將一座

version of E.T.A. Hoffmann’s The Nutcracker, Toby Hulse’s

表演節目，與各種年度文化項目的專業劇場場館。 “卵形”這名字來自其

their families. Standout productions have included a musical

acclaimed adaptation of Around the World in 80 Days, and

Oliver Birch’s merging of fairy tale and circus in The Grimm

Brothers’ Circus.

The Egg, which is the children’s arm of the Theatre Royal

Bath, enriches the artistic lives of young people outside of the

auditorium as well as inside. It runs a series of workshops aimed

位於英國巴斯（Bath）年久失修的老影院，轉變為專門提供給年輕觀眾獨特的蛋形場館，在過去十年中生產了許多優異且老少咸宜的劇院作

品。其負盛譽的作品包括有E.T.A.霍夫曼（E.T.A. Hoffmann）《胡桃夾子

（The Nutcracker）》的音樂劇版本、托比‧豪斯（Toby Hulse）的《環

遊世界80天（Around the World in 80 Days）》的改編劇目，以及奧利

佛‧柏區（Oliver Birch）將童話與馬戲表演融合後的《格林兄弟的馬戲團（The Grimm Brothers’ Circus）》等。

at 5 -11 year olds, which include classes in Creative Writing and

卵形劇場，作為皇家巴斯劇院（Theatre Royal Bath）的兒童分支，

prose, and poetry. There are also classes designed to tie in with

同時豐富了他們的日常生活。其運作了一系列指向5至11歲孩童的工

Literacy in which children will learn how to write play scripts, the British school curriculum, such as workshops in Myths &

Fables and An Introduction to Shakespeare. With the use of

an online resource pack, a child’s enjoyment and understanding of a play doesn’t necessarily finish at the curtain call, they are able to access digital information and discussions about the

plays they’ve just watched as well as encouraging them to think about how they would create characters, plots, and settings if tasked with staging a production themselves.

The Theatre Royal Bath has its own theatre school, TRBTS,

which provides a range of courses tailored to fit different ages where students can hone their skills in Puppetry, Acting for

Camera, Dance, and Comedy. In addition to this, the theatre is also a partner of NT Connections which promises to get

不僅藉由場館內活動給予年輕觀眾美好的感官愉悅經驗，也在場外

作坊，包括有“創意寫作”與“文學”等課程，學童可以從中學習如何寫作劇本、散文與詩歌等技巧。也有一些與英國課程規劃緊密結合

的課程，例如“神話與寓言”以及“莎士比亞導論”等。孩童可以在觀

看演出後，透過線上資源的配套使用，延伸其對於戲劇的理解，而不

會停止在簾幕關閉時。藉之，他們得以接觸關於其所觀看的演出之相關資訊與討論，同時也鼓勵其思考，如何能創造角色、情節，以及怎樣設計舞台配置等。

皇家巴斯劇院擁有其自身的戲劇學校，TRBTS，其提供廣博的課程

範疇，迎合不同年齡層學生的需求。學生可以藉此習得關於劇偶製作、鏡頭前表演、舞蹈與喜劇等。此外，劇院本身也是英國國家劇院 NT連線（NT Connection）的合作夥伴。透過藝術節的形式，以探究年輕觀眾之戲劇與寫作天份為主要目標，NT連線協助50 0 個青年劇場盟友在41個不同場館上演精采劇碼。

Little Sure Shot ÂŠFarrows Creative

YOUNG EVERYMAN PLAYHOUSE 大眾劇院青少年劇場

TEXT BY 撰文 x HONOUR BAYES TRANSLATED BY 翻譯 x CAI SUDONG 蔡蘇東

“When the young people involved abbreviate the Young Everyman Playhouse to YEP and pronounce it “yep”, it sounds like an

affirmation. Yep, I am young and ambitious and theatre is what I want to be involved in. Yep, I balance this with school/college/ university and I am proud of everything I have achieved.” —Abigail Lewis, A Younger Theatre, 2012

“年輕人喜歡把大眾劇院青少年劇場（Young Ever yman Playhouse）簡稱為‘YEP’，聽起來就像是一個肯定的答復。是的，我年輕，我雄心勃勃，戲劇是我的心頭好。沒錯，我的愛好和我的學校、學院、大學生涯並行不悖。對於我所取得的一切，我充滿驕傲。”——阿比吉爾·劉易斯（Abigail Lewis），《年輕的劇場（A Young Theatre）》，2012

When the Liverpool Everyman theatre was rebuilt in 2012 the

2012年適逢利物浦大眾劇院（Liverpool Ever yman）重建，為了配

accommodate both the Everyman and its partner theatre, the

個面向11至25歲人群的劇團重獲生機，培訓年輕人從事各種劇場工

Young Everyman Playhouse (YEP) was launched alongside it to Playhouse. This revitalised company, open to anyone age 11 – 25

years old, was given the capacity to train young people in a wealth

of jobs in theatre. Members were offered not only character roles as

performers in shows, but ones in real life too, as directors, producers,

合大眾劇院及其夥伴劇院（the Playhouse），Y EP 也隨之開辦。這作。團員們不僅僅在劇中充當表演角色，同時也在現實生活中扮演

諸如導演、制作人、劇作者、聯絡人（市場營銷和公共關係）以及技術人員等各種角色。

writers, communicators (marketing and PR) and technicians.

在負責人馬特·魯特（Mat t Rut te r）的領導下，劇團的新精神是，

The new ethos under YEP Director Matt Rutter was theatre made

勵“ 主人翁精神 ”的哲學，且取得了令人難以置信的成功。根據

for young people (and old) by young people, a philosophy

that encourages ownership. It has been incredibly successful.

According to The Stage newspaper, the company now has 2,196 members, performed 70 times last year and has four full time

members of staff, which is more than most professional theatre companies. YEP make, promote and run their own shows and

have an increasing number of members going on to professional theatre work, which is a testament to this holocentric way of

working. Cartoonopolis, a play that also ran in the Playhouse

studio, was developed by young actor Lewis Bray – who was

then swiftly cast in the theatre’s A Midsummer Night’s Dream.

這是一個年輕人服務年輕（以及年長）人群的劇場。這是一種鼓《舞臺報（The Stage）》，該劇團現有2196名團員，去年出演70次，

擁有四位全職工作人員，這比大多數專業戲劇團隊還要多。Y EP 制作、推廣和運營自己的劇目，越來越多的團員走上專業劇場工作之

路，這也是對他們彌散式工作方法的積極回應。得以進入劇場制作室的戲劇《卡通王國（C a r to o n o p o li s）》就是由年輕導演劉易

斯·布雷（L e w i s B r a y）創作的，他當時還是劇團為《仲夏夜之夢

（A Midsummer Night ’s Dream）》新招募的演員之一。出演了大眾劇院《亮鳳凰（Bright Phoenix）》一劇的年輕演員基蘭·厄克特（Kieran

Urquhar t）之後很快便和經紀人簽約，最近出演了在

曼徹斯特皇家交易所（Royal E xchange）上演的羅納·蒙羅（Rona Munro）劇目《破壞者（Scut tlers）》。

Left: YEP Papertown (c) Brian Roberts 2013 Right: Liverpool Everyman (c) Philip Vile

Young actor Kieran Urquhart starred in the Everyman’s Bright

Phoenix, was signed by an agent soon afterwards and recently appeared in Rona Munro’s Scuttlers at the Royal Exchange in Manchester.

autonomous because as Rutter said to The Stage earlier this

year: “It’s about trying to give [young people] a bit of professional contact to see how it’s done, and then trying to push them to become a bit more independent with it.”

But whether they go on to work in the profession or not, one of the most striking things about the company is how it has

positively changed the lives of the young people involved as one Young Actor said, “YEP is probably one of the best highlights of

但，不管這些人是不是走上了職業人員的道路，該劇團最令人注目的

shown me a path that I want to take in my life.”

年輕演員說的“參與Y EP 也許是我人生中最閃光的部分……也改變

my life… and the change in me, how I have progressed, it has

There’s feeling at the Everyman that young people aren’t simply

是，它是如何積極地改變了參與其中的年輕人的生活的。正如一位了我，我的進步，給我指明了生活的道路。”

attached to the main theatre, they are part of the engine that

在這裡，我們有一種感覺，即年輕人不僅僅是主劇院的附帶物，而是

commodity - handed over to YEP. They have a huge rehearsal room

可是非常珍貴的商業資源 —— 讓 Y EP來接管。他們有著巨大的排練

runs it. This is reflected in the amount of floor space – a precious with a separate tech studio. Although the space can double as a

performance one, young people regularly perform work on the main stage space too and on occasion even take over the whole building.

The opportunities are also opening up off stage. When additional funding became available, the theatre took on two YEP members as assistant producers for a six-month paid placement. This sort

of paid support is vital to expanding diversity in an industry often seen as the realm of the rich.

It’s a huge undertaking, with Rutter himself publicly noting that YEP is a “big, unwieldy beast”. But it is becoming increasingly

其得以運行的引擎之一。這也體現在劇院提供了許多場地空間——這間，還有獨立的制作間。盡管這個空間也可以作為表演場地用，年輕人們往往會在主舞臺演出劇目，有時甚至會用上整棟建築。

同時，機會也向臺下開放。當有足夠的資金時，劇院曾經聘請了兩位

YEP團員作為助理制作人，為期六個月。這樣的支持對於拓寬該行業的多樣性非常重要，因為這種行業常常被看作是富人的專利。

YEP所做的是非常大的事業，魯特自己也曾經公開說過YEP是“龐大

的野獸”。但是YEP正在越發變得自治，因為正如魯特在今年早些時候對《舞臺報》說的那樣：“我們做的是，給[年輕人]一點專業的接

觸，讓他們知道劇場的工作是怎麽樣的，同時在這個過程中，又‘逼迫著’讓他們變得更加獨立。”

FORMS When we are discussing a production for children, our mind is often broadened. We carry the

moon onto stage; tigers talk; are the shadows goblins? The laughable seem to have explanations in

children’s world, and this surely gives adults adequate reasons to materialize it. A theatre for children is always filling us with expectations.

Every child is a born dancer. It’s after they learn to walk, their dance steps are gradually forgotten. Who is there to say dance cannot attract a young audience? Beautiful physical movements can

attract children, and help them finish the story. Does a bedtime story means a start of a long dark

night? Surely it is not. It is a key to a world of dream, a story told solely for you. Or it brings dream into reality. Is it a museum, or a captain’s territory? It is up to you. All is real here, or you are the performer? The musical notes, in different emotions and surroundings, they talk, don’t they? Among the works we pick for young audiences, there are some most traditional theatrical productions and some

highly participated ones. We do not neglect musical dramas or rarely seen plays for children. As I

mentioned, because of the audience they are dealing with, the producers are hard to predict, yet full of imagination. With all the theatrical elements employed and fused, the productions are rich and

colourful. Well, let’s slow down a little, and take a look at these adorable works and the even more adorable people behind these works.

當我們討論為孩子們做一個作品，人們的思路通常開闊而明亮。讓我們把月亮搬上來，還有會說話的老

虎，影子真的是妖怪嗎？這些看似可笑的問題在孩子們的世界裏都有著合理的解釋，於是給了大人們同樣合理的理由去實現他們。於是，為孩子們存在的劇場總是讓人充滿期待。

每一個孩子都天生會跳舞，直到學會走路，這些舞步才被慢慢藏起。誰說舞蹈作品難以吸引年輕觀眾？優美的肢體動作更能吸引孩子們的注意力，認真地把故事聽完。睡前故事是不是意味著漫長黑夜的開始？才

不會，那將是開啟一個夢的世界的鑰匙，展開一個只為你自己綻放的故事。或者把夢帶到現實世界裏，這

裏是博物館？還是船長大人的領地？要靠你自己決定了，一切都是真實的，還是你才是表演者？還有那些音符，不同的情緒和不同的氛圍，音樂也是可以說話的，難道不是嗎？我們選擇出的這些為年輕觀眾創作

的作品中，有著最傳統的劇場作品，也有著高度參與性的環境作品，同樣也不乏歌劇，不常見的兒童劇作形式。正如我們提到的，創作者的思路因為他們的觀眾而不易捕捉而又充滿想象，這些雜糅在一起的戲劇元素熱鬧而豐富。就讓我們慢慢道來，這些可愛的作品和臺前幕後更可愛的人們。

It is a quite special case that one single production by the

two versions of show how successful presenting opportunities of

the same time. Owing to the choreographer Natasha Gilmore and

entertaining way can be.

Barrowland Ballet is aimed at different age-range of viewers at

writer Robert Alan Evans, the initial story regarding a family with a

reflecting upon ourselves for these glum-cum-serious issues in an

young daughter was transformed and re-edited into the version

一個故事，卻同時針對不同年齡層的觀眾而推出相對應之劇碼，並不

the animal tiger, but is included through a rhetorical analogy

舞家娜塔莎‧吉兒摩（Natasha Gilmore），與劇作家羅伯特‧阿蘭‧

of Tiger and Tiger Tale for the 6+ age group. It did not feature with the wildness of a father within a family. Basically expended from the youngster’s version, Tiger drew a notable focus upon

the sexual tension between the Mum and Dad. As a dance-

based performance, the three dancers perfectly interacted not

only amongst one another, but delicately interacted to the live

sound track created by the composer Kim Moore., The stage, as

a ‘cage’, that comprised of mesh in a form of wall accompanying the hanging silver buckets over players’ heads implies the

invisible burden of caring in most modern families. It explores the heavy issue around the ethnicity, in which the freedom as

an individual being became essentially problematic in terms of

the conflicts among the family members. More interestingly, the young daughter, who should had have taken as an immature

one, without the ability of deliberately thinking, ought-to-be-

ordered by their parents, argued for her free right of expression

as an adult. However, thanks to the creativity of the team, these

常見。巴羅蘭德芭蕾舞團（Barrowland Ballet）即為一例。歸功於編伊凡斯（Robert Alan Evans）的合作，一個關於有著小女孩成員的家

庭故事，被改寫至兩個不同版本的表演，即《虎生》與《虎生‧童話》（後者主要針對六歲以上兒童）。它與真實的老虎並無實際關連，相

反地則透過寓意手法，呈現出一個家庭中父親的野蠻。延伸發展自年輕版本，《虎生》牽引出一個新穎觀點，關於母親與父親之間充滿

緊張的兩性關係。作為一以舞蹈為基礎的表演，三位舞者不僅彼此完美地互動，更與現場演奏之聲響曲調（編曲家金‧摩爾Kim Moore 所編寫）互為巧妙。特別的是，其舞台正如一座“獸籠”，網狀的結構

伴隨有一個個的銀色水桶，就懸掛在舞者的上方，暗示了在現代家庭中的無形不可見之照護負擔。它探索了圍繞於倫理的嚴肅議題。其中，做為一獨立個體的自由，成為了主要觀照的對象，討論了關於

家庭成員間的各種衝突。更有趣的是，故事中那位或普遍被認為沒

有周綿思辨能力，且應受父母所規訓的小女兒，卻如同一位成熟的大人般爭取自由表述的權利。無論如何，透過團隊的創意合作，這兩

種版本皆以娛樂、輕鬆的形式，成功地提供了關於這沈重且乏味的議題，一個反思的契機。

TIGER AND TIGER TALE

《虎生》，與《虎生‧童話》 INTERVIEWED EDITED BY 採訪整理 X STRUAN ROBINSON TRANSLATED BY 翻譯 x JAY LAI 賴駿杰

Left: Natasha Gilmore, Director of Tiger and Tiger Tale Right: Tiger & Tiger Tale Leaping, photo credit: Brian Hartley

Interview with Natasha Gilmore,

專訪《虎生》與《虎生‧童話》導演

ART.ZIP: How did the idea for Tiger and Tiger Tale come about?

ART.ZIP: 關於《虎生》與《虎生‧童話》的概念如何誕生的？

NG: I was really interested in making a piece that could be adapted

NG: 過去我相當感興趣於同一個製作如何能適用於不同的觀眾群：

depending on who’s watching. In Tiger Tale, we have a focus on

話》中，我們強調女兒的經驗，因為她所遭遇的事物也是那些年輕

Director of Tiger and Tiger Tale

for different audiences: it’s the same story but created differently

the daughter’s experience because the things that she encounters are the things that younger audiences could really relate to. In

Tiger (for the adults) the focus is more on the parents and looking

at the breakdown of their sexual relationship and of their marriage.

It’s the same story but told differently. When adults watch Tiger Tale often there’s a variation of interpretation between what they

娜塔莎‧吉兒摩

它是同一個故事，只是根據看的人不同而調整製作。在《虎生‧童觀眾群真正可能遇到的。而《虎生》則關注更多於父母，以及其破碎的婚姻與兩性關係。也就是說，透過不同的說故事方法以闡述同一故事。當成人觀看《虎生‧童話》時，經常會有著與其小孩不同的詮

釋角度；有點像是一個大人在閱讀童書。他們或許會認為，這故事標誌化了某些陰暗的事物，然而，孩童卻僅識得其中歡樂的部份。

see and what their children see; a bit like when an adult reads a

ART.ZIP: 什麼使得妳想要將這故事一分為二呢？

whereas a child just sees the fun of it.

NG: 這兩部戲有許多共同的元素。我們製作一部精良的兒童戲劇並

ART.ZIP: What made you want to split the story in two?

能夠享受的，因為你必須滿足每一位家庭觀眾成員。透過製作另一

children’s book. They might think it symbolises something sinister

NG: The pieces have a lot of the same elements. We made a

sophisticated children’s theatre piece without dumbing down to anyone. It’s intricate and there’s lots of levels to it, so adults can appreciate it too because you have to cater for everyone within the family audience. In doing another version, Tiger,

不需要把它簡化。它可以是錯綜複雜且層次豐富，因此成人觀眾也

個版本，《虎生》，我們能夠更多關注在僅吸引成人觀眾的元素。兒童版本相對較短，因為對於年輕觀眾而言，長期專注觀看或許稍微困難。在觀眾的反應上，因為孩子們所觀看的是歡樂面，因此有更

多笑聲，他們的回應更為即時。然而成人觀眾則更多是沉浸在故事的情緒面向與緊湊的情節，因此他們或許更少開懷而笑。表演的現場氛圍取決於觀眾群。例如，當我們在中國或日本巡演時，觀眾的

we can focus on elements that are only interesting to adults.

年齡層著實是相當混雜的。

difficult for them to stay focused for that long a period of time.

ART.ZIP: 妳覺得這個表演為甚麼如此吸引人？

see the playful side, they respond to that much more readily,

N G : 我認為它是個非常普世的故事，因為其關乎一個小孩與其父

of the story and the intensity, so they’re perhaps less ready to

個角落表演，它提供了相當沉浸式的空間，表演者也因此與觀眾相

The children’s version is a bit shorter because it can be more

In terms of responses, there’s a lot more laughter because kids

whereas adults tend to get very absorbed in the emotional side laugh. The atmosphere of the show changes depending on the

demographic. When we tour, for example in China or Japan, we get a really mixed age that comes.

ART.ZIP: What do you think it is about the show that makes it so appealing and engaging?

NG: I think it’s a very universal story because it’s about a child and a parent. It’s about a child not getting attention at first. It’s very

immersive because we perform on four sides, so the performers

母。首先，它談的是一位小朋友沒有得到應有的關心。因為我們在四當接近。劇場內並沒有觀看死角，但卻總有意想不到的故事發生，這

也增添了更多驚奇效果。事情就沒來由地在你眼前發生。我們也使

用氣味元素，一開始我們用了一個彷如診療室的味道，然後當老虎初次登場時，改燃燒柑橘精油，而遍佈於舞台上的松果則相繼被踩碎。所有的表演者因此逃離舞台的牢籠，而一躍進入觀眾的世界。

ART.ZIP: 在《虎生‧童話》版本中，妳是否仍然碰觸關於家庭關係

失能的議題？如果有，那麼孩童們能夠理解且意識到其所觀看的事物嗎？

are very close to the audience. There are no wings and yet there

NG: 不同年齡層的孩童有不同的反應。但絕對有一個共同的情緒層

the amazement. Things appear out of nowhere right before

的女兒並不開心，但他們不必然理解什麼原因使然。然而，到最後

is trickery and you don’t know how it happens, which adds to your eyes. We also use smell, so at first we have a very clinical

smell, PCP, and then when the tiger first arrives, we have orange oil burning and pinecones on the set that get trodden on. All

of the performers escape the cage of the set and leap into the

面是每個孩子都能理解的。對某些小孩來說，他們可以感覺到劇中

他們也能了解，事態有所好轉，且女兒也因此開心。最後的最後，我們看到的是一個家庭往前共同邁進。他們確實深愛彼此，且此意象在表演中被清楚呈現，生活裡又重新充滿歡樂。

audience’s world.

ART.ZIP: Do you still touch upon the dysfunctional family

dynamic in Tiger Tale and if so, are the children aware of what they’re watching?

NG: Depending on the age of the child they respond to different things. There’s definitely a level of the emotional story that every

daughter is unhappy but they might not necessarily know what’s causing it but by the end they realise that things have shifted for the better and the daughter is happier now. At the end, we see a family who have moved forward. They really love each other

and this is shown in very clear imagery. There’s a playfulness that comes back into their lives.

ART.ZIP: Do you think that watching Tiger Tale could ignite a

passion or a will to dance in a child?

NG: Absolutely. Dance is very accessible to children because it’s a non-verbal language. At that age they’re not as caught up in the world of words as we are and this makes them naturally good at

reading non-verbal codes. Children also have less of a preconception about the word ‘contemporary dance’. They’re not frightened about misinterpreting or misunderstanding it, they just go with it.

Tiger Tale, photo credit: Brian Hartley

child understands. For some children, they can sense that the

ART.ZIP: What’s the process to choreographing a piece such as

A R T. Z I P : 妳認為觀看《虎生‧童話》會點燃孩童跳舞的熱情或意

NG: We start with research: we try to establish what piece are

NG:當然。舞蹈並非遙不可及，因為它是種非言說的語言。在尚未進

week we had a rough storyline. In the second week, we had

語言符碼。孩子們對於“當代舞”這字詞也沒有太多先見。他們並不

Tiger Tale?

we making? In the case of Tiger Tale, by the end of the first

improvised movement and refined it so that we had material

to show the set designer. We built the set in the studio, which

願嗎？

入如我們一般的語言世界時的年紀，他們自然相當擅於判讀非口語之害怕任何關於舞蹈的錯誤詮釋或誤解，而只是隨心之所致而舞動。

allowed us to explore some of its features, such as the hanging

ART.ZIP: 可以說說《虎生‧童話》的編舞過程嗎？

these choreographically. We ask questions like: how do we want

N G : 我們從研究開始：我們試著去建立故事的模型。就《虎生‧童

of wilderness and the tiger? You choose the movement based

線。第二週，我們則即興做了些動作，並且精鍊它，因此我們得以將

buckets above the performers’ heads, we then started to use

to represent everyday family life? How do we depict the arrival upon what you’re trying to show in the story.

ART.ZIP: What is the Barrowland Ballet Youth Company and what work do they do?

NG: It’s a youth performance group who have access to the

professional company so they can understand the process and

the way in which we work. We’ll invite them to shows and then they’ll choreograph pieces that are in response to what they

話》的例子而言，在第一個禮拜的結束時，我們有了大致的故事軸

這些材料呈現給舞台設計師。在工作室中我們設置了舞台，因此得以探索其特性，像是於表演者頭上懸吊數個桶子等，我們於是開始使用編導這些材料與空間。我們問了許多問題：如何再現日常的家庭

生活？我們如何描繪野性與老虎的現身？根據意欲於故事中所展現的事物去選擇動作。

ART.ZIP: 可以請您介紹一下巴羅蘭德芭蕾青年舞團（Barrowland Ballet Youth Company）嗎？

saw. We’ll make performances with them that might utilize

NG:它是巴羅蘭德芭蕾舞團旗下的一個青年表演組織，因為他們經

opportunity to devise dance theatre. It’s subsidised, so it’s

邀請他們來看演出，而他們也會根據看到的以編舞的方式作以回

the same choreographic method and provide them with the free to attend. The Youth Company get to explore dance and perform at different events.

常和專業舞團接觸，熟悉並理解我們的工作流程與方式。我們經常應。我們也會與他們合作表演，使用相同的編舞方法並且提供舞蹈戲劇的機會。因為這是國家補貼的項目，所以年輕人都可以免費參加。巴羅蘭德芭蕾青年舞團可以讓更多青少年在不同的展演中探索

Tiger & Tiger Tale, photo credit: Brian Hartley

舞蹈與表演。

睡前故事

TRANSLATED BY 翻譯 x CAI SUDONG 蔡蘇東

Bedtime Stories

BEDTIME STORIES

Delving into the magical time before sleep when the imagination

融合了戲劇表演、馬戲、舞蹈和3D 動畫，上

our busy lives and explore the importance of the connection

開始放飛的時間，並把它變成一段奇幻的

can take hold, Upswing encourages us to take time out from between carers and children, work-life and family-life in a

show that combines theatre, circus, dance and 3D animation.

Audiences are tucked up into beds around the stage with their families and friends for an immersive adventure.

It’s bedtime and a little girl is getting ready for sleep. Her

經歷，使我們暫時脫離了忙碌的生活，探索

監護人與孩子、工作和生活之間那非常重

要的聯繫。舞臺四周布置著許多床，觀眾們及他們的家人和朋友就是在這樣一張張的床上觀看演出，進入一段沈浸式的旅程。

mum starts to tell her a bedtime story but work pressures take

到睡覺時間了，小女孩正在準備睡覺，她的

help of her imaginary friend Three, going on an adventurous

親不得不中途離開。我們的小主人公在她想

her away. Our young heroine is going to rescue her with the journey through unknown and magical places.

Director Vicki Amedume said, “When I was a child my mum often had to work nights. Whilst at work she would record tapes of

母親開始給她講睡前故事，但是工作使得母象中的朋友“3（Three）”的幫助下，展開了

一段經過未知和神奇之地， “ 營救 ”母親的故事。

stories for us to listen to the next night so we could still have our

導演薇琪·阿美杜姆（Vicki Amedume）說，

continue this little family tradition. He is growing up fast and very

晚班。她上班的時候會把故事錄下來，這樣

bedtime stories. My nephew is nine and I record stories for him, we soon, and growing up involves an increasing distance between people, a stretching of boundaries as independence forms. In

Bedtime Stories, I want to explore those narratives of connection and attachment. The idea is that the audience will watch the

show unfold around them in family groups tucked up in bed,

Bedtime Stories.

升劇團（U p s w i n g ）抓住睡前這個想象力

“當我還是孩子的時候，我的母親經常要上

我們在隔天晚上就可以聽到睡前故事。我的侄子九歲了，我也經常給他錄故事，我們繼

續著這樣的家庭傳統。他長得很快，長大意味著人與人之間的距離逐漸拉大，隨著獨立

意識的形成，人與人的界限也開始延伸。在

Bedtime Stories.

being together whilst experiencing an immersive production that touches of risk, loss and the danger of being pulled apart.”

Upswing, an NPO since 2012, was founded in 2004 by Vicki

Amedume, the only black artistic director of an established

《睡前故事》中，我要探索的正是人與人之間聯繫和依戀的敘事。我的想法是，讓一個個的家庭在床上觀看該劇劇情一步步地展開，他

們都聚在一起，一起沈浸式地體驗一出涉及冒險、失去以及甚至家人分離的劇目。”

circus company in Britain. The company is committed to

上升劇團（Up s w ing ）是由薇琪·阿美杜姆（ V ick i A me dume）於

Diversity Executive at Channel 4, as a patron. Upswing aims

琪·阿美杜姆是英國目前著名馬戲團圈子中的唯一一位黑人藝術

make work that is ethnically diverse, and boast Oona King,

to tell stories relevant to our society, and to work with other practitioners in circus and other performance mediums to make work that had a broader cultural resonance for

people from all walks of life. They also provide classes and

consultancy for companies including the National, the Royal Shakespeare Company and Cameron Mackintosh, for whom they supplied performers as well consultancy for Barnum.

Upswing have swung and spun their way through a stunning array of multi-disciplinary performances: from hip hop and young love, through African mythology to an Olympic

descent of Nelson’s column that sent a silk banner cascading down this familiar monument.

2 0 0 4 年創立的，2 01 2 年以來成為一個非營利性機構（N P O）。薇

導演。該劇團的作品面向各種人種，英國電視第四頻道（Channel 4）的節目多樣性主任烏娜·金（Oona King）是該團體的贊助人。上升劇團力求其所講述的故事關乎社會，與馬戲圈子的其他從業者以及其

他表演媒介合作，以求作品對社會各界的人士都有廣泛的文化共鳴。該團體同時授課及提供咨詢服務，其咨詢服務對象包括國家劇院、皇

家莎士比亞劇團（the Royal Shakespeare Company）以及卡梅隆· 麥金托什（Cameron Mackintosh），在與後者的合作中，上升劇團為

《巴納姆（Barnum）》提供了表演者以及咨詢服務。上升劇團一路走來，創作了不少精彩的跨界演出：從嘻哈音樂到年輕人戀愛主題，從非洲神話到為了慶祝奧運會，從納爾遜紀念碑拉下標語的壯舉。

THE WIND IN THE WILLOWS

《柳林風聲》

TEXT BY 撰文 x JAY LAI 賴駿杰

Cris Penfold as Toad in Wind in the Willows © ROH / Johan Persson 2012

There is no better way of attracting an audience of young

就吸引年輕觀眾而言，藉由改編暢銷原著小說而創造多采多姿且活

of a best-selling children’s novel. The dance-theatre show,

尼斯‧格林姆（Kenneth Gr ahame）所寫（19 0 8 年出版）的同名原

children than through creating a colorful and energetic adaption

Wind in the Willows, based on the book written by Kenneth

Grahame (published 1908), gave its child audience an astonishing experience involving vivid poppies, amazing installations, and - most importantly - wonderful dance movements. The show

was choreographed by Will Tuckett in collaboration with Royal

Opera House, who worked with a dream-like set designed by The Quay Brothers. Although it was designated for young audiences, mature theatregoers still enjoyed its atmosphere of nostalgia

as it brought them back to their childhood. Tuckett himself was

fascinated with Grahame’s book when he was young. The stories illustrated the priceless friendship of four main characters: Toad

and his friends Ratty, Mole and Badger. The score is set by Martin

力十足的表演，顯然是最好的方式。《柳林風聲》此舞劇改編自由肯著，藉由栩栩如生的劇偶、靈活的道具，以及令人驚豔的舞蹈，帶給青少年觀眾難忘的體驗。透過編舞家威爾‧塔其特(Will Tucket t)與

皇家劇院的合作，並且邀請碼頭兄弟（The Quay Brothers）操刀

舞台設計，以及其他優秀團隊，最終不負原著的盛名。雖然其主要對象是年輕觀眾，但成年觀者依然能沉浸且享受它所帶來的懷舊氛圍，將他們帶回童年時光。因為塔其特自身即心寄那在格林姆書中

所描述的英格蘭過往風情。表演中，關於四位主人公，陶德與其朋友，瑞堤、摩爾與巴德格之間的無價友情被生動地刻劃，且提示了

青年朋友一個平行於故事的省思契機關於友情。值得一提的是，由

馬汀‧沃德（Mar tin Ward）所作之曲在劇中則扮演了關鍵角色，無縫地接合了真實與想像。

Ward and plays an essential role in bridging the gap between

reality and imagination as the story of these four friends unfolds

Will Kemp as Ratty, Clemmie Sveaas as Mole and Cris Penfold as Toad in Wind in the Willows © ROH/Johan Persson, 2012

before the audience’s eyes.

THE DRAGON

《龍》

INTERVIEWED EDITED BY 採訪整理 X STRUAN ROBINSON TRANSLATED BY 翻譯 x CAI SUDONG 蔡蘇東

Tangram Theatre staged a modern adaption of Russian playwright Yevgeny Schwartz’s thinly disguised 1943 parody of Stalin and totalitarianism in the Southwark Playhouse for the year’s Christmas season. The story is set in a small town, whose inhabitants live

under the threat of a bloodthirsty three-head dragon. He demands them to make regular sacrifices of the town’s young women to him in exchange of peace. Led by the town’s opportunistic mayor and his corrupt son, the townspeople do nothing but give in to the dragon, because they know that the monster would protect them from the Jews and Gypsies, who they perceive as far more

threatening. The situation remained unchanged until one day, when an underdressed young man called Lancelot comes to the town

determined to slay the dragon and to rescue of his loved one Elsa, who is soon to be sacrificed to the monster. It looks as if the people will soon gain their freedom, but to the hero’s surprise, they don’t seem quite ready for it.

As an award-winning theatre company that has produced the critically acclaimed hit shows Fuente Ovejuna and Richard III, this

time Tangram Theatre have brought on stage an anti-pantomime show that deliberately avoided the form of slapstick comedy and

audience-engaged singing. Instead, the story is told between an ensemble of ten actors who performed in everyday clothes with no set and no theatre lights. Under Daniel Goldman’s guidance, the crude execution removed the aura of fairytale fantasy, but brought

the show in proximity to our everyday life, directing the audience to relate back to the similar concerns of our own times—the war on terror and the fight for freedom.

七巧板戲劇公司（Tangram Theatre）在薩德克劇場（Southwark Playhouse）的聖誕演出季上演了俄國劇作家葉夫根尼·施瓦茨（Yevgeny

Schwar t z）1943年創作的對斯大林極權主義含沙射影的諷刺劇。故事設定在一個小鎮，鎮上的居民每天生活在一條嗜血三頭龍的陰影之

下。龍要求他們定期用鎮上的年輕婦女向他獻祭，以換取和平。在鎮上投機的市長與他的糊塗兒子的帶領之下，居民們並未採取任何措施便向龍屈服。因為他們明白，這條怪獸會保護他們免受猶太人和吉普賽人的威脅，他們認為這些人更危險。這種情況就這樣持續著，直到有一人們看似馬上就要獲得自由，然而讓主人公驚訝的是，似乎他們並無此準備。

屢獲殊榮的七巧板戲劇公司製作过廣受好評的西班牙戲劇《羊泉村(Fuente Ovejuna)》與《理查三世(Richard III)》。這回七巧板戲劇公司將一部“反滑稽戲”的表演搬上舞台，刻意迴避了鬧劇喜劇和觀眾參與歌唱的形式。取而代之，故事在穿著日常服飾的十位演員中間展開，沒有特別的舞台布景，也沒有舞台的燈光調適。這部在導演丹尼爾·戈德曼(Daniel

Goldman)指導下“粗糙”完成的戲劇將童話般夢幻的光

暈一掃而空，但卻拉近了與我們日常生活的距離，以此去引導觀眾去與我們自己時代的類似情況作聯繫，即反恐與爭取自由的鬥爭。

Interview with co-producer Candice Edmunds

專訪《龍》聯合製片人康迪斯·埃德蒙茲

ART.ZIP: Why were you interested in this story? What was the

A R T. ZIP: 你為什麼會對這樣的故事感興趣？最初的創作想法是怎

CE: The original idea was to make a show about childhood

CE:起初，我們是要製作一出關於兒時悲傷經歷的劇目。一開始，我

grieve that process, however, the more we worked on it, the

的開展，劇情演變成了一個男孩深陷喪母之痛。我們合作的編劇奧

original idea?

grief in some capacity. Initially, it was divorce and how children more it became about a boy grieving the death of his mother.

We started working with the playwright, Oliver Emanuel, whose mother passed away when he was a young man and so he brought some of his own experiences to the writing. We’d

always had this idea that there would be a dragon that was a

樣的？

們設定了孩子因父母離異而悲傷萬分的劇情，然而，隨著我們工作

利弗·伊曼呂尓（Oliver Emanuel）年輕時母親便去世了，因此他把自己的一些經歷也融合到劇目中。我們一直有這麼一個想法，那就

是把龍當做一種隱喻，象徵著我們的小主人翁湯米（Tommy）經歷的各種跌宕的情感。

metaphor for all the big emotions that the young protagonist,

ART.ZIP:這部戲劇是一出以木偶為主的形體戲劇，這麽處理是因為

ART.ZIP: This is a physical theatre production which emphasises

CE:不是的，我們之所以不加入語言，是因為我們想讓主人公無法與

Tommy, was going through.

puppetry. Is this because of the language differences?

考慮到語言差異嗎？

他人交流的這個特點發揮到極致，那就是讓他沒有說話的能力。我

Dragon 2015 credit Peter Dibdin

天，一個邋邋遢遢名叫蘭斯洛特（Lancelot）的青年人來到鎮上，決心殺死惡龍，以保護他就要被獻祭給巨龍的愛人艾爾莎（Elsa）。鎮上的

Dragon 2015 credit Peter Dibdin

CE: No, actually the point of having no language came from

the idea that this character couldnâ&#x20AC;&#x2122;t communicate with anyone

and we took it to its most extreme point where he couldnâ&#x20AC;&#x2122;t talk. We experimented with some characters talking and some not, but decided upon no one having any dialogue. It had nothing to do with the international collaboration side of the project.

However, it was beneficial because English and Chinese speaking

Candice Edmunds, co-producers of Dragon

actors had to find language free solutions as to how they would communicate with one another.

ART.ZIP: Can you talk about the music and visual design of the show? Both are fantastic. Is it a combination of western and eastern elements?

CE: Dragon is the culmination of the last decade of exploring

visual storytelling. The whole design of the piece was inspired

by the time we spent in China doing research and development. The aesthetic of the dragon was a real East-meets-West fusion. The music was just born out of the necessity to tell stories and

emotions without words. Music itself is an international language. ART.ZIP: When did you visit China? CE: Our first trip to China was in the Year of the Dragon, so

Dragon © Drew Farrell

there was an exhibition on the subject of dragons at the Beijing

們嘗試過讓某些角色有臺詞，有些沒有，但是最終還是決定大家都

contemporary. We were really immersed in Chinese aesthetics.

麽做也有好處，中英兩國的演員必須用語言之外的途徑來進行互相

museum featuring various artworks - both historical and

We visited a lot of historical sites and spoke to experts and leading academics in the theory of Chinese dragons and

不要有臺詞了。這和該劇有著國際合作的背景沒有關係。同時，這溝通。

medicine. Our conversations ended up massively infiltrating the

ART.ZIP:你能講講該劇的配樂和視覺設計嗎？這兩者都很棒，是結

ART.ZIP: In Chinese culture, the dragon is a rare and treasured

CE:《龍》是過去十年探索視覺敘事的巔峰之作。整個劇目的設計靈

Is there a different meaning/symbol in western culture?

東西方文化融合。配樂設計則是為了滿足在沒有語言的情況下講述

story and design.

creature that symbolises the king and the extraordinary individual.

CE: There’s a massive difference. When we first imagined the

合了中西方的元素嗎？

感來源於我們在中國調研期間的點點滴滴。龍的美學設計是真正的故事和表現情感的需要。音樂本身就是一門國際語言。

show, we were working with the concept of a western dragon.

ART.ZIP: 你是何時到訪中國的？

has to kill it in order to restore the world back to normal. That

CE: 我們第一次去中國是在龍年，當時北京博物館舉辦了一個展覽，

Tommy’s life and in order to overcome the grief he slays it. But

國美學中。我們也參觀了許多古跡，和研究中國龍文化及中醫的專家

In western mythology, there’s an evil dragon and the prince was going to be the ending of our show: this dragon enters

when we spoke to the expert on Chinese medicine, he said: “In

every person there is a dragon and if that dragon becomes too

powerful, we have to find a way to steady it and to bring it back

into balance with the rest of the human being”. This was a lightbulb moment for us. We were like: “Of course, Tommy doesn’t

slay his dragon, he has to learn to live in balance with it. He has

展出了許多以龍為主題的傳統和現代的藝術品。我們完全沈浸在中和學術泰鬥會面。我們許多的談話內容都滲透到了該劇的劇情和設計中。

to find stability in his life”. It worked and it spoke very clearly to

ART.ZIP:在中國文化裡，龍是一種象征君王和聖人的罕見而寶貴的

ART.ZIP: What does the dragon stand for?

CE:是的，而且兩者的差異是巨大的。當我們一開始構想這出劇的時

CE: Our writer, Ollie, says he couldn’t write a metaphor, he had to

王子必須殺死它才能讓世界重回正軌。這也是我們一開始設想的該

UK and Chinese audiences alike.

write a character. The dragon is a real fully formed character. For me, personally, the dragon is Tommy working his way through

the biggest, most difficult emotions he’s faced in his life. We try to leave a lot of space around the storytelling for people to find their own meaning. It seems that no two audience members have the same response. People come back with a completely different

meaning of what that dragon is depending on where they are in their life, their own life experiences or even just how they were

候，我們想到的是西方龍的概念。在西方神話裡，龍是邪惡的動物，劇的結尾：這條龍闖進了湯米的生活中，為了克服悲痛，湯米殺死了

它。但是，當我們和中醫專家談論時，他說：“每個人身上都有一條龍，當它氣焰過盛時，我們必須想辦法安撫它，讓它重回平衡的狀

態，這樣才能和其他人和諧共處。”他的一席話驚醒夢中人。我們想到：“沒錯，湯米無須殺死他的龍，而是要和龍和諧共處。他必須讓

自己的生活重回平和的正軌。”這個想法是對的，不管是對英國還是中國的觀眾，它的意涵很明確，不會引起歧義。

feeling that day.

ART.ZIP: 龍有什麽象征含義？

ART.ZIP: What was the starting point of the cooperation with

CE:我們的編劇奧利弗說他沒法憑空制造一個隱喻，而必須借助一

the show?

湯米的人生中所要克服的最大最困難的情感經歷。我們在敘事中留

Tianjin People’s Arts Theatre? What kind of role did they take in

CE: The whole relationship began when the National Theatre of China and the National Theatre of Scotland were looking

for projects they could possibly collaborate on. The NTC leapt on our title, Dragon, because they knew it would appeal to

their audiences. Afterwards, the Tianjin People’s Arts Theatre

approached us because we wanted to work with puppets and they had a large amount of experience in that field. It was a

relationship that was brokered by the two National Theatres but it was a very happy marriage.

Dragon 2015 credit Peter Dibdin

生物。在西方文化裡，龍是不是有著不同的含義和象征？

個角色。龍就是一個真正的完整的角色。按我的理解，龍就是意指

下了許多空間，讓觀眾自己去尋找意義。似乎沒有任何兩個觀眾會有相同的觀感。觀眾對於龍的象征意義之所以有著截然不同的理解，

原因在於他們所處的人生階段、生活的經歷是不同的，甚至他們當天的情緒也會影響看法。

A R T. ZIP: 你們和天津人民藝術劇院的合作是如何開始的？在該劇中，他們扮演著怎樣的角色？

CE:中國國家劇院和蘇格蘭國家劇院都在尋找可以合作的項目，而

我們和天津人民藝術劇院的合作就是從那時開始的。中國國家劇院

We work with two of their permanent ensemble members Yan

both sides and both co-producers really want the show to work,

outstanding puppeteers. It was their finesse that lifted the entire

resources but when you get it right, everyone wins.

Tao and Kai Zhang, who came to us as both brilliant actors and puppeteer skill-level of the UK ensemble. On the first day of

rehearsal, Kai Zhang picked up the dragon puppet and brought

we would leap at the chance. It does take a lot of international

it to life; our actors’ jaws just dropped. There has been a cultural

看中了我們的劇名——《龍》，因為他們認為這個劇名對觀眾有很強

Dragon and be able to discern the Chinese elements exclusively

偶，而天津人民藝術劇院在這方面有著豐富的經驗。我們的合作關

exchange that has fed into the fabric of the show. You can’t watch from the UK elements: they’re interwoven.

的吸引力。之後，天津人民藝術劇院便和我們來往，我們需要用到木係是由兩國國家劇院牽頭搭線的，但這樣的聯姻卻非常成功。

ART.ZIP: How many actors appear on the stage?

我們和天津人民藝術劇院的陶巖和張凱合作，他們是非常優秀的演

CE: There are seven actors onstage. In the version you will see

演技術提升到一個新高度。在我們排練的第一天，張凱舞動龍木偶，

at the Edinburgh International Festival, five of the actors are

from the UK and two of those actors are from Tianjin People’s Arts Theatre.

員和木偶表演者。正是他們精湛的技藝使得整個英國劇團的木偶表

一招一式間點燃了它的生命力，我們的演員看得目瞪口呆。文化交流滲入了演出的機理中。在觀看《龍》的時候，你無法辨認出哪些是中國元素，哪些是英國元素，它們是相互交織在一起的。

ART.ZIP: What are the challenges posed by using puppetry?

ART.ZIP: 有多少演員上臺表演？

CE: The first challenge is cost because you suddenly add an

CE:總共有七名演員上臺。在愛丁堡國際藝術節的版本裡，五名演員

additional bill to the production. Perhaps the biggest challenge is audience perception; they think: “It’s puppetry, it must be for

來自英國，兩名來自天津人民藝術劇院。

small children”. When, in fact, puppets can actually be the most

ART.ZIP: 使用木偶表演有什麽挑戰？

in the room isn’t really a challenge, it’s a pleasure. Puppets are an

CE:首先是成本問題，因為這是劇目的一筆額外開銷。但是也許最大

even emotionally. Productions like War Horse are doing amazing

小孩看的”。而實際上，木偶可以是最復雜的敘事手段。真正在劇場

sophisticated storytelling devices. The actual physical use of them amazing tool; they transcend what humans can do physically or things for bringing puppetry to the masses. So, hopefully, perception is changing.

ART.ZIP: How did you come across the play? Did you write it together?

CE: It’s co-authored. Jamie Harrison and I had the original idea

的挑戰是觀眾的對偶劇的看法，他們也許會認為“這是木偶劇，是給

使用木偶其實不算是什麽挑戰，而是很輕松享受的事情。木偶是一

種了不起的道具，在肢體表現上，甚至情感表現上，都超越了人類的

表演。比如說，《戰馬（War Horse）》就嘆為觀止地把木偶劇帶給了大眾。希望觀眾對於木偶劇的感覺會漸漸地變化。

ART.ZIP: 你們是怎麽想到這個故事的？是合作寫出來的嗎？

about a boy who’s going through a grieving process and there

CE:是的，是共同創作的故事。傑米·哈里森（Jamie Harrison）和我

the writing team and together the three of us mapped out the

故事的一部分。奧利弗後來成了寫作團隊的一員，我們三個人規劃

being a dragon who’s part of the story. Oliver became a part of story we wanted to tell, the characters we wanted to inhabit it,

and the setting. Ollie turned that work into fully formed characters and a narrative arc. The writing continued into the rehearsal room. The story was constantly in flux.

ART.ZIP: Will you collaborate with an Asian theatre

有著最初的構想，即小男孩度過一段悲傷的生活歷程，同時龍又是

了我們想要講述的故事，想要涉及的角色以及故事背景。奧利弗把設想轉變為完整的角色和敘事。我們的故事寫作一直持續到排練階段。故事一直在變動調整。

ART.ZIP: 你還會再和亞洲的戲劇公司合作嗎？

company again?

CE:能再有這樣的合作機會我們很高興。我們和中國國家劇院談過

CE: We would be delighted to. We’ve had conversations with the

此慷慨大方，充滿天賦。因而，對我們而言，只要我們雙方都有合作

National Theatre of China about collaborating with them. China is an incredibly exciting place to operate out of. Its artists are so generous and talented. So, for us, as long as the will is there on

合作的意向。中國是一個令人興奮的合作夥伴。那裡的藝術家是如的意願，聯合制作人都希望制作出好的戲劇，我們會欣然接受這樣

的機會。當然，這需要投入很多的國際資源，但是，當我們把事情做好了，大家都是贏家。

FEVERED SLEEP

Dusk (2014) photo by Matthew Andrews

“噪眠”創意公司 TEXT BY 撰文 x JAY LAI 賴駿杰

Strictly speaking, Fevered Sleep should be referred to as a

嚴格說來， “ 噪眠 ”或許應被稱做一創意機構而非劇院，因為他們

multiple types of events, including film, installation, music,

樂、舞蹈與表演等，吸引了廣大的支持者。特別是，其經常以實驗形

creative institute rather than a theatre, because they produce dance and plays, aimed at various audiences. They advocate

experimenting and pushing the boundaries in the productions. Due to their complicated interests, Fevered Sleep collaborates with diverse companies to site-specific initiate activities cross

over the UK. By doing so, the work gets involved with crowds in everyday life. Compared with other companies, Fevered Sleep

cares much more about younger audiences, which can be shown

in their developed productions, such as the augural show, Little Universe (for 3-7 year olds), the installation Dusk designed for

製作了豐富多樣的活動，援用各種形式與媒材，包括電影、裝置、音式不斷地改動自身的定義。此外，根據他們多元的關注興趣， “噪

眠”經常與不同的劇╱舞團合作，且於全英國各地進行各異其趣的

駐地活動。如此一來，它則得以深入日常生活而與群眾建立關係。然而，與其他有著近似旨趣的公司相比， “噪眠”更關注年輕觀眾群。

在其過往的成果中，清楚地可以看到這點，例如其初登台之展演《小

宇宙（Little Universe）》（目標群眾為3至7歲）、專為小孩設計的裝置作品《黃昏(Dusk)》，以及近期正在發展的製作《男人與女孩共舞 (Men & Girls Dance)》等。或許值得點出的是，《男人與女孩共舞》

計畫邀請有經驗的成年男舞者，與其小小舞伴，非專業的小女孩，

children, and the current projects, Men

& Girls Dance and so on. Men & Girls Dance invites experienced male dancers with their little partners, amateur young girls, sharing the equal chances without “teaching”. Empathy, care and love can

be learned through the events by both the adults and children, which is not

only a novel experience for discovering the world, but also an ambition for the

participants to trigger critical thinking on the world and how to co-exist together.

在對等且不含“ 教育 ”成分的場合空間中共

Men & Girls Dance (2015) photo by Benedict Johnson

(including professionals) to co-dance

舞。藉此，其宗旨明確寫道，大人與孩童皆

可透過系列活動習得憐憫、關照與愛的情緒能力。其不僅是一全新探索世界的經驗方

式，亦可能啟發參與者關於這世界的批判性

Little Universe (2015) photo by Katherine Leedale

思考——關於如何與他人共處。

AGAINST CAPTAIN’S ORDERS: A JOURNEY INTO THE UNCHARTED

《反抗船長命令：秘境之旅》 INTERVIEWED EDITED BY 採訪整理 X STRUAN ROBINSON TRANSLATED BY 翻譯 x SUMMER LIU 劉楊慧子

In collaboration with Punchdrunk Enrichment,

英國國家海事博物館（National Maritime Museum）

creative projects for stimulating the imagination

E n r i c h m e n t ）合作，為 6 -1 2 歲孩子們創作了一部參與

a theatre company that endeavours to develop of children and young people in the process of

learning, the National Maritime Museum presented an immersive show for families with 6-12-year-old

children in order to take on a 50-minute adventure

exploring the museum’s wealth of maritime history and artefacts. As the audience donned lifejackets, being divided into a motley crew made up of

navigators, midshipmen, ship’s watch and salvage,

the journey began. The two curators Michael Cusick and Lowri James tried their best to lead the visitors into the scene of the glorious HMS Adventure. The young explorers, alongside the accompanying

adults, were assigned the tasks of searching some old naval paraphernalia such as a sextant, a ship’s bottle, Grace Darling’s telescope and Sir Francis

Drake’s drumstick, which were scattered around the

與戲劇制作公司暈眩（濃縮）劇團（ P u n c h d r u n k

性很強的互動式演出《反抗船長命令》，暈眩（濃縮）劇團是一家致力於發展創意藝術項目來培養兒童與年青

人想象力的戲劇公司。這個時長5 0 分鐘的演出探討了海

事博物館的發展歷史並挖掘了博物館豐富的館藏制品。演出中，孩子們與家長們會穿上救生衣，分別扮演航海

員、海軍學生、海軍值班者與救生員的角色並組成團隊，每個小團隊由不同的服装色彩加以區分。兩位制作人邁

克爾·庫西克（Michael Cusick）和洛里·詹姆斯（Lowri James）力圖帶領這些海洋探訪者們開始一段輝煌的探

索英國皇家海軍艦艇的旅程。這些年青的探險家們會和

家長們一起接受任務，尋找丟失的海軍用品，如六分儀、

漂流瓶、格里斯·達爾林（Grace Darling ）的電報以及弗朗西斯·德萊克爵士（Sir Francis Drake）的鼓槌等，而

這些制品會被散播在海洋博物館的各個角落，等待著人們的尋找。

bowel-like rooms of the museum.

互動的過程和參與性為演出增添了樂趣，觀眾們都非常

The process of interaction adds credit to the show,

的秘密，導演西蒙·戴維斯（Simon Davies）在尋找的過

and the discovery of secrets inside the objects by the activated audience knocks the everyday dull

presentation off course. Dramatic atmosphere was

積極地四處敲擊暴露在外的物體來尋找可能隱藏在裡面程中安插了很多具有戲劇性的設計——比如設置了時間限

制讓觀眾們在更加急迫的氣氛裡把這些海洋制品找到並放回原處。但是這樣的設計也會讓那些希望把這個整個

injected into the search due to the arrangement of Simon Davies’s

裝滿海洋古董的海洋博物館搜個底朝天的觀眾們感到不夠過癮。皮

get the naval objects back to their original place. Yet it might be

劇本通過尋寶遊戲成功地培養了孩子們對海事博物館的好奇心和積

script — there was a severe time limit set for the audience-crew to restrictive for some of the participants who wished to fully explore the rooms filled with nautical bric-à-brac. Peter Higgin and Katy

特·希金（Peter Higgin）和凱特·巴爾福爾（Katy Balfour）的戲劇極性，讓他們有機會對博物館有了一個詳細觀察的機會。

Balfour’s production successfully educated the young museum-

goers through this hunt-the-symbol game that induced them to

Peter Higgin. Photo by Stephen Dobbie

move around the museum in great scrutiny.

Interview with Peter Higgin,

Director of Punchdurnk Enrichment ART.ZIP: Having been a theatre company whose audience

mainly included adults for many years, what made you want to start doing productions for a younger audience as well?

PH: I’m a founder member of the company and I’ve also got a

background as a secondary school teacher. When I was teaching, I would take my A-level students to see early Punchdrunk work.

Observing how they responded to Punchdrunk got me thinking, and I realised that our productions had a huge potential beyond

專訪暈眩（濃縮）劇團總監彼得·希金

a form of entertainment. I noticed that my students had become

ART.ZIP:作為一個多年以成年觀眾為目標市場的戲劇公司，是什麽

In 2008, the company had the chance to set up Punchdrunk

P H : 我是公司的創始人之一，同時我也有中學教師的工作背景。我

with a small project called Under the Eiderdown. It was an

看，觀察他們的反應。通過他們的反饋我會認真思考，也使我意識到

an adult audience. It could be used as a tool for learning as well as more engaged, vocal, and that their practice was improving.

Enrichment. We started to cater for a different type of audience installation based work, which went into schools to create a rich

theatrical experience while raising the children’s levels of literacy. We’ve since worked in seventy schools and have branched out into secondary education and occasional community projects.

使你們也想要開始為年輕觀眾做一些作品？

會把早期的暈眩劇團（Punchdrunk）的作品帶給我的A-Level學生我們的作品除了成人觀眾之外有更大的受眾潛力，可以作為一種學

習工具或是一種娛樂形式。我發現我的學生們變得更積極，更暢所欲言，他們的能力也得到更有效的提高。

This has led to us creating works for family audiences with

2 0 0 8 年暈眩劇團有機會成立了暈眩（濃縮）劇團 ( P u n c h d r u n k

Winter Lives.

《羽絨之下（Under the Eiderdown）》。這是一個安放在學校裡的

projects like Against Captain’s Orders and The House Where

ART.ZIP: What happens when you go into schools with

educative installation projects like Under the Eiderdown or run learning-centred workshops for children?

PH: The projects tend to unfold over about three weeks and they begin with us sending in a ‘character’ in the form of a workshop leader. With projects like The Lost Lending Library, that

‘character’ will be a local librarian who has come into the school

Enr ichment)，我們開始為不同類型的觀眾嘗試一些小項目，例如

裝置作品，孩子們通過這個裝置獲得豐富的劇場體驗的同時也提高了自身的讀寫能力。自此之後我們就合作過70 所學校，然後慢慢發

展到中等教育和社區項目。從這些實踐出發，我們又為家庭類觀眾

創作了《反抗船長命令（Against Captain’s Orders）》和《溫特之舍（The House Where Winter Lives）》。

ART.ZIP: 像《羽絨之下》這類型的教育項目或以孩子學習目的為主的工作坊帶進學校是怎樣的？

to help the children think about how they could use their library

P H : 通常這類型的項目在展開三周後會有一個新“角色”以工作坊

appears over the weekend: a magical library, which has arrived

Librar y）》活動中，這個“角色”就是一名當地的圖書管理員，他來

differently. Once they’ve got to know the children, an installation

負責人的身份加入進來。比如在《迷失圖書館（The Lost Lending

Punchdrunk Enrichment & the National Maritime Museum’s Against Captain’s Orders. Credit Stephen Dobbie.

because it needs children’s stories. In groups of ten, they have

到學校幫助孩子們以不同的方式來利用圖書館資源，當他和孩子們

related to writing a story. The project finishes with the children’s

個裝置，孩子們需要用自己的故事來填充它。為了達成這個神奇圖書

a storytelling experience culminating in a mission, usually

induction as lifelong members to the magical library. It’s like a mini Punchdrunk world.

ART.ZIP: What is it about theatre that makes it an effective

打成一片以後，一個神奇的圖書館裝置將出現在學校裡，為了運行這館帶來的任務，孩子們分為十人一組，需要編寫和講述一個完整的故

事，這些故事將保存在神奇圖書館當中，孩子們也將成為這個圖書館的終身會員，整個項目就好似打造了一個微型版的“暈眩”世界。

educative tool for children?

ART.ZIP: 是什麽使戲劇成為一個有效的學校教育工具？

PH: Drama is more easily accessible than perhaps other

PH: 戲劇是一種很容易實現的教育形式，適用於所有的學習者，並有

access. It takes children out of the everyday routine of school

所有生活中的元素被搬上舞臺，講故事的人、燈光氛圍、音樂效果、

educative forms. It appeals to all learners. There’s an equality of and allows them to experience a sense of empowerment.

Everything is brought to life. We go to town on the installation;

著平等的使用權。它使學生跳出常規課程，體驗被賦予權力的感覺。紋理甚至氣味。

there’s a skilled storyteller, atmospheric lighting, sound effects,

ART.ZIP:你認為身臨其境的風格，比如體驗式戲劇是否比坐著不動

ART.ZIP: Do you think your immersive style and the fact that

PH:我認為這確實有所助益，孩子們注意力比較分散也愛動。當他

sedentary, naturally appeals to children?

好地參與到戲劇和故事當中。譬如一個冒險故事，孩子們如果能參

textures, and smells.

your audience experiences theatre by being mobile rather than

PH: I think it does help, certainly in terms of attention span as kids are fidgety and like to move about. When you’re on your

的戲劇形式更能夠自然地吸引孩子們的注意力嗎？

們站著或到處跑來跑去時，他們的感官就被調動起來，同時也能更與這場冒險並與故事中的角色互動起來的話，那他們對這個故事就更加深刻了。

feet and moving around, you’re much more engaged and alive

ART.ZIP: 與國家海事博物館的合作是怎麽開始的呢？

storytelling. If you’re talking about going on an adventure,

P H : 當時我們在東倫敦斯特拉特福區的“ 發現兒童故事中心

in your senses. You’re then more susceptible to theatrics and

it’s nice to be able to get up and do that, experiencing that adventure alongside the characters.

ART.ZIP: How did a coproduction with the National Maritime Museum come about?

PH: It came off the back of a project we did at the Discover Children’s Story Centre in Stratford, East London, which

was aimed at three to six-year-olds. It was the Enrichment

Department’s first production for a family audience. The staff

at the Maritime Museum were familiar with our work, saw that project and wanted to see if they could bring our practice to

the museum. It was also heavily linked to the way in which the

museum was programming at the time. They now have a much

aware of and it’s always in our minds. The thing that we’re aiming

for is for every child to go on this journey in a safe way with a skilled

performer coming out punching the air. We care very greatly about that one percent and are always trying to see how we can reduce

it further till it’s nothing. A good thing to remember is that some of

the best experiences in life have actually started with us feeling a bit scared. When these explorers set off to travel the world, they didn’t

always know where they were going and might have been caught

in the eye of a storm. At those times they were scared but they learnt bravery, self-discovery, and human potential. When a child goes

through something of which at first they were unsure, and comes

out feeling elated with a new level of confidence, the payoff is huge.

more family focused programme. We were to come and use their

（Discover Children’s Stor y Centre）”有一個針對三至六歲兒童

knew that the kind of work we do is fun, acceptable, and a good

工作人員本就熟悉我們劇團的作品，加上這次的針對家庭的作品，

collection as a playground to help launch that strategy. They way to bring stories to life.

ART.ZIP: What were your aims going into the coproduction? PH: Whenever we’re working with a school, museum or a

的項目，那是“濃縮版暈眩”的第一個家庭戲劇作品。海事博物館的他們就想要試試看能否把我們的作品也帶入博物館，因為他們現在

有一個更注重家庭觀眾的項目，所以希望我們可以利用博物館的收藏作為整個活動策劃的核心，增加家庭觀眾的參與和互動。他們認為我們的作品參與性強，既富有娛樂性，又能把故事講生動。

community partner, we always aim to get under the skin of the

ART.ZIP: 那你們合作的目標是什麽？

address that. In the case of the Maritime Museum, it was that they

PH:無論我們與學校、博物館或是社區合作，我們都會努力挖掘該組

organisation and understand what their challenge is and how we can had fantastic stories in storage and wanted to bring them to life.

The other thing you look for is what interests you or pushes you. I learnt a few interesting things, for example, a museum may

only be able to display a fraction of what they actually own: the rest is in stores, and pretty much every object that you have in your hand or in your house is most likely in some way related

to the sea. We worked together as a creative team to create a

piece around both of these things: maritime history being at the forefront of scientific discovery, and the idea that magic lay in

the objects sitting in the stores. We set out to make our audience adventurers, explorers, and pioneers while maintaining the roots of the piece in the museum’s stores.

ART.ZIP: Is it difficult to match the right level of adventure or

suspense to the age of the audience, particularly if they are young? PH: Child audiences are precious cargo, they’re young people who

are in their formative years. We want to create an experience that will be memorable but for the right reasons. It’s a tricky and delicate line to balance between adventure and reality. This type of immersive theatre will be thrilling, limit pushing and exhilarating for ninety-

nine percent of the children but every so often they’ll be that one

percent, who feel a bit daunted by it. It’s something we are acutely

織的核心理念並了解其面臨的挑戰。第一，海事博物館有很多奇妙的故事想要傳達給觀眾。第二，我們感到有趣的部分也想帶給觀眾。

我們從中知道，博物館只能展示他們所擁有的一小部分藏品，剩下的就在商店裡，各種跟海洋相關的小物件，或許每人的家裡都有。我

們作為一個創意團隊想要將這些東西結合起來。我們的目標是希望觀眾成為冒險家、探險家和開拓者，同時讓他們了解那些藏品和紀念品背後的故事。

ART.ZIP: 把合適的冒險劇或懸疑劇與不同年齡層的觀眾匹配是不是很困難？特別是面對年輕觀眾的時候？

PH:兒童觀眾的成長時期是很珍貴的，我們想要創造一種有意義的難忘體驗。要平衡冒險元素和現實不是易事，浸沒式劇場是驚心動

魄的，99%的孩子會為之雀躍，但偶爾也會有1%的孩子會受到微弱的驚嚇。

我們對此非常清楚，並努力尋求一種適合每一個孩子的安全方式進

行表演。對於那1%的孩子我們也努力為之改善，以求降低和去除他

們受驚嚇的可能性。可是我們也不要忘記，生命中最棒的體驗往往始於最初那一點點的害怕。當探險家出發環遊世界時，他們並不知道自己身處何方，他們有可能已經落入了風暴的中央，那時候他們是

害怕的，但同時，勇氣、對本我的發現、人的潛能也都在這個時候被挖掘了出來。同樣，當一個孩子去經歷那些起初不確定的事情時，結果往往是自信心的迅速增加，這樣的回報是巨大的。

Richard Popple and Lowri James in ACO Photo by Paul J Cochrane

Michael Cusick in ACO Photo by Paul J Cochrane

THE ENERGY SHOW

《能量秀》

INTERVIEWED EDITED BY 採訪整理 X JESC BUNYARD TRANSLATED BY 翻譯 x KE QIWEN 柯淇雯

Explosions and combustions…what kind of chemical

scientific experiments, mixing the crackling sound

on the stage? The Science Museum staged this in

While making them scream with joy, The Energy

reaction will be incurred when these things happen a bold and novel theatre—The Energy Show.

Director Martin Lamb’s Energy Show transformed

the museum into a scientific, magical, and playful new world. Science has always been associated with rigour

of explosions and children’s laugh upon the stage. Show intrigues the innocent kids to explore the unknown world.

and reason, and yet here the show pushed people to

爆炸、燃燒、噴射……當這些情況發生在舞臺上會產生

seemingly over-rationalised area.

Museum）上演了這樣的一部大膽而又新奇的舞臺劇——

open their mind, infusing their imagination with this

As its name suggests, The Energy Show aims to

demonstrate to the fans of science the impact of energy upon everyday life. Its script is reminiscent of an old science-fiction: the two young passionate scientists

Annabelle and Phillip race against time in an endeavour

什麽樣的化學反應呢？倫敦的科學博物館（The Science 《能量秀》。由馬丁·蘭姆（Ma r t in L a m b）擔任導演的

《能量秀》把科學博物館變成了一個充滿科學、魔力和

嬉鬧的世界。科學本身似乎是嚴謹的、理性的代名詞，但

是到了這里人們偏偏願意腦洞大開，把想象力注入到這個看似有些刻板的領域中來。

to achieve their ideas through scientific experiments.

《能量秀》顧名思義就是向熱愛科學的觀眾們淋漓盡致

a laboratory that is equipped in full with mechanical

似老派科幻小說的風範：兩個充滿熱情的小科學家安娜

With the help of their virtual assistant i-nstein, they use devices and chemical materials in order to demonstrate their curiosity and imagination to the scientific world through incessant experiments. The play progresses

with one experiment after another, presenting all kinds of science on the stage.

What is at stake in the Energy Show is to “show”

地展示能量對人們日常生活的影響，本劇的劇本有著類

貝拉（ A nnab e lle）和菲利浦（Phillip）與時間賽跑，爭分奪秒的做實驗以實現他們的科學理想，他們在虛擬助

手“ i- 因斯坦（i-nstein）”的幫助下，利用機械裝置與化

學材料完備的工作室，通過不斷地實驗把一切對於科學世界的好奇心和想象力展現出來，劇情隨著一個實驗接著一個實驗進行，把各具特色的科學呈現在舞臺上。

the energy. This theatre stage is filled with thrill: the

《能量秀》的重點是“ 秀”能量。本劇的舞台上充滿了驚

explosive balloons of hydrogen as well as powered

氫氣球，會有動力十足的火箭向觀眾席發射……觀眾們

audience would see burning methane fireballs and

rockets . The spectator might have cover their ears to

enjoy the rollercoaster-like experience that comes with

險刺激：人們會看到用甲烷氣泡燃燒的火球和會爆炸的可要注意捂好耳朵，享受本劇帶來的過山車般的體驗。

the show.

這部劇把快樂、幽默、童趣完美地與科學實驗融合在一

The show infuses joy, humour and children’s fun with

子們在尖叫聲中，更加憧憬對未知世界的探索。

起，劈裡啪啦的哄鬧聲與爆炸聲響徹舞臺，讓懵懂的孩

Left: The Science Museum Energy Show - credit Benjamin Ealovega Right: Martin Lamb, Director of The Energy Show. 2015. Photo by © Syndi Huang

Interview with Martin Lamb,

Director of The Energy Show ART.ZIP: This is not in the traditional theatre space, and this is

not talking about traditional classical story, so could you please tell us the story behind the show?

ML: So as you probably know there are a lot of shows that do

live science experiments for educational purposes for children.

專訪《能量秀》導演馬丁·蘭姆 ART. ZIP:可以和我們分享下《能量秀》的故事嗎？因為它不是在傳統的劇院空間里呈現，同時也不屬於任何傳統經典故事。

M L : 你也許知道現在有許多關於兒童教育的科學實驗表演，其中《英國皇家研究院聖誕講座（Royal

Institution

Christmas

Lectures）》非常出名，享譽全球的科學家受邀前來演講，並且親身示範科學實驗。

There’s a very famous project called the Royal Institution

我們就是希望把現場實驗的形式搬上舞台，組成《能量秀》最核心

do practical demonstrations of science actually happening there

參加期末考試，卻接二連三地惹上了麻煩事。她們收到指示去樓

Christmas Lectures, where world famous scientists give talks and in front of their eyes.

With the Energy Show, we wanted to take the well-known idea of doing live experiments on stage and to put that into the centre of a play.

We created an institution, college of some sort in which two

的內容。故事講述了在一個類似研究院的機構，兩位主人公前來頂的一間漆黑的房間，那裡到處都是用防塵布遮住的舊設備，她們需要在一小時內完成九種不同的能量編寫和演示。主人公安娜

貝拉（Annabella）很愛發號施令，善於擬定計劃；至於另一位菲爾（Phil）則完全不按理出牌，喜歡胡亂實驗。她們必須克服性格上的

差異共同完成時長五分鐘的科學演示。在演出結束後，觀眾需要決定她們能否通過考試。

students who were both coming to the end of their final

角色的設定基於幾個原因。首先我們希望女性參與科學實驗，因為

instructions to go to a room in the top of this building which was

角色分別代表了科學史上兩種不同類型的科學家。科學就是這麼神

exam had both got themselves into trouble. They were given pitch black, covered in dust sheets and full of old equipment. They had an hour in which they had to write and perform a

demonstration on the nine forms of energy. We had these two characters: Annabella, who was very bossy and very good at

人們習慣將科學與男性劃上等號，而女性則偏向藝術。其次這兩個奇，既可以坐下來寫一份詳盡的方案，然後偉大的發現就此誕生，例

如希格斯·玻色子（Higgs boson）；也可以是另一種情況，如青霉素的發現，只因有人意外發現了生長在水果上的霉菌。

making plans, and Phil, who was very anarchic, very disorganised

除了兩位主演以外，我們還設定了一位實驗室技術員伯納德

had to work out their differences to produce this five-minute

斯坦（i-nstein）”，它是一台電腦化的虛擬實驗室助理。通過《能量

and liked to play with things, rather than read about them. They

（B er nard），雖然不會說話但它協助了實驗的全過程；還有“ i- 因

demonstration. At the end of the show, they were told that the

秀》，我們想要展示一個更加多元化的科學世界，邀請觀眾一同參與

We chose those characters for a number of reasons. We wanted to

ART. ZIP:你的專業背景並不是科學，但《能量秀》看起來科學性十

have female characters doing the scientific experiments, because sometimes there is a perception that science is for boys and art

實驗大爆炸。

足！你有專業顧問嗎？你是如何了解這些科學知識呢？

is for girls. These two characters stand for two different types of

M L :《能量秀》可以說是全部工作人員的心血。山姆·梅森（S a m

either someone sits down and writes a really careful plan and great

識。事實上我們又重新學習了科學，我還領悟了一些在學校沒搞懂

scientists in the history of science. That’s how science happens,

discoveries are made, think of the Higgs boson for example. On the other hand, you have the discovery of Penicillin, where someone discovers mould growing on fruit by accident.

M a s o n）是該劇的另一位作家，我們一邊擬劇本一邊補習科學知的知識。就實際操作方面我們有請教顧問，科學博物館一直視科學實驗為工作的一部分，所以他們設備齊全且知識專業。對我來說能在創作過程中重新學習科學真是太棒了。

As well as the two ladies, there’s also a lab technician called

ART.ZIP: 此劇的製作過程一定非常不同於其他戲劇吧？

and lived in the lab, and there’s also a computer called i-nstein,

ML:的確大有不同。通常情況是導演坐下來閱讀劇本，然後有了構思

to represent a more diverse world of science. We felt that the

確保現場科學實驗一定是全劇的最大亮點，因為當我看到有些科學

Bernard, who didn’t speak but helps with all of the experiments who was a computerised, virtual lab assistant. We were looking audience would be engaged by it, as well as watching things blow up.

後便開始彩排，一步步地將故事帶上舞台。關於《能量秀》，我必須表演竟然沒有重點的時候，很讓我惱火。就像你在舞台上放了火箭，你希望觀眾是目不轉睛地看著它。

ART.ZIP: You are not from a science background, but the show

我們必須設定好完整的舞台佈景和訓練演員的方式，這樣演員們才

How did you gather the knowledge?

的時候又得裝成毫無經驗的樣子。現場實驗有一定的危險性，因為

looks very scientific, full of facts! Did you have a consultant?

會清楚她們該做什麼。排練時演員需要學習如何做實驗，但在演出

Science Museum Live - The Energy Show (credit Benjamin Ealovega, Science Museum)

audience had to decide that they would pass or fail.

ML: It was a mixture of things. Sam Mason, the other writer, and

myself when we wrote the show, we were learning about science as we went. We actually started rereading and communicating

檢查。所以除了演員身份外，這些也都屬於她們的工作範疇。

about science. There were certain things that I suddenly

我們不希望她們扮演科學主講人。在排練過程中，我試圖引導她們

consultants, in terms of the practical side. The Science Museum

人人都樂在其中，因為過程中我們一直在學習，彼此間也建立了信任

understood, that I hadn’t grasped at school. We did also have

does practical science demonstrations as part of their work all

the time, so they have a lot of kits and expertise. For me, one of

the really nice things about working on the show was going on actually learning about science again.

ART.ZIP: The production process in this show must have been really different to the other shows.

ML: It was very different. Normally when you direct a play you

sit around a table and you read through the text and then you

start rehearsing with an idea of the design. You gradually arrive at the story you’re telling in that space. With this show we had to make sure that when the science was being done it was

absolutely the focus of attention. The one thing that I found irritating about watching some science shows is where the

point gets lost. If you have rockets on stage you want people to be watching the rockets.

We had to design a set of play, a style of teaching the actors so

that they were always really clear. We had to teach them how to do the experiments and they had to look like they were doing them for the first time, but they had to be really safe. There The Science Museum Energy Show - credit Benjamin Ealovega

舞台上有甲烷和氧氣缸等易爆氣體，她們事先都會通過健康和安全

were certain health and safety checks they absolutely had to go through. There were some very explosive gases on stage,

including cylinders of methane and oxygen. They had to do this all whilst being in character.

We didn’t want them to become presenters. In the rehearsal

process, I was trying to lead them through being the characters and doing the science at the same time. It was like doing two plays. It was really interesting for all of us, because we were

learning as we went. There was real trust within the process. They were very open to ideas and we had very good actors.

ART.ZIP: How long did the process take, from idea to show? ML: Sam and I started talking about it around late autumn in 2012. It took us about six months of development to put in

place where we had a script and could work with actors. It was quite a quick turnaround. The show itself was live for about a

year. We did six weeks in the Science Museum, in the summer

of 2013. After Easter 2014 we started a tour around the country until July. We went to 35 different theatres that were all varied

保持兩種身份——表演者和實驗者。這就等於同時製作了兩部戲，但和默契。我很驕傲能和兩位這般出色且思路開放的女演員合作。 ART.ZIP: 從構思到正式演出，製作過程持續了多長時間？ ML:大概是從2012年秋天開始，山姆和我開始討論劇本。花了近半

年的時間，劇本準備就緒，演員開始排練。我們的進度非常快。《能量秀》是從201 3 年開始演出的，有一整年的時間。最初六週的首演

是在倫敦科學博物館，在 2014 年復活節後我們便展開全國性巡演

直到七月結束。我們分別去了全國的3 5家劇院，可能在布羅姆斯格

羅夫（Bromsgrove）的劇院是最小的，只能容納20 0人；而卡迪夫（Cardiff）的聖大衛廳（St David’s Hall）可以容納2200人，場地面積懸殊很大。

places. Possibly the theatre in Bromsgrove might be the

所以我們事先有預備兩個版本的舞台佈景方案。第一個版本適用於

200 people. St David’s Hall in Cardiff was about 2200, so there

演員頭頂上方的位置，這樣人人都可以看到它了。在巡演途中有些場

smallest we went to. The way we had to set up it took around was a big difference.

We had two versions of the set that we could tour. We had one

version that played at the Science Museum, which is in front of an IMAX screen. We didn’t use the full extent of it, but we projected

onto the screen above the heads of the actors. So i-nstein’s head

科學博物館的IMA X巨屏螢幕，我們將電腦“i-因斯坦”的影像投射在

地不具備影院演出的條件，所以我們額外準備了一台屏幕，這就是另一個相對精簡的版本。

ART.ZIP: 觀眾反饋如何？我們很好奇當觀看演出的時候，他們是在思考戲劇呢還是科學呢？

floated in the sky, and everyone could see him. Obviously when

ML:總的來說觀眾的反饋都很正面，大多數人很喜歡這部劇，當然也

screen with a framework around it. So there was the set with the

些觀眾更期待看到相對傳統的科學表演，他們認為整齣劇笑點過多

we went on tour, we weren’t playing in cinemas; we took a big screen above it. This is a slightly cut down version.

ART.ZIP: What had the audience feedback been like? I’m very

curious about their response, whether they’re thinking about theatre or science when they see the show.

ML: On the whole the audience feedback was really positive.

Most people liked it. There were some people, obviously, who

didn’t. We did have some criticisms from some people who were expecting to see something like a classic science show. Some

people thought that there were a few too many jokes and that

it was a little bit flippant. There were other people who came to see it who felt that the science explanations and animations on i-nstein’s screen, which looked like chalk on a blackboard, had

too much information. I think two of the criticisms were broadly speaking fair.

However, very early on in our writing process Sam and I

decided that we would not be able to write something that

had broad appeal unless we were happy to accept that some

of the stuff would be too difficult for seven and eight year olds to understand. We were really clear that we were writing for

families. We were happy that if the seven and eight year olds took something new but didn’t understand others, that the adults

might also learn something as well. It wasn’t the sort of show where everybody had to understand every single piece of it.

At the end of the day what we were doing was producing a piece of theatre not teaching. We wanted a show that would keep

有一小部分人不這麼認為。我們確實收到了一些消極的反饋，比如一了，略顯輕率；而另一些觀眾認為屏幕上的科學解釋和動畫信息略多。我認為雙方的意見都很中肯。

然而，在創作初期山姆和我就達成共識寫一部適合家庭，尤其是青少年觀看的戲劇，也許《能量秀》不屬於大眾流行的範疇，但如果七

八歲的孩子從劇中學到了新事物，家長們也剛好學到的話會更令我們欣慰。和其他戲劇不同的是，《能量秀》不需要觀眾理解每一段情節。我們是在製作戲劇，不是在教學。我們希望能娛樂大眾，同時也希望人們看完後說：“ 有個地方我不太明白”然後展開討論或研

究。雖然還是會遺憾無法滿足部分觀眾的需要，但我們很高興聽到

了這麼多支持的聲音，有這麼多觀眾和劇評人都可以真正沈浸在戲劇中。

ART.ZIP:我們認為鼓勵觀眾提問非常重要，尤其是青少年群體，在看戲後他們可能更想接觸科學了。

ML: 希望如此，很早我們就開始尋找合適的敘事和故事框架。《能量

秀》就像是一個平行空間，那個世界一切的物理和科學都是我們創造的，學校也和一般的學校不太一樣。設定學校為故事主線的原因在於我們希望觀眾能看著兩位主人公學習,我們希望傳達給觀眾科學是一門有趣的、實踐的、適合每一個人的學科。不只是那些擅長寫方案或者不嫌手臟的人才可以接觸科學，科學適合每一個人。我希

望我們可以親身展示，而不是簡單地口述給觀眾這個事實。如果運氣好的話，觀眾會想要去親身實踐的，而不僅僅是只是停留在閱讀和思考層面。

ART.ZIP:在科學博物館與大眾互動的過程中，戲劇是不是一種常見的形式？

people entertained, and we also wanted people to go home

ML: 因為我不在那裡工作，所以我不能代表科學博物館發言。但我對

With science there will always be people who want something

角度，他們很積極地在推動巡回演出或展覽，因為這可以與全國的觀

and say: “I didn’t really understand that” and start a conversation. to be quite serious and straightforward. But on the whole, we

were really pleased with how many positive responses the show received, as the vast majority of audiences and critics seemed to really engage with it and enjoyed watching it.

戲劇與藝術還有博物館產業的傳統很感興趣。我認為站在博物館的眾互動，特別像住在特魯羅（Truro）和諾威奇（Nor wich）的孩子們

平日里很難有機會來倫敦看展，我認為這是讓大家參與進來的很好的方式。

ART.ZIP: I think it’s quite important to encourage the

the heritage of the museum industry. I think, from the museum’s

young audience. Young people may approach science more

out on tour because it enabled them to take something from the

questioning of the audience. This is a starting point for the after seeing it.

ML: I hope so. Quite early on we were looking for the right

narrative and framework. It was like an alternative universe, the world we created had our laws of physics and science, but it

point of view, they were very passionate about sending the show Science Museum in London to the whole of the country. I think it was a good way of engaging children in Truro or in Norwich,

because they might find it more difficult than children in London to get to the Science Museum.

wasn’t a school any of the audience would have been to. It was

Education is absolutely at the heart of museums and heritage

the school framework was that the audience was watching two

understanding that not everybody absorbs all their knowledge

something different. One of the things that we really liked about characters learning. They were on a journey. We hope that the

message was that learning about science is fun, learning about science is hands on and learning about science is for everyone.

Science is not just for people who are very good at writing plans

or it’s not just for people who want to get their hands dirty. It’s for everyone. I hope we showed that, rather than simply telling the

audience. With a bit of luck, they would have gone away wanting to do it, not just read or think about it.

ART.ZIP: Is theatre a normal way for the Science Museum to engage their audiences?

ML: I can’t speak for the Science Museum because I don’t work there. However, I’m very interested in theatre and the arts and

sites. In the last decade or so, there has been a greater

from listening or reading. For some people witnessing things, or being able to engage with live events can be a really powerful way of deepening understanding and educating. All these

major cultural institutions understand that. By seeing characters and being immersed in a story can educate people who don’t

get it from a textbook. So theatre has a really important role to play for any organisation looking to educate beyond the more traditional methods.

博物館和文物古蹟的核心組成一定是教育。在過去的十年間，有深

入的研究表明聽力與閱讀並不一定是人人適用的學習方法。對一些人來說，觀看或者親臨表演現場才是真正有效的理解和教育方法。

所有文化機構也都明白這個道理。因此，相比於其它傳統方法，對文化機構而言戲劇教育發揮了更重要的作用。

Interview with Nina Dunn, Video &

專訪《能量秀》影像設計師

ART.ZIP: How did you create the character i-nstein?

ART.ZIP:“ i-因斯坦（i-nstein）”的角色形象是如何設計的？

ND: Martin Lamb and Sam Mason, the creators of The Energy

ND:《能量秀》製作人馬丁·蘭姆（Mar tin Lamb）和山姆·梅森（Sam

i-nstein should look. He was more of a holographic looking

維人物造型。但受到珍妮特·伯德（Janet Bird）設計的蒸汽朋克啟

Projection Designer of the Energy Show

Show, approached me with a sketch idea of how they thought creature at that stage but after I saw Janet Bird’s steampunk

design I decided to incorporate both technology and industrial aesthetics into i-nstein’s appearance. We also thought his head

should be made from the ‘junk’ often accumulated by inventors

尼娜·鄧恩

Mason）曾經和我討論過他們初步的構思，當時他們是傾向一個三發，我決定將技術和工業的美學融入設計之中。另外，我們覺得用

發明家和科學家們積攢的“廢料”組成“愛因斯坦”的頭部是一個不錯的主意。

and scientists.

根據蒸汽朋克的想法，我向《能量秀》工作組展示了初期草圖和渲

I proposed the steampunk idea to rest of the Energy Show

製的。大家都愛這個點子，於是我們就緊鑼密鼓地展開建模與完善

team along with initial sketches and renders that I had

染圖，圖紙是由我與攻擊動畫工作室（At tack Animation）共同繪工作，再來就是製作動畫了。

developed with my 3D collective at Attack Animation. They loved it and so we proceeded to model and refine i-nstein before beginning the animation.

ART.ZIP: Why did you decide to give him the appearance that he has? Why did you choose to have a projection?

ND: He’s a real character who serves as a storyteller. Different

parts of his head have different functions including: a countdown clock for the final challenge, a gyroscope that shows when he

is thinking, a monocle to help him inspect the test results, and a microphone to match the cast onstage. We play upon his

robotic nature too, emphasising the power of the energy being created in the auditorium by having a moment when i-nstein malfunctions owing to too much static in the air.

The main reason was to bring the character of i-nstein to life and

ART. ZIP:能告訴我們是哪些原因決定了“ i- 因斯坦”的外表嗎？你為什麽在舞台上設置投影？

ND:“ i-因斯坦”在劇中擔當了旁白的重要角色。他頭部每一個部位有不同的功能：倒數計時器在最後的挑戰階段會開始運行，陀螺儀

會顯示他正在思維，單極天線幫他檢查測試結果，麥克風則表示他和演員對話。當然，我們也有展現他機械的一面，為了強調能量的

威力，劇中某一情節“ i-因斯坦”會因為實驗過程中產生了太多的能量干擾突然發生故障。投影的目的主要是為了“ i - 因斯坦 ”這個角色，還有一些趣味的粉筆動畫，同時也可以為演員預留充足的實驗

準備時間。我們不希望它看起來像在播放視頻，因此我建議以巨型黑板作背景，用影像錯覺的方法讓“i-因斯坦”看起來像浮動在屏幕前一樣。

A R T. ZIP:“ i - 因斯坦”虛擬地和其他演員們一樣出現在舞台上，這個製作過程是不是很有挑戰性？

to display the chalk-drawn illustrations in an engaging way. It also

ND:這的確是一個挑戰，但原因可能不是你想的那樣。動畫團隊做

We didn’t want it to look like it was just a video playing so I came

並茂地演繹他的角色。特別是當現場實驗發生巨聲爆炸時，觀眾

buys the performers time to prepare the experiments onstage. up with the concept of the giant chalkboard background and made i-nstein float in front of it using tricks of perspective.

ART.ZIP: Was it a challenge to make i-nstein’s presence feel as

real and animated as the other characters who appear onstage? ND: It was a real challenge but maybe not for the reason you’d expect. The animation team did an amazing job in keeping

了很多了不起的工作令“ i - 因斯坦”在現場演出的情況下能夠聲情的反應是無法預料的， “ 愛因斯坦”必須根據觀眾的反應給出不同的回應。這個很重要，不然他無法讓觀眾覺得他的“ 實時 ”在場。

“ 他 ”需要提示才能作出反應，所以前期大量的彩排工作就是要

準備數百種反應和提示並寫入程式。除此之外，我們必須確保“ i 因斯坦 ”將準確的信息傳達給觀眾，當“ 粉筆 ”在屏幕上書寫的時

候“i-因斯坦”還需要和它互動，讓觀眾在下一個實驗開始之前也保持著濃厚的興趣。

him active and expressive when he spoke but for i-nstein to

audience reactions to loud explosive experiments), he had to

be able to elicit different responses. This was very important as otherwise he wouldn’t appear in a real dialogue with the cast

or look as if he were acting spontaneously. He had to be cued in an instant, switching between speech, action, or rest. The

end result was lots of rehearsals and hundreds of action and

sound cues programmed into a media server. We also needed to make sure that a concrete scientific message came across from i-nstein; he had to interact very clearly with the chalk-

drawn explanations whilst keeping the audience’s excitement up for the next experiment.

ART.ZIP: Why do you think it was important that the

Science Museum put this show on? What benefits might it have for children?

ND: They have the chance to learn important facts about science through direct and dramatic experience. Children can witness

the power of elements being combined and the consequences

Nina Dunn, Video & Projection Designer of The Energy Show. 2015. Photo by © Syndi Huang

work in a live situation (especially one involving unpredictable

The Science Museum Energy Show - credit Benjamin Ealovega

of that combination. They will also be able to see how science

relates to life and hopefully they will want to find out more and experiment further with guidance.

ART.ZIP: What’s it like working on a science show set compared to working on a regular theatre set?

ND: We had to build a high level of functionality into the

ART.ZIP:為什麽在科學博物館上演《能量秀》很重要？孩子們能從中收穫什麼？

ND:孩子們能通過直接且戲劇性的體驗學習相關科學知識—— 在親

眼見證了元素組合後的力量和結果後，他們不僅能體會到科學和生

活的緊密性，我們也希望他們會想要主動去了解科學並且在引導下進行科學實驗。

design to allow the experiments to take place and to ensure

ART.ZIP:和普通的戲劇場景相比，科學劇場是怎麼樣的？

fact that the design was based on a crazy old science lab

ND:為了確保現場實驗順利進行還有演員使用設備的便利性，我們

be camouflaged among other intriguing props. Safety was also

實驗室為佈景，因此，我們可以將現場實驗用具隱藏在其他好玩的

equipment could be easily accessed by the performers. The

helped as it meant items used for the live experiments could

a huge consideration. The costumes had to be designed with gloves and eye protection as a crucial part of the look.

必須在設計中強調功能性設計。舞台設計是以一個非常陳舊的科學

裝飾性道具之中。另外科學劇場需要特別注意安全，在演員戲服中手套和護目鏡是不可或缺的。

RUNNING WILD 叢林奔跑 TEXT BY 撰文 x SOPHIE GUO 郭笑菲

What sort of friendship could be established between

人與動物之間可以有怎樣的友誼呢？人與自然之間的關

a relationship as conqueror and the conquered or as

切斯特青年藝術節(Chichester Festival Youth)上演的

humans and animals? Are humans and nature keeping equal and harmonious? This question was explored in the children’s theatre Running Wild via its wondrous and imaginative story presented by the Chichester Festival Youth in August 2015. The play combines

hunting and redemption with a subtle presentation of

emotional connections between humans and animals. The play is tinged with exotic atmosphere throughout: everyone is keen to help young Will go through the

tragic death of his father. His grandmother suggests that Will goes on a trip to Indonesia as a chance for

the boy to fulfil his dream in encountering elephants.

In the course of this journey, the unexpected happens as Will goes into the depth of the rainforest, struck by the tsunami on his elephant. In this adventure he not

係是征服與被征服還是和諧的關係呢？在2015年八月奇兒童劇《叢林奔跑》就是通過充滿想像力的生動劇情探

討這樣一個問題的，劇中有捕殺、有救贖、有人與動物無間的溫馨情感。

本劇的故事情節充滿著異域色彩：威爾( W i ll)的父親不

幸去世，大家都希望幫助這個小男孩度過生活的難關。

威爾的夢想就是有朝一日可以見到他夢寐以求的熱帶大象，因此他的祖母帶他去印度尼西亞度假，給了他一次實現夢想的機會。在度假的過程中，種種匪夷所思的事件發生了。威爾騎著大象深入到了海嘯後的熱帶叢林裡去。在他的冒險中，他有遇到善良可愛的熱帶動物，也與捕殺動

物的兇惡獵手抗爭。威爾最終逃脫了獵人和他們可怕的

老闆——邪惡的棕櫚油大王安東尼先生——的魔爪。儘管在逃脫中受傷，幸而有森林裡的猩猩、猴子、蛇和其他動物幫助威爾治癒傷痛，度過難關。

Chichester Festival Youth Theatre production of Running Wild. Alfie Scott (Will) with Oona. Photo Mike Eddowes

only encounters the adorable and innocent tropical animals, but

《叢林奔跑》的戲劇製作十分特別，採用

hunters and the evil palm of their terrifying boss, Mr Anthony the

劇情的推進，陪伴著演員們進入一個又一

also fights against the ferocious hunters. Finally Will escapes the oil king, but was injured during this process. Thankfully he has the orangutans, monkeys, snakes, and other animals from the

jungle heal his wounds and help him overcome the difficulties. The production of Running Wild was ultimately different.

Its open-air staging allowed the audience to accompany the performers proceeding through different scenes, to engage

closely with both the performers and animals, and to physically take part into the adventure. The director Dale Rooks made full

use of the freedom between the scenes and added a montage of sound to them. On top of this, he adopted life-size mannequins in collaboration with the puppet designers of the acclaimed

musical War Horse, Finn Caldwell and Toby Olié, in order to add

charm to the presentation of the story. Following Will, animals

and mannequins shuttling back and forth in the jungle endows the participants with an embodied experience, as if it was they themselves taking the adventure.

了完全開放的演出形式，觀眾需要跟隨著個場景中，與演員和動物們零距離接觸，一起參與到冒險的故事中。導演戴爾·魯克斯（Dale Rooks）利用場景的自由性，採用了蒙太奇的音響效果，並與著名戲劇作品《戰

馬（War Horse）》的木偶製作師芬·考德威爾（Finn Caldwell）與托比·奧利耶（Toby

O l i é ）合作，為本劇設計了真人大小的人偶，讓劇情更富趣味。這樣的跟隨著主角男孩威爾、小動物、木偶們穿梭於叢林中的觀劇體驗有一種非常身臨其境的代入感。

Jamie Birkett in Nutcracker! The Musical at the Pleasance Theatre, London. Picture: Pamela Raith Photography

NUTCRACKER! THE MUSICAL 音樂劇: 胡桃夾子

TEXT BY 撰文 x AMY HOLSON-SCHWARTZ TRANSLATED BY 翻譯 x CAI SUDONG 蔡蘇東

Children’s theatre often gets a bad rap as saccharine, simplistic,

“矯情、幼稚、老套”這樣的詞匯往往被用來批判兒童劇場。然而，

can understand them when they are reflected back on stage. At

的。和平獅戲劇製作公司（Peaceful Lion Productions，下稱PLP）

and trite. The truth is, children experience complex emotions and Peaceful Lion Productions, we do not believe in talking down

to children. Children might need a little more explanation of a complicated concepts but done in the right way children can really embrace the experience.

The best children’s theatre audiences are vocal participants in a

performance. If you’re doing something they don’t like, they will let you know, either by communicating with the characters on stage or by fidgeting uncontrollably in their seats. Children do not hide it if they become bored so when creating a new show it is very

important to pay close attention to the pacing of the narrative. Peaceful Lion Productions grew out of Artistic Director Ollie Fielding’s experiences at the University of Cambridge. As a

student, Ollie produced and directed an adaptation of Frances

事實上，舞臺上呈現的復雜情感，孩子們都是能夠感受並理解到堅信戲劇不應該在兒童觀眾面前擺出一副居高臨下的態度。孩子們在理解復雜概念時或許需要多一些解釋，但是只要方式正確，他們是會非常樂於體驗劇場的。

兒童劇場的最佳觀眾是那些會“發聲”的觀眾。如果他們不喜歡你

的表演，他們的反饋很直接，要麼開始逗舞台上的演員，要麽開始坐立不安。孩子們如果感到無聊了，他們就會表現出來。所以，在制作新劇目的時候，合理地把握敘事節奏就顯得尤為重要。

藝術總監奧利·費丁（Ollie Fielding）就讀於劍橋大學時的經歷孕育

了PLP。當時還是學生的奧利改編、制作並指導了弗朗西絲·霍奇森· 伯內特（Frances Hodgson Burnett）的經典小說《秘密花園（The

Secret Garden）》。原先他以為觀眾會是其他學生，但令他吃驚的是，到場的有很多帶著孩子的家庭。小觀眾對演出總是給予即時的反饋。這牢牢地抓住奧利的興趣。兒童劇場的即時感竟如此之強。

an audience of other students, he was surprised to see families

with children attending in droves. His young audiences provided

比起他們父母的禮貌有加，孩子們甚少會被束縛，所以你做得對還是不對，他們都會讓你馬上知道。

instant feedback and Ollie was hooked. Theatre for children

當我們談論兒童劇場的時候，如何定義“兒童劇場”是一件至關重

politeness than their parents and so they will let you know when

可以指兒童作為演員參與其中的作品。PLP所從事的屬於前者。經過

has immediacy. Children are less restrained by the mores of you’re doing things right or wrong.

When discussing children’s theatre, it’s important to define the

要的事情。兒童劇場既可以指專為兒童觀眾創作和表演的劇目，也長時間的選拔試演才確定雇用哪些專業演員，通常在新劇目上演之前，都會進行兩到三週的彩排。

term. Children’s theatre can refer either to productions written

我們的作品很多是基於圖畫書或小說制作的，這些既有的著作和

perform as a company. The work Peaceful Lion does falls into the

某本書，因此，買票的時候，他們至少知道演出的會是什麽故事。我

and performed for children or productions in which children

first category. We hire professional actors through an extensive audition process and rehearse as a company for two or three weeks before opening a new show.

Our work tends to be based upon picture books or novels. The

pre-existing work acts as a seal of approval. A family might have read the book to their child, so they know at least a little bit

what they’re getting when they book their tickets. Our challenge then becomes not just translating the story for the stage, but

故事保證了觀眾的認可度。來劇場之前，家人們或許給孩子們讀過們面臨的挑戰不僅僅是如何把書裡面的故事搬到舞臺上，還要解決

怎麽樣設計舞臺形象的問題。我們的新作《羅斯的神馬（Ro sie’s

Magic Hor se）》便是因為其出色的舞臺形象設計而令人過目難忘的。《羅斯的神馬》是羅素·霍本（Russell Hoban）的作品，插圖由

昆汀·布萊克（Quentin Blake）創作，我們必須把昆汀那種標誌性的繪畫風格在劇目中表現出來。

英國有不少兒童劇團，但是他們目前還是小眾團體。隨著倫敦西區劇院在過去幾年中上演的一些兒童書裡廣為人知的改編劇目，兒童

Rehearsal Photo. 2015. Photo by © Syndi Huang

Hodgson Burnett’s classic novel The Secret Garden. Expecting

the images as well. Our recent production of Rosie’s Magic

Horse was particularly exciting for that reason. Based

upon the book by Russell Hoban and illustrated by Quentin

Blake, we had to find a way to realize Quentin Blake’s iconic drawing style in our production.

There are a number of children’s theatre company which work in the United Kingdom, but it remains an underserved community. Children’s theatre is stepping into the mainstream, with West

End runs of some of the biggest titles in picture books over the course of the last few years. Children’s theatre tends to tour

throughout the country. Our usual model is to premiere a show at Christmastime in London and then tour throughout the rest of the year. We completed our biggest tour yet in November

2015, visiting thirty venues, not including three and a half weeks as part of the Edinburgh Fringe. This year, our venue complex in Edinburgh, the Pleasance, presented a record twenty-six shows

for children and families. Many of these productions likewise tour around the country and even around the world.

In addition to our mainstage productions for general audiences of children, we have a charitable initiative to perform theatre for children in hospitals. We take a bespoke production into

children’s wards and perform for kids who are ill or recovering from injuries, those who cannot otherwise leave. Being in

hospital is incredibly boring; our mission is to entertain. This

acts as both as a distraction from their current problems and a normalizing influence.

This year, we’ll be skipping the Christmas premiere of our new

劇場正在走向主流。兒童劇場的演出采用的是全國巡演的方法。我

We’re transitioning from being a dedicated children’s theatre

裡進行巡回演出。我們在2015年十一月完成了迄今最大型的巡演，

children’s show in favor of a world premiere of a new musical. company into performing for families with a production of

Nutcracker! the Musical. The show uses the music written by Pytor Ilyitch Tchaikovsky for his classic ballet The Nutcracker,

but takes the story from the ballet’s original source material, ETA Hoffmann’s The Tale of the Hard Nut.

This show is intended to appeal to families and musical

theatregoers. Whereas in the past we’ve targeted our shows at children ages three to eight and their adults, we are very clear

that, with Nutcracker! the Musical, anyone over the age of six

will be entertained. It is an all-singing, all-dancing extravaganza. The story is full of pathos and encourages imagination.

There challenges associated with creating theatre for a family

remain similar to creating a show for young children, but we have to be mindful of our mission; we create work with a dash of style

and a hint of spectacle for audiences of all ages. The six year-olds

們一般於聖誕期間在倫敦劇場進行首演，然後在接下來一年的時間

我們到過三十個劇場演出，這還不包括在愛丁堡藝穗節（Edinburgh

Fr inge）期間為期三周半的演出。今年，我們在愛丁堡的遊園劇場

（The Pleasance）創下了出演26場兒童家庭劇目的記錄。在這裡演出的許多劇目進行了全國，甚至是全世界範圍的巡演。

除了面向普通兒童的作品，我們也給住院的患兒進行慈善演出。我

們為病房裡的孩子進行定制化的表演，那裡的孩子要麽身患疾病，要麽正在康復之中尚未出院。在醫院裡的生活是極其乏味的，我們

的任務就是去讓孩子們開心起來。我們的演出讓這些孩子將注意力從病患上轉移開，也讓他們覺得住院的生活和正常的生活並無二致。

今年，我們不進行聖誕節的兒童劇目首演，因為我們有一出音樂劇的

世界首演。隨著音樂劇《胡桃夾子！（Nutcracker! the Musical）》的推出，我們公司的方向開始從專注兒童劇場轉變為面向家庭觀眾進行表演。該劇配樂使用的是柴科夫斯基（Pytor Ilyitch Tchaikovsky）為其

經典芭蕾舞劇《胡桃夾子》譜寫的音樂，但是劇情卻采用了該芭蕾舞

World in 80 Days, and The Ballad of Robin Hood. These are

all in addition to local panto performances. A panto is a peculiarly British theatrical form which mixes fairy tales, comedy, and pop

music to create a family-friendly festive performance. While these shows are ostensibly our competition, the plethora of family shows in the holiday season has grown up around a healthy

audience and longstanding tradition, of which we are very happy

劇的原始材料，即霍夫曼（ETA Hoffmann）的《堅果傳說（The Tale of the Hard Nut）》。

該劇旨在吸引家庭以及音樂劇愛好者。我們過去的作品面向的是三

至八歲的兒童及其家長，因為有這樣的經驗，我們相信音樂劇版本

的《胡桃夾子》將能夠取悅所有六歲以上的觀眾。它是一場充滿歌唱、舞蹈的盛大表演。故事充滿悲愴的情感，同時鼓勵觀眾放飛想象。

以家庭觀眾為目標群體的劇場所面對的挑戰和兒童劇場面對的挑戰很相似，我們還是必須謹慎；我們創作的作品頗具風格，所呈現的劇

目是要面向所有年齡層次觀眾的。六歲的孩子觀看我們的劇目，其所獲得的享受必須和比其年長的兄弟姐妹、父母和祖父母一樣多。

who are attending the show have to have the same amount of

enjoyment as their older siblings, parents and grandparents, but whilst a six year-old might be dazzled by dancing sweets, his

or her ten year-old sister will find themselves frightened by the chorus of evil mice, parents enjoy the cleverness of the lyrics,

但是，讓六歲孩子覺得新奇的是那些會跳舞的糖果；他/她十歲的姐姐則可能會覺得那些邪惡的老鼠的合唱讓她心裡發毛；對於父母來

說，他們享受的是蘊藏於歌詞中的智慧；而祖父母則會回憶起年輕時看過的那出《胡桃夾子》芭蕾舞劇。面向觀眾規模如此之大的作品，需要我們進行多層次的細致編排。

and grandparents recall the Nutcracker ballets of their youth.

在英國，聖誕節是個觀看戲劇的大好時機，僅是倫敦就有許多面向

approach to direction.

《瑪蒂爾達（Matilda）》、《魔法壞女巫（Wicked）》、《獅子王（The

A production on this scale requires a many-leveled, nuanced

Christmas is a popular time for theatergoing in the United

Kingdom, and London itself plays host to a number of family

productions. There are the ongoing productions on the West End which appeal to families, such as Matilda, Wicked, The

Lion King, and Charlie and the Chocolate Factory. Then

there are seasonal productions, which usually take Christmas or winter as a theme. This year, Elf the Musical, based upon the

well-known film, has opened in a large West End theatre. A starstudded production of A Christmas Carol is also playing on

the West End. In smaller theatres around London, family-friendly fare abounds, including productions of Ben-Hur, Around the

家庭的劇目演出。比如說，目前正在倫敦西區演出的家庭劇目就有

Lion King）》以及《查理和巧克力工廠（Charlie and the Chocolate Factor y）》。還有一些以聖誕節或者冬季為主題的季節性作品演出。今年，改編自著名電影的《聖誕精靈（Elf the Musical）》就已經在西區

劇場上演。明星薈萃的《聖誕頌歌（A Christmas Carol）》也在西區上演。倫敦周邊的較小劇場中，也有豐富的適合家庭觀看的劇目上演，比如說《賓虛（Ben-Hur）》、《環遊世界80天（Around the World in 80 Days）》以及《羅賓漢（The Ballad of Robin Hood）》。除此之外，還

有不少本地童話劇的演出。童話劇(Panto)是一種英國獨有的戲劇形式，其融合了童話、喜劇以及流行音樂，形成一種適宜家庭觀看的節日

表演。儘管從表面上看，這些表演都是我們的競爭對手，但是，這種在

節假日期間家庭劇目豐富多彩的現象，因為有著健康的觀眾基礎以及由來已久的傳統，能成為這道風景中的一部分，我們倍感榮幸。

Kris Webb in Nutcracker The Musical

to be a part.

When we talk about opera, especially in modern times, it is

當我們談及歌劇，尤其是在現代時期，它總是關於上層╱中產階級

class. In the late 1950s, a piece called Noye’s Fludde premiered

Fludde）》首演於艾德堡藝術節（Aldeburgh Festival），由傳奇般

often regarded as a high art form for the rich or upper-middle at the Aldeburgh Festival, composed by the legendary British composer Benjamin Britten, which began to make people

see opera differently. It is an opera for everybody. Not only

because of its content, but because of its unique function in

bringing singers and musicians -both professional and amateurtogether to make an opera within the community. The joy of

的英國作曲家班雅明‧布理頓（Benjamin Britten）所作。它改變了人們觀看歌劇的角度。它是一個屬於每個人的歌劇作品。不只是因為它的內容，也因其將業餘愛好者與專業音樂家置放在同一舞台上

的創舉，它成為社群團體中的共同歌劇。其獨有的曲調樂譜與參與過程之愉悅，使得它成為今日最受歡迎的兒童歌劇之一。

its participatory process accompanied by the exceptionally

它根據15世紀於切斯特（Chester）一個講述關於諾亞、洪水與方舟

children’s operas of today.

劇應當於教堂或大禮堂中表演，而不是於劇院。空間應該夠寬敞以

well-composed score made this opera one of the most popular

It is based on the 15th century Chester “mystery” or “miracle” play which recounts the biblical story of Noah, the flood, and the ark. Britten specified in the score that: “The opera should be staged in churches or large halls, not in a theatre. The space should be large enough to accommodate actors and an orchestra,

with the action on raised rostra, but not on a stage removed from the congregation. No attempt should be made to hide

Rehearsal Photo of Noye’s Fludde. 2015. Photo by © Syndi Huang

與富人們的高尚藝術。在 1 9 5 0 年代晚期，《諾亞的洪水（N o y e ’s

的聖經故事。布理頓於稍後關於其樂曲所作的說明中表示：“這歌

容納演員與交響樂團，伴隨自指揮台而起的動作，而非自教堂會眾

而生的舞台。不應該擋住得以看見交響樂團的視線。指揮家應當位於隨側，因此他可以輕易地更進一步以指揮觀眾。這在演出過程中

扮演了相當重要的角色。歌手團包含了兩個專業的演唱家（諾耶夫婦），而剩下的成人角色與大合唱，則由孩童負責，且部分的歌曲也將與觀眾一同演唱。這交響樂團有兩種形式，專業者與孩童（業餘

者）。這樣的配置讓專業的弦樂演奏組能盡可能地靠近指揮家，因此他們能引導彼此的互動與那些業餘者的組成。”

NOYE’S FLUDDE 諾亞的洪水

TEXT BY 撰文 x ZOU SHUANG 鄒爽 HARRY LIU 劉競晨 TRANSLATED BY 翻譯 x JAY LAI 賴駿杰 CAI SUDONG 蔡蘇東

the orchestra from sight. The conductor should be to the side,

presentation of the show is equally as important as the process of

congregation, which has to play a large part in the proceedings.

any opera (except there are no operatic divas).

but placed so that he can easily step forward to conduct the

The singers are to include two leading professional singers for

the parts of Noye and Mrs. Noye. The rest of the adult roles and

making it. It’s simple but fun, with a lot of work -- just like staging

chorus are played by children and some parts are jointly sung

我們可以看出其完全是根據社群的精神，以及所有不分老幼、階級

and children (amateurs). Its layout is set so that the professional

物角色。音樂的簡明性，與其音樂布局中不可見的精妙，讓它具有值

by the congregation. The orchestra is of two kinds, professional strings are near the conductor as much as possible so they may act as contacts for their amateur counterparts.”

One can see it is fully designed for the spirit of community

and passion from all music lovers regardless of their age, class

and background. It is a simple story that everyone knows with

與背景的音樂愛好者所設計。它是個簡單的故事，還有眾人所悉的人

得學習的價值。由於演唱及表演的簡易，它給予業餘愛好者更多空間去參與歌劇。對一位導演來說，記住這歌劇背後的精神是相當關

鍵的，以及認知到關於一個表演的製作過程，與其演出呈現同樣重

要。它簡要好玩，但同時，它亦如其他歌劇一樣需要相當多的努力，只是舞台上沒有大牌歌劇家罷了。

identifiable characters. The simplicity in the music coupled with the unseen sophistication in its musical arrangement made the piece extremely rewarding to learn. It also allows more room

for the amateurs to engage with the staging of the opera as it is neither difficult to sing or play. For a director, it is important to remember the spirit behind this opera and to ensure that the

Interview with Zou Shuang, Director of Noye’s Fludde

ART.ZIP: Would you please talk about the difference between

專訪《諾亞的洪水》導演鄒爽 ART.ZIP：請給我們介紹一下兒童歌劇和其他兒童劇的主要區別在哪裡？

children’s opera and other theatres for children?

Z S：兒童歌劇最大的特色就是它的教育性，它是通過歌劇的形式

ZS: The biggest feature of children’s opera is the educational

夠對歌劇產生興趣。就拿《諾亞的洪水》舉例來說，他是本傑明·布

function it serves. Through opera performance, people have a better understanding of the art, and those who never

experience it before may become interested in it. Take Noye’s

Fludde for example, it is an opera solely tailored for children

by Benjamin Britten, and because it is an opera for children,

the composer has to consider the singers/actors professional

capability and audience demands while maintaining the work’s

來讓更多的人了解歌劇這種藝術形式，讓沒有接觸過歌劇的人能里頓（Benjamin Brit ten）編曲創作的一部特別為兒童量身打造的歌劇，也正因為是兒童歌劇，所以作曲家必須要在保證“ 歌劇 ”形

式的同時兼顧到歌者／演员的专业能力和觀眾的需求，因此是非常

有挑戰的，這也正是布里頓的偉大之處。而且，歌劇是個非常龐大和系統性很強的藝術形式，從故事、表演、觀念、導演、音樂、演員等方面都必須精心設計和配合才能有好的作品。

operatic form, thus it is very challenging—and that is also why

ART.ZIP：為什麼很少見到兒童歌劇的演出呢？

and highly systematic art; a good work requires meticulous

ZS：因為兒童歌劇的作曲很少，《諾亞的洪水》這部兒童歌劇算是開

directing, music and actors.

專業的藝術形式能夠讓更多的“非专业”人士也可以參與進來，感受

Britten is so great. Moreover, opera is an enormously complex planning of and coordination among story, acting, concepts,

ART.ZIP: Why are operas for children rarely seen? ZS: Because compositions for children’s operas are rare. It is fair to say Noye’s Fludde is one of the first and ground-breaking

one of its kind. The credit, again, goes to Britten who takes on a

challenging endeavor to involve more “amateur” audiences into

天闢地的作品，也是布里頓的發明，他嘗試挑戰將歌劇這樣一種純歌劇的魅力。

A R T. ZIP：那麼從市場角度來看，兒童歌劇現在處在一個什麼樣的地位？

ZS：因為兒童歌劇這個形式本來的初衷就是讓更多的人能夠體驗歌

劇和感受歌劇，參演的很多都是兒童和非專業人士，這樣的組織方

such an extremely professional artistic form and enable them to savor the charm of the art.

ART.ZIP: In terms of market, how is children’s opera positioned now?

ZS: Currently children’s opera is basically intended to enable more people to experience and appreciate operas and

organized in a way where most performers are children and

non-professionals. It is difficult to sustain commercially and if

see how a story about the beginning of time is told in the current cultural and social context, and I also expect to have feedbacks from audience with various backgrounds and cultures.

式很難進行長時間的商業演出，而且，如果真的進行長時間的商業演出，其實那也就失去了其本來的意義了。

extended commercial performance is made possible, it does in

ART.ZIP：作為導演，你覺得在倫敦上演的這部劇和你以往的作品有

ART.ZIP: As the director, what differences are there between this

Z S ：這次的演出場地是在倫敦市中心的考文特花園（ C o v e n t

fact lose its intended meaning.

show, which is staged in London, and your other ones?

ZS: The venue is St. Paul’s Church, which is beside Covent Garden in the centre of London, and close to the Britain’s best two opera houses. We are staging a biblical story in a church, and I am a director with foreign culture backgrounds. So from whatever

perspectives, this work is an interesting one. It is interesting to

什麼區別？

Garden）旁的聖保羅教堂（St. Paul’s Church），它旁邊就是兩家

英國最好的歌劇院。這是在教堂里演出聖經裡的故事，而我卻是一個來自於外來文化的導演，所以從各個角度來說都是很有意思的一

個作品，看一看這樣关于人类文明起源的故事被置於當下的語境之中會是一個什麼樣的故事，我也很期待來自不同背景和不同文化的觀眾給我們帶來的反饋。

Shuang Zou, co-founder of Lanterna Vision UK,

鄒爽，英國燈影制作公司聯合創始人，是一

from London Film School with Distinction in

名譽畢業於倫敦電影學院導演碩士，電影作

Directing. Her film STILL won Canada International Film Festival and London Young Film Festival.

Subsequently she worked as assistant director on major opera productions in the UK and around Europe. Highlighted productions include Royal

Albert Hall Madam Butterfly, three times revival for site specific opera Noye’s Fludde by Northern Irish

Opera, rare Vivaldi operas at Garsington Opera UK. She wrote the book for new musical Wonderful

Adventures of Nils and won the Golden Lion Award in China. Her company creates multi-media design opera/theatre projects around the world including the most recent fully staged version of Messiah at Frankfurt Opera and Royal Danish Opera.

位電影／舞臺編劇／導演。她以一等優秀生

品《依舊》獲得加拿大國際電影節和倫敦青年電影節最佳作品獎。鄒爽在英國和歐洲諸多歌劇院團擔任過執行導演，包括皇家阿爾伯特大廳的《蝴蝶夫人》，北愛爾蘭國家

歌劇院的《諾亞的洪水》和英國凱辛頓歌劇院的罕見的維吾爾帝的歌劇作品。她為音樂劇《尼爾斯騎鵝歷險記》擔任編劇和中文作詞，該劇獲得中國戲劇金獅獎。她的公司燈影制作在世界各地設計多媒體歌劇和戲劇，包括近期在法蘭克福歌劇院和丹麥皇家歌劇院的全舞臺版《彌賽亞》。

Zou Shuang. Director of Noye’s Fludde.

is a film/stage writer/director. She graduated

WHERE THE WILD THINGS ARE 野獸冒險樂園 TEXT BY 撰文 x SOPHIE GUO 郭笑菲

Composers after Schoenberg began to situate modern serious

勳伯格（Schoenberg）之後的作曲家們逐漸把現代嚴肅音樂置於聽

of the masses. Composers from Britain, whose names couldn’t be

聲匿跡兩百餘年的英國作曲家此時呈現井噴似的出現。不列顛流行

music in opposition to the audience, distancing it from the tastes found in the filed of serious music for over two hundred years, are now increasingly gaining visibility. Unlike the German and

Austrian musicians who tend to favour abstruse and metaphysical themes, their British rivals—under the influence of British culture as a mix of the popular and the traditional—are committed to

create works that suit the taste of the general public. Written by

British composer Oliver Knussen, the children’s opera Where the

Wild Things Are is exactly the kind of work that is accessible

and appealing. The theatre is adapted from the illustrated

children’s book written by the American illustrator Maurice

Sendak. Where the Wild Things Are is a fairytale for both adults

and kids. It escapes the restrictive themes of traditional operas,

眾的對立面，與符合大眾的欣賞口味區隔開來。在嚴肅音樂領域銷與傳統並重的文化影響使英國的作曲家們更加致力於寫出為社會及

民眾接受的作品，而不是像德奧音樂家般偏愛艱深玄奧的題材。由英國作曲家奧利弗·克努森（Oliver Knussen）創作的兒童歌劇《野獸冒險樂園（Where the Wild Things Are）》正是一部平易近人而

又充滿魅力的作品。本劇根據美國插畫家莫里斯·森達克（Maurice Sendak）創作的同名兒童圖畫故事改編。《野獸冒險樂園》是一部

適合大人和孩子一起欣賞的童話故事，它祛魅了傳統歌劇題材的困束，描繪了一個單純的，充滿幻想和魔法的世界，劇情十分簡單，全劇圍繞著小男孩主人公馬克斯（Max）的歷險故事進行，馬克斯由於

淘氣而和媽媽發生了爭吵，被媽媽懲罰關在了小黑屋。他旋即睡去，在夢中逃入了一個神秘的森林，闖入了未知的野獸國度。

but builds a simple, magical world full of imagination. The story is

這部歌劇 1 9 8 0 年首演於比利時布魯塞爾的皇家鑄幣劇院（ l a

Max, and his adventure. The naughty boy had an argument with

來巴比肯藝術中心（Barbican

straightforward: it revolves around the young protagonist, called

M onnaie）獲得了成功，乃至成為各大劇院常常演出的劇目。近年 Ar t

Centre），洛杉磯沃爾特·迪士

his mum who then punished him by locking him in a dark

and simple, full of charm. The creator pushed his imagination to

into secret wood, unconsciously breaking into an unknown

constructing an appealing world. The composer used music in

room. Max, however, fell asleep and escaped in his dream kingdom of beast.

extreme, using the elements of sea, land and talking animals in dragging the world onto the stage of fantasy.

Making its debut at the Belgian la Monnaie Theatre in 1980, the successful Where the Wild Things Are has been favoured by many major theatres, such as the Barbican Arts Centre

尼音樂廳（Walt Disney Concert Hall）都曾上演。本劇在巴比肯藝

performed at Barbican, took up a semi-stage form—the

身著演出服裝的歌劇演員同台演出，導演通過動畫光影技術把整個

and the Walt Disney Concert Hall in LA. The latest version, orchestra was positioned on the same stage with the opera singers in costume. The director had transformed the stage into a wonderland full of colour and fantasy by means of

animated lighting. Within his music, the composer Knudsen

paid tribute to Ravel’s Mother Goose and Stravinsky’s opera The Nightingale; his music is subtle and refined, refreshing

術中心的演出版本採用半舞台（semi

stage）的形式，管弦樂隊將和

舞台精心打造成了一個充滿奇幻要素，五彩斑斕的異度世界。在音樂

方面，作曲家克努森（Knudsen）向拉威爾（Ravel）的《鵝媽媽的故事（Mother

Goose）》與斯特拉文斯基（Stravinsky）的歌劇《夜鶯

（The Nightingale）》致敬，音樂精緻細膩，清新質樸，趣味性十足。創作者寓情想像，用大海、島嶼、會說話的動物建構了一個令人神往的世界，作曲家用音樂把這個世界搬上了奇幻的舞台。

FESTIVAL When I was young, I eagerly awaited every festival, for their cheerful atmosphere and exciting

moments, though there would also be feelings of emptiness and loss after each one. For many

people festivals often become classic childhood memories. After growing up and changing living circumstances, apart from ‘public’ holidays, it’s difficult to stimulate my interest in those festivals

to the same extent. Fortunately, with a change in circumstances comes a change in expectations. I

assume the British look forward to festivals like I do; there are so many festivals going on around the

UK, especially the the various types of art festivals, offering a chance for indulgence and celebration, with children and young people remaining a large part of their audiences.

在我小的時候，每到逢年過節都會歡快無比，沈浸在濃鬱的節慶氛圍當中興奮異常，而節慶過後那種失落

和對下一次節日的期盼已經成為了一種儀式性的童年的記憶。隨著慢慢長大或者是生活境遇的變遷，法定節日除了“ 放假”以外，已經很難再激發出我的半點興趣，然而，小時候期盼的天天過節的日子卻不期而遇了。我想英國人應該是和我一樣曾經擁有一個天天過“ 節”的夢想，名目繁多的節日都在這裡馬不停蹄地上演，特別是不同形式和內容的“藝術節”，讓大家擁有各種放縱和狂歡的機會，這其中孩子們和青年人則是必不可少的部分。

Curious Seed - Chalk About image eoin carey

“IMAGINATE” BRAVERY 勇敢“狂想”

INTERVIEWED EDITED BY 採訪整理 x STRUAN ROBINSON TRANSLATED BY 翻譯 x KE QIWEN 柯淇雯

The Imaginate Festival is Scotland’s international festival of performing arts for children and young people. Every year the Festival

presents the finest selection of shows from Scotland and across the world; each and every one adding their own wonderful character and zest to a programme of exciting and stimulating shows to suit children and adults of every age. Not only that, the event has

established itself as one of the best places for programmers from all over the world to see work of the very highest standard. It has also become a place where artists meet, to see and discuss work and take part in professional development activities.

狂想藝術節（Imaginate Festival）是一個在蘇格蘭舉辦的國際青少年表演藝術節。每一年，這個藝術節都會為大家精選并呈現來自世界各地以及蘇格蘭當地最高品質的戲劇表演項目；每一部作品都極富個性，滿足了不同年齡層觀眾的需求。不僅如此，狂想節也是世界各地編導和戲劇專業團隊的朝聖之地；同時更是孕育藝術家的搖籃，鼓勵藝術家用眼看、用耳聽、用心去交流。

Frozen Charlotte productions PAPERBELLE image - Paul Watt

Interview with Paul Fitzpatrick,

專訪狂想藝術節執行總監

ART.ZIP: How did Imaginate begin?

ART.ZIP: 可不可以給我們簡單介紹一下狂想藝術節的由來？

PF: Twenty-seven years ago, Imaginate used to take place in

PF:二十七年前，在愛丁堡的一個公園內，以一堆帳蓬為主場，以各

and centred on fun activities while getting families out and

當時颳風下雨的天氣非常不利於室外演出。當前任執行總監托尼·里

Executive Director of the Imaginate Festival

Inverleith Park in Edinburgh. It was staged in a series of tents about. Performing in tents in a windy, rainy park affected

the quality of the theatre on display. At the time when my

predecessor, Tony Reekie, took over the festival, he was seeing work from Denmark, which was some of the most exciting

theatre for children you could imagine. Stuff that hadn’t been seen in Scotland or even in the UK. He wanted to bring it

over here but couldn’t stage it in tents, so he decided to shift

Imaginate’s focus away from the more outdoor activities, and

towards taking over theatre spaces in Edinburgh. It became an international festival with a focus on the high quality theatre

保羅·菲茲帕特里

種娛樂活動吸引一家老小到室外狂歡，這就是狂想節最初的畫面。

基（Tony Reekie）剛上任時，他正好看到了幾部非常棒的丹麥兒童劇，這些劇目都不曾在蘇格蘭或者英國上演，而且這些劇目都是那

種特別具有創造力的作品，是超乎想像的，令人激動的兒童劇場作品。為了能展示這些優秀的作品，他決定將狂想節的重心從室外表

演轉向打造室內劇場表演。從那時起，狂想藝術節成為了一個專注于北歐地區高質量戲劇表演的國際藝術節。

A R T. ZIP:狂想節的宗旨是讓每個人都能接觸到高品質的戲劇與藝術，包括兒童。為什麼你認為戲劇與藝術教育對兒童的成長很重要？

being created in northern Europe at the time.

PF:藝術培養了我們的創造力和情商。在我看來兒童只是還沒有長

ART.ZIP: At the heart of Imaginate is the idea that quality

涉世未深的年輕生命，但卻有著不可估量的情感和智慧，他們可以

theatre and the arts should be for everyone and not exclude

成大人的模樣罷了，他們也是觀眾，我們必須一視同仁。兒童是一群將複雜的場景和藝術觀念巧妙地結合在一起。如果我們不為他們創

children. Why do you believe a theatrical and arts education is

造接觸和享受戲劇和藝術的機會，那麼他們的生活將失去很多有趣

PF: It’s through the arts that we develop our creativity and our

A R T. Z I P : 可不可以給我們介紹一下狂想節的“ 創新發展計劃

emotional intelligence. One of the things that’s very important to

me is the idea that children are small people; they’re not adults in

的部份。

（Creative Development Programme）”？

the making. We have to grant them the same respect as audience

PF:我們旨在讓更多的兒童接觸到更高品質的戲劇。雖然蘇格蘭有

human being with fewer experiences than a grown-up. Children

創作。 “創新發展計劃”為有意向或者正在創作兒童作品的舞蹈和戲

members that we give to adults. A child is only ever a smaller

have huge emotional and intellectual capacities and their ability to connect with really complex scenes and artistic concepts is

incredible. If we don’t provide them with that opportunity it will deprive them of having a well-rounded life.

ART.ZIP: Can you tell me a bit about your Creative Development Programme?

PF: What we’re aiming to do is bring a higher quality of work

to a greater number of children. Although Scotland has some

of the world’s best theatre-makers, there’s simply not enough of them. We need more artists creating work. Our Creative

Development Programme is geared towards dance and theatre

一些世界一流的戲劇團隊，但遠遠不夠，我們需要更多的藝術家來劇藝術家們提供創作和挑戰自我的平台：例如為藝術家提供資金支

持和駐留項目。去年的駐留舞蹈家是漢娜·維納（Hannah Venet），她一整年在蘇格蘭以及海外的創作、學習、實踐費用都是由我們機構支持的。

當然，我們也會委託藝術家創作作品。幾年前，藝術家克里斯汀·德瓦尼（Christine Devaney）接受委託創作了《粉筆繪（Chalk About）》，在

狂想節大獲成功後，緊接著就是世界巡演，2015年在悉尼歌劇院，2016 年在新西蘭國際藝術節上演。

A R T. Z I P : 那什麼是“ 創新學習計劃（ C r e a t i v e L e a r n i n g P r o g r a m m e ）”呢？

artists who are either interested in, or are currently creating,

PF:“ 創新學習計劃”的概念是讓學校和孩子們保持一個深刻而持久

to create more work and challenge themselves. There’s a whole

尾。我們會尋找到最好的戲劇來配合課程大綱，如果反其道行之的

pieces for young people. We provide them with the opportunity range of things we offer the artists; from giving them the

money to see productions that might inspire them, to having

artists in residence. Last year, we had a dance artist in residence

的參與度。我們嘗試用狂想節作為引子或作為一系列課程計劃的結

話會大大限制了課程的靈活度。通過資源整合或是研討會等形式，我們帶領學生和老師走進戲劇的世界，令他們的戲劇之旅更加深刻且豐富多彩。

Junges Ensemble Stuttgart presents Johannes & Margarethe image Karolin Back

necessary in a child’s life?

called Hannah Venet; we supported her for a year to make

ART.ZIP: 你在這裡工作的理由和動力是什麼？

both Scotland and abroad.

PF:這背後有個真實的故事，但很多人都覺得是我杜撰的。二十多年

We commission performers. A few years ago we commissioned

丁堡參加狂想藝術節，當我看到那些作品，那些高度視覺化、引人

compositions, learn about her practice and explore the sector in

an artist called Christine Devaney to make a show called Chalk

About, which premiered at the Imaginate Festival and went

on to tour the world. Christine is at the Sydney Opera House in 2015 and at the New Zealand International Art Festival in Wellington in 2016.

ART.ZIP: What is the Creative Learning Programme? PF: The concept of the Creative Learning Programme is to have a

入勝、絕妙的敘事手法一下就喚起了我想成為一名戲劇製片人的決心。我不曾見過這樣好的作品，不禁感嘆：“這類作品就是我想要的。”之後我成立了戲劇公司，也曾向托尼討教過經驗。他的建議都

十分受用，當時的我根本無法想像二十年後的一天我有幸帶領著整個團隊做事！

ART.ZIP:狂想節的劇迷們如今已經遍佈全球。這其中成功的秘訣還有魅力是什麼呢？

deep and lasting engagement with schools and children. We try

PF: 我想應該是在策劃和劇目選擇上大膽和前衛的風格吸引了越來

lesson plans. We search for and present the best work we can and

作品並不總是需要取悅大眾，但我們希望成人和孩子能同時享樂

to use the festival as a stimulus or as the end product in a series of

then find the routes into the curriculum. We don’t tend to look for issue based work or productions that are going to tick a particular

box on the curriculum. Our job is to find the very best work and help pupils and teachers find a way in, whether that’s through a resource pack or workshops. There’s a whole host of things that we will do to

越多的觀眾。我們要求作品必須挑戰美學、引人入勝和知識豐滿。其中。我認為這就是成功之道吧。我們帶來的劇目大多都是首次登陸英國，這裡的觀眾不知道他們將會看到什麼樣的表演，但隨著屢

次的成果累積，我們取得了大眾的信任，他們很願意與我們一同冒險。這也恰是狂想節與眾不同之處。

make their theatre visit as rich and as engaging as possible.

ART.ZIP: 在這些年中，狂想節遇到了哪些挑戰和困難？

ART.ZIP: What drew you towards working for Imaginate?

PF:讓觀眾真正理解什麼才是好的作品是很困難的。因為成年人一直

PF: Well, there’s a true story behind this but people don’t believe

造成了這樣的誤解，不得不承認他們形容的這類作品的確存在。但

me because it sounds made-up! Over 20 years ago, I went to

drama school in Glasgow to train as an actor. One May, aged 19, I went to Edinburgh to see the Imaginate Festival. I saw work there that really chimed with my passion as a theatre-maker

because it was highly visual work, deeply engaging, and great

storytelling - all of which are very important to me. I hadn’t really The Last Great Hunt - Alvin Sputnik image Michelle Robin Anderson.

前，我在格拉斯哥的戲劇學校接受演員培訓。那年我19歲，我去愛

seen productions like that anywhere else. It made me say, ‘That’s the sort of work I want to make’. I set up a theatre company and

came to Edinburgh to have a meeting with Tony Reekie, the then Executive Director of Imaginate, to ask his advice. He gave me

some great guidance but little did I know that 20 years later I’d be running the organisation!

ART.ZIP: Imaginate has been popular with audiences from around the world. What is it about the festival and the

organisation that makes it so successful and attractive to young people?

PF: I think it’s the bravery of the programming. We programme work that is artistically challenging, emotionally engaging, and

intellectually rich. It does not always necessarily have to be crowd

pleasing but it’s work that adults and children can enjoy together.

誤認為兒童劇只是有趣的、華麗的，卻不具備藝術價值。有各種原因是我們知道兒童劇既可以非常有藝術價值，同時可以有深刻的教育

意義。雖然人們先入為主的觀念已經存在了，但我希望狂想節能讓

I think that’s really essential to the success of the festival. The work

massively successful internationally. If you go to festivals or

really know what you’re going to get, but time and time again our

convinced that everyone locally in Edinburgh has heard of it. It’s

is beautiful, often being seen for the first time in the UK. You never audience tells us that they trust our choices and they’re willing to take a risk along with us. That’s what sets Imaginate apart. ART.ZIP: What are the challenges that the festival has to negotiate or work its way around?

PF: A huge challenge is the perception of what great

theatre and dance actually is because I think there’s still a

misconception amongst grown-up people that performance for children is a bit of fun, a luxury, and it’s not artistically valuable. There are reasons why people draw those conclusions and

there’s even the argument that there is that kind of work out

there but we know that performance for children can be very valuable and necessary. It’s a case of getting past people’s

preconceptions. What I love is when people come to Imaginate

venues overseas, everyone has heard of Imaginate, but I’m not as done a tremendous job internationally and now it’s going to do

a great job here in Scotland. It’s a real gem of a festival and more people need to know about it. I want to develop the visibility of the festival in the city.

Our Creative Development Programme is going to go from

strength to strength. We’ve just got some funding to do a yearlong digital project, which is going to be working with young people across Scotland on a digital platform. They’ll create a performance score, which they will then perform live.

他們徹底推翻原有的觀念。因為觀眾們會看到真正的高品質戲劇，絕對不亞於成人戲劇，事實上許多兒童戲劇甚至會更為精彩。

and then completely change their point of view. It’s about

ART.ZIP:作為新任執行總監，你有什麼期許嗎？對未來有什麼計劃？

with adult productions, and not in any way dumbed down just

PF:深入本地市場是目前的首要任務。狂想節已經取得了足夠的國際

more challenging than adult pieces.

我卻沒法保證在愛丁堡做到家喻戶曉。現在我們要將重心放到本地

showing them that this work is really high quality, on a par

because it’s for children. In fact, a lot of it is more exciting and

ART.ZIP: Now that you’ve come into this new post, what are you hoping to do? What are your aims for the future?

PF: The big thing is getting the festival into the fabric of what it means to be a child or a family in Edinburgh. We’ve been

聲譽。如果你參加海外的藝術盛事，幾乎每個人都聽說過狂想節，但市場，讓更多當地居民了解狂想節的價值，所以提升它本地的知名度是當務之急。

我們的“ 創新發展計劃 ”在不斷壯大，其中一個數字藝術項目剛得到一整年的經費補助，該項目是在數字平台上與蘇格蘭的年輕人互動，他們建立了一個評分機制來為現場表演即時打分。

Interview with Noel Jordan,

專訪戲劇節總監

ART.ZIP: What’s your process to programming the festival? What

A R T. ZIP:請問您是如何規劃狂想節的？在挑選節目時你看重哪些

NJ: I basically look for good theatre. Colleagues have asked me in

NJ:基本上我以尋找好劇為準則。同事們有問過我如何定義一部劇

‘Good theatre is good theatre, whether it’s for children or adults’.

流，有生命力，並把觀眾帶入場景裡。我沒有設定評判標準，而是

Imaginate Festival Director

do you look for in the shows that you invite over?

the past, ‘Well, how do you assess and define that?’ and I respond, It needs to speak to us, have a heart and take us on a journey.

There’s no real kind of checklist. You go into each performance

with an open mind. It’s like panning for gold: great productions are very, very rare. There’s a reason why productions like White

by Catherine Wheels have a long touring life and it’s because

programmers and audiences are hungry for great storytelling that’s beautifully presented.

諾埃爾·喬丹要素？

的好壞，我認為不論是兒童戲劇還是成人戲劇，好劇會和觀眾交

以開放性思維來品鑒每一部作品。這就好比淘金的過程：好的作品非常罕見，當它出現時，編導和觀眾紛紛趨之若鶩。旋轉煙火劇團（Catherine Wheels）的作品《白（White）》近來檔期爆滿，也是在

情理之中，因為大家都喜歡漂亮展現的好故事。而現場表演的最大價值在於觀眾體驗，在空間內和觀眾間發生的互動和感受是很難用文字闡述清楚的。

It’s important to see what you programme as a live performance. Nothing beats the live experience. That’s what these pieces are

created for and it can be difficult to capture the interaction or the

magic in a space with a live audience if you’re just reading about it. ART.ZIP: Why do you think it’s so important that children receive an education in theatre and the arts? Why does it need to be part of their lives?

NJ: My background is actually as a drama educationalist, so I’m very committed to having the arts as a key and intrinsic part of

a child’s learning. The arts were something that I connected to

as a child. Having access to theatre, music, and dance gave me a

home; it has the power to connect us to other human beings and helps us to understand the human condition. For sixty minutes we get to go on a collective journey and defy imagination.

What I think is fascinating is that in sharing that experience we are inspired to create our own artwork. For children to have a

really developed and well-rounded education, the arts should

be compulsory and included in their curriculum. It would be a

very culturally poor environment to grow up in if we didn’t have access to theatre, music, and dance.

ART.ZIP: What sort of challenges do you have to overcome when programming a festival?

NJ: When seeing international work, you’ve got to try and gain an understanding of the context and nuances of what you’re

watching. This can be difficult if it’s in a language or culture that you are unacquainted with. You can’t have a shopping trolley

ART.ZIP:為什麽你認為戲劇與藝術教育如此重要？為什麽它應當成為兒童生活的一部分？

NJ:我的教育背景是戲劇教育家，所以我一直致力於推動藝術在啟

蒙教育中的影響力。我自小在藝術環境下成長，戲劇、音樂、舞蹈為我創造了一個家的歸屬，它將大家牽引在一起，幫助我們逐步了解社會。

mentality when it comes to visiting other festivals. You’ve got

在一小時的兒童劇中，孩子們會結伴踏上一段超乎尋常的旅程。看

appear engaged or not? What is this work trying to say?’.

最有意義的地方。只有讓藝術成為必修課程，才能保證孩子們在一

to dig deep and question what you’re seeing: ‘Do the children

Theatre for children will often go in and out of funding cycles; the arts for young people tend to be the first to receive funding cuts.

完後彼此分享經歷與收獲，從而創作屬於自己的作品，這是我認為

個健全的教育環境下成長。如果孩子們接觸不到戲劇、音樂、舞蹈，我簡直無法想象那會是怎樣一個惡劣的文化環境！

This can be very devastating on the livelihood and work of the

ART.ZIP: 在籌備過程中你需要克服哪些挑戰？

the art form. What is brilliant about Scotland is that there have

NJ:當欣賞外國作品的時候，我需要試圖理解劇中的語境和一些細

have emerged because of it. We need to continually advocate and

在造訪其他藝術節時，我們不能帶有一種“ 購物車 ”心理，什麼都

artists and there’s always the risk that some might move away from been years of solid growth and international touring and artists

tell the story as to why the arts for young people is so important. ART.ZIP: Have you ever programmed anything from Asia? NJ: I started my post at Imaginate in October of 2015 but in

my role at the Sydney Opera House I programmed work from

Asia. Two immediately spring to mind; I found a Korean and a

Japanese piece, which were both completely non-verbal. The

微的差別，特別是在陌生的語言和文化面前，理解難度就更大了。

想往裡裝，而是要深究加反問：“孩子們會喜歡嗎？這部劇想要傳達什麽呢？”

目前兒童劇場的財政狀況令人堪憂，青少年藝術項目往往是最先被削減經費的。這對藝術家的生計和作品造成了很大的打擊，隨時會

有一些人退出這一行。蘇格蘭在這方面就做得相當出色，多年來保持穩健增長、策劃國際巡演、培育藝術家群體......我們需要不斷地倡導和宣揚藝術對青少年的重要性。

Left: Starcatchers & RSNO present Hup image Solen Collet Middle: Manxmouse image Edwin Deen Right: Noel Jordan, Imaginate Festival Director

Korean work was a mask performance about the Korean War,

ART.ZIP: 你有沒有引進過亞洲的劇目？

piece was very much a cultural work, exploring the traditional

NJ:我才在狂想節任職不久，從2015年十月開始。當我還在悉尼歌劇

festival is actually held every year on the island – it’s enormous in

來自韓國和日本的兩部默劇。一部是關於朝鮮戰爭的面具表演，感

which was absolutely stunning and very moving. The Japanese music and dances of the island of Okinawa in Japan. A great

scale and its programming is a lot more eclectic than Imaginate. Its location means that you see a huge variety of Asian work. ART.ZIP: What might we see in Imaginate’s future?

NJ: In the 2016 festival, there are four dance pieces out of fourteen

院工作時，我有策劃過亞洲的劇目。我的腦海裡立刻就能閃現的是人至深，嘆為觀止；一部則探索了日本沖繩島上傳統的音樂和舞蹈。

島上每年定期舉辦一次頗具規模的戲劇節，戲劇的選擇上比狂想節更寬泛些，也因為地理優勢，亞洲戲劇的種類特別繁多。 ART.ZIP: 未來的狂想節會帶給我們什麼驚喜？

shows. If you had looked five years ago, you would have struggled

NJ:2016年的狂想節，十四部戲劇作品裡包括了四部舞蹈作品。這幾

that area. There are also a couple of pieces you could programme

中幾件作品不只是針對兒童群體，他們也適合在各大國際藝術節演

to find that many dance artists. It’s good to see development in

at any international festival without the word ‘children’ attached. We’re bringing in a very beautiful work from England by a

company called Bamboozle, who focus on children with severe physical and learning disabilities. I was truly in awe of the way

in which they interacted with the children and made them feel honoured and respected. It’s very intimate and there are few

companies that do that important strand of work. It was a very moving experience.

Beyond that, I am already looking at 2017 and seeing inspiring

work from Belgium, Norway and Sweden. And of course there is always incredible home grown work from Scotland.

年舞蹈行業興起的很快，如果是在五年前，舞蹈藝術家並不多見。其出。同時我們正打算引進一部高質量的戲劇，出自英格蘭的小把戲

劇團（Bamboozle），他們長期致力於幫助有嚴重生理和學習障礙的兒童。我非常敬佩他們與孩子們互動的方式，讓這些孩子們深受禮待和尊重。很少有劇團會在這方面下功夫，他們的做法太值得提

倡了！除此之外，我們團隊已經開始規劃2017年的劇目，一些來自比利時、挪威和瑞典的作品非常令人期待，當然蘇格蘭本地的創作也不例外。

SOUTHBANK FESTIVAL: A HUB OF FESTIVAL 南岸藝術節：節日之灣

WHY CBR Space for Cultural Rights

INTERVIEWED EDITED BY 採訪整理 x JESC BUNYARD TRANSLATED BY 翻譯 x HARRY LIU 劉競晨

Interview with Tamsin Ace, Head of Festival

專訪南安藝術中心藝術節

ART.ZIP: How does the Southbank Centre’s work with young

ART.ZIP:從過往的經歷來看，南岸中心是如何與青少年觀眾一起互

Programme at Southbank Centre

people fit into its history? When did it start to involve them more heavily?

TA: I’ve been at the Southbank Centre for eight years. The

building was built as part of the Festival of Britain back in 1951. It was seen as a place that was forward thinking for its time, particularly in terms of art and science. In the 60 years since then, there has been a huge programme of work for young

people and children. The centre is 21 acres of land from the London Eye to the BFI. People have always been at the site doing all kinds of things, such as skateboarding and street

performing; often using the building and its surroundings in very different ways. Everyone has got their own connection, reason, or purpose for coming here.

Our Artistic Director, Jude Kelly, came on board around 10 years ago. Whilst the organisation was very well known, especially for

its classical music programme, I think people felt that they already had an idea of what it was. They’d defined it as a classical music venue and some didn’t believe it would be for them. There was an unfounded feeling of exclusion, when in reality the centre is

for everyone. It has been the roots and support network for lots of amazing artists. Jude Kelly wanted to return the building to

what it was originally meant to be: a festival site. We do around 14 or 15 festivals a year and they might range from two days to

three weeks to three months. We have a year round strand that pops up at various times. Whilst we have an amazing team of

programmers and experts, we know that we can’t make festivals

項目主任塔姆森·艾斯動的呢？

TA :我在南岸中心（S out hbank Ce nt re）已經工作 8 年了，這座建

築建於1951，是不列顛科藝節（Fe s tival of Br it ain）的一個組成部份。在當時，南岸中心以其前瞻性的發展戰略被大家所熟知，尤其是它在推動藝術和科學發展方面的努力。從中心成立至今的60年

中，這裡舉辦過不計其數的專門為兒童和青少年打造的活動項目。南岸中心從倫敦眼（London Eye）到英國電影研究院（British Film

Ins titute）這一片21公頃的區間內，人們可以來這裡進行各種各樣的活動，比如滑板、街頭表演；大家來到這裡都有自己不同的理由或者目的，使用場地和設施的方式也不盡相同。

大約10年以前，我們迎來了新的藝術總監裘德·凱利（Jude Kelly），

那時候的南岸中心已經非常知名了，特別是這裡的古典音樂項目，當時很多人把南岸中心看作是一個欣賞古典音樂的場所，而這種刻板印

象的形成也使得讓一些觀眾對這裡敬而遠之。但其實南岸中心的宗旨是要打造一個所有人都可以參與和享受其中的場所，這裡培養和支持了大量的傑出藝術家。凱利開始致力於將南岸中心打造成它最

開始的樣子：一個以各種節慶為主要活動內容的場地。現在我們每

年在這裡舉辦14、5個藝術節、他們有的持續2天，有的持續3周，也有的持續3個月。一年間各個時間段我們都有各樣的節日活動。我們有非常好的運營團隊為不同的人群和需求組織不同的活動，兒童和

青少年是我們的很重要的一個受眾群體，很多活動都會讓他們參與進來。

ART.ZIP: 為了明確不同的受眾群體和參與者，你們在策展或者籌劃藝術節的時候是如何選擇藝術家的呢？

on our own. We involve different groups of people for different

T C :有很多藝術家會和我們聯繫，將方案發給我們；我們也會到

involved in that.

（Collision）”，就是希望能讓不同的藝術家互相合作創作新作品。

festivals. Children and young people have been very much

其他藝術節中去尋找好的作品和藝術家。我們有個項目叫“ 碰撞

ART.ZIP: In order to target different audiences and participants,

ART.ZIP: 有哪些藝術節是特別和兒童或者青少年相關的麼？

What’s the process of approaching the artists and experts or do

TA：我們所有的藝術節都有為家庭觀眾和青少年觀眾設計的活動部

how do you deal with curating and programming the festival? they sometimes approach you?

TC: We get a lot of artists approaching us; lots of unsolicited

emails. We also go out to festivals to see work and approach

artists directly. We have a programme called Collision; the idea is that we want to provide different artists with the chance to collide with one another and merge their work.

ART.ZIP: Any festivals here will specifically evolve the young audiences?

份。如果說到特別強調兒童和青少年觀眾的藝術節的話，那麼奮鬥

藝術節(Strive)是我們的青年藝術節；幻想藝術節(Imagine)是我們

的兒童藝術節， “為什麼( WH Y ?)”項目是基於聯合國兒童權利組織的着眼於兒童文化權利的項目。除此之外，還有大量的講座和工作

坊都是為兒童以及青少年觀眾準備的，未來也會有更多針對這個群

體準備的演出項目，尤其是會有更多的兒童參與演出的表演項目，我們會確保全年都會有為他們和家庭觀眾準備的活動項目。

ART.ZIP:在您看來，為什麼這種舞台表演的藝術形式對低年齡段的觀眾特別重要呢？

Left: Blue Room.The Secret Life of Suitcases Right: The Etherington Brothers

TA: We make sure that in all of our festivals there is a strand

for families and young audiences. In terms of work specifically aimed at young audiences, there’s: Strive, which is our youth

festival, Imagine, our children’s festival and WHY?, which looks

at children’s cultural rights and is based on the United Nation’s

rights of a child. Alongside the talks and workshops, we’re going to have a much bigger performing arts strand, looking at work

made by children for children in addition to work made by adults. We want to make sure we have something to offer the family audience all year round.

ART.ZIP: In your opinion, why is it important to have stage performances for young audiences?

TA: My first job was as an Education Assistant at a small theatre

and part of my role was to programme children’s theatre. A group of children’s theatre programmers in London used to meet here

every three months, they were amazing people that had been in the business for a long time. I sat with them and starting looking at who were the quality theatre makers out there. You can really hook a child in and they’ll never forget that. It’s really important

for children to have those magical experiences. I took my son to

the theatre on Saturday. He’s one. We went to see a production that was for 1 to 3 year olds and he said his first word at the

end of the show. He clapped and said: “Bravo”. He had the most magical time.

ART.ZIP: How does the Southbank Centre work with schools? What learning resources does it provide?

TA: We have a Schools Manager and a community team. We’re

very close and connected to our local schools. We have associate

primary schools, who we do a lot of work with. They have fed into our Mini Festival Makers programme. During WHY? there were

two school days; we had 400 pupils per day who went through a whole range of workshops which tackled budgeting, politics, social change, and climate change. Within Imagine we had an

event called Rap Factor, where schools could nominate a person to perform in a rap battle. There’s also Story Slam Live, which is

a nationwide competition for young story tellers and Poetry by Heart, which is a really in depth poetry programme. The whole

programme has been shaped by schools. We’ve worked with In

Harmony Lambeth getting children to learn musical instruments.

TA:我第一份工作是在一個小劇場擔任教育助理，那時候我的工作就

是策劃兒童劇場的項目，有一小群兒童劇場項目策劃人每季度都會

在那裡聚會，他們都是在這個行業里非常傑出的人物，從那時起，我就和這些為兒童劇場策劃高質量節目的人們一起工作。兒童劇場真的非常引人入勝，而且會讓參與其中的孩子們記憶終生。孩子們從小經曆的這些神奇的經歷是非常重要的。我在週末會帶我的兒子去劇

院看戲，他現在只有1週歲大，有一次我們去看一個為1﹣3歲兒童演出的劇目，在演出結束的時候，他說出了他降生以來第一個詞，他一

ART.ZIP:南岸中心是如何與學校合作的呢？這裡能夠提供怎樣的教育資源呢？

TA : 我們這裡有專門和學校對接的團隊和項目經理，我們和當地

的學校關係非常密切，尤其是小學，我們和這些小學進行很多的互動活動，他們參與到我們的“迷你藝術節組織者（Mini

Festival

Makers）”活動中。在我們的“為什麼（WHY ？）”活動期間，有兩天的活動是和小學生們的互動，每天有4 0 0 個小學生參加到我們組織

的工作坊當中，討論的問題包羅萬象，包括政府預算編制、政治問題、社會變遷以及氣候變化等議題。在“幻想（Imagine）”藝術節當中，有一個單元的活動叫做“饒舌秀（R a p Fa c t o r）”，每個學校可

以推薦一名選手參加這個饒舌歌曲大賽；還有像“故事大滿貫現場版

（Stor y Slam Live）”的活動，這是一個全國範圍內的兒童講故事

大賽；還有“詩由心生（Poetr y by Hear t）”項目，這是一個和院校深入合作的詩歌藝術項目，此外我們的“和諧蘭貝斯（In Har mony Lambeth）”項目則是幫助孩子們能夠學習使用各種樂器來演奏。

Left: UNDER THE COVERS. Credit Joel Chester Fildes Right: Alphadoodles with Jan Batjtlik

邊鼓掌一邊說“太精彩了（Bravo）”，他肯定是非常喜歡這個演出。

ORARH. photo Paul Blakemore

DANCE UMBRELLA MOVING THE YOUNGER GENERATION 未來的舞步

TEXT BY 撰文 X ORANGE ZHAO 趙丹鈺 TRANSLATED BY 翻譯 x NICHOLAS ANDERSON

Founded in 1978 in London, Dance Umbrella’s first festival

1978年成立於倫敦的舞蹈傘藝術節（Dan ce Umb re lla）亮相時曾

event. During the 70’s and 80’s despite the relative breadth

化藝術環境相對寬松的英國，舉辦以現代舞為主題的藝術節仍算是

of Britain’s art scene, the theme of modern dance was still

considered fresh and experimental. At first, the lack of local dance and performance venues was a challenge, however

with ambition and the international vision of the organising

committee, Dance Umbrella became a bright spot in London’s autumn calendar, welcoming outstanding performers from around the world.

So far Dance Umbrella has hosted nearly 700 artists from 31

countries and reached audiences of over one million people.

Throughout the years, it has been easy to see the festival’s focus and support of young people, and many of the past performers

一石激起千層浪，引來無數關注。在上世紀七、八十年代，即使是文

實驗性舉動。本土舞團的稀缺和演出場地的限制，使得該藝術節在成立之初便遭遇重重阻礙。然而在極具冒險精神與國際視野的組委

會帶領下，舞蹈傘高歌猛進，每年秋天都會把倫敦的舞臺點亮，只

為迎接來自世界各地的優秀舞蹈藝術家。至今為止，舞蹈傘已經把

來自31個國家的6 8 6 組藝術家及舞團的作品帶到了英國，累計觀眾超過一百萬人次。縱觀舞蹈傘迄今的節目單，不難看出該藝術節對

年輕藝術家的關注與支持。而過往節目冊中不少青澀的臉龐也已成為了現代舞領域的大師，比如英國舞蹈家邁克爾·克拉克（Michael

Clark）、法國舞蹈家希薇·紀蓮（Sylvie Guillem）、比利時編舞家安

娜·泰瑞莎·姬爾美可(Anne Teresa De Keersmaeker)、美國編舞家摩斯·肯寧漢（Merce Cunningham）等等。

are now recognised as masters in the field of modern dance such

當然，舞蹈傘的發展並非一帆風順。事實上，在過去的十年中，這個

Belgian choreographer Anne Teresa De Keersmaeker and

了調整，把大部分目光從創作者的身上轉移到了觀眾那頭。舞蹈傘

as British dancer Michael Clark, French dancer Sylvie Guillem,

American choreographer Merce Cunningham among others. Of course, the development of Dance Umbrella is not always

smooth going. In fact in the past decade, Dance Umbrella has

been adapting alongside ever changing tastes with the focus of the event now as much on the audience as the creators. Dance Umbrella’s Artistic Director Emma Gladstone clearly recognises

老牌現代舞藝術節在藝術市場的起伏中已然對發展方向和定位作出現任藝術總監艾瑪·格萊斯頓（Emma Gladstone）清楚認識到隨著現代舞在演出市場的競爭日益白熱化，加上表演藝術節的層出不窮，圍繞現代舞這一形式本身的主題藝術節將很難對藝術家的發展與觀

眾的培養產生影響。而由藝術形式本身發散開去，通過跨界、社區介入及藝術教育形成的松散型主題合作，反而對現代舞的認知與推廣意義更大。

that as competition in the modern dance performance market

目前，除了每年常規的藝術節展演和委約創作之外，舞蹈傘在一年中

theme of the festival is losing competitiveness in terms of the

生直接的對話，並與青少年行為專家一起，策劃針對不同年齡層的工

intensifies, with one performing arts festival after another, the artist’s development and audience’s experience. Instead, a

mixture of community intervention and arts education is proving to have a more profound impact on modern dance’s recognition and promotion.

Outside of the yearly festival and other commissioned pieces,

Dance Umbrella travels around Britain to different communities and campuses in order to interact with children and young

adults in workshops which boost the popularity and awareness of modern dance. As part of the 2015 festival, Dance Umbrella

featured the Charlotte Spencer Projects’ Walking Stories, a site-

specific work revolving around a strong connection with the local landscape and challenging typical theatrical productions. This also inspired her documentary called Cycle Stories detailing

剩余的時間內往來於英國各地，走進社區與校園，與兒童與青年發作坊，為現代舞的普及提供可能性。在剛剛過去的2015年藝術節期間，除了常規的演出之外，由舞蹈藝術家夏洛特·斯彭瑟（Charlot te

Spencer）策劃，名為《行走故事（ Wa lk ing St o r i e s）》的特定場域作品格外引人注目。擅長用與風景相關的作品挑戰觀演關係的斯彭瑟坦言這個針對小學生的項目靈感來源於之前為成人觀眾創

作的《騎車路上的故事（Cycle Stories）》。她說：“我希望通過創作去鼓勵觀察、合作以及行走，從而拉近人類與周遭環境之間的距

離，每個項目對我來說都像是社區的形成過程，而每位參與者在其中都能與‘自我’再次相遇。”《行走故事》要求學生們戴上耳機，在

老師的帶領下走入一片草地，通過音樂、裝置作品、雕塑、手機移動端迷你表演、舞蹈、戲劇和寫作等形式，對自我認知、社區、記憶和旅程等概念提出疑問，學生在體驗過後以小組為單位回到課堂進行討論。

the work behind creating the piece. Charlotte Spencer said “I

據介紹，舞蹈傘是藝術大獎（Arts Award）這一針對英國25周歲以下

connection between humans and the surrounding environment.

術工作的學生給予實習與考察機會，這些崗位來自從行政到項目執

hope to encourage the observation, cooperation and physical

Each project for me is like the formation of a community in which

each participant can learn more about themselves”. Walking Stories is an immersive experience that requires students to

wear a headset and walk into a meadow under the guidance of

青少年藝術獎項的合作機構，每年都會在藝術節期間對有意從事藝行的各個部門，實習的結果將成為學生申請藝術大獎（Ar ts Award）

時重要的參考標準。另一方面，藝術節進行期間，舞蹈傘組委會通常會有意為學生觀眾安排專屬的免費場演出，幫助他們與藝術家搭建直接溝通的橋梁。在過去的前兩屆舞蹈傘藝術節中，組委會與倫敦

attracted attention and acclaim and soon became an annual

teachers. With music, installations, sculptures and an interactive connection with mobile apps as well as dance, theatre, writing

and more, the students are pushed to question the concepts of

self-awareness, community, memory and journey. After that, they return to the classroom to discuss what they felt.

Dance Umbrella also partners with Arts Award, Arts Award is a unique range of multi-level qualifications for children and

young people aged up to 25 years to develop as artists and arts leaders, developing and sharing their creativity, leadership and communication skills. Every year during the festival, students are given the opportunity to participate in various internship roles. These positions vary from administration to project

execution and provide a good foundation for applying to the Arts Award programme. In particular during the arts festival Dance

Umbrella arranges for student spectators to attend exclusive free performances and provides opportunities for them to connect to the world of professional artists. In the last two festivals,

Dance Umbrella has partnered with The Unicorn Theatre to

arrange a triple bill primarily for children aged 12 years old. The

2014 performances included a Norwegian group, and American duet and an extract from FAR by Wayne McGregor the British

Royal Ballet’s resident Choreographer. In some performances, the adult viewers are left outside. Inside, the 9 to 10 year olds complete the interactive installations themselves. The whole

process is recorded behind the scenes to showcase the young audiences’ capacity for exploring things independently. The

2015 programme was even more daring, including the British choreographer Tony Adigun’s avant-garde hip-hop dance. It is Dance Umbrella’s Artistic Director Emma Gladstone’s

opinion that popular culture’s embrace of modern dance will

take time. Along with becoming increasingly active on mobile and the internet, Dance Umbrella launched a series of forums

當地著名的青少年劇場獨角獸劇院（Unicorn Theatre）達成合作協

議，每年聯合呈現三部適合十二歲左右觀眾的舞蹈作品，2014 年的展演中除了來自挪威和美國編舞家風格截然不同的創作之外，還包括英國皇家芭蕾舞團（The Royal Ballet）駐場編舞韋恩·麥格雷戈

（Wayne McGregor）的特約作品選段。其中一些表演的場次，成人觀眾被“拒之門外”，館內九至十歲的觀眾則在指導下完成互動裝置

作品。整個過程被影像所記錄，通過幕後花絮的方式討論家長不在

場情境下，少年觀眾獨立動手的能力。2015年的舞蹈傘在這一單元

的節目選擇上更為大膽，其中包括英國編舞家托尼·阿迪古恩（Tony Adigun）的前衛嘻哈舞蹈。

在舞蹈傘現任的藝術總監艾瑪·格萊斯頓看來，現代舞融入大眾文

化還需時日。隨著網絡平臺和手機客戶端的日益活躍，舞蹈傘也

and academic seminars called “Body Politics” in 2014, with live

將宣傳的重心從傳統媒體轉移到線上，於2 014 年推出名為《身體

information, it might just be that it is outside of art that we can

發表的相關論文，也在網站上進行公開發布。在信息量驚人的年代，

discover art’s true form. In the end, it shows that there are many ways for art to reach the audience.

政治（B o d y Polit ic s）》的系列論壇與學術研討，而圍繞這些主題或許通過多種途徑，才能在藝術形式之外找到去偽存真的可能。畢竟，藝術是殊途同歸的一件事。

Walking Stories. Photo Kimbal Bumstead

and online discussion. In this era of an astonishing amount of

ON THE EDGE 在邊緣藝術節

Unicorn2015 montage

TEXT BY 撰文 X KE QIWEN 柯淇雯 TRANSLATED BY 翻譯 x HARRY LIU 劉競晨

On the Edge is a World Festival of Theatre for Young Audiences and ASSITEJ artistic gathering, which will take place in Birmingham UK 2nd – 9th July 2016.

This will be their first festival, and also a tremendous

opportunity for the UK and Ireland to show off the wealth of

talent they have in the field of theatre for young audiences. It is also an international festival, and the team, therefore, wants to

strike a good balance between home-grown and international

shows, especially in the shows from parts of the world that they are less familiar with.

They will aim to achieve a good spread across different ageranges – the festival will serve ages 6 months to 18 years.

They will also pay particular attention to how shows address

ethnic diversity, disability and social inclusion. From an open

submission process, they received 232 applications to present work in the festival from 33 different countries. They have

used these submissions as a starting point to select an exciting programme for the festival.

The programme will be selected by Purni Morell, who is also Artistic Director of the Unicorn Theatre. “I’m very excited to be given this platform to bring together some of the best

2016年的7月2日至9日，國際青少年戲劇協會年會（A SSITEJ）以及

particular pleasure doing this in Birmingham, and offering

拉開帷幕。

shows for children from across the globe. It’s going to be a local young people the chance to connect with what’s

happening in their city, in the home nations of the UK and linking that in with what is happening all over the world.” The festival is titled On the Edge – referring to their

geographical position in Europe, their interest in challenging

一個國際青少年戲劇節“在邊緣（On the Edge）”將在英國伯明翰這個藝術節是第一次在英國主辦，它為英國和愛爾蘭提供了一個展示

其青少年戲劇藝術人才和豐富戲劇資源的絕好機會。不僅如此，作為

一個國際化的藝術節，主辦方將本土劇目和來自世界各地的節目相搭配，特別是那些來自不為人所熟知區域的作品。

form and a sense that these islands are on the cusp of an

整個藝術節將致力於為不同年齡層段的觀眾服務，作品覆蓋的觀眾

people. The festival will present performances, workshops,

來自不同種族背景和身體狀況的觀眾。從公開徵集作品時開始，組委

exciting breakthrough in terms of work for children and young seminars and events in theatres and venues across the city with Birmingham Repertory Theatre as the main festival hub.

範圍從6個月大的嬰兒到18歲的青年，同時他們也特別考慮和關照了

會共收到來自33個國家和地區的232份節目申請，從這些節目中，他們為藝術節精選和編排出非常令人興奮的演出節目目錄。

此次藝術節的節目篩選由倫敦獨角獸劇場(Unicorn Theatre)的藝

術總監波尼·莫雷爾（Pur ni Morell）主持，她表示“我非常高興能通過這個平台將全世界最好的兒童戲劇展示給大家。而且我特別高興這次藝術節能夠在伯明翰舉辦，這可以給當地的青少年一個

絕好的機會來感受這個城市的脈動，同時與自己的祖國以及全世界發生互動。”

戲劇節“在邊緣”的名字來自於其舉辦的位置在方位上處於歐洲的

邊緣，而他們正處在青少年劇場發展的風口浪尖，并致力於帶領英國在此領域做出重大的突破。整個藝術節將會以伯明翰話劇院為主要場館并在整個伯明翰市內展開，包括各種演出、工作坊以及研討會。

THE SPARK FESTIVAL 星火戲劇節 TEXT BY 撰文 X KE QIWEN 柯淇雯

Founded in 2003, The Spark Festival is a two-week summer

festival of performing and visual arts for children in Leicester and Leicestershire. It has grown over the past twelve years, driven by the belief that the arts are crucial to a child’s development and

well-being. It presents the very best of theatre, dance, music, visual arts and digital media events for young people aged 0 - 13 years. The festival aims for variety and access - to create as many

opportunities as possible for children to engage with a wide range of performances and events in a variety of settings:

The ‘In Your Theatre’ programme invites schools to Spark their

Pamela Raith, A Boy and a Bear in a Boat

pupils’ imagination with a trip to the theatre to see a hand-

picked selection of performances for Foundation to Key Stage 3 audiences. The ‘At Your School’ programme brings the

excitement of high quality performances to children in their

school hall. ‘On Your Doorstep’ includes community venues, parks, libraries, and on occasion a swimming pool! These

programmes aim to present a variety of work, from puppetry to contemporary dance, that is specially created for children by a range of regional, national and international companies.

The first festival of 2003 started with 70 events and was seen by an audience of 9500 children, teachers and parents. Six years

on from the first Spark, the organisation was awarded Regularly Funded Organisation status by Arts Council England and from

April 2012 became a National Portfolio Organisation. In 2013 the

company was renamed The Spark Arts for Children, to reflect the work that they do outside the festival.

As an organisation, The Spark collaborates with exciting artists

from around the world creating innovative and inspiring work, and actively supports the creative development of artists and

educators. They know that experiencing the arts at an early age can

be life-changing and as an organisation they are working to protect

Digital Sparks - Pamela Raith Photography

access to the arts for young people. The Spark exists to enable

場館、公園、圖書館，甚至還有遊泳池！以最大的便利給予孩子們最

as audiences, as learners and as creators of their own art.

舞蹈，這些都是由地方、國家乃至國際團隊為兒童量身定制的。

children to enjoy the opportunities for discovery offered by the arts

佳的藝術體驗。此外，節目表中有各種形式的表演，從木偶劇到當代

星火戲劇節創辦於20 03年，每年暑期英國萊斯特（Leicester）和萊

回顧星火的創辦歷程：從第一屆70場演出和950 0名觀眾，到六年後

表演與視覺藝術盛宴。秉持著“藝術利於兒童身心發展”的理念，在

為“國家級精選機構”。2013年起，該藝術節正式更名為星火兒童藝

斯特郡（Leicestershire）都會舉辦一場為期兩週的專為兒童打造的過去的十二年裡，星火為0歲到13歲的幼年觀眾帶來了最佳品質的戲劇、舞蹈、音樂、視覺藝術和數字媒體活動。

由英格蘭藝術委員會評定為“定期資助機構”，再於2012年 4月被評術（The Spark Ar ts for Children），因為在籌備戲劇節的同時，他們還積極組織參與其他兒童戲劇與藝術教育工作。

星火戲劇節通過各種方式孩子們便於接觸到多種形式的表演和活動：

星火與來自世界各地的藝術家合作，激發作品新的可能；同時也積極

星火邀請學校組織學齡7年至 9 年以下的學生前往劇院欣賞精選戲

變人的一生，所以星火正在做的就是為孩子們的藝術撐起一片天。

“你的劇場（In Your Theatre）”項目旨在擴大學生的想象空間，劇； “在你的學校（At Your School）”項目直接將精彩絕倫的表演帶去學校； “你家門口（On Your Doorstep）”項目充分利用了社區

支持藝術家和教育工作者的創新性發展。自小接觸藝術領域可以改不論是作為觀眾、初學者還是藝術創作者，孩子們能夠親身探索藝術的奧秘就是星火存在的理由。

THEATRE FOR YOUNG AUDIENCES:

A CRITICAL HANDBOOK 《青少年劇場之實用手冊》 TEXT BY 撰文 x JESC BUNYARD TRANSLATE BY 翻譯 x SUDONG CAI 蔡蘇東

“Theatre for the young audiences is an art form”. This is only

shocking if you believe theatre for children and teenagers is lesser to ‘adult theatre’. David Wood writes this proclamation in the foreword to ‘Theatre for Young Audiences: A Critical

Handbook ’. The book explores the various challenges to staging

theatre for young audiences (TYA). In each chapter a different theatre practitioner examines their own difficulties of creating TYA. Reading the book lead me to recall my own experiences of theatre when I was young. During my years at primary school I

was lucky enough to be taught in Warwickshire, which is often nicknamed ‘Shakespeare’s County’. This, as you can imagine,

meant that our English lessons were never short of inspiration. Some of my early school memories are of visiting theatre’s on Theatre for Young Audiences: A Critical Handbook. (2012) Institute of Education Press.

school trips to see productions and of, at the age of 9, watching

a animation film of Hamlet. These early experiences of theatre

have been formative in my understanding and enthusiasm for

“‘青少年劇場是一門藝術’。只有當你覺得目標觀眾為小孩和青年

人的戲劇不能與‘成年人戲劇’相提並論，這種說法才讓你覺得震

驚。”在《青少年劇場之實用手冊（Theatre for Young Audiences: A Critical Handbook）》一書中，作者大衛·伍德（David Wood）在前

言中如此寫到。該書探討了青少年劇場業內面臨的各種挑戰。在每個章節中，不同的戲劇從業者講述了他們自己從事青少年劇場所遇到的各種困難。讀這本書使我想起了自己小時候的劇場經驗。很幸運地，

我是在沃裏克郡（Warwickshire）讀的小學，這裡常被稱為“莎士比亞之鄉”。因此，不難想像，這意味著我們的英語課教學是從來不缺乏靈感的。我早年的校園回憶便包括學校組織旅行參觀劇院並且觀

看劇目，以及在9歲那年，我們就看上了《哈姆雷特（Hamlet）》動畫

電影。這些早年的戲劇經歷是一種鋪墊，加深了我以後對這種藝術形式的理解和熱愛。想必“成年人戲劇”大家都看過，雖然我不主張

每個人都應該像我一樣享受《馬爾菲公爵夫人（T h e D u c h e s s o f M a l f i ）》，但我意識到，我之所以很喜歡此劇以及劇場經驗的原

因之一，便是我受到的早期教育。然而，隨著教育的演進，莎士比亞的作品幾乎完全成了供分析的文本，而不是一種表演。在揚·沃茲尼

亞克（Jan Wozniak）題為《從莎士比亞開始：表演性寫作，莎士比亞和青少年觀眾（Starting with Shakespeare: performative writing,

the art form. ‘Adult theatre’ should be available for everyone, and whilst I’m not

Shakespeare and young audiences）》的章節中，她探

recognize that one of the reasons I love the play and the theatrical experience is due

作品是被當作文本閱讀和分解的： “因此，在教育圈裡，

advocating that everyone should enjoy ‘The Duchess of Malfi’ as much as I do, I

to my early schooling. However as education progresses Shakespeare is analysed almost exclusively as a text instead of a performative medium. This is discussed in Jan Wozniak’s chapter entitled ‘Starting with Shakespeare: performative

writing, Shakespeare and young audiences’. Wozniak begins by exploring the

current experience of Shakespeare in high schools, where the text is read and dissected: “Thus, rather than being for pleasure, Shakespeare in performance is used in such contexts to aid understanding and analysis of the written text

in an educational setting”. It is my experience, and it seems to be Wozniak’s as well, that in most classes the performance of a play is seen as secondary to the interpretation of the text. The language of Shakespeare is difficult without the

討了當前高中階段的莎士比亞教學情況，發現莎士比亞莎士比亞作品演出的語境是，它是被用來幫助學生理解

書面文字的，而不是為了從中得到快樂”。沒錯，這是我的經驗，也似乎是沃茲尼亞克的經驗，即在大多數課堂

上，戲劇的表演總是不如文本闡釋重要。倘若不考慮表

演，莎士比亞的語言是很難懂的，因此屏幕上演員的情緒和動作可以幫助觀眾進入語境並理解作者的語言。沃

茲尼亞克隨後討論了一些案例，以及她如何通過讓青年

參與到戲劇表演中，從而超越文本，與莎士比亞的作品進行互動的經驗。

play, where the actors emotions and the actions on screen can help viewers

讓青少年積極地參與到工作坊和劇場中，是此書每個章

her experiences of helping young adults interact with Shakespeare beyond the

從公共政策還是到劇目演出，都應該把青少年戲劇與“成

engage and understand the words. Wozniak goes onto discuss case studies and text, by involving them within the plays on a performative level.

This approach of actively engaging with children and young adults within workshops and theatres is an approach that is endorsed throughout each chapter and by each author. Each section suggests a need to view TYA separate to ‘adult

theatre’ from public policy to how a play is staged. It must also be acknowledged

that the audience are different and will behave differently. This may seem obvious but as Tom Maguire discusses in his chapter, it can be difficult. In a traditional

theatre the audience, comprised mostly of adults, will be a passive entity, which observes the action and does not expect to be involved. This is not the case in TYA

where the audience will seek to be involved where physically or vocally. Maguire

cites several instances where the role of the TYA audience has been noticed or

put under strain. One of most notable is where a group of school children are attending a production where the narrator directly asks the children to participate, including at one point where they are invited gather cottonwool snowballs to

throw on stage. However, the teachers/classroom helpers told the children not to move whilst they collected the snowballs instead. Another incident that Maguire

discusses is where the children vocally engage with the actor, not encouraged by the actors, but the teachers and parent would discipline the children and tell them to be quiet. Maquire goes onto say that the TYA theatre experience in these

cases is one that the adult members have forced the children into: “The adults in the auditorium, however, were quick to suppress this behaviors in favour of how they wished the children to behave; a process in which the individual spectator

was forced to become a member of the audience.” This contrast links with the

writing of Jacques Rancière, who is mentioned in other chapters. In his book ‘The Emancipated Spectator’ Rancière explores the concepts of activity and passivity

through the theatre. He discusses that theatre must draw the spectator out of a

passive entity and into an active one. In the situations that Maquire cites, it could

be argued that the adults position the young spectators in passivity, instead of allowing the theatrical work to, as Rancière says, draw “out of their passive attitude and transforms them into active participants in a shared world”. Instead

it should be recognized that this is a different experience. A different audience and a different play will require a different type of engagement to become part

節每位作者都認同的一種方式。每一章節都表明不管是

年人戲劇”相區分。同時還必須承認，觀眾是不同的，在

劇場裡的表現也會不同。這似乎是顯而易見的，但湯姆· 馬奎爾（Tom Maguire）在他的章節裡表明，這也是難

點。在傳統的戲劇裡，觀眾大多是成年人，他們是一個

被動的實體，他們只會觀看表演，不會意願參與其中。但是對於青少年劇場，情況卻不是這樣，年輕觀眾要麽做動作，要麽發出聲音，總是想著要參與到劇中。在馬奎爾

列舉的幾個例子裡，青少年觀眾的角色要麽很突出，要麽就是被壓抑。其中最值得注意的例子便是，一群學生

正觀看劇目，表演者請孩子們直接參與進來，這其中就

包括在一段劇情中，孩子們被邀請拿起充當雪球的棉球扔到舞臺上。然而，老師及助教卻告訴孩子們不要動，然

後他們自己來扔雪球。馬奎爾討論的另一個例子是，孩

子們想要和臺上的演員交流，但老師和家長完全不顧演

員們的鼓勵，他們只管管教孩子，告訴他們要安靜。馬奎爾進而說，在這種情況下，青少年劇場的體驗是一種成年觀眾強行規範青少年觀眾的情況： “在觀眾席的成年

觀眾會很快地壓抑孩子的舉動，使他們變成成年觀眾想要的樣子；這是一種強行把個體觀看者轉變為集體觀眾

一員的過程。”這種反差與其它章節裡提到的雅克·朗西

埃（Jacques Rancière）的觀點有一定的相關性。在他的

書《被解放的觀看者（The Emancipated Spectator）》

中，朗西埃探討了劇場中的主動性和被動性問題。他認為劇場應該把觀看者從被動觀看中抽離出來，成為積極的參與者。在馬奎爾的例子裡，可以說，是成年觀眾把青

少年觀眾置於被動觀看中，而不是允許戲劇作品——如

朗西埃說——把他們從“自己的消極態度”抽離出來， “並把他們變為共享世界的主動參與者”。應該認識到，青少

年劇場有著不同於成年劇場的體驗。不同的觀眾和不同的劇目，需要不同類型的參與形式，這樣才能組成共享的戲劇世界。

書中很多章節舉例子說明，通過工作坊的形式，從業者

of the shared theatrical world.

們已經著手解決青少年劇場發起人所發現的那些問題。其

Lots of the chapters cite examples of workshops they have organized to work

進來的劇場。彼得·懷恩 -威爾遜（Peter Wynne-Wilson）

through some of the issues found by those creating TYA. One of the questions

that reoccur is how to create theatre that engages with a young audience. Peter Wynne-Wilson approaches children’s theatre as an art form that is made/cocreated by children. In ‘The Peter Pan Approach: Creating Plays for Children

from Children’s Play’, Wynne-Willson begins with the example of J.M Barrie,

who’s famous story, Peter Pan and Neverland, came out of child’s play. Peter

Wynne-Willson then goes onto discuss his commission with the Birmingham

Repertory Theatre Company, when he had a chance to test out his thoughts surrounding theatre and child’s play. He sets out his process, in which the

workshop was also a form of drama, as he became ‘Peter – the eccentric version of himself, who needed help in creating a play’. Ideas are expressed in a physical

and playful way, and through this the story comes together. What is important to note here is that the process of creating a play through play becomes fun for

the adult as well as the children, meaning that it is a rewarding experience for both parties.

中一個重復出現的問題是如何創造一個讓年輕觀眾參與的做法是，把兒童戲劇看作是一種與兒童共同創作的藝

術形式。在《彼得·潘的方法：從兒童玩耍中創作兒童劇場（The Peter Pan Approach: Creating Plays for Children

from Children’s Play）》，懷恩 - 威爾森首先列舉了J·M

巴裏（J.M Barrie）的例子，他的著名作品《彼得·潘和夢幻島（Peter Pan and Neverland）》便來自於兒童的遊戲。彼得·懷恩 - 威爾森接著討論他與伯明翰話劇團公司（Bir-

mingham Repertory Theatre Company）的合作，在此次合作中，他有機會來測試他關於劇場和兒童戲劇的想

法。他的做法是把工作坊也變成一種戲劇形式，他自己變成了“需要有人幫助創作劇本的怪人彼得”，由此，許多點

子便以一種好玩的方式，甚至是肢體語言的方式表達了出

來，這樣，劇目就完成了。重要且需要注意的是，通過遊戲創作戲劇的過程對成人和小孩來說都是很好玩的，這意味著雙方都能從中受益匪淺。

There is a sense, within all of the chapters, of the need for TYA that is not

書裡所有的章節都透露出一種感覺，即需要有不迎合觀

for those with learning disabilities, which two authors, Tim Webb and Gill Brigg,

劇場中尤甚。正如蒂姆·韋伯（Tim Webb）和吉爾·布裏格

patronizing for the audience. This is especially the case when exploring theatre

do. One of the subtitles, ‘Making Theatre, not Therapy’, of Tim Webb’s chapter seems to sum up what theatre for those who are disabled and the wider genre

of TYA aims to do. The goal is to make theatre that is not patronizing for those of

any ability, to not limit the potential of any spectator. Webb discusses this when talking about the theatre company Oily Cart, which he co-founded: “We put as much imagination, playfulness and attention to detail in our work as we can.

Not infrequently, audience members respond in ways that challenge the labels, syndromes, and the behaviours which are hung on them.”

‘Theatre for Young Audiences: A Critical Handbook’ is a book for different

眾的青少年劇場。這一點在探討針對有學習障礙的青少年

（Gill Br ig g ）在他們的章節中提到的一樣。蒂姆·韋伯文

章的一個小標題“做劇場，而非做治療（Making Theatre, not Therapy）”似乎總結了為殘疾人制作的劇目及其他風

格的劇目所要做的事情。這麽做的目標是，不要讓劇院迎合某種人群，從而就不會限制潛在觀眾的種類。韋伯談到了他協助建立的油車戲劇公司（Oily Cart）： “我們盡我們

所能發揮想象力，趣味性，注重每個細節。觀眾的反應往

往和套在他們身上的標簽、典型表現和舉止背道而馳，這種情況真的不算罕見。”

readers. If, like myself, you’re interested in the philosophical theories of

《青少年劇場之實用手冊》是一本面向不同讀者的書。像

Phelan and Rancière. Each chapter serves as a good starting point towards

書裡你時不時會看到以下人物，如：布萊希特（Brecht），

spectatorship, then the book will regularly insert authors such as: Brecht, Derrida, further research, especially as each one provides their list of references at the end. Matthew Reason uses Jacques Derrida’s theory of the countersignature in his chapter ‘The Possibility of Theatre for Children’. Reason discusses that

children do not limit themselves to the performance, but instead use it as a

starting point for explorations. It is here that he refers to the countersignature, stating that this is a text, which is provoked by another text. Each text possesses a signature, which is its distinct character. This signature has the possibility

of inciting repetition, interpretations, commentaries and other responses – a countersignature. Matthew Reason states that audience responses to a theatre could form a countersignature, the audience’s imagination make the work into

a new experience: “In the context of theatre for children this means the work exists not simply in the stage performance, written text or adult performance made for children, it also exists in the mind and response made by the young

audience.” There is the sense of the performance being completed by the

我這樣的，如果你對觀看的哲學理論有興趣，那麽在這本德裏達（Derrida），費倫（Phelan）和朗西埃（Rancière）。

每章都是一個起點，引導你進行進一步地研究，每章末尾都附帶有參考書目。馬修·利森（Matthew Reason）在他的

章節《兒童劇場的可能性（The Possibility of Theatre for Children）》中使用了德裏達的“反簽名”理論。利森討論

到，兒童不會把自己局限到表演上，而是把表演當作是各種探索的起點。在這裡，他指的便是“反簽名”——這是一

個由其他文本引發的文本。每個文本都具有一個簽名，這便是它的顯著特征。這個簽名有引發重復，闡釋，評論和其他反應的可能性——這便是所謂的“反簽名”。他指出，觀眾對戲劇的反應可以形成一個“反簽名”，觀眾的想象

力使作品獲得新的體驗： “在兒童劇場的語境中，這意味著作品不只存在於舞臺表演，書面文字或為兒童進行的成人表演中，它也存在青少年觀眾的心裡和反應中。”這麽

spectator. With this statement in mind, Reason supposes that theatre for children becomes theatre that belongs to children.

The book, however, is not overly theoretical. This is pleasing as some books

一來，似乎便有一種表演由觀看者一起協同完成的感覺。由於有著這樣的看法，利森認為， “兒童劇場”的概念就變成了一種“屬於兒童的劇場”。

can unnecessarily attempt to use theory. Instead ‘Theatre for Young

但是，這本書卻不會過於理論化。這是令人高興的，因為它不

TYA and those who are looking to further explore the medium. Case studies

場之實用手冊》是面向青少年劇場初習者以及那些意欲探索

Audiences: A Critical Handbook’ is a book that is open for beginners to and examples of workshops can be found throughout the book. This is

perfect for practitioners within TYA and theatre as a whole. This also applies to teachers, if you’re stuck for ideas on workshops or how to make theatre

more entertaining or engaging for children than look no further than ‘Theatre For Young Audiences’.

像某些書總可能會不必要地嘗試使用理論。相反，《青少年劇這種媒介的一本書。在本書中可以找到許多案例研究和研討會的例子。這對於青少年劇場的從業者和廣義上的劇場而言

都大有裨益。這本書也適用於老師，如果你正堅持著工作坊的

想法或者想知道怎樣能讓戲劇更加具有娛樂性，同時讓更多的兒童參與進來，這本書就是最好的選擇了。

As well as discussing theatre companies and education in schools, the book

除了探討戲劇公司和學校教育，此書還涉及到面向全國觀眾

examines TYA in the National Theatre. Reynold traces the roots of TYA at

節探討了國家劇場中的青少年戲劇情況。雷諾茲追溯了1970

also approaches TYA for a nationwide audience. James Reynold’s chapter the institution in the 1970’s up till the production of ‘War Horse’ in 2007.

The chapter starts with the statement that TYA in London was lacking in 1970 and it was hoped that the National would be able to revitalize the

medium. ‘Theatre for Young Audiences at London’s National Theatre’

explores several children’s plays, in particular adaptations, which have been notably successful on the National’s stage. Reynolds also explores the

National’s funding model, which at one point unfortunately led to them cancelling their Mobile productions shows. Reynolds highlights the work

of their education department and the role that it plays in developing a national youth festival. Reynolds places importance of the National Theatre’s role in truly being national and not confined to London, which includes its TYA work. Due to the fact that the National Theatre adapts

children’s literature, Reynolds states that it attracts new audiences. Under Nicholas Hytner’s tenure as artistic director, the institution has staged more literary adaptations than with any other director: “Almost doubling of the

number of adaptations staged reflects an increased engagement with wider culture and has raised the National’s profile by connecting its work

to the interests of other kinds of audience.” This awareness of other cultures has the ability to draw in new audiences to theatre and, therefore, can only be a good thing.

I regard my early experiences of theatre with a great fondness. I truly believe that without those formative experiences, I would not appreciate theatre in the same way. They inspired me to have love and openness towards the

medium. With that knowledge, it is important to ensure that children are given every opportunity to freely engage with this creative medium, as they would do any other. Just as a child is given the freedom to explore paint using acrylic paint, paper and potato shapes, they must be allowed to do

the equivalent within theatre. This starts with the practitioners, whether they’re theatres, writers, actors or teachers, coming to terms with the fact

that TYA is an art form in its own right. Through this separation, TYA can become embraced and we can start introducing future theatre makers to the medium. ‘Theatre for Young Audiences’ gives you the tools to do so.

的青少年劇場問題。詹姆斯·雷諾茲（James Reynold）的章年代國家劇場中青少年戲劇的歷史根基直至2007 年的《戰馬（War Horse）》。章節一開始說明了1970年的倫敦青少年戲

劇匱乏嚴重，人們都希望國家劇院能重啟這種藝術媒介。 “倫

敦國家劇場的青少年戲劇”探索了幾出兒童劇目，這些劇目經過改寫，都在國家劇院上獲得了巨大的成功。雷諾茲也探討了國家劇院的融資模式，這種模式曾經不幸地使他們取消掉移

動系列作品（Mobile productions）。雷諾茲著重討論了國家

劇院的教育部門，以及他們在國家層次上推廣青年節中的角

色。他指出了，國家劇院（包括其青少年劇場）的角色之重要在於它真正地面向了整個國家，而不僅僅局限於倫敦。國家

劇院在劇目中改編了兒童文學，雷諾茲認為此舉可以吸引新

的觀眾。由於尼古拉斯·海特納（Nicholas Hytner）執掌藝術

總監之職，國家劇場比其他總監在位時出演了更多的文學改編作品： “成倍增長的文學改編作品反映了國家劇院涉足了更廣闊範圍的文化圖景，也通過將作品與其他觀眾的興趣相聯繫，提高了自己的聲望。”這種對於其他文化的自我意識可以吸引新的觀眾進入劇場，因此，這是一件好事。

當我想起自己早年的劇場經歷時，總是感覺到喜愛有加。我相

信，倘若沒有那樣的鋪墊，現在的我是不會以同樣的方式欣賞戲劇的。那樣的經歷讓我對這種媒介充滿喜愛，讓我甘之如

飴。認識到這些，便可知讓孩子們有機會自由地參與這種創造

性的媒體，就像他們可以參加別的活動那樣，是多麽的重要。就像他們可以自由地使用丙烯顏料、紙張和土豆印章探索塗畫一樣，他們在劇場裏也應該有一樣的自由。這要從青少年戲

劇從業者做起，不管是劇場、作者、演員或是教師，都要接受青少年戲劇本身就是一門藝術這個觀點。這樣，青少年戲劇就

能更為人所青睞，我們也可以在將來為這種媒體引入更多的戲劇作者。《青少年劇場之實用手冊》便給了我們這樣的工具。

SHAKESPEARE IN EDUCATION

莎士比亞教育

TEXT BY 撰文 x TAO YANGYANG 陶陽陽 TRANSLATE BY 翻譯 x JILL ANGEL CHUN 秦文娟

William Shakespeare’s hometown, Stratford-upon-Avon, is a picturesque small town. With a population of

less than thirty thousand people, the town attracts more than three million guests from all over the globe

every year, who travel here for the fame of this great playwright. The Royal Shakespeare Company (RSC), also

based in Stratford-upon-Avon by the River Avon, is responsible for the hospitality aspect of the large number of audiences from all parts of the world.The RSC team, formed of a large ensemble, from actors to producers,

musicians to technicians, administrators to educators — channels a remarkable effort in creating the world

one sees on stage. The Royal Shakespeare Company brings the most sincere theatrical experience to the widest possible audience through touring, residencies, live broadcasts and online activity; the Company produces various inspirational artistic programmes each year. One such programme is where Shakespeare’s

pieces are set within varied contexts and themes, alongside the work of his contemporaries and modern day writers. This allows the endearment and applause of Shakespeare’s plays to endure for generations.

All these achievements are inseparable from the great investment from the Royal Shakespeare Company in theatrical education and audience cultivation. Through their abundant work in the classroom, in performance

and online interaction and so on, the RSC reaches and transforms more than 530,000 children and young

people’s experiences in theatre in a year. Could it be said that because Shakespeare is English, it is easier for the English children to study Shakespeare?

In fact, this is not the case. Since 1989, the works of Shakespeare have formally entered the National Curriculum for English and Welsh schoolchildren, and gradually became a compulsory part in their primary and secondary

education. Every pupil comes across Shakespeare in class. The works of Shakespeare pose themselves as an

obstacle to these students, and thus children often draw a deep breath when hearing this name, out of boredom and difficulty. While teachers also complain from time to time about the challenge they experience

莎士比亞的故鄉埃文河畔斯特拉特福（Stratford-upon-Avon），袖珍如畫般的小鎮。鎮上居民只有3萬不到，可是每

年為莎士比亞而來的世界各地客人已經突破了300萬。皇家莎士比亞劇團（Royal Shakespeare Company）就駐守在斯特拉斯福德的中心埃文河畔，在這裡歡迎著世界各地的觀眾。這是一個由演員、制作團隊、道具師、音樂家、教育

工作者、技術人員、行政人員等傾全部成員共同精心搭建的戲劇世界，並努力通過巡演、駐場、直播和各種線上活動為全世界觀眾帶去最富有誠意的戲劇體驗。每年皇家莎士比亞劇團都會推出各種各樣豐富多彩的藝術項目，將莎士比亞融入不同語境和主題，結合與他同時期和當代的劇作家，讓莎士比亞的劇目可以日久長新被一代又一代的觀眾所喜愛和擁護。

這一切與皇家莎士比亞劇團對劇場教育和觀眾培養的大力投入是分不開的，每年，其教育組豐富的教育活動，通過走進課堂、邀請觀看演出，在線互動等多元化的方式，已經讓超過53萬的兒童和青少年獲得全然不同的劇目體驗。難道是因為莎士比亞是英國人，英國的孩子學起來就更容易嗎？

其實不盡然，從1989年起，莎士比亞的作品正式出現在了英國英格蘭和威爾士的國家教學課程裡，漸漸的莎士比亞的作品也成了必修課，每個孩子在上學期間都會遇見他，這些孩子在學習他的時候可沒少吃苦頭，很多孩子時常聽見他

就會倒吸一口氣，覺得非常無聊和難學。老師們也常常吐槽自己在授課時遇到的挑戰，冗長的文本，復雜的詞匯和句式，無法讓孩子們產生興趣。

皇家莎士比亞劇團，用十年如一日的堅持，專業和用心為青少年打造了一個屬於他們的“年輕的莎士比亞國度

（Young Shakespeare Nation）”，讓孩子們與莎士比亞的第一親密接觸變得有趣，生動，易理解。例如“初見莎士比

when teaching his lengthy texts, complex vocabularies and sentence structures, which they find difficult to intrigue students.

The Royal Shakespeare Company, with their persistence, professionalism and concentration, created an initiative called Young Shakespeare Nation specifically

for schoolchildren, which makes students’ first encounter with Shakespeare more interesting, lively and accessible. First Encounters with Shakespeare: The Famous Victories of Henry V is a touring production tailored to young people from 8 years

upwards. It revitalises Shakespeare from lifeless books into a bodily experience of ‘Stand up for Shakespeare.’ Taking the youngsters into rehearsals, the production

enables them to taste the vigorous coordination between directors and actors, and to explore the dynamics of sound and rhythm in Shakespeare’s works. The Royal Shakespeare Company is conscious that the classics would be accepted by

the time only when they are constantly updated. Rather than being preserved on the shelf or museum, or resting in the ‘definite’ version, they should step into our life and deliver ‘breath-taking moments’ to people of every generation.

Taking the Tempest and Hamlet as examples, we shall see how the RSC presents them to a group of eleven-year-old children.

First of all, the children did not need to prepare huge books, or turn to certain pages. Instead, they found an open space or removed all the desks and got

themselves moving. After a self-introduction, the first kid introduced the person next to him, then in turn the name of the third person, so on and so fourth. A theatre teacher let them throw in their names with body languages, progressively increasing their range of motion, they walked continually to balance the space.

After that, the theatre teacher asked the students to move around the room on the command ‘go’ and stopped on the command ‘stop.’ He familiarised everyone

with these commands, and added on clearer indicators of emotion. He further embodied some of the characters in the play, for instance the King and the spirits,

as well as abstract concepts like ‘the tempest’ in the commands and participants’ movements within the space. This stop-and-go activity gradually developed into team working.

亞（First Encounters with Shakespeare:）”企劃, 讓莎

The theatre teacher put forward different kinds of relationships, such as two

驗的莎士比亞的精髓（Stand up for Shakespeare），通

brothers and three sisters, and accordingly grouped up students, before allocating

them the characters in the plays step by step. During this time he did not allocate

the actor of King, but through the small game the teenagers’ leadership was soon exposed. The teacher would not emphasise anyone was doing well or bad, but generated their enthusiasm for and connection with the play steadily.

Having paved the way, the teacher moved on to the content of the play.

She gathered the students to sit around in a circle that everyone could see each other, this way the trust could be built, and everyone became a part of the story. Next, she pointed at a member in the circle with his ‘magic wand’;

whoever was pointed needed to get into character and act out very short scenes telling the story. Once the teacher shouted the ‘magic code’, all the

士比亞不再只是躺著的書本，而是“站起來”用全身去體

過讓孩子們體驗與導演與演員之間生動的配合，在排練

場中以動態的方式不斷地去理解莎士比亞的韻律。皇家莎士比亞劇團知道經典的作品只有不斷地走進時代，才能被時代所接受，不應該束之高閣地被捧在書架上，博物館裡，或是永遠都停留在“唯一”的版本裡，應該走進生活，讓每一個時代的人都能有“怦然心動”的時刻。

以《暴風雨（Tempest）》和《哈姆雷特（Hamlet）》為例子，面對一群11歲的孩子RSC具體是怎麽做的。

首先，沒有厚厚的復雜書，也不用從第一頁翻起，而是

找個空地或是把桌子都挪開，活動起來。先從介紹自己

Stratford Schools Celebration 2014

small actors were required to return to their original position, and start a

的名字開始，然後介紹旁邊人的名字，再然後介紹介紹第三

by this sensory game, in which they could become wind or king for some

出去，慢慢增加肢體語言的使用幅度，在空間裡不斷地走起

new round of plots. All the participated children were deeply fascinated while without feeling embarrassed. More importantly, they went through the story of the Tempest before they even knew it.

When it comes to Hamlet, the teacher was in no hurry to give a wordy

introduction of its storyline. Rather, she let the children mimic family

photo taking for starter, from father and son, brother and sister, father and mother, and the whole family. Subsequently, she modified the setting of this group into a family who recently lost their father, before adding in the

scene of mother’s remarrying. In the end, the teacher gave the subject of

個人的名字，依次類推，邊說邊把自己名字用肢體語言給扔來，平衡空間。

接著，戲劇導師開始不斷地在空間裡重復“走”和“停” （當

然不是隨便喊），孩子們繼續在空間裡走動著，先讓大家熟悉這個口令，然後再此基礎之上給出清楚的情緒詞語，之後

再將劇本中的角色，如：國王，精靈，和一些抽象的東西比

如“暴風雨”用這些詞語賦予的角色在場地中“走”和“停”。自己走走停停後，就是團隊合作了。

these photos mentioned above a new title, the ‘royals.’ All in a sudden, the

戲劇導演給出關係，比如：兩兄弟、三姐妹，孩子們根據這

unbearable sorrow of losing the father and the emotional state of the loss of

王，四個人一組，這期間戲劇導師並沒有分配誰是國王，但

children’s body language and facial expression changed. An ordinary family’s

個組合在一起，然後再循序漸進地給出劇本中的角色，如:國

father by the royals were all different then. When the young people were asked

是在這個小小的活動裡，很快就能發現孩子的領導力，通過

because they are public figures, they have to maintain their public image to

在這個時候可不會強調誰做的好或誰做的不好，而是循序

why there was such a drastic change, they replied, “We seem to realise that

the greatest extent. They cannot be reckless or express their sentiment wilfully.

We seem to understand that why Hamlet’s mental state is always repressed,

一幅幅靜態的畫面再慢慢地發展到動態的畫面。戲劇導師漸進的引導孩子們對劇本更有興趣和連接。

and the surroundings do not allow him to vent his emotion arbitrarily.” This

有了前面一系列的鋪墊，戲劇導師就要開始加入文本裡的

several tasks of this kind, the restless but passive students became more

信任感，每個人也都成了故事的一部分。戲劇導師拿著一

simple exercise deepened the pupil’s understandings of Shakespeare. Through motivated and willing to do research, and more curious about the stories, histories and characters in the plays.

What’s more, the RSC organizes online broadcasts and live interaction that are

specially designed for schoolchildren. Connecting students with thousands of other young people across the UK, the schools’ broadcasts are in real time and

are followed by a live interactive Q&A with members of the cast. They may ask

內容了，大家先圍成一個圈，這樣每個人都能看見彼此建立

根“魔法杖”,這個“魔法杖”指到誰，誰就根據內容進入角色進行扮演，一旦戲劇導師喊“魔法密碼”，所有扮演者就回到自己的位置，又重新開始新一輪故事的延續，每個參與

過的孩子都對這個環節欲罷不能，在這個安全不覺得是“出醜”的環節裡一會兒變成風，一會兒變國王，而最重要的是在不知不覺中“暴風雨”的故事也已經通讀一遍了。

the crew questions such as ‘how do the cast memorise so many lines’; ‘Were

在講哈姆雷特的故事時，戲劇導師依然沒有上來就說長篇

hard work’; ‘how does the director assist the performers in comprehending the

子，兄妹，父母，再到全家福。緊接著讓這一組照片的成員

they born to be ‘Shakespeare experts or acquired to be such excellent actors by

complicated terms’; ‘are there characters that are distinctively liked or disliked by the players.’ Every time the students see their questions are picked up by the actors or director on the new media platform, or every time the host in the studio mentions that they are gathering questions from a specific school,

there comes a happy roaring shout from classrooms of different regions in the country. At that moment, they were all in it together thanks to Shakespeare.

Not only that, the RSC also produces 75-minute highlights of Shakespeare targeting young people, organizes an annual info week on theatre

vocation and arranges performances particular for children with autism and rare diseases.

If one day you happen to be in Stratford-upon-Avon and see a bearded

大論，而是讓孩子們先從肢體模擬家庭照片開始，先是父再組成另一張家庭剛失去父親照片，之後照片擴充加上母親不久再婚的照片。最後，將以上所有照片的內容都賦予

了一個新的命題“皇室成員”。瞬間，所有孩子的肢體語言和面容情緒都發生了變化。一個普通家庭失去父親時家人

毫無保留的悲傷和皇室成員失去父親的狀態完全發生了變化。問孩子們為什麽會變化這麽大，他們說： “我好像理解了因為他們是公共人物，所以要盡量保持公眾形象，不能過

於魯莽，也不能肆無忌憚地表現自己的情緒，不能那麽的隨性。我似乎明白了哈姆雷特的內心狀態，他情緒一直都是壓抑著的，而環境也不允許他肆無忌憚的發泄。”就是這樣的一個練習，讓孩子們與莎士比亞有了更進一步的認識。也就

是借著這樣一個又一個的練習，活動孩子們從被動的抓耳

撓腮變成願意主動去找資料，翻詞典，想去了解更多劇中的故事，歷史，人物。

皇家莎士比亞劇團還專門為學生提供在線直播和網絡互動，讓身處英國不同地區的孩子們通過信號傳播能同時收

看到舞臺演出的轉播，而且還能與在直播間的演員，導演時

刻進行在線互動，比如：演員是如何記下這麽多臺詞的，他們是“莎士比亞達人”還是通過後天努力成為這麽優秀的演

員的，或者是自己覺得有些單詞特別難理解，導演是怎樣幫 Stratford Schools Celebration

助演員去理解的，還有覺得哪個角色特別有意思，哪個角色

自己不喜歡，每次學生在新媒體平臺看見自己的問題被導演

和演員選中時，或是直播間的主持人，提到哪個學校的問題正在搜集中時，英國各地區的教室裏就會傳來一陣歡呼。那一刻，他們都是在一起的，因為莎士比亞。

不僅如此，皇家莎士比亞劇團還有為青少年準備的75分鐘莎士比亞故事集錦，每年都有的青少年戲劇職業了解周，在這一天他們有機會對皇家莎士比亞的所有工種詳細地一一了解;還有專門為自閉癥兒童，罕見病兒童準備的演出場次和表演。

Hamlet Workshop

gentleman in glasses leading a group of kids walking in the town, that may well be

如果有一天，你正好走在斯特拉斯福德，看見一位戴

of inspiration are. You may even bump into a group of students running to you

有可能是皇家莎士比亞劇團的藝術總監正在帶著這群

the art director of the RSC reading them the script and showing where the sources with their notebook in hands and quiz you how many works did Shakespeare write, possibly because they are working on their literature assignment.

Not every child has the chance to visit Shakespeare’s hometown, even those from the UK, but the staff of education department at the RSC said to all

著眼鏡的大胡子先生帶著一群孩子在鎮上走著，那很

孩子邊讀著劇本邊了解莎士比亞這些靈感的來源具體源自於哪裡，也許你還會遇見一群手上抱著本子突然跑來問你莎士比亞有多少部作品的孩子，那可能他們正好是在寫文學作業。

schools: ‘If you cannot make your way here, we will go to you.’ With their

莎士比亞是幸福的，即便是英國的孩子也不是每個人

people. RSC connects children and young people with the world of theatre

同仁卻向所有學校說道： “如果你沒有辦法來，那我

actions they create and provide opportunities for more and more young

making, and specifically aims to connect them with Shakespeare’s world and

work, hopefully opening up a life-long relationship with the plays and live theatre as makers, audiences or participants. Someday, they will bring their

children into the theatre again, into where Shakespeare is played, and involve them in the storytelling of Shakespeare in their time.

都有機會去他的故鄉，可是皇家莎士比亞教育部門的們就為你而去。”他們用行動在不斷地為更多的孩子創造機會，提供機會。而這些孩子在未來，也會帶著

他們的孩子再次走進劇場，走進演著莎士比亞劇目的地方，和他們的孩子繼續講著屬於當下這個時代的莎士比亞的故事。

THE LIGHT AND SHADOW OF INK: THE SPIRIT OF INK IN QU LEILEI

筆墨光影曲磊磊的水墨精神

Qu Leilei. Facing the Future.

TEXT BY 撰文 x HARRY LIU 劉競晨 TRANSLATE BY 翻譯 x SOPHIE GUO 郭笑菲

of work. It is normal for this globally acclaimed museum to enrich its

collection. However, the acquisition and the manner of display for this time gain a profound meaning.

Lei Feng and Journey by UK-based Chinese artist Qu Leilei, were the

two pieces that British Museum acquired originally from his “Empire”

series, Leilei integrates Lei Feng and a terracotta warrior in a surrealist

manner, by combining two thousand years of history, in order to explore the value and dignity of human life. Journey is one of the works in his

series Facing the Future. Using the hand as a medium, the painting

represents the common ideal and aspiration between people from different cultural and ethnic backgrounds. When discussing the reason why the British Museum chose Qu Leilei to collect, it is impossible not to relate back to Qu’s unique family history and the experience

in his artistic career. Qu Leilei’s father Qu Bo is a renowned novelist in China. His work Tracks in the Snowy Forest is influential to several

generations. Qu Leilei inherited the family tradition, but didn’t adhere

to rules. Since the late 1970s, as one of the founding members of the

2015年的秋天，大英博物館中又添多了幾件藏品，對於這個全球首屈一指的博物館來說，不斷擴大自己的館藏本是一件很平常的事情，但此次的收藏和陳列方式卻有著極為深刻的意義。

此次大英博物館收藏的作品是旅英藝術家曲磊磊創作的當代水墨作品《雷鋒》和《旅程》，《雷鋒》一畫是他創作的《帝國》系列之一幅，以超現實主義手法，將雷鋒和秦陵兵馬俑合而為一，在兩千年的歷史契合中，探討生命

的價值和人性的尊嚴；《旅程》一畫，是他的《面對未來》系列中的一幅，以

手為媒介，表現當今世界不同文化和族群間的共同理想和訴求。談到此次

大英選擇曲磊磊的作品作為收藏對象，不得不說到曲磊磊獨特的家學淵源

Qu Leilei. Lei Feng. Ink on Paper. 170 x 91cm.

In the autumn of 2015 the British Museum (BM) acquired several pieces

Qu Leilei. Whole History Appears in Silence. Natural Stone Installation.

Star Group, he has witnessed and opened the first page of Chinese contemporary

和藝術生涯，說到曲磊磊的父親曲波，在中國可謂是婦

always been the principle for his art. During his 30 years of residency in the UK,

的著作。而曲磊磊秉承家學卻並不循規蹈矩，在上世紀

art. Since then, what he believed as ‘politics for democracy, art for freedom’ has

Qu has been quietly exploring and practicing his art, as if the strong wave of Chinese contemporary art and the ups and downs of the art market only exist

on the another planet. Qu has always been keeping his own ideal, engaging with our immediate world using his unique style of ink art. Qu thought that

the strategy that Museum adopts in collecting is different from that of other art institutions. British Museum not only collects from an art-historical perspective, but also scrutinises the ways in which the work inherits the spirit of humanism and contributes to the development of the human society. It is due to a rigorous

Qu Leilei. Brush, Ink, Light, Shadow.

collecting strategy like this, that British Museum finally picked Qu’s work out of

孺皆知，其創作的《林海雪原》更是成為了影響幾代人 70年代末，他作為“星星畫展”的創始者之一見證和掀開了中國當代藝術發展的第一個篇章，從那時起，他所堅信的“政治要民主，藝術要自由”始終是他創作的信條，至今未曾改變。旅英30年來，他一直默默地探索和

實踐，風起雲湧的中國當代藝術浪潮和市場的動盪好似都是另外一個星球的存在，他一直恪守自己的理想，

用他特有的筆墨風格來關照我們當下的世界。說到此次被大英博物館收藏的作品，曲磊磊覺得大英博物館

的收藏策略與其他純藝術機構有所不同，他們並不是

Qu Leilei. Brush, Ink, Light, Shadow.

the thousands of “contemporary ink art” of various kinds. Qu’s life experience, the

單單從藝術史的角度來收藏作品，而是要綜合考量作

and aspiration of melting together the multi-cultures around the world, all meet

貢獻。也正是從這種嚴謹的收藏策略出發，使得大英

concept of integrating the cultures between the East and West as well as the ideal

British Museum’s open-minded agenda of inheriting the past and forging ahead into the future.

As part of the permanent collection of British Museum, the display of the two pieces of Qu is very distinct. Lei Feng and Journey are exhibited permanently on each side of the Admonitions of the Instructress to the Court Ladies. The

博物館最終從紛繁複雜的各色“當代水墨藝術”中選

擇了曲磊磊的作品，他的身世經歷，其作品表現出來

的東西融合的理念以及對全世界多元文化大融合的

理想和訴求都契合了大英博物館兼容並包、繼往開來的宗旨。

Admonitions Scroll, traditionally ascribed to the painter Gu Kaizhi (c. 345–c. 406)

作為大英博物館的永久藏品，曲磊磊的兩幅作品的陳

acquisition in 1902. During the WWII, the British government intended to return this

《女史箴圖》兩側永久展出。而《女史箴圖》俱信是東

from East Jin dynasty, has been the greatest treasure of British Museum since its painting to China to thank the Chinese army for rescuing the besieged British troop

in Myanmar. The Chinese was asked to choose between the Scroll and a submarine,

and it picked the latter. Since the painting of thousand years old is extremely fragile

on its surface, it has only been shown to public for a month every year from 2013 and for the rest of the time it would be placed horizontally within a sealed showcase

and kept away from light. This demonstrates the profound meaning behind the

British Museum’s collection and display of the works, as the Museum juxtaposes the tradition of China from thousands of years ago and the contemporary spirit of

ink. On the other hand, we could clearly see the interaction and mutual integration

between the Chinese culture and the affects from this era and other part of the world during the course of ink art being inherited. The transformation of the world

in the thousand years is embodied between the new and the old, which is filled

with the bits and pieces resulted from the collision and integration between the Eastern and Western cultures.

Qu Leilei. Empire. Ink on Paper. 91 x 170 cm.

品所具有的人文精神上的傳承以及對人類社會發展的

列方式也極為獨特，《雷鋒》和《旅程》兩幅作品被置於晉畫家顧愷之的畫作，從1902年入藏大英博物館以來一直都是其鎮館之寶。（第二次世界大戰期間，英國政府為感謝中國軍隊在緬甸救援被圍英軍，有意將此畫歸還中國，提出《女史箴圖》和一艘潛水艇二擇其一，

中國政府選擇了潛水艇。）由於畫作歷經千年滄桑，畫面極易損傷，從2013年開始，此畫被平置於密封展櫃

之內，每年對公眾展示一個月，其餘時間則避光封存。由此可見，此次大英博物館的收藏和陳列包含深意，

將中國千年之前的傳統與當下的水墨精神並置，一則

是看到了中華文明的強大生命力，歷經千年依然被後人所傳承；另一方面，也可以看得到在水墨傳承的過程

中來自時代和世界的影響也與中華文明產生著融合和互動。一新一舊之間，見證的是千年來世界的變遷，飽含的是東西方文明碰撞和融合的點點滴滴。

Tips

小貼示

Qu Leilei

曲磊磊

He attended Beijing Medical University and then studied

來，他先後進入北京醫科大學及倫敦中央美術

Qu Lei Lei was born in the 1950s and grew up in Beijing.

in London. He is currently based in UK. He was a founding

member of the ‘Stars’, a group of artists who formed the first

ever contemporary art movement to appear in China. In the ‘80s, he served as an art director at China Central Television. In 1983 his production the Wasted Years was awarded first in the design competition of the national television. Working

quite simpy with ink on paper his works comprise a blend of classical Chinese and Western art techniques combined with

modern concepts, illustrated by the relatively recent warriors (Empires project). Qu Lei Lei’s paintings have been exhibited

both nationally and internationally at the Venice Biennale, the

Beijing Biennale and the Pompidou Centre in Paris. Qu Lei Lei’s one man shows include the Ashmolean Museum, Oxford and

曲磊磊出生於上世紀50年代，在北京長大。後學院進行學習。現已旅居英國。他八歲開始學習中國傳統工筆和寫意畫，是“星星畫會”的創

始人之一。上世紀80年代，他曾擔任中央電視

臺的美術設計，1983年，《蹉跎歲月》獲得國家電視劇設計一等獎。曲磊磊擅用毛筆、水墨、

宣紙等中國傳統材料來塑造人物的面孔、手和身體，來探求表現作品的力度和深度。在他的

作品中，光和陰影的運用與傳統作品中有很大不同。曲磊磊曾在上海、倫敦、紐約、巴黎、東京等多地舉辦個人展，其作品被中國美術館、

英國阿什莫林博物館、瑞士銀行等多家博物館、機構收藏。

China’s National Gallery where his work forms part of their

曲磊磊的創作深切關注人、生命、歷史和未來，

British Museum and the V&A for their permanent collections.

值、人性的美和尊嚴。

collections. Art works have recently been acquired by the

通過人的真實生存處境，探討生命的意義和價

Josh Wright & Guillaume Vandame, 2015 Exhibition Opening Photo Courtesy: Sylvain Deleu

GALLERY, OR GYM?

美術館？健身房？ TEXT BY 撰文 x HARRY LIU 劉競晨 TRANSLATE BY 翻譯 x SUDONG CAI 蔡蘇東

Most people’s conception of a gallery or art space is a “white box”— with nothing more than cold white walls and minimalist layouts.

However, an exhibition as part of fig-2 in the Institute of Contemporary Arts (ICA) ruptures the stereotype.

At the forefront of British contemporary arts, ICA is noted for its most avant-garde contemporary works trials and exhibitions. In 2015, they

carried out an almost crazy project: a total of 50 different exhibitions curated by Fatoş Üstek are held within one year in their studio, each lasting one week.

The artist duo Josh Wright and Guillaume Vandame, who take part

in the project, transformed the gallery space into an active gym with free classes taught by invited artists and trainers. The gym has

become a symbol of health and fitness, and also an aspiration for a

better life. It is not difficult to encounter images about body building in advertisements and daily objects detailing everything from muscular masculinity to sexually appealing fitness attires, all of which have

insidiously influenced and shaped public perception towards beauty, body, identity and so on. Responding to such a deluge of advertising and media flaunting beauty and fitness, Wright and Vandame create

a space for contemporary aesthetic reflection and questioning by

converting the static gallery space into a dynamic gym. They involved

the audience in a brand new artistic experience in a seemingly contradictory way—the two functional spaces with different target groups have swapped with each other, making the undertaking even more striking. In the gym space they created, sculptures, actions,

對於大部份人來說，對美術館或者藝術空間的概念一般都停留于“白盒子” 的階段，冰冷的白色牆面，極簡主義的佈置風格，僅此而已。然而最近在倫敦當代藝術研究院（ICA）進行的一個展覽打破了這種刻板印象。

倫敦當代藝術研究院作為英國當代藝術的一個重要陣地，一直以來都以嘗

試和展示最前衛的當代藝術作品而著稱，在2015年，他們開始了一個近乎瘋狂的項目fig-2──在一年的時間內用他們的工作室舉辦50個不同的展覽項目，每個展覽項目為期一週。

喬什·賴特（Josh Wright）和紀堯姆·范達姆（Guillaume Vandame）便是這個項目的參與者，他們將美術館的空間改造成了一個可以實際使用的“健身

房”。從20世紀開始，健身房漸漸地成為了一個符號，象徵著健康的體魄和完美的身材，同時也代表了人們追求更美好生活的一種嚮往。我們不難看到

從大眾廣告和日常的很多關於健身的圖像中都反映出了大量的關於我們日常生活審美以及認知的細枝末節，例如肌肉發達的男性形象，充滿性誘惑

力的健身裝束等，都潛移默化地影響和塑造著普羅大眾對美、對肢體、身份

等觀念的認知和態度。面對氾濫的大眾傳媒塑造的所謂“美麗”和“完美體形”，兩位年輕的藝術家通過他們的努力試圖用當代藝術的手段進行反思和質疑，他們將靜態的美術館空間轉化成一個充滿動態能量的健身房，用

Josh Wright & Guillaume Vandame, 2015 Exhibition Opening Photo Courtesy: Sylvain Deleu

space installations and videos these were incorporated into

一種看似衝突的方式將觀眾帶入一種新的藝術體驗形式，受眾不同

sociological, economic and political issues represented

營造出的健身房空間之內，卻又集合了各種不同形式的藝術作品，

the surroundings. With the conversion of gym and gallery, by the gym in a broader scope are included in discussion;

audiences from various backgrounds and at different ages are able to experience artistic practices unlike anything in

a relaxing setting. When engagement is encouraged, the audience becomes an extension of the work as they join the artists’ questioning and reflection of the body and current aesthetics through their own experience and response.

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的兩種功能性空間的互換，使得這次的嘗試格外的引人注目。而在雕塑、行為藝術、空間裝置以及視頻作品都與環境巧妙地結合到了

一起，通過健身房和美術館空間的置換，將健身房所代表的關於更廣泛層面的社會學、經濟學和政治學問題引入了討論的範疇，也使得更多的具有不同背景和年齡的觀眾能夠在一個輕鬆的環境當中

來體驗不同以往形式的行為藝術實踐，在增強參與性的同時，觀眾

也成為了作品延伸的一部份，可以通過切身的體驗和反應來體會兩位藝術家所要表達的關於身體形象和當今美學的質疑和反思。

更多信息:

JOSH WRIGHT

喬什·賴特

living and working in London. His practice explores the body

英國倫敦。他的創作主要是關於身體以及其新媒體表達。他最知

Josh Wright (1993) is a British visual artist and photographer and its representations in new media. He is best known for his project, “A Portrait of the Artist by a Young Man”

(2011-2014), comprising of one hundred photographs of one

hundred of the most influential and significant emerging

喬什·賴特（1993）是一位英國視覺藝術家、攝影師，工作生活于名的作品是《一個青年眼中的藝術家（A Portrait of the Artist by

a Young Man, 2011﹣2014）》，集合了100位英國著名當代藝術家肖像的攝影作品。

and established British artists of our time.

紀堯姆·范達姆

GUILLAUME VANDAME

人，工作生活于倫敦和新澤西。范達姆的藝術實踐主要集中在探

Guillaume Vandame (1991) is a French-American conceptual artist, writer and curator living and working in London and

紀堯姆·范達姆（1991）是一位法美籍觀念藝術家、作家及策展討主客體場域的關係、對現代藝術的重新審視以及流行文化中真實和現實之間的關係等。

New Jersey. His practice is primarily interested in subjectobject-place relationships, revising the canon of modern art, and investigating issues of truth and reality in popular culture. What is fig-2

Fig-2’s structure of fifty successive exhibitions realised

on a weekly basis operates as a catalyst to manifest the

aesthetic and critical currency of our times. fig-2 will cultivate

什么是fig－2

every project that is driven by the radical imagination of artists,

目，以此來展示和批判我們當今時代的審美和現狀。項目將著重

uncertainty and conscious incompleteness through each and writers, dancers, architects, and designers’.fig-2 is a revival

of the project fig-1, which was conceived and developed

by Mark Francis and Jay Jopling in 2000. Experimental in its nature, each project was programmed only a few weeks in advance to maintain as much spontaneity as possible. fig-

1 presented projects by Jeremy Deller, Richard Hamilton, Runa Islam, Oliver Payne and Nick Relph, Will Self, Patti Smith, Caruso St John and Philip Treacy, among others.

Fig-2通過每週一個的展覽項目在一年內舉辦50個不同的展覽項

培養那些具有不確定性或者尚未完成的藝術項目，參與者是那

些具有顛覆性創造力的藝術家、作家、舞蹈家和設計師們。fig-2 是延續了由馬克·弗朗西斯（Mark Francis）和傑伊·喬普林（Jay

Jopling）于2000年的藝術項目fig-1。fig-1是一個實驗性的藝術項目，為了保持項目的自發性，每個獨立內容都只有很短的幾周時

間，參展藝術家包括傑里米·戴勒（Jeremy Deller）, 理查德·漢密

爾頓（Richard Hamilton）, 帕蒂·史密斯（Patti Smith）, 菲利普·特里西（Philip Treacy）等。

HER ORCHESTRA

協奏 Vivien Zhang. Double Bloom. 2015. 150x112cm

TEXT BY 撰文 x MONICA CHUNG TRANSLATE BY 翻譯 x AVITA GUO 郭顏

On the eve of Vivien Zhang’s debut solo exhibition at Galerie Huit, Hong Kong, ART.ZIP invites Monica Chung, curator and consultant, to interview the artist about her new paintings and art practice. ART.ZIP雜誌有幸採訪了青年藝術家張月薇，她的個人展覽將在近期於錦藝舫（Galerie Huit）舉辦，資深藝術顧問及當代藝術策展人Monica Chung女士主持了這次的採訪，她和藝術家一起就其近期的繪畫創作和藝術歷程展開探討。

ART.ZIP:How would you define your work?

ART.ZIP:你是如何解讀你自己作品的？

VZ: I’d like to think of my work as a site for the assemblage of context-specific

VZ:我把我的作品解讀成一系列特屬環境下視覺符號的聚

of an image, scene, or even idea. It’s where elements congregate, to allow new

景甚或概念。不同的元素聚集在我的作品中，它們之間產

motifs, where it no longer serves as a place for the narration or representation collisions and the rise of a placeless-ness.

集地。在這裡，作品不再陳述或表達一個具體的圖像、場生新的沖撞，生成一種無境之地。

ART.ZIP: In your forthcoming exhibition, there is a painting titled ‘Double

ART.ZIP:在你即將舉辦的展覽上，有一幅畫的名字叫做

inspires this form of repetitive narrative?

符號重復。你這種重復性的形式靈感來自何處？

Bloom’. In it, you have incorporated your signatory painted motifs. What

《雙重綻放（Double

Bloom）》。這幅畫呈現了你經典的

VZ: Double Bloom came about initially as I was thinking about the idea of the

VZ:《雙重綻放》的創作始源於我對“雙重”代表“重復”這

a one-time repeat or a double, is also repetition. I had done some drawings

復或“雙重”也是重復。我曾在國內的一個文具商場中——

“double” as a form of repetition. Repetition doesn’t only refer to the multiple; before with stickers I found at a stationary mall in China (my childhood heavens).

In the drawings, the stickers were arranged in clusters, and posed a similarity to a print in The Grammar of Japanese Ornament – a book I have been looking

at for some time. So adapting the composition of this particular Japanese print

with the stickers, I wanted to create a work for my next show that highlights

repetition in a less familiar order. These were the initial points from which I approached this painting.

一概念的思考。重復性並不單單涉及到“多重”；一次性的反我童年的天堂——找到一些貼紙，用它們做過一系列紙本繪畫。在那些畫作中，我把貼紙有序地組成一簇一簇，模仿呼應《日本裝飾法則（The Grammar of Japanese Orna-

ment）》中的一幅版畫。這本書我已經翻閱了不少日子，我希望在這幅用貼紙重構的日本版畫基礎上，為接下來的展覽創作一個作品，以非常態的呈現方式來強調“重復”這個概念。這就是著手這幅作品的最初想法。

ART.ZIP: Is it intentional that your motifs resemble stickers? What gesture

ART.ZIP:你的符號摹仿貼紙，這是有用意的嗎？摹仿而不

VZ: Yes, the motifs are executed in a way to resemble actual stickers. Trompe

VZ:是的，我的確在摹仿貼紙。錯視畫法（trompe l’oeil）是

are accentuated to produce a volume, retaining the effect of an additional

調了貼紙的邊緣，以表現三維質感，創造層次疊加的效果。

are you making through mimicking rather than applying real stickers?

l’oeil plays a large part in my work. In Double Bloom, the stickers’ edges

layer pasted onto something. Painting the stickers gave me the freedom to manipulate their scale and colours, so that my stickers are less of a linear

translation of the real. I am more interested in the aftermath of juxtaposing different signs in my work than the ready-made. I didn’t want to confuse the conversation by using stickers directly. Another motif I used in Double Bloom

was the gömböc, which can be seen in some other works of mine. The

gömböc here situates in the background of the painting, and are enlarged extensively that the duo spill out of the canvas.

I re-employ motifs across different works. In each work I like to think of them as having transformed, metamorphosed, or a subsidiary characteristic of the motif is highlighted instead of its exact original self – it could be the negative

space of the motif, or imagining a folded version of it in print. Particularly

because of today’s climate – where inspections on the artist’s persona and

status are evermore prevalent when looking at a work of art – I want to ask, through deliberate control of how accessible the motifs and images are in my

work: how does it affect the audience’s speculations on my work; how does

the distance between the audience, my work, and myself change, when the

是直接使用貼紙的做法又是表示什麽呢？

我在創作中的一個重要元素。在《雙重綻放》裡，我刻意強用畫筆繪制這些貼紙，可以讓我自由隨意地處理比例和顏色，而貼紙的切入也不再僅是一個實物的簡單直線轉化。我對不同符號並置下的結局比“現成物”更感興趣。我不想因使用真實的貼紙而影響作品引出的對話。另一個用在這幅畫

中的視覺符號是岡布茨（gömböc）——它也出現在我的其他作品中。在畫作中，岡布茨處於畫面背景，雙雙被擴大延伸，突破畫布外溢出去。

在創作中我會重復使用一些視覺符號。我讓它們在每幅作品裡經歷轉化、蛻變，或者符號的某一附屬特質得以突出，而不

是和盤端出。這裡指的“附屬特質”包括符號的負空間，或對符號被折疊的想象。當下的思潮是在觀看藝術作品時越來越

特別審視藝術家的個體特點和狀態。我想借助刻意控制對作品中符號和圖像的理解維度，提出這樣的問題：這種掌控如何影響觀眾對我作品的思索？當創作中對符號的揭示和刻意移除可讓人察覺時，觀眾、我的作品、與我自己之間又產生了什麽樣的距離變化？

exercise of revealing and taking away components of recognisable motifs and

ART.ZIP:那麽在其他畫作中，有些形狀如同碎片一樣在畫

ART.ZIP: Other familiar icons in your work are the shapes and forms that

VZ:我對破碎和脆弱性很感興趣。這一開始來自於我對情緒

images is visible?

float like fragments across the canvas. Do you view them as such?

VZ: I am very interested in fragmentation and fragility, initially as I was thinking about emotional instability and later on, in thinking about

the increase in speeds and temporal gaps in our daily experiences, and also how the digital has contributed to forming fragmentary shifts and distractions in our experiences too.

布上四散漂移。你也是這樣的解讀嗎？

變化的探索，而後來我開始思考我們日常經歷中日益加快的速度與時間的斷裂，以及數字時代給生活造成的零散、分裂、三心二意的狀態。

ART.ZIP: 你另外一幅作品《沖浪：弦理論（Surf：String Theory）》，這個題目有何所指？那熟悉的基裏姆地毯圖案是否受

ART.ZIP: With one of your paintings, ‘Surf: String Theory’, what does the

title refer to? Is the familiar kilim pattern suggesting that the piece is influenced by impressions on your childhood spent in Asia then Africa.

VZ: Surf: String Theory is the first of a series of works all based on kilims. The

first part of the title, “surf”, references the title of a recent show – “Surf the Anodyne”. The word refers to making work in a way by “riding” on a specified process. When I was titling this small painting, I had known I wanted to make

this into a series, with variations in the kilim pattern – this is a reflection of how kilim production is heavily based on their tradition and heritage, and also of my own interrogation in having a specified or formulaic working process in an artistic practice.

Kilims have always been in my childhood surroundings. Even now in my

parents’ modern Hong Kong apartment, African furniture and Iranian kilims

dominate the ambience. I moved to Nairobi, Kenya, with my mother at the

age of ten, and four years later when we left, my mother traded her Ikea and Chinese furniture for African ones. They’ve been with us since and for a long time I took all those objects for granted.

“String theory”, the second part of the title, refers to my interest in gravity. Increasingly, I feel a shift in physical weight in my paintings, probably as a result of looking a lot at the collages of Hannah Höch. A sense of cut-and-

paste has become more prominent perhaps, where everything is floating and the relationships in my paintings are front-and-back, rather than foreground-

and-background, which denotes gravitational weight and is associated with real space and landscapes.

ART.ZIP: How do you arrive at your palette where there is a tension between bright and bold colours and the subdued tones and shadows?

VZ: It may be more about avoiding very straightforward combinations, such as direct complementary colours. I can use Order, Oscillation, and

Pretence Gesture (Shape Green) (2013) as an example. In this work, the

most important element is the shapes, which are devised by Swiss artist

Johannes Itten. Itten allocated shapes to represent specific colours, and the shape in this painting represents the colour green. The shapes became

到你兒時在亞洲和非洲生活記憶的影響？ VZ:《沖浪：弦理論》是一系列以基裏姆（Kilim）地毯圖案

為主題的第一張作品。畫作名稱的第一部分： “沖浪”，參考了我近期一個展覽的標題——《沖駕那乏善可陳（Sur f the Anodyne）》。這個詞指創作作品時“騎乘”著一個特定的程序。當我在給這幅小畫取名時，我已經知道我想圍

繞基裏姆地毯做一系列創作。基裏姆地毯本身的生產嚴守傳統和文化的傳承，而我自己也在探索藝術家的創作過程是否應該遵循特定的或者公式化的規程。

我的童年其實一直有基裏姆地毯伴隨。今天在我父母香港

的現代居室中，非洲家具和伊朗基裏姆地毯也是主導家中氛圍的首要因素。我十歲時跟隨媽媽到了肯尼亞首都內羅畢（Nairobi），在那裡定居四年後，媽媽把家裡的宜家和中式

家具都換成了非洲物件，一直跟隨我們至今，但也因此我很長一段時間把它們視為當然。

“弦理論”，即畫作名稱的第二部分，源於我對“重力”的興趣。我越來越能感覺到自己畫作中一種重力的改變，這大概是我看了太多漢娜·霍克（Hannah Höch）拼貼畫的結果。一

種剪貼的意識更加突出，一切都漂浮不定，作品表現的關係是前與後的關係，而不是前景——背景，不再著力表現引力帶來的重量及其與真實空間和景觀的關係。

ART.ZIP:你是怎麽在調色方面如此有神來之道?比如那種明亮、大膽的顏色與柔和色調和陰影之間的拉張對比？

VZ:我覺得可能就是避開那些特別直接的組合吧，比如說直

接的互補色。我可以用《秩序，波動，以及矯勢（綠型）（Order, Oscillation, and Pretence Gesture (Shape Green)）》

這幅2013年的作品舉個例子。這幅作品中最重要的元素是裡面的圖形。圖形的原創者是瑞士藝術家約翰斯·伊頓（Johannes Itten）。他將不同的圖形劃分給不同的顏色，而我

作品中的圖形象征著綠色。它們在作品中成為了一種占位符號，輔助我去有序地使用紅色——紅色是我認為較難駕馭的強烈顏色。

placeholders in order for me to deal with red – a very strong colour I usually

ART.ZIP:所以說在你新作中的灰色和中性調子是有意識的

ART.ZIP: Is it a conscious step to shift the palette in your new paintings

VZ:如果回顧一下，我想我當時只是不想再用清淡柔和的顏

find difficult to work with.

towards grey and neutral tones?

VZ:Retracing my steps, I think what happened was I didn’t wanted to start a

painting with a solid pastel colour anymore. That dominated my works up to

2014. Instead, I wanted to trace washes of strokes – something I observed when

sanding the ground of my paintings with water and waterproof sandpaper. During the same period I started using chameleon flip paint, which changes

轉變嗎？

色起稿了。直到2014年，我一直以那種色調著手。我現在想

追求的是一種流動的筆觸——我在用水和砂紙打磨畫布底

料時觀察到了這種擦痕。與此同時，我發現了一種變色噴漆，這種顏料從不同的角度會展現出不同的顏色，還有金屬色顏料，因為我開始對鋁箔產生了濃厚的興趣。金屬色顏料

和鋁箔都有金屬質感，而鋁箔更是漸漸成為我作品中的主要

題材。相對脆弱這一概念而言，鋁箔既有堅硬的質感，同時

colour from different angles, and also metallic paint as I became interested in the aluminium foil as a motif in my work. Metallic paint and aluminium foil are both metals, and the foil in particular started

又具備極強的韌性，被弄皺時依然能夠作為一個完整的個體繼續存在。吸引我的正是這種二元對立性。

playing a big role in my work. In relation to fragility, the foil comes

ART.ZIP:你童年時從北京搬到了內羅畢，然後又搬到了曼谷。你覺

it is crumpled it’s broken, but it can still exist as one entity. I’m very

中的圖案就好像是信封上的郵戳？你怎麽定義個人身份的概念？

from such a robust material, yet it is extremely malleable and when attracted to the dichotomy in these materials.

ART.ZIP: In your childhood, you moved from Beijing to Nairobi

then to Bangkok. Do you think travelling between such diverse

cultures has influenced your work? Would you view your motifs as stamps on an envelope? What’s your notion of identity?

得這種極度的多元文化有沒有影響你的作品？你有沒有覺得你作品 VZ:我在這些地方的生活經歷肯定對我和我的作品是有影響的。首先，

我通過作品，重訪了許多中國文化物品，試圖回歸我感到日益疏遠的本土文化和歷史傳承。但我馬上也意識到只用中國元素引出的許多問題（因為我的外表和國籍而被冠以的 “中國藝術家”身份），而且這也不是我真實個人身份和經歷的全面寫照。

VZ: Having lived in all these places has definitely influenced me, and

於是我開始關注我成長過程中周圍環境裡的物體，比如說我父母家

through my work, in an attempt to re-claim my native culture and

地追隨著我曾經和當下的所在。但同時，我也覺得擁有一個“身份”

my work. To start with I revisited a lot of Chinese cultural artefacts

heritage I felt increasingly distant from. Though, quickly, I began to realise not only did it prose a lot of problems to only use Chinese motifs in my work (because of my look and also being a “Chinese

artist” by nationality), it also wasn’t a comprehensive reflection of my experience and actual identity.

So then I started to look at objects that have been in my surroundings growing up, like African sculptures and instruments in my parents’ house. This introduced new geographies in my work and is more

的非洲雕塑和樂器。我的作品也因此開始出現新的地域，而且更緊密往往伴隨著束縛，因為身份就意味著必須認同一定的成規、特征和既成的觀點。然而我更想用作品來表達的命題是脫離，也就是從與某

地、某些定義和標簽的牽扯以及局促的關係中脫離出來，因為這正是我們當下移動的方向——一切都在流動中，易變、短暫，越來越多軌跡的交叉、離合。

ART.ZIP:你現在已定居倫敦，能不能說你的畫作就是在為你自己創造一種自我的視覺身份？

considerate of where I come from and where I am. At the same time,

VZ:我聽到很多評論，其中的解讀其實遠遠超出了我有意識想要創造

of the need to identify with certain conventions, characteristics and

邊體察著生活中的各種加速度，一邊做我的畫家（畫家的確一直

I also think having an “identity” often means you’re bound because assumptions. The proposition I want to make with my work, though, is to lose discreet and closed associations with specific places, definitions and badges because of the direction we’re moving in –

evermore fluid, volatile, transient, and also with more intersections and congruencies.

ART.ZIP: Having now settled in London, would you say that

的東西。當然，習慣動作和經過籌謀的工作程序是一定存在的。我一是在自省“我下一步畫什麽？”），並在這個過程中開始發展出一種

自我參照的創作方式，即用一幅作品中的元素引導出下一幅的創作。

我已經在談到圖案的重復時提到這一點。所以，我作品中的承轉離動，必然留下可循的痕跡。如果這構成一種身份的話，那麽就是自然

而不造作的。其實我更關心的是如何在作品中實現跨越、顛覆什麽、打破什麽、違背什麽，而不是宣示一個特定的身份。

your paintings are creating some sort of visual identity for you and of you?

VZ: I receive comments telling me so more than I am consciously

trying to cultivate one. There are definitely habits and considered

processes of working. Between observing the accelerations around us and being a painter (painters are known to constantly ask themselves

“what to paint next?”), I started setting up a self-referential way of

working, where elements from one work would feed into the next. I mentioned this previously on reiterating motifs. So I think inevitably shifts and moves I make translate in my work, they leave a trace.

However, if such an identity forms it would be natural and unstudied. I’m much more concerned with how to take a leap, what to interrupt,

break and disobey in my work, than manifesting a specific character.

Tips

小貼示

Vivien Zhang：Cavit y Drif t 張月薇《空隙·漂移》

15 Januar y – 25 Februar y 2016

Galerie Huit, Hong Kong 香港錦藝舫

More info： w w w.galeriehuit.com.hk