《11●即兴高行健》剧照+创作背景 11 Gao Xingjian Devised: Production photos and creation background

By , October 26, 2013 3:47 pm

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前天,《11∙即兴高行健》在实践剧场的排练场以特定场域的形式上演。导演刘晓义带领9名演员、2名编剧,进行了一年的工作坊,并以这个集体创作的作品,作为“实验室”的总结。

导演的话:

集体创作的力量可以有多大?人组成大社会,一个小小的创作团队便是一个小社会。在“实验室”里,我们听取不同的声音、故事、欲望、精神,从而就有了丰富多彩的创作资源。这些素材又再激发我们进行更深层次的讨论和交流,从而形成一部作品。但是,更重要的是,小社会当中的讨论和交流,又能激发我们对于大社会的反思,对于人本身的反思,然后或许能再激发各种各样的行动。这时,“集体创作”可以变成一场社会活动。
对我而言,这不也是一种逃亡?
在这样一个都市里做剧场,不也是一种逃亡?在这样一个讲究效率、追求成果的社会环境里,定下心来用一年的时间去做实验,不也是一种逃亡?逃亡不是逃避,逃亡是作一次“灵魂的旅行”,是一种自救,更可能是一种革命。它需要你放下周遭烦琐的事物,以更平静和更深邃的角度和高度,去审视和感受。然后,你开始感觉自己是真实的存在。然后,你开始想着改变自己,你开始想着改变社会。你的创作就不只是一部产品,它带你去往别的地方。
我十分享受与实验室伙伴们的逃亡之旅。
——晓义

On 23rd Nov, 11.Gao Xingjian Devised started its run at the site-specific venue of The Theatre Practice’s rehearsal hall. Director Liu Xiaoyi has been leading a team comprising 9 actors and 2 playwrights in a year-long workshop, and this production is the culminated collaborative result, serving as the conclusion to their “Practice Lab”.

Director’s Message:

How mighty is a collaborative creation? If a human society is made up of groups of people, then our lab is a micro society. In our lab, we heard different voices, different stories, desires and thoughts and through the fusion of these ideas and through many more discussions, we journey towards the development of this performance. But, more importantly, the creation process leads to contemplation- of the larger society, and for the individual; and perhaps it will trigger a series of actions. Hence, a collaborative creation can also be seen as a social activity.
In my opinion, this is also a form of escape.
Isn’t the mere investing into theatre-making in a city state like ours that a form of escape? Isn’t investing one year of your life in creating something that cannot be measured in economical terms a form of escape? But escaping is not the same as evading; escaping is a “spiritual journey”, it is self resuscitation, and a revolution. It requires you to put aside the mundane in order to be free and to be critical. Only then can you feel that you are really living, and not merely existing. Only then can you hope to change yourself and effect changes in the larger society. Your creation is not a commodity; it will bring you to new places.
I must say I rather enjoyed escaping with my fellow lab members.
-Xiaoyi

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《11∙即兴高行健》的创作者们,从高行健的文字出发,提出一系列问题——如何逃亡?以什么方式逃亡?逃去哪里?什么是社会?什么是自然?人能逃离社会吗?人能逃入自然吗?怎么样才能即逃亡又得以生存?等等。
Using the texts of Gao Xingjian as a basis for their creation, the creative team of 11.Gao Xingjian Devised began searching for their answers to these questions. How should one escape? Through what means should one escape? Where can we escape to? What is the society? What is Nature? Can we truly escape from the society? Can we escape back into Nature? How do we escape and survive at the same time?

演出信息及订位电话:
Show Information & Reservation:

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创意泡泡营!之“环抱大树亲子乐” CREATIVE JUICES CAMP: “Family mission: Nature, get set, go!”

By , October 21, 2013 5:07 pm

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创意泡泡营!网上报名已开始!Online registration has started for our Creative Juices Camp!
www.practice.org.sg/cj-camp-2013/

预知详情,请下载传单 For more details, please download the flyer:
创意泡泡营!Creative Juices Camp! 2013

敬请留意,我们正在筹备精彩的亲子户外大冒险!Stay tuned for more updates as we prepare for the family outdoor adventure of a lifetime 🙂

11张图看《11•即兴高行健》创作过程 11 pictures to show the creative process of 11 • Gao Xingjian Devised

By , October 17, 2013 4:47 pm

【实践实验室】即将呈献的《11•即兴高行健》是由刘晓义执导、集体创作的一出实验戏剧作品。让我们以11个自问自答题,以及11张图片来聊聊它的创作过程吧。
The Practice Lab will soon present 11•Gao Xingjian Devised, a performance led by Lab Director Liu Xiaoyi and devised by all Lab participants. Let us have a lighthearted chat about the piece’s creative process through 11 Q&A and 11 pictures.

高行健12(图1:演员在进行即兴表演 Picture 1: Actors in the process of improvisation)

1. 谁是高行健?高行健是华裔法国籍剧作家、小说家。他1940年出生于中国,80年代末前往欧洲。在2000年获得诺贝尔文学奖,并成为首位获得诺贝尔文学奖的华语作家。高行健代表作有小说《灵山》、《一个人的圣经》等,剧作包括《彼岸》、《逃亡》、《生死界》等。
Who is Gao Xingjian? Gao Xingjian is a playwright and author of Chinese-French nationality. He was born in China in 1940, and ventured to Europe in the 1980s. He became the first-ever Chinese author to receive the Nobel Prize in Literature in the year 2000. Notable books by Gao Xingjian include Soul Mountain, One Man’s Bible, etc, and his plays include The Other Shore, Escape, Between Life and Death, etc.
高行健5(图2:演员在进行即兴表演 Picture 2: Actors in the process of improvisation)

2. 为什么说即兴?在创作过程中,每次演员们都会拿到导演给出的文字和题目,再根据自己的理解,进行即兴的创作与表演。
What does “Devised” mean? During the creative process, the director would hand out certain texts and topics to actors, who would then create and perform pieces via improvisation based on their own understanding.
高行健8(图3:演员在进行即兴表演 Picture 3: Actors in the process of improvisation)

3.我需要读过高行健的作品才看得懂吗?Do I need to have read Gao Xingjian’s books beforehand in order to understand this production? 《11.即兴高行健》从高行健的文字出发,进行分析和解构。最终的作品,是以高行健的文字为灵感的再创作,有自己的意象和含义。如果你了解高行健,那么你可能有多一个层面的理解。如果你不认识高行健,这个作品自身是全新的,是完整的。
11 • Gao Xingjian Devised takes the texts by Gao Xingjian as its foundation for further analysis and deconstruction. The final piece is a creative work inspired by such texts, and it embodies its own imagery and meaning. If you have an understanding of Gao Xingjian, you might have another layer of understanding. If you are not familiar with Gao Xingjian, this piece can also be seen as a stand-alone and brand-new production.
高行健6(图4:演员在进行即兴表演 Picture 4: Actors in the process of improvisation)

4.“11”代表什么?2012年的郭宝崑节中,为了纪念郭宝崑逝世10周年,刘晓义带领众多演员呈现了《11•即兴郭宝崑》和《11•再即兴郭宝崑》。刘晓义认为10代表着完整与终结,而11是一个重新的开始,11不是从头开始,而是建立在10的基础上,再向前迈一步。
What does 11 symbolise? During the Kuo Pao Kun Festival 2012, in commemoration of the 10-year passing of Kuo Pao Kun, Liu Xiaoyi led different groups of actors to create the works 11•Kuo Pao Kun Devised and 11•Kuo Pao Kun Devised, again. Liu Xiaoyi feels that the number 10 represents a sense of completion and conclusion, and 11 signifies that of a refreshed beginning – one which ventures forward based on the foundation of a solid 10.
高行健1(图5:演员在进行即兴表演 Picture 5: Actors in the process of improvisation)

5.为什么这出戏也叫“11”?《11•即兴高行健》,沿袭了集体创作、特定场域以及对剧作家作品的解构这些精神。
Why is the piece called 11 then?11•Gao Xingjian Devised continues to embody the spirit of collaborative creative work, site-specific context and the deconstruction of classic texts.
高行健3(图6:演员们在热身 Picture 6: Actors in the middle of warm-up activities)

6.什么是集体创作?一般戏剧是导演拿到编剧的剧本,把角色分配给演员,再排成一出戏。“11”系列却是由众多演员,自己创造角色,创造场景,创造情节,在不断的分享和讨论过后,再由导演整合而成。
What is collaborative creative work?For most plays, the director would delegate roles to actors based upon a script, and subsequently go into rehearsals to put together the production. However, 11 involves the efforts of all actors – each of them create characters, settings, scenes and go through numerous sharing and discussion sessions, which are then re-organised by the director into the final piece of work.
高行健4(图7:演员们在讨论 Picture 7: Actors in the middle of a discussion session)

7.这个作品是怎么集体创作的?作为【实验室】的结业作品,两位编剧和九位演员都经历了一年的工作坊。他们被要求阅读高行健的书籍,再从文字发展,到即兴创作,累计了很多的素材。加上导演,一共有12个人一起完成这个创作。
How has this production been put together via collaborative creative work? As the final performance by The Practice Lab, this production is the culmination of the efforts of the 2 playwrights and 9 actors through a year-long Lab workshop. All participants were required to read the works of Gao Xingjian, further develop pieces from his texts, and create improvisations, all of which led to an accumulation of vast materials. Including the director, there are 12 participants in total who have been working together to complete this final creation.
高行健7(图8:导演在整理创作素材 Picture 8: The director in the midst of organising creative materials)

8.什么是“特定场域剧场”?“特定场域”艺术(Site-specific art)是指为了特定地点而创造的艺术作品。艺术家在计划与创造此类艺术作品时把地点的因素纳入考量。而史丹福艺术中心这座百年建筑中的部分结构,成了这个作品的特定场域。
What is “site-specific theatre”? “Site-specific” art is a piece that has been created especially for a certain venue and context. Artists would have considered the venue as an important element in the creative and planning process. Part of the 100-year-old structure of the Stamford Arts Centre forms the site-specific basis of this production.
高行健2(图9:演员在进行即兴表演 Picture 9: Actors in the process of improvisation)

9.“实践实验室”是怎么运作的?What is The Practice Lab all about? 如果你觉得传单上的介绍有点复杂,那么总的来说,实验室有三个重点——1.实验性作品。2.集体创作。3.长期训练。它将通过一系列的活动,来培养演员、编剧、甚至观众等等。
If you feel that our introduction on the flyer is a tad complicated, well, in summary, The Practice Lab has three main elements – 1. Experimental works. 2. Collaborative creative work. 3. Long-term training. Through a series of activities, we aim to nurture and develop actors, playwrights, even the audience, and more.

高行健13(图10:演员们在排练 Picture 10: Actors in rehearsals)

10.为什么要“勒紧腰带”?哪里都会有勒紧腰带的剧场。在这样的剧场里,需要创作者激发出更多的想像去弥补资源的不足。我们觉得,艰苦的创作环境,低成本制作,对于剧场来说不一定是件坏事,这样状况下成形的作品往往会有它独特的力量和味道,具备一种与商业制作格格不入的气质,这在当下是需要的。
Why do we need “Poor Theatre”? Poor Theatre exists everywhere. In such a theatre, the people involved need to create even more vivid possibilities and imagination in order to circumvent the lack of resources. We feel that it is not necessarily a bad thing to be situated in a harsh creative environment, with low-cost productions. Works that are formulated in such a context would have their own unique energy and flavour, and possess an integrity that is different from that of commercialised pieces – which is of critical importance to us these days.
高行健10(图11:演员在进行即兴表演 Picture 11: Actors in the process of improvisation)

11.看了这么多,我要怎么定位?!快打6337 2525订位吧!
Having read so much, how do I book my seats? Call 6337 2525 to book your seats now!

《阿Q后传》快到香港巡演咯!The Story After Ah Q is going to Hong Kong!

By , October 14, 2013 6:27 pm

你,看过《阿Q后传》?你,知道《阿Q后传》至今在哪些城市留下痕迹?

就让我们回顾一下吧!

2011年,在新加坡“华文小剧场节”首次与观众见面。2012年,在台北艺术节再次与观众见面。那…… 2013年,又会在哪里出现呢?

《阿Q后传》要到香港去了!所以如果你也在香港,就别错过了!

Have you watched The Story After Ah Q? Do you know where the production has toured?

Let’s do a re-cap!

In 2011, The Story After Ah Q made its debut appearance at the Chinese Theatre Festival in Singapore. In 2012, it made its way to the Taipei Arts Festival.
And for 2013, where will its next stop be?

Well, The Story After Ah Q will be heading to Hong Kong! So if you happen to be there, don’t miss it!

《阿Q后传》快到香港去了!

《阿Q后传》快到香港去了!

购票详情,请查阅以下网址 For ticketing information, please visit
http://urbtix.cityline.com.hk/internet/action/event.do?actionFwd=eventDetail&event=21792

到时见!See you then! 😀

“华文小剧场节”2013圆满落幕

By , October 9, 2013 12:32 pm

2013年的华文小剧场节,随着九月的结束而圆满落幕。对参与的每一个人,我们都表示衷心的感谢。
让我们一起再次回顾这段旅程:

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台湾飞人集社剧团带来的“小孩也可以看系列”作品之一的《初生》充满童真、诗意和思考。是一出非同一般的儿童作品,它从小孩子的角度,向世界提问。这个作品,无论从剧场美学上,还是从剧本含义上,都让人享受,并得到了大家喜爱。
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*摄影:林书暐
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由实践剧场制作,苏君英编剧,黄美兰导演的《当兵姑娘花木兰》又是一出别具风格的儿童作品。它搞笑又热闹,与孩子们有很多互动。让每个在场的观众都投入其中。这个作品不但介绍了一个传奇女性的经典故事,也尝试探讨孝顺和爱国的方式以及意义。
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儿童作品之外,由刘晓义执导的《行者悟空——七个关于理想生活的日常片段》带给大家另一种剧场体验。以实验性的编排方式,用庄子的哲学思想,来探讨都市人生存的困境。希望大家都能从中找到自己的“逍遥”。

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最后,给小剧场节画上句点的是《临界》(一桌二椅实验系列)。这个系列,给三位风格迥异的导演一个可以实验想法的空间,让他们在极简的设置下发挥创意。

第一个演出,是编舞出身的林振发,与两位演员在多次的即兴创作下发展出的——探讨空间的《卫生间》:
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第二个演出,是历来做音乐剧的导演郭践红,丢掉台词与歌词,用一个极为平实的场景,用分秒流逝的时间,刻画一对男女之间的距离。
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第三个演出,导演刘晓义带领两位女性演员在集体创作下,用“声音”作为隐喻,来探讨女性如何表达自己以及标签与身份认同的种种问题。
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每一场演出过后,台上台下的戏剧工作者,都会接受观众的掌声。但其实我们也要感谢观众,谢谢你们选择走进剧场,支持华文小剧场的演出,谢谢你们的思考与参与,衷心感谢!这些都将鼓励我们坚持把好的华语原创小剧场作品持续的带给大家。
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敬请期待我们接下来“勒紧腰带系列”的演出。“实验室”一整年的结业作品《11.即兴高行健》。

公司出游日

By , October 6, 2013 8:09 pm

文/石修榕
10月2日,早晨的大雨并没有淹没实践剧场的出游日,大家期待万分地来到喜园咖啡店集合。歇口气,点份香喷喷的土司面包,配上一杯杯浓浓的咖啡,各位美食爱好者都忍不住开始享用桌上热腾腾的早餐。边吃边喝,边说边笑,围绕着这张大桌的不只是香味扑鼻的食物,也是一段段聊不完的话题。20131002_102918_Beach Rd (1)

添饱肚子补充精力后,大家慢慢地步行到下一个目的地。虽说难得能够放下手头上的工作轻松一回,但今天的行程之一还包括一场惊险刺激的密室逃脱游戏。众人按先前分配好的小组进行游戏,如果能够成功地在时间限制内逃脱的小组还能够获得丰富奖品!
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时间滴滴答答很快地就过去了,各个小组在伸手不见五指的密室里绞尽脑汁,组员们齐心协力破解重重机关,需求开起密室之门的道路。三个小组团结一致,最终虽然只有两个小组成功获胜,但大家都玩得不亦乐乎!游戏虽结束,可是有关在密室里的各种精彩趣事却使话题仍不断地延续下去。

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终于来到今天最高潮的节目了,大家分批前往位于花柏山SAFRA的 Kbox。爱唱歌的一群歌神们都迫不急待地高歌,一曲接着一曲地唱,时而飚歌时而抒情,把全场气氛带到最高点。在这一首首耳熟能详的歌曲背后,另一群桌球高手各个轮流大显身手,尽显球艺。
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大家各自疯狂玩乐,陶醉在其中。这种气氛当然要再来一轮美食,不然怎能称的上是吃喝玩乐的出游日呢?边唱边玩的同时,大家也享用着精心安排的自助餐。
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小惊喜紧接而来,大家在抽奖中都得到了小甜头,笑得合不拢嘴。夕阳无限好,只是近黄昏。带着满满的回忆,我们一起来期待下一次的出游吧!

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