CHINA NEW WRITING
中國新寫作


WENG SHIHUI

PRODUCER OF THE NATION THEATRE OF SCOTLAND

I am the producer of the National Theatre of Scotland, and I am from Shanghai. The Scottish have relatively open personalities, leaving friendly and cheerful impressions. The majority of
them are working classes, very curious about foreign cultures without excessively subjective prejudices, which lead to a close relationship between the two countries for cultural exchange. I was employed to this national theatre by the former artistic director, Vicky, who is fond of adventures and daring to make bold decisions. It is definitely great to have every decision successful, but she was not stopped to take risks in spite of unsuccessful decisions. Then I am part of her risky steps, without knowing if it would succeed or not, or how far it could go. But it proves there is such a cultural tolerant in this place.

The National Theatre of Scotland is known for new writing. When paying a visit to here, director Tian asked why there are so many playwrights in the UK and they are able to survive without being commercial writers. This situation cannot be imagined in China. Is it possible to breed a new scene with Scottish theatre techniques and Chinese ideas and themes? We have abundant cultural resources here, and director Tian has such a strong appeal to attract a group of playwrights to participate, so that this project can be achieved. Vicky said
she would like to have the contemporary Chinese playwrights to be heard on the contemporary stage, and want to know what contemporary China is like. We have known a lot about ancient and legendary China, as well as the China depicted
by the media, but what real China is remains a mystery to us. Can the contemporary Chinese playwrights tell us what this kaleidoscope country is really like? This is out of Vicky’s own curiosity, and also out of the curiosity of British audience. Nowadays, China is in the central focus of the world because of its economical growth, and we want by the means of understanding its national personalities to look for the root
of the economic phenomenon, in order to promote cultural exchange and development. All the above elements breed this theatre play season. The result proves theatrical language is with no national barriers, and emotions are interlinked. Whether it is an emotional play, or a black comedy, there is not much difference between the public for acceptance.

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翁世卉

蘇格蘭國家劇院制作人

我是蘇格蘭國家劇院的制作人,來自上海。蘇格蘭人的民族特性相對開 放,給人以友好和開朗的感覺。工人階級比較多,對於外來文化很好奇, 沒有過多主觀的成見,這些都讓來自兩個國家的人們在文化交流上感到 親近。我當時受聘於這家劇院是因為前藝術總監維姬——一個喜歡冒險 和敢於做大膽決定的人。每次決定成功的話當然好,不成功也不會阻止 她去繼續冒險。我就是她的一步險棋,也不知道是否會成功,會進行到什 麼樣的程度。但這也說明,這裡有這樣的文化寬容度。

蘇格蘭國家劇院以新寫作見長。當時田導來考察的時候提出了一個問題, 為什麼英國能有這麼多的編劇,而且很多人並不是商業編劇,他們卻能以 此維生。在中國,這種情況也許不能想象。有沒有可能用蘇格蘭人的編劇 技術和中國人的想法和題材培育出一朵新的花來。我們這邊文化支持的資 源比較充沛,加上有田導這樣的藝術家有很強的號召力能吸引一批編劇來 參與,才促成了這樣的活動。當時維姬說,我想給中國當代編劇在當代舞 臺發出聲音的機會,也想知道當代的中國是怎麼樣的;古代和傳說中的、 以及媒體告訴我們的中國我們知道得很多,可是中國到底在發生些什麼還 是個謎。能不能由當代的編劇告訴我們這個萬花筒究竟是怎麼樣的?這一 方面是她自己的好奇,一方面也是英國觀眾的好奇。現在很多國家的焦點 都在中國,一方面是經濟原因,一方面大家更希望了解這個民族的特性來 去尋找這些經濟現象的根源,以促進物質文化的交流和發展。綜上所述的 元 素 ,促 進 了 這 樣 的 一 個 戲 劇 季 。結 果 證 明 ,戲 劇 語 言 是 無 國 界 的 。感 情 是 相通的。不論是感情戲,還是黑色喜劇,大家的接受度沒有太大的差別。


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