UNHEARD VOICES: AN INTERVIEW WITH OLA ANIMASHAWUN
未聞之音: 奧拉·安尼瑪舒文專訪


DEBBIE CHAZEN (LELA), PAUL BHATTACHARJEE (PRESIDENT) PHOTO BY HELEN MURRAY

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UNHEARD VOICES

AN INTERVIEW WITH OLA ANIMASHAWUN FROM ROYAL COURT THEATRE

未聞之音 

專訪皇家宮廷劇院項目 負責人奧拉·安尼瑪舒文

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PI: PERFORMANCE INFINITY / OA: OLA ANIMASHAWUN

 

PI:

Could you please introduce this project to our readers? Which year did it start? Why named it “Unheard Voices”? How many different themes you have focused on? What’s the selecting standard of each year’s theme?

您能向我們的讀者介紹一下這個“未聞之音”項目嗎?從哪一年開始? 為什麼把它命名為“未聞之音”?其中集中了多少不同的主題?每年的主 題有何選擇標準?

OA:

The first Unheard Voices programme began in 2007.

第一期“未聞之音”開始於2007年。

It is called Unheard Voices, because its chief aim is to identify
a very specific cultural group and/or community who are traditionally under-represented on the stages of the UK – in terms of plays written by members of these communities. Hence it is as through these groups’voices, opinions, thoughts, comments and analysis of who we are and how we live now, goes ‘unheard’. They are denied a platform from which to express their views.

將該項目命名為“未聞之音”,原因是這個項目的主要目的是將一個特殊的 文化團體或群體凸現出來,傳統來說這個群體在英國的舞臺表演方面人 數極少,而且是這些團體成員所著的戲劇更是少之又少。因此,關於“我 們是誰”和“我們現在如何生活” ,這些人對此表達的聲音、觀點、想法、 意見和分析我們往往 “聽不到”,他們缺乏一個表達自己觀點的平臺。

To date we have worked with three distinct groupings of people – young Muslim writers, Chinese and East Asian writers and playwrights of Somali descent.

Each new cohort of writers is asked to submit a short piece of writing that has been written and to be performed on a stage. We then assess each piece in terms of its theatricality, vitality, imagination and ability to tell a story through dialogue and behaviour.

迄今為止,我們曾與三個不同的群組合作過——年輕的穆斯林作家,中 國和東亞作家以及索馬里裔劇作家。

我們要求每一組新興的作家都要提交一部已經完成、即將登臺表演的簡 短作品。

然後,我們對每一部作品的戲劇風格、活力特點、想象能力以及通過對 話和行為表現故事的能力進行評估。

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PI:

What is Royal Court’s ritual in terms of working with the inexperienced playwrights? Do they get trainings from Royal Court and what’s the schedule of this 11-week scheme?

在與沒有經驗的劇作家合作方面,皇家宮廷劇院的慣例是什麼?這些 劇作家有沒有接受劇院的培訓?這個為期11週的行程安排又是怎樣的呢?

OA:

A professional playwright in conjunction leads each group with one of the Royal Court’s associate directors.

Each week focuses on a different aspect of the craft of playwriting including: where and how to begin, dramatic action, genre, structure, metaphor and storytelling – this is combined with trips to see the current shows at the Royal Court and input from guest creatives – writers, directors and designers.

每個小組都由一位專業的劇作家領導,並與劇院的一名副導演合作。

每個星期各小組都會集中討論劇本創作工藝的不同方面,包括:從哪開 始、如何開始、戲劇動作、體裁、結構、隱喻以及故事的敘述——通過 結合參觀皇家宮廷劇院現正上演的戲劇,和各位作家、導演和設計師的 創意。


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