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ISSUE 12

Interview with Leo Warner, creative director of 59 Production 
專訪59製作公司創意總監里歐·華納

Interviewed by: Joanna Dong / 採訪:董一燃 Text by: Struan Robinson / 撰文:Struan Robinson Translated by: Peng Zuqiang / 翻譯:彭祖強 59Production is a pioneer design company in contemporary global context, their project such as London 2012 Olympic opening ceremony shown their talent to everyone on this planet. Whether creating stage productions, museum installations, live music shows, large scale events,

Bannerman on Live
生動的旗手

Text by: Struan Robinson / 撰文:Struan Robinson Translated by: Peng Zuqiang / 翻譯:彭祖強 The marriage between the live action of stage and the smooth cinematic experience of screen is central to Katie Mitchell’s most recent work, Forbidden Zone.  Emphasis upon the visual is a recurrent theme throughout her plays; from the illustrative projections in Some Trace of

The global stage and Digital Theatre
全球舞臺,數字劇場

Text by: Joanna Dong / 撰文:董一燃 Translated by: Syndi Huang / 翻譯:黃煥欣 While people have been repeatedly stressing that the world is becoming a global village, the concept of theatre stage, due to the popularity of the internet, has begun to blur. Nowadays, only to login in your computer or mobile devices, you are always able to

Theatre O
O 劇院

Theatre O is a difficult company to pin down: they have produced only a handful of shows in their 14-year tenure, with their artistic directors Joseph Alford and Carolina Valdes also choosing to collaborate with auteurs such as Katie Mitchell (on a children’s Christmas production of The Cat in the Hat at the National Theatre in 2009) and the Young Vic Theatre (on Juliet Stevenson’s ‘Happy Days’ in 2014), rather than solely

Interview with Joseph Seelig, Founder of Mime Festival
專訪倫敦國際默劇藝術節總監約瑟夫·塞利格

Text by: Joanna Dong / 撰文:董一燃   Joseph Seelig is co-founder and co-director of the annual London International Mime Festival. He was formerly international programme director of the Hong Kong Festival and artistic director of the New Zealand Festival. As the director of HQ Theatres and the Birmingham European (BE) Festival, Seelig also serves as consultant

Punchdrunk
暈眩劇團

Text by: Ava Davies / 撰文:Ava Davies Translated by: Zhao Kunfang / 翻譯:趙坤芳 Fusing installation art, physical and site-specific theatre, Punchdrunk are the world’s most recognisable immersive theatre company. Set up in 2000 by Felix Barrett, the troupe has garnered a huge following and spawned multiple lookalike companies which seek to emulate their global success. Though no

shunt 尚特劇團

Text by: Struan Robinson / 撰文:Struan Robinson Translated by: Shen Xinyi / 翻譯:沉心懿 “shunt” was founded by ten artists from Central School of Speech and Drama, who met in 1997 whilst doing a one year postgraduate course. Its beginnings as a collaborative effort has become the group’s defining feature, as embodied in the company’s title as a

Le Patin Libre
自由冰舞舞團

Text by: Ava Davies / 撰文:Ava Davies Translated by: Zhao Kunfang / 翻譯:趙坤芳 Le Patin Libre, which translates as ‘The Free Skate’, are the first company of their kind, coining a new form of performance which they have named ‘contemporary skating’. They completely overturn any notion of a saccharine, ‘Dancing on Ice’ style, and forgo the glitter

BFI《中國百年電影》
BFI Century of Chinese Cinema

Text by: Struan Robison / 撰文:Struan Robinson Translated by: Harry Liu / 翻譯:劉競晨 Noah Cowan, previously co-director of the Toronto International Film Festival (TIFF) put together the selection of films to be included in the program to reflect this. He writes: “We have aimed to achieve a balance between the canonical and the unjustly neglected, the historically

Fuel 燃料

Text by: Du Xinxi / 撰文:杜昕禧 ‘Produce fresh work for adventurous people by inspiring artists.’ ‘充滿靈感的藝術家為冒險者們所創作的新作品’   Fuel is a London based theatre producing company founded by Louise Blackwell and Kate McGrath in 2004, the company producing works in partnership with a lot of very exciting artists across the UK including Will Adamsdale, Clod Ensemble, not

The Architects 《建築師》

Text by: Joanna Dong / 撰文:董一燃 Translated by: Sherry Luo / 翻譯:羅逸清   After got out of the tube station, the GPS led us to an abandoned biscuits factory. It seemed to be the right place, but we were still not quite sure, as the east London in a winter night looks far lack of security. Someone

Knocking the door of Neverland
桃源探夢

In recent years, immersive/site-specific theatre gains incredible popularity. Productions as such offer fresh viewing experiences and high degrees of participation for the audience. To a certain degree, these performances also have managed attracting and developing new audience, have even created buzz on online forums, effectively closing the gap between the production and the audience, going

Kneehigh Theatre 虹彩劇團

Text by 撰文:Ava Davies Translated by 翻譯: Li Ruixue 李瑞雪 Cornwall-based Kneehigh’s humble beginning as a community theatre workshop in 1980 is essentially the key to understanding them as a company. Led by artistic director Emma Rice, who started her career in Kneehigh as an actor before progressing into directing, as many of the company

DV8 背離劇團

Edited by 編輯:Ava Davies Translated by 翻譯:Li Ruixue 李瑞雪 Information Provided by 資料來源:DV8 背離劇團 DV8 are a dance and theatre troupe who look to challenge boundaries and subvert preconceptions, whether in their physical performances or in the intellectually challenging issues they grapple with. Set up in 1986 by Lloyd Newson, who remains their artistic director

Complicite 同夥劇團

Text by  撰文:Ava Davies Translated by 翻譯:Li Ruixue 李瑞雪 The company that perhaps created and are now synonymous with the concept of contemporary visual theatre are almost certainly Complicite, set up in 1983 by Simon McBurney, Annabel Arden and Marcello Magni. Complicite are probably the most influential experimental theatre establishment in the UK, setting the

The Beauty of Silence 大音希聲

Modern physical theatre is first and foremost influenced by mime and contemporary dance. Presently, an exact, clear definition of the physical theatre is still called for. To the audience, however, the rich, unconventional body movements bring the physical theatre onto the border between contemporary dance and conventional theatre. It is exactly this unmarked border of

The Heads 《腦袋腦袋》

Text by: Joanna Dong   撰文:董一燃  Translated by: Elaine Yu   翻譯:余寧     Blind Summit was founded in 1997 in an attempt to overturn and reinvent Japanese Bunraku Puppetry. People have always visited their productions with great expectation and the plays have often caused surprise. Blind Summit does not repeat itself merely to please audiences, it

Little Angel Theatre 小天使剧院

Interview with Slavka Jovanović, Interim Director, Little Angel Theatre 专访小天使剧院临时主任 斯拉夫卡约万诺维奇 The Little Angel Theatre’s modest appearance, tucked away from the London bustle in an old one hundred seater Islington hall, does little to betray its status as the UK’s premier theatrical puppetry company. It is widely seen as being the ‘Home of British Puppetry’,

40th Anniversary of Puppet Centre
傾心於“偶”40年

Interviewed by: Harry Liu  採訪:劉競晨 Text and edited by: Ava Davies  採訪整理:Ava Davies Translated by: Michelle Yu  翻譯:余小悅 註釋:本文中所提及的木偶並非只是木質偶,只是出於習慣統一使用“木偶”相稱。   Interview with the Co-founder of Puppet Centre, Penny Francis 專訪木偶中心聯合創始人潘妮·弗朗西斯 “If we don’t know the answer to your question, we know someone who does.” As a national development agency for puppetry, Puppet Centre focuses on

Not only a Puppet 無獨有“偶”

    From the moment of its animation, puppet becomes one with its master. Be it small, colossal, realistic or abstract, behind the puppet lies the inexplicable inspiration of the artist. Puppetry may be one of the oldest form of theatrical performance, related closely to religious rituals. Because of its profound history, puppetry is fascinating

The Roundhouse 圓屋劇場

Interviewed by: Joanna Dong  採訪:董一燃 Edited by: Struan Robinson& Sarah Pettitt  編輯整理:Struan Robinson& Sarah Pettitt Translated by: Chen Ting  翻譯:陳婷   Originally built in 1847 as a railway turntable engine shed, Chalkfarm’s Roundhouse is now better known for serving London’s culture and arts than its railways. Its conversion from a disused locomotive house to a

NoFit State 别扭馬戲團

Text by: Ava Davies  撰文:Ava Davies Translated by: Chen Ting  翻譯:Chen Ting   NoFit State is a circus troupe like no other. Borne as a product of Thatcherite Britain and a creative reaction to the recession surrounding them, they have been part of British culture for twenty-seven years and are a valuable asset to the

A Brief Introduction of Contemporary Circus
當代馬戲簡史

Text by 編輯整理:Struan Robinson Reference 資料來源: John Ellingsworth Translated by 翻譯:Chen Ting 陳婷 For most people the word ‘circus’ will usually call to mind classical images of red and yellow tents, performing animals, painted clowns and long chains of wagons and trailers – whilst circus may have indeed looked like that at one point in

Contemporary Circus: Physical Surprise
當代馬戲:身體的驚喜

Text by: Joanna Dong  撰文:董一燃  Translated by: Chen Ting  翻譯:陳婷   Contemporary circus, or Cirque Nouveau, is a term coined mostly to differentiate itself from traditional circus. Yet the difference is not in the innovation of skills. Compared to traditional circus which is a form of entertainment, contemporary circus strives for greater artistic achievement. Today,

The World is Our Oyster
藝海拾貝

Text by: Honour Bayes  撰文:Honour Bayes Translated by:Li Bowen  翻譯:李博文 “I think in British theatre there’s been an ongoing problem of what to call things that aren’t plays because it doesn’t seem to be enough to just call it theatre. So there’s been a steady trickle of names; alternative theatre, physical theatre, experimental theatre but

Visual Fest 視覺盛宴

The physical existence of theatre proves the importance of visuality in theatre. In the numerous languages transformed from the text, the verbal is always the first that one can think of; however, undeniably, the carefully choreographed body movements and the meticulously crafted environments on stage also reads and writes the text at the same time. Occasionally, these

The Legend of the Sun 逐夢天涯

A long time ago, the ancestors of the Zhuang used to live in a place without sunshine. It is said that far beyond the horizon lives a flaming Sun that will bring light and warmth to their homeland. Everyone volunteers for the adventurous journey in search of the Sun… The elders say: “We have the

The Goddess 神女

British Film Institute, China Film Archive, artzip, xy collective, performance infinity, music, art, visual, theatre

Exhibit B | 展品B

Exhibition B, theatre, visual, visual theatre, performance, artzip, performance infinity, xy collective, drama, art

1984

Robert Icke and Duncan Macmillan have created 1984, originally written by George Orwell, into a new adaptation. Due to unprecedented demand, a 5-week extension is announced for the Headlong, Nottingham Playhouse and Almeida Theatre production of 1984, a critically acclaimed adaptation by Robert Icke and Duncan Macmillan. The production has been run at the West

第十二期 ISSUE 12
視覺劇場|Visual Theatre

Theatre in the UK integrates a variety of art forms, deserving great attention and meticulous studies through its prosperity. Alongside the rapid development of technology like multimedia and internet, theatre industry and culture in the UK are constantly evolving. As a publication that is attentive to the development of cultural and creative industry, we review one particular ...

Tao Dance

06/06-07/06/2014, 20/10-21/10/2014, Sadler’s Wells

ART.ZIP Issue 12

Theatre in the UK integrates a variety of art forms, deserving great attention and meticulous studies through its prosperity. Alongside the rapid development of technology like multimedia and internet, theatre industry and culture in the UK are constantly evolving. As a publication that is attentive to the development of cultural and creative industry, we review one particular theatrical topic every year. In this issue, we present the development of “visual theatre” in the UK.

Though “visual theatre” has yet been rigorously defined, its conceptualization and practice has become a remarkable topic for all theatre practitioners in the UK. It pertains to the nature of theatre: construction and expression through the visual. It is acknowledged that text, the verbal and the music are still to some the primary components of theatre, so we have taken for this issue the stance of the “alternative”, including discussions of theatrical forms such as mime, puppetry, physical theatre, contemporary circus and so on. We do not deliberately aim for novelty or any wow-effect, but mean to address the significant and subtle influence this “alternative theatre” has on the development of contemporary art and theatre.

英國的戲劇結合了多種多樣的藝術形式,而且在繁榮的戲劇市場背後有著大量值得關注和研究的課題。隨著多媒體技術以及互聯網的迅速發展,英國的戲劇產業和劇場文化也不斷地發生著改變,作為一個關注文化創意產業發展動向的媒體,我們每年都會討論一個與劇場和戲劇產業相關的主題,本期為大家呈現的專題是“視覺劇場”在英國的發展現狀。

在當下“視覺劇場”的概念並沒有一個確鑿的定義,但實際上,“視覺劇場”已經成為了每一個英國戲劇人繞不開的問題,它關乎戲劇的本質:通過視覺的建構和表達。當然會有很多人認為文本、對白、音樂等等才是構成戲劇的更主要的內容,那麼我們這次選擇的內容則更多是以“非主流”方式呈現的戲劇類型,囊括了默劇、木偶、肢體劇等各類藝術形式;這種編排並不是刻意的獵奇和譁衆取寵,而是要展現這種加雙引號的非主流藝術方式對我們當下藝術和戲劇發展產生的潛移默化並無法忽視的影響。

             

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