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Amazing China
技藝中國

2.10.-5.10.2020 at 71Duke street London Breaks Through the COVID-19 Shadows, Themed Exhibition “Amazing China” held in London As one of the themed programmes during London Craft Week (LCW), “Amazing China” opens on October 2nd on 71 Duke Street, a popular business area in London. The exhibition is hosted by National Base for International Cultural Trade

Nam June Paik
白南準:擁抱了大眾傳播與新科技的視覺藝術家

17 October 2019 – 9 February 2020 Tate Modern The Eyal Ofer Galleries       This year, Tate Modern will present a major exhibition of the work of visionary Korean artist Nam June Paik. Renowned for his pioneering use of emerging technologies, Paik’s innovative yet playfully entertaining work remains an inspiration for artists, musicians

Tim Walker: Wonderful Things
蒂姆·沃克: 美妙物什

  An immersive journey into the fantastical worlds created by photographer Tim Walker.   21/9/2019—08/03/2020 Victoria and Albert Museum     Following the incredible success of the Dior exhibition, this September the V&A opens Tim Walker: Wonderful Things, the third solo show of British fashion photographer and long-time Vogue collaborator, Tim Walker. Experience the extraordinary creative process of one

Nanhai I and other Important Shipwrecks
Symposiums, Exhibitions and Publications on Maritime Silk Roads in Recent Years

The Nanhai I is a Chinese merchant ship that sank in the South China Sea (Nanhai) while carrying a cargo of ceramics and other goods for export during the Southern Song dynasty (1127–1279). The shipwreck was found in the waters of Guangdong in 1987, the year when an underwater archaeology section was formed by the China History Museum (now the China National Museum) with the support of its late director Yu Weichao (1933–2003) (fig. 1), a renowned scholar.

Marc Quinn: Under the Skin (1)
馬克·奎恩:皮相之下 (上)

CAFA Art Museum, Beijing, will present a selection of the work of the acclaimed British artist Marc Quinn this March. One of the leading artists of his generation, Quinn’s work explores recurring themes of art and science; the human body; emotion; and the perception of beauty. For the artist’s first solo museum exhibition in China, works have been drawn from across his 30-year career and from multiple series, exploring his enduring interest in identity.

The Existential Paradox
A Personal View on Violet March’s Video Art

27th April, at the Barge, Marina Brighton, artist Violet March had her latest video art on display. It was a 5:32 min long documentary, footage of the artist’s life journey and her critical thinking on individual existence. The form of the footage is paradoxically concrete and abstract, and the viewpoint is arguably through her first-person gaze as well as through that of her alien I.

Rosetta Stone: Why is it the treasure of the British Museum?
羅塞塔石碑:為什麼它是大英博物館的鎮館之寶?

今天我們給大家講講羅塞塔石碑,這塊石碑算是大英博物館的鎮館之寶,這塊石碑現在就展出在大英博物館的埃及館,每天都有成千上萬的觀眾慕名而來,為了保護這個石碑,大英博物館特地弄了一個複製品,讓觀眾可以上手摸一摸,但因為摸的人太多了,所以每隔幾年就得重新再做一個複製品。 圍繞這塊石碑也是有著非常多的傳奇故事,也有很多人認為它和外星文明有著千絲萬縷的聯繫,那麼為什麼這個塊石碑在800多萬件藏品當中具有如此特殊的地位,為什麼全世界研究古埃及的學者和專家都對他頂禮膜拜?今天我們就給大家講一講關於羅塞塔石碑的故事。 咱們先說說這塊石碑是怎麼發現的,又是怎麼落到英國人手裡的。 話說在1799年的時候,當時拿破崙帶領的法國軍隊佔領者埃及,在那年的7月15日,法軍在尼羅河三角洲上的港口城鎮羅塞塔(今日亦稱為拉希德)郊外修築基地,意外地挖出來一塊黑色的大石頭,當時管事兒的一個法國上尉,有點兒文化,覺得這個東西不一般,密密麻麻寫了這麼多看不懂的字,所以他就上報給了聖朱利安要塞的指揮官阿卜達拉·傑克·德·門努瓦(Abdallah Jacques de Menou)。指揮官就把這塊石碑送往了拿破崙在開羅設立的古埃及研究所,讓科學家研究分析這塊石板,因為在羅塞塔這個地方發現的,也就取名叫做羅塞塔石碑了。 那本來是法國人發現的,怎麼後來又到英國人手裡了呢?因為在1801年,英國軍隊把法國軍隊打敗了,控制了埃及,而法國所獲得的這些文物,英國人覺得也是自己的戰利品,要歸自己,本來當時法國的科學家是希望帶回發過去的,但英國人就是不同意,甚至法國的自然學家艾奇恩那·若弗魯瓦·聖-蒂萊爾(Étienne Geoffroy Saint-Hilaire)還給英國大使威廉·理查·漢彌爾頓爵士(Sir William Richard Hamilton)寫信說“你們要是強取豪奪,我就把這批文物都給毀了,玉石俱焚,我拿不著,也不給你留下” 後來英法雙方簽訂了不平等條約《壓力山大降書Capitulation of Alexandria》,法國根據條約要將所有發現的文物也一併交給英國,所以可見哈,打仗打輸了簽訂條約都是不平等條約,槍桿子打不下來的,通過談判拿回來純屬是扯淡,全世界都一樣。 後來呢,法國人也挺壞,偷摸的把石碑藏個小船上想偷偷運回法國,但後來半路上就被英軍給抓回來了,不過事後兩家商量哈,研究成果和拓片可以給法國,但石碑歸屬英國。 所以看了這個故事以後,我們知道哈,本來是埃及人的文物,被英法兩家給搶了,然後對自己的文物毫無發言權,即使到現在,埃及文化部的官員還是在奔走呼籲,希望英國能將這塊石碑歸還給埃及,但希望非常渺茫,因為這個石碑要是送回去了,那木乃伊是不是也得送回去?那大英博物館里這800萬件藏品有多少是來自世界各地的,肯定很多是正常收藏的,但大英帝國輝煌時期從別的國家順回來的估計也不少吧。 咱們說回來哈,到了1802年,羅塞塔石碑來到了英國,并以英國國王喬治三世的名義捐獻給了大英博物館,此後至今的200多年,一直陳列于大英博物館。 說完了來歷,那咱們得說說這個石碑為什麼這麼重要了。其實這塊石碑並不大,高112,寬75cm 厚28cm,由花崗岩製成,應該是一個更大的石碑破碎以後的一部分殘骸,但就是這麼塊不大的石板,卻密密麻麻了寫了好多文字和符號,而且一看就是3種不同的文字,最上面14行是古埃及象形文字,又叫做圣書體,是代表寫給神明的文字,中間是32行埃及文字,就是日常平民使用的文字,最下面54行是古希臘文。 這就厲害了,因為從公元4世紀之後,尼羅河文明就開始沒落,這種所謂的和神明交流的象形文字的使用方法就失傳了,雖然很多歷史和考古學家竭盡所能去研究和破解但一直都沒法解讀這些文字的含義,雖然埃及留下了大量的文物和文字,但都不知道什麼意思,直到羅塞塔石板的出現。 因為當時希臘控制著埃及,所以所有官方的文書都需要有希臘文的翻譯作為對照,而且古希臘文在歐洲一直都有人研究,是可以讀懂的,所以這塊石碑就為破解古埃及象形文字提供了一個線索,而失傳了1400年的古埃及象形文字也漸漸揭開了它神秘的面紗。 雖然是有了參照物,但破解工作還是很艱難,前後差不多用了近30年的時間,這其中有兩位同志做出了很大的貢獻,一位是英國物理學家托馬斯·楊(Thomas Young),他發現這個碑文當中對應著“托勒密”的發音的文字,但是他搞不明白埃及文字的符號到底代表了什麼,其實這個對中國人來說特別好理解, 舉個例子哈,“巧克力”這三個字,其實中文這三個字沒啥具體意義,這幾個字是“Chocolate”發音的模擬,你要是卡在這裡,說為啥是“巧克力”這三個字,不是“橋殼里”呢,這個其實沒有意義,因為是音譯而已,本身的文字沒有關係。所以托馬斯同志就卡在這了,只找到了對應名字的文字,但他想不明白,不知道為啥是這幾個字。 第二位就比較厲害了,是法國學者让-弗朗索瓦·商博良(Jean-François Champollion),他發現呢,大家一直都認為埃及象形文字是表義的文字,但其實其中很多符號是表音的,而這個對他們來說是一個重大的發現,從此他們破解工作就順利了很多, 但是,其實這個破解工作啊,當時沒有中國人參加,要是有中國人參與的話,可能用不了 30年,10年就解決問題了,為什麼呢,因為我們的文字,有些地方和埃及文字有些類似,卡住西方學者的最大阻礙,其實就是我們的形聲字的問題,比如哈,“聞”這個字,形象上是耳朵貼在門上,聽聲音,非常形象,但發音是從門的音,再比如,“裹”這個字,很形象,衣服打開,裡面,但發音是發“里”的音,所以中文也是及表意也表聲的一種文字,在西方學者撓破頭的時候,我一看就明白了,就是因為他們一輩子用的都是表音的文字,不知道象形文字其實也是可以表音的。 話說回來,至此,因為羅塞塔石碑的出現,古埃及文明中失落的文字漸漸開始被大家所解讀,出現了大量的新的研究和發現,因為整個西方世界普遍認為西方的文明起源於埃及,所以這塊石碑的重要性不言而喻,就好像是祖上傳下來了一部天書,看不懂,現在終於能看懂了,這也是為什麼研究古埃及文明的學者專家都將羅塞塔石碑奉為聖物的原因。 那問題又來了,這塊石碑上到底記錄了什麼?是不是像有的人傳說的一樣,記錄著和神明交流或者和外星人溝通的信息呢? 很遺憾,從字面上來說,這塊是板上記錄的就是一些官方歌功頌德的文字,公元前196年,為了紀念當時13歲的埃及法老托勒密五世加冕1週年,祭司們製作了這個石碑,記錄了法老世襲王位的正統性,以及所實施的一些惠民措施,并獲得了人名的擁護等等等等。 雖然羅塞塔石碑的碑文當中記錄的信息都很無聊,但卻給我們留下了很多的思考,中國、古埃及,以及更早的蘇米爾文明,都是使用象形文字的種族,而且這些文明當中都提到這種象形文字是和神靈交流的工具,我們的甲骨文也是占卜和祭祀時候刻在龜殼上的,也算是和神明交往時候使用的, 很多跡象表明,這幾個古老文明可能在上古時期就有過交流,如果腦洞開的更大一點,也有可能是一個使用象形文字的遠古文明或者地外文明,將他們的文字傳授給地球上的人們,播下了文明的火種,加速了人類發展的步伐,人類在短短1萬年時間里就發展成現在這個樣子了,完成了以往幾百萬年都沒有取得的成績。 嗯,這都是我瞎猜的,不過我們的宗旨就是用激情去擴充腦洞,大膽的假設,嚴謹求證的漫漫長路則用來充實我們的後半輩子。再說一句,羅薩塔石碑是大英博物館展出來的,已經經過了很多的考量,不會展出一個太有爭議性的展品,但同時,大英博物館裡面還有很多來自蘇米爾文明時期的泥板,用楔形文字記錄著很多幾萬年前的上古歷史,其實我覺得那些沒拿出來展的藏品,才是大英博物館真正的鎮館之寶。 More Videos

Whitechapel Gallery–On Now
白教堂畫廊:在展展覽

Elmgreen & Dragset: This Is How We Bite Our Tongue, 27 September 2018 – 13 January 2019 Working together since 1995, artist duo Michael Elmgreen (b. 1961, Denmark) and Ingar Dragset (b. 1969, Norway) produce beguiling spatial scenarios that explore social and sexual politics and unveil the power structures embedded in the everyday designs that surround us. In their

Amazing China: Exhibition of Chinese Arts & Crafts
技藝中國

2018年5月9日,倫敦手工藝周中國展區以“技藝中國”為主題展示了眾多優秀的中國手工藝藝術品, 此次活動是由中華人民共和國文化和旅遊部外聯局為指導單位,由中國對外貿易基地(上海)、國家版權貿易基地(上海)主辦。   策展主題凸顯多種中國技藝豐富展現 “技藝中國”不僅代表此次參展作品和匠人將呈現一個個特別的中國技藝,還意味著中華手工藝代代傳承。這是一份珍貴的記憶,植根於每個傳承者、傳播者、發揚者和創新者的內心。此次上海基地經過精心篩選,組織來自上海、浙江、安徽、江蘇、江西等長江三角洲區域省份、山東、福建、雲南、貴州、河北、河南、內蒙古、黑龍江、新疆等逾10個省(區、市)的近40位匠人、機構及手工藝品牌逾百件作品集中亮相倫敦手工藝周。工藝種類涵蓋古畫修復、潑墨繪畫、陶瓷制作、玻璃制作、中式成衣、漆畫藝術、纖維藝術、木版水印、折紙技藝、木工、金工(首飾)、皮雕、刺繡(緙絲、蘇繡、上海絨繡、新疆手工刺繡等)、篆刻、拓印、藍染等近30種技藝類型。值得一提的是,活動主辦方上海基地在精致展陳的基礎上,引入增強現實(AR)等科技手段,使洛陽唐三彩、廊坊景泰藍、泰山皮影戲、龍泉寶劍鍛造等更多神奇的中國技藝活起來、動起來。 “技藝中國”旨在突出中華非遺技藝的歷史與傳承、中國手工藝品的品質與精致、東方工匠精神的純粹與堅持、中國手工藝產業的發展與創新。展會期間,圍繞手工藝與生活和手工藝國際合作,中國展區將舉辦開幕式、中國生活美學研討活動、導覽參觀、技藝展示、現場技藝體驗、高層會晤、專業商洽等多項系列活動。   國際平臺助力中華手工藝魅力呈現 倫敦手工藝周(London Craft Week)已成功舉辦三屆,由英國查爾斯王子發起,是初夏啟動的倫敦文化系列活動之一,兼具國際特色與本地元素,融合歷史遺產與當代文化,註重商業交流與文化傳承。中國文化和旅遊部將參加倫敦手工藝周列入2018年國際重點文化貿易展會計劃。倫敦手工藝周集制造、設計、時尚、藝術、文化、商業合作於一體,2017年匯聚了來自全球超過200個創意活動,吸引了超過9萬名高品質觀眾實地參觀,英國和國際各大新聞、在線媒體和社交媒體也悉數到場,對活動進行深入報道,收到超過250篇印刷和在線版社論文章,博客和社交媒體報道觸及3.37億人次。據倫敦手工藝周組委會介紹,2018年的倫敦手工藝周已吸引了超過230個項目活動,匯聚各類國家級博物館、當代藝術畫廊、高端品牌商店、行業中首屈一指的百貨公司、著名藝術家、時尚設計師、非遺技藝傳承人以及一些不知名但卻擁有精湛技藝的手工藝作坊和地方級匠人參與其中。本屆倫敦手工藝周將在展會的整體架構、參展形態、觀展體驗等方面進行提升,進一步擴展手工藝機構和匠人的視野,增加國際匠人洽談和合作契機,積極提供更多手工藝主題講座對話、表演展示、工藝體驗等專業活動。在媒體宣傳上,將聚集《服飾與美容》、《衛報》、《經濟學人1843》等知名媒體進行現場采訪與報道。 上海基地是2018倫敦手工藝周鉑金級項目合作夥伴,此為首次組展參與歐洲專業高端的手工藝展會,也是基地又一次通過公共服務平臺的品牌和公信力,贏得國際市場關註和重視,幫助中國手工藝機構和匠人提升國際影響力和知名度的積極實踐。希望通過借助這一優質的歐洲手工藝展銷平臺,進一步拓展中國手工藝產業的海外市場渠道。 美學研討引發中英兩國廣泛熱烈交流 “技藝中國”開幕活動也得到了中國駐英國大使館和倫敦手工藝周組委會的支持。中國駐英國大使館公使銜文化參贊項曉煒、倫敦手工藝周組委會主席蓋伊·薩爾特出席了開幕式並致歡迎辭。英國數字文化媒體和體育部高級政策顧問Chris Marnoch博士也參加了開幕活動。活動還吸引了來自Castle Trust、Thornhill Capital、中國香港貿易發展局、英國中華傳統文化研究院、Craft Potters Association/Ceramic Review等藝術投資人、專業買家及機構,以及新華社、中新社、人民網、China Daily、《歐洲時報》、網易新聞倫敦運營中心、《ART.ZIP》雜誌等媒體代表逾60人來到展會現場。開幕活動後的中國生活美學研討活動上,“技藝中國”展商代表和英國業界人士圍繞各自傳承、經營和守護的手工技藝,就“手工藝創造美好生活”、“手工藝與創意設計深度融合”、“打造中式生活美學、傳播中式美學理念”等熱點話題進行深入交流和探討。展會特制的“技藝中國”印章也讓與會嘉賓愛不釋手,整個印章的形制是篆刻裏的陰陽印,“技藝”二字為陽刻,“中國”二字為陰刻,表達了中英手工藝機構和匠人進一步交融交流、開放合作的美好願景。 積極探索實踐手工藝產業對外貿易開拓之路 隨著全球化的發展步伐和信息技術的不斷更叠,各國的手工藝產業也都面臨著缺乏傳承人、產品不符合現代美感等問題,國際間的交流與合作是必然發生的趨勢。我國傳統工藝門類眾多,涵蓋衣食住行,遍布各族各地。文化和旅遊部等三部委印發《中國傳統工藝振興計劃》中明確指出,要開展國際交流與合作,通過雙邊、多邊渠道,組織傳統工藝傳承人、企業和行業組織代表開展國際交流和研修培訓,以及技術領域的研究與合作,開拓視野,借鑒經驗。倫敦手工藝周是展示中國傳統與當代手工技藝的一個重要的國際性窗口,以“中國展區”參加本屆倫敦手工藝周上,對提升中華文化影響力及促進文化貿易長效發展都是一個很好的契機。國家對外文化貿易基地(上海)希望通過此項展會的持續參展,將一些獨具魅力的手工藝作品匯聚到這一高端的國際展示和交易平臺,向世界展示中國手工技藝的發展進程和未來的發展趨勢,同時也努力促進中西文化藝術的交流與互動,不斷提升中華文化影響力。

The Details Are Invented
無中生有的細節

Xiaowen Zhu: The Details Are Invented as one of the exhibitions of Passen-gers, which is a site-specific exhibition series within the Brunswick Centre, is pleased to present on July 14 from 18:00 to 21:00.

Revolution: Russian Art 1917 – 1932
革命:俄國藝術1917﹣1932

11 February – 17 April 2017 Royal Academy of Arts In February 2017, to commemorate the centenary of the Russian Revolution, the Royal Academy of Arts will present Revolution: Russian Art 1917 – 1932. This landmark exhibition will focus on a momentous period in Russian history between 1917, the year of the October Revolution, and

Appreciation of China: The Exhibition of Chinese Legacy
《鑒賞CHINA》海外遺珍展

  在中華人民共和國駐英使館文化處的支持下,由東方藝術學會、全英華人收藏家協會、歐洲時報、英國天津商會、鼎天英國等單位主辦,由鼎天英國公司全程策劃的《鑒賞CHlNA》系列活动将于11月3-6日在伦敦亚洲艺术周期间呈现,向欧洲世界再现中国艺术的光华。 據悉,此項活動包括“在英倫尋找中國藝術”藝術品征集甄選、《鑒賞CHINA》 海外遺珍展、VIP私人音樂品鑒酒會、《鑒賞CHINA》圖書發行儀式、《百年記憶》紀念華人勞工慈善拍賣會等一系列活動,喚醒東西方藝術對話的活力,再現海外的中國藝術遺珍。這將成為一場可觀賞、參與、互動的專業藝術盛宴。 其中第一階段面向全英倫公開的千人“尋找中國藝術”活動,在歐洲掀起了又一次對中國藝術的熱潮。市民對中國藝術收藏的熱情超出組織者的想象,而收藏的作品更是不可小覷。經過近2個月的征集,近百人參與本次征集活動,不斷有散落在歐洲民間以及收藏機構的珍貴中國藝術品陸續來到倫敦助力《鑒賞CHINA》 海外遺珍展,活動範圍已經擴展至 法國、瑞典、丹麥、北京、香港、上海等地 。最終從近200余件作品中甄選出近百件源自中國歷代的瓷器精品、青銅器、文玩雜項等。其中經過專家鑒定評議的精品將從11月3日起在Grosvenor House, A JW Marriott Hotel 的《鑒賞CHlNA》海外遺珍展中展出,並將出版著錄。 展品中,清康熙五彩加金蓮鷺紋將軍罐、清乾隆青花纏枝蓮紋貫耳尊、明弘治嬌黃釉盤 等歷代中國文物遺珍不僅展出了瓷史的無比光華,更彰顯了中華傳統歷史文化之魅力,兼具藝術性與學術性,足以一觀。 據介紹,本次活動不光得到了眾多海內外重要收藏家、東方藝術基金會的支持肯定,也得到了中華人民共和國駐英大使館文化處、英國收藏家協會等機構的大力支持。本次活動還設有各種獎項,以鼓勵優秀參加者。通過展覽交流,專業評審,出版註錄,勵誌為藏家打造最好的中國經典藝術的交易平臺,將美好的中國藝術傳承下去。該展覽並於11月3日 在梅非爾的萬豪酒店會議中心舉行開幕,為東西方朋友奉上精致文化盛宴。 2016年 11月3日-11月6日                     Grosvenor House, A JW Marriott Hotel,Albemarle & Aldford Suite,Park lane, London. W1K 7TN.

第十三期 ISSUE 13
藝術策展人|Art Curator

“Curator” is a strange concept for most Chinese. In China, the word is often understood as its Chinese “equivalent” (Cezhanren) suggests—the one (ren) who plans (ce) the exhibition (zhan). However, the original meaning of “curator” as a borrowing word is never correctly conveyed in this translation. With the coming of the information era, a globalized and networking ...

Lynette Yiadom-Boakye selects from the V-A-C collection
麗奈特·伊丹-博克易與VAC藏品合作的策展項目

Natures, Natural and Unnatural 17 Mar – 14 Jun Whitechaple Gallery Turner Prize nominated artist Lynette Yiadom-Boakye (b.1977) known for her striking figurative paintings of imagined characters, selects works inspired by nature from the V-A-C collection. Celebrating the arrival of Spring is Natures, Natural and Unnatural, a display that uses nature as inspiration in different

Double Vision
雙瞳

In theatre, the development of technology has always inspired artists and realized creative possibilities. More than ever, performers and choreographers consider using in live performances recorded videos or utilizing cinematic means, as this is also what the audience anticipates. At the same time, however, abusive use of multi-media has also damaged many productions. Simply, it

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

Rambert Dance Company
蘭伯特當代舞蹈劇團

  Text by: Michelle Yu / 撰文:余小悅 Translated and edited by: Harry Liu / 採訪整理:劉競晨 Founded by the Polish ballet dancer Maria Rambert in 1926, Rambert (previously known as Ballet Rambert before evolving to Rambert Dance Company) is one of the UK’s longest running and well-established dance companies. Whilst initially a purely ballet centred institution, they have

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

Theatre & the Visual
《戲劇與視覺》

Text by: Li Bowen / 撰文:李博文 “By questioning the primacy of the text, in wordless, visual interruptions, the theatre draws on the legacies of the avant-garde attack on the senses. By bridging the visual and the textual in confrontational ways, theatre perhaps appears more readily as a mode of production that reflects the cultural, political, and

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

西遊新記

2015年新春之際,在中國農曆新年的大年初二, 英國華人藝術協會與全球音樂與藝術融合慈善基金會共同攜手在歷史悠久的倫敦查爾頓莊園舉辦了大型迎春慶祝活動, 其中包括了英國中樂團的演出以及持續一個月時間的大型中國旅英藝術家群展《西遊新記》。值得一提的是,

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 Master and Margarita
大師與瑪格麗特

Text by: Joanna Dong  撰文:董一燃 Translated by: Li Bowen  翻譯:李博文 In 2013, on stage was a production that has conquered countless audience with its unmatched darkness and unpredictable magic. It was The Master and Margarita by Complicite. Established in 1983, the Complicite is dedicated to presenting visual effects and the art of design in a

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

Blind Summit 盲顶剧场

Blind Summit’s mission is to reinvent the idea of puppetry and bring contemporary puppeteering to a new audience. In their own words, they say that they ‘see puppetry as a radical part of the reinvention of theatre in our time.’ Mark Down acts as Blind Summit’s Artistic Director, and has held the post since founding

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

             

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