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theatre

ART.ZIP Issue 16

In a sense, the history of humanity is a history of technology. Presumably, early humans had begun to take the path unparalleled by other species the moment they learned to set a bonfire. With the unceasing upgrading of technologies, human life has been transforming all the time.

In the wake of internal combustion engine and nuclear power, digital technology and network communication technology have the most disruptive power in modern times. They fundamentally change the way we relate to life and the world, and consequently has thoroughly altered how we view ourselves as well as the world. The emergence and popularization of new words like computer, mobile phone, Internet, Bitcoin and App not only make our life easier, but also transform everything around us, and art is no exception. In this issue, we bring together the digitalization trend in various art circles, followed by an exploration of how digital revolution plays a role in British art scenes through an investigation into the formulation and presentation of art as well as academic discussions and artists’ arguments about digital art. Hopefully this will reveal an art world of 0s and 1s to you.

人類的發展史某種意義上來說就是一部科技發展史,也許從原始人第一次升起篝火那一刻,便踏上了人之所以為人的與眾不同的發展路徑。伴隨著人類所掌握的科技的不斷升級,人類的生活也在發生著翻天覆地的變化。

在內燃機和核能之後,數字科技和網絡通訊技術的發展是近代最具有顛覆性的科技成果了,它從最深層次改變了我們與生活和世界的關係,人們看待自身和世界的方式也發生了徹底的改變,電腦、手機、互聯網、比特幣、APP等等名詞的出現和普及不僅僅是讓我們的生活變得更加輕鬆便捷,也同時顛覆著我們周遭的一切,藝術當然也不例外。在這期雜誌當中,我們將為大家帶來一系列出現在藝術領域中的“數字化”新動向,從藝術的組織形式、展示方式、學術探討以及藝術家對數碼藝術的爭論中來一窺數字化革命是如何在英國藝術領域中發揮作用的,展現零與一之間的藝術世界。

Visual Arts at the Natural History Museum
自然歷史博物館中的視覺藝術

Recently, the immersive theatre has become popular in mainland China, with some British immersive theatre companies, such as ‘PunchDrunk’ and ‘Les Enfants Terribles’, bringing their shows to Shanghai. Other companies have emerged within British theatre culture from different industries, such as Visual Reality, Augment Reality and drama education projects being accepted by many mainland Chinese

ART.ZIP Issue 15

Since 2012, we have been presenting annual theatre-centred editions every year. Theatre in Britain is a highly industrialised artistic conglomeration, and has far-reaching impacts on British society and art. It carries on the humanistic traditions and values of the country, and extends and shapes reflection and understanding of the current society.
In any form of art, if it wishes to maintain its thriving vitality, it is necessary to cultivate its audience and evolve into what echoes with the times—British theatres’ exploration and practice, in this regard, is too fruitful to neglect. They infuse the most creative ideas into productions for the young, arousing in them interests in art and passion for life. In this issue, we focus on British theatre for the young, examining how theatres, creative practices, marketing, humanistic education and audience cultivation are organically interwoven.

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

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

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

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

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

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

The Position of Language
至關重要的語言

Interview with Professor Paul Barker Professor and Course Leader of MA Music Theatre Royal Central School of Speech & Drama 採訪皇家中央戲劇與演講學院音樂劇場碩士課程主任及教授 保羅·巴克教授 . Paul Barker is a composer, pianist, director and author. He has worked extensively with singers as composer, MD and coach in opera, musicals and concerts across many genres and styles. He was

Drama and Theatre Education
教育戲劇和劇場

Text by: Fresco Su 撰文:蘇毅 Drama, Art Education and Me 我、戲劇、藝術教育 Drama is something intriguing. The first time I participated in it was at the age of twenty-five, when a friend who was the president of a college drama club invited me to play a part. In spite of my minor role as an amorous

Valley of Astonishment
驚奇之谷

作者:沈心懿 6月20日至7月12,倫敦Young Vic劇場將帶領觀眾走進一個光怪陸離的故事。這個世界中每一個聲響都有一種色彩,每一種色彩都有一個味道,每一個味道都有一個形狀;而數字8是個胖女人,蜘蛛網則是無底洞…… 《驚奇之谷》呈現的的就是這樣一個萬花筒般的世界。 在現實生活中這樣的體驗並非是天方夜譚,這是每一個通感癥的患者的生活日常。該病患者由於感覺神經的交錯而能夠在聽到音樂的時候看見色彩。在透過幾位通感癥患者的視角,該劇旨在剖析大腦是如何決定人類認知能力並構架他們的世界觀。劇本的靈感取源於真實事件和多年的神經學研究成果,糅合了古波斯神話長詩的元素而成。觀眾將隨著這些人物的一舉一動,共同體驗他們的大腦是如何讓他們在天堂和地獄之間坐上情緒的過山車。信息網站Time Out 是這樣評論《驚奇之谷》的:本劇劇情將會挑戰你的大腦的極限。 劇本是英國導演Peter Brook(彼得.布魯克)與法國編劇Marie-Hélène Estienne (瑪麗-海倫·艾蒂安)再度精誠合作的結晶。此前兩人在長達30年的時間中有過多次合作,包括80年代的《往事追憶錄》以及在2012年Young Vic上演並名聲大噪的輕音樂劇《情人的西裝》。這是他們繼作品《那個人》(The Man Who)之後再次將主題著眼於人類大腦的創作。Peter曾經在70年代將古波斯神話長詩搬上舞臺,而這一次時隔30年之久的創作是在積澱之後對這部長詩的另類解讀。同時,這也是基於Peter和Marie兩人多年對神經學和伊斯蘭教義的熱情而孕育的探索之作。 Peter Brook出生於俄國一個猶太人家庭,在大革命之時舉家逃亡到英國,因而他的作品中時常夾雜著與對美好事物的眷戀以及居無定所的漂泊。他最具代表性的戲劇作品是在上世紀六十年代與皇家莎士比亞劇團合作的《李爾王》。在這部劇在成功的舞臺演出後被搬上了大熒幕。他的作品在法國等歐洲國家受到極大的贊譽。 6月24日戲劇開演前,兩位導演將攜手劍橋大學神經學學者和通感協會副會長在表演前為大家解讀劇本以及通感是如何產生和影響人類生活的。有興趣的觀眾屆時可以有機會在現場提問並深度挖掘主題。     票價:£10, £19.50, £25, £35 網站:http://www.youngvic.org/whats-on/the-valley-of-astonishment

Flying Roast Goose
《飛天燒鴨》穿越時空

華人街一向是有趣的城中城。坐落在這座城市的心臟部位,有著繁忙擁擠的街道和永不打烊的餐食店。每一個店家櫥窗裏懸吊的燒味,臘味, 濃油重彩地傳遞著多少人心中家鄉的味道。 於是這部作品, 就這樣香氣滿溢地閃亮登場。用港餐廳不能再熟悉的燒鵝命名, 講述了那些已經褪色的歷史中平實的溫情。以第二次世界大戰為背景,故事發生在1941 年 的冬天。日本軍隊攻佔香港,廚師金怡的大排檔的命運也隨著這座繁榮和平的城市的淪陷而前途未蔔。在食品匱乏的難題面前,金怡必須用她的力量和智慧,陷入混亂;面對糧食短缺的問題。金怡必須用她的力量和智慧,保護自己,當然還有她的拍檔——古靈精怪、非常嘴饞的寵物鵝蓉蓉,他們的命運將是怎樣的呢?通過形體、偶戲和物件劇場的相互交融,該劇講述一個關於食品、生存和犧牲的故事;殖民歷史這段鮮為人知的篇章也被詼諧地呈現在舞臺上。 《飛天燒鵝》的創意最初來自Paula Siu,這也是混沌空間戲劇公司(Out of Chaos)首部全長製作,該公司致力於講述東亞,尤其是中國大陸和香港故事。聯合黃土地劇團聯合制作, 其精選片段曾先後在 Oval House、Blue Elephant、Pulse Festival 2013 演出。值得一提的是作品中肢體和木偶演員,Kristoffer Huball和David Ralfe都曾經在世界著名的肢體戲劇學校法國勒考克學校受訓,同時木偶藝術家Oliver Smart也是英國木偶之家Little Angel Theatre的成員。團隊中更是包括了曾經在《戰馬》,倫敦奧運會開幕式已經正在上映的LIFT藝術節作品中有著精彩表現的藝術家和創作人員。 黃土地劇團(Yellow Earth Theatre)由5位英籍東亞裔藝術人士在1995年成立,是致力於提升英籍東亞藝人影響力的團體。 6 月 3 日至 6 月 21 日晚上 8 時 6 月 11 日演出後設有討論環節 地址:Blue Elephant Theatre,59a Bethwin Rd,Camberwell,London SE5 0XT 票價:12 鎊/10 鎊,南域(Southwark)居民 9 鎊 票房:020 7701 0100、0844

             

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