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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

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

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

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

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,

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

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

Tao Dance

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

             

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