In the burgeoning British contemporary theatre, we are attempting to achieve bringing up new voices, whether it is in a new writing scheme between Chinese and British artists, or short play performances by East Asian young writers, or young troupes concerning about feminine issue subjects, which are all about new writing but in different forms and themes.

Tian Qinxin·New Writing Project is led by Tian Qinxin, the well-known director of China National Theatre and deputy director of the Research Centre of Peking University. It is an international cultural exchange program, with the support of cultural prominent leaders, cooperated by Film and Television Drama Research Centre of Peking University, China National Theatre, Shanghai Drama Art Centre, Beijing Children’s Art Theatre Co. Ltd, Beijing University Pei Wen Education and Culture Co. Ltd. and the National Theatre of Scotland. This project, through cultural exchange and training, is aiming at cultivating Chinese young playwrights to the international standard, and to improve overall creativity of Chinese theatre plays, and to promote a further cultural exchange among international theatres. Ten potential candidates, after the seven-day screenwriting workshop training with British artists, were requested to create respectively a 45-minute short play within a day. And six finalists were selected to attend a two-week exchange activity of National Theatre of Scotland in the UK. The final scripts were realized on the stage in the first New plays from China season (A Play, a Pie and a Pint) held in the UK in April 2013. After this theatre play season, we are very honoured to invite the artists and participants of the project to share their experiences and thoughts.

在英國活躍的當代戲劇舞臺上,我們有目的地捕捉到了一些特別的聲音。 無論是中英藝術家合作的新寫作計劃,東亞青年作家的短篇劇本匯演, 還是關註女性題材的年輕劇團。同樣有關新寫作,話題卻豐富和多樣。

“田沁鑫·新寫作計劃”,是由中國國家話劇院著名導演、北京大學影視戲 劇研究中心副主任田沁鑫發起,文化界多位知名人士響應,北京大學影 視戲劇研究中心、中國國家話劇院、上海話劇藝術中心、北京兒童藝術劇 院股份有限公司、北大培文教育文化有限公司以及蘇格蘭國家劇院共同 合作主辦的國際文化培訓交流項目。該項目以國際間的文化培訓、交流 為主要方式,旨在培養具有國際水準的中國青年劇作家,提升中國戲劇 整體創作水平,促進國際間戲劇文化的深入交流。

經歷英國藝術家為期7天的“編劇工作坊”培訓後,10位入圍選手用一天時 間創作出一部時長約45分鐘的短劇,經過篩選,最終晉級的6名編劇將被 派往英國參加為期兩周的蘇格蘭國家劇院藝術家駐地交流活動。他們最 終創作的劇本在2013年4月被搬上舞臺,亮相在英舉辦的首個中國當代 戲劇季(“一個戲,一個派,一杯酒”)。我們有幸在戲劇季的演出後,邀請到 參與項目的部分藝術家和工作人員談談他們的經歷和感受。


Tian QinXin Studio


As a director myself, I reckon a great dramatic work comes
from a great script. Sometimes, I meet the difficulty in looking
for playwrights. Chinese theatre is only being existing for a hundred years, and it is in urgent demand for scripts. In 2011 Edinburgh International Festival, I got the chance to talk with Vicky Featherstone, the former artistic director of the National Theatre of Scotland, and have realized that scripts are the essence of theatrical creation. I hope there is an activity to arouse Chinese young playwrights’ interests in theatre, and to realize their theatrical dreams. Vicky has the experience of doing new writing projects in London before, and has brought up a lot of famous playwrights. Therefore, I am hoping her great experience would be helpful to our project. Then there comes the preliminary intention to work with the National Theatre of Scotland. The Scottish government is very open, and willing to give supports.

Appointed as the deputy director of the Television Arts Centre of Peking University, I decided to organize the project in Peking University, as it is an academic platform filled with young people’s interests and enthusiasm towards dramatic literature. In addition, the support from the National Theatre and Shanghai institute eventually led me to personally implement the new writing project. In the beginning, I sponsored the project, using my personal reputation to win the attention of the government and leaders. Peking University is at the up front for academic education, and I was given supports to launch the project from many well-known Chinese writers, such as Mo Yan, Yu Hua, Zhang Kangkang, Zou Jingzhi, liu Heng from mainland China, Liu Yihua from Hong Kong, and the director Stan Lai from Taiwan. This project also received supports from teachers of the Central Academy of Drama and the Chinese Academy of Social Sciences, who formed into an expert group to spread the news online.
And we received more than a hundred and fifty play scripts, ten out of which were picked. Then Davey Anderson, George Aza- Selinger and Runo Munro, three artists from the National Theatre of Scotland, came to China to carry out workshops of developing the ten works. After improvement, six selected scripts were brought to the UK. Scotland has such a cultural practice that the project was arranged very swiftly and efficiently. The process from funding, selecting to translating is like sending students to study abroad. This theatrical show in Scotland has, in terms of academic and practical perspective, achieved the emotional performance of the contemporary subject matter. It seems only the UK, as the leader of theatrical performance with such exchange and output capabilities, enables the show in three cities. Though I took the lead for the project, I left the decision making for the experts in the UK. We need to embrace this attitude for learning, to pick the works based on their standards. From being part of taking
the initiatives, enjoying the performance, to watching the final outcome, we have built a profound friendship. Besides, this is the first time to carry out such a project with no restrictions on the subject matters. In the process, the technical skills are of most significance, to focus on building young people’s ability of writing scripts, to let more young people to understand the importance of technical capability. It also serves as a driving force to motivate those young people. I did not expect much about the result of the project, and was not intended to start it for any profitable purpose. During the process, we have encountered various working and selecting criteria differences, and language expression barriers, which need thorough communication to be sorted.

I have to give my great thanks to the Chinese girl Weng Shi-Hui, producer of the National Theatre of Scotland. It is her passion and effort that makes the project possible, so that the playwrights are able to gain this great opportunity. Our weakness is not lying in having the difficulty in telling stories, but in lacking the technique perspective. Our domestic theatrical market has been formed, but lacks the content. It can be referred as a well-decorated restaurant with no great chief. It seems only through such an interesting form, young people from both of the countries who are interested in and eager to learn each other’s play styles, social manner, emotional means and etc, are possible to achieve the exchange. Nation and city boundaries should not be the obstacles, while emotions are the core root of cultural exchange. In China, this project has great influence in cultivating young playwrights. We travelled from Beijing to Glasgow, feeling though it is a small city, this international exchange would be of great impact. Because

it is the cultural exchange between young people from the two countries, which itself is of great significance.

Such cooperation should be the first time in China, where there is no precedent receiving this level of supports and attentions from the country and the government. The literature nature of drama is very vital, which is not just a play form. We boast our literature capabilities, but also in need of technical abilities that I hope I can contribute as much as possible to further develop. I believe it would be very interesting to push forward this kind of projects. On the one hand, the China National Theatre provides financial assistance, while the social forces on the other hand offer their supports, to put the performance on a larger national-wide scale as to arouse more public interests in theatre. I am very grateful to the National Theatre of Scotland for helping us to realize this project in Scotland.


田沁鑫 中國國家話劇院導演

我自己是一名導演,一部優秀的戲劇作品要有很好的文本,我有時在尋 找編劇方面面臨一些困難。中國戲劇才一百年,對於文本的需求十分迫 切。2011年的愛丁堡藝術節上,我和蘇格蘭國家劇院的前藝術總監維姬· 費瑟斯(Vicky Featherstone)聊天。從中最大的感受就是:文本是戲劇 創作的核心。我希望有一個活動能讓中國的青年編劇對戲劇產生興趣, 並把他們的戲劇夢想變成現實。維姬在倫敦做過新寫作計劃,培養出很 多著名的編劇,我希望她豐富的經驗能夠對我們的項目有所幫助。於是 就產生了在技術上與蘇格蘭國家劇院進行合作的初步意向。蘇格蘭政府 也很有開闊的視野,願意支持這樣的合作。

我受聘在北京大學影視藝術中心擔任副主任,於是我決定把這個事情放在 北京大學來做,因為這是一個承載青年人對戲劇文學的興趣和熱愛的學術 平臺。此外,國家話劇院和上海方面的支持,也最終促使我以個人名義施行 新寫作計劃。開始是我個人出資,用我的名聲博得了領導和政府的關註。北 大又是一個開鋒起先的一個學校。我請到很多知名的作家支持,如莫言、余 華、張抗抗、鄒靜之、劉恒等,還有港臺的林弈華、賴聲川導演等也來支持這 個活動的展開。這項活動還得到了中戲、社科院的老師們的支持。他們組成 一 個 專 家 組 ,在 網 上 傳 播 消 息 。我 們 共 收 到 一 百 五 十 多 個 劇 本 ,最 後 篩 選 出 十 個 劇 本 。隨 後 蘇 格 蘭 國 家 劇 院 的 藝 術 家 戴 維 · 安 德 森( Davey Anderson), 喬治·氮雜澤林格(George Aza-Selinger)和如諾·蒙羅(Runo Munro)到中國前來開展工作坊,來繼續發展這十個作品。經過努力地提升,我們最後選 出了六個劇本來到英國。蘇格蘭有這樣的文化交流慣例,否則不會開展得這 麼快。申請經費,篩選,翻譯的過程,就像送學生留洋一樣。在蘇格蘭的這個 劇展,從學術到實踐,實現了反應當代話題的情感演出。可能只有在英國,這 個戲劇方面的“老大”,能有這樣的交流和輸出方式,能在三個城市演出。我 自 己 在 這 樣 一 個 合 作 裡 面 ,是 一 個 旗 手 型 的 人 物 ,到 了 英 國 這 邊 ,就 完 全 交 給 他 們 決 定 了 。我 們 要 學 習 ,就 要 有 這 個 態 度 ,根 據 他 們 的 標 準 去 選 拔 。從 發 起 者 到 享 受 者 ,最 後 坐 看 成 果 。我 們 也 建 立 起 深 厚 的 友 誼 。此 外 ,這 是 第 一 次 開 展 這 樣 的 活 動 ,在 題 材 上 沒 什 麼 限 制 。這 一 過 程 中 ,技 術 最 重 要 ,要 關註青年人的文本建設。讓更多的青年知道技術的重要性,也是對於這些年 輕人的鼓舞吧。我也沒想到能成,開始的時候也就沒有什麼功利心。這中間 雙方也有很多工作方式,選拔的標準的不同,以及用語的誤差等等。這需要 雙方非常用心地去溝通。

我很感謝蘇格蘭國家話劇院的這位中国姑娘–翁世卉,她在這個國家 級劇院中擔任制作人。因為她的熱情和努力,才有可能把這件事情促成, 這些編劇也才有這些機會。我們的問題不在於不會講故事,而在於技術性 差。國內的戲劇市場化已經形成,但是內容上仍舊缺乏;就像一家餐廳, 裝修很好但沒有好廚師。兩個國家的年輕人對彼此都很感興趣,想了解對 方的戲劇方式、社會方式、情感方式等。只有通過這樣有趣的形式,才有可能達成交流。國家和城市的界限並不是障礙,情感是實現這些交流的根 源。在中國,這個項目在青年編劇的培養方面引起了很大的反響。我們從 北京來到格拉斯哥,感覺這個城市雖然很小,但這是一次影響很大的國際 交流。因為這是兩個國家的年輕人之間的交流,本身就意義重大。

這樣的合作在中國應該是第一次。能獲得一定的國家支持和政府注意, 可以說是沒有先例的。戲劇的文學性非常重要,不僅僅是玩形式。我們國 家有文學性的長處,也有技術性的需要,我希望繼續發展這點,並能盡可 能多地出力。我想往下推動這種活動應該也很有趣。國家級劇院出一些 錢,社會力量給一些支持。在國內演出聲勢大一些,會讓更多人對戲劇產 生興趣。我很感謝蘇格蘭國家劇院能促成這輪在蘇格蘭的演出。





Lin Weiran is a playwright and screenwriter. She graduated
from the Central Academy of Drama, and is currently working with Beijing Opera Company. She is the Director of IATC China branch and Deputy Director of Beijing Young Drama Association. Weiran’s work investigates contemporary relationships.

This project has given me the great opportunity to write about what I am truly interested in. For instance, I am personally
very concerned about relationships and family relations, which is probably because of related characteristics of female playwrights. The theme of the project is gaining access to the most secret place of the heart, which reminds me of questioning myself sincerely.

Some training was provided in the project, such as opening up body sensors. We were required to experience the feeling of facing an unfamiliar environment in the underground garage. That fresh and strange feeling is like theatrical creation. How to discover and how to perceive is very important. The artists from the National Theatre of Scotland set a lot of playwright-focused practice. Their teaching method has left a great impression on me. For instance, regarding to write the opening, they brought
a lot of script booklets for us to analyze. Instead of informing how to write straightaway, they inspired us through gradual encourage and affirmation from the beginning of script writing till the final stage of modification. They asked in details about our thoughts and understanding of Chinese culture, and always with a tolerant and respectful mind. It is also a mutual understanding and improving process.

Runo, a very distinguished Scottish female playwright, was in charge of my script adaption in the final stage. For the meeting, I brought three scripts. She asked what I needed to help,
and I said I did not know which scripts to choose. In the end,
she concluded, “I think the first script is difficult to write, but fundamentally you need to ask yourself what you really want to write about”. “What does the writer genuinely want to express”, this kind of training has dug out my potential. The ten-day training has exerted a great impact on me. I have the experience in writing commercial plays and achieve some success. I was worried if the play set in an enclosed space only with two characters will end up being very boring. However, this is an exploration of creative potential, and the result proves fine. I am very thankful for being able to get this great opportunity. Many thanks to director Tian for all her efforts put in the project. The Nation Theatre of Scotland has also helped a lot. It is indeed not easy to make all this happen.




編劇及劇作家,她畢業於中央戲劇學院,現工作於北京,為北京青年戲劇 協會執行總監。其作品主要是探究當代社會與人們的種種關係。

這個活動讓我有機會去寫自己真正感興趣的話題。比如我個人就非常關 注兩性情感和家庭關系等話題,這可能和女性編劇的特點有關。這次活 動的主旨是指向心靈最隱密的地方,這提醒我自己要用心地問自己。

這次活動中有一些訓練。例如,打開身體感官的訓練。我們在地下車庫, 去體驗面對陌生環境時的感受。新鮮、陌生,這點很像戲劇創作,如何去 發現、去感知很重要。蘇格蘭國家劇院的這幾位藝術家,設置了很多針對 寫作者的練習。方法上讓我印象很深刻。比如寫開頭,他們帶來很多劇本 單行本,讓我們去分析開頭。並不是直接說應該怎麼去寫。他們對於編劇 的這種啟發,是逐層地鼓勵、肯定,一直延續到劇本的生成和修改;他們 逐字逐句地詢問你的想法,以及你對中國文化的解讀。始終保持一顆包 容和尊重的心,整個過程也是互相認知和提高的過程。

如諾是位非常傑出的蘇格蘭女編劇,描寫感情見長,最後擔任我的劇本 改編。在談的時候,我帶了三個劇本,她問我需要什麼幫助。我說我覺得 這三個不知該選哪個。最後,她說:“我覺得第一個不好寫,但是你要問你 自己到底要寫什麼。”“創作者到底想表達什麼?”這種訓練挖掘出了我一 些潛質,這十天對我來說很重要。我平時寫的一些商業劇比較成功,有一 些經驗,因此我擔心這部戲設置在一個封閉的空間中,只有兩個人,有可 能會很悶。但這是對創作潛能的一種開發,而且最終結果並不差。我非常 感謝這次機會。感謝田導,以她的地位並不用做這件事情。蘇格蘭國家劇 院也不遠萬里地做了很多實事。最後能這麼實在地落地開花,很不容易。




Jingfang Hao graduated from Tsinghua University in Beijing, China, majoring in Physics in undergraduate school and Economics in PhD studies. She started to publish short stories in 2007, and has published two science fiction novels, a short story collection and an introductory book of European Culture. Thieves and Boy is her first play for theatre. She is inspired by British theatre for its rich and dynamic verse.

I am not a professional writer. My major was physics for my undergraduate studies, and economics for PhD studies. I am
fond of writing, and have written novels before. This opportunity is quite accidental. My friend and I are sharing the same habit
of watching theatre plays, and we often go to theatre together. Both of us are great fans of director Tian, therefore we know more about this kind of theatre news. Once by chance, we heard about this project that the selected candidates could get the chance
to attend script writing training in the UK. I was very hoping to participate in this project, because for the one thing, I could have the chance to meet my idol, and for the other, I was looking forward to improving my skills from the training. Especially, it was very attractive to be able to go to the UK.

Many present dramatic plays in China are focusing on forms. Of course, some are great works, however, sometimes that kind of works do not interest me. One play I quite enjoy is Copenhagen, which is put on a very simple stage, without complicated forms. If not paying attention to listen to the characters, one would not be interested in such a play. Hence, I am more concerned about the collision of thoughts of the characters. This is probably my personal preference, but I think text is what impresses me the most.

I do not find many difficulties from being an audience to be a core figure of play writing. On the contrary, it is of great fun. In fact, no matter for deciding the subject or writing the script, I remain thinking from an audience’s point of view, what to expect, how to imagine, how to collide, and etc. As a creator, one is able to write things out from the mind, which can be performed on the stage. It is a very pleasing and interesting process.

If someone has watched a lot of plays, and hope from his/her point of view, that is to say, from the viewer’s point of view, to write a play, I would encourage them to do so, but very rare opportunities can be found. I am very grateful to this project for encouraging us to accomplish the play writing with tremendous help from professionals. Though our initiative ideas might sound naïve, they have tired the best to guide us. They asked us, in a very inspiring way, a lot of questions from the perspective of the roles. Under such continuous question-and-answer guidance, the characters were being gradually shaped.

Writing fictions is very free, where the story can be developed quietly, while plays require expressions and actions with intense rhythms where characters have inherent conflicts. The charm of plays perhaps lies in conflicts. Even though there is no dialogue, it has to have such a dramatic tension. The tutor asked us to imagine there is a ticking clock on the stage, ‘tic, tac, tic, tac…’.
A play is not just about telling a story, while it is the tension that seizes the audience’s attention. Therefore, going back through my previous works, I find them without any tension or focus. With this kind of thinking, I will improve the previous works in a more intense way.



郝景芳畢業於北京清華大學,本科主修物理,博士攻讀經濟學。她2007年 開始出版短篇小說,已經出版了兩部科幻小說,一本短篇小說集和一本 歐洲文化入門讀物。《小偷和男孩》是她第一個劇本,英國戲劇豐富多彩 的語言給她帶來很多啟發。

我不是一個專業的寫作者,從本科到博士,我讀的是物理和經濟學。我喜 歡寫作,之前寫過小說。這次機會比較偶然,我和我一個好朋友都很喜歡 看戲,經常約著一起去,都是田導的粉絲,於是也比較關心這方面的信 息。有一次無意中得知這個活動,聽說如果能被選中,就能去參加一些英 國編劇的課程。我當時很希望能參加,一是能見到偶像,二是期待參與這 個課程提升自己。尤其是如果能去英國,就更有吸引力了。

國內目前很多戲劇作品比較注重形式。當然有的做得非常棒,只是突出 表現形式的作品有時候並不能觸動我。我比較喜歡的一個例子是《哥本 哈根》,就是很簡單的舞臺,沒有復雜的形式,如果你不去關註他們所說 的,就不會對這樣的戲感興趣。因此我最關心的還是人物的思想碰撞。這 也許是我的個人偏好,不過我認為文本是最能打動我的東西。

從觀眾到編劇核心人物對於我而言並不是特別艱難,相反,這很有意思。 其實我還是一個觀眾的角色,不管是選定題材還是寫作,我都是從觀眾 的角度開始想,我會怎麼期待、怎麼想象、又是怎麼樣地碰撞,等等。作 為一個創作者,只不過是有了一個機會能把你腦袋裡面的東西寫出來, 還能夠被人演出來。這是一個很幸福、很有趣的過程。如果有人看了很多戲,希望以這樣的角度出發,也就是說,設想看戲者的角度去寫的方式, 我還是很鼓勵的。但是這樣的機會真的不多。我很感謝這個項目,促使大 家完成自己的寫作,而且有很多很專業人士的幫助。也許我們最開始的想 法都很幼稚,但是他們也都能盡量協助我們。他們啟發式地詢問我們很 多問題,完全從角色這個角度出發。就是在他們這樣一遍遍地詢問之下, 人物就逐漸成熟了。

寫小說是一個很自由的東西,可以非常安靜。而戲劇一定要靠語言和行 動。節奏要強烈,人物有內在的沖突。戲劇的魅力也許就在於表現沖突。 即使沒有對話,也要有這樣的戲劇張力。導師告訴我們,要想象舞臺上有 一只表,“滴答滴答”,緊湊的節奏才能抓住觀眾,戲劇不僅僅是講述一個 故事。所以現在再去看以前寫的東西會很散,很不集中。有了這樣的思維 方式,可以把以前寫的東西梳理得緊湊和緊張一些。




I am the producer of the National Theatre of Scotland, and I am from Shanghai. The Scottish have relatively open personalities, leaving friendly and cheerful impressions. The majority of
them are working classes, very curious about foreign cultures without excessively subjective prejudices, which lead to a close relationship between the two countries for cultural exchange. I was employed to this national theatre by the former artistic director, Vicky, who is fond of adventures and daring to make bold decisions. It is definitely great to have every decision successful, but she was not stopped to take risks in spite of unsuccessful decisions. Then I am part of her risky steps, without knowing if it would succeed or not, or how far it could go. But it proves there is such a cultural tolerant in this place.

The National Theatre of Scotland is known for new writing. When paying a visit to here, director Tian asked why there are so many playwrights in the UK and they are able to survive without being commercial writers. This situation cannot be imagined in China. Is it possible to breed a new scene with Scottish theatre techniques and Chinese ideas and themes? We have abundant cultural resources here, and director Tian has such a strong appeal to attract a group of playwrights to participate, so that this project can be achieved. Vicky said
she would like to have the contemporary Chinese playwrights to be heard on the contemporary stage, and want to know what contemporary China is like. We have known a lot about ancient and legendary China, as well as the China depicted
by the media, but what real China is remains a mystery to us. Can the contemporary Chinese playwrights tell us what this kaleidoscope country is really like? This is out of Vicky’s own curiosity, and also out of the curiosity of British audience. Nowadays, China is in the central focus of the world because of its economical growth, and we want by the means of understanding its national personalities to look for the root
of the economic phenomenon, in order to promote cultural exchange and development. All the above elements breed this theatre play season. The result proves theatrical language is with no national barriers, and emotions are interlinked. Whether it is an emotional play, or a black comedy, there is not much difference between the public for acceptance.




我是蘇格蘭國家劇院的制作人,來自上海。蘇格蘭人的民族特性相對開 放,給人以友好和開朗的感覺。工人階級比較多,對於外來文化很好奇, 沒有過多主觀的成見,這些都讓來自兩個國家的人們在文化交流上感到 親近。我當時受聘於這家劇院是因為前藝術總監維姬——一個喜歡冒險 和敢於做大膽決定的人。每次決定成功的話當然好,不成功也不會阻止 她去繼續冒險。我就是她的一步險棋,也不知道是否會成功,會進行到什 麼樣的程度。但這也說明,這裡有這樣的文化寬容度。

蘇格蘭國家劇院以新寫作見長。當時田導來考察的時候提出了一個問題, 為什麼英國能有這麼多的編劇,而且很多人並不是商業編劇,他們卻能以 此維生。在中國,這種情況也許不能想象。有沒有可能用蘇格蘭人的編劇 技術和中國人的想法和題材培育出一朵新的花來。我們這邊文化支持的資 源比較充沛,加上有田導這樣的藝術家有很強的號召力能吸引一批編劇來 參與,才促成了這樣的活動。當時維姬說,我想給中國當代編劇在當代舞 臺發出聲音的機會,也想知道當代的中國是怎麼樣的;古代和傳說中的、 以及媒體告訴我們的中國我們知道得很多,可是中國到底在發生些什麼還 是個謎。能不能由當代的編劇告訴我們這個萬花筒究竟是怎麼樣的?這一 方面是她自己的好奇,一方面也是英國觀眾的好奇。現在很多國家的焦點 都在中國,一方面是經濟原因,一方面大家更希望了解這個民族的特性來 去尋找這些經濟現象的根源,以促進物質文化的交流和發展。綜上所述的 元 素 ,促 進 了 這 樣 的 一 個 戲 劇 季 。結 果 證 明 ,戲 劇 語 言 是 無 國 界 的 。感 情 是 相通的。不論是感情戲,還是黑色喜劇,大家的接受度沒有太大的差別。



My passion is new writing. I wanted to take a group of Chinese writers through a collaborative process and produce plays that were unique to this creative exchange between Scotland and China. Literally hundreds of Chinese writers wanted to come and take part in the first workshop National Theatre of Scotland ran in Beijing. They all had distinctive voices and bright ideas. Our first challenge was selecting which writers to invite into the room. Then we had to negotiate the language barrier, as well as the different sets of cultural reference points, artistic traditions, social backgrounds, political frameworks and so on. In amongst all that, we shared ideas, interests, inspirations and ways of working. I asked lots of questions about what it is like to live in China right now. These plays are the result of that conversation. A few tiny peep holes into parts of China we don’t often get to see.

I have been participated in several Òran Mór’s international
“a Play, a Pie and a Pint” season. We were trying to bring the different voices from different parts of the world to Scotland. I have been to Beijing Fringe previously and talked with lots of directors and actors, actresses. They achieved a great success with very limited resources, which is similar with Edinburgh Fringe. However, sometimes, we are missing the playwrights there. Director Tian Qinxin is a very famous Chinese stage director. She is interested in this topic and she is taking the lead. It is very important for us to have the project right now.




我非常癡迷於新寫作。我想帶一組中國作家一起,通過合作的方式來做 幾部戲,這將是獨一無二的機會來促進蘇格蘭和中國的交流。非常多的 中國作家希望能夠參加蘇格蘭國家劇院在北京舉辦的第一次工作坊。他 們的想法都棒極了,所以我們遇到的第一個挑戰就是要選擇邀請誰來參 加我們的工作坊,然後我們進行了關於語言障礙,以及對不同文化參照 點,例如藝術傳統、社會背景、政治框架等問題的討論,與此同時,我們 也分享了各自的想法、興趣所在以及靈感來源和工作方式。對於中國當下 生活的現狀,我問了不少的問題。這些劇都是我們那次會談的成果,管中 窺豹似的來揭示我們不曾常見到的中國。

我曾多次參加奧蘭摩爾(Oran Mor’s)的國際戲劇季(一個戲,一個派, 一杯酒)。我們試圖將世界各地不同的聲音帶到蘇格蘭,我已經和很多北 京戲劇節上的導演和演員接觸過,他們在有限的資源內取得了巨大的成 就,這和我們愛丁堡戲劇節很相像。田沁鑫是很知名的舞臺導演,她對新 寫作項目非常感興趣,我覺得我們現在開始這樣的的項目非常重要。



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