Indiligent Poet – Interview with Yuxuan Man
不勤奮的詩人 – 滿宇軒

Yuxuan Man, now lives in Europe. He is a young artist, theater director, dramaturgy, writer and poet (not diligent).

滿宇軒,旅歐青年藝術家、劇場導演、Dramaturgie(中國大陸的旅德戲劇學者李亦男根據德語原文翻譯為“戲劇構作”)、作 者 和 詩 人( 並 不 勤 奮 的 )。


ART.ZIP:Living in France in these years, what do you see from the surface of theatre, and what do you see beneath it? what influence do these have on your creation?

Man: Although I have lived in France for less than two years, there actually is still a “distance” between France and me,
and I (existing as an individual life) am aloof from the external environment (the society), it is probably because that I still remain some of my habits in China. I’m used to observe at a certain distance, for I think if I get too close, the truth will often disperse itself, thus I will be more confused, just as what is expressed in Antonioni’s Blow-Up. So, some problems are sill in a stage of thinking and exploring, such as the “European crisis”, “Specters of Marx ── crisis of capitalism”, “strikes, demonstrations
and riots ── street democracy and collective performance”, “political appeal and self-performance”, “relationship between self-photographing phenomenon and self-performance”, “contemporary era: a world of all-people-performance”, “who provides discourse”, “medium is all”, etc., and some other problems can make us review the present Chinese society and enable us to make comparisons; from such a retrospective perspective, we may view the problems in China more clearly, but it is still far from the time to draw conclusions. All contemporary European artists are actively responding to and discussing these problems in their works, in “theaters”, “galleries” and some “art houses”. Of course, the “theater”, “gallery” and “art house” all have “class attribute”, and they still server for “bourgeois art” and “white art”, and only those European middle-class intellectuals who are relatively steady in all aspects will come to consume these “serious thoughts on man, society and metaphysical problems”, European underclass ── blacks, Arabs, Asians, urban poor people, rural peasants and beggars on the street will seldom appear in these places, because they are still more concerned with “bread” and some cheaper and more direct material benefit ── in France and even Europe, the most popular art are still the recreational “commercial theater” ── American blockbusters, musicals that tell lyrical and touching stories, pop music concerts, the plays and shows for travelers (such as some classical opera in the famous Paris Opera House and the so-called “genuine” plays that emphasize stereotypes in the Berliner Ensemble established by Bertolt Brecht), and so on.

ART.ZIP:在法國生活的幾年裡,在戲劇表面你 看到了什麼,表面之下又看到了什麼?這些對於 你的創作有什麼影響?

Man:在法國的這不到兩年的時間裡,其實我與 法國的社會還是比較“隔膜”,我自己(作為一個 個體生命存在)與外部環境(社會)比較疏離, 可能和在中國時的某些習慣一樣,會習慣有一 定距離的觀看,如果距離太近,真相往往會自 己消解掉,反而更會看不清,如同安東尼奧尼的 《放大》。所以,有些問題還是在一個思索的階 段裡,比如“歐洲的危機”、“馬克思的幽靈── 資本主義的危機”、“罷工、遊行、暴動──街頭 民主與集體表演”、“政治訴求與自我表演”、“自 拍現象與自我表演的關係”、“當代即一個全民 表演的世界”、“話語由誰提供”、“媒介即全部”等等,有些問題可以反觀當今的中國社會,可以對 照比較,視線是“回望式”的,這樣在看待中國的 問題時可能會清晰一些,但遠還沒到下結論的 時候。歐洲當代藝術家在他們的作品中都在積 極回應和探討這些問題,在“劇場”、“美術館”、 “藝術院線”裡。當然,“劇場”、“美術館”、“藝術 院線”都是有“階級屬性”的,依然還是“布爾喬 亞式的藝術”,依然是“白人藝術”,都是在所有 方面相對穩定和固定的歐洲中產階級知識分子 來消費這些“對人、對社會、對形而上問題的嚴 肅思考”,歐洲的社會下層階級──黑人、阿拉 伯人、亞洲人、城市裡領低保的窮人、鄉鎮的農 民、街頭乞丐是不會出現在這些場所裡的,基本 絶少見到,因為他們還是更關心“麵包”和一些 更廉價更直接的實惠──法國乃至歐洲最大眾 的文藝還是屬於娛樂化的“商業院線”──美式 大片、提供抒情性和感人故事的音樂劇、流行 音樂演唱會或者專門吸引遊客的“旅遊戲劇”、 “旅遊表演”(比如著名的巴黎歌劇院演出的一 些古典歌劇和供奉着布萊希特的柏林人劇團演 出的那種強調幾十年如一日的所謂“原汁原味” 的戲劇)等。

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