WORLD STAGES LONDON
INTERVIEW WITH GONGXIN WANG
世界呈現倫敦-對話王功新


ART.Zip: do you find any difference when reading the script of Wild Swans from the original novel?

Wang: It is interesting that I actually rarely read script before,
but I am very familiar with novel. The director and scriptwriter asked me to start with reading the English script, which I found little difficulty. The script is filled with conversations to depict
and develop the story. But since I have been involved in visual
art for a long time, I am more used to think and work in a
visual way, which is quite different from thinking in this kind of conversational way. Therefore, when I read the script, I needed to get back to the novel to ensure the plot and story development.

ART.Zip: 能否談談您閲讀《野天鵝》這部文學 作品和劇本這兩個不同文學載體的感受?

Wang:這個問題很有意思,對小說這種文學形 式我還是很熟悉的,但劇本確實很少看,剛開 始接觸這個劇的時候,導演和編劇首先讓我看 的是英文劇本,這個問題倒不大,但是劇本是 全部通過對話來描繪情節和展開故事的,可能 是由於我長期從事視覺藝術的工作,特別願意 用形象來思維和工作,所以我是一邊看著劇本, 一邊對照小說來確認故事發展的狀態和環境, 劇本這種以語言對話的表現形式和我從前習慣 的思維模式不是很一樣。

 

ART.Zip: What triggers you to be part of Wild Swans collaboration, or decide to make this creative crossover?

Wang: There are several reasons. First, I found it very attractive because theatre was very new to me, as I did not have the experience before to be involved in this kind of art form. And also Young Vic Theatre and the director Sacha Wares
have a great reputation in this field. Their high-level skills and viewpoints of art attract me most. Besides, the contemporary visual art, or its concept, has always been restrained in limited spaces, such as museums and galleries, this kind of black or white spaces, where the artworks are always displayed in certain planned places. I think this has limited the visual art form to some degree. In terms of visual art, or being involved in visual art, I acknowledge the essence is not just the art form itself,
but how we see and examine the way we live through this art medium. For me, this is the basis and nature of art creativity. Hence, whenever any form of art has been formularized, we have to question it in a critical way. This is the way how I approach to work. I am hoping through crossover collaborations I can find more possibilities in visual art, with regard to its forms, representations, means of modern technology, and also the relationship between the artwork and space.

ART.Zip: 您為什麼會接受《野天鵝》的創作邀 約?亦或是您希望嘗試一次跨界的藝術創作?

Wang:接受這個劇的創作邀請有幾方面的 原因,首先來說,參與戲劇的創作對我來說很新鮮,也是以前沒參與過的藝術形式。另 外,Young Vic劇院以及此劇的導演非常優秀, 他們的學術水準和關注的藝術方向非常吸引 我。此外,我覺得當下的影像藝術,或者說當代 藝術概念一直是被限制在博物館或者畫廊這種 白空間或者黑匣子裡,作品總是被放在設定好 的空間,這是否在某種程度上限制了影像藝術 的發展。我覺得不僅僅是影像藝術,作為從事 當代藝術的人,最本質的不是藝術形式本身, 而是對於我們來講,通過藝術這種方式對我們 自身生活方式的審視和質疑,我覺得這是我們 做藝術的出發點和本質,因此,當任何一種藝 術形式被程式化以後,我們都會用一種質疑的 思維去思考,這也符合我做藝術的出發點,我也 是希望通過跨界這個方式企圖找到更多的可能 性,對於當代藝術本身,對影像藝術,從方式, 表現形式,到運用當代科技的方法,還有作品 與空間之間新的關係。

E3.WILD SW ANS kingwill 17

 

ART.Zip: How do you find working with the Wild Swans director?

Wang: It is quite a long process. I reckon any collaboration comes with adjustment and adaptation. To make the story short, the greatest experience I have found from this collaboration
is learning to make mutual compromise. When creating my personal contemporary artworks, I can just pay all the attention to my own opinions. However, while doing collaborations, especially in theatre, I realize it is necessary to maintain mutual compromise. It is the lesson I have learned from working for
this play and with the director. I think this is very critical with respect to the nature of the theatre, which is very different from producing my own artworks when sticking to personal opinions is more vital. As an artist, to be a partner with the director throughout the production process, I need to respect and listen to the director’s opinions.

ART.Zip: 能否具體地談談您與《野天鵝》導演 合作的過程?

Wang: 這是個很長的話題,任何的一種合作都 是磨合的過程,相互適應的過程,比較簡單的 說,經過這次合作,我最大的體會是在合作的 過程中相互妥協。我從事當代藝術的過程中,在 對待自己的創作和作品時候,我可以真正做到 不妥協,但是在和別人合作的過程中,尤其是戲 劇的創作過程中我認識到大家必須相互妥協。 通過這個劇和導演的合作,我可以說是學會了 一種在合作上的妥協,由於話劇這種藝術形式本身的特點,這種妥協是必要的。不像是在我自 己創作藝術作品的時候需要非常執着,甚至有 時候很偏執。在話劇創作的時候,我作為一個 和導演共同創作的藝術家的角度,還是要在很 多時候要尊重導演的意願。


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