散論牛棚實驗劇場節(轉載自天使樂園)
原文轉載自天使樂園
到牛棚看「我們是快樂的好兒童」。由於是整個「超連結牛棚實驗劇場節」最後一晚的演出，主辨單位也頒發了「評審團大獎」。結果「旋轉，三途川」拿了大獎，是有點意外，但也合理。「旋轉，三途川」的缺點是聲音、文本與形體之間的對話不算多，而相比之下，文本的表現是較弱的。另外，演員在處理文本方面亦較弱，由可讀到可演還需要一個過程。相對而言，郭嘉源的形體演出較強，亦具詩意。
不過，相比於嘉源，其他人的形體始終差了一截，而演員們在文本的傳達方面，尚有很大的改善空間。另外,演出的視覺設計有時也實在太搶了，有為追求眩目效果而追求眩目效果之嫌。
節奏平板的小丁
至於「我們是快樂的好兒童」， 則有兩條線﹕胡智健與林兆霞的線、小丁的線。「我們是快樂的好兒童」的結構算完整，把完全沒有演技的小丁加進演出，除了運用這個icon的文化意義、小丁 本身樣的形象外，當然就是把玩小丁演出本身的生澀與生活實感。小丁也沒有什麼特別有難度的事要做，只是講一些”真人真事”。不過，正正因為完全沒有什麼演 技，她那部分的演出節奏是相當拖沓的，加上她語調的平板，效果上往往適得其反。
觀眾感想
來源自孤獨的同行者網誌：http://hk.myblog.yahoo.com/hycheuk/article?mid=554
牛棚實驗劇場節 “超連結” 的頭炮節目果然夠實驗，光是 “田野錄音” 一詞已足夠使人停留閱讀創作人的背景。實驗是關於聲音、身體和文本的，文本部份以作者的個人行旅經驗出發，插入大量夢境語言，超現實的意像牽起了很強的張 力，演員的身體盛載著文本預設的孤寂和不安，在破拆的聲音的帶領下，呈現出狂亂的、澎湃的、為求生而推動的巨大能量。
相 比正規劇場，牛棚所能提供的資源顯得有點缺乏，而參與 “超連結” 的也都是新進劇壇達人，整個演出帶點粗糙的味道，但正正就是這種粗糙，令演出更獨特、更年青、更具創意，也更富實驗性。這群演員的身體可能較不受控，能量 放射較不準確，卻反而多了一份 “清純” 。也大概因為年青，演員的肢體動作設計和舞台裝置元素運用都盡顯創意，令這演出的實驗價值不亞於大師的有規劃的實驗。
美中不足的，是整個演出太個人化，觀眾好像走進了作者的私人日記畫冊裡面，很有詩意，很好看，很美，但與我何干？
有趣的是，因為蘇菲旋轉而產生的《旋轉，三途川》，裡面沒有蘇菲旋轉，反而在《泰特斯2.0》的尾聲看見了。
來源自Peche網誌：http://hk.myblog.yahoo.com/tmr_turbo/article?mid=1231
6月19日 8pm 牛棚藝術村
超連結牛棚實驗劇場節的第一個節目.
驚嘆的是, 創作的都是劇場新力軍.
與其說是一個劇, 不如說是一件抽象派的藝術品
有時都幾喜歡看這類非娛樂性, 著重表現和美感律動的劇場.
……écouter則是心理上的「聽」。entendre意味著一種動物性的聆聽
三途川是日本傳說中生死兩界之間的河流，
三位核心成員陳冠而、郭嘉源和羅潤庭以此為喻，暗含了「邊緣」、「越界」和「尋找」的創作思路，試圖將作品看成是一場生命儀式，忽略聲音中的符號意義，把écouter減省成entendre……..
往往在這個”三途川”的模糊壯態, 都會令人產生不安及缺乏安全感.
正因為這種不安, 就更加連帶起無限遠的思想.
音樂和形體的動作是這劇的核心.
音樂….應該說是聲音比較貼切.
如果沒有那些聲音, 就少了很多震撼感.
形體動作的編排很細膩也有創意.
這都是意料之外的驚喜.
再一次證明燈光在劇場中的重要性.
服裝配上燈光的效果真的好很多呢..!
《旋轉，三途川》你必須出發，背離原來熟悉的，並走向未知。
－－在通往冥界的河流，尋找漩渦中心的空寂。
一向對虛幻的夢與無以名狀的東西有所偏好，所以我看到了別人與自己同樣對某種課題有相同的探索時，很興奮。即使看後有一連串的問號，還是覺得很滿足。某程度它引領我正視自己當下的狀態，讓我在思路上找到了出口。
一開始已被劇名吸引，因為那份對名字的不解，充滿遐想。一直也不明名字的意思，直至進場前一刻翻了翻場刊才了解。「三途川是日本傳說中人間通往冥界 的河流，這裡借喻為一種邊緣狀態、一種過渡位置。」而旋轉，我認為那是指內在的過程，不斷重覆，形成思想的漩渦，墜入無底深淵。那裡，可能是一片寧靜，也 可能是一片混沌，誰知道。
開端
三個不同的開端交錯：喋喋不休的女子、聆聽聲音的考察員和不說話的旅人。一開始他們各自各活動，但漸漸他們的行動加速，並不斷重覆，暗示漩渦逐漸成形。縱使觀眾面對他們舉動感到不解但也不能就此離開，因為旅程的開始才剛開始。
夢
當我看到場兩位分別穿白衣和黑衣的女子，我想到了自己去年的劣作。從那個不斷重覆的夢開始，找尋當中的意義，彷彿不斷重覆是一個預兆，或是一個使 命。但可能，到頭來，所謂的答案根本不是答案。因為根本沒有盡頭，不需要盡頭，正如劇中各人的旅程根本不需要終站，只需要前進，當下的感受與體驗才值得在 乎。
很喜歡演員的肢體動作，序特別是飛機艙那場，眾人強迫白衣女子留在座位，白衣女子被迫出發，充滿惶恐，但黑衣女子說，既然已在夢中，不如出發。面對 周遭充滿未知不能解釋，被虛無包圍，既然逃不掉躲不過走不出進不了，那就不要再想。其實把這個狀態放在我們的生活，我們可能會輕鬆一點。
圓圈
白衣女子一直自說自話，不斷重覆的說話成了一個圓圈。她房間的地板也畫上一個圓圈，不喜歡別人闖進。她需要安靜，但腦裡卻不斷盤旋相同的夢。女子的床在旋轉，旅人的身體在旋轉，聲音考察著不斷重播某種聲音……
聲音
白衣女子喋喋不休的話語在三個卡式錄音帶上播放。錄播的聲音和她在現場的聲音重疊，有點精神病患般強迫自己牢記某種想法。我特別喜歡旅人從雨中回到 房間的一場。門打開的一刻，耳邊傳來雨聲，令人更發現自身與空間的關係。躲在室內的我有一剎懷疑外面是否真的在下雨。聲音塑造場景，卻又不失幻想空間，譬 如播放「伊斯蘭的聲音」，交雜的多國語言，聽在耳裡，彷彿置身在當地一樣。
終結？
看到末段，頂樓飄來一堆紙張，散落一地，三人呆望，燈光漸暗，牆壁上浮現平靜的水面。我對這樣的終結感到突然，或者因為我太投入在他們的漩渦裡，念念不忘剛才的旅程，不論是房間內、夢中，聲音仍在耳裡迴盪。那份動盪後的平靜，是最終的寧靜，還是混沌的開端？
來源自Paul網誌：http://second-paul.xanga.com/?nextdate=6%2f24%2f2009+12%3a2%3a45.920&direction=n
牛棚。《旋轉‧三途川》
前進進實驗劇場第一步曲，因為有fee同嘉源的形體指導，有信心裡頭的形體表現會有很高的欣賞成分。當然沒有失望。
雖然簡介上說了可以不必去明白故事的意義，但仍嘗試一種理性思維的角度去看。因為對舞台劇有多般的不熟悉，發現我較為強的理性思維，會得到一些有趣的結論。但這次真的難了一點。
形體、聲音與文字的配合，完全可以去拿一種純粹的感官刺激。
Our TV X 文化現場 訪問
《旋轉三途川》
— 關於三途川與田野錄音
主持人：祝雅妍 嘉賓：羅潤庭
最新排練照 New rehearsal photos of Tides In Limbo!
More photos here :
http://www.flickr.com/photos/38140341@N04/
09.6.12 香港電台「新文化運動」訪問
新 文 化 運 動
主持： 區 凱 聲 、 羅 曼 穎
超 連 結 牛 棚 實 驗 劇 場 節 2009
嘉 賓 ： Felix Chan ( 助 理 統 籌 ) 、
陳 冠 而 、 郭 嘉 源 ( 施 轉 ， 三 途 川 創 作 團 隊 ) 、
胡 美 寶 、 楊 振 業 ( 植 夢 的 愛 麗 思 創 作 團 隊 )
http://www.rthk.org.hk/rthk/radio5/newculturalcampaign/20090612.html
第二節有關超連結牛棚實驗劇場節，包括對本團隊創作<旋轉，三途川>的導演及文本創作陳冠而、形體指導兼創作演員郭嘉源，以及<植夢的愛麗思>的訪問；約由第27分鐘開始。
Fringe Benefits
The inaugural Sidekick Theatre Festival 2009 is the talk of the town among fringe theater enthusiasts. Winnie Chau talks to five groups of theater devotees whose works will feature in the event.
With all the international productions that arrive in Hong Kong each year, it can be easy to forget that our city has its very own flourishing theater scene. In celebration of our local acting community, On & On Theatre Workshop has produced a big-scale homegrown theater event: Sidekick Theatre Festival 2009, where local small theater collectives present their scripts to a judging panel, which picks five outstanding submissions to be performed live onstage. Co-organized by the Hong Kong Arts Development Council and the International Association of Art Critics (Hong Kong), the festival aims to nurture young talents and provide guidance and resources to young theater enthusiasts who work as freelance performers.
But rather than the traditional director-led productions, the festival encourages applicants to work in groups of three to take charge of various roles, from sound and visuals to lighting and of course, acting. By the submission deadline in December last year, On & On had received over 50 proposals from theater enthusiasts of varying backgrounds. Here are the five productions that were eventually selected for performance at the Cattle Depot Artist Village for their strong experimental quality and compelling messages.
Tides in Limbo
“Tides in Limbo” is based on director-playwright Fee Chan’s travel journal during a solo trip to Turkey. It follows the story of a young girl, a traveler and a sound researcher, as they embark upon a physically and psychologically challenging journey across a strange terrain. To turn the script into a reality, Chan joined hands with sound artist Edwin Lo and dancer-actor Kwok Ka-yuen, whose job is to instruct the physical movements onstage. Together, the three explore the interaction of sound, movement and text. 
“We wanted to question whether language is an efficient means to express oneself,” says Chan. To do this, the team disconnected the actors’ dialogue and their movements to explore whether it’s body language or words that we really use to communicate.
Chan believes that there is a lack of rehearsal space for fringe theatre in Hong Kong. “We need space to experiment with props,” says Chan, who is borrowing a vacant flat from an encouraging family member to rehearse. But the team is far from discouraged. “We’re already planning our second run. We feel that although this first run has opened the door for us to explore our potential,” says Kwok.
Jun 19 to Jun 21, 8pm
Alice Dreamosis
Inspired by Susan Sontag’s only published play, “Alice in Bed,” “Alice Dreamosis” is a creative adaptation that borrows elements from “Alice in Wonderland,” replacing western icons with Chinese ones. The play’s fantastical, often absurd storyline is framed in eight scenes, to question what society defines as physically and mentally “normal.”
“Strictly speaking, this is a ‘failed’ script in the conventional sense. It doesn’t always make sense, but that’s what make the play attractive,” says video designer and sometime scriptwriter Adrian Yeung. Director-actor-writer Wu May-bo, on the other hand, thinks Sontag’s scriptwriting style gets down to the essence of communication, and helps to get herself and the audience thinking.
Wu and Yeung are working with choreographer and physical movement instructor Chow Ho-fan to figure out how to narrate this surreal play. “Since we are working with people from different disciplines, it takes time for us to get into the right mode and rhythm,” says Wu, “But that’s exactly the point of this festival. The collaborative spirit and the possibilities these collaborations bring are more important than the final product.”
Jun 26 to Jun 28, 8pm
Moomin Café Episode 1224
Chan Wai-hung, Lic Ng and Remu are self-declared kidults, just like the protagonist of their play. “Moomin Café Episode 1224” takes inspiration from the beloved Finnish-Japanese cartoon Moomin. Set in contemporary Finland, the play is about a “hidden youth” who never leaves his beloved internet café. There, he meets two friends, both of whom resemble Moomin characters Snufkin and Mymble. This character-driven play reflects—without judging—the internet-and fantasy-driven life of many local youngsters nowadays. Chan’s whimsical script is brought to life by illustrator Ng’s role as art director and video artist Remu’s skills as a director, and the team emphasizes that they are trying to strike a balance between art, text and direction in their work.
The three have strong opinions about the survival of local small theatre. “Theatre isn’t yet part of Hong Kong people’s life yet. The scene is very much dominated by overseas productions and big theatre companies,” comments Ng. “While the government is under the impression that they are doing a lot to help, small theater still has a limited audience and it doesn’t get the respect it deserves.”
Jul 3 to Jul 5, 8pm
Becoming Phaedra
Yeung Tsz-yan, Jonathan Wong and Lai Yuk-ching are recent graduates from Hong Kong Academy for Performing Arts. They first met when working on their school’s production of “Phaedra”, and it was there that they were inspired to create their own work based around the classical text. “Becoming Phaedra” is a play-within-a-play about an actress’s struggle in taking up the tragic character Phaedra—an empress who falls in love with her stepson Hippolytus. The new interpretation of the tragedy is a solo piece, narrated by Lai’s character. Visual images feature prominently onstage to help tell the story. “Unlike other director-led plays, where visual effects serve merely as a complement to the script, our visuals are just as significant—if not more so than the spoken word in relating the tale of Phaedra,” says Yeung. “We’re doing something different from what is taught at school,” adds Wong. “In fact, Hong Kong theatre can become something very unique, even more so than that in Taiwan and the mainland, because we are continually absorbing rich cultural elements from all over the world.”
Jul 10 to Jul 12, 8pm
On est heureux à cause de l’amour
“On est heureux à cause de l’amour” is a story by emerging playwright and cultural critic Tse Ngo-sheung. It follows the female protagonist, T, who wakes up one day to find that time has jumped ahead by 12 years. She bumps into her ex-boyfriend H as he is masturbating in the children’s section of a library. The two then decide to develop a salacious blog and indulge in sexual, and often violent, role-playing games.
The provocative script was helmed by Taiwan-educated director Chan Ming-fung and cinema-photographer Wong Hung-fei, and performed by two first-time actors. Chan has adopted an improvisational rehearsal method from Taiwan and applied it to his Hong Kong team. Actors inhabit their characters and the play’s setting, but are encouraged to ad-lib in order to better inhabit their roles. Thankfully his collaborators are on the same wavelength and have embraced this technique that’s rarely used in Hong Kong. “We all grow as an individual in this production,” says Chan.
Compared to Taiwanese theater, which is active in organizing youth drama festivals, Chan believes that Hong Kong doesn’t offer a nourishing environment for small theater groups. “The existing theater companies are very established, while new, small-scale theatre productions tend to be one-off,” he complains. Let’s hope this new festival will go some way in turning that trend around.
Jul 17 to Jul 19, 8pm
Sidekick Theatre Festival 2009, Jun 19-Jul 26, On & On Theatre, Cattle Depot Artist Village, 63 Ma Tau Kok Rd., To Kwa Wan, www.onandon.org.hk. Tickets at various locations including Kubrick, Shop H2, Prosperous Garden, 3 Public Square St., Yau Ma Tei, 2384-8929. All performances are in Cantonese.
Posted using ShareThis
