On behalf of TETC, I am inviting all of you to attend CREATIVE LAB 创意实验室, from August 20-23, this Thursday till Sunday.
Immediately after our 'The Spirits Play' multilingual production last week, we are now presenting this inter-related theatre production consisting of 8 original solo works. It shall see 8 different TTRP graduate artists' creative responses to 'The Spirits Play' written by the late Mr Kuo Pao Kun. A rare and exciting theatre-watching experience awaits you.
If you are able to confirm a specific show to watch, please email us at tetc@live.com.sg and we can reserved seats under your name accordingly. If not, do pop in for any shows and try your luck at the door.
We sincerely hope to see you in NAFA Studio Theatre this week!
Gratitude,
Peter Sau 苏佳亮
Traditions & Editions Theatre Circus (TETC) 外传统游艺团
Producer / Chairman
Mobile: 97450795
'CREATIVE LAB' 创意实验室, presented back-to-back with the ticketed ‘The Spirits Play’ performances, aims to promote and encourage the re-invention of theatre classics. With ‘The Spirits Play’ ticket stubs, audience will enjoy priority entry to witness original works created, self-directed and performed by TETC artists: a showcase of individually unique and multi-layered creative responses on the play proper, presented free to the audience. Audience who has never watched the 'The Spirits Play' will find equal relevance and powerful resonance from the 8 solo pieces of work which touches on a wide spectrum of universal themes ranging from love to war.
CREATED & PERFORMED by
Beto Ruiz (Mexico）
- THE END 结束 (wordless)
Felimon Bonita Blanco (Philippines)
- PROMISE ISLAND 希望岛屿 (English)
Hung Pei Ching (Taiwan)
- 无颜：An eye for an eye will turn the world blind
(Mandarin and English)
Miyuki Kamimura (Japan)
- ATOMIC SHADOWS 核弹烙印 (Japanese and English)
Mohamed Kunju Noushad (India)
- LIVING DEAD BODY 活死人 (English)
Seng Soo Ming (Malaysia)
- 心山血河 HEART MOUNTAIN BLOOD RIVER (Mandarin)
Wah Wah, Hung Chit Wah (Hong Kong)
- 请问 MAY I ASK? (Cantonese)
Zachary Ho (Singapore)
- ALL BUT NOTHING 拾荒者 (English)
A multilingual production with English and Mandarin surtitles.
FACILITATED & ADVISED by
Peter Sau (Singapore), Andy Ng Wai Shek (Hong Kong) and Themis Lin Pei-Ann (Taiwan)
DATES
August 20, 21, 22, 23 - 8pm
August 22, 23 - 3pm
VENUE
Studio Theatre, Nanyang Academy of Fine Arts Campus 3,
151 Bencoolen Street
FREE ADMISSION FOR ALL (priority entry for “The Spirits Play” ticket stub holders)
Tuesday, August 18, 2009
Sunday, August 16, 2009
TODAY ONLINE press review for THE SPIRITS PLAY
Online Only - Theatre Review: The Spirits Play
Re-staged classic work by Kuo Pao Kun is a beautiful, haunting and rewarding experience
by Mayo Martin
06:10 AM Aug 15, 2009
During the latter part of The Spirits Play, one of the characters compares the image of millions of worms chewing on the bodies of dead soldiers to silkworms chewing on mulberry leaves.
It's an unsettling yet, for me at least, extremely beautiful juxtaposition of two images that makes you recoil in horror as much as it inevitably draws you in.
Which sums up my feelings watching the re-staging of this particular play by the late Kuo Pao Kun unfold.
The Spirits Play is a fitting "debut" production from the newly-formed group Traditions and Editions Theatre Circus, which is comprised of former students of Theatre Training and Research Programme, the education programme Kuo co-founded.
Written in 1998, it revolves around six spirits seemingly in a state of limbo and looking for a way "home". In the meantime, each of them takes turns recounting his or her own personal tale about the horrors of the last century's Pacific War that eventually link up to a its heartrending climax.
From a nurse's tragic story of being gang-raped by soldiers on her side, to a soldier recounting the complete massacre of his fellow men-at-arms, The Spirits Play makes us confront some complicated issues that are still very much timely - the moral ambiguity of war, clashing perspectives of what can be considered a victory or otherwise.
The "heavy" stuff is buffered by two legends, reenacted in a humourous fashion: A mythical beast with cannibal instincts and a mythical selfless bird who sacrifices itself during a drought.
Director Kok Heng Leun has opted to "slice open" the monologues and seemingly veers towards abstraction.
He intersperses Kuo's texts with those of his actors and strips down the play to its essence by way of Noh theatre's stylised approach.
But most importantly, he breaks it wide open by turning it into a multilingual production (English, Malayalam, Spanish, Hakka, Cantonese and Japanese) by a multicultural cast from Singapore, Taiwan, Mexico, India, Hong Kong and India.
The result is a situation that is free from the baggage of any one particular historico-linguistic context, consequently underscoring the universality of the theme of war.
That said, I was not particularly convinced by the inclusion of the actors' own anecdotal monologues into the piece. Given the already forceful, poetic, and complete voice of Kuo's text, I wondered if they were needed at all.
While there were some solid acting going on - particularly Andy Ng as the gung-ho, blinkered General and Lin Pei-Ann (Themis) as a grieving wife in search of her husband - it is the experience of simply sitting through one of Kuo's classic plays (renegotiated through Kok's eyes and, I should hasten to add, complemented greatly by the ethereal soundscapes of The Observatory's Leslie Low and Vivian Wang) that is, in the final instance, the ultimate reward.
Here's to the next Kuo Pao Kun staging by TETC.
The Spirits Play runs until Sunday, 8pm at NAFA Studio Theatre, Campus 3, 151 Bencoolen Street With 3pm weekend matinees. Tickets at $28 from Sistic. Multilingual, with English and Mandarin surtitles.
Creative Lab, a series of performances inspired by The Spirits Play, will also be held on Aug 20 to 23, 8pm, at the same venue. With 3pm matinees. Admission is free, with priority entry for The Spirits Play ticket stub holder.
Re-staged classic work by Kuo Pao Kun is a beautiful, haunting and rewarding experience
by Mayo Martin
06:10 AM Aug 15, 2009
During the latter part of The Spirits Play, one of the characters compares the image of millions of worms chewing on the bodies of dead soldiers to silkworms chewing on mulberry leaves.
It's an unsettling yet, for me at least, extremely beautiful juxtaposition of two images that makes you recoil in horror as much as it inevitably draws you in.
Which sums up my feelings watching the re-staging of this particular play by the late Kuo Pao Kun unfold.
The Spirits Play is a fitting "debut" production from the newly-formed group Traditions and Editions Theatre Circus, which is comprised of former students of Theatre Training and Research Programme, the education programme Kuo co-founded.
Written in 1998, it revolves around six spirits seemingly in a state of limbo and looking for a way "home". In the meantime, each of them takes turns recounting his or her own personal tale about the horrors of the last century's Pacific War that eventually link up to a its heartrending climax.
From a nurse's tragic story of being gang-raped by soldiers on her side, to a soldier recounting the complete massacre of his fellow men-at-arms, The Spirits Play makes us confront some complicated issues that are still very much timely - the moral ambiguity of war, clashing perspectives of what can be considered a victory or otherwise.
The "heavy" stuff is buffered by two legends, reenacted in a humourous fashion: A mythical beast with cannibal instincts and a mythical selfless bird who sacrifices itself during a drought.
Director Kok Heng Leun has opted to "slice open" the monologues and seemingly veers towards abstraction.
He intersperses Kuo's texts with those of his actors and strips down the play to its essence by way of Noh theatre's stylised approach.
But most importantly, he breaks it wide open by turning it into a multilingual production (English, Malayalam, Spanish, Hakka, Cantonese and Japanese) by a multicultural cast from Singapore, Taiwan, Mexico, India, Hong Kong and India.
The result is a situation that is free from the baggage of any one particular historico-linguistic context, consequently underscoring the universality of the theme of war.
That said, I was not particularly convinced by the inclusion of the actors' own anecdotal monologues into the piece. Given the already forceful, poetic, and complete voice of Kuo's text, I wondered if they were needed at all.
While there were some solid acting going on - particularly Andy Ng as the gung-ho, blinkered General and Lin Pei-Ann (Themis) as a grieving wife in search of her husband - it is the experience of simply sitting through one of Kuo's classic plays (renegotiated through Kok's eyes and, I should hasten to add, complemented greatly by the ethereal soundscapes of The Observatory's Leslie Low and Vivian Wang) that is, in the final instance, the ultimate reward.
Here's to the next Kuo Pao Kun staging by TETC.
The Spirits Play runs until Sunday, 8pm at NAFA Studio Theatre, Campus 3, 151 Bencoolen Street With 3pm weekend matinees. Tickets at $28 from Sistic. Multilingual, with English and Mandarin surtitles.
Creative Lab, a series of performances inspired by The Spirits Play, will also be held on Aug 20 to 23, 8pm, at the same venue. With 3pm matinees. Admission is free, with priority entry for The Spirits Play ticket stub holder.
FIFO.sg review of THE SPIRITS PLAY
New Voices, New Languages - The Spirits Play review By ragetan 15 Aug
tags: theatre drama The Theatre Practice tetc Kok Heng Leun Kuo Pao Kun
The Spirits Play assaults your intellectual senses subtly but intensely – through thoughts, words and gesture. Pacing slowly and deliberately, the work skilfully draws out the universal from the personal, such that the tiny details of an individual’s life take on epic hues.
In the literal sense, Spirits brings together a clutch of personalities affected by World War II in Asia. The characters include a general, a war poet, a mother, a comfort woman, and a soldier, among others. These spirits are without any physical context. The hodge-podge of personal tales unfurls at first in a jagged manner, and eventually converges in a scathing indictment of the war.
This pared-down, monologue-heavy interpretation of the late Kuo Pao Kun’s script has a post-modern flair of its own. In the words of Director Kok Heng Leun, the play is images, memories, survivors, jigsaw puzzle. Eschewing linearity, the strength of TETC’s maiden production lies in its sudden flashes of brilliance, searing scenes or words into your memory. One such bittersweet monologue is by Taiwanese actress Themis Lin, whose character marries a soldier sent on a suicide mission. Conveying sparse but impactful detail, Themis relates how they enjoyed half a night of married life before he departs, his fading figure disappearing into the mist of the night, never to return.
The talented and charismatic cast, all TTRP alumni, anchored the production valiantly. The dedication, discipline and chemistry in the cast were evident. A quirk of TETC’s production, to have the international cast speak in their own languages, adds volumes of intensity. Cantonese, Spanish, Malayalam and English mingle naturally without awkwardness, even though the original script is in Mandarin. In this language-centred work, the use of mother tongues contributes marvelously to the authenticity and force of each character. Unfortunately, the practical need to constant read the subtitles added a layer of labour that taxed the audience for an uninterrupted 140 minutes. One also occasionally wished for more physical interaction between characters, as the few instances of interactivity were highly effective and enjoyable.
The Spirits Play by TETC may not be the first choice for those seeking fun and lightness, but its rewards will remain with you long afterwards.
tags: theatre drama The Theatre Practice tetc Kok Heng Leun Kuo Pao Kun
The Spirits Play assaults your intellectual senses subtly but intensely – through thoughts, words and gesture. Pacing slowly and deliberately, the work skilfully draws out the universal from the personal, such that the tiny details of an individual’s life take on epic hues.
In the literal sense, Spirits brings together a clutch of personalities affected by World War II in Asia. The characters include a general, a war poet, a mother, a comfort woman, and a soldier, among others. These spirits are without any physical context. The hodge-podge of personal tales unfurls at first in a jagged manner, and eventually converges in a scathing indictment of the war.
This pared-down, monologue-heavy interpretation of the late Kuo Pao Kun’s script has a post-modern flair of its own. In the words of Director Kok Heng Leun, the play is images, memories, survivors, jigsaw puzzle. Eschewing linearity, the strength of TETC’s maiden production lies in its sudden flashes of brilliance, searing scenes or words into your memory. One such bittersweet monologue is by Taiwanese actress Themis Lin, whose character marries a soldier sent on a suicide mission. Conveying sparse but impactful detail, Themis relates how they enjoyed half a night of married life before he departs, his fading figure disappearing into the mist of the night, never to return.
The talented and charismatic cast, all TTRP alumni, anchored the production valiantly. The dedication, discipline and chemistry in the cast were evident. A quirk of TETC’s production, to have the international cast speak in their own languages, adds volumes of intensity. Cantonese, Spanish, Malayalam and English mingle naturally without awkwardness, even though the original script is in Mandarin. In this language-centred work, the use of mother tongues contributes marvelously to the authenticity and force of each character. Unfortunately, the practical need to constant read the subtitles added a layer of labour that taxed the audience for an uninterrupted 140 minutes. One also occasionally wished for more physical interaction between characters, as the few instances of interactivity were highly effective and enjoyable.
The Spirits Play by TETC may not be the first choice for those seeking fun and lightness, but its rewards will remain with you long afterwards.
Thursday, August 13, 2009
OBSERVATIONS / REFLECTIONS
观察/回望 为什么要搞演出？
近几年看新加坡剧坛百花齐放，每几个月就有这个节那个节的。再仔细瞧，大部分卖座的戏不是海外制作，就是本地音乐剧或标榜另类恋情为主题。新加坡人搞演出、看演出的心态很有趣。
于是问一群高中生：什么是戏剧？
他们很认真地思考：戏剧是生活的放大。
不禁让人琢磨，我们的剧场是不是与生活脱节了？
他们点醒了我：我们太少关心生活、太忽略这片土地。
战争，哪一片土地没经历过？
以战争为主，家乡的经验为题，这次的结合很丰富。第一次走进试验室，看这群游子艺术工作者卸下每一块土地繁华的外表，穿起每一个地方满目疮痍的故事，忽然好似开启了灵感的泉源，也开始在脑海里构思着自己一个战争故事。应该是《创意实验室》的魅力所在吧。实验室里的游子艺术工作者，每一位都很有想法、很愿意分享、很能够聆听。每一次实验后，大家都很踊跃地互相给意见，以求新突破。无奈四个星期太短了。相信给予更多时间实验，成果必定更扎实。 不过，他们的热忱提醒了我们：是时候抛弃习惯的无病呻吟了。重新接触生活，寻找演出的目的吧。
陈宛诗，剧场工作者
(nywind@gmail.com)
近几年看新加坡剧坛百花齐放，每几个月就有这个节那个节的。再仔细瞧，大部分卖座的戏不是海外制作，就是本地音乐剧或标榜另类恋情为主题。新加坡人搞演出、看演出的心态很有趣。
于是问一群高中生：什么是戏剧？
他们很认真地思考：戏剧是生活的放大。
不禁让人琢磨，我们的剧场是不是与生活脱节了？
他们点醒了我：我们太少关心生活、太忽略这片土地。
战争，哪一片土地没经历过？
以战争为主，家乡的经验为题，这次的结合很丰富。第一次走进试验室，看这群游子艺术工作者卸下每一块土地繁华的外表，穿起每一个地方满目疮痍的故事，忽然好似开启了灵感的泉源，也开始在脑海里构思着自己一个战争故事。应该是《创意实验室》的魅力所在吧。实验室里的游子艺术工作者，每一位都很有想法、很愿意分享、很能够聆听。每一次实验后，大家都很踊跃地互相给意见，以求新突破。无奈四个星期太短了。相信给予更多时间实验，成果必定更扎实。 不过，他们的热忱提醒了我们：是时候抛弃习惯的无病呻吟了。重新接触生活，寻找演出的目的吧。
陈宛诗，剧场工作者
(nywind@gmail.com)
Pei Ching - Black Angel wth a suitcase
"無顏" : An eye for an eye will make the world blind
I can never forget watching a real footage of Taliban’s misdeed. One day, to demonstrate their power, a group of men dragged a girl to a school field. Her face was fully covered with black cloth. After shouting some slogans they pointed a pistol to her head and executed her. It was gruesome. Then I wonder what was really in the girl’s mind in those few minutes of unknown. We cannot see her face but would her facial expression be of fright or of vengeance? The idea of a witness in the form of a Black Angel came into my mind for creation. Perhaps this angel has seen many and stands as a testament to human proceedings. For eternity.
閱讀”靈戲”劇本後 我讀到了關於戰爭與死亡 戰爭是人性最大的測試 測試人性中最好與最壞 死亡是生命變化其中ㄧ個顏色. 然後我是ㄧ個沒有經歷過戰爭 很舒服的現代人
台灣二二八與白色恐怖是台灣至今最大的ㄧ個”結” 那個年代有許多委屈 許多深厚情感和至今無解的痛 這和劇本很相近 不同的是 那些故事都刻意被施暴者與受害者埋起來 忘掉了 所剩資料不多 但它是這塊土地歷史上最重要的ㄧ個篇章 ㄧ個不願面對過去的人或國家 又如何往前 在我家鄉隔壁不遠處一間媽祖廟 曾是當地最重要的人士活埋的地方 他們是仕紳 醫生 律師 最好的畫家 他們像肉串一樣被鐵絲穿過手心與腳底 在槍支下威逼下 自己挖自己的洞跳下去 活埋自己 那隻手還在土外晃動 一切沒有任何理由 歷史課本沒有任何記載 那些地方現在像不曾發生過任何事 沒有留下什麼 而就在我家附近我卻從不知道 只剩下一些受害者與倖存者永遠無法磨滅的記憶 和每夜驚醒的惡夢 殺的不是敵人是自己人 像這樣事情在中國或世界各地都還在發生
第二個我一直忘不了的畫面 真實的紀錄 塔利班為了威脅當地人 任意抓了ㄧ個少女 少女穿著傳統從頭到尾包著黑布 拖到學校的空場地 頭上套著俘虜的黑布 開槍然後倒地 這段槍擊被媒體播放 以此警告當地人 她的死亡被許多人目睹 但她的表情與死前的心情 卻沒有人看的到 她眼前只有一片黑色 我無法想像槍擊前她跪下那幾刻 十幾歲的少女她內心的流轉 在黑布底下 與槍口抵住的後腦杓 沒有人看的見她的心情 那張臉是恐懼 是不甘 那些沒被看見的 臉成為我的戲另ㄧ個主軸
顏色：看完靈戲的這段期間 我開始特別地觀察生命的變化 不只是人 還有周遭自然 任何一小小的變化 不管是一天當中雲彩的變化 或是一棵樹在早晨與夜間給我的氣息 我看著一棵樹 它座落在台北幾十年 我心裡想這棵樹親眼目睹過多少故事 我家旁那間百年媽祖廟的那塊土地 吸收了多少血 現在成為一個公園 或百貨公司 等 那些浩瀚的自然生命中它沒有語言不能說話, 但是它在那裡看著 於是我有一個觀察著的角色 只有他目睹了一切—黑天使
最後一本書；the book thief 让我一直在想死亡是什麼 不是終點 那靈魂又是什麼 偶然間的這本書 我找到了一點蛛絲馬跡 在那些美好與暴虐時代中 都會有一些超越永恆的精神與情感 在那些高尚的靈魂 讓人溫暖也讓人難忘 他們是我想說的 人類無限的可能。
I can never forget watching a real footage of Taliban’s misdeed. One day, to demonstrate their power, a group of men dragged a girl to a school field. Her face was fully covered with black cloth. After shouting some slogans they pointed a pistol to her head and executed her. It was gruesome. Then I wonder what was really in the girl’s mind in those few minutes of unknown. We cannot see her face but would her facial expression be of fright or of vengeance? The idea of a witness in the form of a Black Angel came into my mind for creation. Perhaps this angel has seen many and stands as a testament to human proceedings. For eternity.
閱讀”靈戲”劇本後 我讀到了關於戰爭與死亡 戰爭是人性最大的測試 測試人性中最好與最壞 死亡是生命變化其中ㄧ個顏色. 然後我是ㄧ個沒有經歷過戰爭 很舒服的現代人
台灣二二八與白色恐怖是台灣至今最大的ㄧ個”結” 那個年代有許多委屈 許多深厚情感和至今無解的痛 這和劇本很相近 不同的是 那些故事都刻意被施暴者與受害者埋起來 忘掉了 所剩資料不多 但它是這塊土地歷史上最重要的ㄧ個篇章 ㄧ個不願面對過去的人或國家 又如何往前 在我家鄉隔壁不遠處一間媽祖廟 曾是當地最重要的人士活埋的地方 他們是仕紳 醫生 律師 最好的畫家 他們像肉串一樣被鐵絲穿過手心與腳底 在槍支下威逼下 自己挖自己的洞跳下去 活埋自己 那隻手還在土外晃動 一切沒有任何理由 歷史課本沒有任何記載 那些地方現在像不曾發生過任何事 沒有留下什麼 而就在我家附近我卻從不知道 只剩下一些受害者與倖存者永遠無法磨滅的記憶 和每夜驚醒的惡夢 殺的不是敵人是自己人 像這樣事情在中國或世界各地都還在發生
第二個我一直忘不了的畫面 真實的紀錄 塔利班為了威脅當地人 任意抓了ㄧ個少女 少女穿著傳統從頭到尾包著黑布 拖到學校的空場地 頭上套著俘虜的黑布 開槍然後倒地 這段槍擊被媒體播放 以此警告當地人 她的死亡被許多人目睹 但她的表情與死前的心情 卻沒有人看的到 她眼前只有一片黑色 我無法想像槍擊前她跪下那幾刻 十幾歲的少女她內心的流轉 在黑布底下 與槍口抵住的後腦杓 沒有人看的見她的心情 那張臉是恐懼 是不甘 那些沒被看見的 臉成為我的戲另ㄧ個主軸
顏色：看完靈戲的這段期間 我開始特別地觀察生命的變化 不只是人 還有周遭自然 任何一小小的變化 不管是一天當中雲彩的變化 或是一棵樹在早晨與夜間給我的氣息 我看著一棵樹 它座落在台北幾十年 我心裡想這棵樹親眼目睹過多少故事 我家旁那間百年媽祖廟的那塊土地 吸收了多少血 現在成為一個公園 或百貨公司 等 那些浩瀚的自然生命中它沒有語言不能說話, 但是它在那裡看著 於是我有一個觀察著的角色 只有他目睹了一切—黑天使
最後一本書；the book thief 让我一直在想死亡是什麼 不是終點 那靈魂又是什麼 偶然間的這本書 我找到了一點蛛絲馬跡 在那些美好與暴虐時代中 都會有一些超越永恆的精神與情感 在那些高尚的靈魂 讓人溫暖也讓人難忘 他們是我想說的 人類無限的可能。
Miyuki - A Day of an Ordinary Man
ATOMIC SHADOWS 核弹烙印
一个人跌倒了后又站起来，他不知道他已经死了。
广岛核炸的死难者不是军人，是平凡的老百姓。广岛也不是战场，它只是个城市。如果说广岛核炸是场教训，那惩罚的目的到底是什么？
Hi Peter.
I want to talk about one of the ordinary family story of Hiroshima city, between 7:06am to 8:15am...
In the beginning, I just stand on the stage with some posture ( this is his shadow)and he fall down. But he did not know that he is already dead. My story is that he talks with his shadow.
Most of Hiroshima victims are not soldiers, they are ordinary people, and Hiroshima city was not a battlefield, what kind of sacrifice do they make?
I have a special feeling for 'The Spirits Play', because this script is one of my reason that why i decided enter the TTRP, it is very difficult explain with my cheap English. Sorry.
One of the challenges of making this version is that the original script does not contain my character. So I needed to find the some clue from our rehearsals. It is very exciting and also big challenge for me as an actor. Sometimes it is very difficult find the way, it is lonely work but I'm enjoying this process very much.
I wish continue TETC constantly, because i find and felt a lot of things from the Spirits Play production, I'm very honoured work with member of Spirits Play production.
Do you get my hopeless English? I wish.
HA,HA,HA....
Miyuki
一个人跌倒了后又站起来，他不知道他已经死了。
广岛核炸的死难者不是军人，是平凡的老百姓。广岛也不是战场，它只是个城市。如果说广岛核炸是场教训，那惩罚的目的到底是什么？
Hi Peter.
I want to talk about one of the ordinary family story of Hiroshima city, between 7:06am to 8:15am...
In the beginning, I just stand on the stage with some posture ( this is his shadow)and he fall down. But he did not know that he is already dead. My story is that he talks with his shadow.
Most of Hiroshima victims are not soldiers, they are ordinary people, and Hiroshima city was not a battlefield, what kind of sacrifice do they make?
I have a special feeling for 'The Spirits Play', because this script is one of my reason that why i decided enter the TTRP, it is very difficult explain with my cheap English. Sorry.
One of the challenges of making this version is that the original script does not contain my character. So I needed to find the some clue from our rehearsals. It is very exciting and also big challenge for me as an actor. Sometimes it is very difficult find the way, it is lonely work but I'm enjoying this process very much.
I wish continue TETC constantly, because i find and felt a lot of things from the Spirits Play production, I'm very honoured work with member of Spirits Play production.
Do you get my hopeless English? I wish.
HA,HA,HA....
Miyuki
Soo Ming - The History Teacher who died unknown
HEART MOUNTAIN BLOOD RIVER “心山血河”
In this modern time, the noise from the outside is getting bigger and bigger. TV commercials, street demonstrations, political speeches, shallow greetings, aimless slogans, pop music etc. We seem to have lost the ability to listen and to voice out our thoughts. We don’t know what we have lost. Memories are in chaos within us. One day we are going to wake up and realize we have forgotten who we are.
This time, I am creating a ‘non-existent’ person, and because this is so abstract, the process is challenging. How can I present what my intuition tells me? How can I perform ‘a person without a soul’?
这个年代，外头的声音越来越多。电视广告、街头示威、政治家的政治宣言、人们见面时泛滥的客套话、各种各样有的没的口号、内容空洞言之无物肉麻当有趣的流行音乐、商人的花言巧语，还有车声、电话铃声、人和机器发出的被扭曲的音乐声...我们的声音，越来越听不见了，我们开始失去了发声的本能，我们开始只懂得接纳外头的声音，我们永远搞不懂内心的空洞是什么，我们持续寂寞，我们欲言却言之无物，我们根本不懂自己失去了什么。 这是个讲求个人主义、自我、自由，却又是人人都没有自我的无灵魂时代。这时代，谎言成了霸权者。有一天我们醒来，将忘掉自己是谁。
脑袋空空的、心里空空的，挂着的身体不知是谁的，不知是哪儿来的。我们记忆混淆，只好运用仅存的身体记忆在空白的外壳上谱写自己，如孩子见到画纸欲往上画些什么似的，有种探寻的喜悦，喜悦又转化为挣扎、恐惧、兴奋... 我们看不到外界，因为眼睛不见了；我们见不到内心，因为灵魂不见了；
是谁挖走了我们的眼睛？是谁蒸发了我们的灵魂？只觉自己身上都堵死了，出不去、进不来；头部总是昏眩，脑袋如梦似幻。
《灵戏》写于90年代，灵感取自40年代的一场浩劫。今天，21世纪第一个十年要过了，可一切好像还在发生，可能不在我身边，却在世界不同的角落如戏台一样锵锵锵陆续上演。即便是活在安愈舒适的生活，战争已然以不同的面貌存在着，只是换了舞台--媒体？网络？...而被轰炸的甚至屠戮的对象，直击我们的‘灵魂’。虽没流血、不疼痛，但在没有意识下，灵魂被轰掉了。 《灵戏》透过“灵魂”来说故事；我选择了“躯壳”（或说“空壳”）。相同的是，二者在各不同的时代背景都是被丢弃的一方。
1. 阅读《灵戏》，观察、探讨现代社会现象与戏里吻合之处，创造一个想象角色形象
2. 建立角色模型：一个没有灵魂的迷失个体，长什么样？在做什么？
3. 通过排练，感受、体验角色的生活
4. 理出一个没有故事，只有情节的，不太完整的小品之结构，作为伏笔，以便在交流时进行拼凑
《灵戏》像是种情感的宣泄，透过灵魂的表白道出作者的控诉：表面上看是对战争的控诉，底子里亦隐含着对人性荒唐的无奈、杯葛、感叹，尤其戏中隐喻的“人为牲口，亦为狼群”的现象。我相信事情总有其两面，正、反；内、外；历史、现实等，更令我关心的是，到了今天，我们离那一场浩劫以超过半个世纪，对于这场人性浩劫，我们有了什么样的醒觉？我们有改变了吗？因此我选择了另一面，以现代社会作为一个探讨，作为自己的疑问。 这次创造的是一个‘不存在’的角色，虽不完全是无中生有，但也是一个极大的挑战。更难的是，心里千头万绪，如何通过一个“没有灵魂的人物”表达出来。。。
In this modern time, the noise from the outside is getting bigger and bigger. TV commercials, street demonstrations, political speeches, shallow greetings, aimless slogans, pop music etc. We seem to have lost the ability to listen and to voice out our thoughts. We don’t know what we have lost. Memories are in chaos within us. One day we are going to wake up and realize we have forgotten who we are.
This time, I am creating a ‘non-existent’ person, and because this is so abstract, the process is challenging. How can I present what my intuition tells me? How can I perform ‘a person without a soul’?
这个年代，外头的声音越来越多。电视广告、街头示威、政治家的政治宣言、人们见面时泛滥的客套话、各种各样有的没的口号、内容空洞言之无物肉麻当有趣的流行音乐、商人的花言巧语，还有车声、电话铃声、人和机器发出的被扭曲的音乐声...我们的声音，越来越听不见了，我们开始失去了发声的本能，我们开始只懂得接纳外头的声音，我们永远搞不懂内心的空洞是什么，我们持续寂寞，我们欲言却言之无物，我们根本不懂自己失去了什么。 这是个讲求个人主义、自我、自由，却又是人人都没有自我的无灵魂时代。这时代，谎言成了霸权者。有一天我们醒来，将忘掉自己是谁。
脑袋空空的、心里空空的，挂着的身体不知是谁的，不知是哪儿来的。我们记忆混淆，只好运用仅存的身体记忆在空白的外壳上谱写自己，如孩子见到画纸欲往上画些什么似的，有种探寻的喜悦，喜悦又转化为挣扎、恐惧、兴奋... 我们看不到外界，因为眼睛不见了；我们见不到内心，因为灵魂不见了；
是谁挖走了我们的眼睛？是谁蒸发了我们的灵魂？只觉自己身上都堵死了，出不去、进不来；头部总是昏眩，脑袋如梦似幻。
《灵戏》写于90年代，灵感取自40年代的一场浩劫。今天，21世纪第一个十年要过了，可一切好像还在发生，可能不在我身边，却在世界不同的角落如戏台一样锵锵锵陆续上演。即便是活在安愈舒适的生活，战争已然以不同的面貌存在着，只是换了舞台--媒体？网络？...而被轰炸的甚至屠戮的对象，直击我们的‘灵魂’。虽没流血、不疼痛，但在没有意识下，灵魂被轰掉了。 《灵戏》透过“灵魂”来说故事；我选择了“躯壳”（或说“空壳”）。相同的是，二者在各不同的时代背景都是被丢弃的一方。
1. 阅读《灵戏》，观察、探讨现代社会现象与戏里吻合之处，创造一个想象角色形象
2. 建立角色模型：一个没有灵魂的迷失个体，长什么样？在做什么？
3. 通过排练，感受、体验角色的生活
4. 理出一个没有故事，只有情节的，不太完整的小品之结构，作为伏笔，以便在交流时进行拼凑
《灵戏》像是种情感的宣泄，透过灵魂的表白道出作者的控诉：表面上看是对战争的控诉，底子里亦隐含着对人性荒唐的无奈、杯葛、感叹，尤其戏中隐喻的“人为牲口，亦为狼群”的现象。我相信事情总有其两面，正、反；内、外；历史、现实等，更令我关心的是，到了今天，我们离那一场浩劫以超过半个世纪，对于这场人性浩劫，我们有了什么样的醒觉？我们有改变了吗？因此我选择了另一面，以现代社会作为一个探讨，作为自己的疑问。 这次创造的是一个‘不存在’的角色，虽不完全是无中生有，但也是一个极大的挑战。更难的是，心里千头万绪，如何通过一个“没有灵魂的人物”表达出来。。。
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