Saturday, December 12, 2009

NOH THEATRE 日本能劇

Organised by
Pentas Project Theatre Production

Co-organised by





Professor Richard Emmert


A) PUBLIC LECTURE ON NOH THEATRE 能剧公开演讲
A lecture introducing some basic concepts of Noh Theatre, accompany by screening of video documentation of actual Noh performance.
此演讲将介绍能剧的一些基本概念,并以能剧演出的录影作为辅助。

Date + Time: 27th January 2010 (Wednesday) 11:00am to 1:00pm
Venue: The Studio, PJ Live Arts (Jaya One, Petaling Jaya) map

Free Admission


B) NOH THEATRE DEMONSTRATION
能剧示范演出
A Noh Theatre demonstration by Professor Richard Emmert following by a brief introduction of Noh Theatre. Richard Emmert
教授将作一能剧的示范演出,并为观众简单地介绍日本能剧。

Date + Time: 28th January 2010 (Thursday) 11:00am to 1:00pm
Venue: The Studio, PJ Live Arts (Jaya One, Petaling Jaya) map

Free Admission

Website:
www.pentasproject.com | http://pentasproject.blogspot.com | http://www.jfkl.org.my
Contact: pentasproject@gmail.com / 012-607.1318 / 012-266.1579

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Organised by Pentas Project Theatre Production 平台計劃


C) NOH THEATRE WORKSHOP
日本能剧工作坊


The Noh workshop will be an introduction to the performance techniques of Japanese classical Noh theatre with special emphasis on movement and music. Two dances from Noh theatre will be taught as well as the singing to accompany these dances. Furthermore, the musical instruments and the masks used in Noh will also be demonstrated and discussed. Finally, several videos of Noh performance will also be shown and discussed to give context to the workshops.
日本能剧工作坊将带领参与者认识日本传统能剧的表演方法与技巧,并以动作和音乐为主要导向。参与者将能学习到能剧其中两支舞蹈和伴随这两支舞蹈的歌曲。除此以外,能剧所使用的乐器和面具也将在此工作坊进行获得讨论与示范。参与者也将能看到日本能剧的演出片段。

Date + Time:
27th January 2010 (wed) 7:30pm ~ 11:30pm
28th January 2010 (thurs) 7:30pm ~ 11:30pm
29th January 2010 (fri) 7:30pm ~ 11:30pm
30th January 2010 (sat) 3:00pm ~ 6:00pm & 7:00pm ~ 10:00pm
31st January 2010 (sun) 10:00am ~ 1:00pm & 2:00pm ~ 6:00pm

Venue: The Kuala Lumpur Performing Arts Centre ( KLPac ) map
Number of Participants: 20 participants
Workshop Fees : RM 300
Website: www.pentasproject.com | http://pentasproject.blogspot.com | http://www.jfkl.org.my
Contact: pentasproject@gmail.com / 012-607.1318 / 012-266.1579


Supported by :

HSBC in The Arts + The Japan Foundation Kuala Lumpur + KLPac + Colorganda!


How to register:
1) If you are interested, please e-mail or give us a call, we will then e-mail an application form to you.
2) Please complete the application form and e-mail it back to us. The workshop fees must be paid before 10th January 2010. If payment is not received in time, the organizer has the righ
t to cancel your application.
3) Payment :- a) Pay cash directly to the person in charge of the workshop. b) Bank directly into our account or write us a cheque
Account Name : Pentas Project Theatre Production
Bank : Public Bank
Account Number : 3141760724
4) After banking in, please notify us via phone or e-mail details of your name and deposit numbers.
5) Please keep the deposit slip for further confirmation.


如何报名:
1) 有兴趣者可用电话或电邮方式和我们联络,之后我们将把报名表格寄到你的电邮信箱。
2) 报名后须在2010年1月10日前缴交学费,如没在指定的限期内缴交学费,主办单位有权利把名额转让给其 他有兴趣者。
3) 缴交方法:可亲自把费用交给工作坊负责人或ATM转帐付费或支票汇款。
银行户口名称: Pentas Project Theatre Production
银行: Public Bank
银行户口号码: 3141760724
4)汇款后请用电话或电邮的方式和我们联络,以确认您的姓名及汇款账号。

5)请务必保留提款机列印的收据或任何汇款回条,做为证明。



Professor Richard Emmert
Richard Emmert has studied, taught and performed classical noh drama in Japan since 1973. He is a certified Kita school noh instructor, and has studied all aspects of noh performance with a special concentration in movement and music. A professor at Musashino University in Tokyo, he directs an on-going Noh Training Project. In summers, he leads the intensive three-week Noh Training Project in Bloomsburg, Pennsylvania sponsored by the Bloomsburg Theatre Ensemble. He has co-authored a series of Noh performance guides published by the National Noh Theatre in Tokyo. He has also led extended Noh performance projects in Australia, India, Hong Kong, the UK, the US, Canada, and most recently at the University of Hawaii, has composed, directed, and performed in eight English noh performances, and has released a CD entitled Noh in English by the Japanese Teichiku Records. He has also performed and/or directed several Asian multi-cultural performances including Siddhartha by Teater Cahaya performed in Kuala Lumpur in 2003. The founder and artistic director of Theatre Nohgaku, a company dedicated to performing noh in English, he has led performance tours of At the Hawk's Well and Pine Barrens and also toured in Crazy Jane.

Richard Emmer 教授从1973年开始在日本学习、教导并演出日本传统能剧。他是喜多派系能剧的指导老师,着重于能剧动作和音乐的研究。他是东京武藏野大学的教授,并领导一个长期进行的能剧训练计划。他也曾经在美国、澳洲、印度、香港、英国、美国以及加拿大等地教导能剧演出。Richard Emmert教授也曾是东京的国家能剧剧场所出版的指南书的共同作者。他创作了共8出的英语能剧,并发行了英语能剧的音乐光碟。他曾参与数个亚洲的多元文化演出,其中包括Cahaya剧团2003年在吉隆坡的演出“Siddhartha”。他也是能乐剧团的创始人与艺术总监。该剧团致力于发展英语能剧,并已在多国进行巡回演出。

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,是日本獨有的一種舞台藝術,是佩戴面具演出的一種古典歌舞劇。能在日本作為代表性的傳統藝術,與歌舞伎一同在國際上享有高知名度。日本國際著名導演鈴木忠志,也從日本傳統能劇當中尋找表演的身體性,開發出一套注重下半身的重心與腰部力量的表演身體訓練體系:「鈴木方法(Suzuki Method)」。鈴木忠志說:「能劇是步行的藝術」。

日本的表演藝術總是給人一種危險但是有趣壓抑而精準簡單卻能量飽滿的印象而且最具象徵性的特點是日本的表演藝術總是給人一種既前衛又傳統的矛盾印象。

2010年,【平台計劃】再次啟動「劇場工作坊系列」邀請了國外的指導老師前來馬來西亞,與本土劇場工作者及有志於表演藝術的朋友作近距離的接處。 此次的活動獲得「吉隆坡日本文化協會」的大力支持,邀請日本「东京武藏野大学」的教授 Richard Emmert 來馬進行五天的的能劇工作坊、公開演講及示範演出。為本地有志表演藝術的朋友提供一個優質的充實機會。除了介绍我們能剧的一些基本概念工作坊也将带领参与者认识日本传统能剧的表演方法与技巧,并以动作和音乐为主要导向。 引領大家去認識到從傳統藝能發展出的戲劇美學。



About Noh Theatre (english)

能劇是具有600多年歷史的日本傳統戲劇之一。
能劇作為日本古典戲劇,在室町時代以流傳的傳說、故事等為題材配以謠曲、舞蹈、伴奏而形成戲劇,是世界現存最古老的舞臺藝術。
能劇具有假面劇、音樂劇、化妝劇、歌舞劇、詩劇的要素,演員頭戴“能面”(能劇面具),身著絢爛豪華的裝束進行舞蹈。
演員有稱作“仕手”的主角和稱作“肋”的配角,能面只有主角佩戴而配角不佩戴。
能面也是能劇的代名詞,數量多達200多,大致分為老人、男人、女人、鬼神、怨靈和翁6種。能面原則上為木制。如果是表現非人類則在眼睛周圍貼上金屬塗成金色,好像眼睛在放光;翁面與其他面具不同,嘴巴上下分開而用帶子系上,所以具有下顎可動等特徵。
能劇不使用大型設置、大道具等,只由演員的舞蹈、發聲或謠曲、樂師演奏的曲子構成,推進劇情。
能劇舞臺由帶屋頂的6m見方的“主舞臺”、主舞臺左側延伸的走廊式“橋懸”,登臺前主角用於佩戴能面、裝束等的“鏡間”構成。舞臺用原色柏樹建成,沒有多餘的裝飾,地板下放入壇罐,重視聲音效果。
樂器只使用笛子、小鼓、大鼓和太鼓4種。
能劇多與狂言配套演出,多數情況下能劇分成前後兩場上演,兩場之間上演狂言。
與狂言是喜劇相反,能劇基本上是悲劇。
另外,與作為日本獨特的舞臺藝術而廣為人知的歌舞伎不同,能劇佩戴能面。
能劇歷史悠久,起源于散樂。散樂是古希臘假面劇通過絲綢之路與中國戲劇融合而成,在奈良時代傳入日本。之後,散樂與日本古代戲劇相互融合發展成“田樂”、“猿樂”,室町時代其中猿樂的樂者“觀阿彌”和“世阿彌”父子把猿樂作為戲劇不斷提高,發展成了能劇。
狂言和能劇合稱“能樂”,並作為“能樂”在2001年被指定為日本首個教科文組織世界無形遺產。

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English Noh---A Brief (and Biased) History

Richard Emmert

Theatre Nohgaku Artistic Director

Theatre Nohgaku (TN) got its start in 2000 when I invited advanced students from my Noh Training Project workshops in Tokyo and Bloomsburg, Pennsylvania to gather for a week in Bloomsburg to work on William Butler Yeats' At the Hawk's Well, music for which I had composed in noh style in 1981 and which had several productions thereafter. I also invited several other English speakers who had also studied noh in Japan. These people gathered with the idea of attempting to see whether noh in English was both interesting for them and viable as an art form.

Yeats and Noh

The history of plays in English being called "noh" seems to have originated with Yeats when he wrote his At the Hawks' Well in 1916. He however did not use the style and instrumentation of the music of noh but used musicians who played music composed for the production by Edmund Dulac.

And here immediately is what I consider a misunderstanding of what noh is. Noh plays cannot be considered in the same way as Shakespeare plays. A Shakespeare play might be done in many different ways and still be called a Shakespeare play. Noh however is more like opera. Taking the text of a Verdi or Mozart or Britten opera, discarding the music and performing it in another style other than opera, would make it difficult to call an opera. Perhaps one could call it a performance based on opera lyrics. But is it still a Verdi opera when the lyrics are just spoken? Is it still a Mozart opera if the text of Marriage of Figaro is done in the style of Beijing opera without Mozart's music? Is it still an opera if it is done in the style of noh?

I personally don't think so. An opera is one which is done in a particular style that we recognize as opera. Likewise, a noh play (and perhaps "play" is misnomer---it is more a musical or dance-drama) is one which is done in a style that can be recognized as noh. A Mozart opera performed without Mozart's music in the style of noh is a noh performance. A performance using the text of the classical noh play Kiyotsune sung in the style of opera is not a noh play, but it is an opera.

And for this reason, though Yeats called his play a "noh" play, it was, in my opinion, a Western musical performance whose text was influenced by noh. But it was not a noh play. That really had to wait until the Japanese noh scholar, Yokomichi Mario, made an arrangement for Hawk's Well in Japanese in 1949 with members of the Kita school performing, and then yet another version of it in 1965 with members of the Kanze school. Both of these so-called shinsaku or "new works" were in Japanese and have been performed occasionally since. In the noh world, these versions are considered noh plays, but doing a version using the original music by Edmond Dulac is not.

On the other hand, the version I composed in 1981, followed both the Yeats English and the musical style and structure of noh. It was, to my knowledge, the first time that anyone had written strict noh music to go with the original English of Yeats' play. It was an English noh.

Other English Noh

Since Yeats, I can imagine that there might have been others who have written texts influenced by noh, and likely even called them "noh plays." Of course, according to my perspective, they are not noh until they are done in the musical style of noh.

One that came very close to being a noh performance was the play St. Francis, written by Arthur Little with music by Leonard Holvik. This was performed at my alma mater, a small Quaker liberal arts college in Indiana called Earlham College. In 1970 when I was in my second year of college, the two professors conducted a seminar on noh which I joined. The seminar commenced with reading noh texts in translation, listening to recordings of noh music and seeing the one film about noh that was available. We then began to rehearse the play in English which the two professors had created. The structure of the text followed closely some of the typical structures of classical noh. The music was meant to suggest noh, but was written so students not trained in actual noh musical techniques could still perform it. I was chosen to be the main actor, or shite, for the performances we gave, hardly imagining at the time that this was a first step in what would develop into a lifetime relationship with noh.

It was only later when I went to Japan in 1973, that I happened to meet a young noh actor---Mr. Akira Matsui who has joined this tour---and decided to take lessons from him in the chant and dance. Later, I began taking lessons in the four noh instruments as well and developed an understanding of the music of noh, in particular the relationship between the drums and the text and how text and rhythm are so important in creating what we can call the style of noh.

After studying noh in Japan from that time and even though I was told by several people that the music of noh developed from the Japanese language and therefore could not be done in other languages, I began to feel the typical rhythms of noh in my body. It wasn't a stretch for this native English speaker to begin to think of English text and how it fit with those noh rhythms. When Jonah Salz, a young American director based in Kyoto, asked me in 1981 to write music for a production of At the Hawk's Well that he was planning, it was easy to throw caution to the wind and to dive in and write music for the Yeats text in noh style. Performances followed in Kyoto, Osaka and Tokyo. Yokomichi Mario, the director of the earlier Hawk's Well versions in Japanese and my professor of noh music studies at Tokyo University of Fine Arts, told me at the Tokyo performances of our Hawk's Well, that my version was "too noh-like." On reflection, his complaint told me that I could have explored the noh style in a way which departed from typical classical noh structures, but it also seemed to clearly recognize, if there was still any doubt, that yes, noh can be performed in English.

Over the next several years, I composed music for and directed and performed in several English noh. They were: 1) a Tokyo production of American Janine Beichman's play Drifting Fires, a story about space travelers in the distant future visiting the place where the planet "earth" once existed and there meeting the spirit of the last human being (1985); 2) an Earlham College production readapting St. Francis in a stricter noh style (1988); 3) a University of Sydney production of Australian Allan Marett's Eliza, a story of a British woman shipwrecked off the coast of Australia and forced to live with aboriginal people, and who in turn came to appreciate the unique sense of dream and time among them (1989); 4) a San Francisco Theatre of Yugen production of Crazy Horse by American Erik Ehn which collaborated with Native American performers to tell the story of the great Native American chieftain (2001—later retitled Moon of the Scarlet Plums for a 2005 Japan-US tour); 5) a Vancouver production of Canadian poet Daphne Marlatt's The Gull, a play about cultural identity issues of Japanese fishermen and their families along the British Columbia coast and touted in Canada as "the first Canadian noh" (2006); 6) a University of Hawaii production of my own English translation of the classical Japanese noh Sumidagawa.

During the 1980s, there were two others in Japan who produced plays which can be considered English noh or at least noh-influenced English plays. First, Kuniyoshi Munakata Ueda, a Shakespeare specialist at Shizuoka University, began using noh with Shakespeare, notably Hamlet and Othello. Although the plays sometimes lacked a clear sense of the relationship between poetic text and drum rhythms that give noh its vitality and intensity, they did include chant and movement in noh style as well as noh musicians. And second, my good friend and now fellow member of Theatre Nohgaku, David Crandall, wrote and directed two plays, Crazy Jane and Linden Tree, both which had a strong noh structural feel in terms of text but employed his own musical composition for a Western instrumental ensemble and voices.

Theatre Nohgaku and Its Work

In the above list of English noh, you might have noticed the large gap between the noh plays I wrote music for in the 80s and the next one which didn't follow until 2001. It was in 1991 that I started an ongoing semi-intensive Noh Training Project in Tokyo, and then in 1995, a summer intensive Noh Training Project in Bloomsburg, Pennsylvania. After working on English noh in the 80s, it seemed clear that if it was to become viable, that it was necessary to have a group of trained native English speakers to make it happen.

After years of workshops which planted these seeds, Theatre Nohgaku was born. We had our first tour in the United States in 2002 of Yeats' At the Hawk's Well. In 2003, we began an annual Writers' Workshop geared toward playwrights and poets interested in writing plays in the style of noh. In 2004, we collaborated with the Noh Training Project for its 10th anniversary performance in Pennsylvania of the classical noh Kurozuka in Japanese. In 2006, we toured TN member Greg Giovanni's Pine Barrens, a story of the so-called New Jersey devil said to roam the pine barrens of New Jersey. In 2007, we toured David Crandall's Crazy Jane which he readapted to be sung in noh style with a noh ensemble. And finally, earlier this year, we once again collaborated with the Noh Training Project for its 15th anniversary by performing the classical noh play Funabenkei in Japanese.

This production of Pagoda in collaboration with the Oshima Noh Theatre is of course another step in our development as a company. But perhaps more importantly, it is another big step in making noh an accessible art form for the English-speaking world.


Tuesday, November 24, 2009

DELUSIONS 惑 KHAYALAN

Pentas Project Theatre Production Present's
平台計劃呈獻


DELUSIONS 惑 KHAYALAN
The Year In A Word 今年一字 Setahun Dalam Kata
Pentas Theatre Collaboration Project 2009
平台劇場合作交流計劃2009
Projek Kolaborasi Pentas Teater 2009
Can art reveal truth? Or is theatre just another delusion?
藝術能否揭露真相?還是戲劇只是一個妄想?
Mampukah Seni Mendedahkan Kebenaran?
Atau Persembahan Teater Hanya Sekadar Khayalan?



Amelia tan 陳淑真 + Anne James + Au Sow Yee 區琇詒 +
Ayam Fared
+ Boyz Chew Soon Heng 周順興 +
Eagle Lee Ming Kiat 李明傑 + Edwin Sumun +
Hafizee Hatta + JacAl Map + Jo. Kukathas +
Kirin Muhamad + Ling Tang 鄧壹齡 +
Loh Kok Man 羅國文
+ Low Shee Hoe 劉詩豪 +
Mark Teh + Soon Choon Mee 孫春美 + Tin Tan Chai Chen 陳彩珍



In 2006, Pentas Project initiated Pentas Theatre Collaboration Project, bringing together artists from different backgrounds to collaborate. The first critically acclaimed collaboration, “Break-ing 击破 (Ji Po) Ka Si Pe Cah” created a performance based on the theme “language”. The performance was well received and after its opening in August 2006 at the STOR Theatre (Dewan Bahasa dan Pustaka), the production toured internationally in 2008 to Japan and Singapore.

December 2009 sees Pentas Theatre Collaboration Project bring 7 short pieces performanced by artists from diverse cultural backgrounds and art fields. This idea stems from Japan’s Kanji of the Year which was in 1995. Through discussions and various brainstorming sessions, the artists chose “delusions” as the word that reflects and represent the year 2009 in Malaysia. Each artist will use the word as a theme to create a 10-minute performance in any kind of media. They will explore and deconstruct “delusions”, bringing you different faces in a year which has been full of unexpected changes.

2006年,本地劇團平台計劃開啟了劇場工作者合作的契機,集合了來自不同文化背景的3位導演,帶來了『Break-ing 擊破 Ka Si Pe Cah:平臺劇場合作交流計劃』。此演出也於2008年應邀前往日本東京以及新加坡交流。

2009年,平台計劃以日本的“每年漢字”作為發想的起點,邀請本地不同文化源流的劇場與藝術工作者,從交流當中選出了一個字,反映了他們對於2009年的馬來西亞的感想和反思,並以所選出的那一個字為演出的主題,各自發表為時10分鐘的演出。經過數次的討論,這群創作者以“惑”(Delusions/Khayalan)出發 。2009年是充滿疑惑、困惑以及迷惑的一年。小至個人以至更大的社會,離奇事件無限繁殖,電腦族群遷移到虛構的內在。2009年無疑惑影重重,以“惑”一字進行解剖拆解,創作出歷經萬千變遷的一年不同的面貌。


Pada tahun 2006, Pentas Project memulakan Projek Kolaborasi Pentas Teater 2009, untuk mengeluarkan karya teater hasil daripada kumpulan artist yang terdiri daripada pelbagai latar belakang. Persembahan perdana projek tersebut adalah “Break-ing 击破 (Ji Po) Ka Si Pe Cah” yang bertemakan ‘bahasa’. Pementasan tersebut yang berlangsung di Teater STOR (Dewan Bahasa dan Pustaka) mendapat sambutan yang amat menggalakkan sehingga berjaya mengadakan persembahan lawatan antarabangsa ke Jepun dan Singapura pada tahun 2008.

Pada Disember 2009, Projek Kolaborasi Pentas Teater mengumpulkan tujuh karya pendek hasil daripada para seniman daripada pelbagai latar belakang dan bidang. Idea tunjang projek persembahan tersebut berlandaskan Kanji of the Year negara Jepun (Karekter Perkataan Tahunan) yang telah bermula pada tahun 1995. Para artist mengambil keputusan untuk memilih karekter “Huo” (Khayalan) sebagai perkataan yang paling sesuai untuk mencerminkan situasi Malaysia pada tahun 2009. Setiap seniman bebas menghasilkan karya pendek selama 10 minit dengan bertemakan “khayalan” melalui pelbagai media persembahan. Ekplorasi dan de-konstruksi terhadap “khayalan” pasti akan membawa anda mengenali pelbagai wajah dalam tahun 2009 yang penuh dengan perubahan dan cabaran.


Date + Time:
17 to 19 December 2009 8:30pm
20 December 2009 3pm + 8:30pm

Venue:
The Annexe Gallery
2nd Floor , Central Market Annexe,
Jalan Hang Kasturi,
50470 Kuala Lumpur.


Admission by Donation
RM30 (Adult) RM20 (student/maximum 30 pax per show)

Box office:
The Annexe Gallery +603-2070 1137

Contact:
012-266.1579 / 012-511.7716 / 012-607.1318
pentasproject@gmail.com

Website:
http://pentasproject.blogspot.com
www.pentasproject.com

supported by :
HSBC in the Arts | Krishen Jit- Astro fund | Annexe Gallery | Central Market | Colorganda!

Friday, October 30, 2009

SHOOT笑忘書

SHOOT笑忘書 a work in progress 創作半成品
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Performance Cancelled

Friday, October 09, 2009

藝術核爆.平台跨領域交流計劃(七)

藝術核爆.平台跨領域交流計劃(七)
Artom Bomb . Pentas Cross-Disciplinary Lecture Series VII

遷移中的聲色光影 Traveling Light
區琇詒的實驗電影+表演性電影
Experimental Film/Video and Performative Cinema of Au Sow Yee



區琇詒一直很神秘。一些人曾經看過她為劇場作的影像設計,卻從未看過她的個人作品以及背後啟動的機器,甚至不曉得這些影像背後創造者的名字。區琇詒覺得「沒有光就沒有電影」,而銀幕上的影像帶領觀眾進入一個幻象的世界,這一些,都得仰賴放映師的魔術能力。於是,她當過電影放映師,誓願成為製造詩意光影的魔術師。她的實驗電影不說故事,許多人或許不理解,或覺得這從來就是匪夷所思的事情,但從她看似抽象的影像當中,卻看到不斷遷移的魔術時光。 藝術核爆.平臺跨領域交流計劃(七)邀請您一起來感受區琇詒的魔術時光,以及一直讓她著迷的光學現象與活動影像悠遠的歷史。

Au Sow Yee is always “mysterious”. Some had seen her works for multimedia design in local theatre, but had never seen her personal works and the mechanics that triggered. Some do not even know the name of the person who created those visual images. Sow Yee believe that “there will be no film without light”. Images on screen lead audiences to a world of illusions and imaginations, and all these depends on the magical ability of the projectionist, to cast light over the remnants of life on the film strips. Therefore Sow Yee used to work as a projectionist, aiming to be a magician of light who create poetic moments. Her experimental film/video does not tell stories. Most people might not understand, or even think that this is something insane. But through her abstract images, we see some traveling magical moments. Artom Bomb . Pentas Cross-Disciplinary Lecture Series VII invites you to feel the magic hours of Au Sow Yee, and optical illusions and pre-history of moving images that attracts her for a long time.

Date & Time : 25th October 2009 @ 1:00pm
Venue : Old China Cafe

11, Jalan Balai Polis, 50000 Kuala Lumpur, Malaysia
联络:pentasproject@gmail.com / 012-266.1579/012-607.1318
樂捐入場 Entry by donation
網站:http://www.pentasproject.com/home.html
部落格:http://pentasproject.blogspot.com/

區琇詒 Au Sow Yee 馬來西亞實驗電影創作者。文化大學影劇系、美國舊金山藝術學院藝術創作研究所畢。目前為馬來西亞新紀元學院戲劇與影像系講師、劇團平臺計劃企劃,以及另類藝術工作室SicKL成員。她致力於探索光與影像作為空間和時間裏的有機元素,以及以影像發掘現實場域的抽象特質。她的創作橫跨錄像、實驗電影以及劇場影像設計。2007年獲Krishen Jit Astro Fund,並曾在臺灣、韓國、日本、義大利、美國等地發表實驗電影以及表演性電影作品。Experimental filmmaker and video artist based in Kuala Lumpur, Malaysia, Sow Yee is a MFA holder from San Francisco Art Institute and is currently a lecturer in Drama and Visuals Department, New Era College, Malaysia. She is also the Programming Director of Pentas Project Theatre Production (Malaysia) and member of Studio in Cheras KL (Malaysia).Her works explore light and projected images as organic elements in space and time as well as reveals the abstract quality of everyday live. Sow Yee was the recipient of the Krishen Jit Astro Fund in 2007, and have shown her experimental films/video and performative cinema series in Taiwan, Korea, Japan, Italy, USA etc. Her works span from experimental film/video, film/video performances to multimedia design for theatre.

Supported by : HSBC in the arts | Old China Cafe

Friday, September 25, 2009

戏剧表演工作坊

戏剧表演工作坊




表演不仅仅是一种天分,更是一项创意与习惯的行动,一项充满乐趣的行为,更是一种人性与哲学性的表现。学习表演不仅能帮助你认识自我,更可籍此发掘并建立你与他人及群体的关系。从初期的思考与判断的入门学习,以至进阶性的生动表演训练,可以帮助你培养并提升一名演员的敏感度、创造力与想像力;发掘你隐藏的表演天分。无论你是初学者或有经验的演员,透过实习,从新了解自己,震荡你大脑,激发想像,领悟人生、戏剧的秘笈与真谛。

课程内容
1)身体开发与训练(凝聚力、集中力、身体能量等)
2)发声与声音训练
3)表演的自信与喜悦
4)默契与交流
5)行动与舞台空间
5)即兴表演
6)小品/片段实习与演出呈现


导师:罗国文、邓壹龄
期:11月4号开课
时间:星期三@7:30pm ~ 11:30pm & 星期日@10:00am ~ 2:00pm
节数:16堂课 (一星期两堂课,每堂课4小时)
地点:TBC
学费: RM 650
联络:pentasproject@gmail.com/012-607.1318/019-215.1890

如何报名:
1)有兴趣者可用电话或电邮方式和我们联络,之后我们将把报名表格寄到你的电邮信箱。
2)报名后须在10月25日前缴交学费,如没在指定的限期内缴交学费,主办单位有权利把名额转让给其他有兴趣者。
3)缴交方法:可亲自把费用交给工作坊负责人或ATM转帐付费或支票汇款。
银行户口名称: Pentas Project Theatre Production
银行: Public Bank
银行户口号码: 3141760724
4)汇款后请用电话或电邮的方式和我们联络,以确认您的姓名及汇款账号。
5)请务必保留提款机列印的收据或任何汇款回条,做为证明。




导师简介

罗国文,平台计划艺术总监。剧场导演、演员、舞台灯光设计师及剧场训练指导导师。
目前为手集团全职鼓手身体与创意开发导师,曾任教於新纪元戏剧与影像系。
1993年毕业於马来西亚学术学院戏剧系。曾荣获第三金马仑艺术大奖“最佳导演“奖、
第五届金马仑艺术大奖舞蹈组“最佳灯光设计“奖、第六届金马仑艺术大奖戏剧组“最佳灯光设计“奖、第七届金马仑艺术大奖戏剧组“最佳导演“,“最佳灯光设计“奖、及音乐剧组“最佳舞台设计“奖。2005年创立[平台计划],同年荣获美国“亚洲文化协会“奖学金赴美国纽约游学半年,也曾赴新加坡、菲律宾、印尼、泰国、日本、印度、美国及德国等地参与演出与交流。导演作品包括《aku》、《water closet》、《游戏时间》、《城失空想》、《[思想+自分]报告》及《动物农庄》等。


邓壹龄,毕业于北京中央戏剧学院导演系,2006年开始担任新纪元学院戏剧与影像系兼职讲师迄今,是编、导、演俱佳的多方位艺术工作者。除了积极参与剧场演出之外,也曾参与多部本土电视剧的编剧编审工作。导演作品包括《别为你的体重发愁》、《事情,。?!》、《逢场作兴》、《失乐园2001》、《较量》、《今夜不设床》等;表演作品则有《许三观卖血记》、《家》、《屏风》、《歌代啸》、《蠢货》、《绝代双华》、《Chup! Take a break》系列、《梁祝》、《游戏时间》及《动物农庄》等。

Tuesday, September 01, 2009

藝術核爆.平台跨領域交流計劃(六)



王嘉明 X 後現代創意絞肉機
劇場導演王嘉明的創作解密

一個常被戲劇圈或媒體標註為「鬼才導演」、「劇場頑童」的劇場導演,腦袋裡頭到底有什麼樣的魔鬼腦漿,可以翻轉攪動劇場觀眾的胃口,成為台灣近年最夯的小劇場導演? 是的,很多人都好奇,新生代劇場導演王嘉明的創意腦袋到底藏有多少格魔法抽屜,一拉開來就嘩啦嘩啦的倒出了許多通俗流暢的遊戲時光。鴻鴻評價他的創作時,曾以「後現代絞肉機」喻之,不管是什麼素材,王嘉明就是有辦法絞出一條條五彩繽紛且風格獨具的「王氏香腸」。 王嘉明的好玩幽默,以及他多年來在劇場形式內外跨界和多元的涉入、以及思考,值得本土創作人參照與凝視,藝術核爆.平台跨領域交流計劃(六)邀請您一起來啟動創意的絞肉程式!


藝術核爆.平台跨領域交流計劃(六)
王嘉明 X 後現代創意絞肉機
劇場導演王嘉明的創作解密

主辦單位:平台計劃
主講人:王嘉明
日期:2009年9月3日
時間: 8:00pm
地點Old China Cafe
11, Jalan Balai Polis, 50000 Kuala Lumpur, Malaysia
联络:pentasproject@gmail.com / 012-266.1579/012-607.1318
樂捐入場
網站:http://www.pentasproject.com/home.html
部落格:http://pentasproject.blogspot.com/


王嘉明 (Wang, Chia-ming)簡介
1971年生於台北,國立台灣大學地理系、國立台北藝術大學劇場藝術研究所導演組畢業。現為「莎士比亞的妹妹們的劇團」團長,國立台北藝術大學與國立台灣大學戲劇系擔任講師。持續參與劇場創作與實驗十餘年,始終站在傳統與創新的邊緣,大眾與前衛的交界,作品不因通俗而失去批判力量,不因實驗而變成標新立異,照顧普羅大眾的同時,將文化美學向上提昇。

經歷
2008年劇場作品《請聽我說─豪華加長版》獲2009年第七屆台新藝術獎年度十大表演藝術
2007年劇場作品《殘, 。》獲2008年第六屆台新藝術獎年度十大表演藝術及評審團特別獎。
.獲美國編導Robert Wilson邀請,由文建會紐約文化中心贊助,參與位於紐約長島由Wilson先生親自主持的水磨坊藝術中心,2008國際夏日藝術村一個月的駐村計畫。
.2005-2006 獲「亞洲文化協會」獎助,赴紐約交流半年。
.2004-2005 獲教育部獎助,巴黎Cite des International Arts交流一年。
.2004年《Developing in Zodiac》所參與的高雄美術館策展【城市漂旅:釋放與失落】,該展覽獲選第三屆台新藝術獎年度七大視覺藝術。
.2002年劇場作品《Zodiac》獲選第一屆台新藝術獎年度十大表演藝術。


主要編導作品
.《膚色の時光》(2009,信義誠品展演廳)
.《請聽我說─豪華加長版》(2008,台北皇冠小劇場)
.《Plastic Holes》(2008,羅伯威爾森2008夏日水磨坊工作坊邀演)
.《羅密歐與茱麗葉—獸版》( 2008,台大戲劇系學期製作 )
.《R . Z》( 2008,國家戲劇院實驗劇場新點子藝術節 )
.《殘, 。》( 2007,國家戲劇院實驗劇場新點子藝術節 )
.《誘惑者日記》( 2007,香港牛棚藝術節 )
.《文生 梵谷》( 2006,誠品開放地下藝術節開幕戲 )
.《麥可傑克森》( 2005,國家劇院實驗劇場「瘋狂精英藝術節」開幕戲 )
.《Poi, Poison, Poisson》( 2005,巴黎藝術村畫廊 )
.《拜月計畫》( 2004,中秋節兩廳院戶外雜技演出 )
.《家庭深層鑽探手冊—我想和你在一起》( 2004, 國家劇院實驗劇場16軌聲音裝置 )
.《30P:不好讀》( 2003,誠品地下藝術節開幕戲 )
.《泰特斯—夾子/布袋版》( 2003,「莎士比亞在台北」藝術節開幕戲 )
.《請聽我說》(2002第八屆皇冠藝術節,2005青島藝術節邀請、2009北京演出)
.《Zodiac》(2007北京演出、兩廳院十五週年寶島地震帶系列開幕、2001第七屆皇冠藝術節)

藝術核爆源起
平台計劃成立3年以來,除了自身團員間的衝擊,交織出魔術游擊隊般的多元藝術交流量,2009年開始,平台也啟動「藝術核爆.平台跨領域交流計劃」,邀請各領域工作者參與交流、分享自身專業,希望藉由每月一次的跨領域藝術交流系列計劃,汲取跨界養分,達到開放交流、啟發、臨摹的學習成效,也為未來的合作奠基,讓藝術的光,在各領域工作者之間流動撞擊。

Supported by : HSBC in the Arts & Old China Cafe

Wednesday, June 03, 2009

藝術核爆.平台跨領域交流計劃(五)




《听见空气的色彩
Colours in the Air

视而不见,
Seeing nothing
充耳不闻,
Listening to nothing
所以生活麻木不仁?
So your life is apathetic?

You're welcome to Old China Cafe at 3pm on 28th June. Joseph Foo, the Artistic Director of 3nity will recall the neglected images in your live, while Advertising Creative Director of AMP Radio Networks Hoe Kai Yew will touch your heart with words.

日期Date:28/06/2009
(星期日 Sunday)
时间Time:3:00 pm
地点Venueold china cafe
11, Jalan Balai Polis, 50000 Kuala Lumpur, Malaysia
联络:pentasproject@gmail.com / 012-3669256/012-6071318
自由乐捐入场 Entry by donation. Talk is in Mandarin


胡智义
Joseph Foo
马来西亚三一设计顾问公司创办人.毕业于美国旧金山艺术学院,在美和新加坡从事过设计工作。他希望把亚洲的思维和理念通过平面设计表达出来。特别表达灵魂的艺术。
人与神”巡回展幕后主导人,一位思想与行动跨越国际领域的艺术工作者,讲师兼设计师。他的创不断获得本地与国际的表扬。他热诚并活跃地在世界各地举办国际设计研讨会、工作坊与对话。


何开耀
毕业于马来亚大学理学院,主修数学,却凭着中文报馆助编及杂志美术员的工作经验闯入广告界。
1998年加入AMP Radio Networks,习惯从脑海中涌现的影画面获取创意灵感,却必须以声音打动消费者。处身以英语为主导的工作机构,唯有靠多项大马Kancil Awards、Air Awards、龙玺环球华文广告奖、时报世界华文广告奖及New York Festival来证明自己的创意。
2006年升任AMP Radio Networks创意总监,看管马来文、英文、中文及淡米尔文8大电台的广播广告创意。 不信奉什么广告教条,只认为广告应有基本道德操守,而参加奖项是为了证实创意细胞仍未死去的年度健康检验。


Artom Bomb project – Pentas Cross-disciplinary Lecture Series

Pentas Project, established three years ago, has since facilitated many collaborative creations among its residence members, successfully interweaving multidisciplinary artforms with elements of magic and surprise.

In 2009, Pentas Project started “Artom Bomb project - Pentas Cross-disciplinary Lecture Series”, and invites multidisciplinary workers in the domain of the arts to participate, interact, and share their own professional experiences and expertise. These series of talks or workshops will be held monthly.

This program is designed to promote interdisciplinary exchange, to acknowledge the importance nurturing of multi-disciplinary sharing, to achieve a platform for open and inspiring interaction, and to actively communicate in a situation of great diversity of learning methods, with new perspectives in order to pursue its own achievements. This program also lays the a foundation for future collaborations among its participants. The artists from these diverse professions are not solitary beings. They are always inspired and connected to each another.

藝術核爆.平台跨領域交流計劃
平臺計劃成立3年以來,除了自身團員間的衝擊,交織出魔術遊擊隊般的多元藝術交流量,2009年開始,平臺也啟動"藝術核爆.平臺跨領域交流計劃",邀請各領域工作者參與交流、分享自身專業,希望藉由每月一次的跨領域藝術交流系列計劃,汲取跨界養分,達到開放交流、啟發、臨摹的學習成效,也為未來的合作奠基,讓藝術的光,在各領域工作者之間流動撞擊。


Supported by

Monday, May 25, 2009

ToiLet Album & reviews

1) review from asia dance channel by lim sue ying >>>>>

2) review from asia dance channel by choy su-ling >>>>>

3) review from the star by fred lim >>>>>

4) review from KL Dance Watch or ARTERI by Bilqis Hijjas >>>>>








Wednesday, April 22, 2009

TOILET廁所 



2009平台計劃爆裂變奏重演
TOILET廁 

部分文字取材自彼得.漢德克《自我控訴》
2003金馬侖藝術大獎 最佳導演
並入圍最佳燈光設計、最佳舞臺設計等6項


我吃 我睡 我玩
我呼吸 我存在 我排泄

我愛你
用我最純淨如大便的靈魂



“我愛你。我卑微。我的慾望疼痛。我的身分模糊。我的靈魂爆裂。我自我批判。我留下線索。我不是我。我找到你。”



2003年,劇場新進導演羅國文率領年輕藝術家們創作「一個沒有名字的演出」,首演廣獲好評,入圍第三屆金馬崙藝術大獎七項提名,並榮獲最佳導演和最佳中文劇本獎。

「一個沒有名字的演出」集合了舞者、演員以及裝置藝術家曾國輝,以未知但強烈的創作慾望,從相互磨合中擦撞出對藝術追求、社會、慾望以及自我的批判和思考;以措辭直接而赤裸的文本,在幻夢的遊走和真實的逼視中,讓朦朧而脆弱的內在,直面凝視偽善且純真的生命本質。

歷經五年時光的沉澱琢磨,當初演出的劇場已不復存在,城市的風景線幾番更迭。五年後,平台計劃推出「一個沒有名字的演出」爆裂變奏版「廁所」,以全新思索擷取城市生活的真實與幻象切片,再藉由混亂的自言自語、喋喋不休的叨唸和感嘆悔恨的字句,將自己批評得體無完膚,讓觀眾看到真實的「自我」。通過身體、聲音、裝置、燈光及語言直入我們心中最純淨幽微的慾望版圖。


全新變奏重演
廁所的社會功能,即是提供一個排泄的場域,我們最不想開放觀賞的姿態,都在廁所發生。這個納收穢物的載體,日復一日漠然凝望最真實醜陋的生物姿態,也漠然豢養最不為人知的慾望本能,廁所中低俗也錯字連篇的污穢字眼、留下慾望線索的電話號碼等等,或許也是城市中最廉價方便的出口,痛快排出文明的垃圾。

2009全新版「廁所」,集合了劇場青壯派導劇場演羅國文、編舞者淩秀眉、資深舞者林保旭、陳彩珍和余真華,以及演員李承運,探索表演的新意涵;「廁所」從曾國輝原創的裝置空間概念中,邀來多領域藝術創作者張忠勇,以其建築學養思維,創造新的空間可能。此外,「廁所」也邀來近年來活躍於劇場音樂創作的黃楚原,用最貼近內在的聲音旋律,豐厚演出的多元有機層次。

除了延續「一個沒有名字的演出」的批判和思考,全新版本的創作中,也融合了五年時光中,俗世人事遷徙、社會思潮變化的吉光片羽,以及創作者自身在五年追求中的全新觀點。




平台計劃 製作
平台計劃 與 吉隆坡表演藝術中心 呈現

日期+時間:
2009年5月20日 預演 8:30pm
2009年5月21至23日 8:30pm
2009年5
月24日 3pm + 8:30pm

地點:
Pentas 2, the Kuala Lumpur Performing Arts Centre吉隆坡表演藝術中心
Jalan Strachan (off Jalan Ipoh), 51100 Kuala Lumpur

票價
RM 24 (5月20日預演統一票價)
RM 24 (學生、樂齡以及殘障人士)
RM 37 (成人)

詢問:
03-4047 9000 / 012-266-1579 / 012-607-1318

網站:
www.pentasproject.com
http://pentasproject.blogspot.com
http://www.youtube.com/watch?v=OgGEFpZhlCM
VOICE MEDIA interview


導演+燈光設計■羅國文
演員■淩秀眉 + 林保旭 + 陳彩珍 + 顏慧怡 + 余真華
裝置概念■曾國輝
舞臺設計■張忠勇
原創音樂■黃楚原
製作■區琇詒
中文文案■陳燕棣

彼得·漢德克
彼得·漢德克是最重要的德語作家之一,但同時,他又是個飽受爭議的人。

1942年12月,漢德克出生於奧地利凱爾騰省格裏芬鎮。其母未婚時便懷了他,後在親友壓力下,于分娩前嫁給一名德軍下士布魯諾·漢德克。彼得·漢德克的童年在柏林度過,之後回格裏芬讀小學以及中學。

1961年漢德克中學畢業,這時他有了非常明顯的文學偏好。在格拉茲大學讀書期間,漢德克加入格拉茲文壇所屬的“市立公園論壇”及“草 稿雜誌”,與一群志同道合的年輕作家相識,並因此得到發表新作的機會,踏出邁向文壇的第一步。1963年他發表了第一篇小說《大黃蜂》。該書由德國蘇坎出 版社出版,漢德克借著這次出書的機會,放棄了大學學業。1966年,漢德克開始他的文學事業。同年,因為妻子在杜市劇院得到演出機會,他與身為演員的妻子 一起離開格拉茲,前往德國的杜塞爾多夫。同年,他前往美國參加“四十七團”在普林斯頓的會議,以一篇聳人聽聞的文學批評引起批評家的注意,從此在文學界奠 定了基礎。

1968年他搬往柏林,翌年又遷到巴黎。為了永遠逃避童年狹隘的成長環境,他不斷從在城市間遷徙:柏林、巴黎、科隆、法蘭克福……都曾是他旅居之地。這些城市也成了他作品中情節的發生地。


漢德克是兩個孩子的爸爸。他曾為家裏被年幼的女兒搞得雜亂無章而煩惱。不過,後來他選擇了妥協。他在書中寫道:如何處理呢?那就是放棄成人對整潔的標準,讓自己的屋子變成兒童大樂園。漢德克妥協的原因是,他看到“一片狼藉”的背後隱藏著一片最和諧的氣氛。後來,他戲稱自己對孩子發火是“無效管理”。而孩子們對“和諧管理”很受用,漢德克成了他們心中慈祥的老爸。

20世紀90年代中期,漢德克一改過去的文學體裁寫起了遊記,記錄了他在塞爾維亞的所見所聞,但在遊記中,讀者讀不到血腥的戰爭場面,更多的是和平、安詳、大自然,因為那時北約發動的戰爭還沒爆發。他還拿出自己最近一筆稿酬的一半給了這些可憐的人。

到目前為止,漢德克已出版了三十多本著作,除了小說,還有散文、詩集、舞臺劇,廣播劇和短評。他創作方向多樣化,是德語文學中重要的代表作家之一。在不久前評選的德語國家最重要的100位知識分子的活動中,他排名第五。甚至連諾貝爾獎得主耶利內克也說,“我以為得獎的一定是彼得·漢德克,從沒想過恰巧會是自己。”

步入老年後,漢德克依然我行我素。1999年參觀了遭北約轟炸的貝爾格萊德後,他退還了1973年獲得的德語作家最高榮譽——畢希納獎。他對強權的鄙視和對虛假新聞的仇恨使他總處在輿論漩渦中。 

因公開出席米洛舍維奇的葬禮,他的劇作《聲音國度的旅行》遭到法蘭西喜劇院的撤換。由於評委會將本年度海涅文學獎頒發給他,在德國引起爭議。尤其一些政界人士直接或間接批評漢德克在前南戰爭期間的表現,指責他對米洛舍維奇政權採取過於護短的態度。

漢德克贏得無數的文學獎項和榮譽,但由於他不妥協的政治態度、不斷變換的形式試驗,也招致一片質疑。甚至有人稱他“是個無可救藥的作家”。

對此,漢德克本人說了一句意味深長的話:“我是孤獨的,而當人孤獨地活著時,會有某種傾向,覺得自己是個罪犯,或者覺得自己是個偉人。兩種傾向都是危險。我既不是罪人也不是英雄。我是第三種人。”


***************************************************

Co-Presented by Pentas Project and KLPac

TOILET廁所

Some text from Peter Handke’s play, Self-Accusation
Best Director and Six Nominations including Best Lighting Design and Best Set Design in the 2003 BOH Cameronian Arts Awards


I eat I sleep I play
I breathe I exist I excrete
I love you
with my soul as pure as shit

A Dance + Theatre Performance, in Mandarin with English Surtitles

“I love you. I am small. My desire is in pain. My identity is vague. My soul is bursting. I judge myself. I leave you a clue. I am not me. I found you.”

The premiere of Untitled in 2003 received tremendous reviews. After 6 years, Pentas Project presents a new version of it which has been renamed Toilet - extracting the reality and imagination of everyday lives, audiences may discover their real selves as the cast criticize each other and go on about the insidious problems of our society. Through physical movements, sound, installation, lighting and speech Toilet will look into the map of desire hidden inside our hearts.


Date + Time:
Preview 20 May 2009 8:30pm
21~23 May 2009 8:30pm
24 May 2009 3pm + 8:30pm

Venue:
Pentas 2, The Kuala Lumpur Performing Arts Centre
Sentul Park, Jalan Strachan (Off Jalan Ipoh), 51100 Kuala Lumpur

Box Office:
03-4047 9000

Enquiries:
012-266-1579 / 012-607-1318

Tickets:
RM 24(flat rate for preview night on 20th May)
RM 24 (students, senior citizens and disabled)
RM 37 (adults)

Website:
www.pentasproject.com
http://pentasproject.blogspot.com

Director + Lighting Design■ Loh Kok Man
Cast■ Amy Len + Leng Poh Gee + Tin Tan + Berg Lee + Louise Yow
Original Installation Concept■ Chan Kok Hooi
Set Design■ Caecar Chong
Original Music■ Ng Chor Guan
Production Manager ■ Au Sow Yee

Co-presented by




Supported by


Colorganda !




video

Monday, March 23, 2009

藝術核爆.平台跨領域交流計劃(四)

平台計劃 主辦
Pentas Project presents

藝術核爆.平台跨領域交流計劃(四)
ARTOM BOMB project : Pentas Cross-disciplinary Lecture Series IV


"Experiments in Pinhole Photography" – a pinhole photography workshop
针孔摄影实验工作坊


Participants must bring a DSLR camera for the workshop
所有参与者必须携带一台DSLR相机


每位参与者都可自选一张工作放当天拍摄的照片,在「世界针孔摄影日」网站展览。
Each participant will select one picture taken during the workshop for the online exhibition of the World Pinhole Day.

Date: 26th April 2009 (Sunday)
Time: 2:00pm~5:00pm
Venue: SicKL (Studio in Cheras KL) map
75, Tingkat 3, Amber Business Plaza, Jalan Jelawat 1, Cheras 56100 Malaysia
( the studio just 3 mins walk from CHERAS lrt station, star line )
Fees : By Donations
number of participant : 20 people
contact: pentasproject@gmail.com | 012-2661579 | 012-6071318






The Instructor:
西川智也 Tomonari Nishikawa
日本實驗電影創作者,畢業於舊金山藝術學院研究所。2008年獲得日本財團(Nippon Foundation)的API(Asian Public Intellectual Fellowship)獎學金,於2008年至2009年在泰國和馬來西亞進行媒體藝術的研究。同年也獲得當代電影博物館基金會的創作獎金。他的實驗電影和裝置作品曾經在鹿特丹國際影展、紐約國際影展、上海當代藝術館等放映。

Graduate from the San Francisco Art Institute, Tomonari Nishikawa is an experimental filmmaker and artist from Japan. He received the API (Asian Public Intellectual) Fellowship from the Nippon Foundation in 2008, he traveled to Thailand in 2008 and then in Malaysia in 2009 for research. He is also the recipient of Museum of Contemporary Arts Foundation Grant in 2008. His works has been shown and exhibits extensively in International film festivals and venues, such as the Rotterdam Film Festival, New York Film Festival, Museum Of Contemporary Art Shanghai and many others.


supported by :


藝術核爆.平台跨領域交流計劃
平臺計劃成立3年以來,除了自身團員間的衝擊,交織出魔術遊擊隊般的多元藝術交流量,2009年開始,平臺也啟動"藝術核爆.平臺跨領域交流計劃",邀請各領域工作者參與交流、分享自身專業,希望藉由每月一次的跨領域藝術交流系列計劃,汲取跨界養分,達到開放交流、啟發、臨摹的學習成效,也為未來的合作奠基,讓藝術的光,在各領域工作者之間流動撞擊。

Tuesday, March 17, 2009

平台计划 招兵买马


平台计划


本地中文剧团「平台计划」,即将分别于2009年5月(剧名:《厕所》,重演2003年金马仑艺术大奖得奖作品《一个没有题目的演出》)以及
10月(视觉音乐剧场)在吉隆坡表演艺术中心演出。


在此征招有热诚的你,前来担任以下职位的义工

1) 后台工作人员 backstage crew
2) 音效执行 sound operator
3) 灯光执行 lighting operator
4) 字幕执行 surtitles projection operator
5) 前台工作人员 Front of House
6) 行政助理 Assistant Administrator
7) 助理舞监 Assistant Stage Manager等



有兴趣者请把履历寄来:
pentasproject@gmail.com 或 sowyee.au@pentasproject.com


「平台计划」创立于2005年,集合了导演+灯光设计 罗国文,舞台设计 张忠勇, 多媒体影像设计 区琇诒. 诗人 陈燕棣. 演员 颜果以及 剧场工作者 黎百龄

「平台计划」是一个开放的剧场合作计划,藉由多元艺术形式的凝视、擦撞、实验和媾和,酝造多元不设限的艺术交流。「平台计划」也是一个移动的魔术游击队,成员们的养成修持,囊括表演艺术、录像、建筑、舞踏、诗等形式各异的艺术专精,他们在其中呼吸、思考、创作,自由而兼容。团员们在不断加强自身专业装备之余,也常跨足平台以外,积极探索形式各异的艺术交流合作,寻求艺术专精的跃进,打造幻诡迷人的艺术魔法。

「平台计划」成立以来,除固定年度新作发表和国内外艺术交流计划以外,2008年起,以系列表演艺术工作坊的引介,逐步搭建艺术教育与交流推广的桥梁。

Friday, March 13, 2009

藝術核爆.平台跨領域交流計劃(三)

藝術核爆.平台跨領域交流計劃(三)


《林明》老鎮社區藝術計劃

Sungai Lembing Village Community Arts Project



張敏華 :「老鎮社區藝術計劃」計劃主持人


日期 Date:2009年3月22日(星期日)
时间 Time:9:00am ~1:00pm
地点 Venue:彭亨州,林明 SG LEMBING, Pahang
收費 Fees:自由樂捐 Donations
聯絡 Contacts:pentasproject@gmail.com | 012-6071318

林明鎮行 Sungai Lembing Village History Tour(需約2.5~3小時/ 3 hours

 兩條主要老街+圖書館+俱樂部
 林明博物館
 礦洞+錫加工廠遺跡
 外圍社區+墳場(若還有時間)


Supported by : HSBC in The Arts



「錫鄉活化及記錄」的想法:

本人(張敏華)因採訪工作,接觸到來自馬來西亞彭亨州林明鎮的耆老,一頭栽進這個因採錫而活絡,也因錫礦停采而沈寂的錫鄉。林明(Sungai Lembing),這個曾被英國人視為深鎖在森林裡的「灰姑娘」,路途之艱險皆難以想像的地方,竟一度成為世界最深地下錫礦之一,採礦史及繁華史甚至跨越不同政權時代。

來自另一錫鄉霹靂州近打河谷的本人,所瞭解到卻是迥然不同的故事,不同的採礦法、不同的聚落結構,殖民時代下的發展模式也是不同的。在近打河谷第一個發跡的錫礦鄉鎮──甲板(Papan),於近代更為馬來西亞環保運動寫下光輝一頁,進而被視為全國社會運動的轉捩點。

兩個鄉鎮,不但留下令人驚歎不已的故事及回憶,同時呈現了一個時代的側影。如今,因錫業的末落人口外流,僅剩老幼,鄉鎮也趨頹敗。但由於特殊政治背景下的歷史觀點,這兩個曾貢獻於馬來西亞建設且具有極為珍貴遺跡的華埠,不但沒被當局重視,更在主流歷史中被刻意遺忘。這讓年輕一代根本無從瞭解到這段歷史。

留居其間的居民,雖被他人視為住在鬼城般之境,卻甘之若飴。和兩個鄉鎮居民互動後的本人,深覺兩個鄉鎮歷史保存的急迫性;同時瞭解到堅持居在該地的人們,心中充斥著感慨及茫然,無從尋找讓該地方永續生存下去的方法。

Teoh Ming Wah, through her job as a journalist came in contact with Sungai Lembing’s aging residents. Once a vital source of tin, the town has descended from an energetic and lively community to one that is slow and lethargic. Sungai Lembing was located deep in the jungles of Pahang It’s origin as a secluded mining colony locked away from other towns, with one of the deepest subterranean tin mines in the world, enjoyed rapid development and witnessed the change of government from its relative isolation.

Born and raised in another tin-rich area, Kinta Valley. she witnessed a different history, development and community structure from that of Sungai Lembing. Methods of tin mining are also different, as well as the personal stories told to her by the residents. The town of Papan, was considered the first rich mining town in the Kinta Valley. After independence, its residents initiated the Environmental Protection Movement which is considered as an important social movement in Malaysia’s history.

Both towns have many amazing stories and memories and formed an important part of Malaysia’s history. When tin mining was no longer a profitable enterprise, many young people left these towns, leaving only the very young and senior citizens and subsequently these towns stopped developing. These two towns were important to Malaysia’s development. They left behind many precious relic and memories that are sadly not acknowledge by the present government and forgotten by mainstream history and as a result, the new generation failed to know about this local history.

Currently these communities are viewed to be living in ghost towns but the residents themselves prefer to stay there. Driven by empathy of the residents’ feeling of being marginalized and forgotten and after discussion, we both decided on a project to introduce artists of different disciplines into these two towns and their communities, in the hope that these town will be re-energized through artistic activities as well as a chance for artists to personally experience the residents’ personal and collective history.


下面有關林明的簡述,是摘自張敏華在《東方日報》的專題報導:

因為雲海日出,林明成為國人週末出遊的景點之一,每逢周日在林明公市面攤前也擠滿食客等候聞名的山泉水製面及釀豆腐。但這些到訪者或許忘了,林明曾經更為熱鬧,火車的警示哨音曾在山谷間迴蕩,綠山下隧道中有無數的礦工在工作。

這個曾被英國人視為深鎖在森林裏的「灰姑娘」,路途之艱辛及危險是難以想像的地方,竟一度成為世界最重要的錫鄉之一。因為采錫礦而活絡,也因為錫礦停采而沈寂。林明,留下令人驚嘆不已的故事及回憶,同時呈現了一個時代的側影。

清晨河床上霧氣彌漫,筆者從遠處隱約可見河床上似懸空的吊橋。太陽漸使迷霧散去,車子從翠綠的山間駛進剛露出輪廓的林明主街(Main Street),整個林明鎮沉靜的氛圍彷彿要將人托入悠遠的時空之中。

雙溪林明(Sungai Lembing),簡稱林明,位於馬來半島彭亨州的東北部,距離關丹市約42公里。其坐落於山間盆地,濱林明河(是居民的俗稱,其實是關丹河的支流肯腦河Sungai Kenau),以出產錫聞名。

林明原是一位華裔拓荒者的名字,後來成了這山城的地名。據說早在1868年一位來自印尼勿里洞(Biliton)的華人頭家林明,又名林亞三,帶領了一批華人到林明探礦采錫。另一種說法是根據林明河上出現長茅形狀的沙丘而取的馬來語名字,即「Lembing」(長茅)。



藝術核爆源起

平 台計劃成立3年以來,除了自身團員間的衝擊,交織出魔術游擊隊般的多元藝術交流量,2009年開始,平台也啟動「藝術核爆.平台跨領域交流計劃」,邀請各 領域工作者參與交流、分享自身專業,希望藉由每月一次的跨領域藝術交流系列計劃,汲取跨界養分,達到開放交流、啟發、臨摹的學習成效,也為未來的合作奠 基,讓藝術的光,在各領域工作者之間流動撞擊。




張敏華

1999年畢業于國立台灣大學社會系社工組。在學時,積極參與主婦聯盟環保基金會的活動,後實習于台北市政府社會科老人保護特組。畢業後服務于台北市的專業者都市改革組織(簡稱為 OURs)一年多,承辦行政院文化建設委員會推動全台灣社區公共空間藝術化主題計劃。在1999年台灣921大地震後,同時承辦災區的社區重建工作為協調員,也協助埔里一帶的社區尋求重建資源。

2002年回馬來西亞定居後,活躍于表演藝術及視覺藝術的展演製作工程及相關活動策劃,與國內舞團及劇團或導演、畫家合作,並主要以文史背景及文字創作與其他藝術工作者相激盪。2004年獲邀參與《馬來西亞百科全書第8冊:表演藝術》的部份撰寫;2007年編寫國內敲擊鼓團的《手集團十週年回顧特刊》。於2007年與合作「死亡被單」藝術計劃的視覺藝術家章永佳,在韓國光州共同以《光明城的人民》裝置作品參與紀念518光州事件的藝術展覽;同一年,兩人被邀往台灣參與「嘉義縣2007北回歸線環境藝術行動計劃」。2008年,則在吉隆坡的Valentine Willie Fine Art和章永佳聯辦裝置展《Safe House》。

2006年至2007年任職為《東方日報》專題記者長達兩年,先後投入系列專題報導「馬來西亞消逝礦鎮」、「尋訪50年代投奔中國的大馬青年」、「潮汕與大馬臍帶──僑批的變遷」。目前任職為言論版助理編輯,同時展開「老鎮社區藝術計劃」中的第一站──林明。