Wednesday, September 23, 2020

阿Q外傳 The Other Story of Ah-Q



平台計劃 呈獻 Presented by Pentas Project Theatre Production 
平台讀劇二號作品 Pentas Staged Reading 2 

阿Q外傳 The Other Story of Ah-Q
⽇本劇作家宮本研 Ken Miyamoto 的作品 
The Japanese playwright, Ken Miyamoto’s work 

( In Mandarin with English surtitles ) 

讀劇,是舞台劇傳統的準備功夫,
讀劇,亦是不完整與想像勾結的演出。
在舞台上戲服佈景都不完整的假想中造反,
7個演員,扮演20個無需粉墨依然登場的角色。

靈感來自魯迅經典短篇小說集《吶喊》,並以《阿Q正傳》為主軸。 

一切都以阿Q開始,也從阿Q結束。
失敗的英雄革命的賊,救人的醫學殺人的刀,

挑起阿Q的自嘲和卑微,剖開垂死掙扎的封建迂腐,
刺破自以為革命家的熱血與淡漠,剁碎螻蟻百姓的末善末惡, 

人生或可憎或可笑或可憐或可嘆,從來都是出自那一片不曾絕望的期盼。


劇情簡介 : 
成長於二戰時期並在北京度過少年歲月的宮本研,透過對魯迅思想的解構和再架構,在60年代末以他擅長描述革命與群眾關係的創作風格,寫下《阿Q外傳》一劇。他將魯迅筆下許多經典人物,如:阿Q(一個卑微的愚人,也是自暴自棄自我安慰精神勝利法的符號),放上舞台與魯迅和其所在的動盪時空,交織在一起對話。透過劇中不同階層的角色,探究社會改革進程中各種的矛盾、憤怒與悲哀。“對民眾來說,革命到底是什麼?對革命而言,民眾到底是什麼?”一定要失敗才是英雄?救人的醫學是否會借用殺人的刀? 




導演 Director : 羅國文 Loh Kok Man 
演員 Casts : 余秋坪 Tammy Yee、 李奕翰 Lee Yee Han、何文翰 Ho Mun Hann、吳欣諭 Koh Xin Yu 、洪梓宗 Ang Chee Chong、李偉仲 Lee Woei Zhong、黃永益 John Wong 

策展人 Curators : 羅國文 Loh Kok Man & 黃永益 John Wong 
製作人 Producer : 林偉彬 Pam Lim 
劇本翻譯 Translated by: 山崎理惠子 E-Run、林孟寰 Lim Meng-huan、吳明倫 Wu Ming-Lun 


Staged reading - a traditional preparation for the stage.
Staged reading - also a show where incompleteness meets imagination.
Challenging incomplete stage/costumes/set, imaginatively,
7 actors perform 20 roles - barefaced for the audience.

“The Other Story of Ah-Q” is inspired by Lu Xun’s classical short story collection, “Call to Arms” and is based on “The Story of Ah-Q”.

It all starts with Ah Q, and it all ends with Ah Q. A failed hero - a revolutionary thief; life-saving medicine - a killing knife.Triggering Ah Q’s self-mockery and inferiority, dissecting a feudal decay fighting its dying moments.Bursting the self-proclaimed revolutionary’s passion or apathy, mincing the commoner’s good and evil.Life’s loathings, ridicules, pities, laments, which have always come from a never despairing expectation.

Synopsis :
Ken Miyamoto - born during World War II and having spent his youth in Beijing - deconstructed and reconstructed Lu Xun’s beliefs to write “The Other Story of Ah Q” in the late sixties using his expert style of depicting revolutions and social relationships. He gathered many of Lu Xun’s classic characters to dialogue on stage, sharing the space with Lu Xun and the tumultuous times they belonged to. Through these characters of different statuses, the story examined what a social revolution could bring: the dilemmas, the rage, the grief. “To the people, what exactly is a revolution? To the revolution, what exactly are the people?” Must one fail to become a hero? Can medicine save, and yet borrow a knife to kill?

19~22 November 2020
at DPAC, Blackbox
19 November 2020 @ 8:30 pm
20 November 2020 @ 8:30 pm
21 November 2020 @ 8:30 pm
22 November 2020 @ 3:00 pm
22 November 2020 @ 8:30 pm

5 & 6 December 2020
Online streaming on Cloud Theatre 
5 December 2020 @ 8:00pm 
6 December 2020 @ 3:00pm

票價 Ticket : RM38, RM33 (早鳥優惠 Early bird ticket, Until 1 November 2020 ) , 
RM35 Dcard Holder, RM23 Cloud Theatre

訂購專線 Ticket Inquiry : +603 4065 0001/ 0002 ( www.dpac.com.my ), 010-2195874 (https://pentasproject.blogspot.com), Cloud Theatre (www.cloudtheatres.com) 


中文文案 Chinese Copywriting : 李紅蓮 Lee Hoong Lian 
英文文案翻譯 English Copywriting : 黃建勝 Jason Ng 
平面設計 Graphic Design : 藍氏君 Tsuji Lam 
宣傳 Publicity : 譚小虹 Tammi Tam, 文競傑 Mun Jing Kit

In collaboration with :
                              

 Supported by:

    






Playwright 劇作家:宮本研 Ken Miyamoto

宮本研 Ken Miyamoto,1926年出生於日本熊本縣。由於父親早年外派中國北京,他在那裡完成中學學業。大學畢業,曾從事高中教師和其它工作,後就職於日本法務省。從擔任勞動者戲劇俱樂部的顧問開始,進入導演生涯,並且開始舞台劇劇本創作,在日本戲劇界嶄露頭角。獲得第8屆<岸田國士戲劇獎>後,成為全職編劇,也開始執筆電視劇和電影劇本。早期作品多半描述圍繞革命領導和民眾之間的矛盾。70年代後,以領導和民眾的關係來敘述男女關係。同時也寫過商業舞台劇劇本,以及回溯童年在中國生活經驗的作品。

Born in 1926, owing to his father’s work, Ken Miyamoto spent 6 years in a Beijing secondary school. Graduating from university, he worked as a high school teacher and various jobs before joining the Ministry of Justice. Originating from his work as a consultant for the Worker’s Drama Club , he became a director and started writing scripts, establishing his presence in the Japanese theatre scene. After winning the 8th Kunio Kishida Drama Award, he became a full-time playwright for the stage, as well as for television and film. His early works often present the dilemma between the revolutionary leaders and masses. In the 70s, he built on the relationship between the leaders and masses to narrate inter-gender relationships. He also wrote corporate scripts as well as works relating his experiences growing up in China.
________________________________________________________________________

Casts 演員:

   何文翰 Ho Mun Hann               余秋坪 Tammy Yee            李奕翰 Lee Yee Han          吳欣諭 Koh Xin Yu     


  黃永益 John Wong            洪梓宗 Ang Chee Chong          李偉仲 Lee Woei Zhong

何文翰 Ho Mun Hann
畢業於新紀元大學學院戲劇與影像系,雙修戲劇影像,主修劇場戲劇。畢業作品改編自新加坡劇作家郭寶昆-《靈戲》。現為劇場編導,劇場技術及影視美術人員,演員。演出作品:《殺人者》、《紅氣球上的音樂男孩》、《丈夫》等等。

Kiro Ho mun hann, a native of Kuala Lumpur, graduated from the Department of Drama and visual at New Era University College. The graduation work was adapted from Singaporean dramatist Guo Baokun's "The Spirit Play", and several other theater performances: "The Killer", "Music Boy on Red Balloon", "Husband" and so on.

Now he is a theater choreographer, theater technical staff, actor, film and television art work. Develop and explore in different aspects, so as to explore oneself in art performance, action, and work. It is hoped that through stories, through any contact with the audience to convey one's own ideas or present self-awareness of social problems.

余秋坪 Tammy Yee
畢業於新紀元學院戲劇與影像系專業文憑。從事戲劇教學、劇場/影像/廣告演員、演出編導、活動演出策劃/活動統籌等行政工作。在國內與國外參與演出/交流/背包戲劇教學/社區等藝術活動。目前是各大/中學及藝術表演班的戲劇指導,以及積極推廣藝術社區教育活動。 指導/導演作品包含華中戲劇社公演 2019《偽》、Sunway University 2019《奠》、UTHM 2018《世俗最美麗的聲音Inner Voices》等。 演出作品包含2019《百鬼夜行》、2017《塵光》、《35》、2016《Tiapa》、2015《赤鬼》及《六個畢業生》等。

Tammy Yee, founder of Tammy Yee Production. Graduated from New Era College with diploma in Drama & Visuals. She has been enthusiastically participated, contributed and contributing in theater director & acting, character building, art performance, art cultural development as well as teaching drama in junior college and high school more than 16 years. Tammy appeared in many stage arts performances and earned for several Best Main Actress nominations in the ADA Drama Award, performance: 2007 ”Long House”, 2010 “Casa” 2017, ”35”. Netflix Chinese original film “The Ghost Bride” and movie “Good Wealth 2020”.

李奕翰 Lee Yee Han
國立台北藝術大學藝術學士(B.F.A),2007年曾台灣果陀劇場擔任職業導演及職業演員。2010年回流大馬,曾任加影新紀元大學戲劇與影像系及韓新傳播學院講師。作品曾在新加坡、台灣、日本、德國和中國各大城市演出。2011年成立好事发生工作室,加入Now 劇場,曾獲得BMW SHORTIES 2012 BEST ACTOR。現任中國演出公司藝術教學總監。

Yee Han graduated from the Theatre Department of National Taipei University of the Arts (Taiwan). He had been the drama class instructor in high schools and universities in Taiwan. In 2007, he was recruited to Godot Theatre Company, one of the most successful theatre companies in Taiwan as actor and director. Yee Han was former lecturer in New Era College Drama and Visuals Department and One World Hanxing College of Journalism and Communication.He was the winner of BMW SHORTIES 2012 The Best Actor. Yee Han is currently a academic director in China Ray-I Theatre Company and founder of Good News Art Space.

吳欣諭 Koh Xin Yu
就讀馬來西亞雙威大學影像制作系。2013年,憑《聽見溫度》奪下中學生戲聚盛典“甲等女演員”。2015年,受邀前往澳門參加<Theatresports勁爆劇場大比拼亞洲聯賽>,奪下四獎。2017年憑《我從山中來》入圍第15屆戲炬獎“年度最佳新人獎”。2018年憑《嘟嘟婆婆不見了》榮獲第16屆戲炬獎“年度最佳女配角”。2019年前往中國廣州及深圳參與原創合家歡音樂劇《小龍的奇幻夢境》巡演。參與制作: 《四道家謠》,《9零》,《寂然有你》執導作品:《峇峇娘惹過新年》,《愛存在》演出作品: 《聽見溫度》,《Fin A Casa》,《幻絕》,《末日月光》,《雞祥如意賀新年》,《峇峇娘惹過新年》,《我從山中來》 ,《糖衣炮彈》,《南苑僑歌》,《嘟嘟婆婆不見了》,《聚》,《同一片天空》,《鬼同你結婚》,《小龍的奇幻夢境》,《有人偷看花木蘭洗澡》。

Koh Xin Yu have been a freelancing actress since her 19's. She recently graduated from Sunway University Malaysia, majoring in Bachelor (Hons) Digital Film Production. During middle school, she actively involved with theatre education for 6 years. She has also served as both producer & actress for mass audience stages, leading to her wealth of experience in performing. She have also participated in many theatre productions post-graduation. In 2013, she received the title of TEA THEATRE Best Actress Award for her performance in <37.5°C>. In 2015, she was invited as the Malaysian representative for <Theatresports 2015>, and received 4 awards. In 2017, she received "Best New Actor" during the ADA Drama Awards through her performance in <The Natives>. While in 2018, she received "Best Supporting Actress Award" during the 16th ADA Drama Awards event for her role in <Doo Doo is Missing>. In 2019, she participated in a Family Musical titled <Dragonland>which toured in China.

黃永益 John Wong Weng Yik
畢業於台灣高雄樹德科技大學「藝術管理與藝術經紀」藝術學士學位。在學期間,曾在吉隆坡表演藝術中心KLpac及台灣高雄市春天藝術節實習,2015年前往倫敦藝術大學切爾西藝術與設計學院進行國際交流與見習。旅居台灣期間,加入明華園戲劇團(總團)擔任全職劇團行政,主要負責劇團的演出製作與執行。2017年加入The Play Haus Theatre擔任全職劇場經理、2017至2019年參與『缺/失的對話』交流與創作計劃、2018年紅姐姐工作室《蝴蝶寶寶的旅程》擔任舞者、遊吟者劇團《開心死了》擔任執行製作。2020年開始自由接案,從事劇場演出製作、企劃與行銷工作,參與計劃:馬來西亞巴赫節、紅姐姐工作室兒童劇團、平台計劃劇團及新山暗房劇團等。

Graduated from Shu-Te University (Taiwan) with a Bachelor of Fine Arts in Art Management and Agent. Intern with klpac, Kaohsiung Spring Arts Festival and a summer exchange program with University of Arts London (Chelsea College of Art and Design).

Former art administrator at Ming Hwa Yuan Arts & Cultural Group in Taiwan. Performed in “A Dialogue of Lack/Lost” Project (2017-2019) upon his return to Malaysia in 2017. A dancer for “Journey of A Baby Butterfly” Baby Theatre by Hongjiejie Work Station Company (2018) and an executive producer for “What A Fuxxing Happiest Life” by The Troubadour Theatre Company (2018). Former Theatre Supervisor at The Play Haus Theatre (2018-2019). A marketing manager for Bachfest Malaysia (2020-). Currently freelancer as theatre project manager and performer.

洪梓宗 Ang Chee Chong
TEAM聚團導師。畢業於新紀元大學學院戲劇與影像系,主修戲劇。個人擅長舞台表演。曾參加澳門第15屆<theatresports亞洲聯賽>榮獲三獎。參與TEAM聚團新導師培訓計劃《T.G.O》(Team Genaration One)兩年。曾到台灣著名劇團-阮劇團參與實習。2016年憑舞台劇《一磅肉》入圍戲炬獎最佳男新人獎,2019年憑《破!案》入圍最佳舞台設計。演出作品:《Fin A Casa》、《一磅肉》、《Pinocchio》、《金龍》、《歡迎出席她的喪禮》、《關你什麽事》、《破!案》。導演作品:《誰家老婆上錯床》、《我的老師》。
Current TEAM tutor. Graduated from Drama and Visual Department of New Era UniversityCollege, Major in drama and nice skill in stage performances. During secondary school, he represented Malaysia to Macau for participate the 15th theatre sports Asian League and won the third prize. Besides, he participated in TEAM’s new mentor training program “T.G.O” (Team Genaration One) for two years during university. When internship has been participated in the famous Taiwanese opera (Our Theatre).

In 2016, was nominated as the best male award with “The Merchant Of Venice” and in 2019 the played “Goodbye ! Mr.Detective” was shortlisted for the best stage design. As a performer in “Fincasa”, “The Merchant Of Venice”, “Pinocchio”, “Der Goldene Drache”, “Welcome to her funeral”, “none of your business”, “Goodbye ! Mr.Detective”, and his director works included “Whose Wife On My Bed” and “Her Story, My Life”.

李偉仲 Samuel Lee
影視編導;副導場記以及攝影剪輯,遊走多個崗位及各類型作品。參與作品包括電影《新村》;《一路有你》;選秀節目《SPOP》;音樂錄影帶《不想放開》;中元節申遺紀錄片;Yakult 廣告等等。曾憑舞台劇《物理學家》提名最佳新人與男配角,劇場參與作品有《懷爾德給蒙哥馬利的一封信》《短打貝克特》《藥師如來》等。

Samuel Lee. Video Content Producer & Director cum Scriptwriter in film industry. Involved a lot of Film /TV/Digital media content with different genre in career e.g."The Journey" "Hua Hee Everyday" "New Village" "Namewee MV our talents " "Yakurt Advertising" "S POP Mediacorp Program". Director & Screenwriter of Telemovie "Red Lantern" "Ghost Festival Documentary" etc.
Theatre performance in "Physicist" finalist nominated for best supporting actor. Involved drama such as "Beckett Shorts" "A letter to Montgomery by Wilder" "Medicine Buddha" etc.



《平台讀劇》二號作品《阿Q外傳》~~

一場民眾與革命之間最荒謬的勾結與對話


《平台計劃》藝術總監羅國文導演與新晉藝術工作者黃永益聯合策展的《讀劇平台計劃》,由於受新冠疫情影晌,原本訂於五月份演出的第二場平台讀劇二號作品《阿Q外傳》,如今延後至11月19—22日於DPAC-Blackbox上演,本次演出亦得到DPAC及日本國際交流基金會支持協辦。《阿Q外傳》是日本著名已故劇作家宮本研(<岸田國士戲劇獎>得獎人)的<革命四部曲>作品之一。

中國現代文學巨匠魯迅棄醫從文,認為要改變一己或民族命運,必須要從思想革新上徹底改變而聞名,慣用辛辣筆法寫出他對愚人的憤怒與無奈,“世界卻正由愚人造成,聰明人卻無法支撐整個世界。”,阿Q正是魯迅筆下著名的愚人代表。成長於二戰時期並在北京度過少年歲月的宮本研,從魯迅的《吶喊》小說集中取材,透過對魯迅思想的解構和再架構,在60年代末以他擅長描述革命與群眾關係的創作風格,寫下《阿Q外傳》一劇。

宮本研將魯迅筆下許多經典人物,如:阿Q(一個卑微的愚人,也是自暴自棄自我安慰精神勝利法的符號),放上舞台與魯迅和其所在的動盪時空,交織在一起對話。透過劇中不同階層的角色,探究社會改革進程中各種的矛盾、憤怒與悲哀。“對民眾來說,革命到底是什麼?對革命而言,民眾到底是什麼?”一定要失敗才是英雄?救人的醫學是否也會借用殺人的刀?宮本研在文本中,剖解垂死掙扎的封建制度,無情刺破革命家的熱血與淡漠,以及剖析螻蟻百姓的末善末惡。然而這些或可憎或可笑或可憐或可嘆的人生,從來都是出自於那一片不曾絕望的期盼。

為了讓劇本更貼近今日的時空,導演羅國文斟酌刪減部份的文本,讓演出更平易精簡,希望借由認識這部帶有諷刺性的日本經典劇作,可以刺激觀眾去反思面對不同思想立場,在矛盾中激發的社會和改革命題。改編後的《阿Q外傳》,由余秋坪、李奕翰、何文翰、吳欣諭、洪梓宗 、李偉仲與黃永益等擔綱演出。另外,此次演出還有一個亮點,就是看導演如何巧妙調度7位演員,通過讀白與聲音演出的功力,分飾20位登場角色,充分展現讀劇迷人的演出魅力。演出票價為:RM38,RM35 (Dcard member)。早鳥優惠RM 33 (1/11日前)。

劇場演出必須遵照行管令的社交距離規定,原本130個席位的演出場地,每場只能允許最多60位觀眾入場,並依照標準作業程序(SOP),即採入場登記、體溫檢測及全程配戴口罩。為了讓更多觀眾有機會欣賞讀劇演出,二號作品亦會在12月5日及6日透過<雲劇場 CloudTheatre>推出線上場次,票價為RM23。


The "Pentas Project Staged Reading" - Our second work: "The Other Story of Ah-Q": 
A most absurd collusion and conversation between the people and the revolution

Pentas Project's artistic director Loh Kok Man and new arts practitioner John Wong jointly curated "The Staged Reading Pentas Project". Due to the current pandemic, the second staged reading is rescheduled from May to November 19-22 and will be held at DPAC-Black Box. This performance is supported by DPAC and The Japan Foundation Asia Center. "The Other Story of Ah-Q” is a work of the notable late Japanese playwright, Ken Miyamoto (a "Kishida Kunio Drama Award" winner) from his Revolution Series.

Lu Xun, a contemporary Chinese literary master who abandoned his medical profession, believed that in order to change one's or societal destiny, a ideological revolution is needed and to be made widely known. He habitually used critical writings to vent his anger and helplessness towards the foolish. “The world is being defined by the foolish. The wise can't support the whole world." Ah-Q is the well-known fool in Lu Xun's work. Ken Miyamoto - born during World War II and having spent his youth in Beijing - deconstructed and reconstructed Lu Xun’s beliefs to write “The Other Story of Ah-Q” in the late sixties using his expert style of depicting revolutions and social relationships.

Ken Miyamoto transported many of Lu Xun’s classic characters onto the stage, such as: Ah-Q (a lowly fool who symbolises self-defeating and self-consoling psychological victory). They shared the space and engaged in dialogue with Lu Xun and the tumultuous times they belonged to. Through these characters of different statuses, the story examined what a social revolution could bring: the dilemmas, the rage, the grief. “To the people, what exactly is a revolution? To the revolution, what exactly are the people?” Must one fail to become a hero? Can medicine save, and yet borrow a knife to kill? Ken Miyamoto dissected the feudal system in its dying days, ruthlessly bursting the revolutionary's passion and apathy, examining the commoner's good and evil. However, life's loathings, ridicules, pities, laments, which have always come from a never despairing expectation.

Placing the script closer to today's setting, director Loh Kok Man deliberately shortened its text to make the performance more concise and relatable, hoping the audience could know this satirical Japanese classical work and be triggered to reflect upon different ideological positions, and social and reform issues inspired by dilemmas. This adapted version of "The Other Story of Ah Q" will be performed by Tammy Yee, Lee Yee Han, Ho Mun Hann, Koh Xin Yu, Ang Chee Chong, Lee Woei Zhong and John Wong. A further highlight of this performance is to see how the director deftly deploys these 7 actors, using their narrating and voice acting skills, to depict 20 roles to enliven a staged reading which will charm you. Ticket prices are: RM38, RM35 (Dcard member), RM 33 (early bird discount before 1/11).

Theater performances must comply with the safe distancing regulations of the Movement Control Order (MCO). Only a maximum of 60 audience members are allowed in the original 130-seater venue for each show. In accordance with standard operating procedures (SOP), there will be temperature screening, and a face mask requirement for audience members throughout their entire attendance. In order to allow more audience members the opportunity to enjoy this performance, it will also be presented online on 5 and 6 December through " CloudTheatre" at a ticket price of RM23.



Wednesday, September 16, 2020

Dancing Forward: A Roundtable Marathon for Dance 2020

 


























舞⼊企途:舞蹈圓桌會議⾺拉松2020

由雪隆廣青舞團、<⼿⾜。舞計劃>、<平台計劃>聯合主辦,策略夥伴 CENDANA及DPAC的支持,《舞⼊企途:舞蹈圓桌會議⾺拉松2020》,將在十月十日及十一日,假白沙羅表演藝術中心舉行。由10位國內表演藝術工作者帶領主持的圓桌論壇,公開邀請藝術界同行,以及對表演藝術有興趣的社會人士,匯集一起,針對在地舞蹈表演藝術發展的現況,進行分享與對話交流。

自2017年發起迄今,《舞入企途:舞蹈圓桌會議》一共舉辦了6場對談活動,是本地少數表演藝術的論壇式交流平台之一。圓桌會議為表演藝術工作者搭起跨組織與跨領域的交流橋樑,也讓公眾有機會了解本土表演藝術生態與體制,透過理解他人觀點,以期做到放下位階、平等對話、共同求進的宗旨。

今年10月,兩天一共五場的舞蹈圓桌會議,將由<人人人鼓劇場>創辦人周順興及廖世儀、獨立舞者李人欣、易舒琪與陳美向、表演藝術製作人黃永益與June Tan、白沙羅表演藝術中心(DPAC)劇場經理陳詠興、留韓舞者劉勇賢以及馬來亞大學舞蹈系講師黃志雄(雲門舞集前團員)等人專場主持。通過眾人在藝術領域的實例個案與經驗分享,提出自身的反思與展望,在包容與開放的基礎下對話,一起學習與交流,為舞蹈藝術梳理出具有啟發性與相互支持的共存生態。本次舞蹈圓桌會議將以個案分享,主持人相互提問,以及開放與會者對談交流進行,會議主題從舞蹈藝術的創作、行銷、跨界、社會意識與評論出發,計有中文場次:<「表演藝術」與「所在地」的關係>(周順興、廖世儀、李人欣)、<表演藝術行銷的迷思觀察>(黃永益、陳詠興)、<身體解碼:舞蹈身體的社會功能與價值>(陳美向);英文場次<考究舞蹈與影像合併,探討創作者的角色>(劉勇賢、易舒琪)及<「劣質」舞蹈的病徵是什麼?可以被醫治嗎?>(黃志雄、June Tan),所有場次免費入場,採報名留席制,並現場提供中英雙向翻譯。

有興趣報名留席者:或致電 : 017-2769363 (中文洽詢專線),019-6367600 (英文洽詢專線)。

Dancing Forward: A Roundtable Marathon for Dance 2020

Co-organized by Kwang Tung Dance Company, Dance Body Project, Pentas Project Theatre Production, with CENDANA as a Strategic Partner and supported by DPAC, Dancing Forward: A Roundtable Marathon for Dance 2020 will be held on 10 and 11 October, at the Damansara Performing Arts Centre. Hosted by ten local performing arts practitioners, fellow artists, cultural workers, and those who are interested in the performing arts are invited to engage in a series of dialogue and exchange on the development of the local contemporary dance scene and its future direction.

Since its launch in 2017, Dancing Forward: A Roundtable for Dance has held a total of six forums. It is one of the few discourse platforms for the performing arts, locally. Catered by and for practitioners, this roundtable event bridges across organizations and domains, and offers the public an understanding of the local performing arts ecosystem. Through mutual brainstorm and deep exchange, we clarify gaps and ways toward a more wholesome ecosystem—that thrives on resource-sharing and serves the artists what they need to do good work.

In October this year, there will be a total of five dance forums spread over two days, hosted by Orang Orang Drum Theatre founders Chew Soon Heng and Leow Sze Yee, dance artists Lee Ren Xin, Tan Bee Hung, and Yee Sue Ki, performing arts producers John Wong Weng Yik and June Tan, Damansara Performing Arts Centre (DPAC) Theater Manager Tan Eng Heng, Seoul-based dancer Pextret Liu Yong Sean, and University of Malaya’s Department of Dance lecturer Wong Jyh Shyong (former dancer at Cloud Gate Dance Theatre). Based on their practices and experience, they will offer case studies, reflections, and propositions, as well as dialogue with each other and with the participants. It will be a mutual exchange and learning process about ways of individual practice and collective intentionality toward an ecosystem that is abundantly supportive, nourishing, and inspiring.

Topics of discourse span dance creation, community, marketing, value, cross-discipline, social awareness and roles. Mandarin sessions are “Performing Arts in Locating its Locality” (Chew Soon Heng, Leow Sze Yee, Lee Ren Xin), “The Myths around Performing Arts Marketing” (Tan Eng Heng, John Wong), and “Decoding the Social Function and Value of the Dancing Body” (Tan Bee Hung); English sessions are “On Merging Dance and Film, and Navigating the Role(s) of the Creator” (Pextret Liu, Yee Sue Ki), and “Bad Dance – What infection is this? Can it be cured?” (June Tan, Wong Jyh Shyong).

All sessions are free admission. Registration is required to reserve your spot. Two-way interpretation between Mandarin and English will be provided on site.

For those who are interested, please register online to RSVP.
Or call: 019-6367600 (English), 017-2769363 (Mandarin).

Date: 10 & 11 October 2020 
Venue : Damansara Performing Arts Centre, Studio 

Free Admission, register now 入場免費,採報名制



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Strategic Partner : CENDANA
Supported by : DPAC

Friday, September 04, 2020

Dancing Forward : A Roundtable Marathon for Dance 2020 舞入企途:舞蹈圓桌會議馬拉松2020





      
雪隆廣青舞團手足。舞計劃平台計劃聯合主辦
Co-organised by : Kwang Tung Dance Company, Dance Body Project, Pentas Project Theatre Production

舞入企途:舞蹈圓桌會議馬拉松2020
Dancing Forward : A Roundtable Marathon for Dance 2020

Curator: Loh Kok Man, Amy Len, Hii Ing Fung
策展人:羅國文、凌秀眉、許瑛紛

Host :                                           
Chew Soon Heng 周順興
John Wong 黃永益
June Tan 陳豐愛
Lee Ren Xin 李人欣
Leow Sze Yee 廖世儀
Pexstret Liu 劉勇賢
Tan Bee Hung 陳美向
Tan Eng Heng 陳詠興
Wong Jyh Shyong 黄志雄
Yee Sue Ki 易舒琪

After a series of stand-alone roundtables held in 2017 and 2018, Dancing Forward is back, revised and ready to dive deep!

What are dancers thinking about, today? Come join us in a two-day marathon covering five forum-topics hosted by an exciting circle of artists and practitioners! Fellow artists, cultural workers, and the public are most welcomed to join in the conversation as we reflect upon the current scene and envision our ecosystem collectively. The ten hosts will be present throughout the entire marathon for continuity and to draw useful connections between subtopics that shape the larger ecosystem.

由10位藝術工作者帶領主持的圓桌論壇,針對在地舞蹈表演藝術發展的現況,誠意邀請同行及公眾一同滙集討論,提出分享、反思及展望。通過兩天一共五場的討論平台,從舞蹈藝術的創作、行銷、跨界、社會意識與評論出發,冀望來自不同領域的代表,在包容與開放的基礎下對話,一起學習交流,為舞蹈藝術梳理出具有啟發性與相互支持的共存生態。

Date: 10 & 11 October 2020
Venue : Damansara Performing Arts Centre, Studio


(會議分中文或英文場;同時現場提供中英雙向翻譯。) 
(The roundtable sessions are held respectively in Mandarin or English.
Two-way interpretation between Mandarin and English provided on site.)


Free Admission, register now 入場免費,採報名制  👉  📎
Enquiries : 019-6367600 (English),  017-2769363 (中文)

Co-organised by :    


Strategic Partner:      supported by: 


Link : 



「表演藝術」與「所在地」的關係
Performing Arts in Locating its Locality


10 October 2020 | Saturday | 1:00pm~3:00pm
Host : Lee Ren Xin, Chew Soon Heng & Leow Sze Yee 李人欣, 周順興 與 廖世儀


除了日常的創作,排練,演出以外,表演藝術工作者要如何走向人群?通過表演藝術與人分享「表演藝術」這件事;當人體驗了肢體開發,律動,聲音,節奏等,對生活或創作是否有更多的選擇?

世儀、順興與人欣將帶領探討進入不同的空間與群體,如:社區,新村,偏鄉等,思考選擇何種形式的分享內容以及日後如何持續走下去。特別是創作的元素無法脫離社區,藝術工作與日常需求、身邊人、鄰居、個人與群體的關係,應用和意義。進而探索藝術的窘境和社會里的隔閡與異化。同時,檢驗外來/後來灌輸的藝術/創作體系,挖掘本土社會政治境況的身體(和舞蹈)需求。

語言:華語
形式:案例分享,主持人相互提問,與會者交流提問

How do performing arts practitioners work toward or from community? How is the artist and their work relevant to the people, to the everyday? Can we locate ways of art-making or practices that stem from the community? Sze Yee, Soon Heng, and Ren Xin will discuss ways they have worked in different spaces and communities beyond the studio and the theatre, while considering form, content, and their onward trajectory. What is the work of a performing artist in relation to the personal needs and collective significance in a community? What work of dance, music, or performance becomes pertinent when considering the bodies that inhabit this social landscape?

Language: Mandarin
Format: Sharing of case studies; conversation between the hosts, and with participants.
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表演藝術行銷的迷思觀察
The Myths around Performing Arts Marketing


10 October 2020 | Saturday | 3:30pm~5:30pm
Host : Tan Eng Heng & John Wong 陳詠興 與 黃永益


藝術家和藝術行銷者,分別代表創作與市場之間相互拉扯與利益成就的矛盾之中。藝術如何被界定為商品進行有價值的獲利?純粹的藝術創作與市場通俗需求是可否共存?如何在不影響藝術創作的前提下讓作品能夠找到它的觀眾?黃永益與陳詠興試圖從投資者、藝術家、行銷者及消費者(觀眾)角度,解析藝術行銷常見的迷思,探討四者的思維模式與需求關係,並嘗試尋找平衡與共識。 

語言:華語
形式:概念整理,確立討論範疇和主題;案例分享;主持人相互提問,與會者交流提問 

Artists and marketing managers seem at odds in the negotiation between creation and marketing. How can art be defined as a profitable commodity? Can pure artistic creation and popular market demand coexist? How can a work of art attract its audience without compromising its artistic creation? John Wong and Tan Eng Heng set out to analyze common myths around art marketing, while considering the perspectives and needs of investors, artists, marketing managers, and consumers (audiences), and attempt to find a balance and consensus. 

Language: Mandarin
Format: Establish concepts, themes, and scope of discussion; present case studies; Q&A between the hosts, and then with participants.
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On Merging Dance and Film, and Navigating the Role(s) of the Creator
舞蹈與影像合併的探究並探討創作者的角色


10 October 2020 | Saturday | 7:00pm~9:00pm
Host : Pexstret Liu & Yee Sue Ki 劉勇賢 與 易舒琪

With growing interest and awareness around dance films, experimentation and collaboration expand across the two disciplines. Film and dance have their own aesthetics and language in expression. How can these elements come together to form something else? How is the dance film scene developing today? And specifically in Malaysia? What are some ways or platforms that we can establish (or that already exist) to cultivate dance film creations? What are the roles in the creation process and how does one negotiate the shift and balance of roles, when working individually or collaboratively? 

This is a conversation between two dance artists who are curious as to where merging dance and film can take us. 

Language: English
Format: Sharing of case studies, conversation between the hosts, and open exchange with the participants.

隨著大眾對舞蹈影像的認識與好奇,更多具有實驗性質和跨領域合作的作品,紛紛湧現。
舞蹈和電影各有其語滙特色和美學界定,我們要如何把它們結合在一起,創作出新的表演媒介。目前舞蹈影像的發展處在何種階段?大馬在舞蹈影像的發展又是如何?我們有無可行的方式或平台可以持續孕育舞蹈影像的發展?需要有什麼樣的角色來推動,以及如何在個人或團體中,扮演相應的角色作出協調與平衡,以期有更大的發展或突破?劉永賢與易舒琪將與大家一起分享討論。 

語言:英語
形式:案例分享;主持人相互提問,與會者交流提問
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身體解碼:舞蹈身體的社會功能與價值
Decoding the Social Function and Value of the Dancing Body


11 October 2020 | Sunday | 10:00am~12:00pm
Host : Tan Bee Hung 陳美向 


不同的身體帶著不同的社會符號與個別的象徵。舞者的身體也不例外,在舞台上被剖解,或者退下舞台後在社會上可能扮演的角色。現代舞舞者陳美向,與大家一起解碼有關身體符號的關鍵字,再與社會相關的語滙連接,嘗試建構舞者身體在社會中的定位,探討舞蹈身體的社會功能與價值。

語言:華語
形式: 影像播放,主持引導分享,開放現場交流對話。

Different bodies carry different social and individual signifiers. The same goes to dancers’ bodies: their bodies are often scrutinised onstage, and their roles questioned in society. Contemporary dancer Tan Bee Hung attempts to decode the keywords and significance of the body, and connect them to societal lexicons, in an effort to construct the meaning of a dancer's body in relation to its social function and value. 

Language: Mandarin
Format: Video presentation and sharing by the host, followed by dialogue exchange with the participants.
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“Bad” dance – What infection is this? Can it be cured?
「劣質」舞蹈的病徵是什麼?可以被醫治嗎?


11 October 2020 | Sunday | 1:30pm~3:30pm
Host : Wong Jyh Shyong & June Tan 黄志雄 與 陳豐愛

This is an open conversation between JS Wong (dancer, choreographer and educator) with June Tan (producer) on the idea of ‘bad dance’, and the cultural and community expectations of art and artists. It will start by discussing what affects artistry (choreography), how the education system informs art work, and the influence of marketing as well as the role of the audience. Following this discussion, the audience will formulate a strategy to cure bad dance, by prescribing the right medication.

Language: English
Format: Opening discussion by the hosts, followed by audience group discussion and presentations, and a final wrap-up with further Q&A.

黃志雄從多年的舞者、編舞者和教育工作者的角度出發,與製作人June Tan討論何謂劣質舞蹈作品,從概念到藝術與藝術工作者的人文素養,及社會期待切入,進行開放討論。討論內容涵蓋:什麼因素影響藝術性(舞蹈創作)、教育系統如何造就作品、行銷的功能和觀眾的角色。通過實際的小組交流,與會者將深入參與討論,為劣質舞蹈對症下藥。 

語言: 英語
形式: 主持開場討論,受邀嘉賓分組帶領討論,小組整滙分享,總結與提問。

________________________________________________________


Lee Ren Xin 李人欣 :
 獨立舞蹈工作者。毕业于新加坡南洋艺术学院及美国纽约大学Purchase Dance Conservatory分校。對探索生活和藝術的共存、普通日常與特意精緻之重疊、平凡和刻意的相逢,社交和專業的相互融合。 不管是創作、研究、工作上與人的溝通和體驗,李人欣尋找舞蹈在人群生活的位置和相關性,舞蹈作為一種生活管道、為防守、為解放、為聆聽、為建立等,展現出生、動及量等動力關係。 

An interdependent dance artist, I spend time to inhabit a place—to make sense, to sense what next and how next. I am drawn to activations through art, where the mundane and the deliberate interact, where the routine and the spectacle are not so different. 

I am working with bodies (people!) and embodiment: what it means to be in this body on this land, how one wants to feel being in one’s body on this land; how can bodies be and be with each other—on this body of land. I feel strongly about bodies being problematized, as an effective system of control.

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Chew Soon Heng 周順興 :
 人人人鼓劇場聯合創辦人兼藝術總監。從鼓手開始進入表演藝術工作,積極參與跨領域表演藝術工作與創作,其中包括肢體劇場、舞踏、擊鼓、戲劇等。2013年4月成立人人人鼓劇場,尋找與探索自己的藝術理念,打造鼓劇場。 

Boyz Chew is the founder and artistic director of Orang Orang Drum Theatre. Boyz is a drummer who enjoys experimenting with different types of performing arts including physical theatre, butoh dance, acting, and drumming performance.



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Leow Sze Yee 廖世儀 : 
人人人鼓劇場聯合創辦人兼助理藝術總監,也熱衷於藝術教育。鼓手出身,在成為全職鼓手之後認識表演藝術與劇場,為了探討「鼓」與「劇場」結合的可能性,與周順興聯合創立人人人鼓劇場。 

Zyee Leow is the founder and Assistant Artistic Director of Orang Orang Drum Theatre. Zyee has been playing 24 festive drums since 1997. She has also experimented with different types of performing arts including music, dance, and acting, slowly transforming from a ‘drummer’ to a ‘performer’. In April 2013, she formed Orang Orang Drum Theatre with Boyz Chew, in search for a platform of expression through drum theatre.

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Tan Eng Heng 陳詠興 :白沙羅表演藝術中心(DPAC)劇場經理。畢業於馬來西亞藝術學院戲劇系,為該屆榮譽獎及最佳學生獎得主。曾任MSC國際咨訊藝術學院、SeGI College、新紀元學院戲劇系、University Pendidikan Sultan Idris 講師。 

主張讓表演藝術走入民間,除了專研燈光設計,也極力推動社區演出。曾榮獲2000年戲炬獎十大劇場幕後精英、金馬倫藝術獎第9、第10、第12及第13屆最佳燈光設計。並於多項大型演出中擔任要職。曾隨多個國內外表演團體到新加坡、菲律賓、澳門、台灣、韓國、北京、廣州、上海、西安、多哈亞運會、澳大利亞、加拿大、印度、南非、秘魯、智利、阿根廷及巴拉圭巡回演出。

In 1998, upon graduation from the drama department of the Malaysian Institute of the Arts, he was awarded top honors and declared valedictorian in his cohort of graduates. Since then, he has worked professionally as a drama lecturer and consultant with MSC International College, SEGI College, New Era College Malaysia and Universiti Pendidikan Sultan Idris. He is also the Theatre Manager for Damansara Perfoming Arts Centre (DPAC).

An avid supporter of community theatre, he has been promoting theatre-making in different communities. In addition to his lighting design profession, he has been developing community-based theatre in different states and towns around Malaysia. He hopes that people in these communities can also enjoy the beauty of performing arts. 

He was accorded the most outstanding production professional award in 2000 Ada Awards and winner of Best Lighting Design in the 9th, 10th, 12th and 13th BOH Cameronian Arts Awards. His extensive involvement in theatrical productions brought him to Singapore, Philippines, Macau, Taiwan, Korea, China, India, Qatar (The Doha Games), Australia, Canada, South Africa, Peru, Chile, Argentina, and Paraguay. 

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John Wong Weng Yik 黄永益 :
 畢業於台灣高雄樹德科技大學「藝術管理與藝術經紀」藝術學士學位。在學期間,曾到馬來西亞吉隆坡表演藝術中心KLpac及高雄市春天藝術節實習,2015年前往倫敦藝術大學切爾西藝術與設計學院進行國際交流與見習。旅居台灣期間,加入明華園戲劇團(總團)擔任全職劇團行政,主要負責劇團的演出製作與執行。
2017年回國後,加入The Play Haus Theatre擔任全職劇場經理、2017至2019年參與『缺/失的對話』交流與創作計劃、2018年紅姐姐工作室《蝴蝶寶寶的旅程》擔任舞者、遊吟者劇團《開心死了》擔任執行製作。2020年開始轉為自由接案,主要從事劇場演出製作、企劃與行銷工作,服務對象包含馬來西亞巴赫節、紅姐姐工作室兒童劇團、平台計劃劇團及新山暗房劇團等。

John graduated from Shu-Te University (Taiwan) with a Bachelor of Fine Arts in Art Management and Agent. He interned at KLPAC, Kaohsiung Spring Arts Festival, and a summer exchange program with University of Arts London (Chelsea College of Art and Design). He also worked as an art administrator at Ming Hwa Yuan Arts & Cultural Group in Taiwan. 

John has performed in A Dialogue of Lack/Lost Project (2017-2019) upon his return to Malaysia in 2017, and as a dancer in “Journey of A Baby Butterfly” Baby Theatre by Hongjiejie Work Station Company (2018). In 2018, he became the executive producer for “What A Fuxxing Happiest Life” by The Troubadour Theatre Company, and then Theatre Supervisor at The Play Haus Theatre (2018-2019), and in 2020 the marketing manager for Bachfest Malaysia. He currently freelance as theatre project manager and performer.

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Pexstret Liu 
Yong Sean 劉勇賢:ARTE KOREA和Asian Dance Research Center教練與排練導師,Euphoria Penang 教練 。畢業於Aswara(馬來西亞國家文化藝術大學)舞蹈系。2004年前往韓國的藝術學院進修舞蹈碩士並留韓發展,接受當代芭蕾以及劇場編導培訓。他曾受過傳統舞蹈(印度,馬來,華族舞)和現代舞蹈訓練,並創作出一套獨具馬來西亞風格的舞蹈。曾與來自中國,意大利,比利時,倫敦,美國,印尼,日本,韓國以及馬來西亞的藝術家等合作。與本地劇團 Noise Performance House , 剃刀試驗劇場,造心場,戲園子,Triple I 合作。曾獲得「十分精彩 (Short & Sweet)」 的最佳男舞蹈員及編舞者。個人與製作作品亦獲得不少獎項:2007 Malaysia Traditional Dance Competition 金獎及最佳男舞者獎,2008Asia Arts Award 榮譽獎,2011&2013 首爾國際舞蹈比賽-金獎,2009 國際舞蹈比賽-大獎,2018 比利時年度最佳編舞獎,2018 <末日青春> 舞台劇肢體導演獲戲炬獎年度最佳戲劇,2019 馬來西亞全國華人舞蹈節 - 最高榮譽金像獎。

Graduated from Akademi Seni Budaya and Warisan Kebangsaan (ASWARA), he further-studied at KOREA NATIONAL UNIVERSITY OF ART, and trainedin Ballet and Contemporary Dance. His dance training in the early years included Indian, Malay, Chinese Dance and Contemporary Dance. His work is mostly traditional dance-based and explores new possibilities in the human body. He has worked with various artists from different countries.

He was the winner of Bravo Asia In Korea-Grand Prize; Seoul International Dance Competition 2011, 2013 Grand Prize; 2019 Belgium Best Choreography of the Year (Nativos by Korea National Contemporary Dance Company ), to name a few. He is currently based in Seoul and Penang, collaborating with several different theater and dance groups in Penang.

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Yee Sue Ki 易舒琪 :
獨立舞者、編導以及教育工作者。自2016年起加入 ASK Dance Company,為主要演員之一,活躍於舞團與其他藝術活動。以現代舞與芭蕾舞作為基礎,2017年以一級榮譽學士畢業於Aswara(馬來西亞國家文化藝術大學),專研不同民族的傳統舞蹈。2019年,正式走向獨立藝術工作。專注探究對舞蹈的多樣性,尤其是跨界與跨學科的實驗性探索,以及即興創作。作品包括:獨舞《Fishbowl》,曾在吉隆坡、檳城、柔佛、墨西哥城市的藝術節中巡演;探索限制與束縛的《Bind》(與KongsiKL的跨界合作);以及《SPACE》(相關藝術展項目)。

Yee Sue Ki was a soloist at ASK Dance Company from 2016-2019, and now works independently as a dancer, choreographer, and instructor. With a background in contemporary dance and ballet, she started learning various traditional folk and classical forms while pursuing her Degree in Dance (Hons) at Aswara (the National Academy of Arts, Culture and Heritage) which she graduated from with First Class Honours in 2017. She is interested in the versatility of dance, with a particular interest in cross-genre or multidisciplinary experimentation, as well as improvisation. Her recent works include her solo “But would you know if a fishbowl is just a fishbowl?” which has been performed at various festivals in KL, Penang, Johor, and Mexico City, as well as exploring the idea of restrictions and limitations in “BIND” (a multidisciplinary collaboration under KongsiKL), and “SPACE” ( in collaboration for SPACE installation art exhibition).

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Tan Bee Hung 陳美向:
法律系畢業,主要舞蹈訓練為現代舞,也曾接受芭蕾、瑜珈、彼拉提斯等肢體訓練。2005年加入雪隆廣青舞團,參與多項國內外舞蹈藝術節及演出,包括新加坡、印尼、中國、日本、韓國、及德國等。2013年獲選赴台灣參與《國際青春舞蹈營》,呈現舞作《瓦解之際》。堅信舞蹈屬於所有人,目前積極參與舞蹈、環境劇場/合乎場域的特定表演和即興表演,同時思考身體、身份認同、社區和政治與舞蹈的關係。

LLB graduate. Trained mainly in contemporary dance but also includes ballet, yoga, and pilates into her training. Joined Kwang Tung Dance Company since 2005. Active in the local and international dance scenes, having performed locally in Tari, MyDance Festival, Le French Arts Festival, SounDance by RAW Arts Space, as well as internationally in Festival Tokyo 2016 (Japan), Goyang International Dance Festival (Korea), the 5th no ballet International Choreography Competition (Germany), Guangdong Modern Dance Festival (Guangzhou, China), CONTACT: A Week of Dance (Singapore). Was selected to participate in the International Young Choreographer Program in Kaohsiung, Taiwan in 2013. Current practice includes dance, site specific and improvisation performances, also engaging in thoughts regarding dance in relation to the body, expression of identity, community, and politics. A believer that all humans are natural movers and that dance is for everybody.
 
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Wong Jyh Shyong 黄志雄 :畢業於台灣國立台北藝術大學舞蹈研究所,主修創作。 2005年香港演藝學院現代舞系以「一級榮譽藝術學士」畢業,後加入台灣雲門舞集一團。2005-2009年期間隨雲門舞集往歐、美、亞等舞蹈表演重鎮地及各大小藝術節巡演。曾兩度獲頒第九屆及第十一屆馬來西亞Boh Cameronian Arts Awards年度舞者獎項。 2013至2016年擔任馬來西亞DPAC表演藝術中心及DPAC舞團藝術總監。個人舞蹈創作亦受邀參演國內MyDance Festival與TARI國際舞蹈節,也曾巡演至澳洲、日本、台灣、香港、新加坡與印度的藝術節/季。現為馬來亞大學舞蹈系講師 , 積極參與國內外交流演出、教學及展演活動。

Wong Jyh Shyong (JS) received his Master of Fine Arts from Graduate Institute of Choreography, Taipei National University of the Arts in 2013 and Bachelor of Fine Arts from The Hong Kong Academy for Performing Arts with First Class Honours in 2005. He was previously a dancer with Cloud Gate Dance Theatre of Taiwan from 2005 to 2009. In the 9th and 11th BOH Cameronian Arts Awards in Malaysia, he received the Best Featured Performer award in 2011 and 2013. From 2013 to 2016, he was the artistic director of DPAC Dance Company as well as Damansara Performing Arts Centre. Thus far, JS has staged his own choreography and commissioned creations in various festivals and venues in Australia, Taiwan, Japan, Hong Kong, Singapore, India, and Malaysia. He is now a lecturer at the dance department at Cultural Centre, University of Malaya, as well as a dance artist who performs, choreographs, teaches, and shares the art of dancing, locally and internationally.

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June Tan 陳豐愛 : June Tan is a biologist from Imperial College, London and member of the performing arts collective, Five Arts Centre (Malaysia). Since 1997, June has stage-managed, tour-managed, and produced numerous local and international co-productions. Her producing experience builds from a parallel experience inthe corporate sector (1997-2008). She is interested in understanding systems, and in facilitating space for difference, for discussion, and models for art making. This is seen in her initiation for platforms for emerging practitioners, and her programming for Kotak, an independent arts space in Kuala Lumpur. From 2018-2020 June was TPAM Director for The Performing Arts Meeting (TPAM) in Yokohama, a platform for art projects that reflect contemporary thinking in Asia and the world. 

June is also keen to encourage networks between Malaysian and Southeast Asian producers, and is involved in ReformARTsi, a community coalition advocating for policy change in the arts. In addition, June has also written scripts for the stage, TV and feature films. 

倫敦帝國學院生物學系畢業,馬來西亞表演藝術團體 Five Arts Centre 的成員之一。1997年至今,June 擔任過舞台監督、演出巡演統籌、也製作過多項本地與國際性的演出。長達十年的豐富製作經驗,對系統、空間、藝術類型、論壇與策展方面有著濃厚的興趣,並在吉隆坡獨立藝文空間Kotak ,為年輕一代策劃一系列的活動平台。連續三年(2018-2020)受邀參與橫濱表演藝術國際會議,一個反思亞洲和世界當代表演藝術的平台。關切並鼓勵馬來西亞和東南亞製作人之間的聯繫,也參與大馬一個名為 ReformARTsi 藝術政策改革的社區聯盟。此外,她也為舞台、電視和電影編寫劇本。


#DancingForward2020 #kwangtungdancecompany #dancebodyproject #pentasprojecttheatreproduction #CENDANAMalaysia #dpac #平台計畫 #雪隆廣青舞團 #舞入企途

Tuesday, June 16, 2020


FREE Pentas Project LIVE FULL PLAY in mandarin with English subtitles.

In response to the ASLI On line Performing Arts Carnival 2020 to replay the classic works of theatre as a warm-up event, Pentas Project will showcase the full stage show of "Red Demon" which first premiered in 2015 as part of the streaming event.

This version of screening is specially accompanied by Chinese and English subtitles, it will take place on Pentas Project' Theatre Production Facebook Page at 8:00 pm on June 18, 2020. You are welcome to catch the opportunity to watch the show and share out the news to your friends. Come and join the fun!

https://www.facebook.com/PentasProjectTheatreProduction/

“響應戲劇聯盟《炬續狂熱——線上演藝嘉年華》的經典回放暖場活動”,平台計劃二度播放2015年的年度作品《赤鬼》現場演出完整版。

兩地劇場工作者攜手突顯故事的寓言性,同時也為當前大家關注的國際文化議題──如何擁抱異質?──提供哲理思考。

https://www.facebook.com/PentasProjectTheatreProduction/

【圓桌對談:閾限空間生存下的閾值】


【圓桌對談:閾限空間生存下的閾值】 

一個提供本地劇場工作者集思廣益的平台,希望藉著交流經驗與見解,集體分享當前戲劇藝術所面臨的挑戰,廣闊對本土戲劇藝術發展的理解,從而給予本土戲劇結構和藝術工作者之間建立一個互動支援的網絡,為未來合作和資源共享建立基礎和反思。
自新冠肺炎疫情席捲全球以來,世界各地表演藝術遭受影響。馬來西亞為了防止疫情擴散,本地戲劇團體在面對MCO實施狀況下,藝文產業/藝術家在受限空間里到底做了些怎樣的應變與反思呢?
圓桌對談由羅國文發起,戲劇聯盟主催,邀請李奕翰主持。對談將分成兩個晚上進行,每場邀來四位劇場工作者分享自身的實踐案例和反思,再由主持人帶領所有參與者進行對話交流。

20/6/2020(六)@ 8:30pm-11:30pm
圓桌對談:閾限空間生存下的閾值(上)
「表演與教育的媒介改變實踐案例探討」

劉家榮(Team 聚團)
陳詠興(DPAC)
葉偉良(雲劇場創辦人)
廖慧鳴(《一個人的疫情詩》演出計劃)

21/6/2020(日)@ 8:30pm-11:30pm
圓桌對談:閾限空間生存下的閾值(下)
「戲劇團體/單位應疫情產生的反思」

賀世平(戲劇聯盟)
陳偉光(剃刀實驗劇場)
羅國文(平台計劃)
陳魚簡(Toccata Studio / 雲手基金會)


Friday, February 21, 2020

阿Q外傳 The Other Story of Ah-Q



平台計劃 呈獻 Presented by Pentas Project Theatre Production 

平台讀劇二號作品 Pentas Staged Reading 2
阿Q外傳 The Other Story of Ah-Q
⽇本劇作家宮本研 Ken Miyamoto 的作品
The Japanese playwright, Ken Miyamoto’s work

( In Mandarin without surtitles )


讀劇,是舞台劇傳統的準備功夫,
讀劇,亦是不完整與想像勾結的演出。
在舞台戲服佈景都不完整的假想中造反,
8 個演員,搬演 24 個無需粉墨依然登場的角色。

《阿Q外傳》靈感來自魯迅經典短篇小說集《吶喊》,
並以《阿Q正傳》為主軸,

一切都從阿Q開始,也從阿Q結束。
失敗的英雄革命的賊,救人的醫學殺人的刀,
挑起阿Q的自嘲和卑微,剖開孔乙己的封建迂腐,
刺破自以為革命家的熱血與淡漠,剁碎螻蟻百姓的末善末惡,
人生或可憎或可笑或可憐或可嘆,
從來都是出自那一片不曾絕望的期盼。

Staged reading - a traditional preparation for the stage. 
Staged reading - also a show where incompleteness meets imagination. 
Challenging incomplete stage/costumes/set, imaginatively, 
8 actors perform 24 roles - barefaced for the audience.

“The Other Story of Ah-Q” is inspired by Lu Xun’s classical short story collection, “Call to Arms” and is based on “The Story of Ah-Q”. 

It all starts with Ah-Q, and it all ends with Ah-Q. A failed hero - a revolutionary thief, life-saving medicine - a killing knife, triggering Ah-Q’s self-mockery and inferiority, dissecting Kong Yiji’s feudal decay, bursting the self-proclaimed revolutionary’s passion or apathy, mincing the commoner’s good and evil, life’s loathings, ricidules, pities, laments, which have always come from a never despairing expectation.

劇情簡介 Synopsis :

成長於二戰時期並在北京度過少年歲月的宮本研,透過對魯迅思想的解構和再架構,在60年代末以他擅長描述革命與群眾關係的創作風格,寫下《阿Q外傳》一劇。他將魯迅筆下許多經典人物,如:阿Q(一個卑微的愚人,也是自暴自棄自我安慰精神勝利法的符號),放上舞台與魯迅和其所在的動盪時空,交織在一起對話。透過劇中不同階層的角色,探究社會改革進程中各種的矛盾、憤怒與悲哀。“對民眾來說,革命到底是什麼?對革命而言,民眾到底是什麼?”一定要失敗才是英雄?救人的醫學是否會借用殺人的刀?

Ken Miyamoto - born during World War II and having spent his youth in Beijing - deconstructed and reconstructed Lu Xun’s beliefs to write “The Other Story of Ah Q” in the late sixties using his expert style of depicting revolutions and social relationships. He gathered many of Lu Xun’s classic characters to dialogue on stage, sharing the space with Lu Xun and the tumultuous times they belonged to. Through these characters of different statuses, the story examined what a social revolution could bring: the dilemmas, the rage, the grief. “To the people, what exactly is a revolution? To the revolution, what exactly are the people?” Must one fail to become a hero? Can medicine save, and yet borrow a knife to kill?

策展人 Curators : 羅國文 Loh Kok Man & 黃永益 John Wong
製作人 Producer : 林偉彬 Pam Lim

導演 Director : 羅國文 Loh Kok Man
演員 Casts : 愛美麗亞 Amelia Tan、黃商權 Eugene Ng、 狄妃 Ruby Faye、 葉國文 Noah Yap、吳欣諭 Koh Xin Yu、 陳志堅 Chee Ken、 洪梓宗 Ang Chee Chong、 李偉仲 Lee Woei Zhong

日期/時間 Date & Time :
14 May 2020 @ 8:30 pm
15 May 2020 @ 8:30 pm
16 May 2020 @ 8:30 pm
17 May 2020 @ 3:00 pm
17 May 2020 @ 8:30 pm

地點 Venue :
DPAC-Blackbox (Empire Damansara, Damansara Perdana)

票價 Ticket : 
RM38, RM35 (Dcard Member), RM33 (早鳥優惠 Early bird ticket, Until 31 March 2020 )

訂購專線 Ticket Inquiry : 
 +603 4065 0001/ 0002 ( www.dpac.com.my ), 016-5188977 (FB Page: Pentas Project Theatre Production)

劇作家簡介:宮本研 Ken Miyamoto

1926年出生於日本熊本縣。由於父親工作的關係,在中國北京過了中學六年。大學畢業之後,經歷高中教師和其它工作之後,就職於法務省。由於擔任勞動者戲劇俱樂部的顧問,陸續開始做導演,也開始寫作劇本,在日本戲劇界逐漸顯露頭角。獲得第8屆岸田國士戲劇獎之後,成為全職編劇。除了舞台之外,也執筆電視劇和電影劇本。早期作品常常寫出圍繞革命的領導和民眾之間的矛盾。70年代以後寄託以領導和民眾的關係來敘述男女關係。同時也寫過商業舞台劇本,以及關於小時候在中國生活經驗的作品。

Born in 1926, owing to his father’s work, Ken Miyamoto spent 6 years in a Beijing secondary school. Graduating from university, he worked as a high school teacher and various jobs before joining the Ministry of Justice. Originating from his work as a consultant for the Worker’s Drama Club , he became a director and started writing scripts, establishing his presence in the Japanese theatre scene. After winning the 8th Kunio Kishida Drama Award, he became a full-time playwright for the stage, as well as for television and film. His early works often present the dilemma between the revolutionary leaders and masses. In the 70s, he built on the relationship between the leaders and masses to narrate inter-gender relationships. He also wrote corporate scripts as well as works relating his experiences growing up in China.

中文文案 Chinese Copywriting : 李紅蓮 Lee Hoong Lian
英文文案翻譯 English Copywriting : 黃建勝 Jason Ng
平面設計 Graphic Design : 藍氏君 Tsuji Lam
宣傳 Publicity : 譚小虹 Tammi Tam, 文競傑 Mun Jing Kit


In Collaboration with
ASIA CENTER, THE JAPAN FOUNDATION
DAMANSARA PERFORMING ARTS CENTRE