Happy New Year 2011

The “Next Door”

A Malaysian and Thai Theatre Artists Collaboration Project

19 ธันวาคม 2553 เวลา 19.00น. เทพศิริ แกลเลอรี่ 100/4 หมู่ 10
ซอยวัดอุโมงค์ ต.สุเทพ อ.เมือง เชียงใหม่ 50200
Show case on 19 December 2010
at 19.00 pm
located in Thepsiri ‘s Gallery and studio 100/4 Moo 10
Soi Wat Umong Suthep Muang ,Chiang Mai 50200

สำรองที่นั่ง ตุ๊กตา 086 515 0595 Contact Tukta: 086 515 0595

Pradit Prasartthong (TUA) / Thailand
Loh Kok Man / Malaysia
Duangjai Hirunsri / Thailand
Gan Hui Yee / Malaysia
Sarayut Phetsamrit / Thailand
Tan Seok Chin / Malaysia

13~19 September 2010 @ WORKSHOP I
9~20 December 2010 @ WORKSHOP II

Malaysia and Thailand are neighbours but the middle-class people in big cities of both countries know each other so little especially the contemporary theatre arts which relates to people’s lives Makhampom has been doing theatre for people’s culture development since1980 with strong believe that theatre arts could make more understanding among people. Since 2003, Makhampom have interacted with Malaysian theatre artists through several exchange programs; for example:

-2003-2005 Mr. Loh Kok Man from the PENTAS PROJECT (ACC grantee in 2005) one of three Malaysian directors have worked with Mr.Pradit Prasartthong from Makhampom Theatre Group (ACC grantee in 2004) with other 12 theatre directors from Asian countries and America in the “Lohan’s Journey”, an Asian Theatre Collaboration Project, organized by the Setagaya public theatre Foundation, Japan.

-2005 Mr. Loh Kok Man was invited by Makhampom to give a workshop for Thai young artists and showcased in the Bangkok Theatre Festival

-2006 Makhampom’s young generations visited The Five Arts (an arts organization who work for social change in Malaysia) in Penang for one week.

-2007 Makhampom hold the “Arts for Community Skills Exchange Workshop” and invited artists from Five Arts, Arts Ed and Lost Gen, Malaysia to exchange with Makhampom in Chiangmai

-2008 Pradit did a mini research on Malaysian’s Contemporary Theatre and Theatre Artists together with Loh Kok Man in April.

In 2010, Makhampom will invite Loh Kok Man and 2 Malaysian actors to produce a theatre production with Pradit and 2 Thai actors from Makhampom in the title of “The Next Door”, a Malaysian and Thai Theatre Artists Collaboration Project with the objectives of:-

1.To develop connection between ACC grantee in the regional
2.To develop people’s relationship between Malaysia and Thailand
3.To learn more about the contemporary theatre arts of each other
4.To strengthen people’s theatre arts in South-east Asia.


Supported by :
Asian Cultural Council, New York
Makhampom Foundation, Thailand
HSBC, Kuala Lumpur

Demonstration Activity By Pentas Project Theatre Production

Shanghai International Contemporary Theatre Festival 2010
2010 上海亞洲當代戲劇季

馬來西亞平台計劃劇團創作成果示範演出
Demonstration Activity By
Pentas Project Theatre Production

13 November 2010 @ 19:30
上海戲劇沙龍 Drama Salon, Shanghai

artists:
羅國文、巫紹棋、曾宏輝、顏慧怡（阿果）、陳麗玲、林冬輝、陳柯杏、李弈翰、王泰偉、張俊開

在這一特別策劃的交流活動中，來自馬來西亞平台計劃劇團的藝術家們將會向觀眾們展示近年來他們的創作作品中最富代表性的《遊戲時間》、《［思想＋自分］報告（熱帶語林）》、《城失空想》等四部作品。交流的內容和形式包括了戲劇影像的放映，片斷現場示範表演，演後談以及對於創作理念和過程經驗的分析和探討。

It is a special communication activity. The artists from PENTAS PROJECT THEATRE PRODUCTION will share their most representative works, such as , will participants. The activity will include video sharing, demonstration performance, post show talk and creation discussion etc.

artists:
Loh Kok Man, Moo Siew Keh, Chen Huen Phuei, Gan Hui Yee, Chin Lee Ling, Kathyn Tan, Lim Tiong Wooi, Lee Yee Han, David Wong, Terence Chong

＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊

《遊戲時間》：他們在一同生存在這個空間已經很久很久，生活的無聊讓他們覺得無趣而乏味，他們不斷地想出各種遊戲來讓自己的生活變得更快樂。他們到底是在數字的謎陣裡玩著時間的遊戲？還是在時間的迷宮里玩著數字的遊戲。。。

　榮獲第四屆金馬崙藝術大獎 最佳造型設計
　入圍第四屆金馬侖藝術大獎 最佳戲劇、 最佳導演 、最佳配樂與音效設計

《［思想＋自分］報告（熱帶語林）》：2006年“［思想＋自分］報告”以“语言”为主题參與「击破：平台剧场合作交流计划」於吉隆坡國家語文局首演。於2008年受邀到東京及新加坡巡回演出，同年9月並再次於吉隆坡表演藝術中心從演。“［思想＋自分］報告” 演出不仅挑战观众对于“语言”的既定想法，也挑战了我们对于语言课题以外的思考，演出並以幽默调侃的方式来探讨语言在马来西亚的窘境和吊诡性。

《城失空想》：“通過昆蟲偽裝的隱喻，演出以“城市”為出發點，探討了“城市”這麼一個生存空間和劇場的相似性，發掘出城市裏頭人們的追求、孤獨、挫敗、幻想、不安、疑惑等錯綜複雜的情緒。“城失空想”依循城市的主題脈絡，將劇場變成了一個充滿視覺和聽覺驚喜的魔幻空間，掀開一頁又一頁屬於城市的備忘錄，在逐步消失的過程中，回頭凝視我城。並於2010年受邀到新加坡濱海藝術中心演出。
　榮獲第六屆金馬侖藝術大獎 最佳燈光設計
　入圍第六屆金馬侖藝術大獎 最佳導演、最佳舞台設計

《動物農莊》：為英國著名小說家喬治．歐威爾(George Orwell, 1903-1950)的作品，歐威爾痛恨暴政，被喻為「當代的良心」。故 事從農場裡德高望重的一頭豬說起，牠在臨死前提出了「人類剝削動物，動物須革命」的理論，掀起一場由豬領導的革命，農莊主人被趕走後，動物們實現了「動物 自治」的願望，農莊正式易名「動物農莊」。時日更迭，領導革命的豬們發生了分裂，一場又一場權力、慾望、暴政、剝削的戲碼不斷在農莊裡頭上演。
榮獲第六屆金馬侖藝術大獎 最佳導演、最佳舞台設計、最佳服裝設計
入圍第六屆金馬侖藝術大獎 最佳燈光設計、最佳男配角，最佳音效設計

***********************************
有關平台計劃

多元文化和語境一直是馬來西亞獨有的原生特殊環境，東西方文化的歧意和衝突形成的混交特色，催生出風格獨具的藝術形式流派。「平台計劃」的成立緣起，就是冀望從這個多元文化器皿中汲取養分，以多元交流凝視自身、瞭望國際。

「平台計劃」成立於2005年。「平台」，即平面的舞台，是一個沒有瓦牆與界限的交流場域。

「平台計劃」是一個開放的劇場合作計畫，藉由多元藝術形式的凝視、擦撞、實驗和媾和，醞造多元不設限的藝術交流。「平台計劃」也是一個移動的魔術游擊隊，成員 們的養成修持，囊括表演藝術、錄像、建築、舞踏、詩等形式各異的藝術專精，他們在其中呼吸、思考、創作，自由而相容。團員們在不斷加強自身專業裝備之餘， 也常跨足平台以外，積極探索形式各異的藝術交流合作，尋求藝術專精的躍進，打造幻詭迷人的藝術魔法。

「平台計劃」成立以來，除固定年度新作發表和國內外藝術交流計劃以外，2008年起，以系列表演藝術工作坊的引介，逐步搭建藝術教育與交流推廣的橋樑。

2010平台剧场新导演计划 Pentas New Director Project

2010平台剧场新导演计划
Pentas New Director Project

BLIND LOVE


有人说‘爱是盲目’，语气听起来像是一种羡慕的心态；
但‘盲目的爱，让所有的指引都将迷失了方向。’－
《阿尔斯特》

Adapted from Aalst
(written by Pol Heyvaert and Dimitri Verhulst, inspired by Belgium true social events)
改编自《阿尔斯特》
[波.艾尔瓦特 和 狄密崔.米胡斯特 取材自比利时真实社会事件原著剧本翻译：杨景翔]

Directed by
李奕翰 Lee Yee Han
Cast:
何慧婷 Hoe Hui Ting + 李奕翰 Lee Yee Han + 邓绣金 Thian Siew Kim
Video Artist:
艾力森 Alison K.
Sound and Music Design:
刘俊佑 Dub Lau
Lighting Artist:
梁家恩 Leong Ka En

Admission by Donation
RM18 (Adult)
RM13 (Student)

Date +Time
22-24 October 2010 8:30pm
24 October 2010 3pm

Venue: Pentas Studio 平台空间
88-2, Amber Business Plaza 2, Jalan Jelawat 1, 56000 Cheras
Kuala Lumpur, Malaysia

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

Contact
pentasproject@gmail.com
012-266-1579 / 012-363-9738

关于 BLIND LOVE

《Blind Love》改编自比利时剧本《阿尔斯特》，该剧源自比利时真实的社会案件。在剧作当中，全剧分成29个短场。故事大纲为一对年轻的夫妇带着一个七岁大的男孩和一名两个月大的女婴，住进比利时小镇近郊的一家旅馆；一个星期之后，警方在房内发现男孩和女婴陈尸其中，凶手竟然是他们的爸妈。故事由此开始，夫妻俩被侦讯，由侦讯过程中逐步还原案件的真相、夫妻的过去、与现在、与看不到的未来。舞台转化为一个残酷审判室，台上的两个饰演杀子父母的演员，接受类似法官或警察冷酷又直接的诘问，这出戏的演出形式将透过大量的讯问呈现。而残忍杀子的真相，也将在法官或警察抽丝剥茧的审问下，带领所有观看者深入两位主角身陷的黑暗地带、直透社会底层无法翻转的巨大无力感。本剧被英国卫报评论为「一部卓越的剧作」，在这个审判室里，透过两个演员和询问者的对话，抽丝剥茧，问题的背后是个庞大的体制问题以及社会边缘长久没有办法被正视的阴暗面。

About BLIND LOVE

Blind Love was adapted from Aalst, a play by the Belgian stage director Pol Heyvaert. Based on real-life events that took place in the town of Aalst in 1999, Aalst recounts the murder of two children by their parents. It was originally performed in 2005 by the Ghent-based theatre company Victoria. Since then, it has toured extensively in Europe and in Canada. Aalst tells the story of a young couple who checked into a hotel with their two small children. One week later, their children were found dead, and the murderers were their parents. Blind Love takes on the similarity between social issues in Belgium and Malaysia, and transforms the performance space into a cruel courtroom.

关于「平台剧场新导演计划」Pentas New Director Project

2010年开始不久，平台计划的其中一位成员，著名舞台设计师、建筑师、室内设计师、摄影师、剧场工作者，张忠勇先生离开了我们。他的离去，纵使悲伤，却也更让平台计划意识到，培育剧场新人的重要性。

纵观马来西亚目前中文剧场的发展，除了中学生戏剧比赛以外，几乎很少有机会看到新人导演的出现。虽然近一年来，从国外回流的戏剧系毕业生越来越多，但这些毕业生回来以后，却鲜少有机会发挥自己的专长，更别论拥有一个发表自身作品的舞台。

一座城市的人文涵养，以及一个素质国家的养成，有赖于艺术与文化的建设。平台计划的成员多属青壮辈。但平台计划更乐于见到，马来西亚的中文剧场，可以更百花齐放。年轻人的创意，很多时候是难以预估，难以想象的。

因此，平台计划策划了「平台剧场新导演计划」，希望能够尽一点绵力，鼓励更多年轻的创作人，或苦侯多年却等不到一个舞台，蓄势待发的创作人，能无后顾之忧地重新出发发表新的剧场作品。平台计划希望能够秉持着我们创团的理念，为艺术工作者提供一个开放的平台。「平台剧场新导演计划」希望能够长期性地永续经营，培育新的导演和新的剧场工作者，提升中文剧场在本地，甚至国际上的竞争力。

平台计划乐于看到多元创意的璀璨成果。平台计划也希望「平台剧场新导演计划」能够引起抛砖引玉的作用，吸引更多年轻的创作者重新投入剧场的怀抱，创作出更多元，更百花齐放的剧场演出。

Pentas Project initiated Pentas New Director Project in April 2010. After the departure of Pentas Project dearest member, Caecar Chong, Pentas Project realized the importance of nurturing new talent. Looking at the development of Chinese theatre in Malaysia, there is rarely emergence of new director besides drama competitions in secondary school. Although in these 2 years, graduates from theatre department had gradually returned to Malaysia, but they do not have the opportunity to show what they’d learn. The development of a city and country relies also on the building of arts and culture. Member of Pentas Project are mostly above 30s, but Pentas Project would be delighted to see new talents and the wild imaginations and creativity of younger generation. Hence, Pentas Project initiated the New Director Project and encouraged younger generations to submit their performance proposal to Pentas Project. Pentas Project hopes to hold on our belief, that is to provide an open platform for artists. For successful applicants, Pentas Project not only will provide the director a grant to work on the performance, but will also provide technical consultation and support as well as handling all the administrative and publicity works of the project.

supported by

動物、物質、角色塑造與小丑 表演工作坊

動物、物質、角色塑造與小丑
表演工作坊

指導老師： 馬照琪 （臺灣）

「平台劇場工作坊系列 ００5」


主辦單位： 平台計劃

日期／時間：
2010 年 9 月 9 日（星期四）１９００﹣２３００ （四小時）
2010 年 9 月 10 日（星期五）１９００﹣２３００（四小時）
2010 年 9 月 11 日（星期六）１５００﹣１８００及１９００﹣２２００（六小時）
2010 年 9 月 12 日（星期日）１１００﹣１４００及１５００﹣１８００（六小時）

工作坊地點： 吉隆坡表演藝術中心 / KLPac, Studio 5
工作坊人數： 預計招收２０人（學員）5人（旁聽）
工作坊對像： 演員、導演及戲劇訓練導師等

工作坊收費：

RM 380 （２０小時）

聯絡方式：

012-607.1318／012-274.4292/012-266.1579

pentasproject@gmail.com

報名及繳費方式：

１． 有興趣可用電話或電郵和我們聯絡，之後我們將會把報名表格寄到你的電郵信箱。

２．報名後需在8月15日前繳交研習費。如沒在指定的限期內繳交研習費，主辦單位將有權力把名額轉讓給其他有興趣者。

３． 繳費方式：﹣

a.可親自把費用交給工作坊負責人

b. ATM轉帳付費或支票匯款。

銀行戶口名字：Pentas Project Theatre Production

銀行： Public Bank

帳號：３１４１７６０７２４

４．匯款後請用電話或電郵的方式和我們聯絡，以確 認您的姓名及匯款帳號。

５．請務必保留提款機列 印的收執聯或任何匯款回條，以做為相關證明。

課程內容：
關於角色塑造

在賈克樂寇表演體系中，肢體表現是重要的一部份。相對於一般認為所謂史坦尼表演法，認為表演是由內而外散發出來，賈克樂寇認為表演是由外而內。也就是說，一個角色的創造, 可以先由形體的摹仿與揣摩開始, 然後再由外而內, 慢慢建構角色的內在情感與精神狀態。

那麼, 要如何從外在進入到角色之中呢？賈克樂寇認為, 並不是要寫實的摹仿, 而是藉由對大自然、動物、物質等等動態的分析與摹仿, 進入到這些大自然的動態之中, 來試圖引發出一種情緒或是意象, 進而“創造“出一個戲劇人物。也就是說, 在這裡不是要講求“寫實性“的表演, 而是藉由模仿大自然的動態, 創造出一個“戲劇性“的角色。所以在這一次的工作坊當中, 我們將深入探討何謂“人類共通的詩意本質“（fonds poetique commun）, 藉由對空間、光線、顏色、物質、聲音等 等物質現象, 產生感性的情感聯想, 接著, 我們再用肢體動作, 將這些無法言說的情感與動態, 用動作表現出來。藉由這樣的訓練, 我們可以慢慢進入到大自然萬物的動 態之中。比如, 風火水土、動物、物質…等等。用動態默劇（Mimodynamique）的方式, 將這些 元素用動作、方向、節奏、韻律等等表現出來。這裡我們要求的, 不是百分之百寫實的模仿, 而是用一種更詩意的方式, 將萬物的精髓與動態表現出來。

從動物的模仿出發, 我們可以慢慢進入到戲劇角色的塑造。從動物的動態引發出角色的走路與姿態, 進而讓人物個性的塑造更具立體感與戲劇感。

關於小丑
小丑是賈克樂寇學校兩年課程的最後一個單元。這也代表, 小丑所體現的, 是所有表演技巧之集大成。唯有真正俱有豐富經驗的表演者, 才有可能成為 好的小丑演員。

在這裡我們所只的小丑不是馬戲團或夜總會式的小丑, 而是以個性為主的戲劇式小丑。也就是說, 我們尋找的是以戲劇為表演形式的小丑。小丑表演的最終目的是讓人發笑, 但是如何讓觀眾發笑呢？就像賈克樂寇說的： “小丑只存在於扮演他的演員身上。我們全都是小丑，我們全都自認為英俊又瀟灑，聰明又強壯，但其實我們每一個人都有弱 點，都有各自愚蠢又可笑的地方；而當我們將它們表現出來時，觀眾就會發笑。“ 所以 , 戲劇式的小丑必須首先誠實的面對自己, 並且接受自己, 然後在舞台上放下一切的防備, 將自己的真實面貌呈現在觀眾面前。每一個演員都有屬於自己的小丑, 別人無法取代。而小丑表演最重要的是, 沒有一個小丑是要上台搞笑的, 他們的態度都是認真而嚴肅的, 他們的情感與表演也都是真實的。一個表演真實的小丑才會是好笑的。

課程內容大綱
暖身。音樂、文字、顏色練習。
中性面具動物動態分析與練習。
從動物到人類。角色創造練習。介紹紅鼻子。
尋找每個人的小丑。單人或分組的小丑即興表演練習。戲劇理論探討。
講師會隨著學員的吸收程度而作課程節奏上的調整。

賈克樂寇表演體系與 小丑示範講座

主辦單位： 平台計劃
日期／時間： 2010 年 ９ 月 8 日（星期三）@ 7:30pm
演出地點： 仁生劇場

入場免費

內容：
賈克樂寇的表演體系是從中性面具開始, 小丑結束。
他曾經說過, 中性面具代表的是一個沒有個人性的群體, 我們要追求的, 是所有人類之間的共通性。而小丑卻恰恰相反; 小丑代表的是個人性發揮的極致, 每一個小丑都不同, 他所強調的是每個個體的內在狀態。賈 克樂寇的訓練, 就是一個從追尋人類共同詩意特質開始, 到挖掘每個個體之獨特性為結束。在這樣的旅程當中, 又經歷了哪些階段？

本次的示範講座, 將就這個主題, 作深入的探討。同時也將配合影片賞析與動作示範。
有關賈克．樂寇 ( Jacques Lecoq, 1921-1999)

當代最具啟發性的戲劇教師。二次大戰時期為運動員及物理治療師時，開始了對於身體結構與運動方式的研究。１９４８年前往意大利，擔任戲劇老師與劇場導演。 １９５２年他與朋友共同創立了位於米蘭的皮可羅劇團 (Piccolo Teatro)戲劇學校。１９５６年他回到巴黎，成立了著名的默劇與戲劇國際學校 (Eecole International de Mime et de Theatre)。賈克樂寇對於人類肢體語言之研究具有極大的興趣，但是他排斥僅局限於傳統啞劇與純粹模仿的狹義默劇。藉由意大利即興喜劇的啟發，他開發 出戲劇肢體的新的可能性並且不再將語言屏除在外，同時也發展出對個性小丑的研 究，以及面具的表演技巧，並於世界各地主要戲劇節主持戲劇研習營與工作坊。
＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿
馬照琪簡歷
馬照琪
沙丁龐客劇團團長 ／ 劇場編導、演員 ／ 表演老師、中 英法翻譯。
1997年台灣大學經濟系畢業，在校期間即參與台大話劇社演出及製作。
1999得到紐約大學教育劇場系（Educational Theatre, NYU）碩士，並參與倫敦及愛丁堡社區劇場及教室劇場工作研習營。2001年畢業於巴黎賈克樂寇國際戲劇學校（École internationale de théâtre Jacques Lecoq），專研默劇、小丑、體操、義大利即興喜劇、希臘悲劇、中性面具、半臉面具、通俗劇、即興、丑角（Bouffon）等，同時接受導演與編劇的訓練。翻譯作品：由賈克樂寇所著之表演理論書籍詩意的身 體（Le Corps Poétique），於2005年2月由桂冠書局出版。2002年回國後參與許多大小劇團的製作，擔任演員。之後於2004年推出首度編導作品—異境詩篇（莎妹劇團，紅樓劇場）。2005年初成立沙丁龐客劇團，於2005年底推出自編自導自演創團作—《在世界的房間》（國家劇院實驗劇場），並入選文建會出國巡演計畫參加2007年法國亞維儂戲劇節。2007年推出自導自演女丑獨角戲《一個人的晚餐》，並於2008年再度入選文建會計畫前往法國亞維儂藝術節演出一個月。2008年編導兒 童劇《馬穆與精靈》參加社教館兒童劇演出以及台北兒童藝術節，大受家長與兒童好評。馬照琪大部分時間投入戲劇教學與編導演的工作。曾任春禾表演班講師。莎妹劇團戲劇課程老師及翻譯，復興高中戲劇班畢製編導，社教館文山分館兒童戲劇課程講師，目前為臺北藝術大學戲劇系兼任講師，台灣藝術大學戲劇系兼任講師，並不時受邀出國主持短期戲劇工作坊。__________________________________________

Clown and the creation of animals, materials and character
Performing Workshop

Instuctor： Ma Chao Chi （Taiwan）
** Workshops will be conducted in Mandarin & English

Organized by： Pentas Project Theatre Production
Date／Time：
9 September 2010 (Thursday)1900 – 2300 （4 hours）
10- September 2010（Friday）1900 – 2300 （4 hours）
11 September 2010（Saturday）1500 – 1800 and 1900 - 2200（6 hours）
12 September 2010（Sunday）1100 – 1400 and 1500 - 1800（6 hours）

Workshop Venue： Kuala Lumpur Performing Arts Centre / klpac, studio 5
Number of Participants： 20 participants + 5 observers
Target participants： Actors, Directors, Drama teachers etc.

Fees : RM 380

Contacts :

012-266.1579 / 012-274.4292 / 012-607.1318 / pentasproject@gmail.com

How to apply and paying application fees :

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 15th AUGUST. If payment is not received in time, the organizer has the right 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.

Workshop Content:

About the shaping of Character

In the performing system created by Jacques Lecoq, physical movement is one important element. As oppose to the Stanilavsky performing system that emphasize on the fact that performing is from in to out, Jacques Lecoq believes that performing is from out to in. The creation of one character starts from the creation and imitation of physical movement and appearance, and slowly moving from outer physical presentations to establishing the inner feeling and state of mind of the character.

How do we then enter the character? Jacques Lecoq thinks that an actor/actress need not imitate realistic character, but through analyzing the movement of nature, animals or materials, one will go into the movement of nature and try to initiate an emotion or metaphorical representations, and eventually creating a theatrical character. Jacques Lecoq does not emphasize on performing realistically, but to create a theatrical character through imitating the movement of nature.

Hence in this workshop, we will explore deeper what is the “common poetic essence of human being” （fonds poetique commun）, creating sentimental imagination follow by using physical movement to present unspeakable feelings and movement, through space, light, color, materials sound and others material phenomena.Through these trainings, we will slowly moving into the movement of nature, for instance wind, land, water and fire, animals, materials etc. These elements will be presented by using the method of Mimodynamique, , through movement, sense of directions, rhythm and tempo. Here, we do not require fully realistic imitation, but to use a more poetic way to present the spirit and movement of exi sting nature.

We will slowly going into the creation of theatrical character by starting off with the imitation of animals. Through the movement of animals, we will be able to initiate the way of walking and body gesture of the character, hence creating a more solid and more theatrical character.

About Clown

Clown is the last chapter of the 2 years programme of the Jacques Lecoq school training. This also signifies that, clown is actually the combination of all performing skills. Only performer with rich performing experience can be a good clown performer. The clown we mean here is not clown that are seen in circus or night clubs, but theatrical clown that has a character. We are searching for clowns that utilize drama as a performing form. The aim of clown performance is to let people laugh, but how to make people laugh? Like what Jacques Lecoq once said, “ Clown only exist inside the body of the performer who performed . We are all clowns. We thought we are handsome and charming, smart and strong, but actually w e all have weaknesses and things that are stupid and dumb. And when we performed that all out, audiences will laugh“.。Hence, theatrical clown must confront himself/herself honestly, and acceptinghimself/herself. Then he/she can put down all the barriers on stage, and presenting the true self to audiences. Every performer has a clown of his/her own, no one can replace it. The most important thing of clown performance is that no clown wants to play fool on stage, they are all serious. Their feelings and performance are real, only a clown that perform the true self will make people laugh.

Workshop content

１． Warm up.
２． The practice of music, words and color.
３． Neutral mask.
４． Analyzing and practicing animal movement.
５． From animal to human.
６． Practicing creating character.
７． Introduction to the red nose.
８． Searching for everyone’s clown.

９． Improvisation of clown (individual or group)
１０． Exploring the theories.

The instructor will adjust the rhythm of the course based on the development of the participants.

__________________________

The Jacques Lecoq Training MethodPerformance Lecture

** will be conducted in Mandarin

FREE ADMISSION

Organized by：Pentas Project Theatre Production

Date/Time：8 September 2010 (Wednesday) @ 7:30pm
Venue: Yan Sang Theatre, Shaw Parade Changkat Thambi Dollah, 55100 Kuala Lumpur

About Jacques Lecoq (1921-1999)


Jacques Lecoq was born in Paris on December 15, 1921. In 1937 he began studying physical education and sport which he taught from 1941 to 1945, gaining teaching diplomas from the French athletics and swimming federations. His interest in physical education brought him into contact with Jean-Marie Conty, a master of physical education and friend of Antonin Artaud and Jean-Louis Barrault. By 1945 Jacques Lecoq had started acting with Gabriel Cousin and the two founded a drama group. He was then taken on by Jean Dasté as part of a theatre company known as the "Comédiens de Grenoble", where he was put in charge of the physical training and body movements of his fellow actors. Here he discovered masks and was introduced to the ideas of Copeau, to the point of later identifying with him as his indirect heir.

In 1948 Jacques Lecoq went to Italy where he settled for eight years. He staged his first pantomimes at the university theatre in Padua, while in the city markets he discovered Commedia dell'Arte. He met the sculptor Amleto Sartori and together they embarked on research into masks, ultimately leading to joint projects including, inter alia, the "neutral mask". Invited by Giorgio Strehler and Paolo Grassi, he joined them for the launching of the school at the Piccolo Teatro in Milan. Later ventures included work as a director and choreographer, working together with figures such as Dario Fo, Franco Parenti, Luciano Berio and Anna Magnani, pursuing the quest for new movements suited to contemporary music, reviews, opera, and devising movements for choruses in Greek tragedy in Syracuse.

In 1956 he came back to Paris and opened his School of Mime and Theatre. At the same time he set up his own theatre company, worked at the T.N.P. (National Popular Theatre) with Jean Vilar, and also on television, but before long the school had expanded and he devoted all his efforts to teaching.

From 1968 to 1988, Jacques Lecoq was a teacher at the French school of fine arts (Ecole Nationale Supérieure des Beaux-Arts) where he developed a teaching programme on architecture based on the human body, movement and the "dynamics of mime". In 1977 he founded the stage design department of the school, known as LEM (Laboratoire d'étude du mouvement — movement research laboratory). Jacques Lecoq was a member of the Union of Theatres of Europe, touring the world as guest teacher and speaker, giving master-classes and lectures, including the performance lecture entitled "Tout Bouge" [Everything Moves].

Permanent video records were made by Patrick Lecoq in 1983. In 1997 and 1998, Jacques Lecoq worked in close partnership with Jean-Gabriel Carasso, Jean-Claude Lallias and Jean-Noël Roy, ultimately producing the book "Le Corps Poétique" and producing two 45-minute documentaries for French television.

Only a few days before his death, on January 19, 1999, Jacques Lecoq was still teaching at the school.

________________________________________

About the InstructorDirector : Ma Chao-chi
Theatre director / actress / theatre teacher

Professor of National Taiwan University of Arts and of Taipei National University of Art

After having finished her studies in Humanity and Economy at National Taiwan University, Ma Chao-chi has decided to fallow a professional theatre study at the Educational Theatre program at New York University and then went on studying at the International School of Theatre Jacques Lecoq at Paris where she learned Mime, Acrobatics, Masks, Clown, and physical theatre.

In 2002, she made a tour in east and central Africa with Company Imibala where she performed in a street theatre. She has also given theatre workshops to children and artists in the counrties where they performed.

She then returned to her native country, Taiwan (Repiblic of China), in 2003, and created her own company « Theatre de la Sardine » in 2005 where she tries to find a new forme of popular theatre by mixing the street theatre, mime, masks, clown, theatre of objects, dance, and acrobatics.

She transtated the book « Le Corps Poétique » by Mr.Jacques Lecoq from French to Chinese, published by Laurel Publishing Company, Taiwan in 2005.

She is also professor of the theatre department in National Taiwan University of Arts and of Taipei National University of Art.

Educational background :
1997 Graduated from National Taiwan University in Economy.
1998 Graduated with a « Master of Art » degree from Educational Theatre program in New York University.
2001 Gradualted from the International School of Theatre Jaques Lecoq after completed 2 years of study.

Directory works :
2009 « Underground », National Experimental Theatre, Taipei
2008 « Mamou and the fairies ». Taipei Children’s Theatre.
2007 « Dinner for one », Avant Garde Theatre of Guling St., Taipei
2006 “e4kids », Taiwan Public Television Service
2006 « Love story of a clown », Ringside Restaurant, Taipei
2005 « Folle Parade », Esplanade du Theatre National, Taipei
2005 « Alone in the world’s room », National Experimental Theatre, Taipei
2004 « A Clown’s Poetry », The Red Theatre, Taipei.

Supported by

平台新導演計畫

平台新導演計畫

2010年開始不久，平台計畫的其中一位成員，著名舞台設計師、建築師、室內設計師、攝影師、劇場工作者，張忠勇先生離開了我們。他的離開，縱使悲傷，卻也更讓平台計畫意識到，培育劇場新人的重要性。

縦觀馬來西亞目前中文劇場的發展，除了中學生戲劇比賽以外，幾乎很少又機會看到新人導演的出現。雖然近一年來，從國外回流的戲劇系畢業生越來越多，但這些畢業生回來以後，卻鮮少有機會發揮自己的專長，更別論擁有一個發表自身作品的舞臺。

一座城市的人文涵養，以及一個國家的養成，有賴於藝術與文化的建設。平台計畫的成員多屬青壯輩。但平台計畫更樂于見到，馬來西亞的中文劇場，可以更百花齊放。年輕人的創意，很多時候是難以預估，難以想像的。

因此，平台計畫策劃了［平台劇場新導演計畫］，希望能夠盡一點綿力，鼓勵更多年輕的創作人，或苦候多年卻等不到一個舞臺，蓄勢待發的創作人，能無後顧之憂地重新出發發表新的劇場作品。平台計畫希望能夠秉持著我們創團的理念，為藝術工作者提供一個開放的平台。


宗旨
1. 发掘更多本地剧场新导演。
2. 促进本地剧场的永续发展。
3. 为本地剧场和各艺术领域提供一个交流的平台。
4. 促进素质人文社会的养成。
5. 创造优质的艺术生态环境。

公开甄选：

• 公开给18岁以上对戏剧创作有热诚的人士参加。
• 参加者必须至少导演过两个剧场演出。
• 每人可投最多两个演出计划。
• 每个演出长度必须介于30分钟到45分钟。
• 演出计划案必须以中文书写。演出计划案必须涵盖以下内容：剧名、演出形式、创作理念、演出大纲、参加「平台剧场新导演计划」的原因、导演与主要创作群履历、曾导演过的演出片段 （附在DVD 里）、剧本（如有）。
• 演出不限内容，不限形式，可由投计划案者自由发挥自己的创意，唯不曾公开演出。
• 呈交计划案截止日期：以电邮方式最迟于2010年7月30日寄至 pentasproject@gmail.com。
• 平台计划将在以上截止日期一周内，公布复选面试名单。
• 平台计划将在面试后的第二天，通过网络媒体公布获选的两个计划案，并以电邮和电话方式通知获选者。
• 获选的两个计划案必须在2010年10月以内完成演出。
• 每个获选计划案将获得RM1000 至 RM5000演出制作补助。
  

平台计划将提供以下协助：

• 提供所有演出的技术支援。
• 负责所有演出的宣传。
• 提供演出场地。
• 若有需要，协助安排排练场地。
• 将不定期安排本地著名剧场导演以及设计师观看演出排练，给与意见。
• 若有需要，平台计划可帮忙物色演员、设计师。
  

获选计划案的演出单位必须：

• 自行负责/分配演出费以及布景道具制作费等。
• 确保演出的良好素质。
• 配合平台计划所安排的宣传活动。
• 若获选者无法如期在期限以内完成演出，必须将演出制作补助全数退还。

Supported by HSBC

城失空想 The Lost And The Ecliptic

城失空想
THE LOST AND THE ECLIPTIC
Re-stage + Preview of International Tour

"One is gripped with endless fascination... Kok Man and his team have sketched our ugly, fractured, lovely Kuala Lumpur." - Zedeck Siew, Kakiseni

"One morning, he awakes and finds himself transformed into an orchid mantis. He stops at an orchid and pretends to be the orchid. There He remains unseen and undiscriminated. Resting, he is safe, out of human sight."

Using the metaphor of a camouflage insect, this performance draws us into the anonymous lives and private souls of our city. Your neighbour sings her prayers to her deity. When you hear her, do you pray along? Inside a box, a man dances by himself. When he dances with a girl, are they less alone? Their gates keep them safe inside, safe within these beautiful dreams and disguises.

“某一天早上，我一如往常的躺在床上，發現自己成了蘭花螳螂，是一種習慣「擬態」的昆蟲，停在蘭花上，假裝自己是一朵蘭花，不會被看見、不會被 討厭。在每一個停下來歇息的空間中，很安全的，沒有人發現牠。“通過昆蟲偽裝的隱喻，演出以“城市”為出發點，探討了“城市”這麼一個生存空間和劇場的相似性，發掘出城市裏頭人們的追求、孤獨、挫敗、幻想、不安、疑惑等錯綜複雜的情緒。

“城失空想”依循城市的主題脈絡，將劇場變成了一個充滿視覺和聽覺驚喜的魔幻空間，掀開一頁又一頁屬於城市的備忘錄，在逐步消失的過程中，回頭凝視我城。

2007年，劇場、舞蹈、裝置、音樂、影像、文字創作者，對城市的初表態，催生了《城失空想．一個殘缺不全支離破碎失憶症患者的十個備忘錄》。

2010年，紀念我們摯愛的創作夥伴張忠勇，我們再度反芻城市生活的種種姿態，寫下屬於我們和城市相濡以沫的十個備忘錄。

羅國文 loh kok man     director/lighting design
區琇詒 au sow yee       video artist/multimedia design
張忠勇 caecar chong    space design
黃楚原 ng chor guan    music composer
陳燕棣 tan yan tee        text collaborator
陳淑真 amelia tan        performer
劉銘 Ming Low           dance artist
shanthini venugopal     performer


「跨嶺域集體創作，城市的魔法詩意」

Kuala Lumpur

Thu 22 - sat 24 april 2010, 8:30pm
Sun 25 April 2010, 3:00pm
Pentas 2, Kuala Lumpur Performing Arts Centre (KLPac)
RM38 (Adult) / RM28 (students/seniors/disabled)
Box Office call or walk in: klpac box office @ Sentul Park - 03 40479000 & The Actor Studio @ Lot 10 - 03 21422009 / 21432009
walk in only: Axcess HQ (Jalan Semangat), 1-Utama & Alamanda Putrajaya | online purchase: www.klpac.com
Enquiries:(03)4047 9000/012-266 1579 / pentasproject@gmail.com
http://pentasproject.blogspot.com

Singapore
Fri 7 & Sat 8 May 2010, 8:00pm
Esplanade Theatre Studio
http://www.thestudios.com.sg/2010/

Supported by:
HSBC, KLPac & Colorganda!

Loh Kok Man | Director + Lighting Designer
Founder and artistic director of Pentas Project, Kok Man is an established theatre director, actor and lighting designer. He graduated from Malaysia Institute of the Arts in 1993. Since his performance "aku" in 1997, he had collaborated abroad in arts projects in Japan, Korea and India, as well as various interactive theatre festivals in the Phippines and Europe. In 2005, Kok Man establised Pentas Project, and was awarded a fellowship from "Asian Cultural Council" to New York City. He is currently lecturing in the Drama and Visuals Department of New Era College as well as an instructor for Hands Percussions.

His awards includes: "Best Director" & "Best Chinese Script" (2nd Annual Boh Cameronian Arts Awards), "Best Lighting Design/Dance" (5th Annual Boh Cameronian Arts Awards), "Best Lighting Design/Theatre" (6th Annual Boh Cameronian Arts Awards), "Best Director"`"Best Lighting/Theatre"`"Best Set Design/Musical" (7th Annual Boh Cameronian Arts Awards).

Caecar Chong | Space Design
Trained as an architect in Australia, the late Caecar Chong Chung Yong applied his skills and knowledge not on brickwork and steel structures, but experimentally through different art media and formats. Having established Space Spirit Studio, Caecar championed the use of multiple artistic disciplines as diverse as design, performance and visual art express the spirit of space. This grants a new lease of life to the classic ideological maxim that architecture is more than just about building buildings. Caecar was also a member of Pentas Project, a performer with butoh dance company Nyoba Kan and founder of Little Eyes Play House.

Ng Chor Guan | Music Composer
Guan studied music composition with Dr. Francois Evans and Dr. Peter Fribbins at the University of Middlesex in London. His work titled "String Quartet No.1" was performed by Trelawn String Quartet. He was also awarded Yamaha Asian Scholarship for Full-time Music Student. Since 2006 he actively composes original music for film, dance, theatre and multimedia projects, including: Antigone, Okiku, The Curse of the Forbidden Palace and Locked Report. He currently lectures in University of Malaysia, Yamaha Academy of Arts and Music and New Era College.

Au Sow Yee | Video Artist
A Masters in Fine Art graduate from San Fransico Institute of Art, Au Sow Yee is the Programming Director of Pentas Prject, a member od SICKL and also a lecturer in the Drama and Visuals Department of New Era College. Her work explores light and projected images as organic elements in space and time. Recently she has been actively involved in making videos or video installations for theatre including Water Closet, Tunku:The Musical, The Curse of the Forbidden Palace, Locked Repot and many others. She was awarded the Krishen Jit Astro Fund for a film performance/installation in 2007. She has been an artist in residence of Taipei Artist Village, Taiwan(2007), and also the Visiting Artist in Residence at Liaison of Independent Filmmakers of Toronto (LIFT), Canada(2008/2009).

Ming Low | Choreographer + Dancer
Trained at the Central School of Ballet, London, under a scholarship, Ming Low then danced professionally with B.W. Tanz Kompanie in Germany and Dance Theatre of Ireland in Dublin. Moving back to London, he worked with MZT Dance Company, Ricochet Dance Company and The Featherstonehaughs & Cholmondeleys. During that time he also worked with Compagnie Anonyme in France. Ming c0-founded Bi Ma Dance Company in 1991, which toured extensively throughout Europe, Taiwan, Malysia, Japan, USA, Egypt and Eastern Europe. He performed with Bi Ma in pieces like "Beyond The Legend", "Four Gestures", "Sand", "Le dit de cheveus", "The Secret", "Chinese Takeaway" and "From Soho to Shinjuku". Relocated back to Malaysia in 2009. Ming has been involved in local dance productions "The Slave Princess" and "Siddharta-The Musical". He currently teaches freelance contemporary dance and Ashtanga Yoga.

Tan Yan Tee | Text
A member of Pentas Project, Tan Yan Tee graduated in 2004 from the National Taipei University of the Arts, where she was also the research assistant for the film graduate school. She has lectured in the Drama and Visual Department of New Era College and was editor for the magazines "XFUNS". Besides writing poetry, prose and the occasional novels, she is currently an arts journalist for Sin Chew Daily. Yan Tee is the winner of the 9th "Hua Zhong" Literature Award in peotry, one of the most prestigious Chinese literary awards in Malaysia.

Amelia Tan | Actor
Amelia graduated from the Theatre Training & Research Programme (Singapore) in 2006 as well as Malaysia Institute of Arts. She is actively involved in the development of the theatre education. She was recently seen on stage in XXX Rhapsodies, The Secret Souk, Fall in City, Lost Angel and many others. She currently lectures in the Drama and Visuals Department of New Era College and is the Administrative Director of TEA Theatre.

Shanthini Venugopal | Actor

Shanthini is the Director of The Jumping Jelly Beans Sdn Bhd. She is actively involved in the development of theatre education and children's theatre. She has acted in local drama series and films besides performing in local pubs. A regular actor with The Instant Cafe Theatre Company, she has been seen on stage in productions such as "Bolehwood", "Musical Chairs", "Vagina Monologue", "Millennium Jump" and may others.