阿Q外傳 The Other Story of Ah-Q

平台計劃 呈獻 Pentas Project Theatre Production present’s

平台讀劇 | 二號作品 Pentas Staged Reading II

阿Q外傳 The Other Story of Ah-Q

( 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》⽇本劇作家宮本研 Ken Miyamoto 的作品,
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 Japanese playwright, Ken Miyamoto’s work, “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 Thu@ 8:30 pm
15 May 2020 Fri @ 8:30 pm
16 May 2020 Sat @ 8:30 pm
17 May 2020 Sun @ 3:00 pm
17 May 2020 Sun @ 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: Pentas Project Theatre Production)

In collaboration with ASIA CENTER, THE JAPAN FOUNDATION and DPAC,

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.

______________________________________________________

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16 May 2020 Sat @ 3:00pm at DPAC, Blackbox

站在1980年代迄今的台灣劇場運動發展上,談劇場如何詮釋、彌補歷史與現實的不義,並引⽤⻄⽅及⽇本劇場的經典作品作為對照。再從鴻鴻與《⿊眼睛跨劇團》的創作經驗,深入討論劇場介入當代議題的各種⾓度,包括:國家暴⼒、政治迫害、⺠主、反核、性別、族群……等等,以及可能⾯對藝術創作上的問題。

鴻鴻

詩人,劇場及電影編導。1964生於台灣,曾獲吳三連文藝獎、2008年度詩人獎、南瀛文學獎傑出獎。出版有詩集《土製炸彈》、《暴民之歌》、《樂天島》等八種、散文《阿瓜日記──八0年代文青記事》、《晒T恤》、評論《新世紀台灣劇場》、小說《灰掐》及劇本等多種,並主編《衛生紙+》詩刊(2008-2016)及【當代經典劇作譯叢】系列書籍。擔任過四十餘齣劇場、歌劇、舞蹈之導演,並任教於國立台北藝術大學電影系及文學跨域研究所。電影作品曾獲金馬獎最佳原著劇本獎、芝加哥影展國際影評人獎、南特影展最佳導演獎等。2011及2018兩度年赴柏林文學協會(LCB)駐村。2014年獲選為亞洲文化協會紐約駐村藝術家。現為台北詩歌節策展人,「黑眼睛文化」及「黑眼睛跨劇團」藝術總監。

由駐⾺來⻄亞臺北經濟⽂化辦事處主辦,平台計劃聯辦,雲⼿⽂創基⾦會策劃與執⾏

Event Dates

From 14th May 2020 to 17th May 2020

Performance Date & Time

14 th May (Thu) 8:30 pm
15 th May (Fri) 8:30 pm
16 th May (Sat) 8:30 pm
17 th May (Sun) 3:00 pm
17 th May (Sun) 8:30 pm

Venue

H-01, DPAC, Empire Damansara, Jalan PJU 8/8, Damansara Perdana, 47820 Petaling Jaya, Selangor, Malaysia.

WEBSITE

https://pentasproject.blogspot.com

For enquiries:

John Wong
Tel: 0165188977
Email: pentasprojecttheatreproduction@gmail.com

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