Will There Really Be A "Morning" ?

結合艾蜜莉‧狄更生深邃的詩意 --感性肢體的真實呈現 『舞蹈空間』繼2009年取材德國劇作家畢希納名作、及法國劇作家尤涅斯柯的創意童話，結合詩人導演鴻鴻及旅德編舞家賴翠霜合作《不聽話孩子的故事》；以及2010年由荷蘭舞蹈劇場新銳編舞家瑪芮娜‧麥斯卡利，以抒情文本編創撼動人心的《橄欖樹》後，2012年2月將再度橫渡文學、肢體、聲音的美學境界，勾勒一場感性浸潤的身體詩篇。 《明天的這裡會黎明嗎？》為法國與台灣創作者的美麗相遇。法國編舞家米希恩‧艾維吉兒(Myriam Herve-Gil)與臺灣小劇場天后徐堰鈴於法國相識，兩位著迷偉大詩人艾蜜莉‧狄更生(Emily Dickson)的詩作，深受艾蜜莉低調人生、隱世沉潛的創作詩句所感動──「艾蜜莉書寫方式非常特別，破折號分離文字，詩韻懸浮在空中，音樂及語意交錯，涵義千萬種。」米希恩和徐堰鈴的相遇與談話，促成了這支舞蹈作品的生成。《明天的這裡會黎明嗎？》將以肢體、音樂與語言，加上法國歌手與『舞蹈空間』職業現代舞者，施展艾蜜莉特有的「破折號分離文字」書寫方式，將詩句於舞台上立體幻化出神秘詩人的心影。 編舞及導演／米希恩‧艾維吉兒 Myriam Herve-Gil 演出／徐堰鈴、舞蹈空間 Will There Really Be a“Morning”? is an encounter between France and Taiwan. French choreographer, Myriam Herve-Gil, and Taiwanese theatre diva, Hsu Yen-ling, met in France and discovered their mutual passion for Emily Dickson. Dickson's subtle life and metaphoric words influenced the creation of this work, her unique style of using dashes and irregularity enabled the rhyme to float and intertwine with music and meaning that creates numerous enlightenments. The conversation between Myriam and Hsu made this performance possible. Will There Really Be a“Morning”? combines physicality, music and language, demonstrating the enchanting style of Emily Dickson's writing through the professional modern dancers and a French singer.

Continue lendo

台北小花劇團「Take Care」7/1~ 10 牯嶺街小劇場

演出內容
故事圍繞一家在台北名叫「Take Care」的動物醫院，敘述一對女同志戀人生活上的轉變。藉由師生戀、單親家庭、台商、流浪動物等議題，討論生命間「照顧」的方式。寫實動人故事，幽默新穎演繹。約90分鐘。

This story is around Take Care animal hospital in Taipei now. A lesbian couple suddently need to “take care” more issues like ‘teachers and students love’ ‘one-parent family’ ‘ChinaTaiwan businessman’ ‘ stray animals’ …they get into some troubles and realize that what they live together for. This theater creation have a sense of humor, under the social troubles. About 90 mins.

製作人: 莊菀萍
導演: 徐堰鈴
編劇：徐堰鈴和演員們
演員: FA 藍貝芝 程鈺婷 朱安如 竺定誼 劉念雲 張閔淳
編導助理:張宛婷
執行製作:吳伊婷
舞台設計:陳佳慧
服裝設計:陳姿君
音樂設計:王榆鈞
燈光設計:徐福君
舞台監督:鄧湘庭
排練助理:吳苪甄 朱育宏

台北小花劇團視女性力量為創作動力，也關注表演藝術與生活的關係。重視個人化盡情展現之影響力；永遠期待不同領域藝術家之間合作的驚奇與成長，在台北開花為喻，以劇場行為借居

票價:500元
演出場次:
第一周 7/1(五)-3(日) 7:30PM、7/2(六)-3(日) 2:30PM
第二周 7/7(四)-9(六) 7:30PM 7/9(六)-10(日) 2:30PM
演出地點: 牯嶺街小劇場

Continue lendo

[Sweet 3] ... songs for theater show

by Yenling
(Tracks on the Beach)

So we together now
So we point the point now
So Safe and Free…
So we play the play now
Play it
Safe and Free

So we said dream now! Fly now! Best now!
So bring me to him,
Hurt me touch me feed me on your read…ing
Bring you to my one two three
Oh maybe could be
I’ll call you next evening…so(what I said…)
Oh yes…your crying…
You crying I can hear so sorry nothing about falling to mean
See? nothing here
About How Sweet and so Sweet, so,
So far so hard like forgetting
So short so dark like when my shadow with me,
More pleasePlease one more little dog makes me happy,
I promise nothing mass, so did I tell you?
Didn’t I show you? Oh no so sorry, so
So stop ask me any any math question, nor the cave I lived in

For 3, all, we, Oh! oui~
For the best fire I fire
One two three…let’s keep going
The best story walking walking
To the never end story

Keep me in your quest in those raining day
So…so…my…
So my stranger…dear strangeness
So sweet so strange baby, born to me
I’m waiting like the wave I see, like the moon lights her tracks
On the beach,
to tell me I still waiting: who I should be

For the best fire I fireSo that…I mean…I mean…I mean…
So Sweet the you and she, the he and she
The steps on the beach,
The following disappearing
So freedom bring the safe safety
If sea can believe,
All I asking
All birds receive
All music learning
we starting a softer hand,
To touch… softer touch
All I need

Continue lendo

2011.9 莎妹《迷離劫》Drifting

你被慾望殺死過幾次？你活過來了嗎？

現代人的情感中，有一件為難的事：「我不知道怎麼去愛…」。
《迷離劫》是導演徐堰鈴「莒哈絲計畫」的第二個作品。繼2010年在牯嶺街小劇場的《沙灘上的腳印》後，擴大製作規模，從《勞兒之劫》來到了整個「印度系列」。非同於莒哈絲在《印度之歌》演出上對於嗅覺感官的要求，本製作環繞著不懂愛/不會愛/不能愛的主題，劇本由姜富琴重新編劇，設計群表現多聲部之美，主焦在呈現聽、說、讀、寫，敘事本身整體紊亂的感動。

不只三個女人在劇中，交換各自的沈睡狀態，交換故事的記憶；多過四個男人尋找開始與結束的答案，他聽見吶喊聲頻頻走調…。敘述愛情本身、投入對愛情的癖好，這與寫作的艱難、寫作的樂趣，有著無比的相似無比痛快之無法言喻！在苦難的背後總有純潔的喜樂，在絕望的裡面卻有希望在事物之中引誘著我們：從心理、自然、噪音等層面，揭發愛的通俗劇中「閱讀狀態」、「河流」、「干擾」的純粹景象。於是「去愛」，是迷醉、雙面劫持、有生之悲慟與假死般高潮，同時輕浮於夢河，寄託。《迷離劫》企圖藉由混雜的語言系統，精準爭取現實情愛中，心靈書寫的自由。


製作人：莊菀萍
導演：徐堰鈴
編劇：姜富琴、徐堰鈴
演員：朱宏章、林鈺玲、莫子儀、李奇勳、魏沁如、蔡佾玲
音樂創作：陳建騏 王榆鈞
舞台設計：曾文通
影像設計：周東彥
燈光設計：賴雨農
動作創意：魏沁如
服裝設計：Coco
平面設計：C. Lin
舞台監督：吳維緯
執行製作：吳伊婷
燈光設計助理：吳思樺
導演助理：張宛婷


Drifting
Summary

How often were you murdered by your desire? Did you survive?

Nowadays, there's an embarrassing situation for people: I don't know how to love....‘Drifting’ is the second part of Marguerite Duras Project by Ms. Yenling. Following the first part ‘The Track On The Beach’ in 2010, she extends the whole production scale, collecting material from the novel ‘Le ravissement de Lol V. Stein’ to Marguerite Duras’ India series works. Separated from Marguerite Duras’ deliberating of sense of smell on the ‘India Song’ performance, ‘Drifting’ is drifted into themes about incomprehensive/improbable/incapable of love. Fu-chin Chiang as the playwright, each theater designer trying to present several different language systems from the script, individually and independently, focusing on the narrative art: including the process of listening, speaking, reading and writing, in order to take the audience to get into the chaotic beauty in expression.

During the play, the three women not only exchange their state of falling asleep, but also exchange their memory about the stories. The four men search for the answer of beginning and ending, often hearing the screams twisted. To describe LOVE itself, or to be absorbed in the addiction of love, is indescribably similar with the obstacle and the pleasure during writing. There Is always innocent joyfulness behind the suffering; there is always hope within despair. It is hidden in the ordinary things, seducing us to lift open the curtain of some essential pictures in the melodrama such as 'state of reading', 'river-flowing', and 'interfering' from aspects of mind, nature, and other noises. Therefore, TO LOVE, Is the bewitching, the dual-seizing, with mourning of birth and orgasm of feigned death, at the same time floating on and placing hope on the dream river. All in all, by hybrid dialect systems, ‘Drifting’ shows the effort to strive for the freedom of accurate intellectual writing from love in reality.

Continue lendo

台北小花劇團「拉子戲劇與生活工作坊（三）」

課堂全程由「台北小花劇團」的徐堰鈴帶領。專門開放給拉子的工作坊，學員將藉由自己的感情世界出發延伸出（綜合性的）創作，尤其歡迎劇場或相關表演藝術者參加。這個工作坊的立意在於試著讓戲劇與生活進行互涉，期待「表達」此事對每個人，都能更注重概念與感受為本要的場域。
為期18小時的工作坊（三）的課程內，除了一般戲劇的表演課之外，恰巧配合小花七月新戲【Take Care】，這次主題會圍繞「動物/寵物」作二次子題式的創作練習，每位學員並將在課前，閱讀完數篇共同文本，以作為上課溝通基礎。

對象~
20-45歲之間，對戲劇有興趣或已經從事表演藝術工作的拉子。

招生人數:16人

日期: 2/12(六)、2/13(日)、2/19(六)、2/20(日)、2/26(六)、2/27(日)
時間: 10:00-13:00

費用: 3600元(學生9折、舊生8折，折扣恕無法並用)

上課地點:台北市承德路二段139巷1號 / 近捷運雙連站

主辦單位:台北小花劇團
Email:taipeiblooming@gmail.com
電話:0970-090-160莊小姐

歡迎加入小花臉書粉絲頁
http://www.facebook.com/pages/tai-bei-xiao-hua-ju-tuan/107585555954162?ref=ts

銀行:中國信託商業銀行 中崙分行(銀行代碼:822)
戶名:台北小花劇團 帳號:093540181030

請線上填寫報名表
https://spreadsheets.google.com/viewform?formkey=dF9ETThnSVNzR3lJUXIwZGg2OEM2TUE6MQ

Continue lendo