平台計劃

animal farm

2011-10-25T16:56:00.002+08:00

WE ARE BACK SOON.......

動物農莊
ANIMAL FARM

8~11 December 2011

仲夏夜之梦

2011-07-04T00:10:00.012+08:00

新纪元学院戏剧与影像系2011年第七届学生对外公演
英国最伟大的戏剧作家威廉。莎士比亚 William Shakespeare经典作品

仲夏夜之梦
A Midsummer Night’s Dream

导演／罗国文
音乐与音效／张俊开
演员／苏中宏，黄竣麟，张加信，陈鹏升，谢佳升，李欢瑜，林沓励，
苏梓莹，沈忠胜，易詠媺，陈淑凤，李佳洵，马红绫，林佩璇，

14/07/2011 (thurs) @ 8:00pm
15/07/2011 (friday) @ 8:00pm
16/07/2011 (saturday) @ 3:00pm & 8:00pm
17/07/2011 (sunday) @ 3:00pm & 8:00pm

票价／新纪元学院教职员及学生 @ RM10，学生 @ RM15，成人 @ RM20
地点／新纪元学院黑箱剧场 Lot 5,Seksyen 10, Jalan Bukit, 43000 Kajang, Selangor.
票务热线／马红绫（013-3538964），李佳洵（016-4315691）
游览网站／ www.amiddream.blogspot.com
特别优惠／凡是同时购买“物理学家”及“仲夏夜之梦”的票者将获 RM5 折扣

video link >>>

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“你们真能断定我们现在是醒着吗？
我觉得我们还是在睡着做梦”

《仲夏夜之梦》讲述了一个笑料百出、喜剧意味极为浓郁的爱情故事。这个故事将现实和幻想、人间和仙境、精灵和世人同时呈现在一个舞台上，演出了一幕幕浪漫的人间喜剧。这是英国大文豪学家–莎士比亚作品中被搬演多次的经典喜剧著作，反映出他对婚姻和爱情的深刻思考，也是欧洲文艺复兴运动高扬人文主义的本质反映。资深剧场导演罗国文与新纪元戏剧与影像系的一班学生，尝试以“打破空间”概念去形成不一样的舞台，让你体验舞台上令人惊喜的变化。《仲夏夜之梦》带你游历莎士比亚心中憧憬美好的人文主义社会，让你体验一场勇于追求自由的浪漫幻梦。如果你曾经是个逐梦之人，或是如今仍旧奋力不懈的追求，那你肯定不能错过这一次《仲夏夜之梦》的逐梦之旅，让你感受其中的惊心动魄。

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莎士比亚（W. William Shakespeare；1564～1616）

英国文艺复兴时期伟大的剧作家.诗人，欧洲文艺复兴时期人文主义文学的集大成者，公元1564年4月23日生于英格兰沃里克郡斯特拉福镇，代表作有四大悲剧《哈姆雷特》（英：Hamlet)，《奥赛罗》（英：Othello)，《李尔王》（英：King Lear），《麦克白》（英：Macbeth）。四大喜剧《第十二夜》《仲夏夜之梦》《威尼斯商人》《无事生非》（人教版教材称《皆大欢喜》）历史剧《亨利四世》《亨利六世》《理查二世》等。

据他一系列的作品里，可以感受到他对当时人文主义的憧憬、期盼、坚持、矛盾及失望的过程。在莎翁早期创作背景，尚是伊丽莎白女王中央主权时代，整个社会风潮都在浓厚的人文主义之下兴起。（所谓人文主义，是指社会价值取向倾向于对人的个性的关怀，注重强调维护人性尊严，提倡宽容，反对暴力，主张自由平等和自我价值体现的一种哲学思潮与世界观，即“以人为本”。）此环境即埋下莎翁对人文主义的未来憧憬，他深信人文主义思想可以实现。在他当时秉持乐观的笔下，他创作了历史剧《查理三世》和喜剧类如《仲夏夜之梦》《第十二夜》等。浓浓的人文主义意味深深的埋在剧本里头。

中期，当时国事腐败，莎士比亚的作品创作风格也从明快乐观变为阴郁悲愤，其所写的悲剧也不是重在歌颂人文主义理想，而是重在揭露批判社会的种种罪恶和黑暗。当时的君主詹姆士一世继位后的挥霍无度和倒行逆施，更使人民痛苦加剧，反抗迭起。在这种情况下，莎士比亚深感人文主义理想与现实的矛盾越来越加剧。

晚期，莎士比亚深感失望，乃退居故乡写浪漫主义传奇剧。其创作风格也随之表现为浪漫空幻。作品：《辛白林》和《冬天的故事》

他是“英国戏剧之父”，本·琼斯称他为“时代的灵魂”，马克思称他为“人类最伟大的天才之一”。被称为“人类文学奥林匹斯山上的宙斯”。虽然莎士比亚只用英文写作，但他却是世界著名作家。他的大部分作品都已被译成多种文字，其剧作也在许多国家上演。

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特别推荐：

《物理学家》 The Physicists

故事讲述一个没有说明国籍的，名叫Mobby的核能物理学家，发明了一种万能体系，人类能够据以发明一切。他害怕这一伟大的科学成果被东西方的大国用于军事目的，导致人类的毁灭，他决心放弃个人的一切，抛弃家庭，装疯躲进了一家精神病院……

2011年7月29，30，31日 & 2011年8月5，6，7日

联络号码：叶宝君（016-3690351）

2011平台剧场新导演计划公开征集

2011-03-25T10:15:00.000+08:00

2011平台剧场新导演计划
Pentas Emerging Theatre Artists Program 2011
公开征集
截止日期: 2011年3月21日

Supported by : HSBC

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。

2010年，李奕翰导演的《Blind Love》入选「平台剧场新导演计划」，并在平台空间举行了总共4场的演出。2011年，平台计划再度启动「平台剧场新导演计划」，希望能够看见更多属于年轻人的创意。 

宗旨  

1. 以发掘更多本地剧场新导演及普及本地表演艺术为目标。
 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21岁或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45分钟到90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：演出名称、创作理念、演出形式、演出大纲、预算案、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2011年3月21日寄至 pentasproject@gmail.com。
• 平台计划将在以上截止日期两周内，公布复选面试名单。
• 平台计划将在4月中旬，通过网络媒体公布获选的计划案，并以电邮和电话方式通知获选者。
• 获选的计划案必须在2011年6月至2012年3月之内完成演出。
• 获选的计划案必须在平台空间演出。
• 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。

＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊
Pentas Emerging Theatre Artists Program 2011
Call for Entries

Pentas Project initiated Pentas Emerging Theatre Artists Program in April 2010. 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 Pentas Emerging Artists Program 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. The 2010 Pentas Emerging Theatre Artists Program selected Lee Yee Han’s Blind Love, and had successfully run 4 shows in Pentas Studio. This year, Pentas Project kicked off the Pentas Emerging Theatre Artists Program for the second time, hopefully to attract more young talents to show their creativity.

Project Aim:

1. To nurture more theatre new director.
2. To help maintain the long term development of local theatre.
3. To provide a platform of interactions for local theatre and other art forms.
4. To nurture the development of a humanity society.
5. To create a good environment for the development of arts.

Open Calls：

• Open for people above 21 year old who have a passion in theatre arts.
• Participants must at least directed 2 theatre performances.
• Each participant can only propose maximum 2 performance proposal.
• Each performance will have to be within 45 to 90 minutes.
• The proposal must be written in Chinese and include the following: title, form, artist statement, synopsis, budget, the reason why you would like to participate in the Pentas New Director Project, Profile of director and main creative team, clips from past performances and script (if have).
• There are no restrictions on content and form of the performance. Participants shall unleash their creativity. The proposed performance shall not be performed in public before.
• Deadline for proposal is 21st March 2011, please e-mail proposal to pentasproject@gmail.com
• Pentas Project will announce the finalist for interview two week after the above deadline.
• Selected proposals will be announce in mid April through internet. Pentas Project will contact the selected participants via e-mail and telephone.
• The selected proposal must be stage within May 2011 to March 2012.
• The selected proposal must be stage in Pentas Studio.
• Each selected proposal will be grant RM1000 to RM5000.

Pentas Project will provide the following assistance：

• Provide all technical support.
• Provide the publicity for the performance.
• Provide a space for performance.
• Help coordinate rehearsal space, if necessary.
• Will make arrangement for local theatre director and designers to observe the rehearsals and provide suggestions.
• Pentas Project will help searching for actors and designers if necessary.

The team from the selected proposal must:

• Make appropriate arrangement for the relative budget of the performance.
• Make sure the performance has good quality.
• To corporate with any publicity needed.
• If participants couldn’t realize the performance within the stated period, the participant must return the entire grant provided by Pentas Project.

A Modern Woman Called Ang Tau Mui

2011-02-11T17:16:00.030+08:00

TWO ANG TAU MUIs??

Yes!! A rare opportunity to see two versions of the same play! Catch the Pentas Project version directed by Loh Kok Man and the Five Arts Centre version directed by Chee Sek Thim

兩部不一樣的紅豆妹？？

是的！一個難得的機會，同一個藝術節觀賞兩齣不一樣的演出版本！別錯過平台計劃羅國文執導的版本和 Five Arts Centre, Chee Sek Thim 所執導的版本。

一個名叫紅豆妹的摩登師奶
A Modern Woman Called A ng Tau Mui

Adapted from Ang Tau Mui by Leow Puay Tin

...In Cantonese, English, Mandarin and Malay with English surtitles

17th, 18th, 19th March 2011 @ 8:30pm
20th March 2011 @ 3:00pm & 8:30pm

at Annexe Gallery 3, Central Market

WOMAN:100 International Woman Day's 2011

Directed by : Loh Kok Man 羅國文
Cast : Pearlly Chua 蔡寶珠

Video Artist : Au Sow Yee 區琇詒
Music & Sound : Terence Chong 張俊開

入場免費
free admission
索票處 Get your ticket at： www.kakiseni.com
contacts : 012-266.1579 / 012-607.1318 / pentasproject@gmail.com

曾以《黑眼圈》入圍金馬獎的資深演員蔡寶珠，是個人特色搶眼的劇場老將，當劇場資深老將碰上青壯派劇場導演羅國文，以及廖培珍的經典劇作《紅豆妹》，新穎的黃金組合，打造2011年最值得期待的劇場深度佳作。

蔡寶珠在劇場的經典角色，最為大家熟悉的就是《翡翠嶺上的愛美麗》，演了近二十年的愛美麗，2011年，蔡寶珠終於要挑戰新的單人劇、新的經典女性角色－－《一個名叫紅豆妹的摩登師奶》。

劇中的紅豆妹是個林黛迷，嚮往成為演員，不斷給林黛寫信。林黛自殺後，紅豆妹依然故我，信件從不間斷。及後紅豆妹學了戲曲，偶爾投入戲中，以為可以跟林黛對戲。一切只因紅豆妹太渴望逃脫，她走在都市裡，戲一上身，她把現實幻化成霓虹光彩的夢幻舞臺。紅豆妹是一個多面而立體的角色，也挑戰演員的多語能力，蔡寶珠用歲月斂放自如的好演技，把紅豆妹對表演的嚮往和渴望逃離的情感糾葛，詮釋得精準而豐厚。

《一個名叫紅豆妹的摩登師奶》改編自廖培珍的經典劇作《紅豆妹》，2007年 5月，向來勇於挑戰劇場新觀念的平台計劃導演羅國文，以《Water Closet》為名，首次改編此作品，頗受好評。2011年，配合KakiSeni 《婦女100》藝術節活動，平台計劃再度搬演《紅豆妹》劇本，並融入更多的時代觀察和對話。

曾獲本土表演藝術最受矚目獎項──金馬崙藝術大獎最佳導演的羅國文，在劇中創造了一個虛實交錯的夢幻空間，結合本土影像藝術家區琇詒的前衛多媒體影像，以及新進音樂工作者張俊開的音樂，重現、解構亞洲一代影后林黛的電影與時代曲，帶觀眾進入現代與經典夢幻異想空間。

Imagine a space where illusion and reality intertwined.
She starts the most imaginary journey in a most common space.
She walks on the border of dream and reality,
She is lonely.
She hears some tunes occasionally,
Bringing her back to the most wonderful days of her life.

Ang Tau Mui is a fan of Lin Dai. She dreams of becoming an actress and writes to her frequently. After Lin Dai committed suicide, Ang Tau Mui continues to write letters. She learns to act and occasionally indulged herself in the movie, imagining herself acting together with Lin Dai. She is eager to run away from reality, imagining herself becoming another person through acting, and thinks the stinking reality will soon transfer into a dream stage.

The director gets his inspiration from the letters Ang Tau Mui wrote to Lin Dai. Hence he invited video artist Au Sow Yee to create the tour de force of Ang Tau Mui’s most humble dream of the world of Lin Dai on the movie screen.

Kakiseni with support of Ministry of Woman, family and Community Development presents

A production of
PENTAS PROJECT THEATRE PRTODUCTION

Pentas Project is supported by HSBC

The Next Door

2011-02-11T00:06:00.024+08:00

Pentas Project Theatre Production 平台計劃

The Next Door《隔離鄰社》
Malaysia + Thai Theatre Artists Collaboration Project /
workshop presentation
馬來西亞＋泰國劇場合作交流計劃／成果演出
In Thai, Mandarin, Cantonese, English with english surtitles

Thailand
Pradit Prasartthong (TUA)
Duangjai Hirunsri (Phiao)
Sarayut Phetsamrit (Eddy)

Malaysia
Loh Kok Man 羅國文
Amelia Tan 愛美麗亞
Gan Hui Yee 顏果

*** Free Admission 入場免費***

Click the date below to book your ticket
請按以下演出日期索票

9 March 2011
8:30pm at MAP Whitebox @ Publika, Solaris Dutamas
Level G2-01, Block A5, Dutamas
1 Jalan Dutamas 1, Off Jalan Duta
50480 Kuala Lumpur, Malaysia

10 March 2011
2:00pm at Sunway University Rooftop Theatre, map

WOMAN:100
International Woman Day's 2011

Malaysia and Thailand are neighbors 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. In 2010, Asian Cultural Council enabled Makhampom to invite Loh Kok Man ( Pentas Project Theatre Production ) and 2 Malaysian actors to produce a theatre production with Pradit and 2 Thai actors from Makhampom in the title of “The Next Door” : Malaysia and Thai Theatre Artists Collaboration Project, trying to learn more about the contemporary theatre arts of each other and to strengthen people’s theatre arts in South-east Asia

《隔離鄰社》，一個兩國劇場工作者的劇場合作交流計劃。六位自馬來西亞和泰國的劇場工作者，他們是鄰居；他們都住在城市裡；但他們都相互不太了解，尤其是對當地當代劇場藝術工作的發展就更不用說了。“油甘子劇團”（Makhampom Theatre Group ) 1980年成立於泰國，通過劇場運動一直在為民族文化發展推廣有著豐富的經驗，他們一直認為劇場藝術可以使人與人之間更了解。2010年，《隔離鄰社》劇場合作交流計劃，獲得了紐約亞洲文化協會的支持， “油甘子劇團”的 Pradit Prasartthong (Tua) 邀請了馬來西亞平台計劃藝術總監羅國文，帶領兩位馬來西亞資深劇場演員和來自泰國的兩位演员進行劇場與文化的交流，試圖去了解和加強東南亞當代劇場藝術的認識與探索，最後於泰國清稻 (ChiangDao)和清邁進行了兩場的成果交流演出，並獲得熱烈回響。2011年，平台計劃把這計劃帶回了馬來西亞，與當地的觀眾分享此計劃的成果。

contacts : +6.012-266.1579 / +6.012-607.1318 / pentasproject@gmail.com

Kakiseni with support of Ministry of Woman, family and Community Development presents

Pentas Project is supported by HSBC

Workshops

2011-02-02T01:52:00.024+08:00

Theatre Workshop
by Mr.Pradit (Tua) Prasartthong
from Makhampom Thailand

WOMAN:100
International Woman Day's 2011

RM 50 per workshop
RM 80 for 2 workshops

01) “Let the body talk”
a movement & text workshop.
讓身體說話－肢體與文字工作坊
rang

An introduction to Makhampom’s intercultural physical performance style through a group devised process. Through a series of Makhampom’s physical theatre games and warm-up, participants will develop a collection of body shapes that, through group process, will be the basis of creating short performance.

透过团体的活动，向参与者介绍 Makhampom 的跨文化肢体表演风格。指导老师将以一系列的 Makhampom 肢体剧场游戏以及热身活动，引导参与者发展出一套身体语言，并将它发展成一个简短的演出。

This workshop is good for dancer, mover, actor and non-actor

6 March 2011 @ 3pm~6pm ( 3 hours )
at Pentas Studio
( 88-2. Amber Business Plaza 2, Jalan Jelawat 1, 56000 Cheras, Kuala Lumpur ) map
Public transportation to our studio:
Light Rail Transit (LRT) - Cheras LRT Station
Bus rapid KL - U44
Number of participant: 15-20 persons
Fees : RM 50

02) “Theatre for youth
development workshop”
青年發展戲劇工作坊

Thailand Makhampom theatre’s mythology for actor and non-actor

The Makhampom Theatre Group began working in 1980, applying theatre process for community cultural development. In conducting a dual program of production-oriented performance work and process-oriented community development work, Makhampom has developed an extensive toolkit of activities that it now applies in various contexts. Makhampom currently had four streams – Performance, Community, Education and International programs – through which the theatre praxis is applied.
This workshop will introduce several of the performance, educational and community-based approaches of Makhampom through an integrated, participatory workshop. This will include activities designed for young people in addressing localized themes and issues through theatre based exercises, followed by series of group-based theatre-devising processes. The exercises will include theatre games, social mapping, physical storytelling, and experiential body-based devising work. At the completion of the workshop the participants will also prepare a showcase of performance material deriving from the workshop.
This workshop is good for theatre workers and educators applying theatre in the dual function of product and process. The facilitator will take you through a series of workshop exercises as an experience in Makhampom’s theatre approach.

Makhampom 团自1980年起，积极把剧场艺术带入社区文化的建设。多年来，剧团朝制作演出和投入社会文化活动作双线发展，也因此发展出一组活动的工具箱，应用在不同的内容上面。 Makhampom剧团目前的活动以剧场为主轴，分成4个主要面向，演出、社区、教育以及国际交流。
此工作坊将透过密集的参与性活动，向参与者介绍 Makhampom 其中一些有关演出、教育以及社区的理念。这包括为青少年依据本土性的主题和问题而设计，以戏剧为主体的活动，如剧场游戏、用身体来说故事、寻找社会议题以及感知身体等，此工作坊将以参与者从上课内容发展出来的演出作结束。

6 March 2011 @ 11am~2pm (3 hours)
at Pentas Studio
( 88-2. Amber Business Plaza 2, Jalan Jelawat 1, 56000 Cheras, Kuala Lumpur ) map
Public transportation to our studio:
Light Rail Transit (LRT) - Cheras LRT Station
Bus rapid KL - U44
Number of participant: 15-20 persons
Fees : RM 50

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 28th FEBRUARY 2011. 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 ( 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. Contacts : 012-266.1579 / 012-607.1318 / 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2月28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。聯絡： 012-266.1579 / 012-607.1318 / pentasproject@gmail.com

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。

Mr.Pradit (Tua) Prasartthong is Makhampom’s secretary general and most senior member, joining Makhampom in 1982. For over a decade he has been director and visionary of the group. He is renowned for his work in the fusion of traditional and contemporary theatre styles and was recently awarded by the Ministry of Culture as Thailand’s leading national contemporary performing artist. He is trained in classical and contemporary performance and applies these skills together with his TCCD experience, as facilitator, director, dancer, actor, and dramaturge. He has recently returned from a fellowship in USA and is involved in several international collaborations.

Kakiseni with support of Ministry of Woman, family and Community Development presents

Organised by
Pentas Project Theatre Production
Pentas Project is supported by HSBC

Happy Chinese New Year

2011-02-01T10:19:00.002+08:00

Happy New Year 2011

2010-12-30T13:06:00.001+08:00

The “Next Door”

2010-12-01T13:06:00.013+08:00

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

2010-11-07T13:43:00.064+08:00

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

2010-09-27T11:51:00.017+08:00

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

2010-07-10T12:46:00.037+08:00

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

2010-06-25T21:37:00.009+08:00

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

2010-03-15T15:36:00.037+08:00

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

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
choreographer/dancer
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/

"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。

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.

NOH THEATRE 日本能劇

2009-12-12T10:07:00.028+08:00

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 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.

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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能劇，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。能劇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 10^th 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 15^th 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.

DELUSIONS 惑 KHAYALAN

2009-11-24T19:20:00.013+08:00

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!

SHOOT笑忘書

2009-10-30T01:33:00.023+08:00

SHOOT笑忘書︱ a work in progress 創作半成品
**********************************************************

Performance Cancelled

藝術核爆．平台跨領域交流計劃（七）

2009-10-09T12:28:00.009+08:00

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

戏剧表演工作坊

2009-09-25T17:05:00.011+08:00

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
日期：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。

藝術核爆．平台跨領域交流計劃（六）

2009-09-01T00:10:00.014+08:00

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

藝術核爆．平台跨領域交流計劃（五）

2009-06-03T03:14:00.032+08:00

《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Venue： old 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，在美国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。他的创作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

ToiLet Album & reviews

2009-05-25T11:43:00.006+08:00

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 >>>>>

TOILET廁所

2009-04-22T04:26:00.027+08:00

2009平台計劃爆裂變奏重演

TOILET廁所　

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 Cen tre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 !

藝術核爆．平台跨領域交流計劃（四）

2009-03-23T10:48:00.008+08:00

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。

平台计划招兵买马

2009-03-17T07:16:00.006+08:00

平台计划招兵买马

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。

藝術核爆．平台跨領域交流計劃（三）

2009-03-13T10:49:00.014+08:00

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。

藝術核爆．平台跨領域交流計劃（二）

2009-02-13T13:01:00.021+08:00

平台計劃主辦

藝術核爆．平台跨領域交流計劃（二）

張集強．
「古」蹟保存是最「新」時尚玩意

近年來古蹟保存的議題逐漸在本土發酵，但無論官方或民間，對古蹟保存的認知和認識近乎貧乏，對於生活中逐日消匿頹敗的古蹟，許多人心中或也有隱然的痛。甫獲金馬崙藝術大獎六項提名的本土表演藝術團體平台計劃，邀請古蹟保存工作者、也即是發起雙溪毛糯麻風病院保存運動的文化人張集強，就其建築專業背景和古蹟保存工作經驗，帶你凝視古蹟保存工作者的人文經驗，走一趟文化工作者的知性之旅。

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。

藝術核爆．平台跨領域交流計劃（二）
張集強▓「古」蹟保存是最「新」時尚玩意

主辦單位：平台計劃
主講嘉賓：張集強

日期：2009年2月28日
時間：3pm~ 5pm
地點：紫藤文化空間（半山巴／Shaw Parade)
Lot L1-01，1st Floor, Shaw Parade Changkat Thambi Dollah 55100 Kuala Lumpur Malaysia
map ( 10 mins walk from time square)

樂捐入場

聯絡：pentasproject@gmail.com / 012-2661579 / 012-6071318

場地贊助：紫藤文化企业集团

張集強

出生於霹靂州太平市，大學時期主修建築設計，並曾參與研究調查測繪工作。

1999年畢業後曾在開物設計聯合建築師事務所（OCT Architects Associate）擔任建築設計師之工作，爾後在中原建築研究所擔任黃俊銘副教授之研究助理，負責執行古蹟調查研究工作。

2000年，中原大學建築研究所歷史理論及文化資產組，在研究所期間同時負責研究案，包括調查研究、歷史性建築再利用規劃以及古蹟修復現場記錄等。在2000年曾參與東京大學生產技術研究所至泰國曼谷進行田野調查研究工作，2001年至澳門參加亞洲近代建築學術研討會（mAAN-modern Asian Architecture Networks），並與其他國家之年輕學者發起成立young mAAN聯絡網站。

2005年完成碩士學位畢業論文《英參政時期吉隆坡近代都市發展研究》。同年九月返馬，曾擔任新紀元學院兼任講師，現任思特雅大學建築系（UCSI University）講師。

2001年與友人共同創辦《大紅花的國度》
（http://www.blogkaki.net）網站，為馬來西亞本土中文部落格平台網站。

2007年，與陳亞才、林永隆等發起雙溪毛糯麻風病院保存運動。

曾參與研究案
1995《復興鄉泰雅族部落建築調查研究》
1998《美術家聯誼中心(圓山別莊)調查研究與修復再利用委託規劃》
1999《彰化縣彰化武德殿歷史調查研究》
1999《建國啤酒廠再利用規劃案》
2000《台北市歷史街區自治發展條例之研究》
2000《新竹縣日治時期建築調查研究》
2001《第二級古蹟台中火車站修護暨調查研究》
2003《國定古蹟專賣局樟腦工廠倉庫調查研究》
2003《國定古蹟台北賓館整修工程工作報告書》

6 nominations - 7th Cameronian Arts Awards 2008

2009-02-12T16:20:00.007+08:00

photographed by gu@n

PENTAS PROJECT THEATRE PRODUCTION has received a total of 6 nominations as follows:

Theatre Category :

1. Animal Farm produced by Pentas Project Theatre

• Best Director (Loh Kok Man)
• Best Lighting Design (Loh Kok Man)
• Best Set Design (Caecar Chong)
• Best Music & Sound Design (Bernard Goh & Terence Chong)
• Best Costume Design (Dominique Devorsine)
• Best Actor in a Supporting Role (Moo Siew Keh)

Nominee Announcement

The nominees of the 7th Annual BOH Cameronian Arts Awards 2008 will officially be announced on www.kakiseni.com at 10 am, 10th February 2009. You will also find the list of Awards, and the prize each award carries, as well as detailed information on the judging process, criteria and eligibility on www.kakiseni.com .

平台計劃入圍“第七屆金馬侖藝術獎“ ６項提名

入圍作品《動物農莊》

１。最佳導演（羅國文）
２。最佳燈光設計（羅國文）
３。最佳舞臺設計（張忠勇）
４。最佳服裝設計 (Dominique Devorsine)
５。最佳音效設計（吳聖雄﹠Terence Chong）
６。最佳男／女配角（巫紹棋）

藝術核爆．平台跨領域交流計劃（一）

2009-01-07T10:01:00.020+08:00

平台計劃主辦

藝術核爆．平台跨領域交流計劃（一）

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。

我們誠摯邀請您，加入我們，啟動「藝術核爆」計劃的引擎。

2009年平台跨領域交流計劃的第一檔的藝術核爆，我們特邀

台灣莫比斯圓環創作公社，聯合藝術總監梁菲倚和我們主講

這是一個文化產業的時代分享會

日期：２００９年１月１８日（星期日）
時間：2:00pm~4:00pm
地點：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 )
主講人：梁菲倚

自由樂捐進場

這是一個消費主義，文化產業的年代！
透過個人三個作品《宇宙連環圖》、《囍馬來亞山》及《哈奈馬仙》。從個人作為藝術工作的前線出發，分享這一年香港熱烈討論、以及台灣開始關注的劇場產業化趨勢所帶來的刺激。我不是學者，不從宏觀或分析性切入。主要從我這三年與朋友們做的作品，呈現一些香港劇場現象，及大家這幾年思考著及關心的問題。

１．《宇宙連環圖》—創作在香港廸士尼開始以及WTO在香港開會抗議示威事件後。／述說一群年青人追求理想與大環境的關系。

２．《囍馬來亞山》—應邀劇場組合一篤戲一人一物喜劇藝術節，創作的獨角表演。反思喜劇及借嘲諷自己，窺探香港劇場普遍現象及一個演員如何自處？／思考人在大環境的洪流中如何安置自己的心靈。探討真正的喜悅與快樂是什麼？

３．《哈奈馬仙》—借由與德國劇作大師的 Henry Muller的《哈毋雷特機器》，省視劇場文化產業的問題。／那邊廂剛宣佈放棄政府支助，邁向文化產業的劇場組合（現改名為PIP文化產業），同樣改編莎翁的《仲夏夜之夢》作第一炮作品。兩個作品巧合時間演出，鬧得滿城風雨。作品引起爭議非常，並因而國際評論協會辦了一個閉門討論會，讓三方對談，最後成對峙。

梁菲倚

資深劇場專業全職藝術工作者，從事表演15年，是香港台灣劇壇很優秀的女演員。
1997年畢業於香港演藝學院，獲藝術學士(一級榮譽)學位，主修表演。在校期間3次獲頒傑出演員獎。
畢業後，於1997~2000年間，加入市政局香港話劇團擔任全職演員，期間多次獲香港戲劇協會頒發及提名香港舞台劇最佳女主角或配角獎。
梁菲倚，自幼學習芭蕾舞，後來在香港受歐美及史坦尼斯拉夫斯基体系教育。但其個人作為藝術家的視野及追求，她開始涉及東方表演探索。因在2000至2004年，加入享譽國際藝壇之台灣優表演藝術劇團，。從承襲波蘭戲劇大師果托夫斯基，所開發出優人神鼓獨特的表演訓練方法，包括學習靜坐，禪修。隨團到世界各地參加大大小小國際性藝術節巡迴演出。
2005始，梁菲倚開始把多年學習、實習及累積轉化為自己的特色進行分享。
如：目前是莫比斯圓環創作公社聯合藝術總監；劇團兩年內已經受邀德國、上海和北京演出。
梁氏處女編導作品《我讀老鷹再見》，就獲高度評價；自編自導自演《囍馬來亞山》參加香港劇場組合一人一物喜劇藝術家，以獨特的內涵感動觀眾，引來不少迴響。

＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊

【一個字說一個故事】
劇本創作坊

我們活在當下，但過去與未來無時無刻存在於心中。
我們藉著寫作，讓某種不可言喻的事物開展，揭示你我
的關係，顯露蒙昧混沌的自己。
因此書寫是種渴望，不斷逼近生命的迴旋處。
因此創作是段旅程，阻礙、困頓、迷惘、孤寂、漆黑，
我們不斷摸索，我們前進，感覺前進的行動本身述說些什麼。
我們凝視，企盼直視生命的最核心。

課程概要：
一個字說一個故事，一個字有一種心情，一個字藏幾種可能……開課對象針對喜歡劇本創作的朋友們或初學者，如何從生活即景或社會事件中入手，嘗試從一個字去發展某個主題面向，在吉光片羽中擷取靈思之流，將腦海裡模模糊糊的意象發展成一個具有表演性的故事。課程將分為概念演繹和實作操練兩個部份，重點不在於作品的完成，而在於創作概念的發想過程，以在相互觀摩和交流當中，尋索個人開拓的創作天空。

日期：２００９年１月１７日（星期六）
時間：3:00pm~6:00pm
地點：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 )
學員人數：10-15人
學費：RM 20
導師：高俊耀

身體會知道
【肢體工作坊】

如果我和一個演員有著非常深刻的工作關係的話，那麼我真正接觸的將不再是個藝術家，和我面對面的是另一個人（human being），一個「人」（man）。
Grotowski

課程概要：
我們視劇場為一種生命歷程的發展，那「劇場」究竟意味著什麼？作為一個表演者，或者作為一個人，我們終究面對的是什麼？看得見的身體裡頭，看不見的內心又是如何？也許拋開優美華麗的辭藻和辯駁，我們依然可以罔顧、否決、避開內心的某些話語，但身體會知道。身體會知道，靜靜地敞開，等著你的到來……工作坊的訓練以表演者所需具備的能力及條件為朝向目標，藉由身體工作的小小體驗來面對內心的各種層面，挑戰自己，訓練覺察的敏銳度，以擁有一種「能力」，進而將這種能力沉澱、轉化為劇場中誠摯的情感表現。

日期：２００９年１月１８日（星期日）
時間：10:00am~1:00pm
地點：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 )
學員人數：10-15人
學費：RM 20
導師：高俊耀

導師介紹：
高俊耀
中國文化大學藝術研究所戲劇組碩士
馬來西亞藝術學院戲劇系專業文憑
身聲劇場駐團編導
復興高中、華岡藝校兼任老師
近期作品：
聯合編導演《忿怒》（2008首屆臺北藝穗節「明日之星」大獎；入圍第七屆台新藝術獎第三季表演藝術類）；編導《我睡去》（南風劇團2008年異猶未盡劇展演出作品）；編劇《他的兩場葬禮》（劇本獲邀於菲律賓“2008 VIRGIN LABFEST ”以菲律賓語演出）；編劇《她，與她》（第28屆耕莘文學獎短劇劇本類首獎）；小說創作《草莓鬆餅》（第28屆耕莘文學獎短篇小說類首獎）；編劇《奇妙的黃昏》（第35屆青年文學獎戲劇公開組優異獎）；文字創作《光‧音》（身聲演繹劇場十週年演出）；編劇《祕徑》（身聲演繹劇場2007年度公演）。

Animal Farm 動物農莊 production album

2008-10-12T09:00:00.005+08:00

photographed by kokm@n

Animal Farm 動物農莊

2008-09-08T17:55:00.019+08:00

15 oct 2008/sold out

平台計劃２００８年度製作

動物農莊

Animal Farm

革命前，他們是一群笨蛋；革命後，他們還是一群笨蛋

２００８年１０月，劇場實力最鑑鏘的政治隱喻演出

繼幻麗異想的城市表述之作「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」後，「平台計劃」２００８年１０月全新年度力作，挑戰大家熟悉的政治隱喻小說「動物農莊」，大膽叩問權力和慾望底層的闇黑糾葛，隱然呼應現實生活中民怨不斷、光怪陸離的政治民生異像。

「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」。「動物農莊」是一部政治諷刺小說，書中藉由一座由動物自治的「動物農莊」，展現獨裁統治下的各種醜面，是作者最受歡迎的作品。

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。

劇本改編自歐威爾(George Orwell)《動物農莊》的原著小說和 Ian Wooldridge《動物農莊》的劇本版

導演：羅國文

劇本改編：陳燕棣

演員：顏果＋鄧壹齡＋曾宏輝＋陳麗玲＋林冬輝＋巫紹棋

製作經理＋中文宣傳：區琇詒

舞台設計：張忠勇

音樂與音效設計：吳聖雄＋張俊開

服裝設計：Dominique Devorsine

燈光設計：羅國文

中文文案：陳燕棣

英文文案翻譯：區琇詒

英文文案審閱＋英文宣傳：Pan Swee Chin

平面設計：Colorganda!

日期＋時間：

２００８年１０月９日之１８日＠８：３０pm

２００８年１０月１２日＠３：００pm＋８：３０pm

２００８年１０月１９日＠３：００pm

（２００８年１０月１３日無演出）

地點：

吉隆坡表演藝術中心(KLPac)，Pentas 2

前往交通

地圖

票價：

ＲＭ３７（成人）ＲＭ２２（學生、樂齡人士、殘障朋友）

購票熱線：

(KLPac) ０３﹣４０４７９０００

洽詢：

０１２﹣２６６１５７９／０１２﹣２７７８８７１

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Presented by Pentas Project Theatre Production

Animal Farm

They are idoits before the revolution; they are still idiots after the revolution

Adapted from a novel by George Orwell and script written by Ian Wooldridge

IN MANDARIN WITH ENGLISH SURTITLES

A political metaphoric performance presented by the most promisisng force of theatre in 2008.

George Orwell's scathing destruction of the dictatorial governance of Communism, "Animal Farm" was written in 1945. Yet, what is its relevance today? In 2008, Pentas Project will boldly question the complications of power and greed, capita;ising upon the boiling discontentment of the people and the strange political and social phenomena which is real life for many.

This is a shattering story of totalitarianism, desire, grees and corruption - forcing you to face the actual collective consciousness of the worst of human weaknesses.

Director : LOH KOK MAN

Chinese Script : TAN YAN TEE

Cast : GAN HUI YEE + LING TANG + CHEN HUEN PHUEI + CHIN LEE LING + LIM TIONG WOOI + MOO SIEW KEH

Production Manager : AU SOW YEE

Set Design : CAECAR CHONG

Music & Sound Design : BERNARD GOH + TERRENCE CHONG

Costume Design : DOMINIQUE DEVORSINE

Lighting Design : LOH KOK MAN

Date & Time:

9-18 OCTOBER 2008 @ 8:30PM

12 OCTOBER 2008 @ 3:00PM + 8:30PM

19 OCTOBER 2008 @ 3:00PM ONLY

( NO SHOW ON 13 OCTOBER 2008 )

Venue :

PENTAS 2, THE KUALA LUMPUR PERFORMING ARTS CENTRE (KLPac)

Ticket:

RM 37

RM 22 (STUDENTS, DISABLE & SENIOR CITIZENS)

Box Office :

(KLPac) 4047 9000 / (TAS@BSC) 2094 9400

Contact:

012-266 1579 / 012- 277 8871 / info@pentasproject.com

Supported by KLPac + HSBC in the Arts + Colorganda!

radio promo

Break-ing/ 击破（Ji Po）/ Ka Si Pe Cah : Pentas Theatre Collaboration Project

2008-09-04T01:33:00.020+08:00

Co-presented by Pentas Project Theatre Production + The Instants Cafe Theatre Company + Alternative Stage

Break-ing /击破(ji po)/Ka Si Pe Cah

Pentas Theatre Collaboration Project

"These three pieces, as a whole, have challenged us not only in our thinking about language, but also in our thinking beyond language." --Kakiseni.com

"Beatiful and elliptical... exuberant... ...Dramatists across the Causeway explore issues of language, politics and identity with mostly beautiful and hilarious results." by Adeline Chia, Singapore

"...each director ...succeeds in delivering something resonant, relevant and powerful.,,, a remarkable evening, displaying the vibrant diversity of the KL theatre scene" -- The Flying Inkspot, Singapore.

Pentas Theatre Collaboration Project is a platform of interaction within different cultures and realms and encourages diversities and possibilities in theatre arts and theatre language.

A collaboration based on the theme of LANGUAGE, was between three Malaysian theatre company, Pentas Project Theatre Production, The Instants Cafe Theatre Company and The Alternative Stage. Premiered in 2006 in Kuala Lumpur, it went on its international tour to Japan and Singapore in 2008. Now we are back in KL.

A triple-bill of plays --

Silence, please

3 women deal with the death of their mother, two men create a work of art and someone has something to say about what is not being said...

"Silence, please works beautifully with its oblique, sophisticated approach to contemporary theatre; five actors move in a combination of naturalistic and abstract movements as a brilliantly performed English-language voiceover describe a Hindu family's experience og their mother's death. Poetic, moving, and politically resonant too-splendid." - Fying Inspot Singapore.

Repot [ Mind+Mine ]

This is a formal yet informal report. Repot[Mind+Mine] humorously explores the situations and irony in the Malaysian lingo. If they could go back in time, if they walk into the world of P.Ramlee, if they tell you and me - Language is only a strange kind of blah, blah, blah, blah, blah...

"Features a madcap series of scenes where four Chinese-language actors re-enact the interrogation of language; they mimic own monologues and movements as pre-recorded video of their improvisation plays in the background, then re-enact interview with a range of mandarin, Cantonese, Hokkien and Hakka-speaking citizens; then there's the P.Ramlee movie... Coming after a piece about silence, this piece is instead about noise, language as noise, politics as noise, performance as noise, noise that is glorious, chaotic and alive... hilarious" Flying Inkspot Singapore.

WIP

In an unknown space, a blindfolded man tries desperately to connect with another man in a futile attempt to avoid death. He asks to share a cigarette, tries to find out his his gaoler's name and then finds himself beginning to share his hopes and dreams...

"The production wisely chose to end with Nam Ron's piece, which explores the ultimate reaching and yearning that is sometimes thwarted by language. The blindfolded victim wants to know his assassin's name. What's in a name? Was he appealing to a host of other memories and associations that the assassin had about himself, to his own humanity? And does the violence in this pieces say something about what happens when language is just not enough to express onself, anymore?" Kakiseni.com

Directors : Jo Kukathas, Loh Kok Man & Nam Ron

Casts : Anitha Abdul Hamid, Anne James, Chen Huen Phuei, Gan Hui Yee, Kiea Kuan Nam, Lee Swee Keong, Ayam Fared, Moo Siew Keh, Thiagu, Tin Tan Chai Chen, Sukania Venugopal, Where

Set Design : Caecar Chong & Teoh Shaw Gie

Music Composer & Sound Design : Ng Chor Guan

Lighting Design : Loh Kok Man

Multimedia : Au Sow Yee

Stage Manager : Jason Lai

venue:

Pentas 2 , Kuala Lumpur Performing Arts Centre ( KLPac )

Date & Time :

25th ~ 28th September 2008

8:30pm (wednesday to sunday)

3:00pm (sunday)

Ticket:

RM47 (Adult) RM27(Students, Disable & Senior Citizens)

10% discount for Astro subscribers

PREVIEW 24TH September 2008 @ 8:30pm / RM 27 Only

Box Office: (KLpac) 4047 900 (TASB) 2094 0400

More info:

info@pentasproject.com / info:instantscafetheatre.com

Supported by : HSBC in the arts / ASTRO / Colorganda!

Reviews :

KAKISENI.COM

THE FLYING INKPOT

Sumit Mandal Article

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

BREAK-ING 擊破 KA SI PE CAH

平台劇場合作交流計劃

呈現單位

平台計劃＋The Instant Cafe Theatre Company＋The Alternative Stage

日期：

２００８年９月２４日至２８日＠８：３０pm

２００８年９月２８日＠３：００pm

地點：Pentas 2, 吉隆坡表演藝術中心(KLPac)

票價：RM47（成人） RM27 （學生、殘障與樂齡人士）

預演２００８年９月２４日（票價一律 RM 27）

票務：(KLPac) 4047 9000

電郵： pentasproject@gmail.com

導演：羅國文／Jo Kukathas／Nam Ron

演員：

Anne James／丘冠南／Anitha Abdul Hamid／李瑞強／Sukania Venugopal／R Thiagarajan／顏果／曾宏輝／陳彩珍／Where／Ayam／巫紹棋

舞台設計：張忠勇燈光設計：羅國文音樂與音效設計：黃楚原

影像設計：區琇詒平面設計：Colorganda! 舞台監督：黎百齡

馬來西亞的社會環境包括劇場領域本身，語言往往構築了種族之間的一個隱約的界線，為了試圖打破這一界線，于２００６年，平台計劃聚合了本地知名英文劇團 The Instant Cafe Theatre Company 以及馬來劇團 The Alternative Stage，以語言為課題進行一項名為“擊破：平台劇場合作交流計劃“的劇場交流活動。三位來自于不同文化源流，並在國際間得到認可的著名劇場導演﹣﹣羅國文、Jo Kukathas 和 Nam Ron，再結合本地各藝術領域的創作者，如張忠勇、趙少傑和區琇詒，攜手合作為觀眾在國家語文出版局的小劇場帶來一次精彩而深刻的演出。

“擊破：平台劇場合作交流計劃“結合了三個單元，（一）請，安靜、（二）【思想＋自分】報告、（三）WIP，演出運用戲劇、視覺以及聲音元素，以或詩意，或幽默，或批叛的手法探索“語言“在馬來西亞的位置和困境，為不同文化與藝術領域提供了一個交流的舞台。“擊破：平台劇場合作交流計劃“引起了頗為熱烈的回響，更於次年獲得第五屆金馬侖藝術獎的７項提名。

本的著名藝術網站 Kakiseni.com 曾評論「擊破：平台劇場合作交流計劃，不僅挑戰觀眾對語言的既定想法，也挑戰了我們對于語言課題以外的思考。」“擊破：平台劇場合作交流計劃“于２００８年２月和４月間應邀前往日本和新加坡作巡回，當時還邀請了年輕作曲家黃楚原為演出作全新配樂、再結合經驗豐富的演員陣容，如Anne James、 Sukania Venugopal、顏果、陳彩珍、李瑞強、曾宏輝、巫紹棋等人。這群源自不同文化和語言背景的演員們，既將於２００８年９月２５日至２８日晚上８點３０分，在吉隆坡表演藝術中心(KLPac), Pentas 2小劇場再次粉墨登場。

贊助單位：

HSBC in the arts

ASTRO

Colorganda!

《一個人的晚餐》交流與示范演出

2008-08-26T17:17:00.008+08:00

平台計劃呈現

《一個人的晚餐》交流與示范演出

編劇／導演／演員：馬照琪（台灣）

入場免費

馬照琪，在吉隆坡進行為期四天的工作坊以前，帶來一場２０分鐘的單人示范演出，並將在演出後和現場觀眾進行交流。此示范演出為馬照琪在法國亞維農戲劇節演出的《一個人的晚餐》部分片段。

這是一個３０歲平凡單身女子的故事。入復一日在下班回家和再次出門之間，甚麼在等著她？泡麵、電視、空房間？還是，正要開始精彩的寂寞狂想．．．

贊助

ＨＳＢＣ in the arts

中華民國僑務委員會

The Annexe Gallery, Central Market

KLPac

Colorganda!

日期／時間：

２００８年９月１７日＠ 8:30pm

地點：

The Annexe Gallery, Central Market Annexe KL

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DINNER FOR ONE

Demonstration performance and artist talk

playwright/director/performer : Ma Chao Chi (Taiwan)

FREE ADMISSION

Before conducting a 4 days workshop, Ma Chao Chi will do a 20 minutes demonstration performance using techniques she learnt from the Lecoq School. This demonstration performance is excerpted from her full length one woman play "Dinner for one". She will also be there for a brief artist talk after the performance.

Dinner for one is a clown-solo played by an actor. The story speaks of one woman who lives alone, and who in spite of her loneliness and monotonous life, is always looking for love. We see how she spends her everyday life in a very small and dull room. With the unwinding of the actions - her joy, her loneliness, her fear, and her dream are manifested.

平台劇場工作坊系列００３

2008-07-29T17:22:00.031+08:00

平台計劃主辦

《詩意的身體》賈克樂寇技巧初級

表演訓練工作坊

指導老師：馬照琪（臺灣）

課程內容：

著重在賈克樂寇技巧之最基楚的概念應用與練習，以及表演中身體與空間、時間、節奏、戲之間的關係。內容包括：無語言即興練習，動作分析，風火水土認同練習，以及中性面具等。

課程規劃：

動作分析：我們將從人類日常生活之動作模仿與分析出發，發掘人類動作的法則。除此之外，動作分析還包括簡單的默劇、體操、戲劇遊戲，以及舞台打鬥動作，藉此找到人類動態的協調性以及表演之中最重要的元素﹣﹣遊戲。

即興練習：包含無語言狀態之即興練習，表演與節奏、空間的關係，想像力與表演策略之練習，顏色、文字、音樂、物質。

中性面具：中性面具（masque neutre)是一種沒有表情的面具。它代表的是一種完全平衡與協調的的肢體及心理的各種習慣與偏執拋開，回到如自然人一般的白紙。

劇種探索：我們將從推與拉的動態中，進入到以下三個劇種：通俗劇 (Melodrama)、悲劇 (Tregedy)、義大利即興喜劇 (Commedia dell' Arte)。

動作專題：課程內容將透過肢體活動的練習，體驗身體平衡與失衡的狀態、身體的協調性、與方向及空間的關係、直接單純的力量投射，進而將內在情境與肢體做平衡結合。

獨立創作：學員將在沒有老師的介入下，自行分組，依據每週第一天老師所提的表演題目，於獨立創作課中自行發展排練。然後於課堂中呈現。

工作坊日期／時間：

２００８年９月１８日（星期四）＠ 7:00pm ~ 11:00pm

２００８年９月１９日（星期五）＠ 7:00pm ~ 11:00pm

２００８年９月２０日（星期六）＠ 3:00pm ~ 6:00pm &

7:oopm ~ 10:00pm

２００８年９月２１日（星期日）＠ 11:00am ~ 2:00pm &

3:00pm ~ 6:00pm

工作坊地點：

吉隆坡表演藝術中心 KLPac

前往交通﹣﹣＞

工作坊人數：

１５至２０人

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：

０１２﹣６０７１３１８／０１２﹣２６６１５７９

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３０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。

贊助單位：

HSBC in the arts

中華民國僑務委員會

KLPac

Colorganda!

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

馬照棋簡介

沙丁龐客劇團團長，劇場編導、演員、表演老師、戲劇書藉翻譯。

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年到紐約大學教育劇場系 (Education Theatre, NYU )碩士，並參與倫敦及愛丁堡社區劇場及教育劇場工作研習營。

２００１年畢業於巴黎賈克樂寇國際戲劇學校 (Ecole internationale de theatre Jacques Lecoq)，專研默劇、小丑、體操、意大利即興喜劇、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藉《詩意的身體》(Le Corps Poetique)，於２００５年２月由桂冠書局出版。

２００５年初成立沙丁龐客劇團。２００７年推出自導自演女丑獨角戲《一個人的晚餐》。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，並不時受邀主持短期工作坊。

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

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。

Pentas Theatre Workshop Series 003

Le Corps Poetique - Jacques Lecoq Technique Theatre Workshop

** Workshops will be conducted in Mandarin & English

conducted by Ma Chao Chi from Taiwan

The workshop will emphasize the basic techniques of the Lecoq School, and also highlight the relationship between the performing body, space, time, rhythm as well as the play itself. The contents include non-verbal improvisation practice, analyzing movement, Masque Neutre and more.

Analyzing Movement : We will explore the rules of man's movement through imitating and analyzing movement in our daily lives. The analyzing of movement also includes mime, gymnatics, theatre games and fighting movements. Through all these practices, we will be able to look into the coordination of the body and also the most important element of performing - the 'game'.

Improvisation Practice : Includes non-verbal improvisation practice, performing and rhythm, relationship with space , imagination and performing tactics practice, colour, words, music and substance.

Masque Neutre : Masque Neutre is a mask without facial gestures. It represents physical and mental conditions that are totally balanced and coordinated. Under Masque Neutre, the actor must abandon all the physical and mental habits of oneself, and return to the most natural self, as if a piece of white paper.

Exploring the Genres : We will explore the following genres of drama through the condition of pushing and pulling, that is, Melodrama, Tragedy and Commedia dell' Arte.

Special Topic on Movement : Through the practice of physical movement, experiencing the balanced and unbalanced condition of the body, the conditional of the body in relation to direction and space, the direct and pure reflection of strength, eventually connecting the inner situation with physical movement.

Independent Creativity : The Participants will be divided into a few groups without the influence of the instructor. Participants will be given a topic and will need to rehearse and finally present it in class.

++++++++++++++++++++++++++++++++++++++++++++++++++++

Organized by :

PENTAS PROJECT THEATRE PRODUCTION

Date / Time :

18th September 2008 ( thursday ) 7:00pm ~ 11:00pm

19th September 2008 ( friday ) 7:00pm ~ 11:00pm

20th September 2008 ( saturday ) 3:00pm~6:00pm and 7:00pm~10:00pm

21st September 2008 ( sunday ) 11:00am~2:00pm and 3:00pm~6:00pm

Venue :

Kuala Lumpur Performing Arts Centre ( KLPac )

Target participants :

Actors, Directors and Acting Coaches etc.

Fees :

RM 380

Contacts :

012-2661579 / 012-6071318 / pentasproject@gmail.com

Supported by :

HSBC in the arts ,

中華民國僑務委員會，

KLPac,

Annexe, Central Market,

Colorganda!

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 30th 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.

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

Ms Ma Chao Chi is a famous theatre director, actress and theatre teacher from Taiwan. She is also a Professor at the National Taiwan University of Arts, as well as at the Taipei National University of Arts. After completing her studies in Humanity and Economy at the National Taiwan University, Ms. Ma decided to take-up professional theatre study (an Educational Theatre program ) at New York University. She then went on to study at the International School of Theatre Jacques Lecoq in Paris where she learned Mime, Acrobatics, Masks, Clown, and physical theatre. She translated the book ' Le Corps Peotique' by Mr Jacque Lecoq from French to chinese, published in 2005 by Laurel Publishing Company, Taiwan.

Jacques Lecoq (December 15, 1921 ~ January 19, 1999) was a French actor, mime and acting instructor. Born in Paris, he is most famous for his methods on physical theatre, movement and mime taught at IEcole Internationale de Theatre Jacques Lecoq from 1956 until his death in 1999.

Lecoq began his career by studying physical education and sport. after teaching this subject for several years, he found himself acting and a member of the Comediens de Grenoble. This company and his work with Commedia dell'arte in Italy (where he lived for eight years) introduced him to ideas surrounding mime, masks and the physicality of performance.

ACTING IN DRAMA WORKSHOP FLYER

2008-06-18T15:25:00.002+08:00

平台计划剧场工作坊系列之《演剧工作坊》

2008-05-27T14:54:00.016+08:00

平台剧场工作坊系列002

演剧工作坊

指导老师朱宏章

演剧工作坊课程介绍

舞台行动概说与交流

1）何为舞台行动与规定情境

2）行动三要素－－做什么？为什么？怎么做？

3）正确执行舞台行动的逻辑与顺序

4）在行动中真实交流

情绪与感官记忆

1）记忆中的事件、对象与画面

2）五种感官－－视觉、听觉、味觉、触觉、嗅觉

3）情绪与感官记忆的交替作用

无实物

1）演员的梳洗

2）信念感

3）专注力

4）与物件的交流与适应

合理化

1）动作的合理化－－赋予行动的意义与逻辑

2）语言的合理化－－赋予画面的意义与逻辑

隐秘的冲突

1）自我的冲突

2）彼此的冲突

3）真听、真看、真感觉

pentas theatre workshop serious 002

Acting in Drama Workshop

conducted by Chu Hung Chang from Taiwan

**workshop will conduct in mandarin with english interpreter

contents of workshop

Stage Action : Introduction and Interactions

1. What is action and defined environment

2. The 3 elements of action : what?why?how?

3. To correctly carry out the logic and order of stage action

4. Interact in action

Memory of emotions and senses

1. Occurrence, subject and images in memory

2. 5 senses : sight, hearing, taste, touch and smell

3. The alternate use of memory of emotions and senses

No Real Object

1. The frenshen up of actors

2. Belief

3. Concentration

4. Interact with and Adept to the object

Rationalize

1. The rationalization of acting : meaning and logic given to action

2. The rationalization of language : meaning and logic given to image

The hidden conflict

1. The conflict within oneself

2. The conflict between each other

3. The ability of improvisation

4. Truly listen, seeing and feeling

+++++++++++++++++++++++++++++++++++++++++++++++++++

研习日期/时间 Date & Time

18/07/2008(friday)@ 7:00pm~11:00pm

19/07/2008(saturday)@ 2:00pm~6:00pm & 7:00pm~11:00pm

20/07/2008(sunday)@ 11:00am~3:00pm & 4:00pm~8:00pm

地点venue

吉隆坡表演艺术中心\ Kuala Lumpur Performing Arts Center (KLPac)

上课人数 number of participants：

15 to 20 people

工作坊对像 target participants：

演员、导演、戏剧训练导师及对表演有兴趣的人士

Actors, Director and Acting Coach etc

研习费用 workshop fees：

RM 380 （20 hours）

报名及缴费方式：

1。有兴趣者可用电话或 email 和我们联络，之后我们将把报名表格寄到你的电邮信箱。

2。报名后需在6月22日前缴交研习费。如没在指定的限期内缴交研习费，主办单位将有权力把名额转让给其他有兴趣者。

3。缴费方式：－

a. 可亲自把费用交给工作坊负责人

b. ATM 转帐付费或支票汇款

Account Name : Pentas Project Theatre Production

Bank : Public Bank

Account Number : 3141760724

4。汇款后请用电话或 email 的方式和我们联络，以确定你的姓名及汇款账号。

5。请务必保留提款机列印的收执联或任何汇款回条，以做为相关证明。

a. If you're interested, please email or give us a call, we will then email you an application form.

b. After sending us back the application form, please pay the workshop fees before 30th June. If you do not pay the application fees on time, the organizer has the right to give the opportunity to others who are interested and cancel your application.

c. How to pay the workshop fees :-

* Pay it directly to person in charge of the workshop.

* Banked in our account or write us a cheque.

Account Name : Pentas Project Theatre Production

Bank : Public Bank

Account Number : 3141760724

d. After banked in, please notify us via phone or email to make sure your name and deposit numbers.

e. Please keep the deposit slip for further confirmation.

联络方式 contacts：

012-2661579 / 012-6071318 / 012-2744292 / pentasproject@gmail.com

+++++++++++++++++++++++++++++++++++++++++++++++++++

profile of instructor

Chu Hung Chang

Theatre actor, director and educator, Chu Hong Chang holds a M.F.A in performing arts from National Taiwan University of the Arts and a PHD from Beijing Central Academy of Drama. He is now a full time lecturer in the Department of Drama, Chinese Culture University (Taiwan). He has also lectured in National Taipei University of the Arts, National Taiwan University of the Arts, Shih Hsin University and many others. He had performed in various theatre performance with some of the most important contemporary theatre company on Taiwan. In 2006, Hong Chang was the acting coach for Ang Lee's " Lust, Caution".

指导老师简历

朱宏章

剧场演员、导演、戏剧教师。国立艺术学院表演艺术硕士，北京中央戏剧学院博士，现任中国文化大学戏剧学系专任讲师。曾任教於台北艺术大学、台湾艺术大学、台北教育大学、世新大学等校。曾参与台湾表演工作坊、创作社、优剧场、密猎者、大开剧团与新加坡实践剧场、香港非常林奕华等团体的演出创作。2006夏担任李安电影《色。戒》演员训练。2007年至2010年担任香港学术及职业资历评审局行业／科学专家。

导演作品：

2008

〈老鼠娶亲〉爱乐剧工厂／国家戏剧院

2007

〈福春假女〉客委会与中正文化中心／国家戏剧院／副导演

〈窗内的风景〉文化大学戏剧系／澳门文化中心小剧场

2006

〈母亲的嫁衣〉 06版大开剧团／国家剧院实验剧场

2005

〈母亲的嫁衣〉 05版大开剧团／台中20号仓库

〈求婚的蠢货〉台湾艺大戏剧系／北市政府亲子剧场

2004

〈呈现本〉大开剧团／台北20号仓库

〈霍别东。如狗之辈〉台湾艺大戏剧系／台湾艺大演艺厅

〈吕泉生乐展〉中正文化中心／国家音乐厅

2001

〈旧梦新庄〉新庄扮戏团／新庄艺文中心

2000

〈苍蝇和蚊子〉新庄扮戏团／新庄艺文中心

〈从此，他们过著幸福快乐的日子〉复兴高中戏剧科／复中小剧场

〈真心的愚罪〉艺术学院独立呈现／艺术学院T305

1999

〈一个平凡的日子〉艺术学院独立呈现／艺术学院 T305

1998

〈只不过是一只猫〉新庄扮戏团新庄艺文中心

1997

〈使女〉艺术学院独立呈现／艺术学院 T305

1993

〈月晕〉台湾艺专戏剧科／台北县文化中心

表演作品：

2008

〈水浒传〉亚洲巡演台湾两厅院与非常林奕华／台北、新加坡、香港、澳门

2007

〈西游记〉台湾两厅院与非常林奕华／国家戏剧院

2006

〈水浒传〉台湾两厅院与非常林奕华／国家戏剧院

〈雷雨〉新加坡实践剧团新加坡维多利亚剧院

2005

〈人民公敌〉黑门山上的剧团／城市舞台

〈如梦之梦〉表演工作坊／国家剧院

2004

〈流亡〉台湾艺人馆／华山特区

〈威尼斯双胞案〉表演工作坊／国家戏剧院

2003

〈林旺爷爷说故事〉如果儿童剧团／中山堂光复厅

2001

〈海上旅馆〉差事剧团／差事小剧场

2000

〈离城记〉密猎者剧团／皇冠小剧场

〈她的小说。我的故事〉密猎者剧团／国家剧院实验剧场

〈X小姐〉艺术学院戏剧系／国家剧院

〈琴欲二重奏〉四度空间剧团／皇冠小剧场

〈旅行生活〉密猎者剧团／皇冠小剧场

1999

〈我是一朵花〉四度空间剧团／皇冠小剧场

〈末世纪童话〉 L209剧团／皇冠小剧场

〈天使尘埃〉舞蹈空间舞团／城市舞台

〈情人〉四度空间剧团／耕薪小剧场

〈棉花炸弹〉公视人生剧展／公共电视

1998

〈无言剧一、二及插曲〉密猎者剧团／皇冠小剧场

〈WIDOW98－浮城奇书〉密猎者剧团／国家剧院实验剧场

〈KIKI漫游世界〉创作社剧团／新舞台

〈行走的人－走向内在天堂〉密猎者剧团／国家剧院实验剧场

1997

〈夜夜夜麻〉创作社剧团／新舞台

〈罗森与吉尔四了〉艺术学院戏剧系／艺术学院 T305

〈审判〉临界点剧象录／国家剧院实验剧场

1996

〈钦差大臣〉艺术学院戏剧系／学术学院戏剧厅

〈无路可出〉艺术学院戏剧系／艺术学院 T305

1995

〈春天的花蕊〉金枝演社／皇冠小剧场

1994

〈优人神鼓〉优剧场／老泉剧场

〈争〉优剧场／台北车站演艺厅

1992

〈漠.水镜记〉优剧场／老泉剧场

〈山月记〉优剧场／老泉剧场

＋＋＋＋＋＋＋＋＋＋＋＋＋＋＋＋＋＋＋＋＋＋＋＋＋＋＋＋＋＋＋＋＋

link

www.pentasproject.com

supported by

HSBC in the ARTS

KLPac

Colorganda!

平台計劃

animal farm

仲夏夜之梦

14/07/2011 (thurs) @ 8:00pm15/07/2011 (friday) @ 8:00pm16/07/2011 (saturday) @ 3:00pm & 8:00pm17/07/2011 (sunday) @ 3:00pm & 8:00pm

“你们真能断定我们现在是醒着吗？ 我觉得我们还是在睡着做梦”

莎士比亚（W. William Shakespeare；1564～1616）

《物理学家》 The Physicists

2011平台剧场新导演计划 公开征集

A Modern Woman Called Ang Tau Mui

The Next Door

Workshops

Happy Chinese New Year

Happy New Year 2011

The “Next Door”

Demonstration Activity By Pentas Project Theatre Production

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

動物、物質、角色塑造與小丑 表演工作坊

平台新導演計畫

城失空想 The Lost And The Ecliptic

NOH THEATRE 日本能劇

DELUSIONS 惑 KHAYALAN

SHOOT笑忘書

藝術核爆．平台跨領域交流計劃（七）

戏剧表演工作坊

藝術核爆．平台跨領域交流計劃（六）

藝術核爆．平台跨領域交流計劃（五）

ToiLet Album & reviews

TOILET廁所

藝術核爆．平台跨領域交流計劃（四）

平台计划 招兵买马

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（二）

6 nominations - 7th Cameronian Arts Awards 2008

藝術核爆．平台跨領域交流計劃（一）

Animal Farm 動物農莊 production album

Animal Farm 動物農莊

Break-ing/ 击破（Ji Po）/ Ka Si Pe Cah : Pentas Theatre Collaboration Project

《一個人的晚餐》交流與示范演出

平台劇場工作坊系列００３

ACTING IN DRAMA WORKSHOP FLYER

平台计划 剧场工作坊系列之 《演剧工作坊》

14/07/2011 (thurs) @ 8:00pm
15/07/2011 (friday) @ 8:00pm
16/07/2011 (saturday) @ 3:00pm & 8:00pm
17/07/2011 (sunday) @ 3:00pm & 8:00pm

“你们真能断定我们现在是醒着吗？
我觉得我们还是在睡着做梦”

2011平台剧场新导演计划公开征集

動物、物質、角色塑造與小丑表演工作坊

平台计划招兵买马

平台计划剧场工作坊系列之《演剧工作坊》