Issue 70 | Re-Enactment: a Reflection on After-effects

第70期|重演:事件还原中的余波荡漾
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Time & Location

2020年6月07日 上午9:30 – 下午12:00
Tencent Meeting

About the Event

题引人 Writer / Moderator | 曹晓婕 XiaoJie Cao

嘉宾对话 Guest Speakers | 董雪莹 Tracy Dong + 王翀 Chong Wang

影片放映|Film Screening 

 Screening Time|NY Eastern Time  June 5th  9am -- June 8th 9am @ www.CathayPlay.com 

 影片放映时间|纽约时间 6月5日 9am -6月8日 9am  @ www.CathayPlay.com 

Online Panel Talk Time | June 7th 9:30--11:30 am   (New York, Eastern Time)

   嘉宾线上对话座谈时间 |  6月7日 21:30--23:30 pm (北京时间, Beijing Time)

 Tencent Meeting | 腾讯会议 ID : 878 3995 9107 with live stream on YouTube and Himalaya Live

 

戏剧工作坊 | Online Playback Theatre Workshop

    In Collaboration | New York Mandarin Playback (NYMP)

    合作剧团 | 纽约华语一人一故事剧场 (NYMP)

    时间 | 6月13日 具体时间/地点待定  June 13th  TBD

Program Overview | 专题概览 

 

A reenactment is the action of performing a new version of an old event, usually in a theatrical performance or film. Although a reenactment is certainly an event of its own standing, it is perhaps useful to consider the reenactment – both ‘versions’ of it – as part of the after-effect of the original event that is still unfolding. It is the continuation of impressions that is given, left or made by the event, and, simultaneously, evoking the production of more impressions. At one side of the spectrum is a reenactment of a historical event, and, at the other, a reenactment of a personal past. 

Historical reenactment participates in the historicization of the original event through strengthening, supplementing, mediating, repairing or reversing the understandings of the specific past. Historical reenactment could also be seen as a process of depicting “living history”. By including the victims of the past, the genuine power of “living history” allows room for release of sentiments associated with collective traumatic experience. 

A reenactment on an individual level is a restaging of personal memories and narratives. The action of re-enacting a personal past or watching others re-enacting it creates possibilities for self-exploration and self-reinvention. Compared to the mechanical repetition of certain behaviors in daily life, the awareness of “being seen” gives power to reenacting, during which the old self sees a new way to narrate the past. 

专题概览 | Program Overview

 

重演是一种特殊的表演策略,它的核心在于通过表演技巧将过往的事件重现。它可以看作是事件的“余波”(after-effect),是事件留下的印象的一部分。在电影、当代艺术作品中,对特定事件的重演承载了人们对事件的讨论与再叙事,是重演组织者将“印象”外化的体现。重演作品作为“余波”,也在不断激发着新印象的产生。在历史事件的重演(historical reenactment)中,重演作品能够参与原事件的历史化进程,对现有的文献和理解进行巩固、补充、调解、修复、扭转。有时,历史重演作为“活生生的历史”(living history)会用于处理集体创伤,这也让原事件在历史化的过程中多了鲜活的印记。在历史重演的另一端,重演在个体层面上则更关注自我探索和重塑。人们通过演绎自己的过去,或是目睹自我的化身演绎过往,都是在寻找改变自我的可能。和生活内部的重复相比,在戏剧和影像中, “被看”的意识赋予了重演力量,让旧的自我看到改变已有叙事的可能。

 

电影: 《入戏》In Character  |  董雪莹

 ✦ Synopsis |剧情梗概

To bring their characters to life, 13 actors agreed to partake in an event no different from a social experiment; they voluntarily go to live in an isolated arsenal in Sichuan, relinquishing any contact from the outside world of their own accord to experience the way of life during Cultural Revolution; they wear costume of the period and listen to music of that time. As one of the actor requests a leave of absence, surprising, or rather, frightening changes come over the other actors, and an unexpected struggle session ensues. 

有着文革情节的导演叶京为了让13名年轻演员回到文革,他把演员们封闭在四川小镇的一个兵工厂,隔绝了于外界的任何联系——这无异于一场社会实验。这13名演员每天穿着文革时期的服装,听着文革时期的歌曲…一个演员请假事件掀起了一场残酷的批斗会,批斗会上演员们发生了惊愕的变化…

Director Bio|导演介绍

董雪莹 Tracy Dong

Tracy Dong graduated from Beijing Film Academy. In 2008, she founded 8090 studio . She started to make documentary in 2010 with a DV. Her work In Character, originally entitled Smile, had initially been designed to reflect the living conditions of the students of Beijing Film Academy, which was then transformed to the present edition of In Character now.

To say the making of In Character is a difficult one is an understatement. Dong handled everything herself, from shooting, editing, screenplay, festival applications, to designing posters. It is as much a learning process as the making of a film. 

Fortunately, the title was accepted to Sundance-CNEX Documentary Forum, which opened doors to independent documentary market for her. With the assistance from friends in film, the title was accepted by Göteborg Film Festival, one of the most prestigious film events in Northern Europe, and was premiered at the same festival on January, 30th in 2018.

董雪莹毕业于北京电影学院,2008年创办以后期为主的8090影视工作室,2010年她拿着一台小DV开始了纪录片之旅,主要作品《微笑》记录了北京表演系学生的演员生存状态,没想到最后成了现在的《入戏》。

《入戏》的整个过程对她来言,是一个痛苦的过程,也是一个学习的过程。从拍摄到剪辑,甚至打字幕、报影展、到设计海报,几乎是她独立完成。当然幸运的是她期间入选了Sundance-CNEX的工作坊,让她真正的进入了独立纪录片的生态。在多位朋友的协助下,影片最终入围了北欧最大的电影节:哥德堡电影节,《入戏》也在2018年1月30号在瑞典全球首映。

Guest Speakers |嘉宾介绍

王翀 Chong Wang

Wang Chong is the founder and artistic director of Beijing-based performance group Théâtre du Rêve Expérimental. Wang's works have been invited to festivals in 16 countries. At the start of 2016, Wang stopped using cellphones and social networks. He currently lives in The De-electrified Territory.

北大法学学士,夏威夷大学戏剧硕士,纽约大学访问学者。戏剧导演,新浪潮戏剧发起人。

翻译并导演《阴道独白》《哈姆雷特机器》《平行宇宙爱情演绎法》等欧美后现代名作,又以《雷雨2.0》《茶馆2.0》《样板戏2.0》革新中文经典。作品巡演16国,连续5年里有8部作品获得国际委约或投资。《地雷战2.0》获东京艺术节大奖,《大先生》被新京报评为年度最佳华语戏剧,《雷雨2.0》被评为中国小剧场戏剧30年十佳,《茶馆2.0》获壹戏剧大赏。

2012年被新京报评为新锐艺术家。也曾获日本世尊艺术家奖金、美国亚洲文化协会奖金、中国译协韩素音青年翻译奖亚军。出版有译作《空的空间》《作家之旅》。王翀导演没有手机、脸书、微博、微信。2017年,他自己设计了完全无电的住宅“停电亭”,并搬入居住。

 

NYMP | New York Mandarin Playback 

http://nymplayback.org/

Playback Theatre is the theatre based on the spontaneous enactment of personal stories.There is no “pre-set” scripts. Our playwrights are our audiences who share their personal stories and feelings to the audience and actors. With the guide of conductor (or event host), actors and musicians present the stories with the Playback Theatre systematized forms, “Play-IT-back” to the storyteller and the audiences.

Playback Theatre was developed by Jonathan Fox and Jo Salas and other members of the original Playback Theatre company in New York in 1975. It is very popular worldwide. Nowadays, there are numerous Playback Theatre groups in over 60 countries.

NYMP是北美第一个以华语为主要表演语言的一人一故事剧团。 NYMP由一群说华语的年轻专业人士于2016年创立,他们重视母语的力量。我们发现,在纽约,使用相同语言的人也拥有许多相似的经历、欲望和焦虑。而他们常常缺乏机会和工具来分享自己的感受,相互支持并建立一个强大的社区。我们旨在为讲华语的人们提供一个非审判的空间,来分享他们的故事并彼此联系。我们接受每个人的故事,并以戏剧艺术为媒介来对每个人的体验表达我们的崇高敬意。我们的最终目标非常简单:全身心地听你的故事,让你的故事被看见。

一人一故事剧场是一种基于个人故事产生自发性演绎的戏剧形式。它是由乔纳森·福克斯(Jonathan Fox)和乔·萨拉斯(Jo Salas)以及最初在纽约的剧团的其他成员在1975年开发的。它是即兴剧院的一种原始形式,观众或团体成员可以讲述自己的生活故事,并观看他们在他们的故事在舞台上展开。现在,数百家一人一故事剧团在60多个国家/地区演出。

这次工作坊的主题为《推石头的我们》。“人永远无法踏入同一条河流”,虽然事件/经历/记忆被重演,但是此时非彼时,情景、语境都不再相同。重演是重塑,重演也是对所谓某种既定轨迹的重组、诠释与“反叛”; 如果历史与记录注定是付诸于每一个人身上的‘枷锁’,那么剧场存在的意义或许可以是在这‘既定镣铐“之下的自由舞蹈,于是,那些最富有人文精神与关怀的可能,那些生命里最为丰沛的喜怒哀乐,才能在剧场里孕育而生。剧场一直非常强调的是the presence, live,以及当下的我们,因此这种及时性、互动性都是独属于剧场的魅力,同时也是对于“重演”的另外一个层次的注解。

相比于通常的演出,这次工作坊会采取更加互动的形式,参与者不需要有任何的戏剧经验,由NYMP的领航员和乐师带领参与者一起体验NYMP对于和主题相关的个人真实体验的戏剧重演。在2个小时内,我们会一起探索一人一故事剧场如何利用音乐、声音、肢体、比喻、隐喻、童话、诗歌等不同方式还原参与者的真实的故事。

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