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「一桌二椅」文化交流計劃
One Table Two Chairs
Cultural Exchange Project
院長推薦藝術大師計劃 Dean’s Master Artist Programme
香港演藝學院 Hong Kong Academy for Performing Arts
10 – 28.6.2013
榮念曾 Danny Yung

「一桌二椅」是中國傳統戲曲寫意抽象式的舞台佈置規範。
One Table Two Chairs (1T2C) is a standardized set design in
traditional Chinese theatre.

「一桌二椅」的不同擺設意味著不同的場景。
A different arrangement of One Table Two Chairs suggests a
different scene.

大座：桌子在前椅子在後，可象徵皇帝的寶座、
法官的審判台、軍營主帥的座位…
Grand Seat, with the table in front a chair, might suggest the office
of a prime minster, a general etc., or even the emperor’s throne.

斜場大座 Grand Seat in an oblique direction

小座：椅子擺在桌子前面，則帶有非正式的意味，
可象徵偏廳、書房等。
Casual Seat, with a chair in front of the table, suggests relatively
private space, such as wing room, study, etc.

小座與一旁椅 Casual Seat with One Side Chair

高台：椅子疊高成了高山、高台、高牆。
Table with one chair on top, symbolizes a tall mountain or obstacle.

一張桌子、二張椅子併排，一般象徵橋樑或山丘。
Table with a chair at each side aligned in a straight line, symbolizes
a bridge or a hill.

八字：椅子斜靠桌子的前犄角排列，可以是住家客廳、酒樓茶肆。
Table with a chair at each side slightly turned towards each other,
makes a set for conversation, indicating living room, tea house….

榮念曾自1997年起以新角度演繹中國傳統戲曲「一桌二椅」舞台配置
One Table Two Chairs has been adopted by Danny Yung since 1997
as a platform…

啓動跨地區、跨文化、跨領域的對話、協商、評議、合作。
… to initiate creative cross-region, cross-discipline and cross-
cultural dialogue, negotiation, critique and collaboration.

計劃至今已經委約超過100位藝術家創作20分鐘的當代舞台作品。
The project has commissioned more than 100 20-minute
contemporary stage works since its inception.

夥伴藝術家 Collaborating Artists

進念·二十面體
Zuni Icosahedron
10 – 28.6.2013

百年之孤寂10.0 – 文化大革命
One Hundred Years of Solitude 10.0 – Cultural Revolution
(2011香港 Hong Kong; 2012 新加坡 Singapore)
進念·二十面體，1982年成立，為非牟利慈善文化團體，以香港為基，
面向世界的實驗藝術團體。
Zuni Icosahedron, founded in 1982, is a Hong Kong based international
experimental theatre company.

從事多元戲劇藝術創作至今，原創劇場作品超過一百九十多齣…
Zuni has produced more then 190 original productions of alternative theatre and
multimedia performances...

活躍於發展電子媒體及跨媒體等新類型藝術模式…
...and has been active in video, sound experimentation and installation arts…

積極推動藝術教育、國際文化交流，主催藝術評論及文化政策研究等工作。
…as well as in areas of arts education, arts criticism, cultural policy research and
international cultural exchange.
審判卡伕卡之拍案驚奇 The Trial (1994香港 Hong Kong)

獲邀前往演出及交流的城市遍及歐美亞洲三十多個城市。
Over the years, Zuni has been invited to more than 30 cities in Europe, Asia, and
America for cultural exchange and performances.

現為香港九個主要專業演藝團體之一…
Zuni is one of the nine major professional arts companies in Hong Kong...

也是香港最具代表性的國際實驗劇團。
and has established itself as a premiere experimental theatre locally and
internationally.
香港二三事 Two or Three Things You Want to Know About Hong Kong
(1993,1995; 1994 布魯塞爾 Brussels; 1995 香港 Hong Kong)

2009年起，進念成爲香港文化中心的場地伙伴團體，
開展系列創作及外展教育計劃。
Since 2009, Zuni becomes Hong Kong Cultural Centre’s venue partner, and
produces a series of theatre works and outreach education programmes.

戲劇是一種現場的體驗。 Theatre is a “real time real space” experience.

在同一個空間，同一段時間，在劇場裡面，我們一起歡笑、一起哭泣、一起
想像、一起沉思、一起體會人世間種種的悲歡離合。
In the theatre, we laugh, cry, think, and experience all the vicissitudes of life
together in the same space and in the same period of time.
Corbu and Kahn (2009 香港 Hong Kong)

進念的戲劇，以實驗作起點，
探索戲劇的各種領城 —
Zuni Theatre starts with exploring all of the
possibilities in the theatre –

傳統與科技、政治與娛樂、語言與動作、
歷史與哲學、理性與感性…
traditions and technologies, dialogues and
movements, politics and entertainment,
history and philosophy, sense and sensibility…

戲劇不是人生，但人生可以因為戲劇而獲得一些啟示…
Theatre is not life, but life can be enlightened by theatre –
華嚴經 Hua-yen Sūtra (2007, 2008, 2013 香港 Hong Kong; 2008 台北 Taipei)

重拾失去的感覺和記憶，細說現實世界的善惡，尋找生活與生命的不同顏色。
regaining lost feelings and memories, recounting the good and bad of the world,
searching for various possibilities of living and life.

這就是進念的戲劇，這就是戲劇REAL TIME REAL SPACE的力量。
This is Zuni Theatre; this is the power of real time, real space of theatre.

先鋒是帶領軍隊探索前方的精英戰士。
Avant-gardes are elite warriors who lead the troops to explore the future.
荒山淚 Tears of Barren Hill
(2008 香港 Hong Kong; 2009 橫濱 Yokohama; 2009 鹿特丹 Rotterdamse; 2009 新加坡 Singapore)

先鋒藝術則是一種對理想的追求，
以開創新文化為己任：
Avant-garde art is a pursuit of ideal and
a mission to reinvent culture:
(2008 香港 Hong Kong; 2009 橫濱 Yokohama;
2009 鹿特丹 Rotterdamse; 2009 新加坡 Singapore)

審視過去、批判現狀、顛覆主流、引領思考、啟發想像…
to revisit the past, to criticize the present, to subvert the mainstream, to guide
thinking, to inspire imagination…
(2008 香港 Hong Kong; 2009 橫濱 Yokohama; 2009 鹿特丹 Rotterdamse; 2009 新加坡 Singapore)

以抵禦庸俗與膚淺的侵襲，創造具知性、人性與多元性的體驗。
…to resist the kitsch and the superficial, and to create experiences that reflect
intellectuality, humanity and diversity.
密斯．凡德羅的簡約建築 — 神在細節裡面 Looking for Mies – God is in the Details
(2009, 2011 香港 Hong Kong)

先鋒藝術是一股建設性的革命力量，
推衍社會、政治與美學的進化。
Avant-garde art is of relative force of
constructive revolution which pushes
for social, political, and aesthetic
evolution.
密斯．凡德羅的簡約建築 — 神在細節裡面
Looking for Mies – God is in the Details

它不是娛樂消費或政治宣傳，
也不是純粹的藝術行為.
It is neither entertainment consumption
nor political propaganda, nor is it purely
an artistic behaviour.
密斯．凡德羅的簡約建築 — 神在細節裡面
Looking for Mies – God is in the Details

它與社會互動，影響社會發展。
It interacts with the society and influences social development.
紫禁城遊記 A Tale of The Forbidden City
(2009, 2010, 2013 香港 Hong Kong; 2012 蘇州
Suzhou)

進念的先鋒藝術，尋找各種社會制度和藝術價值的框框…
Zuni’s avant-garde art looks for all boundaries in social systems and artistic valu…
紫禁城遊記 A Tale of The Forbidden City (2009, 2010, 2013 香港 Hong Kong; 2012 蘇州 Suzhou)

挑戰各樣意識形態的底線，透過不同領域的實驗 —
…and challenges all sorts of ideological bottom lines; through
experimentations in different areas –
紫禁城遊記 A Tale of The Forbidden City (2009, 2010, 2013 香港 Hong Kong; 2012 蘇州 Suzhou)

劇場創作、媒體裝置、文化交流、政策倡議，展現進念的，先鋒的力量。
…creative theatre, installation arts, cultural exchanges and policy initiatives,
exhibits a progressive and pioneering force.
錄鬼簿 Book of Ghosts (2009 香港 Hong Kong)

「專業精神、原創性、熱誠與對各種形式的
兼收並蓄，使人眼界大開。」
— 史景遷，美國耶魯大學歷史系榮休教授
Professionalism, originality, enthusiasm, and
eclectic skills with multiple forms were a real eye opener.”
— Professor Jonathan Spence, Sterling Professor of
History Emeritus, Department of History, Yale University

「在香港、中華地區、亞洲以及世界各地對文化藝術發展的推動和啓發
令人銘記。」— 漢斯-格奧爾格·克諾普，歌德學院總秘書長
“Zuni's efforts in promoting and instigating developments in arts and culture have
been highly remarkable.”—Hans-Georg Knopp, Secretary-General of Goethe-Institute

「是香港不可或缺的文化資產。」— 林懷民，雲門舞集創辦人及藝術總監
"…the essential cultural asset of Hong Kong." — Lin Hwai-min, Founder and
Artistic Director of Cloud Gate Dance Company
舞台姊妹 Stage Sisters (2010, 2012 香港 Hong Kong)

「進念的實驗舞台已成爲人文精神為本的交流平台。」
— 清端俊夫，大野一雄舞踏研究所秘書長、BankART 1929節目總監
"The experimental theatre of Zuni has become an exchange platform for exploring
spirits of humanism.” — Toshio Mizohata, Programme Director of BankART 1929

「滋養了一代又一代的新銳人才。」
— 張溪隆教授，瑞典皇家人文、歷史及考古學院外籍院士
"Nourishing generation after generation of cutting-edge talent."
— Professor Zhang Longxi, Foreign Member of the Royal Swedish Academy of
Letters, History and Antiquities

榮念曾實驗劇場
Danny Yung
Experimental Theatre
10 – 28.6.2013

2004 奧斯陸 Oslo; 2010 上海 Shanghai, 橫濱 Yokohama, 新加坡 Singapore;
2011 台北 Taipei; 2010, 2012 香港 Hong Kong

改編自崑劇武生的高難度戲碼《夜奔》
A revamp of the kunqu solo act Flee by Night.

繼《挑滑車》及《荒山淚》後，爲「實驗中國傳統三部曲」壓軸收篇
Yung's closing sequel in his Experimental Traditional Theatre Trilogy following
The Outcast General and the award-winning Tears of Barren Hill.

2011 香港 Hong Kong; 2012 東京 Tokyo, 新加坡 Singapore

啓發於已故新加坡戲劇大師郭寳崑同名作品，
與江蘇省崑劇院(南京)及座· 高圓寺(東京)合作創作。
Inspired by work of the same title by the late Singaporean director Kuo Pao Kun.
Joint Venture between Hong Kong, Nanjing and Tokyo.

結合崑曲與能劇，一場撫慰亡靈的祭典
Experiments the combination of Kun opera
and Noh theatre while addressing
the issues of war and memory.

1 t2c(for apa) bilingual 20130530

從郭寳崑最通俗作品《老九》，演繹出基於「一桌二椅」舞台裝置
的20分鐘當代舞台作品。
A 20-minute contemporary stage work by exploring Kuo’s most popular and
accessible work, Lao Jiu, based on the set of One Table Two Chairs.

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