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鄧樹榮戲劇工作室Tang Shu-wing Theatre Studio

「鄧樹榮戲劇工作室」的使命是「將最優質的劇場作品帶給最多的觀眾」,其定位是一所研究及創作中心,透過對演員表演藝術的研究及創作,實踐對形體劇場及簡約美學的理念。形體劇場探索戲劇跟舞蹈及其他形體文化的跨界;簡約風格既是美學追求,也是生活智慧。

研創的最終目的是催生創意,使觀眾因參與藝術活動而追求有質素的生活。

工作室有兩大目標,一是創作具持久性的地標式演出,對本港的文化產業作出貢獻;二是拓展本地及國際觀眾,促進文化交流,讓香港劇場在世界舞台上取得應有的位置。

藝術總監鄧樹榮深受梅耶荷德「假定性戲劇」、葛羅托斯基「質樸劇場」、太極以及瑜伽的啟發,認為劇場是一種透過自我發現去感受生命的藝術形式。他的簡約美學及形體劇場的獨特風格,為他帶來「簡約劇場煉金術士」的美譽。法國文化協會的《東西譚雜誌》更形容他是「香港最具才華的劇場導演之一」。

工作室於2012年起獲得香港民政事務局為期兩年的藝能發展資助,並於同年成為香港藝術中心駐場劇團。

「無人地帶」及「鄧樹榮戲劇工作室」的作品曾應邀參加紐約韓信國際木偶戲劇節、三藩市鬼節、香港藝術節、澳門藝穗節及新加坡華藝節,並曾獲香港舞台劇獎多個獎項。《泰特斯》(2012) 於5月參加倫敦文化奧運,在環球劇場演出,而《泰特斯2.0》則巡演於挪威、波蘭、北京、廣州、台北。而《打轉教室》亦會參加2012愛丁堡藝穗節及於中國內地數個城市巡演。

As a centre for theatrical research and creation, the mission of Tang Shu-wing Theatre Studio is “to bring theatre works of the highest quality to the maximum number of people”. It seeks to both develop and encourage innovation in Hong Kong theatre through physical theatre and minimalist aesthetics. The former explores the inter-disciplinary relationships between theatre, dance and other physical cultures while the latter is both an aesthetic pursuit and an attitude of life.

The Studio also hopes, through its work, to promote a better quality of life through public participation in the arts.

The Studio has two visions:
1. To create long-run landmark productions of our city, thus contributing to its creative industry; and
2. To build up more local and international audience, as well as facilitating cultural exchange, so that the theatre of Hong Kong will be given a proper place on the world stage.

Artistic Director Tang Shu-wing, sources of influence are “theatre of the convention” of Meyerhold, “poor theatre’ of Grotowski, Tai Chi and yoga. For him, theatre is a way to experience life through self-discovery. He has been pursuing physical theatre through a minimalist aesthetics approach. His unique style has dubbed him “Alchemist of Minimalist Theatre”. He is also described by Parole Magazine of l’Alliance Française as “one of the most talented theatre directors of Hong Kong”.

The Studio has received The Arts Capacity Development Fund from the Home Affairs Bureau for a period of 2 years starting April 2012. In the same year, it has started a long term collaboration with the Hong Kong Arts Centre as its Resident Theatre Company.

Works of No Man’s Land and Tang Shu-wing Theatre Studio have been presented in the New York Henson International Puppet Theatre Festival, San Francisco Ghost Festival, Hong Kong Arts Festival, Macau Fringe Festival and Singapore Huayi Festival and have received a number of awards in the Hong Kong Drama Awards. \'Detention\' will be further developed, aiming to become a landmark long-run production. It will tour in Edinburgh and several cities in China in 2012. \'Titus Andronicus (2012)\' was performed in the Globe Theatre of London as part of the Cultural Olympiad; And \'Titus 2.0\' is on tour in Norway, Poland, Beijing, Guangzhou, Taipei in 2012, bringing Hong Kong theatre to the international scene.


職員:鄧樹榮(藝術總監);黃俊達(導演研究員);祝雅妍(劇團經理); 林鴻怡(節目經理);陳淡疇(製作經理);盧君亮(行政及節目主任)





香港灣仔港灣道香港藝術中心12樓1204室

電話 21445335

電郵 [email protected]

電郵二

電郵三

網址 www.tswtheatre.com

Facebook http://www.facebook.com/pages/%E9%84%A7%E6%A8%B9%E6%A6%AE%E6%88%B2%E5%8A%87%E5%B7%A5%E4%BD%9C%E5%AE%A4-Tang-Shu-wing-Theatre-Studio/177685208986870

即將上演

揚威海外的香港作品!
打轉教室 <升級版>
導演 Director: 鄧樹榮 Tang Shu-wing

'一流演出!'
☆☆☆☆Scotsman, UK

'集合精彩翻騰及喜劇元素...建議購票!'
☆☆☆☆☆Threeweeks, UK

'瘋狂,好玩又爆炸的演出!'
☆☆☆☆Broadway Baby Review, UK

'非常成功!充滿創意、極富趣味!'
The Stage, UK

蘇玉華:「好玩、過癮、讓你熱血沸騰,你未看過的劇場可能性。」
阮兆輝:「現代舞臺光芒,不看是你的損失。」
《打轉教室》 DETENTION

香港藝術中心壽臣劇院
6-9/9/2012 8PM
8-9/9/2012 4PM

《打轉教室》是香港首齣集合翻騰、武打、敲擊樂嘅無對白動作喜劇,誓要打造香港地標式及長期演出劇目。2011年12月香港首演,今年8月英國愛丁堡藝穗節上演三星期,被評論為「非常成功!充滿創意、極富趣味!」(The Stage, UK),並獲英國Fringe Review選為2012愛丁堡藝穗節2000多個演出中第55強!作品將於10月巡演中國六城 (上海、杭州、蘇州、北京、汕頭、深圳 ) ;9月載譽回港,演出六場!


演員Cast:鄭麗莎Lisa Cheng、邱頌偉 Franky McNugget、侯建民 Zico Hau、梁家維 Aska Leung、林穎施 Lin Ying Shi
助理導演Assistant Director: 黃俊達 Ata Wong
佈景及服裝設計Set and Costume Designer: 葉卓棠 Yip Cheuk Tong Moon
燈光設計 Lighting Designer: 黄宇恒 Bert Wong
音響設計 Sound Designer: 陳詠杰 Chan Wing Kit
敲擊樂指導 Percussion Coach: 樊麗華Anna Fan
武術指導Martial Arts Coach: 煇煌電影動作‧創作室 BE Cinematic Action Training Studio
詠春指導 Wing Chun Coach: 葉榮煌 Guthrie Yip
舞蹈指導 Dance Coach: 葉穎欣Winnie Yip
魔術指導 Magic Coach: 高正安Andy Ko

票價 Price : $ 250, $180 (設有全日制學生、60歲或以上的高齡人士、殘疾人士及看護人7折優惠;數量有限售完即止Limited 30% off tickets available for full-time students, senior citizens aged 60 or above, and people with disabilities & the minder)

門票現於各城市電腦售票處、網上及信用卡電話訂票熱線發售
Tickets are now available at all URBTIX outlets, on Internet and by credit card telephone booking
網上購票 URBTIX InternetTicketing ::http://www.urbtix.hk
信用卡電話購票 Credit CardTelephone Booking : 2111 5999
票務查詢 Ticketing Enquiries: 27349009
節目查詢 Programme Enquiry : 21445335 www.tswtheatre.com

過往演出

「鄧樹榮戲劇工作室」前身是創立於1996年的「無人地帶」。

「無人地帶」創作的作品超過二十項,當中較具代表性的包括《生與死三部曲》──《三級女子殺人事件》(1997)、《解剖二千年》(1999) 及《我的殺人故事》(1999) ──《真面目》(1998) 、《我們互不相識的一小時》(2000)、《生死界》(2002)、《死亡實驗室》(2002)、《代理阿媽教》(2003)、《日落前後的兩三種做愛方式》(2003)、《人、椅、龜:一齣關於文化的冥想》(2004) 以及《泰特斯》(2008)。

「無人地帶」於2009年易名為「鄧樹榮戲劇工作室」,作品包括《泰特斯2.0》(2009)、 康樂文化事務署東亞運動會劇場系列《形.體.澎湃》(策劃)及《後代》(2010,與新加坡戲劇盒聯合製作),近期的作品為《打轉教室》。

「無人地帶」及「鄧樹榮戲劇工作室」的作品曾應邀參加紐約韓信國際木偶戲劇節、三藩市鬼節、香港藝術節、澳門藝穗節及新加坡華藝節,並曾獲香港舞台劇獎多個獎項。

2012及2013年將重演及發展具持久性的地標式演出如《打轉教室》;同時亦會積極參與國際交流。《泰特斯》(2012) 將參加倫敦文化奧運,在環球劇場演出,而《泰特斯2.0》會巡演挪威、波蘭、北京、廣州、台北及印度。而《打轉教室》亦會參加2012愛丁堡藝穗節及於中國內地數個城市巡演。全新製作則有改編自曹禹的《雷雨》的當代中國舞蹈及形體劇場《舞.雷雨》及《史提夫•喬布斯會怎麼做?》

Tang Shu-wing Theatre Studio was formerly known as No Man’s Land, which was founded in 1996. No Man’s Land has created over 20 works. The more renowned works include: The Life and Death Trilogy - Three Women in Pearl River Delta (1997), Millennium Autopsy (1999) and My Murder Story (1999); Face (1998); The Hour We Knew Nothing of Each Other (2000); Between Life and Death (2002); Deathwatch (2002); Miss Margarida’s Way (2003); The Two or Three Ways of Making Love around Sunset (2003); The Man, The Chair and The Turtle: A Meditation on Culture (2004); Titus Andronicus (2008).

In 2009, No Man’s Land was renamed Tang Shu-wing Theatre Studio. The works of the Studio include Detention (a non-verbal physical comedy formerly known as Beating the Classroom (2011)), Titus Andronicus 2.0 (2009), producer of The East Asian Games: Theatre series \"Passion of Body Art\" (2009) and Next Generations (2010, co-production with Drama Box, Singapore).

Works of No Man’s Land and Tang Shu-wing Theatre Studio have been presented in the New York Henson International Puppet Theatre Festival, San Francisco Ghost Festival, Hong Kong Arts Festival, Macau Fringe Festival and Singapore Huayi Festival and have received a number of awards in the Hong Kong Drama Awards.

In 2012 and 2013, Detention will be further developed, aiming to become a landmark long-run production. It will tour in Edinburgh and several cities in China in 2012. Titus Andronicus (2012) will be performed in the Globe Theatre of London as part of the Cultural Olympiad; Titus 2.0 will go on tour in Norway, Poland, Beijing, Guangzhou, Taipei and India, bringing Hong Kong theatre to the international scene. New productions include Thunderstorm, a contemporary Chinese dance and physical theatre adapted from Cao Yu’s play of the same title, and What would Steve Jobs do?


《打轉教室》Detention

無語言形體喜劇《打轉教室》是工作室銳意發展為具持久性的地標式、經典式演出劇目。

2011年12月於香港藝術中心首演後,受到多方讚賞,被觀眾形容為「沒有對白,卻有最多笑聲與掌聲的演出」。《打轉教室》於2012年8月應英國愛丁堡Summerhall劇院的邀請重演,並於9月初在香港藝術中心三度上演,10月至11月期間於上海「愛丁堡風尚藝術節」、北京、杭州、深圳等地作巡迴演出,及於12月再踏藝術中心舞台。

《打轉教室》將形體、敲擊、特技動作、小丑及觀眾互動的元素創作成香港劇場從未出現過的表演形式及舞台風格;五位表演者多才多藝,不論翻騰、攀爬、勁舞、敲擊等,皆能人所不能,為觀眾提供愉悅觀賞經驗的同時亦保持創作高水準的藝術性。

故事:三個頑皮的中學生經常被老師罰留堂,而今天同班品學兼優的一名女生也一同被罰。三名男生務求博得女生歡心,施展渾身解數。脾氣急躁的女班主任經常巡房,大家在搗蛋鬥法之餘,又要保持克制,結果搞出無數的笑話。

「這齣戲令人感覺清新,演員的努力加上導演的功力,打造出現代舞台光芒,不看是你的損失。」阮兆輝,著名粵劇表演藝術家

「很興奮見到這類劇場形式終於在港出現,亦慶幸選擇來看了演出,"她"需要大大力的支持,真的,不要錯過!」馮蔚衡,香港話劇團駐團導演

「一齣精彩而豐富的製作!演出團隊非常出色。」Lydia Ianji,駐港美藉服裝設計師

「演員個個身懷絕技,分分鐘有驚喜。嬉哈絕倒,妙趣橫生。」舒琪,演藝學院電影電視學院院長

「Good Show! 很久很久沒有享受一個演出了!明天要再帶我的爸爸媽媽來看一次。」蔡小姐,觀眾


Detention is a non-verbal physical comedy and a production which the Studio is keen to develop as a modern theatre classic and a long-run landmark show in Hong Kong.

During its initial run in December 2011, the production was highly praised by audiences, and was described asa performance without verbal dialogue but full of laughter and claps’. The production has been invited to perform at the Summerhall Theatre in Edinburgh in August 2012, and will be followed by a re-run at the Hong Kong Arts Centre in September, before touring in Shanghai, Hongzhou, ShenZhen and Beijing in October and November. The production will return for one further run at the Hong Kong Arts Centre in December 2012.

Detention combines body movements, percussion, acrobatics, pop dance, climbing, clowning and audience interaction, all in a production that is both bold and innovative in concept and execution. With a multi-talented cast of five performers who are clown-actor, body-builder, rock climber, musician and acrobat, Detention provides both an artistic as well as aesthetic experience.

Story: Three naughty secondary school students are in detention as usual, when in walks a female classmate who is top of their class. The boys begin to compete with each other in order to earn her attention, but because their short-tempered teacher frequently checks in on them, they must be very careful while monkeying around. The ensuing chaos is a hilarious uproar of mischief and mayhem not to be missed.


This work is refreshing, making a strong impact on modern theatre stage, a must see! --- Yuen Siu-fai, famous Cantonese opera actor

I am delighted to see that this kind of work finally appears in Hong Kong. Don’t miss it! --- Fung Wai-hang, Resident director, Hong Kong Repertory Theatre

What a wonderfully exuberant production! An amazing cast --- Lydia Tanji, American costume designer living in Hong Kong

The multi-talented performers surprised you at any time. Funny and Crazy! --- Kenneth Ip, Dean of School of Film and Television, Hong Kong Academy for Performing Arts

Great show, haven’t enjoyed a show that much for a long, long time! Am trying to get my ma and pa to see it tomorrow --- Miss Choi, general audience


《泰特斯》及《泰特斯2.0》
Titus Andronicus & Titus Andronicus 2.0
《泰特斯》及《泰特斯2.0》是工作室的代表性作,充份地展現劇團簡約美學及形體劇場的風格。

劇作是莎士比亞的首個戲碼,觸及了屠殺、謀殺、肢解、食人等殘忍情節。故事講述羅馬將軍泰特斯經歷年戰火,凱旋回歸後,敗國女皇塔摩拉竟成羅馬新后。塔摩拉為報亡國之痛,讓兒子強暴了泰特斯女兒,並割下她的舌頭、砍掉雙手;泰特斯以眼還眼,把塔摩拉的兒子製成肉批款待其母……

《泰特斯》2008年於第36屆香港藝術節首演,凌厲獨特的簡約美學風格將莎士比亞的暴力幻化成華美、優雅的戲劇場面,大獲好評。2012年4月《泰特斯》於第40屆香港藝術節重演,同年5月,應倫敦環球劇場之邀請,參加「2012倫敦文化奧運之環球莎士比亞戲劇節」,成為第一個在倫敦環球劇場上演的粵語製作,同時亦是唯一獲邀參與此文化盛事之香港戲劇。

「我在香港沒見過有導演能引導演員有如此高的演出水準。」香港電台演藝風流

《泰特斯2.0》 則以嶄新、大膽的說書方式演繹莎士比亞的劇作,回歸劇場的起點──述說、表演故事,省去所有不必要的舞台元素,只留下七張椅子及七名表演者。表演者以風格化的肢體語言,遊走於說書人與角色之間,呈現出強烈的詩意及戲劇張力,攝服在場的每一位觀眾。

2009首演即成為年度其中一件香港劇場最重要的事件,並於2011年新加坡華藝節重演。2012年5月《泰特斯2.0》於世界不同城市巡演,包括費德列斯達(挪威),貝托姆(波蘭)、弗羅茨瓦夫(波蘭)、北京及台北。

「鄧樹榮以簡約的方式美妙地處理了繁密的劇作,以少為多。」海峽時報 (新加坡)

「演出清楚地展示了最有效的劇場語言就是表演者的身體。」Lianhe Zaobao 聯合早報 (新加坡)

Titus Andronicus, one of the Studio’s highly acclaimed works, was first staged in Cantonese in the 36th Hong Kong Arts Festival (2008). The second run of Titus Andronicus was specially featured in the 40th Hong Kong Arts Festival (2012) before participating in May 2012 in Globe to Globe, a World Shakespeare Festival in the Globe Theatre of London as a highlight of the Cultural Olympiad, in which 37 plays of the Bard are performed in 37 languages. Titus Andronicus is the first Cantonese production ever performed at the Globe Theatre.

Created in 2009 in Hong Kong, Titus Andronicus 2.0 is a bold and revolutionary attempt to explore the unreleased potentials of the play by rewriting it into a narrative and physicalizing the act of story-telling in various non-representational ways. It was staged again in the Huayi (Chinese Festival of Arts), Singapore in 2011. Titus Andronicus 2.0 is going to have a 2012 international tour in Fredrikstad (Norway), Bytom, Wroclaw (Poland), Beijing (China) and Taipei (Taiwan).

Focusing on the very essence of theatre – bringing actors before spectators – with just a bare stage, live music, seven chairs and seven actor-narrators who switch between narrating the action and embodying the characters with intense physicality, Titus Andronicus 2.0 leads audiences through the black hole of the human psyche into a world of primal energy, boundless imagination, self-reflection, self-discovery and cathartic peace. It is an adventure for possibilities of theatre through a journey to the source, returning to the origin of both Eastern and Western theatre in which stories were told and performed.


Titus Andronicus 2.0 is one of the most significant events of Hong Kong Contemporary Theatre of 2009
--- Space of Hong Kong Contemporary Drama, Hong Kong

The entire audience is led to the inner world of the text by a powerful eddy of narration and physical acting
---- Cup Magazine, Hong Kong

Tang’s minimalist approach works beautifully for a maximalist play… Less is really more
--- The Strait Times, Singapore

This work clearly demonstrated that the most effective theatrical language is the body of an actor
--- Lianhe Zaobao (United Morning Post), Singapore




 
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