戏剧作品

编剧 Playwright

英国皇家宫廷剧院在中国大陆地区进行的首个国际新写作编剧项目自2016年始，历经接近三年的工作，帮助15位青年编剧完成了他们的全新剧本。其中三位编剧陈思安、杨静观、张在于2018年11月前往伦敦，与皇家宫廷剧院的导演、编剧和9位演员共同进行了为期两周的工作坊及排练，将她们的剧本进行继续深化和修订，并于2018年12月4-6号进行了剧读演出。

陈思安的剧作《在荒野》作为这次剧读活动的开幕演出，于2018年12月4日和5日在皇家宫廷剧院演出了两场。本剧讲述了一群生活在城市夹缝中的流浪者们的故事。演出时间约85分钟，没有中场休息。

Royal Court Theatre's first ever programme of plays by Chinese playwrights was a unique opportunity for British audiences to hear from a generation of writers who have grown up in a transforming nation. The Royal Court’s International Department first began working in China in 2015, travelling the country to discover some of the most exciting new writers. Fifteen young playwrights took part in workshops in Chengdu, Beijing and Wuzhen over a two year period addressing subjects they felt it was urgent to write about in contemporary China.

Three of those writers, CHEN Si’an (陈思安), YANG Jingguan (杨静观) and ZHANG Zai (张在) worked with Royal Court directors and a company of actors over two weeks in London. The plays were then presented as rehearsed readings in English translation. The voices of three Chinese female writers express with power, humour and originality surprising insights into fascinating and fast changing society.

在荒野 Underpass
Written by CHEN Si’an (陈思安)
Translated by Jeremy Tiang (程异)

The Royal Court Theatre
Tue 4 Dec, 6.15pm & Wed 5 Dec, 8.15pm

In the depths of a Beijing underpass, a homeless mother struggles to protect her child. A disturbing panorama of the city’s hidden underside, that asks urgent questions about the value of human lives in an urban jungle.

Cast: Kirsten Foster, Stephen Hoo, Sarah Lam, Kwong Loke and Owl Young.
Running time: approx. 85 mins (with no interval)

导演 Director

诗歌剧场作品《吃火》选用的文本均出自加拿大著名作家玛格丽特•阿特伍德同名诗集中的诗作，这些文本（《芦笋》、《苏珊娜•穆迪日志》、《没有手的女孩》、《被吊到半死的玛丽》、《嫁给绞刑吏》、《吃火》等）被编织到一起，利用表演场地内外不同空间的转换、出演，演绎为一出当代版女奥德修斯的故事。与前作不同，《吃火》尝试加强叙事，诗歌的文本串联起了一出完整的女性故事。

《吃火》是一部穿越了时间的女性史诗，从17世纪被污化的女巫，到18世纪的加拿大女拓荒者，直至当代女性的挣扎与突破。故事在持续，女性的精神探险同样在持续。
 

Eating Fire bases on the selected poems written by the Canadian poet Margaret Atwood. These poems were weaving together, made a women's version of Odysseus. Different from my previous work, Eating Fire tries to strengthen the narrative of the story, a complete story is strung together in different poetic texts.
It is a time-travel female epic, from the false witches of the 17th century to the Canadian pioneers of the 18th century, up to modern times, women in spiritual distress. The story continues, as does the woman's spiritual adventure.

演出情况：

2015年南锣鼓巷国际戏剧节：
2015.7.11-7.12 蓬蒿剧场
2015.7.5 单向空间•花家地店

Performance：

2015 Beijing Nanluoguxiang Performing Arts Festival (2015.7.11-7.12, Beijing)

2015 Beijing OWSPACE (Premiere, 2015.7.5, Beijing)