• 戏剧作品

    Theatre Works

    编剧作品《海水火锅》

    OCEAN HOTPOT

    编剧 Playwright

     

    英国皇家宫廷剧院与爱丁堡国际戏剧节联合举办的气候危机国际编剧驻地计划于2019年8月进行。来自巴西、中国、印度、南非和叙利亚的五位编剧接受委约,分别前往全英五座城市进行了驻地,并分别就“气候危机”的主题创作了一部短剧。这一系列短剧在2019年爱丁堡国际戏剧节期间于戏剧节小剧场进行了剧读展演。

    陈思安作为此次委约驻地编剧,前往英国纽卡斯尔在合作方Live剧院进行驻地。Live剧院艺术总监 Joe Douglas 同时担任此次陈思安委约创作短剧的导演。陈思安创作的最新短剧《海水火锅》于2019年8月13日在爱丁堡国际戏剧节进行展演。

     

    The Royal Court Theatre returns to the Edinburgh International Festival for a major new residency that will culminate in a week of lunchtime performances of new short plays written by some of the most significant international new voices. The five writers from Brazil, China, India, South Africa and Syria will share urgent perspectives from across the world on the global climate crisis through plays specially commissioned to premiere at the festival.

     

    海水火锅 Ocean Hotpot
    Written by CHEN Si’an (陈思安)
    Translated by Jeremy Tiang (程异)
    Directed by Joe Douglas

    Edinburgh Festival Studio Theatre

    Tuesday 13 August, 12 noon

     

    An idyllic island in the midst of boiling oceans. Hot enough to cook a hotpot. One maverick entrepreneur sees a development opportunity and begins to devise the most absurd schemes for environmental protection.
    Cast includes: David K.S.Tse, Jeremy Ang Jones.

  • 编剧作品《在荒野》

    UNDERPASS

    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)

     

  • 诗歌剧场作品《随黄公望游富春山》

    Poetry Theatre work Following Huang Gong Wang, Visiting Fuchun Mountains

    导演 Director

     

    诗歌剧场作品《随黄公望游富春山》根据著名诗人翟永明同名长诗改编。诗人思绪由黄公望名画《富春山居图》出发,穿透古今,漫游山水,时而入画,时而步入现实,抒发怀古幽思,又融入对科技和人类生存状态的思考。作为翟永明近年来重要的长诗力作,它是当代难得兼具中国古典气质和现代意识的文本。本剧力图拓展诗歌文本,以肢体表演、影像、装置、实验音乐融合诗歌意境,带领观众的思绪诗意地漫游。

    自2014年至2017年底,《随黄公望游富春山》已在国内及台湾9座城市中的11家剧场中共计演出了39场,引起广泛关注及学术讨论。截至目前,超过20篇学术文章发表在国内各期刊中,研究本剧的创作方式及美学特点。

     

    Poetry Theatre work Following Huang Gong Wang, Visiting Fuchun Mountains bases on the namesake long poem written by Zhai Yongming, one of the most famous poets in China. Starting with Huang Gongwang’s great painting Dwelling in the Fuchun Mountains, the thinking of the poet is going through ancient and modern, roaming landscape. Sometimes she walks into the painting, sometimes steps back to the reality, to express nostalgia meditations and reflections of technology and the status of human existence. The play tries to expand the poetry text, integrate physical performance, video, installations, and experimental music with poetic conceptualization.
    From 2014 to 2017, Following Huang Gong Wang, Visiting Fuchun Mountains has been performed 39 times at 11 theaters in 9 cities in China and Taiwan, caused wide attention and academic discussions. So far, more than two dozen academic articles have been published in various journals, to study the creation and aesthetic characteristics of the play.
     

    演出情况:

    2017

    2017年城市戏剧节开幕剧目:
    2017.3.16-19 中华世纪坛剧院 北京
    2017.3.29 群星剧场 东莞
    2017.3.31 南山聚橙剧院 深圳
    2017.4.1 郭兰英剧院 广州
    2017.4.7-8 国泰艺术中心 重庆

    2016

    2016年三星堆国际戏剧节开幕剧目:
    2016.10.1 德阳市演艺中心
    2016年台湾两岸小剧场艺术节特邀剧目:
    2016.10.20-30 台北戏曲中心/高雄市立图书馆总馆小剧场
    2016年北京站演出:
    2016.11.23-12.4 国家话剧院小剧场

    2015

    2015年 成都、北京巡演:
    2015.10.15-10.18 成都八点空间剧场
    2015.10.29-11.1 北京朝阳九剧场

    2014

    2014年 北京国际青年戏剧节:
    2014.9.12-9.14 北京朝阳九剧场
     

    Performance:

    2017 Urban Theatre Festival opening tour show (2017.3.16-4.8, Beijing, Dongguan, Shenzhen, Guangzhou, Chongqing);

    2016 National Theatre Company of China (2016.11.23-12.4, Beijing);

    2016 Taiwan and Mainland China Studio Theatre Art Festival tour show (2016.10.20-10.30, Taipei, Kaohsiung);

    2016 Sanxingdui International Drama Festival opening show (2016.10.1, Deyang);

    2015 Tour Shows in Chengdu and Beijing (2015.10.15–10.18 Chengdu, 2015.10.29-10.31, Beijing);

    2014 Beijing International Fringe Festival (Premiere, 2014.9.12-9.14, Beijing).

  • 诗歌剧场作品《吃火》

    Poetry Theatre work Eating Fire

    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)