劍魚◉妾 The Swordfish, Then the Concubine

 

劍魚◉妾
The Swordfish, Then the Concubine

by Kee Thuan Chye 纪传财

从《马来纪年》截取的吉光片羽,借由传奇寓言辩证人性与文 . 明 . 迁 . 灭。
而死了的,都会在剧场里复活。
 

On no account must a ruler shame any of the subjects in his Kingdom … 

In Mandarin translation with English surtitles

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日期与时间 Date & Time/
15th December 2016 (Thursday) @ 8:30pm
16th December 2016 (Friday) @ 8:30pm
17th December 2016 (Saturday) @ 3:00pm & 8:30pm
18th December 2016 (Sunday) @ 3:00pm & 8:30pm

地点 Venue/ Pentas 2, KLPAC
票价 Ticket/ RM 65 (Adult), RM 45 (Student, senior citizen and disable)
早鸟方案 Early bird ticket (before 12th November 2016)/ RM 55 (Adult), RM 35 (Student, senior citizen and disable)
团购方案 For group purchase of 4 tickets RM 240
询问电话 Inquiries/ 011-51130436/ 03-4047 9000(box office)
脸书 Facebook/ https://www.facebook.com/pentasproject
网站 Website/ pentasproject.org, www.klpac.org
电邮地址 Email/ [email protected]
网上购票 Buy ticket Online

导演 Director/Loh Kok Man 罗国文

演员 Cast/Yeo Lyle 蔡德耀、Thian Siew Kim 邓绣金、Niko Hugh 邱蕴能、Valerie Chian 詹莉宁、       Goo Zhuan Xuan 吴专选、Boyz Chew Soon Heng 周顺兴 、Zyee Leow Sze Yee 廖世仪 、               Leow Hui Min 廖慧鸣、Hoe Hui Ting 何慧婷

制作人 Producer/ Pam Lim 林伟彬
剧本翻译 Script Translation/ Goh Lee Kwang 吴利光 、Loh Kok Man 罗国文
现场音乐设计 Live Music Compose/  Orang Orang Drum Theatre 人人人鼓剧场
动画与偶设计 Animation & Puppet Design/ Fairuz Sulaiman
服装设计 Costume Design/ Michell Yong Soo Fon 杨淑棻
灯光与空间设计 Lighting + Space Design/ Loh Kok Man 罗国文
编舞 Choreographer/ Kathyn Tan Chai Chen 陈柯杏

這是一場關於王朝如何被收服的故事。
或許不。

在漫漫歷史長河中,家國興衰本是時間厚度的一個切片。
比一頁紙的故事還薄。

在這片土地真正擁有它的名字以前。

大量的劍魚躍出海面,刺穿人們的心臟。
小男孩的靈機一動,拯救了整座王朝。
但愚笨的人總嫉妒聰明的人。

那小男孩最後怎樣了?

被殺死。

以跨领域合作及独到美学为核心的“平台计划”,最新舞台剧作《劍魚◉妾》将于2016年12月15至18日于吉隆坡表演艺术中心(KLPAC, PENTAS 2)隆重上演。今次的演出将与多位青年世代的剧场工作者携手合作,其中也有影像设计师Fairuz Sulaiman及近期频频在国际上崭露头角的“人人人鼓剧场”为现场伴奏音乐,届时势必带来一场光、影、剧、音复合交织的艺术飨宴。

《劍魚◉妾》原为大马剧作家纪传财以英文撰写,并于2008及2011年在新加坡发表演出。从马来亚16世纪古文献《马来纪年》当中截取吉光片羽,并结合剧作家对当今社会及国族的敏锐洞察;时而嬉闹、时而血泪交织,成就一部极具戏剧张力的新时代警世寓言。为配合今次的制作,纪传财重新编写了最新版本,并交由“平台计划”首度翻译成中文,也是首度引荐给大马的观众。

王朝在成為了繁榮鼎盛的王朝之後。

國王想要傾國傾城的妾姬成為他的妃子。
妾姬忍辱負重,以身獻國;
然而卻不敵人性的最深處。
皇后設下罪行,誣陷妾姬;

那妾姬最後怎樣了?

被處死。

曾獲馬來西亞金馬崙藝術大獎多項殊榮,同時也是“平台計劃”藝術總監的導演羅國文,以其強烈的劇場意向美學觸感,多年來致力於將不同領域元素及媒材融會貫通。該劇團近年來不懈推廣大馬本土劇作,打破語言藩籬、透過轉譯再帶往台上搬演,為促進異文化之間的劇場藝術交流不遺餘力。今次的《劍魚◉妾》找來活躍於表演藝術界、卻來自不同背景的潛力股演員:蔡德耀、鄧繡⾦、邱蕴能、詹莉寧、吳專選、周順興、廖世儀、廖慧鳴、何慧婷,更請來編舞家陳柯杏為演出融入舞蹈與肢體表演,一併豐富了演出素質上的層次感。此外也邀得資深設計師楊淑棻擔任該劇的服裝與造型設計。特為演出而作的原創音樂,不僅有現場配樂,也將嘗試融入說唱的方式,探索聲音在劇場中的更多可能性。

可是啊,如果人性有最深處;
那一定是在心臟的最裡面。
最裡面、埋藏最深, 深埋到我們都無法窺見。
然而,
從心臟最內裡流出來的血,
也都是溫的。

劍魚一定會懂的。
只是在嘗過最溫的血,總歸還是得與被刺的人同歸於盡啊。

故事简介:

原為典籍《馬來紀年》的寓言故事,透過劇作家生動又調侃的筆觸,發想擴展成為借古喻今的現代警世神話,對當今社會作出看似輕盈實則凝重的詰問。

故事从一场远古的誓约开始说起。天神之子为纳妾而降临人间跟阶下臣民进行交易:其世袭后裔不得欺压臣民的子孙,而日後臣民的子孙也永远不能背叛神的世族,否则必遭天谴。誓约被传述的许多年以後,王朝之都遭受大量剑鱼袭击,满城风雨、兵将阵亡。聪明的小男孩献出妙计停止了祸害,却反倒沦为奸臣们争权夺利的牺牲品。拥有花容月貌的倾国妾姬,因不忍誓约被违背而上奏朝廷,却意外得到国王的恩宠。不料此举招来傲娇皇后的妒忌,因而陷计指控妾姬犯下羞耻的伦理罪行,最後更惨遭处死……当誓约一再被瓦解丶诅咒便即使生效。面对敌军的入侵,失去爱妃而无心恋战的国王开始逃难;而盛世王朝的命运该何去何从?

一代朝廷的起源與覆滅,這些如真似幻的傳說情節,不再只是活在古文獻或電視劇裡。以全新視角縱觀全局,游戲般的追逐替換戰爭的殺戮,劇場的無限想像力取代一本正經的宮廷鬥爭故事!

以民間傳說神話抓捏歷史的形狀,
倘若宿命難逃,我們還要不要相信解扣的可能?

Singapura is attacked by swordfish! The Sultan asks his warriors to form a line to keep out the threat, but they end up being massacred. Then a boy comes up with a simple idea to defeat the swordfish. It works! What is the boy’s reward for saving Singapura?

When the Sultan dies, his son inherits the kingdom. But the new ruler turns out to be self-obsessed and neurotic. After his favourite concubine has been found guilty of committing unnatural sex, he does something that could result in the destruction of Singapura.

Culled from Sejarah Melayu, these remarkable myths find new life in The Swordfish, Then the Concubine by Kee Thuan Chye.

It is an epic play written to conjure the magic of theatre. It takes ancient myth and transforms it to address present-day concerns like human rights, gender bias, curbs on freedom and the abuse of power. It is full of spectacle, humour, mind and heart. It is really a play about Malaysia today.

The play was placed among the top 5 in the International Playwriting Festival 2006 organised by Warehouse Theatre in the U.K.

Then in 2008, it premiered in Singapore in a W!ld Rice production directed by leading Singapore director Ivan Heng.

In 2011, it was re-staged in Singapore by Young ’n’ W!ld and directed by Jonathan Lim.

This Mandarin translation of the play, directed by Loh Kok Man, marks the first time the play is being staged in Malaysia.

“I’m excited that The Swordfish, Then the Concubine is going to be seen in Malaysia finally, even though it will be in Mandarin translation instead of the original English,” says Kee. “It was, after all, written for Malaysians about Malaysians.”

Loh, artistic director of Pentas Project and an award-winning director, set designer and lighting designer, took an immediate liking to The Swordfish, Then the Concubine when he read it.

“The play is based on Sejarah Melayu but it takes a unique approach in exploring our myths to reflect on our society today,” he says. “I hope to convey its meaning to the audience through a highly entertaining production incorporating movement, dance, live music and puppetry.”

Pentas Project and ‘The Swordfish, Then the Concubine’ 

The Swordfish, Then the Concubine is a play that perfectly fits Pentas Project’s mission of encouraging Malaysian artistic creation and promoting the talents of Malaysian artists. It also provides an opportunity to raise awareness of the need for a humane society and the nurturing of its development.

Pentas Project aims to enhance the role of the performing arts in bringing together the different streams of the Malaysian community. In this regard, it seeks to adapt into Chinese renowned plays written originally in Malay and English, and to stage them for a wider audience.

Pentas Project is also working on translating some of these plays into Chinese and compiling them into a book to be published in the coming year. It believes that the material from such a book will benefit young artists as well as students, and serve as a useful reference for future performances.

The unique approach taken by The Swordfish, Then the Concubine in adapting the myths from Sejarah Melayu to comment on present-day Malaysia goes well with Pentas Project’s way of doing theatre.

剧作家/纪传财

马来西亚演员、编剧、剧场导演、记者、作家、政治评论家……多重的身份让他在四十年来于剧场、影视圈游刃有余。1981年在吉隆坡创立剧团「KAMI」。剧作《1984 Here and Now》和《We Could****You, Mr Birch》于当年首演时全场爆满。《1984》后来被列入由英国劳特利奇出版的《后殖民戏剧国际文选》。《We Could***You, Mr Birch》自90年代中期在众多本土大专院校被用作文本研究。另一部作品《The Swordfish, Then The Concubine》曾分别在2008年与2011年两度搬演,也成为2006年英国WareHouse剧院举办的国际艺术节的五强作品之一。他演出过的好莱坞电影有《偷天陷阱》和《安娜与国王》,其他国际制作还包括Hallmark的《马可波罗》和BCC历史频道的《紫禁城的秘密》。诗作《A Figure Forgotten In Hours Not-of-Need》也被采用为SPM水平的英语文学教材。其最新著作有《Unbelievebly Stupid!》和《Unbelievebly Stupid Too!》。

Open Me

As a playwright, Kee Thuan Chye is best known for 1984 Here and Now and We Could **** You, Mr Birch. Both premiered on stage to full houses.

1984 Here and Now is included in the international anthology Postcolonial Plays, edited by Helen Gilbert and published by Routledge UK. We Could **** You, Mr Birch has been a text studied in Malaysian colleges and universities since the mid-1990s.
Another play, The Big Purge, was featured in ‘Typhoon 4’, a playreading festival in London held in May 2005.

Kee has also written numerous radio plays many of which were broadcast on RTM in the 1970s.

He has directed about a dozen plays for the theatre, including Shakespeare’s Macbeth and We Could **** You, Mr Birch, which was invited to the Festival of Asian Performing Arts in Singapore in 1995.

As an actor, he made his professional TV debut in a guest role in Bailey’s Bird, an Australian TV series, in 1977.

He has since appeared in the Hollywood films Entrapment and Anna and the King, and other international productions like the Hallmark TV-movie Marco Polo and Secrets of the Forbidden City for the BBC and the History Channel.

On Malaysian TV, he has appeared in City of the Rich, 10 (Sepuluh), Kopitiam, Each Other, Impian Ilyana, Realiti, Gol & Gincu II and Bilik No. 13.

On Singapore TV, he has guested in Phua Chu Kang, Code of Law, Singapore Shakes!, The Pupil and Mata Mata Season 2. He was in the main cast of the drama series Perceptions and the TV-movies Love Matters and The Circle House.

In 2008, he played the lead role in the Mediacorp TV-movie Sense of Home: Kampung Kid, shot in Cambodia.

This year, he was in the main cast of the Mediacorp TV series Fine Tune.

On stage, he has acted in countless productions since 1977 but the one role he is proudest of is that of Willy Loman in Arthur Miller’s Death of a Salesman (1989).

In 1998, Kee was invited as a guest writer to the Melbourne Writers Festival, the Brisbane Writers Festival, and Spring Writing in Sydney. In 2001, he was invited to the inaugural Standard Chartered International Literary Festival in Hong Kong. In 2011, he was invited to the Writers Unlimited Tour held in Kuala Lumpur.

导演/罗国文

剧场导演、演员、灯光设计师、戏剧导师以及「平台计划」艺术总监。1993年毕业於马来西亚艺术学院戏剧系,并於2005年创办了「平台计划」,一直致力於搭建桥梁以多元艺术交流为本的团队。曾获马来西亚金马仑艺术大奖的「最佳导演」、「最佳灯光设计」、「最佳舞台设计」奖的罗国文,创作向来善於综合多种剧场的元素,尤其是影像、灯光、声响、演员肢体和剧场的戏剧架构间交错互动所呈现的效果,丰富了对剧场视觉空间及时间的探索。导演的作品包括了《aku》、《城失空想》、《[思想+自分]报告》、《一个名叫红豆妹的摩登师奶》及《动物农庄》等。2005年他获得美国「亚洲文化协会」奖学金远赴美国游学半年,也经常受邀参与国际合作交流计划,曾赴日本、韩国、印度、德国、菲律宾、上海、泰国、新加坡及澳门等地参与演出和交流。近期的创作作品包括舞蹈创作《双重刺点》(2013)、《六个毕业生》及《赤鬼》(2015)。

Open Me

Loh Kok Man is Artistic Director of Pentas Project and an established theatre director, actor, lighting designer and theatre lecturer.

He has won the BOH Cameronian Arts Awards for Best Director, for Best Set Design and for Best Lighting Design multiple times.

Loh founded Pentas Project in 2005 to produce critical and collaborative contemporary theatre. He is known for his unique way of integrating theatrical elements such as visual imagery, lighting, sound, physical movement and dramatic structures while exploring the concept of space and time.

His directorial credits include aku, The Lost and the Ecliptic, Repot [Mind + Mine], A Modern Woman Called Ang Tau Mui, Animal Farm, The Six Graduates and Red Demon.

In 2005, Kok Man was invited to New York under a fellowship awarded by the Asian Cultural Council. He has since been invited to participate in numerous international theatre collaboration projects, allowing him to work in Japan, Korea, India, Thailand, Shanghai, Macau, Germany and Singapore.

演员/蔡德耀 Yeo Lyle

马来西亚剧场自由工作者。从事演员、导演、戏剧教育、设计与后台工作。2006年获得马来西亚戏炬奖最佳新人奖。2007年毕业于新纪元学院戏剧与影像系,主修戏剧。2011年毕业于国立台湾艺术大学戏剧系。演出作品有《荷珠新配》2005-06、《聊斋新志之妖狐道》和《现代浮士德》2007。2008年随“平台计划”参与“击破:平台剧场交流计划”并前往东京及新加坡演出。台湾演出《贵妇还乡》和《履行.旅行》2011。同年年随台湾剧团“禾剧场”参与在台湾与澳门艺穗节的演出《死亡纪事》。2012年参与“好事发生工作室”与新加坡剧团两地交流演出《0和1的咏叹调/一个异乡人》在George Town Festival、吉隆坡与新加坡演出。2012年《死亡纪事》再度赴上海与马来西亚巡演;2013年口碑加演,于台湾巡回演出。近期参与的演出有平台计划的《六个毕业生》、《赤鬼》及新加坡实践剧场的《聊斋》。

Open Me

Yeo Lyle is an actor, director and performing arts educator. He first graduated with a professional diploma majoring in theatre from New Era College. After that, he obtained his degree from the National Taiwan University of Arts.

His acting cedits include He Zhu New Match, Modern Faust, Repot [Mind + Mine], The Visit and Chronology of Death.

演员/邓绣金 Thian Siew Kim

剧场与影视演员,电视、电影、剧场工作者。毕业于新纪元学院戏剧与影像系。曾凭《三个小孩》与《十八楼》分获2011年戏炬奖最佳女新人奖、2012年戏炬奖最佳女主角以及最佳造型设计奖。近年开始参与本土电视、电影以及广告演出,包括NTV7《如果没有你》、《超渡》、《守夜》、《小电影》以及《东主有喜》,并凭《守夜》荣获马台交流影展金蝶奖2016 最具潜力女新人奖以及最佳新女演员奖。2015年首次与平台计划合作参与《六个毕业生》的演出。

Open Me

Thian Siew Kim is a drama and visuals graduate from New Era College and an award-winning actress.

In theatre, her acting credits include Three Children and 18th Floor, both directed by Ho Shih Pin. In 2011, she won the ADA Drama Award for best new actress. The following year, she won it for best actress.

Thian has also appeared in Malaysian TV dramas, movies, MTV and TV commercials. For her supporting role in the movie Seventh, she received the Most Promising Female New Performer Award and the Best Female New Performer Award at the Malaysia and Taiwan Film Festival 2016.

演员/邱蕴能 Niko Hugh

2015年毕业于新纪元学院戏剧与影像系,主修影像组。在学院进修之前,曾在他的家乡——沙巴亚庇的“卜卜剧场”门下学习了半年的戏剧课程。目前为自由工作者,主要为剧场演员,于学院期间积极参与舞台组排演或毕业公演作品、社区演出等,如《女娲补天》、《三个小孩》、《灵戏》等,也曾于“缺失交流演出计划”演出《勇气妈妈与她的孩子们》、“别让莎翁知道的事”中的《相中人》及《一对马来半岛情侣的楼台会》、2016年新纪元学院毕业公演《过客》等。此外也热衷于影像创作,积极参与影视的相关工作如前制准备(剧本、3D绘图),后制(剪接)等。

Open Me

Niko Hugh graduated with a drama and visuals diploma from New Era College in 2015. Prior to that, he had taken a six-month drama course at Pitapat Theatre in his hometown of Kota Kinabalu, Sabah.

He is currently a freelancer who works mostly as a theatre actor. He is also passionate about filmmaking and its related processes of pre-production (script, 3D layout) and post-production (editing).

Niko participated in many theatre projects and community performances when he was in college, such as Three Children and The Spirit Play.

Recently, he appeared in Mother Courage and Her Children, Imagine the Impression, Balcony Scene of a Malay Peninsular Couple and The Passer-by.

演员/詹莉宁 Valerie Chian

剧场工作者詹莉宁毕业于新加坡南洋艺术学院,考获剧场专业文凭。自从在 PLAYtime! 制作的 《奇幻海洋》首次接触木偶后, 便从此与木偶接下不解之缘。她曾是猴纸剧坊的驻团演员,于该团的多部制作中担任演员兼木偶师:《小蝌蚪找妈妈》(重演)、《小蝌蚪找妈妈》、《封神榜之哪咤》、《Shadowed Heart》、《花田错》和《西游记之火焰山》。她在团以外参与的演出包括她的论坛剧场初体验,在滨海艺术中心的 Feed Your Imagination (F.Y.I) 系列中演出《没有用》,和新加坡专业剧场旗下的小剧团制作的音乐剧《丑小鸭》。

Open Me

Valerie Chian graduated from the Nanyang Academy of Fine Arts (NAFA) in Singapore with a diploma in theatre. She had her first break in Singapore theatre performing in Hongjiejie Workstation’s Drum Play.

When she was resident artist of Paper Monkey Theatre there, she performed as actor cum puppeteer in various productions, including Looking for Mama, The Legend of Nezha, Shadowed Heart, Romance of Mistakes, Journey to the West – Mountain of Fire.

She has also performed in the children’s musical The Ugly Duckling with The Little Co.

At present, Chian is studying for a diploma in teaching speech and drama (based on the Trinity College of London’s syllabus) while having her practical teaching experience at Living Arts Studio.

She has participated in the Physical and Devised Theatre Workshop conducted by David Glass; Masterclass Puppet Making Workshop with The Finger Players; a short NIDA Acting Techniques course with the National Institute of Dramatic Arts (NIDA), Sydney; and Suzuki and Viewpoint training with Nine Years Theatre.

演员/吴专选 Goo Zhuan Xuan

演员、偶师、新晋导演。2013年于清迈木偶节演出了由爱美丽亚执导的《凤凰树》。同年,获选参加由Kakiseni主办的2013年国际艺术交流计划,和伊朗借导演一起工作、演出偶剧《神秘之月》。此演出参加了伊朗哈马丹国际儿童艺术节。返国后,更在不同的州属进行两个星期的下乡巡演。2015年,他向槟城传统布袋戏戏团──鸣玉凤学习传统布袋偶。同年三月,他自导自演了一部以物件为向导,透过对吉隆坡和槟城街友的观察,用垃圾发展出一部物件剧场《流浪者》。此演出乃Reka Art Space主办的新晋艺术家计划之一。2016年, 他第一次挑战导演长篇演出《Plastic City》,一部以捡拾和所收集的塑料品为媒材的当代影子戏。演出从槟城出发,再到澳门和台湾演出。之后,他和陈丽香一起受邀到澳门牛房带领小朋友在一同进行为期三个星期的影子戏工作坊。其他演出作品:《兄弟》、《火火不见了》、《小巫见大巫》、《我爸是李小龙》、《路遥知马力之天赐良缘》、《Sang Kancil & Tapir》等。

Open Me

Goo Zhuan Xuan is an actor and puppeteer. In 2013, he participated in the Chiang Mai Enchanted Puppet Festival in a presentation called Mystery of the Phoenix Tree, directed by Amelia Tan.

He was then selected by Kakiseni Arts Exchange Programme 2013 to perform in The Mystical Month, directed by Iranian director Hamed Zahmatkesh. The show toured to different states in Malaysia and travelled to the Hamadan International Children’s Theatre in Iran.

In 2015, Goo undertook an apprenticeship to learn Potehi (Chinese glove puppetry) with one of the few remaining Potehi troupes in Penang.

That year, he also directed himself in an object-led performance called The Wanderers. It was developed from observations of street life in Kuala Lumpur and Penang. The performance was made possible under a project initiated by Reka Art Space called ‘Initiate, Develop, Perform’.

In 2016, he performed his first full-length contemporary shadow play, Plastic City, and took it to Penang, Macau and Taiwan. He and Tan Lay Heong were invited by Ox Warehouse to conduct a 3-week long Shadow Play Workshop for Children in Macau.

Goo’s other performance credits include Brothers, Ang Ang is Missing, The Blackground Witches, My Dragon Papa, The Love Story of Malek, Sang Kancil & Tapir.

演员/周顺兴 Boyz Chew Soon Heng

人人人鼓剧场创办人与艺术总监。2001年加入“手集团”,以鼓手的身份开始他的艺术生涯,积极参与不同领域的表演艺术工作,其中包括舞踏、肢体剧场、戏剧等。目前为多所中小学的二十四节令鼓教练,同时也活跃于社区艺术活动。多次参与国际性的表演艺术节,曾到比利时、法国、台湾、澳洲、美国夏威夷等地演出。2013年4月,与廖世仪成立“人人人鼓剧场”,寻找探索自己的艺术理念——鼓剧场。2015年首次与平台计划合作参与《赤鬼》的演出。

Open Me

Boyz Chew Soon Heng is co-founder and artistic director of Orang Orang Drum Theatre, which he established in 2013 with Zyee Leow Sze Yee.

As a drummer, he has been experimenting with percussion for different types of performing arts, including Butoh dance and physical theatre.

He actively promotes 24 Festive Drums through coaching and participating in various community art projects.

In the last 10 years, he has also participated in music festivals in Belgium, France, Taiwan, United Kingdom, Hawaii, etc.

演员/廖世仪 Zyee Leow Sze Yee

“人人人鼓剧场”创办人与助理艺术总监。2001年加入“手集团”,有近15年的鼓手经验,此外也尝试了不同领域的表演艺术工作,包括音乐、舞蹈与戏剧。曾到荷兰、比利时、法国、台湾、澳洲、美国夏威夷等地演出。2011年担任“手集团”教育与外展部主任,主要负责策划活动以及管理教练事务。除了在推广二十四节令鼓教育上拥有丰富经验之外,也积极筹办艺术教育活动;近年来更活跃于社区艺术活动如“发现沙登”及参与创作《流浪小鼓》(启发于15站“随鼓唱游”下乡活动而创作的一出结合鼓乐的戏剧)。2012年9月参与Kakiseni国际艺术交流计划,与来自阿根廷、泰国、越南、英国、西班牙等艺术家交流,并把艺术家引介到马来西亚小镇作社区演出以及工作坊。2013年与周顺兴成立人人人鼓剧场。2015年首次与平台计划合作参与《赤鬼》的演出。

Open Me

Zyee Leow Sze Yee is co-founder and assistant artistic director of Orang Orang Drum Theatre.

She has been playing Chinese drum for more than 15 years, and experimenting with different types of performing arts including dance and acting.

She has participated in music festivals in the Netherlands, Belgium, France, Taiwan, Hawaii, etc.

She also has a lot of experience coaching 24 Festive Drums and organising educational programmes such as camps for coaches, drumming camps and community art projects.

演员/廖慧鸣 Leow Hui Min

表演者、鼓手、演员、舞者。艺术生涯由鼓手开始,渐渐转向剧场艺术。参与演出类型包括鼓乐、舞蹈、戏剧。目前为马来西亚“人人人鼓剧场”团员(2013年成立)。2013年毕业于法国波尔多三大,剧场表演艺术系。留学期间,有幸与不同艺术家合作与学习,其中深受意大利艺术家Claudia Castellucci 与法国舞蹈家Claude Magne的影响。因ERASMUS欧洲交换学生计划被派遣到意大利进行一年的课程。2011年,与五个不同领域的法国及西班牙艺术家创立“Collectif In-Time”,同年创作作品“无编舞者的舞者”。此外也与法国艺术家Guillaume Prikhodko共同创作多个作品,包括戏剧、偶剧、舞蹈等。近年参与作品包括“人人人鼓剧场”制作《独角戏》以及《众鼓歌》、罗国文执导的《赤鬼》、杨伟汉执导的《玄奘西游》音乐剧、李人欣编舞的《B. E. D》等。

Open Me

Leow Hui Min, a member of Orang Orang Drum Theatre, started his artistic journey from drumming, but he has acquired versatility as an actor and dancer as well after exposing himself to different types of dance training.

While studying for a degree in performing arts specialising in theatre at University Bordeaux 3 in France (Licence etudes théâtral), he formed a company called Collectif In-Time with five other dancers from France and Spain. Their first project, Danseurs sans choréographe, was presented at the University Dance Festival the same year.

In 2012, he attended University of IUAV in Venice under the ERASMUS programme. During his studies in Europe, he collaborated with French artist Guillaume Prikhodko on a few projects in theatre, puppetry and dance.

In 2013, he graduated from University Bordeaux 3.

His involvement in recent productions includes Hidup Ini Senget and LaguKu produced by Orang Orang Drum Theatre, B.E.D., Red Demon and Xuan Zang Journey to the West, a musical staged by Han Production.

演员/何慧婷 Hoe Hui Ting

何慧婷, 剧场自由工作者。目前主要从事舞台管理。2011年,毕业于新纪元学院戏剧与影像系,主修戏剧。2013年随”平台计划”制作的«动物农庄»到台湾参与”关渡艺术节”。她也在当年加入马来西亚著名剧团”五艺中心 Five Arts Centre”担任制作与舞台经理三年,并随该剧团制作的舞台剧«Baling»到外国参与不同的艺术节,包括印度,韩国,日本,德国,阿联酋等。

Open Me

Hoe Hui Ting graduated from New Era College Drama and Visuals Department in 2011.

She is an active freelance stage manager and has worked with well-known theatre companies such as Instant Cafe Theatre, Five Arts Centre, Wild R!ce, Pentas Project, O Puppet Theatre and at the Kuala Lumpur Performing Arts Centre (KLPac) and Damansara Performing Arts Centre (DPAC).

She aspires to perform more on stage in the coming years.

 
  
 
   

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