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title. 殺手不嫌冷和哈姆雷特病毒變異.Killer never feels cold and Hamlet Virus Mutation

premiere. Guang Dong Modern Dance Group Theatre , Guang Dong, 1998.

長度:80分鐘
Duration: 80 min

概念/導演:田戈兵
Concept/Director: Tian Gebing

表演:李曉明 馬曉勇 劉翔捷 窦蔔 張興傑 王亞男 秦偉 舒陽 孟岩 周勍 張疆
Performers:  Li Xiaoming, Ma Xiaoyong, Liu Xiangjie, Dou Bu, Zhang Xingjie, Wang Yanan, Qin Wei, Shu Yang, Meng Yan, Zhou Qing, Zhang Jiang

音樂:文賓

Music: Wen Bing​

舞台制作: 張疆

Stage Production: Zhang Jiang 

舞台技術: 張興傑 窦蔔

Stage Technology: Zhang Xingjie, Dou Bu
燈光:趙同

Lighting Design: Zhao Tong 
化妝:靳香林

Make up Artist: Jin Xianglin

服裝:李宙

Costume Design: Li Zhou
平面設計:陳雄偉

Graphic Design: Chen Xiongwei

翻譯:石川郁 

Translation: 石川郁 
特別鳴謝:日本國際交流基金會 “舌頭”樂隊  許倩、嚴龍

Special Thanks: Japan Foundation, “She Tou” Band, Xu Qian, Yan Long

演出:北京紙老虎工作室

Production: Beijing Paper Tiger Studio

首演:1998年廣東現代舞團小劇場

Premiered: 1998 Guang Dong Modern Dance Group Theatre 

2003年12月,北京交道口七色光劇場 Dec. 2003 Beijing Jiaodaokou Qiseguang Theatre

2003年12月,東京H.M戲劇節 Dec. 2003 Tokyo H.M. Theatre Festival

作品簡介:

 

1998年12月紙老虎工作室演出了《殺手不嫌冷和高雅藝術》,利用當時的流行時尚和“高雅藝術”口號等混亂的現實作爲材料,以“粗俗戲劇”的方式表現了當代生活的蕪雜、暧昧和混亂。2003年12月重演此劇,面對的現實更多的來自于所有參與者自身的處境和問題。這是一次關于“肮髒”、“病毒”、“汙染”的劇場,也可以理解爲針對現實中每個人自身生活的疑問和否定。包括對于2003年發生的一些事件的印象以及排練過程中的人際關系的一些線索也被采集和引入本劇的演出中。
 

In December of 1998, Paper tiger theatre studio produced and performed the work Killer doesn’t feel cold and the High Art. Utilising popular culture, the “High Art” motto, and the 1998’s social reality as raw material, Paper Tiger created the concept of “Kitsch Theatre” through this performance, which has depicted the intimate, chaotic life of the 1998-contemporary. After five years when this performance once again shown on stage, the focal point shifted to the participants themselves and raised a question: how does the individual participant face and deal with the problems of her/himself? The 2003 version of Killer is a discussion about ‘dinginess’,’virus’,’pollution’. It tries to reverse life itself - to question it, to reflect on it, and perhaps, to deny it. The text is also extended to ‘mutate’ the crucial social events in 2003, as well as the ‘social events’ encountered during the rehearsal process through the representation of theatre.  

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