2020 OCAT表演: 待测——重写剧场史
2020年开年及今，突然的疫情打断了全世界“从来如此”的正常秩序和频率。停摆、封 锁的紧急状态居然成为正在发生的全球性现实。不仅每个人都成为等待检测的潜在感 染物和病原体，也使得人类社会“之前和之后”的历史社会行为，以及政治经济、科学 艺术的诸多问题骤然归于重重可疑的待机和“悬置”状态。
值此巨大不确定的“待测”情境，需要顺势而动的应急免疫反应。深圳“OCAT2020表 演”原计划中的“重写剧场史”展演，借此情势“变异”为一次“特别项目”。即:在“待测情 境下重写剧场史”的展演、展览和论坛系列活动。将表演、艺术史的讨论嵌合于正在发 生的现实语境下。
2020年7月初，OCAT表演“特别项目”，将在“待测——重写剧场史”框架下，通过两个现 场表演、五个论坛讲座、一个表演文献开放展的交织叠进，在大危机和大变局的迷魂 汤中，讨论上世纪90年代以来的20多年，在社会历史和政治权力空间演进下，“表 演”如何在“出走离开”的反抗和自反性行动中塑造了出人意料的个人史，并进而碎片式 无机生成集体性的异质性能量。
在病毒让全球资本算法权力市场的加速度流动紧急制动的此刻，在“2020年，整个世界 都变成了剧场”的现实神话面前。这种回魂式的历史张望，是向前向后的刺探步，是重 塑记忆的企图心，也是对已无需待测的种种历史废料和丢弃物“众人纷纷上前，大喝一 声”的群体免疫动作。
2020/5/17 田戈兵
OCAT Performs 2020: Waiting for Testing - Rewriting Theatre History
Since the beginning of 2020, the outbreak of the pandemic has interrupted the order as well as pace of norm all around the world, that has been taken as always and for granted. The state of emergency, characterised by standstill and lockdown, has become a global reality in the making. Not only has everyone found oneself latent in becoming an infectious agent and a pathogen, everyone waiting for testing, but the crisis has set forth a state of suspicion and suspension in many aspects of human society: the socio-historical human behaviours pre- and post- this crisis, the socio-economical enquiries, the scientific questions and the artistic concerns.
This immensely uncertain situation, where all wait for testing, demands an urgent immune response that follows the propensity. The planned Rewriting Theatre History festival for Shenzhen OCAT Performs 2020 thus has mutated into a project of exception, i.e. a series of events including performances, an exhibition, panels and lectures as an attempt to rewrite theatre history in a situation of Waiting for Testing. The discourse of performance and art history will be contextualised with the social reality of the crisis.
In early July 2020, under the frame of Waiting for Testing - Rewriting Theatre History, OCAT Performs will introduce a cross-referenced discourse formed and developed with two theatre pieces, five panels or lectures and one participatory exhibition with autobiographical documents of contemporary performance in China. Amid the commonly experienced disorientation in this game-changing crisis, we propose to hold a discussion on the history of the past two decades to look again at how, in contemporary performance, fugitive resistance and personal insurgence have formed biographies of surprise, as well at how a collective heterogeneous energy was generated through fragmentary and inorganic connections, against the backdrop of the development of socio-historical space and power landscape in China.
At this very historical moment, when a virus hit the emergency brake on the accelerating global capitalism and algorithm oligarchy, one finds oneself vis-a-vis the myths of 2020, the Whole World Becomes Theatre. This revision is an attempt of re-enchantment, a test on future and history, an ambition to reshape memories, and nonetheless, an action towards the herd immunity against all sorts and collections of historical wastes and refuse. Here everyone steps up for an outcry.
Tian Gebing 17.5.20
被动策略剧场《感染、 紧急状态和⻉多芬》
纸老虎剧场创作序列里有一个《中国人为什么喜欢贝多芬?》的计划，以贝多芬音乐 进入后文革时期中国的经历，反观和讨论中国四十多年极速发展的历史。
这个计划撞上了贝多芬诞生250年，即2020年。而2020年伊始，贝多芬之年撞上了突然 而至的全球紧急状态的疫情年。连串的撞，原计划7月初在深圳ocat演出的《500米》已 难以实现。但现实情境的变局，却提供了“感染”、“紧急状态”意象和“贝多芬”这个极具 政治和精神隐喻符号之间的张力。使得纸老虎的“贝多芬计划”提前作为被动策略剧场 的应急创作，将在7月初的深圳ocat世界首演。
在这个“数字化废除了现实或深度伪造的后事实”时代，病毒出其不意的将人类的肉身 恐慌，无分国族文化地域差别的以病毒感染方式唤醒。共同进入隔离、封禁、检测、 感染、呼号、濒死的自我消毒激情里。这个歇斯底里的壮观景象，伴随目击数字曲线 的表演，制作了亿万人空巷的世界剧场的悲剧性场景和窒息般的时刻。这个250的场景 与250年前贝多芬星空之上的颤音，从0%到100%的逼真贴合在一起，奏鸣共振出这部 即将上演的《感染、紧急状态和贝多芬》。“亿万人民拥抱团结成兄弟”的强烈欢乐， 异化出情感和感染传播的多重交互。
这是一个“去他妈线上”的重返现场的表演，汇集了纸老虎的众多出色舞者。《500米》 中不能到场的欧洲各国演员，也会尝试穿过“管控”的边界潜入现场。当然这种潜入还 只能是“线上”，从线上到现场，带来天涯共此疫情，“同处一条船上”的世界另一端的 信号。
语言:中英文
时长:2小时
演职人员
导演:田戈兵
剧构:Christoph Lepschy(克里斯朵夫・莱普奇)
现场导演:巩中辉
新媒体/招贴设计:陈雄伟
空间设计:王亚男 田戈兵
灯光设计:王七栩
声音设计:李亦蕾
技术总监/舞台监督:贾小楠
导演助理/文本翻译:刘超
舞者:巩中辉、雷琰、连国栋、李斌、徐一鸣、朱凤伟、何欢、吕程亮、艾阔 歌者:苏诗丁
线上表演者:Manel Salas Palau(苏黎世)、Czacki Szymon(克拉科夫)、王亚男(柏林)、刘超(柏林) 、Elena Bechter(柏林)
Infection, State of Emergency, Beethoven
Passive Strategy Theatre, Paper Tiger Theater Studio
Among Paper Tiger’s projects in development there has been pending a project originally named Why Do Chinese People Love Beethoven?, which sets out to reflect and hold a discussion on the 40-year Chinese history of rapid development, through the stories of Beethoven’s music in post Cultural Revolution China.
Now the concept coincides with the 250th anniversary of Beethoven this year. The beginning of 2020 meets, unexpectedly, a year of the pandemic with the outburst of a global state of emergency. The planned tour of our 500 Meters production had to be cancelled. But the updated reality provides an opportunity to explore the dynamic tension between the concept of infection, the state of emergency and Beethoven, who had become a political and cultural symbol for the opening of a whole country. Paper Tiger decides to realise the Beethoven project as a reaction to the state of emergency, capped as Passive Strategy Theatre. World premiere will be in early July at OCAT Shenzhen.
In a digitalised era where the physical dimension of reality seems to have become nullified, or should it be called deep-learned post truth, the virus has summoned a paranoia that once more points to the physical human body, infectiously, regardless of nation, culture or geographic region. An act of self- sterilization, powered with passionate fear, is shared pandemically, not limited to phenomena such as isolation, travel bans, testing, infection, cries and near-death experiences. The spectacle of madness, effected by the virus, with its performative curve of death toll and the toll of confirmed cases, has realised a tragic scene of empty streets all over the world as well as a historical moment of i-can’t-breathe suffocation. This absurd scene resonates with a reminder of Beethoven’s anniversary. His superspreading qualities bring forth the production of Infection, State of Emergency, Beethoven, in which the joy of ‘Seid umschlungen, Millionen!’ echoes with a multiplicitous polyphony of affection and infection.
Let us return to the physical gathering. Many excellent Paper Tiger dancers gather in this production. The members of the originally scheduled 500 Meters-production, who are restricted in Europe by travel bans, would also sneak in the live scene, bypassing border control through the Internet, sharing the moment of pandemic crisis that defies geopolitical borders and joining a human situation from another end of the world.
In Chinese and English
Duration 2 hours
Dates 3 - 4.7.2020, 20:00 (China Standard Time) /14:00 (Central European Time)
Director Tian Gebing
Dramaturgy Christoph Lepschy
Executive Directing Gong Zhonghui
Video/Graphics Chen Xiongwei
Scenography Wang Yannan, Tian Gebing
Lighting Design Wang Qixu
Music Li Yilei
Technical director/Stage Manager Jia Xiaonan
Director Assistance/Translation Liu Chao
With Gong Zhonghui, Lei Yan, Lian Guodong, Li Bin, Xu Yiming, Zhu Fengwei, He Huan, Lü Chengliang, Ai Kuo, Su Shiding
Live connection with Manel Salas Palau(Zurich), Szymon Czacki(Kraków), Wang Yanan(Berin), Liu Chao(Berlin), Elena Bechter (Berlin)
Coproduction partners OCAT Shenzhen, Goethe-Institut China
