Theatrex Asia A Southeast Asian Online Magazine that informs intercultural processes in arts and culture.
  • 專題 | Features
    • 主題 | Focus
    • 人物 | Peoples
    • 作品 | Works
  • Essays in Asia | 亞洲藝聞
    • Reviews | 藝評
    • Curated Texts from Asia | 亞洲藝文
  • Academic | 論述
More Information
  • About Us
  • Subscribe Online Magazine
  • The Journal
  • Fellowship Programme
  • Contact
  • Southeast Asian Arts Community
  • Education
Scroll down

Catching up with the times- A review of Singapore Arts Festival 2006 opening production – Quest by Singapore Dance Theatre and Singapore Chinese Orchestra

June 2, 2006 12:00 PM
Richard Chua
210 Commentshttps%3A%2F%2Ftheatrex.asia%2Fcatching-up-with-the-times-a-review-of-singapore-arts-festival-2006-opening-production-quest-by-singapore-dance-theatre-and-singapore-chinese-orchestra%2FCatching+up+with+the+times-+A+review+of+Singapore+Arts+Festival+2006+opening+production+-+Quest+by+Singapore+Dance+Theatre+and+Singapore+Chinese+Orchestra2006-06-02+04%3A00%3A25Richard+Chuahttp%3A%2F%2Fwww.theatrex.org%2F%3Fp%3D21
  • Reviews | 藝評
  • The Theatrex Blog

A Language of Their Own

April 5, 2006 12:00 PM
Richard Chua
290 Commentshttps%3A%2F%2Ftheatrex.asia%2Fa-language-of-their-own%2FA+Language+of+Their+Own2006-04-05+04%3A00%3A08Richard+Chuahttp%3A%2F%2Fwww.theatrex.org%2F%3Fp%3D29
  • Reviews | 藝評

这是金大班的故事吗?

February 10, 2006 12:00 PM
Richard Chua
280 Commentshttps%3A%2F%2Ftheatrex.asia%2F%25e8%25bf%2599%25e6%2598%25af%25e9%2587%2591%25e5%25a4%25a7%25e7%258f%25ad%25e7%259a%2584%25e6%2595%2585%25e4%25ba%258b%25e5%2590%2597%25ef%25bc%259f%2F%E8%BF%99%E6%98%AF%E9%87%91%E5%A4%A7%E7%8F%AD%E7%9A%84%E6%95%85%E4%BA%8B%E5%90%97%EF%BC%9F2006-02-10+04%3A00%3A47Richard+Chuahttp%3A%2F%2Fwww.theatrex.org%2F%3Fp%3D28
  • Reviews | 藝評

Out in the Cold | Review of Zuni Icosahedron’s The Outcast General

February 5, 2006 12:00 PM
Richard Chua
260 Commentshttps%3A%2F%2Ftheatrex.asia%2Fout-in-the-cold-review-of-zuni-icosahedrons-the-outcast-general%2FOut+in+the+Cold+%7C+Review+of+Zuni+Icosahedron%27s+The+Outcast+General2006-02-05+04%3A00%3A16Richard+Chuahttp%3A%2F%2Fwww.theatrex.org%2F%3Fp%3D26

  Picture by Esplanade, Theatres by the Bay  A multi-media performance – The Outcast General Zuni Icosahedron China, Hong Kong 4 Feb 06, Fri – Sat, 8pm, Esplanade Theatre Studio By Audrey Wong Watching The Outcast General felt a little like watching a checklist of the essential elements for a piece of ‘contemporary cutting-edge theatre’.

  • Reviews | 藝評

《行草》:一个美丽的旅程

February 4, 2006 12:00 PM
Richard Chua
250 Commentshttps%3A%2F%2Ftheatrex.asia%2F%25e3%2580%258a%25e8%25a1%258c%25e8%258d%2589%25e3%2580%258b%25ef%25bc%259a%25e4%25b8%2580%25e4%25b8%25aa%25e7%25be%258e%25e4%25b8%25bd%25e7%259a%2584%25e6%2597%2585%25e7%25a8%258b%2F%E3%80%8A%E8%A1%8C%E8%8D%89%E3%80%8B%EF%BC%9A%E4%B8%80%E4%B8%AA%E7%BE%8E%E4%B8%BD%E7%9A%84%E6%97%85%E7%A8%8B2006-02-04+04%3A00%3A29Richard+Chuahttp%3A%2F%2Fwww.theatrex.org%2F%3Fp%3D25

  舞者接龙书写《春江花月夜》 2001/黄晓薇  图片: 云门舞集 云们舞集(台湾) 2006年2月3日 晚间8时正 滨海艺术中心剧院 文:蔡两俊 舞蹈身为一种跨语言的表演艺术,没有文字的局限,能直接与观众对话并与作品交流是必然的。林怀民的《行草》虽然是一个根基于中华文化的作品,但舞者的身体语言,已经超越自身的民族性,向外界延伸,变成了一种当代的舞蹈形式。这形式不但跳脱了以往华族舞蹈的框架,也为以华族文化为基垫的新舞蹈形式开了新道路。所以,在演出后的对话会上,一名印度籍观众的正面回响,说作品深深感动了她,并让她深思,其实并不是什么新鲜事,反而是林怀民与她的对话,使我开始反思促使林怀民创作近期几个作品的种种原因。 我当然不能非常准确的这样做,因为我不是林怀民,但这个理由根本不足以阻止我设法靠近这舞蹈大师,从他的言论以及作品中,去猜猜他心里在想些什么。 《行草》演出完毕时的对话会给了我一些引子。在林怀民众多的解答中,只有两个回答引起了我的注意:一、编排《行草》是给予舞者新开发的身体一个上台的理由,二、林怀民也希望他的舞作是一种娱乐。

  • New Writings

在感性与迷惑之间的摇晃 | -探讨郭宝昆《老九》  

November 12, 2005 12:00 PM
Richard Chua
2412 Commentshttps%3A%2F%2Ftheatrex.asia%2F%25e5%259c%25a8%25e6%2584%259f%25e6%2580%25a7%25e4%25b8%258e%25e8%25bf%25b7%25e6%2583%2591%25e4%25b9%258b%25e9%2597%25b4%25e7%259a%2584%25e6%2591%2587%25e6%2599%2583-%25ef%25bc%258d%25e6%258e%25a2%25e8%25ae%25a8%25e9%2583%25ad%25e5%25ae%259d%25e6%2598%2586%25e3%2580%258a%25e8%2580%2581%25e4%25b9%259d%25e3%2580%258b%25e3%2580%2580%2F%E5%9C%A8%E6%84%9F%E6%80%A7%E4%B8%8E%E8%BF%B7%E6%83%91%E4%B9%8B%E9%97%B4%E7%9A%84%E6%91%87%E6%99%83+%7C+%EF%BC%8D%E6%8E%A2%E8%AE%A8%E9%83%AD%E5%AE%9D%E6%98%86%E3%80%8A%E8%80%81%E4%B9%9D%E3%80%8B%E3%80%80%E3%80%802005-11-12+04%3A00%3A14Richard+Chuahttp%3A%2F%2Fwww.theatrex.org%2F%3Fp%3D24

  图片由实践剧场提供  以上文章的准备笔记之一初稿: 理性和感性两俊与《老九》音乐剧的对话纪录 2005年11月11日 晚间8时、戏剧中心剧院 文:蔡两俊 如果我是老九的爸爸,我是不会在《师与父》一幕里以这样肤浅的一句:“什么?老九会医病?”来回应师傅的这一段话:“世界上的怪事太多了,不要以为我们都可以明白。下午我的病又发作了,我在打坐治疗的时候,好像有什么事情要发生,好像有什么人要来。在我很痛苦的时候,突然看到九仔进来。我的最好的朋友的我最疼爱的孩子来解救我啦!”老九的爸爸虽然是一个不识字的人,但这绝对不能是他拒绝对世界的一切进行反思的理由。可能我的处境跟师傅一样,写作的时候都是在腹痛中进行的。世上的怪事多,就因为我们不了解世事。我们既然不了解世界的种种,就应该质问以及进行高度的反思。每一件事都是反思的对象。 《老九》一剧让我焦虑不安,不因为它是郭宝昆的剧本,而是《老九》里的庄家好像都在这一系列的怪事里打滚。他们在戏里毫无目标地盲目追求老九的成功。看戏的人也好像在毫无目的地找寻老九里的喜悦/伤感/无奈。我不能锚定那是不是喜悦、伤感或无奈。那不是艺术的责任。艺术如果能给予明确的答案,那郭宝昆的《老九》就废了。我身为一个看戏的人感到百感交集,认定自己需要写一篇长文来把这一瘴悬疑弄清楚些。这长文旨在把我的《老九》视觉景观弄得清晰。

Posts navigation

Previous 1 … 25 26

Theme by The WP Club. | Proudly powered by WordPress