2011年4月29日 星期五

:o) that's me ~

wyonglin@gmail.com
Actress, Director, Drama tutor and workshop facilitator
Co-Artistic Director of Dirks Theatre: www. dirkstheatre.blogspot.com

Universities or Professional Institutions Attended

1. Central School of Speech and Drama, London, U.K. (September, 2010 - current), Master Degree in Movement Studies

2. University of Leeds, U.K. (August, 2004- August, 2005), Master Degree (with merit) in Performance and Cultural Industries, Theater as Social Intervention

3. Hong Kong Academy for Performing Arts, (September, 1999- May, 2003) Bachelor (Hons) degree in Fine Arts, Acting

Scholarships, fellowships, grants held at present or in past,

1. HKADC - FCO Chevening – University of Leeds Scholarship 2004/2005

2. Sir Edward Youde Memorial Scholarships, Hong Kong Academy for Performing Arts, 2002/2003

3. HKAUW Cheng Suen Man Shook Undergraduate Scholarship, Hong Kong Academy for Performing Arts, 2001

4. The Hong Kong and Shanghai Bank Cooperation Exchange Scholarship (to United State, Minnesota) of the year 1997

Employment Record:

Acting:

Music Video: Art.War.Entertainment, Kavsrave / The break up (2011)

Theatre:

Theatre Fanatico, 'The Maids*2' (2010); Dirks Theatre, 'Intimate Strangers' (2009); Theatre Du Pif, Hong Kong, collaboration with Macao Cultural Center ‘Sunrise’(2009) ; OutTo Production, Taiwan and South Korea, ‘Puzzle in Puzzles’(2008) (Lead), Chuncheon International Mime Festival; On and On Theatre at Cattle Depot with Robert Draffin’s actor’s training workshop, Hong Kong, ‘Seneca’s Oedipus’(2007), Jocasta; FenZ! Production, Macau, ‘Solitude’(2007), (Lead); Macau Conservatory, School of Drama, Macao, ‘Finding Little Prince’(2006), (Lead); Theatre Ensemble, Hong Kong, ‘Little Red Riding Hood’ (2005), (Lead); University of Leeds, U.K., ‘The Dispute’(2005), (Lead); Jumbo Kid’s Theatre, Hong Kong, ‘Wizard of Oz’(2004), All Witches, door guide; No Man’s Land, Hong Kong, ‘The Man, The Chair and the Turtle: A Meditation on Cultures and the Mind’ (2004) ; TNT Production, Hong Kong, ‘Musical - Forever Teresa Tang’(2004), Teresa Tang’s little brother, Taiwan; Ching Ying Theatre company, Hong Kong, ‘Far Away…yet so close’(2003), (Lead); Drama Gallery, ‘International Arts Carnival- Parents on the moon’(2003), orphan; Hong Kong Academy for Performing Arts, Hong Kong, ‘Slaughter’(2003), daughter, old woman, soldier and movement chorus, ‘Family’(2003), Madam Wong; ‘The Lesson’(2002), the student; ‘The Caucasian Chalk Circle’(2001), Ludovica and singing chorus; ‘The Legend of White Snake’(2000), ching ching, the green snake, tour to the 2nd International Experimental Theatre Festival Shanghai; Amateur Theatre, ‘The Forced Marriage(1999)’, (Lead); Ohio State University Asian American Theatre, U.S., ‘Letter to the student Revolutionary’(1998), BeBe; Duluth Central High School, U.S.,‘The Miser(1998)’, Jacque

Directing

Dirks Theatre, 'Intimate Strangers' (2009); Dirk’s Theatre collaborate with Burntmango Dance Theatre, Alice Dreamosis (base on Susan Sontag’s ‘Alice in Bed’ (2009); Macao Conservatory, School of Drama, Macao, In the Crowd: A Project to the community Youth Theatre(2008)’; IDEA2007, 6th World Congress for International Drama/ Theatre and Education Association, Hong Kong, ‘Dreaming on the Wild Sea’(2007); University of Leeds, MA Festival – Once Upon A time…There was Karma’(2005); The Access Academy, U.K. ‘The Dispute’ (2005); The Recap Theatre, U.K., ‘TIE on Bullying’(2004); St. Peter’s Parish Primary School Annual Drama Performance, Hong Kong (2004); HK Joint School Drama Society, ‘The story about Bobby’(2003)

Teaching:

2010 Hong Kong Drama Festival Adjudicator, Primary Schools division; Macao Prison (2009); 2009 Hong Kong School Drama Festival Adjudicator, English division; Faculty at the Macau Conservatory, School of Drama (Movement Improvisation, Mime, Youth Theatre and Fundamental Acting classes), Macao (Dec.,2005 to July.,2008); Blenheim Primary School Racism workshop(March,2005), U.K.; The Recap Theatre Touring workshop on Bullying (December,2004), U.K.; St. Peter’s Parish Primary School Drama courses and annual performance(October,2003-May 2004), Hong Kong

Also varies acting workshops with the Hui Kok Theatre Company, Macao (2009), the LIVE Theatre, HK (2009), Belheim Primary School on racism workshop, UK (2005)

Translation

Macao Conservatory, School of Drama, ‘The Diary of Anne Frank’; Internal Affairs Production, Hong Kong, ‘Months on Ends’ (2005); Hong Kong Academy for Performing Arts, Hong Kong, ‘The Miser’(2004)

Stage Management:

True Heart Theatre(2011), 73A, SM & DSM; Drama co-association of Universities in Macao, Macao, ‘Theory of Everything’ (2007), DSM; Ohio State University, U.S., ‘Angles in America’(1999), ASM and construction crew; Hong Kong Academy for Performing Arts, ‘Blood Wedding’(1999), ASM

Television:

RTHK ‘The Road Stories’ (2005), ‘The Long Nights’(2005), ‘The Mobile phobia’(2004), ‘The Funny sounds’ (2003)

2011年3月3日 星期四

"East West Festive Cultures" project presentation ceremony







A A documentary showcase based on 13 real authentic stories, interviewed by the Ming-Ai Institute, for the East West Festival.

As a point of departure the question is posted: How do traditional Chinese festivals differ from their British counterparts and why? By studying the similarities and differences between festivals by comparing, for example, Hallowe'en with the Chinese Ghost Month, and St. Valentine's Day with the Chinese Lantern Festival. The research will look back to the 1950s to see how Chinese people have practiced their cultural festivals while living in London and how those practices change as time goes by.

To me such valuable experience is not only about the commonalities and differences between the East and West; for sure there would and will always be differences, yet it's the best part of it! It's the life experience and the journey they have gone through, across the borders, how each human strives to develop her/his own identity and to cherish what they have established, what they love and who they really are now. Listening to sound recordings and videos of those 13 interviewees, some were those Chinese who moved to the UK at early age and have been living in the UK for a long time; some were those mixed marriage Chinese who have shared with us how they celebrate those East and West festivals with their western partners: we can see the effect of mixed marriages on celebrating two cultures; some were those Chinese or half-Chinese born or brought up in the UK. By listening to stories, what we understand is not only individual stories, but the confusion, as well as joy, and shared concern across the human race - our root, wanted to be accepted, to be loved, and the most important, each of one we meet, is an unique individual represents the time of we lived.

2010年7月20日 星期二

07302010 The Young Hunger Artist K

The Young Hunger Artist k

On & On Theatre Workshop

Time: 30-31.7.2010 (Fri-Sat) 7:30pm / 1.8.2010 (Sun) 3pm
Venue: Hong Kong Cultural Centre - Studio Theatre

In Cantonese, 120minutes
Best for ages 12 and above

The Young Hunger Artist k

Kafka X Dung Kai-cheung X New Intrepretation

Behold, the youngest hunger artist is now in town! k is here to fast so as to lose weight, call for donations, practise yoga, appear on the catwalk and in cosplay, or stage a strike. She is even prepared to challenge the fasting limit of 100 days! Or does she simply fast for no reason?

Determined to be a hunger artist after an inner voice prompted her to do so, k has seen the media turn her work into hype and herself into the It Girl, both cheered and despised. In an era where art becomes entertainment and a consumer item, can a genuine artist survive?

Renowned Hong Kong writer Dung Kai-cheung localises Franz Kafka's A Hunger Artist and adds a contemporary outlook to the classic which is considered as one of the writer's most autobiographical works. A cast of professional and young performers promises to draw contemporary relevance to the modern satire in this tour de force of absurdity and dark humour.

Artistic Director: Chan Ping-chiu
Playwright: Dung Kai-cheung
Director: Indy Lee
Assistant Director: Wu May-bo
Cast: Rebakah Ling
German Cheung
Wu King Yeung
Ip Ka Yan
Chan Oi In, Carol
Shing Pok Man
Rico Wu
Gladys Wong
Lai Kin Fat
Mok Ka Man, Carmen
Chung Siu Hei*
Tam Yuk Ting*
Hui Chun Pong*

* Internship arrangement with The Hong Kong Academy for Performing Arts

$180, $120

Add: 10 Salisbury Road, Tsim Sha Tsui, Kowloon, Hong Kong.
Tel: (852)27342009


2010年2月7日 星期日

《女侍/侍女》

康樂及文化事務署主辦

瘋祭舞台夥伴經典創作系列二

瘋祭舞台/愛麗絲劇場實驗室聯合創作



《女侍/侍女》


瘋 祭舞台的何應豐特邀愛麗絲劇場實驗室的陳恆輝為法國作家尚‧惹內一九四七年創作的《侍女》(Les Bonnes /The Maids) 分別作出「一開二」的「自在閱讀」,為作品重新創作兩個不同的版本。何應豐試圖藉是次演出「雙重性」,拉開作者曾置身及目睹的「現代監牢」延伸思考:

一方面遠觀陳恆輝如何探究原劇的詩情,展現尚‧惹內的萬華鏡像 ,另一方面則自建祭壇,訪尋人底荒誕如何在真實和假設間穿梭, 冀藉以理解凝構幻界的存在需要。 或許是戲劇,是此間面向如此世代餘下的最後攻略……



原著:尚‧惹內 Jean Genet

監製:何應豐 、陳瑞如、黃穎文

翻譯:何應豐( 侍女 )

改編:何應豐( 女侍 )

導演:陳恆輝( 侍女 )、何應豐( 女侍 )

佈景及服裝設計:邵偉敏

燈光設計:鄭稜耀

作曲及音響設計:彭俊傑

演員:

胡美寶、 莫穎詩、林燕、 金草*、何應豐 (女侍)

陳瑞如、黃懿雯、李潔芝 (侍女)

舞台監督:劉細優 (侍女)、林耀洪 (女侍)

* 承蒙香港演藝學院批准參演

演出場地:葵青黑盒劇場

日期: 2010.2.25-28 (四至日) 7:30pm
2010.2.27-28 (六至日) 2:45pm

訂票:www.urbtix.hk (城市電腦票網) 或 www.alicetheatre.com
或將閣下email/手提/票數留在此face book event的留言版
或盡快聯絡你所認識的製作人員/演員

節目全長約3小時。


2009年7月11日 星期六

Translating Anne Frank to Macao






July 2009, Macao Conservatory has done the production of 'The Diary of Anne Frank', gladly having the opportunity to be the translator, witnessed the graduation of former students :)

Thanks to God~

2009年5月30日 星期六

《日出》(澳門革新版) -- 張秉權

《日出》(澳門革新版) -- 張秉權

http://www.theatreborderless.com/abchk/a/news.do?method=detail&id=52913c5f2137bc220121813fb07b0002&mappingName=FORUM

進劇場

澳門文化中心小劇院

24-26/4/2009 (三場)

[090425] 本 港一些藝術家與藝團,近年都開始把活動版圖擴展到香港以外,演出固然不少,努力做培訓工作以至協助當地成立藝團者,也不乏其例。舞蹈界的曹誠淵,固然是其 中表表者,他在廣州和北京成立的舞蹈團,早已在當地打響名堂,成為內地現代舞團的嚆矢。而在戲劇界方面,進劇場的表現,也是很出色的。

進劇場成立早期 (92-95年間),陳麗珠與紀文舜 (Sean Curran) 兩位藝術總監已經在蘇格蘭的社區中心、老人院和學校等進行工作坊。劇團回到香港發展後,自1999年 開始,在屯門和一群家庭婦女做了為時數年的工作坊,把她們的生活,更重要的是把浸潤在生活之中、沉澱在生活深處的快樂和憂慮、恐懼和夢想,以戲劇的形態, 和劇場內的觀眾分享。這種戲劇藝術和社區生活的深層結合,一方面豐富了這個特定社群成員的生命,也塑造了劇團的藝術品格。我們認識進劇場,也因此必須在 「正規的」演出以外,同時認識這一部分,才算真正認識這個具生命力,也具理想的團體。

這一次,進劇場斷斷續續用了九個月時間,帶領一群澳門朋友,進行這個「日出計劃」。經過一系列工作坊後,劇團率領十四位澳門演員,向觀眾呈現這個演出。

《日出》,進劇場。這是個不尋常的結合。據陳麗珠解釋,她是想從一個較紮實的文本開始,故不搞純粹的「編作劇場」;而且,為減少文化差異帶來的困難,這次也不搞翻譯劇。最後,多番思量之下,乃挑選了曹禺的《日出》。

舞台上最矚目的自是佈景。戲還沒有開始,觀眾已經看到一個大大的黑色鐵枝搭建成的鳥籠,鳥籠內鋪滿黑色的碎石。一株枯樹插在鳥籠中央,並往上伸越到籠子外面。這是個訊息清晰而強烈的佈景設計,它表明了演出者對作品的理解:陳白露 (等人) 是 活在一個鳥籠裏,沒有自由。雖然在演出中,演員不可避免地會在籠子內外自由進出,但是,由於鳥籠是如此的大,它主宰了全舞台。我們甚至可以這樣理解:儘管 你可以在形體上離開籠子,但你的精神、你的生命本質,到底還是給籠子罩着,不得真正的自由﹗這鳥籠是有力的劇場符號,成為詮釋作品的主要切入點和依據。

舞台設計的另一別致處理是和觀眾的關係。部分觀眾被邀請坐到舞台演區的兩側,「零距離」地觀看 (參與?) 整個戲。這種「打破距離」的基本構想在戲未正式開始即觀眾進場時已經顯示出來:觀眾被邀請走上舞台「入座」,演員也一個接一個地自後台上場,或坐或立地雜廁在他們之間……。然後,一位女演員滿有風情地橫越舞台,紀文舜在舞台的另一邊吹口哨挑逗她,這樣便開始了戲。

然後,是女演員一個又一個地在舞台上奔走,她們進出鳥籠,這是逃走,還是遊戲?最後,一位女演員摔倒在鳥籠內。男演員說:豬肉﹗肉味﹗這個城市到處都是這樣的味道,而城市裏的人自己卻嗅不到……

澳門的朋友說舞台上的鳥籠指的是「葡京酒店」,可能是的。或許負責舞台設計的李侖洙 (韓國) 也有這樣的自覺。但是,對我來說,這個特指是不重要的。因為,女人困在「鳥籠」內從事各種各樣的「賣肉」生涯,這樣的意涵在戲的早段已經點明得清清楚楚。進劇場就是用這樣的手法去解構《日出》。對的,劇場 (theatre) 就是手術室 (medical operating theatre)。觀眾這次看的,固然是曹禺的《日出》,而更是進劇場理解的、「解」拆並重新建「構」的《日出》。

其解構 的手法在突出方達生與陳白露關係時,是尤其明顯的。劇團安排由五位男演員同來演方達生,由九位女演員同來演陳白露。方達生迢迢路遠地來這城市,要求陳白露 跟他走,嫁給他,脫離這樣的糜爛生活。但是陳堅決不肯。她卻要方達生留下來,看看這個城市,也看看這兒的人怎樣生活。

由多位 演員來演繹同一角色是一個很好的設計。這個設計當然不新鮮,用在這兒卻是非常合適﹗一來,在實際操作上,澳門這一群戲劇修養頗有參差的朋友,儘管參加了為 時不短的工作坊,要根據原著安排分配角色,不一定能夠完全勝任;而且,因角色戲份多寡有異,勉強依循,未必相應於工作坊強調的集體參與。二來,在藝術處理 上,這更有利於突出角色 (尤其是陳白露) 的複雜性。多位演員各有不同的身形、氣質、表演特點,同來演一個角色,於是舞台上陳白露和方達生對話的時候,來自四面八方不同的台詞互相穿插,此起彼伏,客觀上便立體地呈現了一個有血有肉的人應該具備的多面性,也為戲的肌理,佈置了很好的基礎。

這種多位演員演繹一角的處理,貫徹了整個戲。小東西、李石清、黃省三……等,都是如此。尤有進者,導演甚至打破性別,由女的演男 (李石清),男的演女 (顧八奶奶),這跟戲的多語言策略,即粵語、普通話和英語並用是有機呼應的。這超越形骸,重「神」遺「形」,或至越「形」取「神」的命意,就更是順理成章了。

要讓這種「多人演繹一角」的處理實現得成功,導演/工作坊導師了解演員/學員的個別能力,並恰當安排,自是首要條件。陳麗珠在這方面的處理看來是得心應手的,因此,不同特質的演員乃得給配置不同的台詞,而其效果看來 (也聽來) 順當。最明顯的例子是胡美寶,在芸芸女演員中她是表演能力較強的一位,因此,在小東西給追捕的時候,陳白露 () 憤而抗爭喝罵,以掩護她逃走,在一片吵鬧以至敲擊聲中,胡演繹的陳白露台詞,仍能滿帶感情地清楚傳達,這是不容易的。另一場,胡 (反串) 演李石清,坐在台口,譏誚陳白露娼妓不是娼妓、姨太太不是姨太太,其聲調的高低抑揚有致,跟其他女演員在表面上不盡諧協,放在「這段」台詞中卻又蠻可配合,並在更寬廣的層次上添加了戲的質感。

戲發展 到後段,在「鳥籠人間」的眾生相一一展現之後,方達生還是鍥而不捨地要陳白露跟他走,即使目覩「一個」陳白露在和男人纏綿做愛、「一個」陳白露在舞池內翩 翩跳舞。陳又幽幽地說自己的過去:她曾經結過婚,但失敗了。她說:結婚後最可怕的事不是窮,不是妒忌、打架或者什麼的,而是平淡、無聊……。這一段無可奈何的話處理得很有情,其演繹是出色的。

一如曹 禺原著,陳白露最後自殺死了。陳麗珠這裏又用上一個十分成功的處理:九位女演員集中在台前,既演出,也用「她」人稱描述陳如何顧影自憐,如何一顆一顆地吞 下安眠藥。導演這兒選擇用第三人稱,成功地減弱角色的自憐味道,卻同樣能讓觀眾目覩一個女子如何不能自控於物質生活,如何沉淪至死,其悲劇意味更濃。

這個戲 是「澳門革新版」,其澳門元素除表現在舞台上的「鳥籠」外,也很收斂地只安排了三數個小片段。首先是訪問在葡京工作了四年的接線生,其次是一個在澳門大學 剛畢業的年輕人。他們在紙醉金迷的城市裏,日復一日的就像一座迷宮中生活。那個大學畢業生在演出的後段,走下觀眾席,退場,消失了。他是否要離開這裏,試 圖尋找,或走出自己的路?

陳白露不像那位大學畢業生。她死了。然後,「鳥籠」終於給打開了,有演員大聲叫喊。另一演員問:這是什麼意思?俄而或黑或白的羽毛紛紛飄下。雁過留聲,被困多時的鳥兒 () 終於飛走了,牠留下的是一聲聲摧心裂肝的呼叫,留下的是一大堆 (不只「一個」陳白露啊﹗) 羽毛。在這兒,進劇場為陳白露的死,留下一個比曹禺版本更美麗的詮釋。

這還不 是結局。導演為演出加上了一個尾聲。一位男演員上場,仍然回到鳥籠裏,坐下,悠然地說:「我喜歡住在酒店裏。」這就為《日出》的原著,為澳門的實況,做了 個要言不煩的注腳,或者呼應。這個演出帶來的自省意義,也就在這輕輕的一個注腳中,交代得清楚了。真的,在這個講求物慾,講求舒服的年代,我們如何才可以 過真正有意義的、由自己操控的生活?

這是個很出色的演出。在《日出》的演出史上,確乎需要這樣的一個版本。尤其出色的是進劇場能夠因時 (廿一世紀的今天) 制宜、因地 (澳門) 制宜、因事 (工作坊) 制宜,呈現了這樣的一個別饒特色的製作。唯一的缺點是鋪在籠子裏的黑色碎石,演員走在其上時發出的聲音太吵耳了﹗不是說它不應有聲音,它當然應該發聲,那聲音可以是對現狀的干預,或者控訴。問題是它發出的聲音在整個演出是同一層次地吵耳 —— 而「層次」,或者說「肌理豐富」,正如上文所說,原是這個作品最可觀的「美」的所在。