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2024
ARANYA THEATER
FESTIVAL
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阿那亚戏剧节
核心内容回顾
戏剧艺术
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命令哈姆雷特
“一千个读者，就有一千个哈姆雷特”，因为一千个读者就有一千种“存在”。行动、责任、死亡与哲思，多少矛盾在哈姆雷特一身汇集，奥利维耶·庇和他的演员们创造了一种元戏剧形式，他们试图以一种全新的视角去接近哈姆雷特这一包罗万象的经典形象。他们有着考古学家般的精准与耐心、掘墓人般的达观与幽默。在该剧中，创作者们不断回溯各个时代的人们对哈姆雷特的评论与哲思，在重读这一经典剧目的过程中，我们将重新发现“存在”的此岸。
“For a thousand readers, there are a thousand Hamlets”, because there are a thousand kinds of ‘To be’ for a thousand readers. Action, duty, death, and philosophies: all contradictions blended, as seen in Hamlet, its unforgettable images. Olivier Py and his performers invent a form of meta-theatre, in which they attempt to approach the all-encompassing classic image of Hamlet from a brand-new perspective. In this play, the creative teams have the precision and patience of archaeologists, as well as the humor of gravediggers, also they constantly review in the light of the centuries that have commented on Hamlet. In reapproaching this classic play while being performed, we may rediscover the life of ‘To be’.
“For a thousand readers, there are a thousand Hamlets”, because there are a thousand kinds of ‘To be’ for a thousand readers. Action, duty, death, and philosophies: all contradictions blended, as seen in Hamlet, its unforgettable images. Olivier Py and his performers invent a form of meta-theatre, in which they attempt to approach the all-encompassing classic image of Hamlet from a brand-new perspective. In this play, the creative teams have the precision and patience of archaeologists, as well as the humor of gravediggers, also they constantly review in the light of the centuries that have commented on Hamlet. In reapproaching this classic play while being performed, we may rediscover the life of ‘To be’.
戏剧疯子
当用户占据社交媒体的主体内容时，一群人正努力探寻舞台空间中所面临的机遇和所受到的限制。《戏剧疯子》融合了卡巴莱歌舞表演、法式魅力狂欢秀、朗朗上口的西班牙曲调、意大利式幽默、大量羽毛装饰的服装、大型音乐秀和喜闹剧的表演，剧中角色蕴含着人类学对流行文化的剖析欲望，试图探寻高雅艺术与低俗艺术之间的微妙关联与区别。在点击率和当下的流量时代之下，表演者们争抢着观众早已分散的注意力，可如何与永无止境、难辨真假的信息一同竞争呢？戏剧和悲剧或许不仅发生在舞台之上，而是无处不在。
A group of people works hard to sound out the opportunities and limits of the stage space when users have become the content of social media. DRAMA integrates a mixture of cabaret and French glamour revue, catchy Spanish tunes, Italian humor, lots of feathers, big music shows, and popular comedians, the figures in DRAMA nurture the anthropological desire to cut up popular culture to discover the arc of suspense between high art and low. The performers compete for the worn-out attention span of audiences in the current era of clickbait. But how can you compete with the never-ending spectacle of information, fake or true? Drama and tragedy may happen everywhere, not just on stage.
国王之谜
《国王之谜》是根据意大利诗人巴希尔的一则寓言改编而成，故事以一位国王为中心展开，他在狩猎归来时遭遇了一场突发的尴尬场面，引发了一连串令人啼笑皆非的事件。国王的身体被一只误认为他已死的鸡所寄居——它爬进了国王的内脏，并在他的肠道中定居。这只神奇的鸡吞食了国王所进食的一切，每天使他产下金蛋。国王精疲力竭，决定绝食致死，但却遭到了整个朝廷的反对，而国王的家人和宫廷则对此展开了各种欲望和权谋的争夺。《国王之谜》巧妙融合了喜剧、滑稽戏和悲剧的元素，同时汲取了巴洛克式诗歌富于意趣的风格，将观众带入一个离奇的世界。
Re Chicchinella is adapted from a fable by the Italian poet Basile. The story revolves around a king who, upon returning from a hunting trip, encounters an unexpected and embarrassing situation, leading to a series of comical events. The king's body becomes inhabited by a chicken mistakenly believed to be dead—it crawls into his intestines and takes up residence there. This magical creature consumes everything the king eats, causing him to lay golden eggs every day. Exhausted and determined to fast to death, the king faces opposition from his entire court, while his family and courtiers engage in various desires and power struggles. Re Chicchinella cleverly blends elements of comedy, farce, and tragedy, while also incorporating the whimsical style of Baroque poetry, transporting the audience into a bizarre world.
Re Chicchinella is adapted from a fable by the Italian poet Basile. The story revolves around a king who, upon returning from a hunting trip, encounters an unexpected and embarrassing situation, leading to a series of comical events. The king's body becomes inhabited by a chicken mistakenly believed to be dead—it crawls into his intestines and takes up residence there. This magical creature consumes everything the king eats, causing him to lay golden eggs every day. Exhausted and determined to fast to death, the king faces opposition from his entire court, while his family and courtiers engage in various desires and power struggles. Re Chicchinella cleverly blends elements of comedy, farce, and tragedy, while also incorporating the whimsical style of Baroque poetry, transporting the audience into a bizarre world.
舞台剧《繁花》第⼀季
故事发生在上个世纪的上海。资本家家庭出身的阿宝，空军干部家庭出身的沪生和工人家庭出身的小毛，在少年时是好朋友。阿宝喜欢邻居小妹蓓蒂，60 年代，阿宝家被接管，蓓蒂失踪，以致阿宝二十年难以释怀。沪生钟情孤傲的姝华，姝华去吉林，遭遇变故，产生巨大变化，最后一封来信让沪生看淡世事。海员妻子银凤中意邻家少年小毛，二人偷情被揭，小毛误会银凤，并与阿宝、沪生绝交。
到 90 年代，做外贸生意的阿宝与律师沪生仍是好友，至真园饭店乃是他们邀客聚会的不二场所。长相出尘的饭店老板娘李李几次向阿宝表达感情，阿宝不置可否。李李带众人去常熟游玩，阿宝的客户汪小姐恣意寻欢，与常熟徐总发生关系。汪小姐怀孕事发，阿宝和李李才知汪小姐为生二胎，铤而走险，并欲与童年好友小毛假结婚生子。而汪小姐也不知道腹中孩子是徐总的还是丈夫的，进退两难。李李打开心扉，将自己的复杂经历和盘托出，被动的阿宝终于表露出了自己的感情。
The drama employs a spatial-temporal narrative structure, using the lives of three childhood friends from diverse backgrounds: Abao, from a capitalist family; Husheng, from an Air Force family; and Xiaomao, from a worker’s family as threads, to illustrate the profound transformations in Shanghai’s urban landscape from the 1960s to the 1990s.
Abao nurtures a deep affection for his neighbor Betty, who mysteriously disappears when Abao’s family loses their wealth in the 1960s, and Abao is left with a lingering heartache for decades. Husheng, meanwhile, is captivated by Shuhua, an intellectual who loves to read and write poetry. Shuhua was afterwards sent to cultivate in the impoverished area of Northeast China which caused great turmoil in her heart. The last letter that she sent to Husheng profoundly alters Husheng's perspective on life which made him indifferent to worldly affairs. The narrative also entangles Yinfeng, a seafarer’s wife, who develops an illicit romance with Xiaomao, resulting in a scandal that shatters their friendship.
By the 1990s, Abao and Husheng have maintained their friendship. Abao is now a foreign trader and Husheng is a lawyer. They often meet at “Zhi Zhen Yuan” Restaurant, their preferred venue for social gatherings. Lili, the enchanting owner of the restaurant, expresses her feelings to Abao multiple times, though Abao remains noncommittal. During a group trip to Changshu organized by Lili, Ms Wang, a client of Abao’s, indulges in an affair with a rich man of Changshu, Mr Xu. This affair leads to an unexpected pregnancy, Abao and Lili then discover Ms Wang’s risky attempt to have a second child and her plans to marry Abao’s childhood friend Xiaomao under pretenses. Caught in a quandary, Ms Wang is uncertain whether the child is Mr Xu's or her husband's. Amid these complications, Lili unveils her complicated past, prompting the typically passive Abao to finally express his own emotions...
到 90 年代，做外贸生意的阿宝与律师沪生仍是好友，至真园饭店乃是他们邀客聚会的不二场所。长相出尘的饭店老板娘李李几次向阿宝表达感情，阿宝不置可否。李李带众人去常熟游玩，阿宝的客户汪小姐恣意寻欢，与常熟徐总发生关系。汪小姐怀孕事发，阿宝和李李才知汪小姐为生二胎，铤而走险，并欲与童年好友小毛假结婚生子。而汪小姐也不知道腹中孩子是徐总的还是丈夫的，进退两难。李李打开心扉，将自己的复杂经历和盘托出，被动的阿宝终于表露出了自己的感情。
The drama employs a spatial-temporal narrative structure, using the lives of three childhood friends from diverse backgrounds: Abao, from a capitalist family; Husheng, from an Air Force family; and Xiaomao, from a worker’s family as threads, to illustrate the profound transformations in Shanghai’s urban landscape from the 1960s to the 1990s.
Abao nurtures a deep affection for his neighbor Betty, who mysteriously disappears when Abao’s family loses their wealth in the 1960s, and Abao is left with a lingering heartache for decades. Husheng, meanwhile, is captivated by Shuhua, an intellectual who loves to read and write poetry. Shuhua was afterwards sent to cultivate in the impoverished area of Northeast China which caused great turmoil in her heart. The last letter that she sent to Husheng profoundly alters Husheng's perspective on life which made him indifferent to worldly affairs. The narrative also entangles Yinfeng, a seafarer’s wife, who develops an illicit romance with Xiaomao, resulting in a scandal that shatters their friendship.
By the 1990s, Abao and Husheng have maintained their friendship. Abao is now a foreign trader and Husheng is a lawyer. They often meet at “Zhi Zhen Yuan” Restaurant, their preferred venue for social gatherings. Lili, the enchanting owner of the restaurant, expresses her feelings to Abao multiple times, though Abao remains noncommittal. During a group trip to Changshu organized by Lili, Ms Wang, a client of Abao’s, indulges in an affair with a rich man of Changshu, Mr Xu. This affair leads to an unexpected pregnancy, Abao and Lili then discover Ms Wang’s risky attempt to have a second child and her plans to marry Abao’s childhood friend Xiaomao under pretenses. Caught in a quandary, Ms Wang is uncertain whether the child is Mr Xu's or her husband's. Amid these complications, Lili unveils her complicated past, prompting the typically passive Abao to finally express his own emotions...
天守物语
《天守物语》以 15 至16 世纪日本战国时期为背景，讲述了姬路城白鹭塔第五层居住着神灵的故事，据传进入此处的人都不可能再返回。当龟姬拜访她的姐姐、妖怪首领富姬时，她收到了武田播磨神最喜欢的白鹰作为纪念品。后来，领主命令年轻的小贩姬川左之助去寻找那只白鹰，他进入了第五层，准备受死。然而，富姬却被他的勇敢所感动，并让他回到了人间。但当他空手而归时，领主却生气了，命令他再次回到灵界……
Set in the Warring States period of 15th- and 16th-century Japan, the drama has spirit beings living on the fifth level of the White Heron (Shirasagi) tower of Himeji Castle, from where it’s believed no one entering ever returns. When Kamehime visits her sister Tomihime, the demons’ leader, she is given the Lord Takeda Harima no Kami’s favorite white hawk as a souvenir. Later, the lord orders a young hawker named Zushonosuke Himekawa to find the bird, and he enters the fifth level prepared to die. However, Tomihime is impressed by his bravery and lets him return to the world of humans. But when he appears empty-handed, the lord is angry and orders him back to the spirit beings’ world again …
Set in the Warring States period of 15th- and 16th-century Japan, the drama has spirit beings living on the fifth level of the White Heron (Shirasagi) tower of Himeji Castle, from where it’s believed no one entering ever returns. When Kamehime visits her sister Tomihime, the demons’ leader, she is given the Lord Takeda Harima no Kami’s favorite white hawk as a souvenir. Later, the lord orders a young hawker named Zushonosuke Himekawa to find the bird, and he enters the fifth level prepared to die. However, Tomihime is impressed by his bravery and lets him return to the world of humans. But when he appears empty-handed, the lord is angry and orders him back to the spirit beings’ world again …
枪，谎言和玫瑰
《枪，谎言和玫瑰》根据二十世纪俄罗斯剧作家艾德曼·尼古拉·罗伯尔托维奇的经典戏剧《自杀者》意向进行创意改编。讲述了一个荒诞幽默的畸形故事：一个人因无所事事追赶蚊子至精神崩溃，赌气说了一句“我要自杀！”结果激起了整座城市的勃勃野心。各界人士纷至沓来向他进行愚蠢的威逼利诱，投机、阴谋、企图相互交织着，一场闹剧就此开始，但究竟为谁而死，一切早已无法挽回……
The Suicide is a creative adaptation of the classic Russian play "The Suicide" by Edman Nikolai Robertovich. The play humorously tells the story of a man who, out of idleness, declares he wants to commit suicide after a bout of frustration with mosquitoes, sparking a flurry of ambitious schemes across the city. Various characters, driven by greed and conspiracy, rush to manipulate him, spiraling into a farcical showdown. Yet, as the chaos unfolds, the question remains: for whom is he dying, when everything is beyond repair?
The Suicide is a creative adaptation of the classic Russian play "The Suicide" by Edman Nikolai Robertovich. The play humorously tells the story of a man who, out of idleness, declares he wants to commit suicide after a bout of frustration with mosquitoes, sparking a flurry of ambitious schemes across the city. Various characters, driven by greed and conspiracy, rush to manipulate him, spiraling into a farcical showdown. Yet, as the chaos unfolds, the question remains: for whom is he dying, when everything is beyond repair?
潮汐
上世纪七八十年代的波兰正在经历一个转折性的解冻时刻，当社会被极端议题所分化时，知识分子总是需要站在公共性的前线。而主人公马塞尔·克莱里科斯基却在为缺乏亲密关系、个人成就感和家庭的幸福而感到困扰。因无法忍受私人领域的孤独感，他宁愿撇开思想进步的自由派精英们，放弃了生命中的激情梦想，选择与大部分人一同随波逐流。《潮汐》试图引领观众回溯冷战时期波兰社会“顺从主义”的诱惑，并希冀历史经验可以与当代的社会现实形成照应——如同过去的法西斯主义与当代的民粹主义，支撑这些历史的狂热力量的或许仅仅是那些“普通人”最庸碌的日常需要。
In the late 1970s and early 1980s, Poland was undergoing a pivotal thawing moment, marked by societal divisions over pressing issues. Intellectuals were often required to take a stand at the forefront of public discourse. However, the protagonist, Marcel Klerykoski, finds himself troubled by a lack of intimate connections, personal fulfillment, and familial happiness. Unable to tolerate the loneliness in his private sphere, he chooses to abandon his passionate dreams and instead goes with the flow, disregarding the liberal ideals of intellectual progressivism. KONFORMISTA 2029 attempts to guide audiences back to the conformism prevalent in Polish society during the Cold War era. It expects that these historical experiences can shed light on contemporary social realities, such as the parallels between past fascism and present-day populism. Perhaps, it suggests, the fervent forces driving these historical movements are merely driven by the banal daily needs of the ‘ordinary people’.
In the late 1970s and early 1980s, Poland was undergoing a pivotal thawing moment, marked by societal divisions over pressing issues. Intellectuals were often required to take a stand at the forefront of public discourse. However, the protagonist, Marcel Klerykoski, finds himself troubled by a lack of intimate connections, personal fulfillment, and familial happiness. Unable to tolerate the loneliness in his private sphere, he chooses to abandon his passionate dreams and instead goes with the flow, disregarding the liberal ideals of intellectual progressivism. KONFORMISTA 2029 attempts to guide audiences back to the conformism prevalent in Polish society during the Cold War era. It expects that these historical experiences can shed light on contemporary social realities, such as the parallels between past fascism and present-day populism. Perhaps, it suggests, the fervent forces driving these historical movements are merely driven by the banal daily needs of the ‘ordinary people’.
海边的伽利略 I+II+III
德国剧作家贝托尔特·布莱希特于1943年创作的历史哲理剧《伽利略传》，以十七实际意大利数学家和物理学家伽利略(1564—1642)的事迹为题材，把历史的经验教训和二十世纪 的现实斗争结合起来，形成了一个哲理性的主题思想。
食物和酒精，我们将以生态戏剧的方式，重建一个越界、差异和畸形的非日常生活剧场。在
日出宣言、礼堂餐厅、博物馆戏剧派对三个时间进行科学和艺术的争吵，另一种选择：在夜晚归复平静。唤醒快感 —— 生活必须成为人们自我解放的时空。
“在我们的旧大陆，出现过一种谣言，说是还有新大陆。自从我们的海船驶向新大陆以来， 欢笑的大陆上纷纷传说：令人恐怖的汪洋大海不过是一洼浅水。于是，对一切事物追本穷源 的巨大兴趣油然而生。” ——布莱希特《伽利略传》
可是当探索真理的欲望与俗世快感的诱惑受阻时，你还要成为英雄吗?
安德雷亚:“没有艺术家的国家真不幸！”
伽利略:“一个需要艺术家的国家，才是，不幸的。”
German playwright Bertolt Brecht wrote the historical-philosophical drama "The Life of Galileo" in 1943. The play is based on the life and work of the 17th-century Italian mathematician and physicist Galileo Galilei (1564—1642). It combines historical lessons with the contemporary struggles of the 20th century to form a philosophical theme.
Using food and alcohol within an ecological drama framework, we create a unique theater experience that challenges norms across three settings: the Sunrise Declaration, the Auditorium Restaurant, and the Museum Drama Party. These events blend science and art, culminating in a tranquil night, emphasizing life as a space for personal liberation.
"In our old continent, there had been a rumor that there was a new continent. Since our ships have sailed towards the new continent, the laughing continent has been spreading the tale: the terrifying ocean is nothing but a shallow pool. And so a great curiosity to trace the origin of all things has arisen." - Bertolt Brecht, The Life of Galileo
When faced with obstacles to your quest for truth and the temptations of fleeting pleasures, would you still choose to be a hero?
Andrea:"Woe to the country that has no arts!"
Galileo: "No. Unhappy is the land that needs arts."
食物和酒精，我们将以生态戏剧的方式，重建一个越界、差异和畸形的非日常生活剧场。在
日出宣言、礼堂餐厅、博物馆戏剧派对三个时间进行科学和艺术的争吵，另一种选择：在夜晚归复平静。唤醒快感 —— 生活必须成为人们自我解放的时空。
“在我们的旧大陆，出现过一种谣言，说是还有新大陆。自从我们的海船驶向新大陆以来， 欢笑的大陆上纷纷传说：令人恐怖的汪洋大海不过是一洼浅水。于是，对一切事物追本穷源 的巨大兴趣油然而生。” ——布莱希特《伽利略传》
可是当探索真理的欲望与俗世快感的诱惑受阻时，你还要成为英雄吗?
安德雷亚:“没有艺术家的国家真不幸！”
伽利略:“一个需要艺术家的国家，才是，不幸的。”
German playwright Bertolt Brecht wrote the historical-philosophical drama "The Life of Galileo" in 1943. The play is based on the life and work of the 17th-century Italian mathematician and physicist Galileo Galilei (1564—1642). It combines historical lessons with the contemporary struggles of the 20th century to form a philosophical theme.
Using food and alcohol within an ecological drama framework, we create a unique theater experience that challenges norms across three settings: the Sunrise Declaration, the Auditorium Restaurant, and the Museum Drama Party. These events blend science and art, culminating in a tranquil night, emphasizing life as a space for personal liberation.
"In our old continent, there had been a rumor that there was a new continent. Since our ships have sailed towards the new continent, the laughing continent has been spreading the tale: the terrifying ocean is nothing but a shallow pool. And so a great curiosity to trace the origin of all things has arisen." - Bertolt Brecht, The Life of Galileo
When faced with obstacles to your quest for truth and the temptations of fleeting pleasures, would you still choose to be a hero?
Andrea:"Woe to the country that has no arts!"
Galileo: "No. Unhappy is the land that needs arts."
关于演员的故事
我们能否通过艺术摆脱我们的生平，或者说艺术只是一种失败的关于自我解放的记录？米洛·劳与爱德华·路易斯呈现了一个关于怀疑与失败的个人化文本。一次脆弱的展示，也是一刻诗意的静止，《关于演员的故事》还原了一次深沉忧郁的对话，一段支离破碎又温情脉脉的故事，也是一部关于戏剧与现实、失败与转变、虚构与真实、成为与存在之间不断交织的作品。
Can we escape our biography through art, or is art only the record of a failed liberation? Milo Rau and Edouard Louis now present a very personal text about doubting and failing. A demonstration of vulnerability, a moment of poetic standstill, THE INTERROGATION is a deeply melancholic dialogue, a fragmentary story, a tender play, a constant exchange of theatre and reality, failing and transformation, fiction and truth, on becoming and being.
Can we escape our biography through art, or is art only the record of a failed liberation? Milo Rau and Edouard Louis now present a very personal text about doubting and failing. A demonstration of vulnerability, a moment of poetic standstill, THE INTERROGATION is a deeply melancholic dialogue, a fragmentary story, a tender play, a constant exchange of theatre and reality, failing and transformation, fiction and truth, on becoming and being.
白鲸
一头古老的白鲸, 一位将船驶向毁灭的船长,《白鲸》既是一次捕鲸远航的传说, 也是一场关乎执念或探究生命不可言说之意的自白, 讲述了有着自我毁灭式执念的船长亚哈与一头名为莫比·迪克的白鲸之间所发生的激烈角逐。故事由亚哈所掌舵的捕鲸船“皮克德号”新船员伊斯梅尔的叙述而展开，即使会危及到船员的安危, 船长亚哈也要义无反顾地向白鲸莫比·迪克复仇。导演英维尔德·阿斯佩利结合演员表演、五十个木偶、影像投影和沉浸式乐队, 创造了一头同等白鲸大小的巨型木偶，对这部富有野性色彩的世界名著进行了奇妙的视觉创编。
An ancient white whale, a captain steering his ship into destruction. Moby Dick is the tale of a whaling expedition, but also the story of an obsession or an investigation into the unexplained mysteries of life, it is the story of Captain Ahab's self-destructive obsession with the white whale called Moby Dick. The scenario unfolds through the narration of Ishmael, a sailor new to Ahab's whaler, the Pequod, the plot of the novel follows Ahab's manic drive to kill the whale, even as it endangers his crew. With even actors, fifty puppets, video projections, a drowned orchestra, and a whale-sized whale, Yngvild Aspeli has created a visual adaptation of this wonderful beast of a world-famous book.
An ancient white whale, a captain steering his ship into destruction. Moby Dick is the tale of a whaling expedition, but also the story of an obsession or an investigation into the unexplained mysteries of life, it is the story of Captain Ahab's self-destructive obsession with the white whale called Moby Dick. The scenario unfolds through the narration of Ishmael, a sailor new to Ahab's whaler, the Pequod, the plot of the novel follows Ahab's manic drive to kill the whale, even as it endangers his crew. With even actors, fifty puppets, video projections, a drowned orchestra, and a whale-sized whale, Yngvild Aspeli has created a visual adaptation of this wonderful beast of a world-famous book.
台词和台词之间的台词
蒂亚戈·罗德里格斯曾多次为托南·基多撰写剧本。而这一次，他必须创作一部全新的独角戏剧本，但由于一系列未公开的神秘原因，剧本始终无法完成。正在此时，一连串真实而又弥漫着文学气息的意外事件催生了《台词和台词之间的台词》的诞生。这部作品描绘了剧作家与演员之间神秘的关系，将现实与虚构的地下世界巧妙地连接在一起，宛如一条神秘通道。在错综复杂的叙事中，剧本将索福克勒斯的《俄狄浦斯王》与一位被囚禁者写给母亲的信相互交织，这些信藏匿在监狱图书馆的一本希腊悲剧书中，夹在文字之间的空隙中。此时，文本又将折返现实：一个演员走上舞台，向观众解释为何无法上演承诺中的那出戏…
Tiago Rodrigues had previously written scripts for Tónan Quito on multiple occasions. However, this time, he had to create an entirely new solo play for the actor. Yet, due to a series of undisclosed mysterious reasons, the script remained unfinished. It was precisely at this moment that a sequence of real and literary-laden accidents gave birth to Entrelinhas. This play delves into the enigmatic relationship between the playwright and the actor, skillfully intertwining reality with the underworld of fiction, like a clandestine passage. Within its intricate narrative, the script merges Sophocles' Oedipus Rex with letters from a prisoner to his mother, hidden within the pages of a Greek tragedy found in the prison library, nestled between the lines. And yet, the text circles back to reality: an actor steps onto the stage, explaining to the audience why the promised play couldn't be performed...
Tiago Rodrigues had previously written scripts for Tónan Quito on multiple occasions. However, this time, he had to create an entirely new solo play for the actor. Yet, due to a series of undisclosed mysterious reasons, the script remained unfinished. It was precisely at this moment that a sequence of real and literary-laden accidents gave birth to Entrelinhas. This play delves into the enigmatic relationship between the playwright and the actor, skillfully intertwining reality with the underworld of fiction, like a clandestine passage. Within its intricate narrative, the script merges Sophocles' Oedipus Rex with letters from a prisoner to his mother, hidden within the pages of a Greek tragedy found in the prison library, nestled between the lines. And yet, the text circles back to reality: an actor steps onto the stage, explaining to the audience why the promised play couldn't be performed...
谁是弗吉尼亚 • 伍尔夫
《谁是弗吉尼亚·伍尔夫》是一部由ATPA阿拉伯戏剧联盟创作的实验戏剧作品。该剧以英国20世纪最著名的作家之一的弗吉尼亚·伍尔夫的人生为题材，展现了她生活中的悲剧、她对后世小说创作的影响，以及她在争取妇女权利方面的重要成就。弗吉尼亚患有双相情感障碍，她的内心时常回响着某些噪音，同时经常受到丈夫伦纳德·伍尔夫的评判，这导致她多次精神崩溃，甚至企图自杀。在剧中，观众将见证弗吉尼亚经历失去亲人、受到性别偏见的压抑等困境，以及她深陷于对丈夫深深的情感。弗吉尼亚最终选择了在奥斯河中自尽，给世人留下了一封著名的遗书。她的自杀故事和其作品的文学影响至今仍被人们铭记。这部作品探索了弗吉尼亚·伍尔夫的生命历程，以及她作为女性主义先驱的重要地位和不朽贡献。
انتحار معلن is an experimental theatrical work launched by the Arab Theater Production Association (ATPA). This play portrays the life of Virginia Woolf, one of the most famous writers of the 20th century in Britain, depicting the tragedies she faced, her influence on later novelists, and her significant achievements in the fight for women's rights. Virginia suffered from bipolar disorder, with her mind often plagued by certain noises, and she frequently faced judgment from her husband Leonard Woolf, leading to multiple nervous breakdowns and even suicide attempts. In the play, audiences witness Virginia's experiences of losing loved ones, facing oppression due to gender bias, and her deep emotional attachment to her husband. Virginia ultimately chose to drown herself in the River Aws, leaving behind a famous suicide note. Her story of suicide and the literary impact of her works are still remembered to this day. This play explores Virginia Woolf's life journey, is that her crucial role as a pioneer of feminism, and her enduring contributions.
انتحار معلن is an experimental theatrical work launched by the Arab Theater Production Association (ATPA). This play portrays the life of Virginia Woolf, one of the most famous writers of the 20th century in Britain, depicting the tragedies she faced, her influence on later novelists, and her significant achievements in the fight for women's rights. Virginia suffered from bipolar disorder, with her mind often plagued by certain noises, and she frequently faced judgment from her husband Leonard Woolf, leading to multiple nervous breakdowns and even suicide attempts. In the play, audiences witness Virginia's experiences of losing loved ones, facing oppression due to gender bias, and her deep emotional attachment to her husband. Virginia ultimately chose to drown herself in the River Aws, leaving behind a famous suicide note. Her story of suicide and the literary impact of her works are still remembered to this day. This play explores Virginia Woolf's life journey, is that her crucial role as a pioneer of feminism, and her enduring contributions.
世界头世界尾
《世界头世界尾》并不是一场普通的演出，它更像是一次身临其境的体验，一则关于世界的大胆寓言，一场充满诗意和戏剧性的展演。它肆意着突破空间和时间的边界，在舞台上，导演呈现出的是雾气蒙蒙、崎岖不平的景致、逐渐填满雕塑面庞的木偶。这些微小的生物四处忙碌，执行着各式各样奇怪、荒谬的任务，它们精细地参与着此处的机械构造，沉浸在这个由木头、回收物品和绳索构成的人工造物的世界。在这片领土之上，数字监控着一切，并通过电子游戏的形式召唤着远程观众，意在引领他们走进内心深处最难以言说的神秘之地。
Le petit théâtre du bout du monde, Opus 2 is not a show like any other, it is rather an experience, an allegory of the world, a poetic and theatrical performance. Le petit théâtre du bout du monde, Opus 2 ignores the boundaries of space and time. On stage, it is the emergence of a vaporous and rugged landscape that is developed and gradually populated with puppets with sculpted faces. Here and there, these little beings busy themselves with strange, sometimes absurd tasks, and participate in meticulous detail in a clever little piece of machinery. Immersed in this artisanal universe made of wood, recycled objects, and strings, the digital sphere monitors this territory and through a video game summons a remote audience to guide them to run into their deepest place.
Le petit théâtre du bout du monde, Opus 2 is not a show like any other, it is rather an experience, an allegory of the world, a poetic and theatrical performance. Le petit théâtre du bout du monde, Opus 2 ignores the boundaries of space and time. On stage, it is the emergence of a vaporous and rugged landscape that is developed and gradually populated with puppets with sculpted faces. Here and there, these little beings busy themselves with strange, sometimes absurd tasks, and participate in meticulous detail in a clever little piece of machinery. Immersed in this artisanal universe made of wood, recycled objects, and strings, the digital sphere monitors this territory and through a video game summons a remote audience to guide them to run into their deepest place.
她他们
《她他们》是一部由女性主导创作的肢体剧场作品，它基于与来自不同国家的、自我认同为男性的受访者进行的数十次访谈，询问了他们对男性气质和生活本身的体验的理解。访谈后，四位来自冰岛和芬兰的女演员结合自己的亲身经历，深入地讨论了这个男性化的世界，分享关于各自的爱情、父亲的影响、作为女性的性别身份、自尊心以及对于成为累赘的恐惧。剧中不乏对于“有毒的男子气概”的尖锐点评，以及对于宏观的性别建制的深刻反思，而更难能可贵的是：《她他们》以温柔、幽默和同理心解开了围绕性别框架所构建的诸多迷思，尝试以好奇和开放的态度为出发点来探询、接纳个体的脆弱，并以同理心倾听之，作为一部肢体剧场作品，同时也融合了超现实主义风格和纪录剧场的元素。
Them is a female-led physical theatre performance. It is based on dozens of interviews with individuals from different countries who identify as male, exploring their understanding of masculinity and life itself. Following these interviews, four actresses from Iceland and Finland, drawing upon their own experiences, delve deeply into this masculinized world, sharing stories about love, the influence of fathers, gender identity as women, self-esteem, and the fear of being burdensome. The play offers sharp critiques of toxic masculinity and profound reflections on the overarching gender structure. What's particularly valuable is that "Them" gently, humorously, and empathetically dismantles many myths surrounding gender constructs, attempting to explore and embrace individual vulnerabilities with curiosity and openness, while listening with empathy. As a physical theatre performance, seamlessly blending elements of surrealism with those of documentary theatre.
Them is a female-led physical theatre performance. It is based on dozens of interviews with individuals from different countries who identify as male, exploring their understanding of masculinity and life itself. Following these interviews, four actresses from Iceland and Finland, drawing upon their own experiences, delve deeply into this masculinized world, sharing stories about love, the influence of fathers, gender identity as women, self-esteem, and the fear of being burdensome. The play offers sharp critiques of toxic masculinity and profound reflections on the overarching gender structure. What's particularly valuable is that "Them" gently, humorously, and empathetically dismantles many myths surrounding gender constructs, attempting to explore and embrace individual vulnerabilities with curiosity and openness, while listening with empathy. As a physical theatre performance, seamlessly blending elements of surrealism with those of documentary theatre.
魔音
辉煌一时的大房子曾居住着三姐妹，如今这栋房子正在慢慢坍塌，三姐妹中的达玛丽斯在战乱中艰难地守护着家园。在她身边的是马蒂亚、女儿斯卡拉塔、一名房客和一名无法回到在城市另一端家的年轻人，外部威胁和内部冲突之间持续着紧张的关系，来自外部的力量驱逐他们离开，而达玛丽斯却不愿放弃自己的家园和土地……《魔音》是一部摆脱传统文本叙述形式的作品，其中声音是作品的关键：战争制造的噪音几乎淹没了舞台上这些可辨识的语音，于是，舞台上的其他元素显现了出来，成为了理解该剧的关键：声音、视觉、物件。甚至是舞台本身，在那里，一辆破旧的车格外显眼，人们将其视为逃离此地的希望……
Once a grand mansion housing three sisters, now slowly collapsing, with DAMARIS, among them, struggling to protect their homeland amidst the chaos of war. Alongside her are MATEA, her daughter SCARLATA, a tenant, and a young person unable to return to their home on the other side of the city. The tension between external threats and internal conflicts persists, as forces from outside drive them away, yet Damaris refuses to abandon her home and land. UNA BANDA SONORA is a departure from the traditional textual narrative, with sound as its essence: the noise of war almost drowns out recognizable voices on stage, making other elements crucial to understanding the play: sound, visuals, and objects. Even the stage itself, where an old car stands out conspicuously, is seen as hope for escape...
Once a grand mansion housing three sisters, now slowly collapsing, with DAMARIS, among them, struggling to protect their homeland amidst the chaos of war. Alongside her are MATEA, her daughter SCARLATA, a tenant, and a young person unable to return to their home on the other side of the city. The tension between external threats and internal conflicts persists, as forces from outside drive them away, yet Damaris refuses to abandon her home and land. UNA BANDA SONORA is a departure from the traditional textual narrative, with sound as its essence: the noise of war almost drowns out recognizable voices on stage, making other elements crucial to understanding the play: sound, visuals, and objects. Even the stage itself, where an old car stands out conspicuously, is seen as hope for escape...
涅瓦
《涅瓦》是智利剧作家吉列尔莫·卡尔德隆在2005年创作的剧本。剧情以一条流经俄罗斯圣彼得堡的河流为背景。在1905年的俄罗斯帝国首都，被称为“血腥星期日”的1月9日，当天抗议者向沙皇递交请愿书要求改善工厂工作条件，却遭到帝国卫队的枪击。故事正发生在一家剧院内，原本计划排练《樱桃园》的一名男演员和两名女演员意外成为了大屠杀的避难者，这场屠杀随后引发了国家的革命。剧中一名被困剧院的女演员是德国的奥尔加·尼佩尔，她是莫斯科艺术剧院的首席女演员，也是俄罗斯剧作家安东·契诃夫的妻子。在丈夫因肺结核去世六个月后，奥尔加无法继续表演，在城市外部崩溃的情况下，她鼓励玛莎和亚列科与她一起重演契诃夫的死亡。
NEVA is a play written in 2005 by Chilean playwright Guillermo Calderón. It refers to the Neva River, a river that flows through the city of Saint Petersburg, Russia. Calderón's play takes place in the then capital of the Russian Empire, on a day in 1905. On January 9, 1905, the day that became known as Bloody Sunday, when protesters who marched to deliver a petition to the Tsar, asking for better working conditions in the factories, were shot by the Imperial Guard. The action of NEVA, however, takes place inside a theatre, where an actor and two actresses who were going to meet to rehearse "The Cherry Orchard", end up, somewhat unintentionally, taking shelter from the massacre that takes place in the streets and which will be the trigger for the revolution that will take place later in the country. One of the actresses locked inside the theatre is German Olga Knipper, the first actress at the famous Moscow Art Theatre who was married to Russian playwright Anton Chekhov. Feeling unable to act, after her husband's death from tuberculosis six months ago, and in an attempt to keep on living while the city collapses outside, Olga encourages Masha and Aleko to repeatedly reenact Chekhov's death with her.
NEVA is a play written in 2005 by Chilean playwright Guillermo Calderón. It refers to the Neva River, a river that flows through the city of Saint Petersburg, Russia. Calderón's play takes place in the then capital of the Russian Empire, on a day in 1905. On January 9, 1905, the day that became known as Bloody Sunday, when protesters who marched to deliver a petition to the Tsar, asking for better working conditions in the factories, were shot by the Imperial Guard. The action of NEVA, however, takes place inside a theatre, where an actor and two actresses who were going to meet to rehearse "The Cherry Orchard", end up, somewhat unintentionally, taking shelter from the massacre that takes place in the streets and which will be the trigger for the revolution that will take place later in the country. One of the actresses locked inside the theatre is German Olga Knipper, the first actress at the famous Moscow Art Theatre who was married to Russian playwright Anton Chekhov. Feeling unable to act, after her husband's death from tuberculosis six months ago, and in an attempt to keep on living while the city collapses outside, Olga encourages Masha and Aleko to repeatedly reenact Chekhov's death with her.
魔幻玩具铺
“在金钱气味里长大”的梅勒妮因父母遇难身亡，不得不带着弟弟妹妹，去投靠以制作玩具为生的舅舅生活。在这个黑暗诡异的玩具铺中，梅勒妮过上了和从前完全不同的生活。面对暴力的舅舅、不能开口说话的舅妈和家中两个粗俗又散发危险气息的男孩，梅勒妮艰难地开始学习另一个世界的生存法则。
《魔幻玩具铺》是李建军导演的最新作品，改编自英国著名女作家安吉拉·卡特的同名小说，将于2024年阿那亚戏剧节开启首演。这是安吉拉·卡特的作品在国内舞台的首次呈现，李建军的改编将延续原作“暗黑童话”的叙事风格，辅以“邪典”“魔幻”的视觉呈现，用荒诞喜剧的表演美学探讨当代人自我剥削的精神困境以及救赎之路。
Raised in wealth, Melanie is thrust into a starkly different world after her parents' untimely deaths. She and her siblings move in with their uncle, a toy maker, whose shop is as foreboding as it is mysterious. Amid the shadows of this new home, she confronts not just her harsh uncle and his mute wife, but also two rough and unsettling boys. Navigating this grim environment, Melanie must quickly adapt to the survival rules of a world far from her previous comforts.
"The Magic Toy Shop" is the latest work directed by Li Jianjun, adapted from the novel of the same name by renowned British author Angela Carter. Set to premiere at the 2024 Aranya Theater Festival, this marks the first presentation of Carter's work on a domestic stage in China. Li Jianjun's adaptation maintains the original's "dark fairy tale" narrative style, enriched with "cult" and "magical" visual elements. Through absurd comedic aesthetics, the production explores contemporary themes of self-exploitation and the path to redemption.
《魔幻玩具铺》是李建军导演的最新作品，改编自英国著名女作家安吉拉·卡特的同名小说，将于2024年阿那亚戏剧节开启首演。这是安吉拉·卡特的作品在国内舞台的首次呈现，李建军的改编将延续原作“暗黑童话”的叙事风格，辅以“邪典”“魔幻”的视觉呈现，用荒诞喜剧的表演美学探讨当代人自我剥削的精神困境以及救赎之路。
Raised in wealth, Melanie is thrust into a starkly different world after her parents' untimely deaths. She and her siblings move in with their uncle, a toy maker, whose shop is as foreboding as it is mysterious. Amid the shadows of this new home, she confronts not just her harsh uncle and his mute wife, but also two rough and unsettling boys. Navigating this grim environment, Melanie must quickly adapt to the survival rules of a world far from her previous comforts.
"The Magic Toy Shop" is the latest work directed by Li Jianjun, adapted from the novel of the same name by renowned British author Angela Carter. Set to premiere at the 2024 Aranya Theater Festival, this marks the first presentation of Carter's work on a domestic stage in China. Li Jianjun's adaptation maintains the original's "dark fairy tale" narrative style, enriched with "cult" and "magical" visual elements. Through absurd comedic aesthetics, the production explores contemporary themes of self-exploitation and the path to redemption.
鱼刺公主
菲利普王子遇见了既无魅力又无美貌的伊沃娜，王子为了挑衅自然法则宣布伊沃娜是他的未婚妻并带回王宫，她那哑然的，受惊的存在使得整个王宫变成了孕育“怪物”的温床，每一只“怪物”都梦寐以求地想要杀死令人难以忍受的伊沃娜……“夸张与癫狂”，“梦幻与荒谬”，一场愚昧的闹剧肆谑窜行在夏日的海风中。如同波兰当代文豪维托尔德·贡布罗维奇所说的：“我是马戏团、抒情性、诗、恐怖、打群架、游戏，您要再增添点什么称呼都随您的便。”我们将带来一个浪漫怪诞的故事，但与以往的爱情童话所不同，这将是一场有些“痒痒”，有些“痛感”，有些“滑稽”进而“悲怆”的挑战，那些荒谬的真实，灿烂与炙热，所有一切都将在阴郁淡漠的伊沃娜眼中融化殆尽……
Prince Philip meets Ivona, who lacks charm and beauty. Declaring her his fiancée as a challenge to nature, he brings her to the palace, which then becomes a haven for "monsters" wanting her dead. "Exaggeration and madness", "dream and absurdity", a foolish farce runs wild in the summer sea breeze. As the contemporary Polish literary giant Witold Gombrowicz said, "I am a circus, lyricism, poetry, horror, gang war, and games. You can call me whatever you want." We will bring a romantic and grotesque story, but unlike previous love fairy tales, this will be a challenge that is somewhat "ticklish", somewhat "painful", somewhat "funny" and then "tragic". Those absurd realities, radiance, and passion, everything will melt away in the gloomy and indifferent eyes of Iwona.
Prince Philip meets Ivona, who lacks charm and beauty. Declaring her his fiancée as a challenge to nature, he brings her to the palace, which then becomes a haven for "monsters" wanting her dead. "Exaggeration and madness", "dream and absurdity", a foolish farce runs wild in the summer sea breeze. As the contemporary Polish literary giant Witold Gombrowicz said, "I am a circus, lyricism, poetry, horror, gang war, and games. You can call me whatever you want." We will bring a romantic and grotesque story, but unlike previous love fairy tales, this will be a challenge that is somewhat "ticklish", somewhat "painful", somewhat "funny" and then "tragic". Those absurd realities, radiance, and passion, everything will melt away in the gloomy and indifferent eyes of Iwona.
老舍五则
话剧《老舍五则》2024版选用由舒乙先生推荐的五篇小说改编而成的五则故事，融入新的元素，导演大胆启用青年演员与老戏骨同台演出，舞美更是以极具意象的提线木偶装置大胆破局，在传统的文本下展现新与旧、老与少、未来与过去的冲突碰撞，持续探讨老舍笔下的人性在当代的差异与相似。
《柳家大院》讲述了受尽公公、丈夫和小姑子欺凌的倒霉媳妇悬梁自尽后，一个家庭的悲剧；《也是三角》挖掘了一对穷苦的拜把子兄弟，共娶一个媳妇的心理挣扎；《断魂枪》隐喻了文化的失传，随着社会的演变致使功夫、镖局失去了其存在的价值；《上任》以戏谑的手法，呈现了曾混迹黑社会的头目成为治安官后与以前同党的纷争；《兔》是一首悲歌，上演了一个下海的男戏子逐渐丢了坚守和专业，迷失自我的悲剧。
The version of “Five Acts of Life for 2024" features adaptations of five stories recommended by Mr. Shu Yi, blending traditional and modern elements. Directed innovatively, it stages both emerging and veteran actors and uses striking puppetry in set design to highlight contrasts between the new and old, and different generations. The production delves into human nature as portrayed by Lao She, exploring contemporary differences and similarities.
"The Liu Family Courtyard" depicts the tragedy of a family after a mistreated daughter-in-law commits suicide. "The Triangle" delves into the emotional turmoil of impoverished sworn brothers sharing a wife. "Soul Gun" uses martial arts and courier services as metaphors for cultural extinction amid social changes. "Ascension" humorously shows a former gang leader's conflicts with old allies after becoming a peace officer. "Rabbit" portrays the downfall of a male actor who loses his integrity and identity in the show business.
《柳家大院》讲述了受尽公公、丈夫和小姑子欺凌的倒霉媳妇悬梁自尽后，一个家庭的悲剧；《也是三角》挖掘了一对穷苦的拜把子兄弟，共娶一个媳妇的心理挣扎；《断魂枪》隐喻了文化的失传，随着社会的演变致使功夫、镖局失去了其存在的价值；《上任》以戏谑的手法，呈现了曾混迹黑社会的头目成为治安官后与以前同党的纷争；《兔》是一首悲歌，上演了一个下海的男戏子逐渐丢了坚守和专业，迷失自我的悲剧。
The version of “Five Acts of Life for 2024" features adaptations of five stories recommended by Mr. Shu Yi, blending traditional and modern elements. Directed innovatively, it stages both emerging and veteran actors and uses striking puppetry in set design to highlight contrasts between the new and old, and different generations. The production delves into human nature as portrayed by Lao She, exploring contemporary differences and similarities.
"The Liu Family Courtyard" depicts the tragedy of a family after a mistreated daughter-in-law commits suicide. "The Triangle" delves into the emotional turmoil of impoverished sworn brothers sharing a wife. "Soul Gun" uses martial arts and courier services as metaphors for cultural extinction amid social changes. "Ascension" humorously shows a former gang leader's conflicts with old allies after becoming a peace officer. "Rabbit" portrays the downfall of a male actor who loses his integrity and identity in the show business.
4.48
《4.48》是一首关于生命、时间、想象与残酷现实的长诗，剧作以语言和想象呈现一种现实与精神世界的模糊边界，以及身处其中之人的体验。凌晨 4:48分是剧作家萨拉·凯恩在患抑郁症期间时常醒来的时刻，也被心理学家研究认为是一天之中人的精神最脆弱、最容易自杀的时刻。该剧是由各领域艺术家共同完成的戏剧作品，试图突破戏剧传统叙事逻辑，探索新的戏剧语言。以当代的表现方法与观念串联多元化艺术形态，共同完成讲述，建立情感，赋予文本、空间、场域更丰富的想象和生命力。声场、音乐、文本、视觉与环境、Ai技术与表演艺术家个人的质感与表现力，将彼此构建成为非常重要的组成部分。在海边，文学、环境美学与实验影像相融，新古典音乐与噪音结合，从声音的哲学，噪音本体论和噪音政治的角度出发，进入充满想象的精神世界。
"4.48" delves into life's realities through poetic expressions of time, imagination, and raw emotion. It blurs the line between reality and the spiritual, reflecting playwright Sarah Kane's struggles with depression at 4:48 AM—a time psychologists note as particularly vulnerable. This collaborative theater piece pushes the boundaries of traditional narratives, employing modern performance art and technology to deepen the audience's engagement. The integration of literature, environmental aesthetics, and experimental visuals with music at a seaside setting explores profound themes through the lenses of sound and noise philosophies.
"4.48" delves into life's realities through poetic expressions of time, imagination, and raw emotion. It blurs the line between reality and the spiritual, reflecting playwright Sarah Kane's struggles with depression at 4:48 AM—a time psychologists note as particularly vulnerable. This collaborative theater piece pushes the boundaries of traditional narratives, employing modern performance art and technology to deepen the audience's engagement. The integration of literature, environmental aesthetics, and experimental visuals with music at a seaside setting explores profound themes through the lenses of sound and noise philosophies.
夜色温柔
夜色温柔，她刚从情人的家里出来，还未从销魂荡魄中平息下来，就遇到了一个奇怪女人的威胁和敲诈。这种危险绝妙地绷紧着她的神经。夜间激情似火，白天冷若冰霜，使她陷入迷惘。在玻璃的后面，有人在暗中窥探她的一举一动，白昼和黑夜，现实和虚幻，热烈和冷淡，矫饰和纯真，两个旋律交替出现。当温柔的夜色变成刺眼的强光，一座红色的房子露出了自己的真实面貌，琴声幽幽，心跳依旧。该剧改编自茨威格经典小说《恐惧》，由孟京辉导演，是独角戏女王黄湘丽“茨威格三部曲”的最终篇。
After a passionate night at her lover's, she faces extortion from a mysterious woman, escalating her tension. Caught between the heat of passion and daytime's cold, she's watched secretly, blending reality with illusion and warmth with detachment. As the night's softness turns stark, the truth of a red house is unveiled, still echoing with piano sounds and heartbeats. Adapted from Stefan Zweig's classic novel "Fear", directed by Meng Jinghui, this production starring Huang Xiangli as the "Queen of Monodrama" concludes her "Zweig Trilogy."
After a passionate night at her lover's, she faces extortion from a mysterious woman, escalating her tension. Caught between the heat of passion and daytime's cold, she's watched secretly, blending reality with illusion and warmth with detachment. As the night's softness turns stark, the truth of a red house is unveiled, still echoing with piano sounds and heartbeats. Adapted from Stefan Zweig's classic novel "Fear", directed by Meng Jinghui, this production starring Huang Xiangli as the "Queen of Monodrama" concludes her "Zweig Trilogy."
莎士比亚的女人们
莎士比亚股份公司是一家致力于将莎士比亚作品中的古典情感与现代人类的日常陪伴需求相结合的科技公司，他们正在研发一款以莎士比亚作品中的女性角色为情感样本的情感陪伴型电子植物。这一天，电子植物检测部迎来了A级样品——16号女人，她凭借无情感反应的精神状况在检测样本中脱颖而出，她将化身为莎士比亚女性角色，体验24小时的情动生活。作为算法的产物，16号女人如何在混乱真挚的情感冲击下安然无恙，又如何在情感和指令的裹挟之下，重新认识“我是谁”?
Shakespeare Corporation, a tech firm, combines Shakespearean emotional depth with modern companionship needs. They are developing an electronic plant, Woman No. 16, inspired by Shakespeare's female characters, distinguished by her absence of emotional response. Tasked with experiencing a full day of Shakespearean emotions as an algorithmic entity, Woman No. 16 must navigate these intense feelings and reassess her identity amidst this emotional and command-driven turmoil.
Shakespeare Corporation, a tech firm, combines Shakespearean emotional depth with modern companionship needs. They are developing an electronic plant, Woman No. 16, inspired by Shakespeare's female characters, distinguished by her absence of emotional response. Tasked with experiencing a full day of Shakespearean emotions as an algorithmic entity, Woman No. 16 must navigate these intense feelings and reassess her identity amidst this emotional and command-driven turmoil.
鸡鸡复鸡鸡
《鸡鸡复鸡鸡》打破常规，将烹饪艺术和音乐世界完美融合。从质朴的布景到略显混乱的互动场景，演员们为观众呈现了一场超越传统观剧体验的沉浸式盛宴——从有节奏的鸡叫声到奶油搅拌的声响，观众将随着平底锅的节奏跺脚，或陶醉于吟唱的旋律，仿佛身临其境，成为这家独特餐厅的坐上宾。这是一场关于欢乐、创意、协作和烹饪想象力的狂欢， 演员们忙着烤鸡、捣土豆和准备开胃菜，20 世纪 30 年代美国约德尔唱法风格代表“德祖里克姐妹”的歌声与烤箱融为一体，烹制出令人惊喜的盛宴。
Kitchen Chicken is poised to shatter norms by seamlessly intertwining the realms of culinary arts and music. From its rustic set design to its interactive and slightly chaotic scenes, the performers deliver an immersive feast that transcends traditional theater experiences. From the rhythmic clucking of the chickens to the melodic stirring of cream, audience members will find themselves tapping their feet to the skillet's rhythm or entranced by the yodeled melodies, feeling like esteemed guests in this unique eatery. It is a celebration of joy, creativity, collaboration, and culinary imagination, troupe members hustle to roast chickens, mash potatoes, and prepare appetizers, and the songs of 1930s American yodel queens The Cackle Sisters will blend with the ovens to concoct an incredible feast.
Kitchen Chicken is poised to shatter norms by seamlessly intertwining the realms of culinary arts and music. From its rustic set design to its interactive and slightly chaotic scenes, the performers deliver an immersive feast that transcends traditional theater experiences. From the rhythmic clucking of the chickens to the melodic stirring of cream, audience members will find themselves tapping their feet to the skillet's rhythm or entranced by the yodeled melodies, feeling like esteemed guests in this unique eatery. It is a celebration of joy, creativity, collaboration, and culinary imagination, troupe members hustle to roast chickens, mash potatoes, and prepare appetizers, and the songs of 1930s American yodel queens The Cackle Sisters will blend with the ovens to concoct an incredible feast.
罗密欧与朱丽叶
《罗密欧与朱丽叶》是波兰戏剧史上首次使用声音语言和手语进行双语创作和演出的作品，是一部克拉科夫尤利乌什·斯沃瓦茨基剧院改编莎士比亚经典的创意之作。该剧将原著中的两位主人公改为由四位演员出演——两位朱丽叶和两位罗密欧。角色之间的关系互相交织，不顾困境与社会观念的束缚，努力维系着彼此的感情。然而，当一切看似美好之时，悲剧却悄然降临...
该剧通过对莎士比亚经典原作的当代创造性转化，探究当下的爱情观念以及人们为爱情可能付出的代价，试图提出一个关于不同语言之下的爱情困境，从而挑战语言、文化和家庭之间的边界与藩篱。
Romeo i Julia is marking the first bilingual production in Polish theatre history, utilizing both spoken language and sign language, a creative masterpiece adapted from Shakespeare's classic Romeo and Juliet from the Juliusz Słowacki Theatre in Kraków. This production focuses on the two protagonists albeit reimagining them as four characters—two Juliets and two Romeos. These characters intertwine their relationships, defying societal norms and adversities to uphold their love for one another. Yet, just when everything seems idyllic, tragedy strikes silently...This play offers a creative transformation for contemporary audiences and delves into contemporary notions of love and the possible sacrifices one may make for it. It aims to pose a question about the complexities of love in different linguistic contexts, challenging boundaries and barriers between languages, cultures, and families.
该剧通过对莎士比亚经典原作的当代创造性转化，探究当下的爱情观念以及人们为爱情可能付出的代价，试图提出一个关于不同语言之下的爱情困境，从而挑战语言、文化和家庭之间的边界与藩篱。
Romeo i Julia is marking the first bilingual production in Polish theatre history, utilizing both spoken language and sign language, a creative masterpiece adapted from Shakespeare's classic Romeo and Juliet from the Juliusz Słowacki Theatre in Kraków. This production focuses on the two protagonists albeit reimagining them as four characters—two Juliets and two Romeos. These characters intertwine their relationships, defying societal norms and adversities to uphold their love for one another. Yet, just when everything seems idyllic, tragedy strikes silently...This play offers a creative transformation for contemporary audiences and delves into contemporary notions of love and the possible sacrifices one may make for it. It aims to pose a question about the complexities of love in different linguistic contexts, challenging boundaries and barriers between languages, cultures, and families.
孤岛
这是一个由塑料构造而成的鲜活地狱，有着四个在这奇异而孤立世界中生活的人，在这里，完全没有其他生物，四周被无法穿透的半透明的屏幕所包围。这个世界的居民能否摆脱这种单调乏味的生存状态？他们是否有这样的意愿和意识？为了抵御命运，为了摆脱无聊，他们日复一日地跳舞，精准地、热情地、充满激情地。一次偶然的邂逅，一次无法停止的追寻——也许，只是也许我们这四位朋友最终会做出最关键、最叛逆的行为：也许他们会对自己所处的生活感到惊讶。正如西奥兰所说，“一个文明始于一个神话，终于怀疑。我们需要重新创造我们自己的神话”。安东·拉契克创作的《孤岛》，以一个“新神话”拉开序幕，这个神话或许指向我们现代世界的崩溃，同时勾勒出一个可能重生的轮廓。
Les Autres is the story of four people who are living in a strangely isolated world. A living hell made out of plastic, entirely devoid of other living beings, and surrounded by impenetrable, translucent screens. Will its inhabitants manage to liberate themselves from this drab and dreary existence? Will they want to?
To keep fate at bay, to keep boredom in check, they dance. Day after day, they dance. With precision, with fervor, with passion. A fortuitous encounter, a refusal to stop searching - maybe, just maybe our four friends will end up committing the most crucial, the most rebellious of all acts: maybe they will allow themselves to be amazed at life.
As Cioran put it, ‘A civilisation begins with a myth and it ends with doubt. We need to reinvent our own myths’. This new piece by Anton Lachky starts with a new myth, a myth that points forward to the downfall of our modern world, whilst sketching the contours of a possible rebirth.
Les Autres is the story of four people who are living in a strangely isolated world. A living hell made out of plastic, entirely devoid of other living beings, and surrounded by impenetrable, translucent screens. Will its inhabitants manage to liberate themselves from this drab and dreary existence? Will they want to?
To keep fate at bay, to keep boredom in check, they dance. Day after day, they dance. With precision, with fervor, with passion. A fortuitous encounter, a refusal to stop searching - maybe, just maybe our four friends will end up committing the most crucial, the most rebellious of all acts: maybe they will allow themselves to be amazed at life.
As Cioran put it, ‘A civilisation begins with a myth and it ends with doubt. We need to reinvent our own myths’. This new piece by Anton Lachky starts with a new myth, a myth that points forward to the downfall of our modern world, whilst sketching the contours of a possible rebirth.
特邀剧目2024
37°2 环境戏剧朗读
阿那亚戏剧节的特设单元，让经典在当代再次绽放。
环境戏剧朗读由阿那亚戏剧节艺术策划杨婷整体统筹。环境戏剧朗读是由多位戏剧创作者在不设限的自然公共坏境中，集戏剧创作、文本理解、环境感知、情境朗读、概念传达、观演共鸣于一体的，具有实验性、创造性、延续性的戏剧实践。
37°2是一种特殊的温度，它代表着孕育，孕育新的生命，孕育新的作品，它充满了希望，是期待的温度；37°2的身体微微发热，头脑有些眩晕，感觉甜蜜幸福，是爱情的温度；37°2心跳加快，你想跑想跳想高声喊叫，是能量的溫度；
当我们在阿那亚的海边相遇，我们看见37°2，便知道我们去往同一个方向，是默契的温度，六月的阿那亚，六月的戏剧节，六月的37°2，环境戏剧朗读在风格迥异的奇妙空间等你
一种旁观
剧中事件源自作者作为记者时的采访，及其他真实媒体记录。本剧内含两类废墟，一次祭奠和一程历练，最后凝聚成《一种旁观》。“两类废墟”是汶川地震过后的建筑废墟与人们的情感废墟；“一次祭奠”是主人公在整个剧本中所经历的从“不知道为何纪念”到“主动纪念”的过程。“一种历练”是主人公进入远方，接触被遮蔽的世界。而“旁观了什么”和“重建了什么”则是本剧的主要内容。
The play is based on the author's experiences as a journalist and real media reports. It features two types of ruins: the physical ruins after an earthquake and the emotional ruins following a disaster. The protagonist embarks on a journey from passive to active commemoration, exploring distant places and hidden worlds along the way. The main themes focus on observation and rebuilding.
温德米尔夫人的扇子
《温德米尔夫人的扇子》是王尔德的第一部喜剧，所探讨的主题是上流社会的定义，说得具体一点，便是淑女与荡妇之别，王尔德的答案是：难以区别。要做淑女或荡妇，往往取决于一念之差。未经考验的淑女，也许就是潜在荡妇。众口相传的荡妇，却未必是真正的荡妇。在《温德米尔夫人的扇子》里，母女两人都陷入了这种“道德暖昧之境”。
Madame Windermere's Fan is Wilde's first comedy. The theme explores the definition of upper-class society, specifically the distinction between a lady and a fallen woman. Wilde's answer is: it is difficult to tell.
Being considered a lady or a fallen woman often depends on a mere shift in perception. An untested lady might be a potential fallen woman. A woman labeled as fallen may not truly be one. In Madame Windermere's Fan, both mother and daughter find themselves trapped in this "moral ambiguity."
Madame Windermere's Fan is Wilde's first comedy. The theme explores the definition of upper-class society, specifically the distinction between a lady and a fallen woman. Wilde's answer is: it is difficult to tell.
Being considered a lady or a fallen woman often depends on a mere shift in perception. An untested lady might be a potential fallen woman. A woman labeled as fallen may not truly be one. In Madame Windermere's Fan, both mother and daughter find themselves trapped in this "moral ambiguity."
等待戈多
《等待戈多》（法文：En attendant Godot，英文：Waiting For Godot ）是萨缪尔·贝克特创作的一出荒诞派戏剧，讲述了弗拉季米尔和爱斯特拉冈二人徒劳地等待戈多的到来。戈多的不在场，以及戏剧的其它方面，都导致了许许多多的猜想和解释。原法语版在1948年10月9日到1949年1月29日完成，并于1952年发表。贝克特花了很长时间试图上演该剧，徒劳无果。最后终于在1953年1月5日在巴黎的巴比仑剧院（Théâtre de Babylone）首演。当时的导演是罗杰·布林（Roger Blin），并在剧中扮演波卓（Pozzo）的角色。这次演出获得意想不到的成功，从而帮助贝克特实现突破，成为著名的作家。《等待戈多》的英文版是贝克特自己对他法语版的翻译，并添加了副标题「两幕悲喜剧」。德语区的首演是在1953年9月8日的柏林的宫殿公园剧院。贝克特的世界成名其实应该追溯到这出“重复的单幕“剧作。该剧的名称《等待戈多》从此在国际上成了习语，即无可奈何地等待，漫长而毫无意义、并且最终徒劳无获。
"Waiting for Godot" is a play by Irish playwright Samuel Beckett in which two characters, Vladimir (Didi) and Estragon (Gogo), engage in a variety of discussions and encounters while awaiting the titular Godot, who never arrives.《Waiting for Godot》 is Beckett's reworking of his own original French-language play, En attendant Godot, and is subtitled (in English only) "a tragicomedy in two acts". The original French text was composed between 9 October 1948 and 29 January 1949.The premiere, directed by Roger Blin, was on 5 January 1953 at the Théâtre de Babylone , Paris. The English-language version premiered in London in 1955. In a poll conducted by the British Royal National Theatre in 1998/99, it was voted the "most significant English-language play of the 20th century".
"Waiting for Godot" is a play by Irish playwright Samuel Beckett in which two characters, Vladimir (Didi) and Estragon (Gogo), engage in a variety of discussions and encounters while awaiting the titular Godot, who never arrives.《Waiting for Godot》 is Beckett's reworking of his own original French-language play, En attendant Godot, and is subtitled (in English only) "a tragicomedy in two acts". The original French text was composed between 9 October 1948 and 29 January 1949.The premiere, directed by Roger Blin, was on 5 January 1953 at the Théâtre de Babylone , Paris. The English-language version premiered in London in 1955. In a poll conducted by the British Royal National Theatre in 1998/99, it was voted the "most significant English-language play of the 20th century".
光
一个女人被关在一间牢房里，她没有记忆，不知过去。当灵媒莱尔夫人需要一个新的助手，这个无名的女人似乎是完美的候选人。但随着这个女人的过去开始显露，他们却发现自己都没有做好迎接新力量的准备。
女人是一个如同“光”一般的存在，她串联起了每一个人物的故事，企图去拯救其他人，到最后才发现，自己也需要一团“光”去得到救赎，每个人都是因果去留中的一环，也都是自己的希望。
“物质会腐烂，但我们的精神永存。”
A woman locked in a windowless cell, with no memory as to who she is, or how she arrived there.When spiritualist medium Mrs Lyall requires a new assistant, this nameless woman seems the perfect candidate.But as the woman’s past begins to reveal itself, so do new powers neither are prepared for.
“Matter may decay, but the spirit persists. The energy we exude remains.”
女人是一个如同“光”一般的存在，她串联起了每一个人物的故事，企图去拯救其他人，到最后才发现，自己也需要一团“光”去得到救赎，每个人都是因果去留中的一环，也都是自己的希望。
“物质会腐烂，但我们的精神永存。”
A woman locked in a windowless cell, with no memory as to who she is, or how she arrived there.When spiritualist medium Mrs Lyall requires a new assistant, this nameless woman seems the perfect candidate.But as the woman’s past begins to reveal itself, so do new powers neither are prepared for.
“Matter may decay, but the spirit persists. The energy we exude remains.”
大水冲了龙王庙，世界末日的水歌谣
仿佛末日将临，世界上的水，从四面八方涌来，唱起歌谣。一场人为的生态灾难正在世界的注视下将人类命运加速推向新纪元。与此同时，一个中国家庭正处在分崩离析的边缘。将要变卖的老房子、交友软件上认识的男孩、福岛核污水排放入海的网络直播、马克斯·弗里施的小说《人类出现于全新世》……
纷乱复杂的现实让一个女孩陷入了噩梦：变异的海洋生物在广阔水域中游动着，既危险，又自由……这一日，安静的老房间内响起了意料之外的开门声，一个熟悉的身影意外重现——危机之中，我们如何才能重建生活的秩序？
This play is inspired by the appalling scene of the live-broadcast of the discharge of the Fukushima wastewater. It’s a story about the collapse of a Chinese family and how women in this family break free from this outburst and channel out a new way of living.
A young translator Hee is haunted by the live-broadcast. Meanwhile, her family is outraged by the runaway of her aunt Tong, who is defined as insane by other family members since she falls out with the elder generation. Hee lives in the old family house where Tong spent her childhood, a place that is about to be sold. One night, Hee encounters various marine animals from the Pacific Ocean in her dream……
纷乱复杂的现实让一个女孩陷入了噩梦：变异的海洋生物在广阔水域中游动着，既危险，又自由……这一日，安静的老房间内响起了意料之外的开门声，一个熟悉的身影意外重现——危机之中，我们如何才能重建生活的秩序？
This play is inspired by the appalling scene of the live-broadcast of the discharge of the Fukushima wastewater. It’s a story about the collapse of a Chinese family and how women in this family break free from this outburst and channel out a new way of living.
A young translator Hee is haunted by the live-broadcast. Meanwhile, her family is outraged by the runaway of her aunt Tong, who is defined as insane by other family members since she falls out with the elder generation. Hee lives in the old family house where Tong spent her childhood, a place that is about to be sold. One night, Hee encounters various marine animals from the Pacific Ocean in her dream……
女仆
《女仆》是法国作家让•热内的一部戏剧作品，写了两个对女主人心怀怨恨的女仆姐妹，经常背着女主人做主仆游戏，有一次居然弄假成真，扮演仆人的姐姐用一杯毒茶，毒死了扮演女主人的妹妹…
The Maids by French writer Jean Genet tells the story of two maid sisters who harbor a grudge against their mistress. They often play a master-servant game behind her back. One day, the game turns deadly serious when the older sister, playing the servant, poisons her younger sister, who is playing the mistress, with a cup of poisoned tea.
The Maids by French writer Jean Genet tells the story of two maid sisters who harbor a grudge against their mistress. They often play a master-servant game behind her back. One day, the game turns deadly serious when the older sister, playing the servant, poisons her younger sister, who is playing the mistress, with a cup of poisoned tea.
钦差大臣
由英格兰著名剧作家，诗人，画家霍华德·巴克于1984年创作。原名为《Scenes from an Execution》。剧中描写了一位威尼斯女画家受托于威尼斯当权者，去绘制一幅赞美勒班托海战（1571）胜利的巨画，但生活放荡，个性独立的女画家决定利用这次机会描绘一幅更能表达真实战争残酷的作品。矛盾就此展开。
Written by Howard Barker, the famous English playwright, poet, and painter, in 1984. The original title was "Scenes from an Execution". The play depicts a Venetian painter commissioned by the Venetian powers that be to paint a huge painting in praise of the victory of the Battle of Lepanto (1571), but the artist, who lives a life of debauchery and independence, decides to use the opportunity to paint a work that better expresses the true brutality of war. This is how the conflict unfolds.
Written by Howard Barker, the famous English playwright, poet, and painter, in 1984. The original title was "Scenes from an Execution". The play depicts a Venetian painter commissioned by the Venetian powers that be to paint a huge painting in praise of the victory of the Battle of Lepanto (1571), but the artist, who lives a life of debauchery and independence, decides to use the opportunity to paint a work that better expresses the true brutality of war. This is how the conflict unfolds.
希波吕托斯
欧里庇得斯是古希腊三大悲剧作家中的最后一位。本次朗读用现代的方式对古代悲剧进行了另一种解读，用一个全新的视角对欧里庇得斯的野蛮世界进行了深入探讨。
卡特琳娜·伊万杰拉托斯是雅典戏剧节的舞台导演和艺术总监，她对于欧里庇得斯《希波吕托斯》的现代解读可以算作是对经典作品的一次激进尝试。该版剧目在2023年雅典戏剧节上由希腊国家剧院制作并出演。本次戏剧朗读的内容来自新版的《希波吕托斯》，体现出伊万杰拉托斯对于古代戏剧的持续研究。
本次戏剧朗读基于该剧的全新删节版，着重强调了演员之间的对话以及作曲家亚历山德罗斯·德拉科斯·克提斯塔基斯现场演奏的音乐。
The reading is a contemporary take on the ancient tragedy proposing a new perspective that delves into the savage world of Euripides, the last of classical Athens’s three great tragic dramatists.
Evangelatos’s own modern version of Euripides’s Hippolytus is an example of a radical approach to the classics. Katerina Evangelatos, stage director and Artistic Director of the Athens Epidaurus Festival, initially staged a full-scale production of the play produced by the National Theatre of Greece as part of the Athens Epidaurus Festival 2023. This performance reading is a new version of the play with which Evangelatos continues her research on ancient drama.
The performance reading is a new abridged version of the play focusing on the dialogue between the actors and the live music performed by the composer, Alexandros Drakos Ktistakis.
卡特琳娜·伊万杰拉托斯是雅典戏剧节的舞台导演和艺术总监，她对于欧里庇得斯《希波吕托斯》的现代解读可以算作是对经典作品的一次激进尝试。该版剧目在2023年雅典戏剧节上由希腊国家剧院制作并出演。本次戏剧朗读的内容来自新版的《希波吕托斯》，体现出伊万杰拉托斯对于古代戏剧的持续研究。
本次戏剧朗读基于该剧的全新删节版，着重强调了演员之间的对话以及作曲家亚历山德罗斯·德拉科斯·克提斯塔基斯现场演奏的音乐。
The reading is a contemporary take on the ancient tragedy proposing a new perspective that delves into the savage world of Euripides, the last of classical Athens’s three great tragic dramatists.
Evangelatos’s own modern version of Euripides’s Hippolytus is an example of a radical approach to the classics. Katerina Evangelatos, stage director and Artistic Director of the Athens Epidaurus Festival, initially staged a full-scale production of the play produced by the National Theatre of Greece as part of the Athens Epidaurus Festival 2023. This performance reading is a new version of the play with which Evangelatos continues her research on ancient drama.
The performance reading is a new abridged version of the play focusing on the dialogue between the actors and the live music performed by the composer, Alexandros Drakos Ktistakis.
鸟
两个厌倦了城邦生活的雅典人和一群鸟一起在天和地之间建立了一个“云中鹁鸪国”。这个国家是一个理想的社会，其中没有贫富之分，没有剥削，劳动是生存的唯一条件。这部喜剧是欧洲文学史上最早描写理想社会的作品。并对后世的喜剧创作产生了重要的影响。阿里斯托芬因此被誉为“喜剧之父”
Two Athenians, tired of city life, convince the birds to create a great city in the sky,
an ideal society between heaven and
earth. This utopia has no rich or poor, no exploitation, and survival depends solely
on labor. This comedy, one of the earliest
in European literature to depict an ideal society, significantly influenced later works. Aristophanes, the author, is thus hailed as the "Father of Comedy."
Two Athenians, tired of city life, convince the birds to create a great city in the sky,
an ideal society between heaven and
earth. This utopia has no rich or poor, no exploitation, and survival depends solely
on labor. This comedy, one of the earliest
in European literature to depict an ideal society, significantly influenced later works. Aristophanes, the author, is thus hailed as the "Father of Comedy."
厕所在这里
一个绝望的女人拿着旧纸袋看着树上的绳子，遇到了一个男人，男人扭扭捏捏走来走去，语无伦次，他们展开了一场看似日常，又略显怪异的交谈。什么样的行为是不奇怪的？厕所是否存在？男人告诉陌生人厕所的方向正确吗？女人有稀奇古怪的建议合理吗？世界上的事情终究都会正常地运转下去。平凡又不平凡的夜晚，奇怪又不奇怪的男女，两人的相遇，改变了各自的命运。
A desperate woman with an old paper bag looking at a rope in a tree meets a man, who walks around squirming and incoherent, and they strike up a seemingly everyday, yet slightly bizarre conversation. What kind of behaviour is not weird? Do toilets exist? Is it right for a man to tell a stranger the direction of the loo? Is it reasonable for a woman to have odd suggestions? Things in the world go on as normal in the end. Ordinary and extraordinary night, strange and not so strange man and woman, two people meet and change their destiny.
A desperate woman with an old paper bag looking at a rope in a tree meets a man, who walks around squirming and incoherent, and they strike up a seemingly everyday, yet slightly bizarre conversation. What kind of behaviour is not weird? Do toilets exist? Is it right for a man to tell a stranger the direction of the loo? Is it reasonable for a woman to have odd suggestions? Things in the world go on as normal in the end. Ordinary and extraordinary night, strange and not so strange man and woman, two people meet and change their destiny.
海边
《海滨》是剧作家⽡杰迪·穆⽡德“誓⾔之⾎”四部曲中的第⼀部，讲述了一场⾏走在灾后世界的诗意的苦旅。主⼈公威尔弗⾥德在毫⽆准备的情况下得知了⽗亲的死讯，于是踏上了⼀条安葬⽗亲亡灵，回归故⼟的路。但由于战后死伤⽆数，安葬变得困难重重。⽗亲的亡灵仍然鲜活，不时地与⼉⼦进⾏着对话，⾝背⽗亲遗体的威尔弗⾥德发觉原来之前的⾃⼰对⽗亲其实⼀⽆所知。在沿途的旅程中他邂逅了形形⾊⾊不同的⼈，每⼀个⼈都背负着⾃⼰⽣命的⼗字架，成为了他的同⾏者，陪伴着他进⼊下⼀段旅程，他们是⼀群年轻的理想主义者，也是这深陷于残酷之中的世界⾥仅存的诗意。
A wildly theatrical tale of war and individual discovery, ‘Littoral’(‘Tideline’ in English) tells the personal story of Wilfrid, a young man born in Montreal, who struggles to bury his father in his parent's homeland. There, he acquires friends who all dream of a better life, and confronts a country scarred by war, where an additional corpse is one too many. Followed by ‘Scorched’, ‘Forests’ and ‘Skies’, ‘Littoral’ is the first part of Wajdi Mouawad's critically acclaimed dramatic quartet set “The Blood of Promises” in the painful wake of the past century.
A wildly theatrical tale of war and individual discovery, ‘Littoral’(‘Tideline’ in English) tells the personal story of Wilfrid, a young man born in Montreal, who struggles to bury his father in his parent's homeland. There, he acquires friends who all dream of a better life, and confronts a country scarred by war, where an additional corpse is one too many. Followed by ‘Scorched’, ‘Forests’ and ‘Skies’, ‘Littoral’ is the first part of Wajdi Mouawad's critically acclaimed dramatic quartet set “The Blood of Promises” in the painful wake of the past century.
女孩们
“我想，在五或十年之内，我们一定会拥有各种各样的幸福。”托什和露，这两个女孩永远在那儿。她们拥有彼此，她们和其他人不一样，这就够了。《女孩儿们》于2020年在皇家宫廷剧院首演。剧本是三个女孩的私密谈话：年轻女性对彼此产生了柏拉图式的奉献也拥有对彼此的控制。女性让彼此感到美丽、强大、被看见、被听见。女性也让彼此觉得不美、愚蠢、淫荡或冷漠。然而，正是这些关系造就了女孩儿们，造就了女孩儿们的个性和世界观。
Scenes With Girls premiered at the Royal Court Theatre in 2020. The play features the intimate conversations of three young women, exploring their platonic devotion and control over one another. These women make each other feel beautiful, powerful, seen, and heard. Yet, they can also make each other feel unattractive, foolish, promiscuous, or indifferent. It is these relationships that shape the girls, their personalities, and their worldviews.
Scenes With Girls premiered at the Royal Court Theatre in 2020. The play features the intimate conversations of three young women, exploring their platonic devotion and control over one another. These women make each other feel beautiful, powerful, seen, and heard. Yet, they can also make each other feel unattractive, foolish, promiscuous, or indifferent. It is these relationships that shape the girls, their personalities, and their worldviews.
桃花扇
孔尚任根据史实创作了传奇剧本《桃花扇》，通过侯方域和李香君的爱情和众多角色在动荡局势下的不同遭遇，表现了一个朝代的覆亡和丰富的社会历史内容。300多年过去，肖竞以当下的语言和情境重写了这个故事。此版《桃花扇》是对孔尚任笔下的历史进行挑战，更提出创作中的永恒问题：我们应该怎样对待经典？我们可以怎样对待经典？
Kong Shangren's legendary play, The Peach Blossom Fan, is based on historical events. It portrays the fall of a dynasty and its rich social and historical context through the love story of Hou Fangwei and Li Xiangjun, as well as the varied fates of numerous characters amidst the turmoil. Over 300 years later, Xiao Jing has rewritten this story with contemporary language and settings. This version of The Peach Blossom Fan not only challenges the historical narrative penned by Kong Shangren but also raises timeless questions: How should we treat the classics? How can we reinterpret them?
Kong Shangren's legendary play, The Peach Blossom Fan, is based on historical events. It portrays the fall of a dynasty and its rich social and historical context through the love story of Hou Fangwei and Li Xiangjun, as well as the varied fates of numerous characters amidst the turmoil. Over 300 years later, Xiao Jing has rewritten this story with contemporary language and settings. This version of The Peach Blossom Fan not only challenges the historical narrative penned by Kong Shangren but also raises timeless questions: How should we treat the classics? How can we reinterpret them?
饥饿艺术家
阔别多年的饥饿艺术表演将于近期重新登上舞台！现诚招观众亲临现场感受饥饿艺术的魅力！您将在这里看到经过四十天漫长绝食的饥饿艺术家，并探寻他追寻伟大饥饿艺术的心路历程，见证他直击肠胃——直击灵魂的殉道之路！饥饿艺术表演，期待诸位的光临！
After many years of absence, the Hunger art performance will soon return to the stage! Now sincerely invite the audience to come to the scene to feel the charm of hunger art! Here you will see the hunger artist who has been on a hunger strike for 40 days, and discover his mental journey in pursuit of the great art of hunger, and witness his martyrdom path to the gut - to the soul! Hungry art performance, looking forward to your presence!
After many years of absence, the Hunger art performance will soon return to the stage! Now sincerely invite the audience to come to the scene to feel the charm of hunger art! Here you will see the hunger artist who has been on a hunger strike for 40 days, and discover his mental journey in pursuit of the great art of hunger, and witness his martyrdom path to the gut - to the soul! Hungry art performance, looking forward to your presence!
安提戈涅
《安提戈涅》是法国剧作家让·阿努伊的代表作，根据古希腊剧作家索福克勒斯的同名戏剧重写。该剧讲述了在希腊城邦忒拜，俄狄浦斯王的两子为夺王位而战死后，其舅父克瑞翁继位并颁布法令：守城者厚葬，攻城者曝尸。然而，俄狄浦斯之女安提戈涅因深爱兄长，不顾禁令执意埋葬攻城战死的兄长，最终与舅父发生冲突，酿成悲剧。该剧1944年在巴黎首演后大获成功，至今仍被世界各地舞台所演绎，剧本也常居法国图书网站销售榜首。
"Antigone," a masterpiece by French playwright Jean Anouilh, is a modern reinterpretation of Sophocles' ancient Greek tragedy. Set in the Greek city-state of Thebes, it follows King Oedipus's daughter, Antigone, who defies her uncle Creon's decree to bury her fallen brother, sparking a tragic conflict. Premiering in Paris in 1944, the play was a huge success and continues to be performed on stages worldwide, with its script frequently topping the sales charts on French book websites.
"Antigone," a masterpiece by French playwright Jean Anouilh, is a modern reinterpretation of Sophocles' ancient Greek tragedy. Set in the Greek city-state of Thebes, it follows King Oedipus's daughter, Antigone, who defies her uncle Creon's decree to bury her fallen brother, sparking a tragic conflict. Premiering in Paris in 1944, the play was a huge success and continues to be performed on stages worldwide, with its script frequently topping the sales charts on French book websites.
犀牛
《犀牛》是剧作家尤金·尤涅斯库于1959年创作的一部戏剧作品。主要写人在物的绝对统治之下，丧失人格，异化为犀牛。作品围绕小公务员贝兰吉的一场荒诞奇遇展开。他对生活不满，对未来感到茫然，时常有一种莫名其妙的恐惧感、孤独感，但能保持独立人格。犀牛刚刚在生活中出现，人们深为惊讶，或高谈阔论，或漠然置之。一旦演变犀牛成风，追随者又络绎不绝。这种异常的突变反而使贝兰吉头脑清醒起来，他一边挣扎，一边反抗，决不随波逐流。
Rhinoceros is a play by playwright Eugène Ionesco, written in 1959. It mainly describes how people lose their personalities and degenerate into rhinoceroses under the absolute dominance of objects. When rhinoceroses first appear in life, people are deeply surprised and either talk about it endlessly or ignore it indifferently. Once the trend of rhinoceros-worship becomes popular, followers come in droves. This abnormal mutation actually makes Berenger become more clear-headed. He struggles andresists, refusing to go with the flow.
Rhinoceros is a play by playwright Eugène Ionesco, written in 1959. It mainly describes how people lose their personalities and degenerate into rhinoceroses under the absolute dominance of objects. When rhinoceroses first appear in life, people are deeply surprised and either talk about it endlessly or ignore it indifferently. Once the trend of rhinoceros-worship becomes popular, followers come in droves. This abnormal mutation actually makes Berenger become more clear-headed. He struggles andresists, refusing to go with the flow.
婚姻生活
几个生活的场面，几段貌似悠然的生活对话，却让我们见证了这一对，朋友们眼中的恩爱夫妻的婚姻生活从山峰跌至谷底的过程。二人的原有的生活彻底崩塌，甚至连他们的精神状态也似山崖上的独枝，飘摇不定。剧中人在泥潭中不能自拔，旁观者似乎也随着二人越陷越深……
A few snapshots of daily life and seemingly casual conversations unveil the tragic descent of a once-admired couple's marriage from its peak to rock bottom. Their previously stable life collapses entirely, leaving their mental states teetering on the edge of a precipice. The protagonists find themselves ensnared in a mire from which they cannot escape, pulling the observers down with them into the depths of their despair.
A few snapshots of daily life and seemingly casual conversations unveil the tragic descent of a once-admired couple's marriage from its peak to rock bottom. Their previously stable life collapses entirely, leaving their mental states teetering on the edge of a precipice. The protagonists find themselves ensnared in a mire from which they cannot escape, pulling the observers down with them into the depths of their despair.
鸡鸣早看天
以铜为鉴，可整衣冠;
以古为鉴，可知兴替。
— 中国成语
Taking copper as a guide, one can adjust one's clothes and crown;
Taking history as a lesson, we can know the rise and fall Chinese idioms
以古为鉴，可知兴替。
— 中国成语
Taking copper as a guide, one can adjust one's clothes and crown;
Taking history as a lesson, we can know the rise and fall Chinese idioms
一个乡村医生的噩梦
改编自卡夫卡的小说《乡村医生》：一个乡村医生要从家里出发，去十里外的村子给人看病，但是没有可以拉车的马而无法出行，正在医生一筹莫展的时候，两匹马在医生的猪圈里出现了，马车载着医生出发了，从此他坐在人间的车子上，驾着非人间的马，四处奔波，饱受折磨，永远也回不到出发的地方。
A Country Doctor's Nightmare is adapted from Kafka's novel A Country Doctor. The story follows a country doctor who urgently needs to visit a sick patient in a village ten miles away. However, he has no horse to pull his cart. Just as he despairs, two horses appeared, and the carriage sets off. From then on, he is trapped in a surreal journey, driven by otherworldly horses, endlessly traveling and suffering, never able to return to his starting point.
A Country Doctor's Nightmare is adapted from Kafka's novel A Country Doctor. The story follows a country doctor who urgently needs to visit a sick patient in a village ten miles away. However, he has no horse to pull his cart. Just as he despairs, two horses appeared, and the carriage sets off. From then on, he is trapped in a surreal journey, driven by otherworldly horses, endlessly traveling and suffering, never able to return to his starting point.
去年的树
剧本改编自日本童话《去年的树 》。
鸟与树是好朋友，鸟总是唱歌给树听。 冬天，鸟要飞回南方，许诺春天回来。春天鸟归来，树已经不在了。 鸟四处寻找“树”。 树被锯成了火柴，小鸟找到火柴点燃的烛火。 鸟儿对着烛火唱完一首无声的歌，就又飞走了...
The script is based on the Japanese fairy tale The Tree of Last Year by Nankichi Niimi.
The Bird and the Tree are good friends, with the Bird always singing to the Tree. In winter, the Bird flies south, promising to return in the spring. When spring arrives, the Bird comes back to find that
the Tree is gone. Searching everywhere, the Bird discovers that the Tree has been cut down and made into matches. Eventually, the Bird finds a candle lit by those matches. The Bird sings a silent song to the candle flame and then flies away...
鸟与树是好朋友，鸟总是唱歌给树听。 冬天，鸟要飞回南方，许诺春天回来。春天鸟归来，树已经不在了。 鸟四处寻找“树”。 树被锯成了火柴，小鸟找到火柴点燃的烛火。 鸟儿对着烛火唱完一首无声的歌，就又飞走了...
The script is based on the Japanese fairy tale The Tree of Last Year by Nankichi Niimi.
The Bird and the Tree are good friends, with the Bird always singing to the Tree. In winter, the Bird flies south, promising to return in the spring. When spring arrives, the Bird comes back to find that
the Tree is gone. Searching everywhere, the Bird discovers that the Tree has been cut down and made into matches. Eventually, the Bird finds a candle lit by those matches. The Bird sings a silent song to the candle flame and then flies away...
变成棒子的人
蒙娜丽莎啊，你在微笑。身披着微笑之谜，成为了永恒。即使身披盔甲，对于战士们，没有永恒。坦克，亦或是装甲车，也没有永恒。铁会生锈，氧化之后 成为赤色的砂，废铁堆积之处，无名战士之墓。不会生锈的是 蒙娜丽莎
不会氧化的是微笑，比之铠甲更坚硬，微笑来做面具。所以 祝贺您：弗朗西斯科·戴尔·吉奥亢多夫人，您的岁数是，四百九十岁。祝贺您，祝贺您，四百九十岁的蒙娜丽莎婆婆
Mona Lisa, you're smiling. The mystery of wearing a smile has become eternal. Even wearing armor, there is no eternity for warriors. Tanks, or armored vehicles, also have no eternity. Iron rusts and oxidizes into red sand, where scrap iron accumulates and remains the tomb of an unknown warrior. The one who won't rust is Mona Lisa. What won't oxidize is a smile, harder than armor. A smile is used as a mask. So congratulations: Mrs. Francisco del Giocondo, your age is 490 years old. Congratulations, congratulations. Granny Mona Lisa, 490 years old
不会氧化的是微笑，比之铠甲更坚硬，微笑来做面具。所以 祝贺您：弗朗西斯科·戴尔·吉奥亢多夫人，您的岁数是，四百九十岁。祝贺您，祝贺您，四百九十岁的蒙娜丽莎婆婆
Mona Lisa, you're smiling. The mystery of wearing a smile has become eternal. Even wearing armor, there is no eternity for warriors. Tanks, or armored vehicles, also have no eternity. Iron rusts and oxidizes into red sand, where scrap iron accumulates and remains the tomb of an unknown warrior. The one who won't rust is Mona Lisa. What won't oxidize is a smile, harder than armor. A smile is used as a mask. So congratulations: Mrs. Francisco del Giocondo, your age is 490 years old. Congratulations, congratulations. Granny Mona Lisa, 490 years old
雷雨
《雷雨》是由我国著名剧作家曹禺先生于1934创作的一部杰出的现实主义悲剧。故事发生在20世纪20年代的一个封建家庭里。这部作品以雷雨为背景，象征着自然界的不可抗力与人性的挣扎。它深刻地揭示了一个封建家庭的腐朽与道德沦丧，展现了人性的复杂与矛盾。同时也展现了亲情，爱情与家庭责任之间的冲突与纠葛。
Thunderstorm is a remarkable realist tragedy written by the renowned Chinese playwright Cao Yu in 1934. The story is set in the 1920s within a feudal family. Against the backdrop of a thunderstorm, symbolizing the irresistible forces of nature and the struggles of human nature, the play deeply exposes the decay and moral decline of a feudal family. It highlights the complexities and contradictions of human nature, and
the conflicts and entanglements between family affection, romantic love, and family responsibilities.
Thunderstorm is a remarkable realist tragedy written by the renowned Chinese playwright Cao Yu in 1934. The story is set in the 1920s within a feudal family. Against the backdrop of a thunderstorm, symbolizing the irresistible forces of nature and the struggles of human nature, the play deeply exposes the decay and moral decline of a feudal family. It highlights the complexities and contradictions of human nature, and
the conflicts and entanglements between family affection, romantic love, and family responsibilities.
K之机器
一个城堡下面的村庄，准备进入城堡。他自称是城堡聘请来的土地测量员，却拿不出任何证明。他寄宿在村庄里，用尽心机，费劲努力，想要进入城堡。本次演出将由人工智能工具续写《城堡》的结局。
Das Schloß (The Castle) is an unfinished novel by Franz Kafka. The protagonist, K., arrives in a village governed by a mysterious bureaucracy operating from a nearby castle. Heclaimstobealandsurveyorsummoned by the castle authorities, though he has no proof. Boarding in the village, K. expends great effort to gain access to the castle. This performance will continue the story, with an ending generated by an artificial intelligence.
Das Schloß (The Castle) is an unfinished novel by Franz Kafka. The protagonist, K., arrives in a village governed by a mysterious bureaucracy operating from a nearby castle. Heclaimstobealandsurveyorsummoned by the castle authorities, though he has no proof. Boarding in the village, K. expends great effort to gain access to the castle. This performance will continue the story, with an ending generated by an artificial intelligence.
建筑大师
《建筑大师》讲述了一位毁灭性的天才——索尔尼斯的兴衰。一场神秘的大火让他成为建筑大师，功成名就后，他渴望再次登上巅峰。他的超凡活力和不羁魅力吸引了年轻女子，但同时也让他陷入道德边缘，在对青春的渴望与威胁之间徘徊。
"The Master Builder" tells the rise and fall of a destructive genius, Solness. A mysterious fire propels him to become a master builder, but with success, he yearns for a new peak. His extraordinary vitality and charm attract young women, yet also lead him to the edge of morality, torn between the desire for youth and its threat.
"The Master Builder" tells the rise and fall of a destructive genius, Solness. A mysterious fire propels him to become a master builder, but with success, he yearns for a new peak. His extraordinary vitality and charm attract young women, yet also lead him to the edge of morality, torn between the desire for youth and its threat.
一条狗的研究
当我窥见生活中存在的一条小小的裂缝时，我的忧虑极有可能会引发其他狗类的不悦。
七条音乐家小狗从黑暗中走来，我就这样被凭空出现的音乐擭住，疑虑和挣扎毫无作用，只能在喧闹中被裹挟至精疲力尽。当我认为我已经被击垮时，我突然发现音乐狗的腿部其实正在不停地抽搐颤动，他们用近乎绝望地目光凝视彼此。当我晃过神来，我开始思考音乐，开始思考土地，思考食物，去探究周遭一切孤独和幻想。我对此毫无怨言，因为这是我的本性……
When i glimpsed a tiny crack in life, my worries could easily upset the other dogs. Seven musical dogs emerged from the darkness, and I was instantly captivated
by the music that seemed to come out of nowhere. Doubt and struggle were futile; I was engulfed by the cacophony until I was utterly exhausted. Just when I thought I was defeated, I noticed the musical dogs' legs trembling, and they gazed at each other with almost desperate eyes.
As I regained my senses, I began to ponder the music, the land, the food, and to explore the surrounding solitude and fantasies...
七条音乐家小狗从黑暗中走来，我就这样被凭空出现的音乐擭住，疑虑和挣扎毫无作用，只能在喧闹中被裹挟至精疲力尽。当我认为我已经被击垮时，我突然发现音乐狗的腿部其实正在不停地抽搐颤动，他们用近乎绝望地目光凝视彼此。当我晃过神来，我开始思考音乐，开始思考土地，思考食物，去探究周遭一切孤独和幻想。我对此毫无怨言，因为这是我的本性……
When i glimpsed a tiny crack in life, my worries could easily upset the other dogs. Seven musical dogs emerged from the darkness, and I was instantly captivated
by the music that seemed to come out of nowhere. Doubt and struggle were futile; I was engulfed by the cacophony until I was utterly exhausted. Just when I thought I was defeated, I noticed the musical dogs' legs trembling, and they gazed at each other with almost desperate eyes.
As I regained my senses, I began to ponder the music, the land, the food, and to explore the surrounding solitude and fantasies...
未来戏剧 SHOWCASE
阿那亚戏剧节发起的全新戏剧竞赛单元
「未来戏剧 SHOWCASE」是由阿那亚戏剧节发起的全新戏剧竞赛单元，由戏剧导演李建军与孟京辉共同策划，旨在启迪新剧场美学发生，促成当代戏剧革新的不断演进。本竞赛单元面向青年戏剧人开放报名，招募具有创新精神、独特美学风格的创作者及作品进行展演，特邀海内外知名戏剧节发起人、戏剧导演、剧场制作人及评论家组成「SHOWCASE 国际评委会」进行专业评选，9组入围剧目将竞逐丰厚创作支持奖金以及受邀下届阿那亚戏剧节特邀剧目单元的机会。期待为优秀戏剧作品打造连接观众、剧场和市场的国际性舞台。
生活艺术
EVOLUTION ARTS
候鸟300场地
候鸟300
以“候鸟300”计划为主体，是阿那亚戏剧节最原始、最浪漫、最自由、最有生命力的存在。
2021年诞生于阿那亚戏剧节的 候鸟300首次以"候鸟”作喻，开创性地搭建起全新展演平台和交流网络，每年汇聚300位不同身份、不同背景 、来自世界各地的创作者，共同展演、共同栖居、共同创作300小时。
候鸟300专注于内容创作本身，打破常规的行业标准。不追求竞赛，不限制身份或年龄，品牌或平台，个人或集体，行业或机构，一起讨论规则、彼此启迪、共同生活、共同创造，不断变化，不断生长。
在今年的招募中，我们总计查收作品545组，共有1946位艺术家参与招募。其中，戏剧类作品144组781位艺术家；装置/雕塑类作品129组337位艺术家；身体/行为类作品86组319位艺术家；绘画/设计类作品68组114位艺术家；影像/摄影类作品58组145位艺术家；音乐类作品24组124位艺术家；生活艺术类作品19组76位艺术家；诗歌/文本类作品9组20位艺术家；工作坊类作品3组8位艺术家；建筑类作品2组6位艺术家；魔术类作品2组2位艺术家；戏曲类作品1组14位艺术家。
团队 / 个人
程雨阳 & 旁观身体剧场
二十一艺术工坊
中国美术学院象山剧社
静待春归
Kitchenland荒原
酒精艺术家
黑椅子剧团
黑山羊剧团
刘海龙工作室
不止戏剧
田野
中国传媒大学白杨剧团
潮湿动物园剧团
加州大学伯克利分校团队
仨瓜俩枣！
舒米
张力川
魔术师 Max 团队
傅文欣
疯玩肢体剧场
木子璟舞团
巫五
袁浩
刘苏漫 x 洪亦涵
你说的都队
投掷现实
PM.4
郭靖
秦然x魏虎虎
黄彦琳和孙梦瑶
鞋靶子
景德镇大王
重影剧场
玖拾舞蹈工坊
良心艺术工厂
张大强的白日梦
UFO
乡村大玩具事务所
张释予
景德镇大王们
汉仪字库（赵蕾、孙溥键）
陈芷豪
郑闻卿
堡礁队
西美公共拓展计划——教师创作团队
西美公共拓展计划——solar创作团队
AmilGer（曹思苒、艾伦）
吴佳馨
李建安
中国美术学院公共空间艺术系艺术工程研究生团队“7”
尹宝 × 郭明童
谢俊义
西美公共拓展计划 —— 藩篱创作团队
傅世杰
尝尝咸淡艺术小组
鲁迅美术学院实验艺术系
岛+生产队
冯刀刀工作室
罗马湖人团队
九成九团队
直林工作室
梁宇舒
哈拉木吉 于佳白 王姝雅
史茜榕
午夜小酒馆
艺奇客
税佳仪
Chris Labrooy / 保时捷中国
P.PLEADER
西美公共拓展计划 —— 香蕉漂流创作团队
小猪找肉
Lee喻丹
丁奇胜
我比姚明高
苏丹VSD厂牌
刘韡
姜杰
赵半狄
马秋莎
梁翘柏
陈天灼
Vāta瓦它
荒野之国
卤猫
直得建筑
华成/高原骑士
尚盟团队
DOGTOWN
冯馨亿
锤瓜CuiGua
H2
Naskhan
囍适乐队
BCR
Voyou 歪友
Violet Indigo 紫罗蓝
Simia 希米亚
边亚
天童
染墨、胡（炸哥）、张文谱、于力、碗圆
杨小一 、未来古典
北京琂樂堂、李俊义
小兵乐队
生如夏花团队
Brayden Meng
王晓芳＆杨海崧
Kiiss Shao
邸晋军工作室
周尤
扎西兰措
摄影师 美队
李秋舒
高源
张旭龙
常春晓
大黄狗YellowCode
召换ZHAOHUAN
凯特与苏菲
虎必来
半束玫瑰
Filoméla Studio
耀扬的厨房
TripSmith行匠精酿
牛啤堂精酿啤酒
戏梦星球
Sophie和她的小艺术家们
合木建筑工作室&任爽
张佳晶、张东光
马岩松
新世相
始祖鸟 ReBIRD™
360350440730/礼度房车
山海浮生
日出与仙人掌
禁闭
待春归
冰冷热带鱼
一只绿毛怪
账目两清
都灵马戏团
一块空地和四个笑话
Exploring Love…
倾斜的角度
海鸥海鸥
哈姆雷特or哈姆雷特机器？
快乐王子
洛丽塔定律
心灵术体验
脑入侵2.0
Maximum Wonder 麦克斯的奇迹
Appearing
M先生和F女士
黑洞
潮语
垃圾
种子不见了
人体喷泉——海的那边
新建身体测量单位
十分钟的距离
四则恐惧故事
悟·空2024
Collapse
享受
我的头，像皮球
ICE PIECE
透明
后八仙过海
白日梦
《安稳觉》《流动的诗性》
哪吒闹海
数·眠
You Pay You Gain Gain
走进来，飞出去
乘风
沨沨
那些未知的
《成为大海》《BOOM》《作为质疑的方式》
《Fight La Nina，拉尼娜》
A Moving Healing Home 移动的疗愈之家
拟象
时间沙丘-时间量化装置
《星陨漫游指南》
《星际漫语-异世界观察者》
《在把你带来的大海中》
藩篱塔
阿雷西博信息
项链/逆世界/大地之链/星尘/传送门/逃离
海鲜烧烤
岛+荒野图书馆
《回忆的余温》《烤鸟》
混生剧场
异星来客
大地烟火
海子边的旅人
赞美诗
《Eat it！》
Light v.
十日谈
樢
保时捷 996 天鹅
无界视界
香蕉YOU CAN BE COOL
饥饿地漫游
叁
可能的未来
旱船
游牧
/
竞折腰
泞
化身
《忏悔云》confessioncloud
埃里克·卡特曼的失败者俱乐部
风织梦轮的耳语 Whispers of the Windwheel
散财财神+二手玫瑰
舞
Oasis
岛屿
风的聚会
9X9
《我们脚踩的这片土地是真实的》
升空节
夏日躁动
图瓦原生态音乐展演
意外之囍
BCR
2024 夏至音乐日
2024 夏至音乐日
2024 夏至音乐日
“亚子在水边”音乐会
春江花月夜
诗歌当铺
一起少年
书法盒子
从前 有个香港
致大海
Urbanite Odyssey
《水道无形》艺术计划
夜以继日-候鸟300的日与夜
纪念碑 第二回
Match
DayDream
在剧场，你就是宇宙的中心
这是跳舞的时刻
原来 瞬间即永恒
影像视觉的本体行为——真滋味
《界》
惟有饮者流其瓶
20位摊主和未来朋友的城市流浪计划
在海里干的那些事儿
方便面是不能胡来的
《归·海》
Ink With Glory
鸟其林
喝好醉好
复活过客酒吧300H
一直游到海水变蓝
RETURNING TO THE SEA
你的自由就是我的自由
目外晃神儿
沙城 City of Time
为共同的行动
重生 进化
搞创作还是需要舒服地呆着
作品
候鸟沙城“它就是一个真实的‘不存在’的城市，是所有疯狂想象的300候鸟的临时栖息地和载体，空间和动线都是为了人的行为而产生，图腾感的平面是呼应现代文明的另一种可能性”。“建立一个沙滩边的乌托邦，空想中的城市，隔绝现实，一个仅仅关于人的行为和自然、时间之间的关系的地方”由著名建筑师马岩松设计，是300位创作者们⼀起生活、创作、表达自我的场域，限时存在300个小时。
跨界艺术
CORSSOVER ARTS
戏剧房子
阿那亚戏剧节最有想象力的板 块，探索时空中的多重表达。
2024年，独属于阿那亚戏剧节的“戏剧房子”将融入陈明昊导演的戏剧新作《海边的伽利略》；以空间与时间为名，建立一个可供观众生活、体验的专属剧场。与此同时，由声音艺术策展人殷漪特别策划，共同打造声音艺术场域。声音装置与观念性声音作品融合于表演与空间，以“伽利略之塔”为核心，营造独树一帜，辐射全阿那亚的聆听时空。将当代艺术、文学、美术、音乐、舞蹈、多媒体、美食等不同形态的媒介与艺术观念汇集“伽利略之塔”，进行7天7夜的跨界畅想，构建奇妙的戏剧新生态……
多媒体装置
《白光》White Light
1666 年
有一束光
照向牛顿的三棱镜
白光被分解成七色光带
光谱学的传奇史诗由此开启
汪洋时空的对岸，一座纯白色的礼堂静立海边，夜幕下化作映照一切的棱镜，将自然与艺术创造的每一束光和色彩，折射出充满无限可能的视觉奇观。作品《白光》以光的色散概念为灵感来源，在色散产生的复杂且迷人的视觉效果中，用数字影像探索着光与色彩、光与空间的关系，并借以象征戏剧艺术的深度、复杂和无限延展性。
迷离、秩序、动感、稳定......在色彩营造的光学幻觉中，我们 共同感受光的涌动、起伏与呼吸。
公共艺术
PUBLIC ARTS
海边系列
表达之前，先有重要性感受
阿那亚戏剧节，“一半是海水，一半是戏剧”，致力于在海边呈现年轻、先锋、新锐的国际戏剧盛宴，至今已举办三届，反响热烈。其中，作为阿那亚戏剧节公共艺术单元的重磅内容，海边对话旨在以深度对话的形式，邀约各行业人士就当下戏剧话题、社会议题等展开对谈，期望以富有思想深度与人文关切的内容，推动国内外戏剧艺术的交流和发展，促进多元思想的融合和激荡。今年，海边对话将迎来更加令人瞩目的国际化、专业化嘉宾阵容：国际八大戏剧节的九位艺术总监，十余位海外知名导演、策展人、艺术家参与对谈。同时，今年还将首次引入学术性话题，以戏剧艺术为起点，交流灵感，思想共振。
6.22 风格与表达
6月22日，在保时捷风格空间举行了第一场海边对话「风格与表达」，由金话筒奖获得者春妮主持，对谈嘉宾为阿那亚创始人马寅，MAD建筑事务所创始人马岩松，阿那亚戏剧节艺术策划、候鸟300发起人及艺术总监刘畅，中国美术学院教授郑靖。
6.23 向外走，向内看
6月23日上午，第一场【海边对话】以“向外走，向内看”为题，引领我们重思旅行的多重面向。由谷大白话担任本场的主持人，与青年作家柏琳、自由摄影师李亚楠和自由摄影师孙一冰三位嘉宾一起，在阿那亚社区的艺术地标孤独图书馆中，深入分享了各自的旅行经历和旅行之于他们的意义，探讨了在当下的语境中我们该如何重新理解旅行精神。
6.25 青年戏剧的声音
6月25日下午的【海边对话】以“青年戏剧的声音”为题，由李建军导演担任本场主持人，与UCLA戏剧电影电视学院院长、教授，同时也是资深戏剧导演的布莱恩·凯特（Brian Kite），戏剧导演、澳大利亚墨尔本国际青年戏剧节主席迈克尔·康托尔（Michael Kantor），和盖蒂研究所驻院访问学者、中国研究博士尤丽娅·梅利尼科娃（Yulia Mylnikova）一起就青年戏剧的现状，青年戏剧工作者们的工作方法等议题分享了各自独到的行业洞察与宝贵的建议
海边放映
新锐戏剧力量，激发创作活力
意在展现戏剧与电影的边界及融合。今年展映的片单类型多元、整体的风格调性通俗、轻盈、友好。片单一方面涵盖了莎士比亚、布莱希特、契诃夫、贝克特等戏剧大师经典文本的影视化改编，另一方面选取了罗迪•道尔、萨姆•门德斯等当代戏剧家、戏剧影视导演的影视化作品和高清戏剧录像，还包括了围绕剧场等戏剧幕后题材故事展开的影史经典作品和新锐作品。
海边大巡游 & 海边篝火
海边的篝火装置安静地伫立在无尽的深邃中，等待着一次彻底的燃烧。
海边篝火装置《你的自由就是我的自由》由候鸟艺术家张东光与艺术家任爽设计而成。含义取自于泰戈尔诗集（《飞鸟集》）中的一句：“弓在箭要射出之前，低声对箭说道：‘你的自由就是我的自由。’”参与者们将环绕其周围，共同见证装置从零星火苗到熊熊烈火的全过程。燃烧结束后，整个装置将褪去外壳，成为另外一个装置。本装置重在聚焦“发生”的全过程，意在唤醒人们对自然演变与自由的再感知。重新定义，正在发生，这也是“候鸟 300”永恒的主题。
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