传统戏剧的魅力和美丽~~

爱美丽

学传统戏剧是我来新加班坡的主要目的...

两年前刚来到TTRP时
第一个学的传统剧就是日本"能剧"

那时第一次正式接受传统剧
模模糊糊蒙蒙懂懂的
而且还是第一次看日本"能剧"
要学的东西很多要了解的东西更多

今年,进入第3年...
学校所提供的4个传统剧都已经学完了...
日本--能剧
印度--卡达珈里
中国--京剧
印尼--WAYANG WONG

为了帮学弟学妹们演出他们的"能剧"呈现
今天开始和他们一起练习

感觉又回到2年前...
一样的...
每一次开始前一定要和老师请安...
手里拿着日本扇子...
穿着日本袜子...
不同的是这一次只有做合唱队的份...
没有机会"舞"
(能剧的"演"称为"舞")
所以这次得要像日本人一样跪坐地上吟唱1个小不可动...

今天努力的尝试跪坐不要动
最高记录25分钟...
但整支脚已经麻痹不能动也没有自觉了...

我坐在那里想...

为什么亚洲传统剧都有令人痛苦的训练???

能剧       --长时间的跪坐
              --7分蹲的舞步,又要有寸步难移的感觉
卡达珈里 --总是半蹲(好像扎马一样)
              --永远睁大眼睛(不可眨眼睛)
京剧       --快又小的圆场步
              --排练前的基本功和精准的动作
WW        --又慢和又柔


当然
如果你有机会看好的传统剧
他们的舞台魅力是无限和饱满的

这就是为什么传统剧永远都那么的迷人

pingstage

原帖由 爱美丽 于 15-3-2006 18:46 发表
学传统戏剧是我来新加班坡的主要目的...

两年前刚来到TTRP时
第一个学的传统剧就是日本"能剧"

那时第一次正式接受传统剧
模模糊糊蒙蒙懂懂的
而且还是第一次看日本" ...

现代艺术能容纳传统吗？
这样的训练，现代人有几个忍得。

也是此原因，目前大部分演员素质不高。
大家只要快。外表、性格像就好，就可以演。

爱美丽

原帖由 pingstage 于 15-3-2006 07:47 PM 发表


现代艺术能容纳传统吗？
这样的训练，现代人有几个忍得。

也是此原因，目前大部分演员素质不高。
大家只要快。外表、性格像就好，就可以演。

现代或后现代戏剧更应该容纳传统...
很多时候因为我们不了解自己的传统...
或已被统化了...

老爸说得对...
现在很多人都受不了,所以大家可以看到在亚洲没有多少人接受正式戏剧训练...
这问题不只发生在马来西亚...
同样的也发生在新加坡...

pingstage

近期，有个戏剧课程。到今天报名人数寥寥无几。主办单位开始担心，到处嗑音请人来听。这种招兵买马的方式，真的让主办者无可奈何呀。

以后还有谁要办课程。
本来要收费，现在完全免费。快快报名。
电话03－92833511

spreadmywingz

原帖由 pingstage 于 16-3-2006 08:38 PM 发表
近期，有个戏剧课程。到今天报名人数寥寥无几。主办单位开始担心，到处嗑音请人来听。这种招兵买马的方式，真的让主办者无可奈何呀。

以后还有谁要办课程。
本来要收费，现在完全免费。快快报名。
电话03－9 ...

???有戲劇課程？
什麽時候的事？在哪裏的？
幾時截止報名哦？

爱美丽

原帖由 pingstage 于 16-3-2006 08:38 PM 发表
近期，有个戏剧课程。到今天报名人数寥寥无几。主办单位开始担心，到处嗑音请人来听。这种招兵买马的方式，真的让主办者无可奈何呀。

以后还有谁要办课程。
本来要收费，现在完全免费。快快报名。
电话03－9 ...

老爸
你是说"詹惠登老师"的剧场课程?

那太可惜了...
如果我现在是假期的话...
我会马上飞回去参加...

老爸
不要太伤心...
有心人终究会去的...
没有心的逼他去等于叫他去坐监牢...

爱美丽

能 　　日本最早的剧种"能"出现于南北朝时期（1336~1392）。早在10世纪后，日本从中国输入"散乐"，促进了日本杂艺的发展。12世纪末，每当宫廷祝典或各大寺院举行法会，总要举行演艺大会，在此基础上产生了带有一定情节的歌舞剧"猿乐能"，后简称为"能"。在民间，农民庆丰收时也举行艺能表演，称为"田乐能"。14世纪初，出现了许多演"能"的剧团。在京都一带出现了"大和四座"（"座"即剧团），其中"结崎座"势力最大。

　　"能"的成熟离不开当时"结崎座"的杰出艺人观阿弥、世阿弥父子的功绩。他们父子得到当时幕府的最高统治者足利义满的赏识，受到了保护，使这个剧种完善起来。世阿弥不但演技超群，而且是"能"的脚本（谣曲）作者和戏剧理论家。他传世的著作总称《世阿弥十六部集》，被认为是日本最值得珍视的美学著作。

　　"能"由3种要素组成，即脚本（包括歌词和念白）、"型"（舞蹈程式）和""（乐器伴奏）。谣曲中的歌词，吸收了大量的和歌与汉诗中的名句。谣曲现存的底本有1700余种，今天仍在上演的有240余种。"能"的作者，大都是演"能"的艺人。观阿弥写有《自然居士》、《小野小町》等剧目；世阿弥写有《高砂》、《实盛》等上百种剧目。观世十一郎元雅（世阿弥的长子）写有《隅田川》；观世小次郎信光写有《游行柳》、《安宅》；金春禅竹写有《小督》、《竹生岛》等著名剧目。日本的古典"艺能"实行世代相传的"宗家制度"，他们保持各自流派的艺风。"能"的流派是17世纪以后形成的，共有观世流、宝生流、金春流、金刚流、喜多流5个流派。

狂言 　　与"能"同时出现的"狂言"，兴起了民间，本是一种即兴的、简短的笑剧。到15世纪中叶，"狂言"的剧目臻于定型，分成3个流派：大藏流、鹭流和泉流。从世阿弥时期起，"狂言"插在"能"每次演出的几个剧目中间演出。到17世纪以后，"能"被定为德川幕府举行庆典时演出的指定剧种，"狂言"附随"能"受到保护。狂言是一种短小的反映现实的笑剧，以滑稽诙谐取胜，现存剧目约有300出，其中最能表现"狂言"特色的描写地主与奴仆矛盾的剧目。这类剧目大多写聪明伶俐的奴仆捉弄主人的故事。其他如鬼神与人的矛盾、僧侣与施主的矛盾、丈夫与妻子的矛盾等等，也都极尽嘲笑、揶揄或讽刺之妙，反映了时代的民主精神。"狂言"的代表剧目有《二个大名》、《武恶》、《附子》、《忘了布施》、《爱哭的尼姑》、《雷公》、《争水的女婿》、《镰刀剖腹》等等。

爱美丽

一个发展自日本传统剧...
后来,发展成自己的一套表演方法...
一个很好的肢体训练方法...

欢迎各位参加
虽然贵了一点,但真的很值得学习参考.

Singapore Arts Festival in association with Practice's Theatre Training & Research Programme (TTRP)
presents

THE SUZUKI METHOD OF ACTOR TRAINING & VIEWPOINTS
Workshop by SITI Company and Anne Bogart

Sign up now for 9 sessions covering both the Suzuki Actor Training Method
and SITI's unique approach known as Viewpoints! It is through the dialogue
between Suzuki and Viewpoints, two distinct yet complementary approaches
to the art of acting, that the philosophy and technique of SITI Company is
continually explored, revitalized, and articulated.

This intense physical workshop is offered in Singapore for the first time,
by Singapore Arts Festival and TTRP.

This rare opportunity is offered in conjunction with SITI's production of
Death and the Ploughman in the Singapore Arts Festival 2006.

<APPLY EARLY - LIMITED TO 50 PLACES ONLY >
WORKSHOP DETAILS:

DATE/TIME:
29 May  - 1 June 2006 / 9am to 12pm and 1pm to 4pm
4 June 2006 / 12pm to 3pm (conducted by Ms Anne Bogart)

VENUE:
The Substation, Dance Studio & Drama Centre, Black Box


FEES:
S$330.00 (without WDA subsidy)  / $198 (with WDA subsidy)


PACKAGE INCLUDES:
1. 9 sessions at THE SUZUKI METHOD OF ACTOR TRAINING & VIEWPOINTS workshop

2. One $50 ticket to Death and the Ploughman on 2 June at 8pm at Drama Centre
Theatre;and

3. One seat at Ms Anne Bogart's lecture "AN APPROACH TO THE
THEATRE FROM THE POINT OF VIEW OF AN AMERICAN ON THE WORLD STAGE" on 3 June
at 3pm


INFORMATION & ENQUIRES:
Visit: www.ttrp.edu.sg; or
Email: ttrp@practice.org.sg



APPLICATION & MINIMUM CRITERIA
(refer to http://www.ttrp.edu.sg/public/workshops.html for details)
- Fill in and email us a simple form by the Application Deadline of
11 May 2006 (Singaporean and PR artists/arts practioners are eligible to apply
for a 40% course fee subsidy from Workforce Development Agency (WDA) through TTRP, under the Masterclass and Workshops for the Arts Sector (MWA) scheme.)

- Payment by Singapore Cheque or Telegraphic Transfer are available

- Ensure that you meet these requirements:
  a. Participants MUST be in good physical condition because the workshops demand agility and endurance. Conditioning work PRIOR to the workshop is recommended.

  b. Participants must attend in comfortable clothing allowing movement, but also showing the contours of the legs and upper body. Participants will wear
socks for the Suzuki sessions, and work in bare feet for the Viewpoints sessions.


SITI COMPANY is an ensemble-based theatre company whose three ongoing
components are the creation of new work, the training of young theatre artists, and a commitment to international collaboration. It was founded in 1992 by Anne
Bogart and Tadashi Suzuki to redefine and revitalize contemporary theatre in the United States through an emphasis on international cultural exchange and collaboration. SITI believes that contemporary American theatre must necessarily incorporate artists from around the world and learn from the resulting cross-cultural exchange of dance, music, art, and performance experiences. More information
at www.siti.org.

ANNE BOGART is the Artistic Director of the SITI Company, which she founded
with Japanese director Tadashi Suzuki in 1992.   She is a recipient of 2
Obie Awards, a Bessie Award, a Guggenheim Fellowship and is an Associate
Professor at Columbia University where she runs the Graduate Directing
Program. Works with SITI include La Dispute; Score; bobrauschenbergamerica;
War of the Worlds; The Radio Play; Alice's Adventures; Going, Going, Gone;
Small Lives/Big Dreams; August Strindberg's Miss Julie; and Charles Mee's Orestes. Other recent productions:  Nicholas and Alexandra (Los Angeles Opera),
Marina A Captive Spirit(American Opera Projects), Lilith and Seven Deadly
Sins (New York City Opera).

The Suzuki Actor Training Method:
The Suzuki Method is a rigorous physical and vocal discipline for actors,
created by renowned theatre artist Tadashi Suzuki and the Suzuki Company of
Toga.  The method is designed to regain the perceptive abilities and powers
of the human body.  Drawing on a unique combination of traditional and
innovative forms, the training strives to restore the wholeness of the body
as a tool of theatrical expression. A rigorous physical discipline drawn
from such diverse influences as ballet, traditional Japanese and Greek
theatre and martial arts, the training seeks to heighten the actor's
emotional and physical power and commitment to each moment on the stage.
Attention is on the lower body and a vocabulary of footwork, sharpening the
actor's breath control and concentration.

Viewpoints:
The Viewpoints is a technique of improvisation first articulated by
choreographer Mary Overlie who broke down the two dominant issues performers
deal with - time and space - into six categories.She calls her approach, The
Six Viewpoints.  Her work represents a non-hierarchical post-modern approach
to theatre training.  Since that time, Artistic Director Anne Bogart and
SITI Company have adapted the Viewpoints to serve as a basis for their
training.  The Viewpoints allows a group of actors to function together
spontaneously and intuitively and to generate bold, theatrical work quickly.
It develops flexibility, articulation and strength in movement and speaking,
and makes ensemble playing really possible.

About Singapore Arts Festival:
Established as one of Asia's leading arts festivals, the Singapore Arts
Festival gathers internationally acclaimed and Singapore artists annually
for a four-week long celebration of cultural diversity and artistic
innovation. Seeking to entertain, enchant, inspire and impress, the Festival
presents among the best and latest in artistic developments around the
world, ranging from the classics to the highly experimental. The Festival is
known for its embrace of the contemporary and cutting-edge works by leading
contemporary artists from Singapore, Asia and beyond.


About the Theatre Training & Research Programme (TTRP):
Inspired by the artistic vision and multicultural practice of the late
dramatist Kuo Pao Kun,
TTRP is a 3-year full time programme that trains actors through immersions
in traditional
Asian theatre forms, and contemporary actor-training techniques.

www.ttrp.edu.sg

For more information on Death and the Ploughman, please log on to
www.singaporeartsfest.com

Presented by Singapore Arts Festival in association with Practice's Theatre
Training & Research Programme.

[ 本帖最后由 多麗絲 于 23-3-2006 12:20 PM 编辑 ]