All posts in 媒體報導/Media Coverage

《旋轉,三途川》訪問﹣U-Magazine

《旋轉,三途川》預覽文章:Fringe Benefits(Winnie Chau)


The inaugural Sidekick Theatre Festival 2009 is the talk of the town among fringe theater enthusiasts. Winnie Chau talks to five groups of theater devotees whose works will feature in the event.

With all the international productions that arrive in Hong Kong each year, it can be easy to forget that our city has its very own flourishing theater scene. In celebration of our local acting community, On & On Theatre Workshop has produced a big-scale homegrown theater event: Sidekick Theatre Festival 2009, where local small theater collectives present their scripts to a judging panel, which picks five outstanding submissions to be performed live onstage. Co-organized by the Hong Kong Arts Development Council and the International Association of Art Critics (Hong Kong), the festival aims to nurture young talents and provide guidance and resources to young theater enthusiasts who work as freelance performers.

But rather than the traditional director-led productions, the festival encourages applicants to work in groups of three to take charge of various roles, from sound and visuals to lighting and of course, acting. By the submission deadline in December last year, On & On had received over 50 proposals from theater enthusiasts of varying backgrounds. Here are the five productions that were eventually selected for performance at the Cattle Depot Artist Village for their strong experimental quality and compelling messages.


Tides in Limbo
“Tides in Limbo” is based on director-playwright Fee Chan’s travel journal during a solo trip to Turkey. It follows the story of a young girl, a traveler and a sound researcher, as they embark upon a physically and psychologically challenging journey across a strange terrain. To turn the script into a reality, Chan joined hands with sound artist Edwin Lo and dancer-actor Kwok Ka-yuen, whose job is to instruct the physical movements onstage. Together, the three explore the interaction of sound, movement and text. “We wanted to question whether language is an efficient means to express oneself,” says Chan. To do this, the team disconnected the actors’ dialogue and their movements to explore whether it’s body language or words that we really use to communicate.
Continue Reading →

《旋轉,三途川》導覽文章:用耳去聽(鄧正健)

「英語中有hear和listen之辨,hear指聲音進入耳朵,listen才指聽到聲音的內容。法語中也有類似的區分,用羅蘭‧巴特 (Roland Barthes) 的說法,entendre是生理上的「聽到」,écouter則是心理上的「聽」。entendre意味著一種動物性的聆聽,巴特舉例說,一隻兔子聽到敵 人來犯的聲音,跟一個人聽到上心人的腳步聲,兩者之間沒有分別,都只是引起聆聽者的警覺,而沒有內容上的差別。而écouter則是一種心理活動,人們會 把聲音視作符號,並跟某一理念相對應。用符號學的說法,聲音跟理念之間沒有必然對應關係,正如我們可以把這個動作稱為「聽」、「listen」或 「écouter」。

《旋轉,三途川》是關於聲音——嚴格來說是關於把écouter減省成entendre的聲音狀態,最起碼,創作是從這裡開始的。三途川是日本傳說 中生死兩界之間的河流,三位核心成員陳冠而、郭嘉源和羅潤庭以此為喻,暗含了「邊緣」、「越界」和「尋找」的創作思路,試圖將作品看成是一場生命儀式,忽 略聲音中的符號意義,把écouter減省成entendre,藉著劇場,讓我們回到法國精神分析學上所謂的「想像域」(imaginary order):前於符號系統的意識狀態。」… more

全文及劇場節其他導覽文章,請到牛棚劇訊:http://www.onandon.org.hk/newsletter/?q=node/188

《旋轉,三途川》訪問﹣明報 Ming Pao

《旋轉,三途川》訪問﹣香港經濟日報