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2025
ARANYA THEATER
FESTIVAL
CORE SECTIONS
阿那亚戏剧节
核心内容回顾
戏剧艺术
THEATER ARTS
古典爱情
作家余华写了一个凄美迷人的爱情故事，导演孟京辉把古典爱恋和现代柔情结合成恍惚迷醉的一杯美酒。
寒门书生柳生赴京赶考途中，偶遇深闺小姐惠，二人暗生情愫。临别约定"不管榜上有无功名，早去早回"。三年后柳生落第归来，褴褛破败，发现小姐惠所在城池已万木萧条，断井残垣…当世事如烟，充满呼喊和细雨，故事瞬间崩塌，鲜血梅花，难逃劫数。再一次落榜的柳生在河边依稀见到了小姐惠。是人？是鬼？是仙？是侠？爱情是否能被反复渲染为艳丽的篇章？
古希腊悲剧式的结局、山海经鬼魅的奇异、后现代抽离的解构，一切都在空幻和快感中走向更开放的轮回…
Writer Yu Hua penned a poignant and enchanting love story, while director Meng Jinghui blended classical romance and modern tenderness into an intoxicating elixir of illusion and ecstasy.
During his journey to the capital for the imperial examinations, the impoverished scholar Liusheng encounters the secluded maiden Hui, and the two secretly kindle an affection. At their parting, they vow, "Whether your name graces the rankings or not, return as soon as you can." Three years later, Liusheng returns in tattered rags, having failed the exams, only to find Hui’s city desolate—withered trees, broken wells, and crumbling walls... As worldly affairs dissipate like smoke, filled with cries and drizzling rain, the story collapses in an instant. Blood stains the plum blossoms; fate is inescapable. Once again, the disgraced Liusheng catches a fleeting glimpse of Hui by the river. Is she human? A ghost? An immortal? A wandering knight? Can love truly be rendered again and again into dazzling verses?
With an ending reminiscent of Greek tragedy, the eerie mystique of Shan Hai Jing (Classic of Mountains and Seas), and the deconstructive detachment of postmodernism—all, all dissolve into illusion and rapture, spiraling toward an even more open cycle of rebirth...
寒门书生柳生赴京赶考途中，偶遇深闺小姐惠，二人暗生情愫。临别约定"不管榜上有无功名，早去早回"。三年后柳生落第归来，褴褛破败，发现小姐惠所在城池已万木萧条，断井残垣…当世事如烟，充满呼喊和细雨，故事瞬间崩塌，鲜血梅花，难逃劫数。再一次落榜的柳生在河边依稀见到了小姐惠。是人？是鬼？是仙？是侠？爱情是否能被反复渲染为艳丽的篇章？
古希腊悲剧式的结局、山海经鬼魅的奇异、后现代抽离的解构，一切都在空幻和快感中走向更开放的轮回…
Writer Yu Hua penned a poignant and enchanting love story, while director Meng Jinghui blended classical romance and modern tenderness into an intoxicating elixir of illusion and ecstasy.
During his journey to the capital for the imperial examinations, the impoverished scholar Liusheng encounters the secluded maiden Hui, and the two secretly kindle an affection. At their parting, they vow, "Whether your name graces the rankings or not, return as soon as you can." Three years later, Liusheng returns in tattered rags, having failed the exams, only to find Hui’s city desolate—withered trees, broken wells, and crumbling walls... As worldly affairs dissipate like smoke, filled with cries and drizzling rain, the story collapses in an instant. Blood stains the plum blossoms; fate is inescapable. Once again, the disgraced Liusheng catches a fleeting glimpse of Hui by the river. Is she human? A ghost? An immortal? A wandering knight? Can love truly be rendered again and again into dazzling verses?
With an ending reminiscent of Greek tragedy, the eerie mystique of Shan Hai Jing (Classic of Mountains and Seas), and the deconstructive detachment of postmodernism—all, all dissolve into illusion and rapture, spiraling toward an even more open cycle of rebirth...
初·恋
身体会老去，心却住在最初的地方......
初恋那个似乎很遥远的存在，
像會经晾在头唯一的白衬衣，
像路边那朵挂着露珠懵懂的花，
像雨夜的街头放着的一首歌，
像收到一个无名的纸条，
却用了一生去展开、阅读、寻找、回忆……
《初·恋》以八十年代初家喻户晓的流行歌曲“恋 曲 1990”“甜 蜜蜜”“在水一方”等为创作主体，
对一个时代的心动展开生命情感的回望和守候。
欢迎你带着初恋的心走进剧场，和我们一起哭，一起笑，一起跳，一起唱...
特别提示:
请穿白衬衣和可以跳舞的鞋。
The body grows old, but the heart remains where it first began...
First love—that seemingly distant presence,
Like the only white shirt once hung in the sun,
Like a dewdrop clinging to a shy roadside flower,
Like a song playing on a rainy street at night,
Like an unsigned note received long ago,
Yet unfolded, read, sought after, and remembered for a lifetime...
"FIRST LOVE" takes the iconic pop songs of the early 1980s—"Love Song 1990," "Sweet Sweet," "By the Water," and more—as its musical core,
Revisiting and cherishing the heartbeat of an era, a lifetime of emotions.
Come to the theater with your first love in your heart—
Let’s cry, laugh, dance, and sing together...
Special Note:
Please wear a white shirt and shoes you can dance in.
初恋那个似乎很遥远的存在，
像會经晾在头唯一的白衬衣，
像路边那朵挂着露珠懵懂的花，
像雨夜的街头放着的一首歌，
像收到一个无名的纸条，
却用了一生去展开、阅读、寻找、回忆……
《初·恋》以八十年代初家喻户晓的流行歌曲“恋 曲 1990”“甜 蜜蜜”“在水一方”等为创作主体，
对一个时代的心动展开生命情感的回望和守候。
欢迎你带着初恋的心走进剧场，和我们一起哭，一起笑，一起跳，一起唱...
特别提示:
请穿白衬衣和可以跳舞的鞋。
The body grows old, but the heart remains where it first began...
First love—that seemingly distant presence,
Like the only white shirt once hung in the sun,
Like a dewdrop clinging to a shy roadside flower,
Like a song playing on a rainy street at night,
Like an unsigned note received long ago,
Yet unfolded, read, sought after, and remembered for a lifetime...
"FIRST LOVE" takes the iconic pop songs of the early 1980s—"Love Song 1990," "Sweet Sweet," "By the Water," and more—as its musical core,
Revisiting and cherishing the heartbeat of an era, a lifetime of emotions.
Come to the theater with your first love in your heart—
Let’s cry, laugh, dance, and sing together...
Special Note:
Please wear a white shirt and shoes you can dance in.
海边的欧律狄刻
《海边的欧律狄刻》是陈明昊“海边自然实验”系列戏剧的第三部。导演陈明昊被誉为“剧场超人”，他基于自然、时间的海边实验创作，每年都是阿那亚观众最期待、讨论热度最高的话题。《海边的欧律狄刻》将在凌晨3点半演出，和观众一起，张开五感，共迎日出，在希腊神话的包围和渲染下，讲述回头一眼、万爱俱焚的千古爱情。
"Eurydice by the Sea" is the third installment in Chen Minghao's "Natural Experiments by the Sea" theater series. Director Chen Minghao, hailed as the "Superman of Theater," creates works based on natural and temporal experiments by the shore, making it the most anticipated and widely discussed topic among Aranya audiences every year. "Eurydice by the Sea" will be performed at 3:30 a.m., inviting the audience to awaken their senses and welcome the sunrise together. Set against the backdrop of Greek mythology, the play tells the timeless tale of love—where a single glance back reduces all affection to ashes.
"Eurydice by the Sea" is the third installment in Chen Minghao's "Natural Experiments by the Sea" theater series. Director Chen Minghao, hailed as the "Superman of Theater," creates works based on natural and temporal experiments by the shore, making it the most anticipated and widely discussed topic among Aranya audiences every year. "Eurydice by the Sea" will be performed at 3:30 a.m., inviting the audience to awaken their senses and welcome the sunrise together. Set against the backdrop of Greek mythology, the play tells the timeless tale of love—where a single glance back reduces all affection to ashes.
舞台剧《给一个未出生孩子的信》
由导演周可根据同名小说改编的这部舞台剧是一个有关生命的故事。
它是上世纪最著名的战地女记者奥里亚娜·法拉奇给所有喜欢思考自己与另一个生命之间关系的人写的故事。
这部舞台剧将女人那些私密的感受，以演员、音乐、多媒体为桥梁，传递给今天的观众：剧中包含了这个二十世纪最“厉害”的女人对世间爱情、歧视、自由、平等、性别等问题的思考。故事中的女人，并不是法拉奇本人，她有着这世间千千万万女人的影子：一个女人，在得知自己怀孕后，无法控制地持续思考着，她与腹中的这个生命对话，她将这个生命是否选择降临这个世间的决定权交给了TA自己……
相信每一位来到剧场的观众，无论男女，都能收获对生命的启示。
This stage play, adapted by director Zhou Ke from the novel of the same name, is a story about life.
It was written by Oriana Fallaci, the most renowned female war correspondent of the last century, for all who ponder the relationship between oneself and another life.
Through the mediums of actors, music, and multimedia, this theatrical production conveys women's most intimate feelings to contemporary audiences. The play encapsulates the reflections of this "most formidable" woman of the twentieth century on love, discrimination, freedom, equality, gender, and other existential questions.The woman in the story is not Fallaci herself—she embodies the shadows of countless women in this world: A woman, upon learning of her pregnancy, finds herself uncontrollably immersed in continuous contemplation. She engages in dialogue with the life within her womb, ultimately granting this life the autonomy to decide whether to enter this world...
It is believed that every audience member in the theater, regardless of gender, will gain revelations about life.
它是上世纪最著名的战地女记者奥里亚娜·法拉奇给所有喜欢思考自己与另一个生命之间关系的人写的故事。
这部舞台剧将女人那些私密的感受，以演员、音乐、多媒体为桥梁，传递给今天的观众：剧中包含了这个二十世纪最“厉害”的女人对世间爱情、歧视、自由、平等、性别等问题的思考。故事中的女人，并不是法拉奇本人，她有着这世间千千万万女人的影子：一个女人，在得知自己怀孕后，无法控制地持续思考着，她与腹中的这个生命对话，她将这个生命是否选择降临这个世间的决定权交给了TA自己……
相信每一位来到剧场的观众，无论男女，都能收获对生命的启示。
This stage play, adapted by director Zhou Ke from the novel of the same name, is a story about life.
It was written by Oriana Fallaci, the most renowned female war correspondent of the last century, for all who ponder the relationship between oneself and another life.
Through the mediums of actors, music, and multimedia, this theatrical production conveys women's most intimate feelings to contemporary audiences. The play encapsulates the reflections of this "most formidable" woman of the twentieth century on love, discrimination, freedom, equality, gender, and other existential questions.The woman in the story is not Fallaci herself—she embodies the shadows of countless women in this world: A woman, upon learning of her pregnancy, finds herself uncontrollably immersed in continuous contemplation. She engages in dialogue with the life within her womb, ultimately granting this life the autonomy to decide whether to enter this world...
It is believed that every audience member in the theater, regardless of gender, will gain revelations about life.
海浪袭来时
女人与已经死去的母亲对话——语言模型学习了母亲的模式，成为了她的“电子幽灵”。在“电子幽灵”的描述中，她失去母亲的生活逐渐展开。曾经是运动员的她，现在成为了一名游泳教练。在庞大、难以捉摸的社会中，她创造新生活的乐观一步步被创伤的枷锁勒垮。随着一场游泳俱乐部里的意外溺水，她绝望地发现，失败正在一步步地行走在她的身上。
故事是这个时刻的化身：“海浪袭来时”，失去母亲的人生里，女主人公面临着太多问题：生存、事业、母女关系、恋情、道德困境……和选择离开的母亲一样，她也在自己的人生里面对自己的“海浪袭来时”。 没有人能告诉她怎么做，即使是知晓一切的“母亲”。
A woman speaks with her deceased mother — a language model has learned the patterns of the mother, becoming her “electronic ghost.” Through the descriptions of this “electronic ghost,” the woman's life after the loss of her mother gradually unfolds. Once an athlete, she is now a swimming coach. In a vast and elusive society, her optimism in building a new life is gradually strangled by the shackles of trauma. Following a drowning accident at the swimming club, she comes to the desperate realization that failure is slowly creeping over her.
The story embodies this very moment: “When the wave hits.” In a life marked by the loss of her mother, the protagonist faces a multitude of challenges — survival, career, the mother-daughter relationship, romance, moral dilemmas… Just like her mother, who once chose to leave, she too must face her own “when the wave hits.” No one can tell her what to do — not even the all-knowing “mother.”
故事是这个时刻的化身：“海浪袭来时”，失去母亲的人生里，女主人公面临着太多问题：生存、事业、母女关系、恋情、道德困境……和选择离开的母亲一样，她也在自己的人生里面对自己的“海浪袭来时”。 没有人能告诉她怎么做，即使是知晓一切的“母亲”。
A woman speaks with her deceased mother — a language model has learned the patterns of the mother, becoming her “electronic ghost.” Through the descriptions of this “electronic ghost,” the woman's life after the loss of her mother gradually unfolds. Once an athlete, she is now a swimming coach. In a vast and elusive society, her optimism in building a new life is gradually strangled by the shackles of trauma. Following a drowning accident at the swimming club, she comes to the desperate realization that failure is slowly creeping over her.
The story embodies this very moment: “When the wave hits.” In a life marked by the loss of her mother, the protagonist faces a multitude of challenges — survival, career, the mother-daughter relationship, romance, moral dilemmas… Just like her mother, who once chose to leave, she too must face her own “when the wave hits.” No one can tell her what to do — not even the all-knowing “mother.”
女仆
让•热内是20世纪的法国最别具一格的作家之一，《女仆》是他早期的戏剧作品，讲述了一对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…..
Jean Genet stands as one of France's most distinctive literary figures of the 20th century. His early theatrical work LES BONNES tells the story of two resentful sister-maids who frequently engage in role-playing games behind their mistress's back. In one fateful instance, their charade turns tragically real - the elder sister, playing the servant, poisons the younger sister playing the mistress with a cup of tainted tea...
Jean Genet stands as one of France's most distinctive literary figures of the 20th century. His early theatrical work LES BONNES tells the story of two resentful sister-maids who frequently engage in role-playing games behind their mistress's back. In one fateful instance, their charade turns tragically real - the elder sister, playing the servant, poisons the younger sister playing the mistress with a cup of tainted tea...
聊斋怪谈
一个男人的一晚狂想。在幻世里，人、狐、妖混行，每个人的欲望膨胀，相互碰撞。他们之间将发生什么？男人由此看见人的贪心、暴力和痴心。他是否能够在深渊面前觉醒？
作为上海话剧艺术中心出品，上海国际舞蹈中心剧场制作的当代舞蹈剧场作品，《聊斋怪谈》大胆解构中国古典名著《聊斋志异》，对舞台肢体边界展开新的拓展，试图创作一种全新的、具有东方审美的当代舞蹈肢体语汇。作品极具天马行空的想象力，“不知道下一刻将会发生什么”，同时延续了余尔格一贯的荒诞和黑色幽默，保持对人性的极致思考，对现实世界各种关系的探索，呈现出一个光怪流离的，人、鬼、神多维度的世界。这是一场导演对世界、他人和自我的审视，她在作品里不断叩问自己，也是在向观众发问“鬼和人的界限在哪儿？”
A Man's Nocturnal Reverie. In a world of illusions, humans, foxes, and spirits intertwine—desires swell and collide. What unfolds between them? Through their encounters, the man witnesses human greed, violence, and obsession. Can he awaken before the abyss?
Produced by the Shanghai Theatre Arts Centre and staged at the Shanghai International Dance Center Theatre, Strange Tales from the Studio is a contemporary dance-theatre work that boldly deconstructs the classical Chinese literary masterpiece Strange Tales from a Chinese Studio (Liaozhai Zhiyi). It pushes the boundaries of physical performance, crafting a new, distinctly Eastern aesthetic in contemporary movement vocabulary. The production brims with unbridled imagination—"you never know what will happen next"—while retaining Yu Erge's signature absurdism and dark humor. It delves into profound meditations on human nature and explores the complex dynamics of the real world, presenting a phantasmagorical, multi-dimensional realm where humans, ghosts, and deities coexist.This is the director’s interrogation of the world, others, and herself. Through the work, she relentlessly questions—and prompts the audience to ponder: Where is the line between ghost and man?
作为上海话剧艺术中心出品，上海国际舞蹈中心剧场制作的当代舞蹈剧场作品，《聊斋怪谈》大胆解构中国古典名著《聊斋志异》，对舞台肢体边界展开新的拓展，试图创作一种全新的、具有东方审美的当代舞蹈肢体语汇。作品极具天马行空的想象力，“不知道下一刻将会发生什么”，同时延续了余尔格一贯的荒诞和黑色幽默，保持对人性的极致思考，对现实世界各种关系的探索，呈现出一个光怪流离的，人、鬼、神多维度的世界。这是一场导演对世界、他人和自我的审视，她在作品里不断叩问自己，也是在向观众发问“鬼和人的界限在哪儿？”
A Man's Nocturnal Reverie. In a world of illusions, humans, foxes, and spirits intertwine—desires swell and collide. What unfolds between them? Through their encounters, the man witnesses human greed, violence, and obsession. Can he awaken before the abyss?
Produced by the Shanghai Theatre Arts Centre and staged at the Shanghai International Dance Center Theatre, Strange Tales from the Studio is a contemporary dance-theatre work that boldly deconstructs the classical Chinese literary masterpiece Strange Tales from a Chinese Studio (Liaozhai Zhiyi). It pushes the boundaries of physical performance, crafting a new, distinctly Eastern aesthetic in contemporary movement vocabulary. The production brims with unbridled imagination—"you never know what will happen next"—while retaining Yu Erge's signature absurdism and dark humor. It delves into profound meditations on human nature and explores the complex dynamics of the real world, presenting a phantasmagorical, multi-dimensional realm where humans, ghosts, and deities coexist.This is the director’s interrogation of the world, others, and herself. Through the work, she relentlessly questions—and prompts the audience to ponder: Where is the line between ghost and man?
山海经—山川命
此次呈献绿叶剧团重塑《山海经》三部曲的第一部《山川命》—见山
「当游手好闲的王子遇上哑巴兵…」
进入上古奇书《山海经》的狂想世界——见证天地之始，一窥创世万象。
如果是「祂」创造了世界，那么又是谁为「祂」写下壮举？
《山海经》为中国先秦以来最古老的奇书之一，作者不详，集地理书、神话、游记、巫书和志怪小说于一身，是古代中国神话的起源，里面《女娲补天》《后羿射日》等传说，及奇珍异兽一直令人着迷。
擅以肢体语言讲故事、融合东西方表演传统艺术的绿叶剧团，分三部曲系列重塑《山海经》的奇幻世界，本次呈献第一部《山川命》—见山。演出将以形体、文本、音乐与造型带领观众进入天地伊始的异想狂曲，于奇想中听见山川，看见大海，一同见证万物逢生的光怪陆离。
我们来寻找写下《山海经》的第一人。
Presenting the first part of THÉÂTRE DE LA FEUILLE’s reimagined Book of Mountains and Seas – The Fates of Mountains and Rivers: Unravel the Mountain.
“When a prince with expertise in the art of doing nothing met a mute soldier…”
Step into the Chinese classic, The Book of Mountains and Seas — explore a fantastical pre-cultural world and the origins of the universe.
If the Creator brought forth the world, then whochronicled the epic deeds of the Creator?
The Book of Mountains and Seas stands as one of China's most enigmatic ancient texts, dating back to the pre-Qin era. Its author remains nameless, yet it weaves geography, mythology, travelogues, and shamanic texts with tales of strange happenings and mythical creatures, and legends from around the world, forming the foundation of Chinese mythology. Legends like NüwaMends the Sky, Houyi Shoots the Suns, and accounts of mythical beasts have captivated imaginations for millennia.
Co-produced with West Kowloon Cultural District, THÉÂTRE DE LA FEUILLE, renowned for its physical expression and fusion of Eastern and Western performance traditions, reimagines The Book of Mountains and Seas' fantastical universe through atrilogy. This first installment, The Fates of Mountains and Rivers: Unravel the Mountain, invites audiences onan imaginative journey through physical expression, text, music, and visual artistry. Here, the whispers of mountains and the roar of seas come alive. Let us witness the world’s surreal inception and explore the nature of existence in real and mythical worlds.
We embark on a quest to find the first hand that chronicled The Book of Mountains and Seas.
「当游手好闲的王子遇上哑巴兵…」
进入上古奇书《山海经》的狂想世界——见证天地之始，一窥创世万象。
如果是「祂」创造了世界，那么又是谁为「祂」写下壮举？
《山海经》为中国先秦以来最古老的奇书之一，作者不详，集地理书、神话、游记、巫书和志怪小说于一身，是古代中国神话的起源，里面《女娲补天》《后羿射日》等传说，及奇珍异兽一直令人着迷。
擅以肢体语言讲故事、融合东西方表演传统艺术的绿叶剧团，分三部曲系列重塑《山海经》的奇幻世界，本次呈献第一部《山川命》—见山。演出将以形体、文本、音乐与造型带领观众进入天地伊始的异想狂曲，于奇想中听见山川，看见大海，一同见证万物逢生的光怪陆离。
我们来寻找写下《山海经》的第一人。
Presenting the first part of THÉÂTRE DE LA FEUILLE’s reimagined Book of Mountains and Seas – The Fates of Mountains and Rivers: Unravel the Mountain.
“When a prince with expertise in the art of doing nothing met a mute soldier…”
Step into the Chinese classic, The Book of Mountains and Seas — explore a fantastical pre-cultural world and the origins of the universe.
If the Creator brought forth the world, then whochronicled the epic deeds of the Creator?
The Book of Mountains and Seas stands as one of China's most enigmatic ancient texts, dating back to the pre-Qin era. Its author remains nameless, yet it weaves geography, mythology, travelogues, and shamanic texts with tales of strange happenings and mythical creatures, and legends from around the world, forming the foundation of Chinese mythology. Legends like NüwaMends the Sky, Houyi Shoots the Suns, and accounts of mythical beasts have captivated imaginations for millennia.
Co-produced with West Kowloon Cultural District, THÉÂTRE DE LA FEUILLE, renowned for its physical expression and fusion of Eastern and Western performance traditions, reimagines The Book of Mountains and Seas' fantastical universe through atrilogy. This first installment, The Fates of Mountains and Rivers: Unravel the Mountain, invites audiences onan imaginative journey through physical expression, text, music, and visual artistry. Here, the whispers of mountains and the roar of seas come alive. Let us witness the world’s surreal inception and explore the nature of existence in real and mythical worlds.
We embark on a quest to find the first hand that chronicled The Book of Mountains and Seas.
音乐舞蹈剧场《500英里》
《500英里》是由青年舞蹈艺术家陈梓豪全新创作的音乐舞蹈剧场作品。作品以中国文化中传统的“因“与”果”为核心，讲述了童话般的过去、迷宫般的现在、与值得每个人努力探索的未来之间错综复杂而又因果相依的关系，以传统的东方哲学、东方逻辑演绎现代都市人的生存现状，展现现代都市生活中的关于爱情、生死、孤独等社会现象，从而触及那个“我从哪里来？”、“我要到哪里去”的人类终极问题。
同时，作品将打破传统的观演关系，邀请观众进入到“舞台”区域与演员互动表演，在沉浸地观演过程中不仅仅是“观看”，更是参与、体验、共创一台舞台作品。
500 Miles is a new musical dance theatre work created by young dance artist Zihao Chen.Centered around the traditional Chinese concepts of "Cause" and "Effect", the piece weaves together a fairy-tale-like past, a labyrinthine present, and a future worth exploring—intertwining their complex, interdependent relationships. Through traditional Eastern philosophy and logic, it interprets the existential realities of modern urban life, exploring social phenomena such as love, mortality, and solitude, ultimately touching upon humanity's ultimate questions: "Where do I come from?" and "Where am I going?"
Simultaneously, the work breaks conventional performer-audience dynamics by inviting spectators into the "stage" area to interact and co-perform with the artists. This immersive experience goes beyond passive observation—it fosters participation, experience, and collective creation of a live theatrical production.
同时，作品将打破传统的观演关系，邀请观众进入到“舞台”区域与演员互动表演，在沉浸地观演过程中不仅仅是“观看”，更是参与、体验、共创一台舞台作品。
500 Miles is a new musical dance theatre work created by young dance artist Zihao Chen.Centered around the traditional Chinese concepts of "Cause" and "Effect", the piece weaves together a fairy-tale-like past, a labyrinthine present, and a future worth exploring—intertwining their complex, interdependent relationships. Through traditional Eastern philosophy and logic, it interprets the existential realities of modern urban life, exploring social phenomena such as love, mortality, and solitude, ultimately touching upon humanity's ultimate questions: "Where do I come from?" and "Where am I going?"
Simultaneously, the work breaks conventional performer-audience dynamics by inviting spectators into the "stage" area to interact and co-perform with the artists. This immersive experience goes beyond passive observation—it fosters participation, experience, and collective creation of a live theatrical production.
12夜
《12夜》通过解构与重组莎士比亚经典剧作中的人物对白，探讨人性的复杂性、社会关系的多样性以及规则与情感的永恒博弈。每幕以不同莎剧为基底，聚焦矛盾冲突：《哈姆雷特》：呈现人文理想与现实的撕裂；《李尔王》：反思虚伪与真诚的代价，以“死亡”强化无法挽回的遗憾；《威尼斯商人》：质问法律契约与人性的对立；《奥赛罗》：放大猜忌对爱的摧毁；《第十二夜》：直击欲望与身份错位的荒诞性。在多重叙事中揭示人类情感的脆弱性、权力欲望的异化，以及真理在混乱中的游移。
Twelve Nights by deconstructing and reconstructing dialogues from Shakespeare's classic plays,it examines: The complexity of human nature、The diversity of social relationships、The perpetual struggle between rules and emotions. Each act builds upon a different Shakespearean work, concentrating on its central conflict: Hamlet – The schism between humanist ideals and reality; King Lear – The cost of hypocrisy versus authenticity, with "death" amplifying irreversible regret; The Merchant of Venice – The confrontation between legal contracts and human nature; Othello – The corrosive effect of suspicion on love; Twelfth Night – The absurdity of desire and mistaken identity. Through its polyphonic narrative, the work reveals: The fragility of human emotions, the distortion of desire by power, the elusive nature of truth in chaos.
Twelve Nights by deconstructing and reconstructing dialogues from Shakespeare's classic plays,it examines: The complexity of human nature、The diversity of social relationships、The perpetual struggle between rules and emotions. Each act builds upon a different Shakespearean work, concentrating on its central conflict: Hamlet – The schism between humanist ideals and reality; King Lear – The cost of hypocrisy versus authenticity, with "death" amplifying irreversible regret; The Merchant of Venice – The confrontation between legal contracts and human nature; Othello – The corrosive effect of suspicion on love; Twelfth Night – The absurdity of desire and mistaken identity. Through its polyphonic narrative, the work reveals: The fragility of human emotions, the distortion of desire by power, the elusive nature of truth in chaos.
中法共创奇幻剧《海底两万里》
《海底两万里》原著小说开创海洋科幻小说先河，道出海洋与人类互生共存的神秘联系，是一个寓言、传奇，也是一个关于人类未来的美梦。小说主人公尼摩船长与他掌舵的神奇潛艇鹦鹉螺号，被误认为深海水怪。三位追捕者误打误撞落到了尼摩船长的潜艇里，打破了他在深海中的隐秘生活，一同穿越两万里的海洋奇幻世界。
中法共创奇幻剧《海底两万里》延续了儒勒凡尔纳的科幻奥德赛，由曾狂揽7项法国戏剧最高荣誉“莫里哀戏剧奖”的法兰西喜剧院导演、演员克里斯蒂安·埃克（Christian Hecq）来华驻地创作。借助黑光剧的形式唤醒人类心中对于童真、理想、自由与远航的集体记忆。在全黑场域中，本次新编注入了新的角色，鱼偶如魔术般出现又消失，令人捧腹大笑的喜剧情节与惊险刺激的海底冒险相得益彰，将诡谲多变、五光十色的深海世界，转化成一台充满惊喜幽默的的黑光奇幻剧。
The original novel 20000 Lieues sous Les Mers pioneered the genre of oceanic science fiction, revealing the mysterious symbiotic relationship between the ocean and humankind. It is a fable, a legend, and a beautiful dream about the future of humanity.
The protagonist, Captain Nemo, and his extraordinary submarine, the Nautilus, are mistaken for being a deep-sea monster. Three pursuers, by a twist of fate, find themselves aboard Captain Nemo’s submarine, disrupting his hidden life beneath the sea and embarking together on a fantastical journey through twenty thousand leagues of oceanic wonders.
The Sino-French co-produced fantasy play Twenty Thousand Leagues Under the Sea continues Jules Verne’s science fiction odyssey. It is directed and co-created in China by Christian Hecq—actor and director of the Comédie-Française, and a recipient of seven Molière Awards, France’s highest honor in theatre.
Employing the form of black light theatre, this production awakens our collective memory of innocence, idealism, freedom, and seafaring dreams. In an entirely darkened space, newly added characters and magically appearing and vanishing fish puppets bring fresh vitality. The production strikes a harmonious balance between humorous comic moments and thrilling underwater adventures, transforming the ever-shifting, kaleidoscopic deep-sea world into a black light fantasy filled with wonder and laughter.
中法共创奇幻剧《海底两万里》延续了儒勒凡尔纳的科幻奥德赛，由曾狂揽7项法国戏剧最高荣誉“莫里哀戏剧奖”的法兰西喜剧院导演、演员克里斯蒂安·埃克（Christian Hecq）来华驻地创作。借助黑光剧的形式唤醒人类心中对于童真、理想、自由与远航的集体记忆。在全黑场域中，本次新编注入了新的角色，鱼偶如魔术般出现又消失，令人捧腹大笑的喜剧情节与惊险刺激的海底冒险相得益彰，将诡谲多变、五光十色的深海世界，转化成一台充满惊喜幽默的的黑光奇幻剧。
The original novel 20000 Lieues sous Les Mers pioneered the genre of oceanic science fiction, revealing the mysterious symbiotic relationship between the ocean and humankind. It is a fable, a legend, and a beautiful dream about the future of humanity.
The protagonist, Captain Nemo, and his extraordinary submarine, the Nautilus, are mistaken for being a deep-sea monster. Three pursuers, by a twist of fate, find themselves aboard Captain Nemo’s submarine, disrupting his hidden life beneath the sea and embarking together on a fantastical journey through twenty thousand leagues of oceanic wonders.
The Sino-French co-produced fantasy play Twenty Thousand Leagues Under the Sea continues Jules Verne’s science fiction odyssey. It is directed and co-created in China by Christian Hecq—actor and director of the Comédie-Française, and a recipient of seven Molière Awards, France’s highest honor in theatre.
Employing the form of black light theatre, this production awakens our collective memory of innocence, idealism, freedom, and seafaring dreams. In an entirely darkened space, newly added characters and magically appearing and vanishing fish puppets bring fresh vitality. The production strikes a harmonious balance between humorous comic moments and thrilling underwater adventures, transforming the ever-shifting, kaleidoscopic deep-sea world into a black light fantasy filled with wonder and laughter.
时间来到了下半场！
即时开踢，现场解说！
这是一场不会发生的比赛，但它即将在现场发生！十几位老年足球爱好者的身体数据，被上传到电子游戏中。在这里，他们将迎战那些“不可能的对手”，一支星光熠熠的宇宙明星队。在一次又一次的奔跑、追赶、跌倒与失衡中，这些老年人的故事，将如何在观众面前徐徐展开？
《时间来到了下半场！》是一部纪录剧场作品。摧毁面包小组走进球场，寻访老年足球爱好者，并进行持续性对话。当足球与人生碰撞，当年轻视角与老年经验对话，当日渐迟缓的身体与快节奏的游戏相遇，当时间来到了下半场，我们能否重新想象衰老？
Kickoff Now, Live Commentary!
This is a match that will never happen—yet it’s about to unfold live onstage! The physical data of a dozen elderly football enthusiasts has been uploaded into a video game. Here, they will face off against "impossible opponents": a star-studded cosmic all-star team. Through repeated sprints, chases, falls, and stumbles, how will these seniors' stories gradually unravel before the audience’s eyes?
Time for the Second Half! is a documentary theater piece. The "Bread Destruction Collective" takes to the pitch, seeking out elderly football lovers and engaging them in ongoing dialogue. When football collides with life, when youthful perspectives converse with the wisdom of age, when slowing bodies meet the frenetic pace of gaming—and when time arrives at the second half—can we reimagine what it means to grow old?
这是一场不会发生的比赛，但它即将在现场发生！十几位老年足球爱好者的身体数据，被上传到电子游戏中。在这里，他们将迎战那些“不可能的对手”，一支星光熠熠的宇宙明星队。在一次又一次的奔跑、追赶、跌倒与失衡中，这些老年人的故事，将如何在观众面前徐徐展开？
《时间来到了下半场！》是一部纪录剧场作品。摧毁面包小组走进球场，寻访老年足球爱好者，并进行持续性对话。当足球与人生碰撞，当年轻视角与老年经验对话，当日渐迟缓的身体与快节奏的游戏相遇，当时间来到了下半场，我们能否重新想象衰老？
Kickoff Now, Live Commentary!
This is a match that will never happen—yet it’s about to unfold live onstage! The physical data of a dozen elderly football enthusiasts has been uploaded into a video game. Here, they will face off against "impossible opponents": a star-studded cosmic all-star team. Through repeated sprints, chases, falls, and stumbles, how will these seniors' stories gradually unravel before the audience’s eyes?
Time for the Second Half! is a documentary theater piece. The "Bread Destruction Collective" takes to the pitch, seeking out elderly football lovers and engaging them in ongoing dialogue. When football collides with life, when youthful perspectives converse with the wisdom of age, when slowing bodies meet the frenetic pace of gaming—and when time arrives at the second half—can we reimagine what it means to grow old?
七
青年天赐渴望在加德满都开设一家引领潮流的咖啡馆。他不顾朋友们的反对，选择在一座地震中倒塌的博物馆上建立自己的梦想之地。然而，从那一刻起，他的生活被一系列幻觉所困扰，预言者警告他，这是死亡的前兆。他的生命只剩下七天，唯一的生机是找到Dakini，否则他将无法逃脱命运的安排。天赐最初将这些预言和警告视为无稽之谈，但随着死亡的阴影逐渐笼罩，天赐不得不踏上了一段自我探索和救赎的旅程。谁是Dakini?为什么只有Dakini 才能挽救天赐的生命?在这场看似荒谬的寻找中，天赐学会了面对自己的恐惧，最终在内心完成了一次自我的救赎。
Tianci, a passionate young man, longed to open a trendy café in Kathmandu. Ignoring his friends' warnings, he chose to build his dream establishment on the ruins of a museum that had collapsed in an earthquake. However, from that moment on, his life became plagued by a series of eerie hallucinations. A seer warned him that these visions were omens of death—he had only seven days left to live. His sole hope for survival was to find Dakini; otherwise, he would be unable to escape his doomed fate.
At first, Tianci dismissed these prophecies as nonsense. But as the shadow of death crept closer, he had no choice but to embark on a journey of self-discovery and redemption.Who is Dakini? And why is she the only one who can save Tianci’s life?n this seemingly absurd quest, Tianci learns to confront his deepest fears and ultimately achieves an inner salvation.
Tianci, a passionate young man, longed to open a trendy café in Kathmandu. Ignoring his friends' warnings, he chose to build his dream establishment on the ruins of a museum that had collapsed in an earthquake. However, from that moment on, his life became plagued by a series of eerie hallucinations. A seer warned him that these visions were omens of death—he had only seven days left to live. His sole hope for survival was to find Dakini; otherwise, he would be unable to escape his doomed fate.
At first, Tianci dismissed these prophecies as nonsense. But as the shadow of death crept closer, he had no choice but to embark on a journey of self-discovery and redemption.Who is Dakini? And why is she the only one who can save Tianci’s life?n this seemingly absurd quest, Tianci learns to confront his deepest fears and ultimately achieves an inner salvation.
唐璜
在布满跌落神坛的巨型雕像的震撼舞台布景中，《唐璜》展开为一则关于权力与越界的当代表述。拉杜安·勒弗拉希饰演莫里哀笔下著名的浪荡子，将观众带入对当代支配结构的沉思之中。故事讲述了一位执迷不悔的诱惑者与亵渎者的旅程：他挑战社会与宗教规范，操控周围的人，蔑视自己行为的后果，直至最终悲剧性的覆灭。通过大胆的舞台呈现，每一场戏都映照出现今社会与文化中的种种冲突：阶级歧视、性别偏见...大卫·博贝为本次创作注入了坚定的多元视角，部分男性角色由女性饰演。这样的选择凸显了他赋予那些被历史“定格”人物新声音的意图。他的导演风格沉浸感十足，辅以对灯光、音效与舞台美术的精细打磨，使这版《唐璜》呈现出鲜明的当代表达，并引导观众思考叙事的力量及其对当今世界的影响。
In a striking stage setting strewn with monumental statues fallen from their pedestals, Dom Juan unfolds as a contemporary reflection on figures of power and transgression. Radouan Leflahi embodies Molière’s famous libertine, immersing the audience in a contemplation of present-day dominations. The story of Dom Juan follows the journey of an unrepentant seducer and blasphemer who defies social and religious norms, manipulates those around him, and scorns the consequences of his actions until his tragic downfall. Through a bold staging, each scene mirrors today’s social and cultural struggles: classism, sexism...David Bobée infuses this production with a determined diversity, where some of the male roles are played by women. This artistic choice underscores the desire to give a new voice to figures once frozen in history. His immersive direction, supported by meticulous work on lighting, sound, and scenography, gives this Dom Juan a profoundly contemporary resonance, challenging the audience to reflect on the power of narratives and their impact on today’s world.
In a striking stage setting strewn with monumental statues fallen from their pedestals, Dom Juan unfolds as a contemporary reflection on figures of power and transgression. Radouan Leflahi embodies Molière’s famous libertine, immersing the audience in a contemplation of present-day dominations. The story of Dom Juan follows the journey of an unrepentant seducer and blasphemer who defies social and religious norms, manipulates those around him, and scorns the consequences of his actions until his tragic downfall. Through a bold staging, each scene mirrors today’s social and cultural struggles: classism, sexism...David Bobée infuses this production with a determined diversity, where some of the male roles are played by women. This artistic choice underscores the desire to give a new voice to figures once frozen in history. His immersive direction, supported by meticulous work on lighting, sound, and scenography, gives this Dom Juan a profoundly contemporary resonance, challenging the audience to reflect on the power of narratives and their impact on today’s world.
五月May B
《五月May B》用突兀的舞台语言，演绎漂泊的人类境况——现实中的荒诞与痛苦，都被转化为剧场里的诗意游行，作品的力量源于它呈现人类存在之谜的能力。本剧灵感源自塞缪尔·贝克特的作品。贝克特笔下的剧场行动与氛围与舞者所表达的身体性和美学形成强烈对比。正是在这种对立中，我们找到了破译人类最隐秘、最微妙、最容易被忽视动作的线索。我们力图揭示那些细微或巨大的动作——它们存在于无数难以察觉、无声无息的生命中，在这些生命里，等待与“尚未完全静止”的静默，构成了一个空洞、一个巨大的虚无，一个充满犹疑的沉寂空间。贝克特笔下的人物渴望静止，却无法不动——哪怕是一点点，他们终究是动着的。在这部本质上高度戏剧化的作品中，我们关注的焦点并非语言和对白的展开，而是夸张化的动作形式——试图寻找剧场动作与舞蹈、编舞语言之间的交汇点。
May B sets in motion the parade of a drifting human condition with the invention of an abrupt theatrical language that transforms the ridiculous, the violent and the distressing in situations. The power comes from its capacity to represent the mystery of our presence in the world. This piece is based on the writings of Samuel Beckett, whose work contradicts in its theatrical movement and atmosphere the physical and aesthetic performance of a dancer, has enabled us to lay the grounds for a secret deciphering of our most intimate, hidden and ignored gestures. To succeed in unveiling the tiny or spectacular gestures of the many unnoticeable and inconspicuous lives in which waiting and «not quit still» stillness create a void, a huge nothingness, a silent space filled with the hesitations. When Beckett’s characters yearn for stillness, they cannot help moving; be it a little or a lot, they move. In this essentially theatrical work, the point, for us, was less to develop words and speech than the blown-up form of movement, thus seeking the meeting point between movement applied to theatre on the one hand and dance and choreographic language on the other.
May B sets in motion the parade of a drifting human condition with the invention of an abrupt theatrical language that transforms the ridiculous, the violent and the distressing in situations. The power comes from its capacity to represent the mystery of our presence in the world. This piece is based on the writings of Samuel Beckett, whose work contradicts in its theatrical movement and atmosphere the physical and aesthetic performance of a dancer, has enabled us to lay the grounds for a secret deciphering of our most intimate, hidden and ignored gestures. To succeed in unveiling the tiny or spectacular gestures of the many unnoticeable and inconspicuous lives in which waiting and «not quit still» stillness create a void, a huge nothingness, a silent space filled with the hesitations. When Beckett’s characters yearn for stillness, they cannot help moving; be it a little or a lot, they move. In this essentially theatrical work, the point, for us, was less to develop words and speech than the blown-up form of movement, thus seeking the meeting point between movement applied to theatre on the one hand and dance and choreographic language on the other.
谢谢谢谢
《谢谢谢谢》是一封写给观众的情书。因为，没有观众，就没有剧场。你正在读这段文字——也许正准备购票（又或你已经买了！），不久之后，你将与一群陌生人共处一个空间一小时，不知道接下来会发生什么——对我们来说，这本身就充满希望，值得被庆祝。舞台上：我们。观众席上：你们。我们会彼此观看。看自己，也看对方——作为一个集体。我们会交换角色。也许你会看到自己，作为观众，也可能，成为某个角色。没有你，演出便无法成立。所以，谢谢你在这里。在影像与视角的游戏中，《谢谢谢谢》不断打破你的观感平衡。但请放心——你不需要做任何事。因为OG剧团在过去 20 多年里，一直在为那些其实并不喜欢“互动剧场”的观众创作互动剧场。我们会考虑你的期待——在演出开始之前，也在演出结束之后。我们保证。
Thanks for Being Here is an ode to the audience. Because without an audience, there is no theatre. The fact that you are now reading this text, perhaps buying a ticket (or already have!), and will soon spend an hour in a room full of strangers, not knowing what’s to come – we find that deeply hopeful. And that is worth celebrating. On stage: us. In the audience: you. We will watch. Ourselves, but especially each other, as a group. We’ll switch roles. Maybe you’ll see yourself as part of the audience or even as a character. Without you, there would be no performance. So thank you for being here. In a game of video and perspective, Thanks for Being Here constantly puts you off balance. But don’t worry — you don’t have to do anything. Ontroerend Goed has been creating interactive theatre for over 20 years for people who don’t particularly like interactive theatre. And we’ll take your expectations into account. Both before and after. Promise.
Thanks for Being Here is an ode to the audience. Because without an audience, there is no theatre. The fact that you are now reading this text, perhaps buying a ticket (or already have!), and will soon spend an hour in a room full of strangers, not knowing what’s to come – we find that deeply hopeful. And that is worth celebrating. On stage: us. In the audience: you. We will watch. Ourselves, but especially each other, as a group. We’ll switch roles. Maybe you’ll see yourself as part of the audience or even as a character. Without you, there would be no performance. So thank you for being here. In a game of video and perspective, Thanks for Being Here constantly puts you off balance. But don’t worry — you don’t have to do anything. Ontroerend Goed has been creating interactive theatre for over 20 years for people who don’t particularly like interactive theatre. And we’ll take your expectations into account. Both before and after. Promise.
曾经曾经
《曾经曾经》的灵感来自理查德·麦奎尔荣获奖项的图像小说《这里》。故事发生在一个固定的地点——20平方米的客厅空间内，但时间尺度却宏大无比：它深入远古（公元前8000万年），也投射至遥远未来（公元70亿年）。来自不同时代的人物在这个空间中共处、交织，构成一连串时空错置的场景：鸡尾酒会、争吵的情侣、盖革计数器、火灾、洪水、告别与重逢。褶皱剧团运用富有表现力的肢体动作、魔幻视觉、偶戏以及震撼人心的视听语言，试图打造一个“生动的时间胶囊”——封存此刻，也唤起它之前的全部累积，并大胆想象人类将驶向何方。在时间洪流面前，我们的存在有何意义？又或许——我们的渺小，才是唯一确定的答案。
DÉJÀ is inspired by the award-winning graphic novel “Here” by Richard McGuire. It takes place in a single location, 20 square meters of a living room, but on a massive timeframe – reaching deep into the past (80 006 032 BCE) and projecting into the future (7 billion CE). Multiple characters from different times coexist and interact in this space, and create an accumulation of cocktail parties, arguing couples, geiger counters, a fire, flooding, arrivals and farewells. Through expressive movement, magical illusion, puppetry, and striking imagery, the Krumple seeks to create a living time capsule of the current moment, everything that has led up to it, and a project of where humanity might be going. It questions our significance, or rather, our insignificance, faced with the passing of time.
DÉJÀ is inspired by the award-winning graphic novel “Here” by Richard McGuire. It takes place in a single location, 20 square meters of a living room, but on a massive timeframe – reaching deep into the past (80 006 032 BCE) and projecting into the future (7 billion CE). Multiple characters from different times coexist and interact in this space, and create an accumulation of cocktail parties, arguing couples, geiger counters, a fire, flooding, arrivals and farewells. Through expressive movement, magical illusion, puppetry, and striking imagery, the Krumple seeks to create a living time capsule of the current moment, everything that has led up to it, and a project of where humanity might be going. It questions our significance, or rather, our insignificance, faced with the passing of time.
头脑中的魔怪
《头脑中的魔怪》是一部深入探索童年深渊式想象力的作品，通过视觉艺术与编舞表达，将这份想象力具象化、丰富化。三位舞者隐藏在舞台布景之后，仿佛无视重力的束缚，时而露出一只手臂、一条腿，甚至是一只宛如兽爪、羽翼或触角的手。他们的身体与投影屏幕上绘制的“魔怪”图像拼接在一起，直到他们走出画框，登上舞台，让这些奇异生物获得完整的生命。这是一则为儿童打造的舞台故事，在幻象、梦魇与幽默之间穿梭，利用视觉错觉制造混乱与乐趣，引导观众参与一场前所未有的舞台游戏。
Des Chimères dans la tête offers a profound exploration of childhood’s abyssal imagination, highlighted and enriched through visual arts and choreographic expression. Three dancers, hidden behind the set, defy gravity to sometimes reveal an arm, a leg, and maybe a hand reminiscent of paws, wings, and antennae! They complete the bodies of the chimaeras drawn on the screen until they step out of the frame and dance on the stage to give full and complete life to these strange creatures. This children’s story alternates between phantasmagorias, nightmares, and dashes of humour, stirring up trouble and finding amusement in optical illusions, introducing a never-before-seen game with the audience.
Des Chimères dans la tête offers a profound exploration of childhood’s abyssal imagination, highlighted and enriched through visual arts and choreographic expression. Three dancers, hidden behind the set, defy gravity to sometimes reveal an arm, a leg, and maybe a hand reminiscent of paws, wings, and antennae! They complete the bodies of the chimaeras drawn on the screen until they step out of the frame and dance on the stage to give full and complete life to these strange creatures. This children’s story alternates between phantasmagorias, nightmares, and dashes of humour, stirring up trouble and finding amusement in optical illusions, introducing a never-before-seen game with the audience.
买单
两位表演者，一幕场景——或许是他们的武器，也可能是他们的囚笼：一位顾客向服务员点了一杯饮料。然后，一切开始失控。这段情节一遍又一遍地上演，逐渐脱离轨道。是噩梦般的螺旋下坠，还是一出荒谬的闹剧？角色不断互换，谁在服务？谁被服务？《买单》由英国著名实验剧团强迫娱乐艺术总监提姆·艾奇尔斯执导，并与极具才华的表演二人组伯特与纳西共同创作。用最简单的素材，构建起一场层层翻转、笑料频出的精妙表演。他们不仅在舞台机制中游戏，也揭示权力关系的荒谬本质——而最终，总得有人来“买单”。
Two performers armed with (or trapped in) a single scene – a customer orders a drink from a waiter. And then things go awry. Played again and again, the scene starts spinning out of control. Nightmarish spiral or grotesque farce? Roles flip back and forth. Who's serving and who's being served? Directed by Forced Entertainment artistic director Tim Etchells and created with the brilliant performance duo Bert and Nasi, L’Addition orchestrates a complex, hilarious and explosive performance from simple materials. Together, the three of them play with the mechanisms of theatre as much as with power relationships — but in the end, someone has to pay the bill.
Two performers armed with (or trapped in) a single scene – a customer orders a drink from a waiter. And then things go awry. Played again and again, the scene starts spinning out of control. Nightmarish spiral or grotesque farce? Roles flip back and forth. Who's serving and who's being served? Directed by Forced Entertainment artistic director Tim Etchells and created with the brilliant performance duo Bert and Nasi, L’Addition orchestrates a complex, hilarious and explosive performance from simple materials. Together, the three of them play with the mechanisms of theatre as much as with power relationships — but in the end, someone has to pay the bill.
罗密欧与朱丽叶在鸡毛之地
这是一部反乌托邦的音乐喜剧，以室内音乐剧形式呈现，故事发生在一家折扣店内。故事设定在2137年——波兰终于被两家大型连锁商店彻底整顿完毕：Blibla 与 Stonka 各占全国一半，泾渭分明。卡西亚与托梅克是这两家竞争商店中疲惫不堪的员工，在货架之间，他们意外发现了一部被遗忘的文本——威廉·莎士比亚的作品，从而彻底改变了他们的命运……然而，在成堆的商品与货架之间，是否还容得下真正的情感？
Dystopian comedy-drama in the form of chamber musical located in a discount store. In 2137, Poland has finally been put in order by two large-scale stores – Blibla and Stonka- and the country is divided perfectly in half. Kasia and Tomek, exhausted employees of competitive stores, accidentally discover a forgotten text by William Shakespeare between the shelves, which changes their lives forever. But will there be room for true feelings between the shelves?
Dystopian comedy-drama in the form of chamber musical located in a discount store. In 2137, Poland has finally been put in order by two large-scale stores – Blibla and Stonka- and the country is divided perfectly in half. Kasia and Tomek, exhausted employees of competitive stores, accidentally discover a forgotten text by William Shakespeare between the shelves, which changes their lives forever. But will there be room for true feelings between the shelves?
奥德赛眼睛
我们总是听说，奥德赛的故事是一段英雄归乡的光荣旅程。但如果那位“英雄”归来时，带着创伤后应激障碍与二十年漂泊的疲惫，他所回到的，还能算是“故乡”吗？而那些在伊塔卡等待他归来的人们，又是如何看待这场迟来的回归？舞者、编舞及导演约阿希姆·施洛默与维也纳TAG剧团跨越学科边界，共同追问这些问题。在《奥得赛眼睛》中，他选取并重构了《奥德赛》原著中第十六卷至第二十四卷的片段，结合其他文本材料，交织出一套全新的叙事结构与阐释路径。作品的核心意图，是从“创伤归来者”的角度，聚焦战争带来的精神后遗症。如果在神话中也存在创伤后应激障碍，那么那些神祇的复仇是否也能被理解为一种心灵创伤的表达？也许，这两者本质上并无二致。
The Odyssey is always told as a hero's glorious journey. But what happens when the hero finally returns home—after 20 years and with post-traumatic stress disorder in his luggage? What kind of homeland is that? And how do the people who have waited for Odysseus all these years feel about this return? Dancer, choreographer, and director Joachim Schloemer and the TAG ensemble search for answers across disciplines. The fragmented and slightly altered version of songs 16 to 24 of the Odyssey form the textual basis of the evening. This version is interwoven with texts from other sources, thus creating a new interpretation. The goal is to focus on the topic of war from the perspective of traumatized returnees. Does post-traumatic stress disorder exist in mythology? There is definitely the vengeance of the goddesses and gods. Perhaps they are one and the same?
The Odyssey is always told as a hero's glorious journey. But what happens when the hero finally returns home—after 20 years and with post-traumatic stress disorder in his luggage? What kind of homeland is that? And how do the people who have waited for Odysseus all these years feel about this return? Dancer, choreographer, and director Joachim Schloemer and the TAG ensemble search for answers across disciplines. The fragmented and slightly altered version of songs 16 to 24 of the Odyssey form the textual basis of the evening. This version is interwoven with texts from other sources, thus creating a new interpretation. The goal is to focus on the topic of war from the perspective of traumatized returnees. Does post-traumatic stress disorder exist in mythology? There is definitely the vengeance of the goddesses and gods. Perhaps they are one and the same?
如果这是结局
《如果这是结局》是一部既动人又幽默的作品，讲述我们正在面临的气候灾难。在这部作品中，伯特与纳西一边跳舞，一边走向彼此关系的终点，想象一个没有对方的未来。在舞台上方的大屏幕上，两个平行的叙事同时展开：一个是地球的终结，一个是他们伙伴关系的终结。他们的舞蹈既是对生命终将结束的提醒，也是对有限存在的庆典。伯特与纳西延续他们一贯极简、直白、屡获奖项的创作风格，介于剧场、舞蹈与现场艺术之间。他们的作品总是风趣、富有游戏感，有时也不乏残酷，以直接而情绪化的方式回应当下世界。
The End is a poignant and funny account of the ongoing climate catastrophe. In this new show, Bert and Nasi dance to the end of their relationship, imagining what a future without each other might look like. Above the stage and projected onto a screen, two parallel narratives run alongside each other: the end of the Earth and the end of their partnership. Their dance is a reminder and a celebration of our own mortality and that of everything around us. Bert & Nasi’s stripped-back, award-winning style sits somewhere between theatre, dance and live art. Their funny, playful, sometimes brutal performances are direct and emotional responses to the world we’re living in right now.
The End is a poignant and funny account of the ongoing climate catastrophe. In this new show, Bert and Nasi dance to the end of their relationship, imagining what a future without each other might look like. Above the stage and projected onto a screen, two parallel narratives run alongside each other: the end of the Earth and the end of their partnership. Their dance is a reminder and a celebration of our own mortality and that of everything around us. Bert & Nasi’s stripped-back, award-winning style sits somewhere between theatre, dance and live art. Their funny, playful, sometimes brutal performances are direct and emotional responses to the world we’re living in right now.
天生机器人
《天生机器人》是一场具有哲学思辨，又动人心魄的歌剧表演。艺术家、演员兼作曲家安娜琳德·布鲁伊斯与艺术家兼演员雅尼克·努曼化身为两个人形机器人。在长达一小时的电子乐章中，他们以幽默又富含哲思的方式探讨了当代人类存在的意义。《天生机器人》由两位“机器人”演绎，却在歌唱着人类的生命！荷兰90年代剧团以一种“西西弗式”的反讽，审视着人类企图定义自身本质的种种徒劳努力，并以音乐的形式礼赞挣扎中的人类——那些总是想要成为某种东西、甚至只是想要成为自己的芸芸众生。在演出中，两位“机器人”一边认真地试图回答人类的本质为何，一边在舞台的沙地上精心地梳理着图案。这些探索与沉思，共同构成了这部富含哲思的歌剧台本。
Artificial By Nature is a moving philosophical opera performance. Annelinde Bruijs (artist, actor and composer) and Yannick Noomen (artist and actor) take on the role of two humanoid robots. In an hour-long electronic composition, they speculate, with a good dose of humor and philosophy, about being human in the present times. In Artificial By Nature, human life is sung about by two robots nevertheless! Nineties sees a certain 'Sisyphical' irony in our artificial attempts to define our nature and makes a musical ode to the struggling human being, always trying to become something—itself in the best case. In this performance, the two robots literally give shape to the world around them, raking patterns in the sand while trying to answer the nature of humankind, which forms the libretto of this elementary philosophical opera.
Artificial By Nature is a moving philosophical opera performance. Annelinde Bruijs (artist, actor and composer) and Yannick Noomen (artist and actor) take on the role of two humanoid robots. In an hour-long electronic composition, they speculate, with a good dose of humor and philosophy, about being human in the present times. In Artificial By Nature, human life is sung about by two robots nevertheless! Nineties sees a certain 'Sisyphical' irony in our artificial attempts to define our nature and makes a musical ode to the struggling human being, always trying to become something—itself in the best case. In this performance, the two robots literally give shape to the world around them, raking patterns in the sand while trying to answer the nature of humankind, which forms the libretto of this elementary philosophical opera.
出水芙蓉
《出水芙蓉》这一项目灵感源自安东尼奥·卡诺瓦于1812至1817年间创作的雕塑作品《三美神》。作品取材自希腊神话——宙斯的三位女儿：欢乐女神欧佛洛绪涅、光辉女神阿格莱亚与繁荣女神塔利亚，她们象征着光辉、喜悦与丰饶。舞台上，三位男性舞者置身于一个游离于现实与抽象之间的时空中：在这个空间中，阴性与阳性不再是角色设定，而是在自然节奏中共舞的状态。三位男舞者与创作者西尔维娅·格里鲍迪共同登台。她喜欢将自己称作“身体的作者”，因为她的美学主张是：将不完美升华为艺术，其风格直接、尖锐又富有共情，以一种不设边界的幽默语言在舞蹈、戏剧与表演艺术之间自由穿行。
GRACES is a project inspired by The Three Graces, a sculpture created by Antonio Canova between 1812 and 1817. The work draws from mythology: Zeus’ three daughters - Euphrosyne, Aglaea and Thalia – radiated splendour, joy and prosperity. Three male figures take the stage in a space and time suspended between the human and the abstract: a place where male and female meet without roles and dance to the rhythm of nature itself. On stage, there are three male performers together with the author Silvia Gribaudi, who likes to define herself as ‘author of the body’ because her poetics elevates imperfections to an art form with a direct, cruel and empathetic comic style without any boundaries among dance, theater and performing arts.
GRACES is a project inspired by The Three Graces, a sculpture created by Antonio Canova between 1812 and 1817. The work draws from mythology: Zeus’ three daughters - Euphrosyne, Aglaea and Thalia – radiated splendour, joy and prosperity. Three male figures take the stage in a space and time suspended between the human and the abstract: a place where male and female meet without roles and dance to the rhythm of nature itself. On stage, there are three male performers together with the author Silvia Gribaudi, who likes to define herself as ‘author of the body’ because her poetics elevates imperfections to an art form with a direct, cruel and empathetic comic style without any boundaries among dance, theater and performing arts.
荒唐人
编舞安东·拉契克邀请八位舞者踏上一场动荡炽烈的超现实之旅。舞者的身体化作无限可能，彼此交织、延展、生长，角色在瞬息之间乍然显现。那些难以抗拒的热忱与碰撞交错的故事，难以被轻易概括，也无法拼凑成一个明确而完整的意义。舞蹈挣脱了时间与空间的限制，迸发出一股骤然爆发的力量，肆意而狂野。在这种激烈而蓬勃的能量之中，凝聚出动人心魄、引人入胜、极富感染力的舞蹈瞬间。
In ABSURDE, Anton Lachky invites eight dancers to wander along tumultuous, blazing paths of surrealism. Converted to boundless opportunities, the bodies interweave, proliferate and open out. Characters suddenly appear, influenced by irresistible enthusiasm and clashing indefinable stories that are impossible to reduce into an intelligible and resolute whole. The dance, freed from being confined by the moment, presents a sudden surge of power and a variety of exploits. Out of this furious and wild energy emerge engrossing, fascinating and incredibly intense choreographic moments.
In ABSURDE, Anton Lachky invites eight dancers to wander along tumultuous, blazing paths of surrealism. Converted to boundless opportunities, the bodies interweave, proliferate and open out. Characters suddenly appear, influenced by irresistible enthusiasm and clashing indefinable stories that are impossible to reduce into an intelligible and resolute whole. The dance, freed from being confined by the moment, presents a sudden surge of power and a variety of exploits. Out of this furious and wild energy emerge engrossing, fascinating and incredibly intense choreographic moments.
特邀剧目2025
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
自我之歌
在这场对沃尔特·惠特曼的诗歌《自我之歌》的戏剧朗读中，三位演员在更广泛的结构背景下探讨自我的本质：从城镇、州郡、国家、世界至自然本身。惠特曼的诗歌将自我视为一种累积性的存在，涵盖人类的所有体验，三名朗读者将在朗读过程中扮演多个角色，最终打破个人主义与集体意识之间人为划分的界限。
This staged reading of WHITMAN’s “Song of Myself” employs three voices to map the contours of identity across expanding spheres: from town and state to nation, world, and the very fabric of nature. WHITMAN’s poetry conceives the self as an accumulating entity, a vessel brimming with all human experience. Through protean performance, the trio will blur the false dichotomy of individualism versus collective consciousness.
This staged reading of WHITMAN’s “Song of Myself” employs three voices to map the contours of identity across expanding spheres: from town and state to nation, world, and the very fabric of nature. WHITMAN’s poetry conceives the self as an accumulating entity, a vessel brimming with all human experience. Through protean performance, the trio will blur the false dichotomy of individualism versus collective consciousness.
波普利克溪栈桥
《波普利克栈桥》中构建了大萧条时代的迷茫。Pace与Delton的故事穿过铁轨状的结构，探索了时代与个体生命的关系及青春期成长的幽微历程。自我的危机，性的启蒙，与社会的僵化……青春期所有的迷茫和残忍都凝缩在一个小小的、与火车赛跑的游戏中。
Trestle at Pope Lick Creek constructs the existential haze of the Great Depression. Through the railroad-track-like narrative structure of Pace and Dalton’s story, the play examines the collision between historical currents and individual lives, while mapping the delicate terrain of adolescent awakening. Identity crises, sexual awakening and societal rigidity—all the confusion and cruelty of adolescence crystallize in this simple game of racing trains.
Trestle at Pope Lick Creek constructs the existential haze of the Great Depression. Through the railroad-track-like narrative structure of Pace and Dalton’s story, the play examines the collision between historical currents and individual lives, while mapping the delicate terrain of adolescent awakening. Identity crises, sexual awakening and societal rigidity—all the confusion and cruelty of adolescence crystallize in this simple game of racing trains.
狂人变形记
本剧由孟京辉与加州大学洛杉矶分校（UCLA）戏剧艺术系172号课程学生共同创作并执导，是一部受卡夫卡《变形记》与鲁迅《狂人日记》启发的实验性表演作品。在这场东西方经典文本的融汇中，一名男子醒来后发现了村庄的阴暗秘密，并开始质疑自己的理智，另一名男子醒来后则变成了巨型昆虫，开始追问“怪物”的真正含义。延续孟京辉在课程“文本与导演间的危险地带”中开创的方法，本剧叩问我们为何排斥、又排斥何物。
Originally directed and devised by Meng Jinghui with students at the University of California, Los Angeles (UCLA), Metamorphosis of a Madman is an experimental performance-in-progress inspired by Franz Kafka’s "Metamorphosis" and Lu Xun’s "Diary of a Madman." In this meeting of classic texts from the East and West, one man awakens to the sinister secret of his village and questions his sanity, while another man wakes up as a giant bug and begins to question what it really means to be a monster. Continuing with the methods of Jinghui's, "Dangerous Direction" style, this show questions what we reject and why.
Originally directed and devised by Meng Jinghui with students at the University of California, Los Angeles (UCLA), Metamorphosis of a Madman is an experimental performance-in-progress inspired by Franz Kafka’s "Metamorphosis" and Lu Xun’s "Diary of a Madman." In this meeting of classic texts from the East and West, one man awakens to the sinister secret of his village and questions his sanity, while another man wakes up as a giant bug and begins to question what it really means to be a monster. Continuing with the methods of Jinghui's, "Dangerous Direction" style, this show questions what we reject and why.
一句顶一万句
演出源于刘震云老师的 《一句顶一万句》之出盐津记，老杨如何变成老杨。
希望引发观众对我们如何对待命运的思考。
在表演风格、空间运用或创新叙事技巧上，用传统说书的听觉与电影镜头的视觉相结合，做一场观众参与的故事会。
The performance is inspired by Mr. LIU Zhenyun's One Sentence Is Ten Thousand Sentences, specifically the story "Leaving Yanjin." It explores how Lao Yang became Lao Yang.
We hope to spark the audience’s reflection on how we face our own destinies.
In terms of performance style, spatial design, and innovative storytelling, the piece combines the the auditory aesthetics of traditional storytelling and the visual language of cinema, creating a story gathering that invites the audience to participate.
希望引发观众对我们如何对待命运的思考。
在表演风格、空间运用或创新叙事技巧上，用传统说书的听觉与电影镜头的视觉相结合，做一场观众参与的故事会。
The performance is inspired by Mr. LIU Zhenyun's One Sentence Is Ten Thousand Sentences, specifically the story "Leaving Yanjin." It explores how Lao Yang became Lao Yang.
We hope to spark the audience’s reflection on how we face our own destinies.
In terms of performance style, spatial design, and innovative storytelling, the piece combines the the auditory aesthetics of traditional storytelling and the visual language of cinema, creating a story gathering that invites the audience to participate.
疯花梦醉星期天
话剧《疯花梦醉星期天》是一部美国经典喜剧，改编自美国著名剧作家田纳西·威廉斯的作品。《疯花梦醉星期天》不仅是田纳西·威廉斯对美国南方社会的深刻反思，也是他对女性命运和人性的细腻探讨。这部作品以喜剧的形式呈现了小人物的酸甜 苦辣，展现了威廉斯对社会底层人物的同情和对传统南方文化的怀念。该剧以幽默诙谐的风格讲述了在一个星期天的早晨，发生在贫困寒酸公寓里的四个下层社会女人之间的故事。
The stage play A Lovely Sunday for Creve Coeur is a classic American comedy, adapted from the work of renowned playwright Tennessee Williams. This play is not only a profound reflection by Williams on Southern American society, but also a delicate exploration of women's fates and the complexities of human nature.
Presented in a comedic form, the play captures the bittersweet struggles of ordinary people, expressing Williams' compassion for those at the margins of society and his nostalgia for traditional Southern culture. Set in a poor and shabby apartment, the play tells the story of four lower-class women on a Sunday morning with a humorous and lighthearted tone.
The stage play A Lovely Sunday for Creve Coeur is a classic American comedy, adapted from the work of renowned playwright Tennessee Williams. This play is not only a profound reflection by Williams on Southern American society, but also a delicate exploration of women's fates and the complexities of human nature.
Presented in a comedic form, the play captures the bittersweet struggles of ordinary people, expressing Williams' compassion for those at the margins of society and his nostalgia for traditional Southern culture. Set in a poor and shabby apartment, the play tells the story of four lower-class women on a Sunday morning with a humorous and lighthearted tone.
椭圆形的椅子
在一座孤岛上，一对年迈的夫妻计划举办一场聚会。老夫妇不断搬来椅子迎接这些“隐形客人”。老夫妇自杀，留下哑巴演说家面对空荡荡的椅子。青年男女，在椅子上坐下。他们讨论，然后相爱。他们在自己的幻想里驰骋，上班的钟声将他们打回现实。
On a remote island, an elderly couple prepares for a gathering, hauling in chair after chair to welcome "invisible guests." In the end, they leap to their deaths, leaving a mute orator alone among the empty seats. Then, a young man and woman sit down. They talk, and fall in love. Within their shared fantasy, they roam freely—until the workday bell brings them back to reality.
On a remote island, an elderly couple prepares for a gathering, hauling in chair after chair to welcome "invisible guests." In the end, they leap to their deaths, leaving a mute orator alone among the empty seats. Then, a young man and woman sit down. They talk, and fall in love. Within their shared fantasy, they roam freely—until the workday bell brings them back to reality.
白夜
一个幻想家，一个爱哭泣的女孩，两个灵魂在极昼微光中絮语。这四个夜晚，是逃避现实的囚牢，也是滋养灵魂的甘露。一分钟是永恒吗？一分钟就是永恒。
A dreamer. A girl who cries easily. Two souls whisper through the pale glow of the midnight sun. These four nights—both prison and grace—are their shelter from the world. Can a minute be eternal? It is.
A dreamer. A girl who cries easily. Two souls whisper through the pale glow of the midnight sun. These four nights—both prison and grace—are their shelter from the world. Can a minute be eternal? It is.
细节
一位出版社编辑总监，一位急诊科医生，一位自由职业译者，一位记者兼剧作家。一段跨越十年的凡人俗事。
瑞典当代最著名剧作家拉尔斯·努连（Lars Norén)以洞若观火的视角和细腻锋利的笔触，用碎片式场景呈现一幅北欧生活镜像。
A publishing editor-in-chief, an ER doctor, a freelance translator, a journalist-playwright—four lives woven through a decade of quiet, ordinary time.
Lars NORÉN, Sweden’s most celebrated contemporary playwright, offers a sharp, unflinching Nordic mirror through fragmentary scenes and subtle observation.
瑞典当代最著名剧作家拉尔斯·努连（Lars Norén)以洞若观火的视角和细腻锋利的笔触，用碎片式场景呈现一幅北欧生活镜像。
A publishing editor-in-chief, an ER doctor, a freelance translator, a journalist-playwright—four lives woven through a decade of quiet, ordinary time.
Lars NORÉN, Sweden’s most celebrated contemporary playwright, offers a sharp, unflinching Nordic mirror through fragmentary scenes and subtle observation.
送菜升降机
两名职业杀手班和格斯在一间狭小的地下室里等待新的杀人任务。送菜升降机突然开始传递荒谬的菜品要求，在这个过程中，两人的不满情绪不断积累，冲突也逐渐升级。最终，送菜升降机发来针对格斯本人的杀人指令……
引发的思考：通过对日常生活场景的解构，探讨存在在等待中被虚无填满的荒谬感。我们的人生是否也处在地下室里，等待一个永远不明确的答案？
In a cramped basement, two professional killers—Ben and Gus—await their next assignment. Suddenly, a dumbwaiter begins sending down absurd food orders. As the tension builds, frustration and confusion rise between the two. Then comes the final message: a hit order on Gus himself.
The play deconstructs the ordinary to explore the absurdity of existence—how waiting fills our lives with void. Are we, too, stuck in a basement, waiting for an answer that never arrives?
引发的思考：通过对日常生活场景的解构，探讨存在在等待中被虚无填满的荒谬感。我们的人生是否也处在地下室里，等待一个永远不明确的答案？
In a cramped basement, two professional killers—Ben and Gus—await their next assignment. Suddenly, a dumbwaiter begins sending down absurd food orders. As the tension builds, frustration and confusion rise between the two. Then comes the final message: a hit order on Gus himself.
The play deconstructs the ordinary to explore the absurdity of existence—how waiting fills our lives with void. Are we, too, stuck in a basement, waiting for an answer that never arrives?
蔚蓝天空下
《蔚蓝天空下》是一部明快且感性的爱情三部曲，由三个微妙关联的部分组成，三对教师大胆而坦诚地探讨了爱情与情欲，编剧埃尔德里奇通过这部剧，思考着单恋、迷恋、性，甚至幸福的真谛。
Under a Blue Sky is a bright yet tender triptych about love, desire, and longing. Through three loosely connected acts, three pairs of teachers confront the raw truths of affection and attraction. Eldridge reflects on unrequited love, obsession, sex—and the elusive shape of happiness.
Under a Blue Sky is a bright yet tender triptych about love, desire, and longing. Through three loosely connected acts, three pairs of teachers confront the raw truths of affection and attraction. Eldridge reflects on unrequited love, obsession, sex—and the elusive shape of happiness.
潜水者
一场横跨十三年的家族悲剧，随着案件浮出水面，母女三人在原生家庭暴力与罪恶中挣扎求生，却终因血缘羁绊走向殊途同归的救赎，剧本以“潜水者”为隐喻，探讨“成长的本质是否是人性的自我救赎”！
A family tragedy unfolds over thirteen years. As the truth surfaces, a mother and two daughters struggle to survive domestic violence and buried crimes. Bound by blood, they diverge, yet arrive at a shared redemption. Using the “diver” as metaphor, the play asks: is growing up, at its core, a journey of self-salvation?
A family tragedy unfolds over thirteen years. As the truth surfaces, a mother and two daughters struggle to survive domestic violence and buried crimes. Bound by blood, they diverge, yet arrive at a shared redemption. Using the “diver” as metaphor, the play asks: is growing up, at its core, a journey of self-salvation?
天堂游戏
欧洲的夜色，永不停歇的车轮，碾碎的时空边界。如今，环游世界的永远是商品， 奔向意大利的中国工人与陌生人的命运在流动牢笼里发芽，与来自不同世纪的幽灵缠绕生长，直到现实与噩梦在车窗上融成同一片雾气。
Night in Europe. Endless wheels in motion. Crushed borders of time and space. These days, it is always commodities that travel the world. The fate of Chinese migrant workers heading to Italy begins to take root in a moving cage, entangled with ghosts from different centuries—until reality and nightmare merge into a single mist upon the train window.
Night in Europe. Endless wheels in motion. Crushed borders of time and space. These days, it is always commodities that travel the world. The fate of Chinese migrant workers heading to Italy begins to take root in a moving cage, entangled with ghosts from different centuries—until reality and nightmare merge into a single mist upon the train window.
女足英豪
这是一段被忽视的历史。1968年，当法国兰斯报社记者策划赛前娱乐活动时，他绝不会想到：一则猎奇的女足招募广告，竟炸出了法国足球史上最勇猛的女子足球队。她们踏上绿茵场，这群被认为即将娱乐大众的女生们，用现场的球技暴击了所有人的偏见——她们带球如飒沓流星，战术如精密机器，她们在男权社会的嘘声中开拓出属于自己的王朝。从地方俱乐部到国家足球队，11个叛逆灵魂将一场媒体闹剧踢成了载入史册的绿茵革命。
而今天，我们将共同回溯这段往事。
This is a history long overlooked. In 1968, a journalist from the Reims newspaper sought a light-hearted pre-match sideshow—and published a quirky ad recruiting women footballers. What he got instead was the fiercest women’s team in French football history.
They took the field not to entertain, but to dominate: fast, tactical, relentless. Amid the jeers of a male-dominated world, they built a legacy of their own. From a small-town club to the national team, 11 rebellious spirits turned a media stunt into a football revolution.
Today, we revisit the pitch where it all began.
而今天，我们将共同回溯这段往事。
This is a history long overlooked. In 1968, a journalist from the Reims newspaper sought a light-hearted pre-match sideshow—and published a quirky ad recruiting women footballers. What he got instead was the fiercest women’s team in French football history.
They took the field not to entertain, but to dominate: fast, tactical, relentless. Amid the jeers of a male-dominated world, they built a legacy of their own. From a small-town club to the national team, 11 rebellious spirits turned a media stunt into a football revolution.
Today, we revisit the pitch where it all began.
艾菲尔铁塔上的新郎新娘
"艾菲尔铁塔上的新郎新娘"是法国剧作家让·科克托的戏剧作品，描绘了一场在艾菲尔铁塔上举行的不寻常的婚礼。作者用戏剧本身的"戏剧诗意"将星期天的空虚、童年的残忍以及日常生活的诗意与奇迹，展现在观众眼前。在这部剧中，观众无法看到完整的故事情节，而是一个又一个荒唐的、碎片化的、犹如梦境的片段，正是这种无法用常规叙事逻辑去辨认的画面，构成了作品本身的诗意与浪漫。
The Eiffel Tower Wedding Party is a surrealist play by French playwright Jean Cocteau, set during an unusual wedding atop the Eiffel Tower. Through a “poetic drama” style, Cocteau transforms Sunday boredom, childhood cruelty, and the wonders of the everyday into absurd, dreamlike fragments. There is no coherent plot—only a series of whimsical, illogical images that resist conventional narrative. It is this irrational flow that becomes the essence of the play’s poetry and romance.
The Eiffel Tower Wedding Party is a surrealist play by French playwright Jean Cocteau, set during an unusual wedding atop the Eiffel Tower. Through a “poetic drama” style, Cocteau transforms Sunday boredom, childhood cruelty, and the wonders of the everyday into absurd, dreamlike fragments. There is no coherent plot—only a series of whimsical, illogical images that resist conventional narrative. It is this irrational flow that becomes the essence of the play’s poetry and romance.
我们之间挺好的
在波兰华沙狭小的空间生活着三个互相不理解的女人，以及一个胖的畸形的女邻居，她们被封闭在一个狭小的空间中，喋喋不休，多少日常对话只是维系关系的空壳，当语言变成没有人听懂也没有人会说的外语，我们自身是否有感知？我们自身是否会厌弃自己？
In a cramped Warsaw apartment, three women live together in mutual misunderstanding, along with a grotesquely overweight neighbor. Trapped in close quarters, they chatter endlessly—daily conversations reduced to hollow rituals. As language becomes an incomprehensible foreign tongue, we’re left to ask: do we still sense ourselves? And if we do—can we bear it?
In a cramped Warsaw apartment, three women live together in mutual misunderstanding, along with a grotesquely overweight neighbor. Trapped in close quarters, they chatter endlessly—daily conversations reduced to hollow rituals. As language becomes an incomprehensible foreign tongue, we’re left to ask: do we still sense ourselves? And if we do—can we bear it?
禁闭
《禁闭》 是法国作家让-保罗·萨特于1945年创作的戏剧。作为萨特最具代表性的哲理剧，其深刻含义和深远影响已经远远超出了戏剧范畴，萨特通过《禁闭》一作探讨人与他人的关系问题，以戏剧的形式重申了他的存在主义观点。
剧情主要描述了三个死后被投入地狱的罪人，邮政局小职员伊内丝，巴黎贵妇艾丝黛尔，报社编辑加尔森在地狱相遇，三人间形成了一面相互追逐，另一面相互排斥的双向型三角关系。
Written in 1945, No Exit is a landmark philosophical play by Jean-Paul Sartre. It explores the human condition through the lens of existentialism, examining our entanglement with others.
The story follows three damned souls—postal clerk Inès, Parisian socialite Estelle, and journalist Garcin—locked in a room in hell. Between attraction and repulsion, they form a triangular web of need and rejection, becoming both each other's tormentors and mirrors.
剧情主要描述了三个死后被投入地狱的罪人，邮政局小职员伊内丝，巴黎贵妇艾丝黛尔，报社编辑加尔森在地狱相遇，三人间形成了一面相互追逐，另一面相互排斥的双向型三角关系。
Written in 1945, No Exit is a landmark philosophical play by Jean-Paul Sartre. It explores the human condition through the lens of existentialism, examining our entanglement with others.
The story follows three damned souls—postal clerk Inès, Parisian socialite Estelle, and journalist Garcin—locked in a room in hell. Between attraction and repulsion, they form a triangular web of need and rejection, becoming both each other's tormentors and mirrors.
渴求
《渴求》是一部结构独特的剧作，全剧没有具体的情节，而是通过界限模糊的四个角色的对话和独白，探讨了爱情、暴力、死亡和人性的多个层面。他们以平行交谈的方式展现了现代社会中人们内心的孤独和挣扎该剧被认为是萨拉·凯恩最成熟的作品之一。
Crave is a formally bold work with no linear plot, structured entirely through fractured monologues and dialogue among four indistinct voices. Through their parallel exchanges, the play delves into themes of love, violence, death, and human fragility—revealing the solitude and turmoil beneath modern life. Widely regarded as one of Kane’s most mature and poetic pieces.
Crave is a formally bold work with no linear plot, structured entirely through fractured monologues and dialogue among four indistinct voices. Through their parallel exchanges, the play delves into themes of love, violence, death, and human fragility—revealing the solitude and turmoil beneath modern life. Widely regarded as one of Kane’s most mature and poetic pieces.
我是风
《我是风》的场景设定在想象中的海上，讲述了两个人在海上的漂泊经历。剧中充满了诗意的对白和极简主义的 舞台呈现，展现了人物内心的孤独与对自由的渴望。
福瑟的作品以极简主义的语言风格著称，对白中充满了节奏感与音乐感。
剧中人物的性别被弱化，强调了个体在广阔世界中的孤独感和对自由的渴望。
I Am the Wind is set on an imagined sea, following two figures adrift on a journey. Through poetic dialogue and minimalist staging, the play explores deep loneliness and the longing for freedom.
Known for his spare, rhythmic language, Fosse dissolves gender and narrative certainty, offering instead a meditation on the vastness of the world and the individual’s place within it.
福瑟的作品以极简主义的语言风格著称，对白中充满了节奏感与音乐感。
剧中人物的性别被弱化，强调了个体在广阔世界中的孤独感和对自由的渴望。
I Am the Wind is set on an imagined sea, following two figures adrift on a journey. Through poetic dialogue and minimalist staging, the play explores deep loneliness and the longing for freedom.
Known for his spare, rhythmic language, Fosse dissolves gender and narrative certainty, offering instead a meditation on the vastness of the world and the individual’s place within it.
别出新裁
你是否怀疑过镜子里的自己？不是岁月静好吗，为何一地鸡毛？可能是一次冲动的顶撞，一句无心的玩笑，一次激烈的争吵，一次无奈的选择。于是成了自己不想要的样子。到底变好了，还是变坏了？这间写字楼里，没有答案。
Ever doubted the person in the mirror?
If life was supposed to be tranquil, why does it feel like chaos?
Maybe it was one impulsive retort, an offhand joke, a heated argument, or a choice made under pressure—suddenly, you've become someone you never meant to be.
Better or worse? This office has no answers.
Ever doubted the person in the mirror?
If life was supposed to be tranquil, why does it feel like chaos?
Maybe it was one impulsive retort, an offhand joke, a heated argument, or a choice made under pressure—suddenly, you've become someone you never meant to be.
Better or worse? This office has no answers.
大象沉默
五头大象逃出动物园，从而引发社会的一片哗然，饲养员成为头号嫌疑人，警察、医生、妈妈轮番登场，从各个角度对事件进行不同解读，试图找出饲养员放走大象的真实意图，最终饲养员因沟通无效选择变成大象，保持沉默。
Five elephants escape from the zoo, sparking public outcry. The zookeeper is named prime suspect. A chorus of figures—police, doctors, a mother—step in, each offering a different interpretation of the event, all trying to uncover the zookeeper’s true motive. Unable to make himself understood, the zookeeper chooses transformation: he becomes an elephant—and falls silent.
Five elephants escape from the zoo, sparking public outcry. The zookeeper is named prime suspect. A chorus of figures—police, doctors, a mother—step in, each offering a different interpretation of the event, all trying to uncover the zookeeper’s true motive. Unable to make himself understood, the zookeeper chooses transformation: he becomes an elephant—and falls silent.
老塞布鲁克镇
在由两对夫妻办的家庭聚会上，一对陌生访客的意外出现，打破了原本的和谐愉快。随着笔记本的打开，两对夫妻的婚外情浮出水面。当众人吵吵嚷嚷闹得不可开交，甚至要用猎枪解决问题时，一个更大的意外接踵而至……
At a cozy gathering hosted by two couples, an unexpected pair of strangers arrives, shattering the cheerful calm. A notebook is opened—and with it, the secrets of infidelity unravel. As arguments spiral and someone reaches for a hunting rifle, an even bigger twist is on the way...
At a cozy gathering hosted by two couples, an unexpected pair of strangers arrives, shattering the cheerful calm. A notebook is opened—and with it, the secrets of infidelity unravel. As arguments spiral and someone reaches for a hunting rifle, an even bigger twist is on the way...
她弥留之际
该剧讲述了一位风烛残年的母亲苏菲亚与终身未嫁的女儿塔尼娅相依为命的故事。母亲在弥留之际希望看到女儿拥有自己的家庭，于是“女婿”和“外孙女”意外出现，引发了一系列误会和闹剧。
该剧的创作背景可以追溯到俄罗斯当代社会中关于家庭、亲情和爱情的普遍情感诉求。普图什金娜通过这部作品细腻地描绘了“爱”的谎言，展现了亲情的温暖与人性的善良。
An aging mother, Sofia, and her unmarried daughter, Tanya, live quietly together. On her deathbed, Sofia longs to see her daughter start a family. Suddenly, a “son-in-law” and “granddaughter” appear—setting off a string of misunderstandings and farce.
Rooted in contemporary Russian society, this play explores the universal longings for love, family, and belonging. With delicate precision, Ptushkina portrays the lies we tell in the name of love and the warmth and kindness hidden within them.
该剧的创作背景可以追溯到俄罗斯当代社会中关于家庭、亲情和爱情的普遍情感诉求。普图什金娜通过这部作品细腻地描绘了“爱”的谎言，展现了亲情的温暖与人性的善良。
An aging mother, Sofia, and her unmarried daughter, Tanya, live quietly together. On her deathbed, Sofia longs to see her daughter start a family. Suddenly, a “son-in-law” and “granddaughter” appear—setting off a string of misunderstandings and farce.
Rooted in contemporary Russian society, this play explores the universal longings for love, family, and belonging. With delicate precision, Ptushkina portrays the lies we tell in the name of love and the warmth and kindness hidden within them.
地底妖精
《地底妖精》是日本剧作家市原佐都子创作的一部探讨关于自我探寻、身份认同与人性的戏剧作品。剧作家笔下的故事以一个怪奇陆离的世界观，荒诞却细腻的人物，敏感却真诚的对白围绕着主人公百合子展开，她是一个半人半妖精的混血儿，长期生活在地底世界。剧中通过百合子的自我追寻历程，揭示了她在身份认同中的挣扎与欲望的膨胀。百合子试图摆脱世俗的枷锁，直面内心的真实需求，这一过程既是对自我的深度剖析，也是对“社会规训与个体自由”矛盾的反思。
The Underground Fairy is a surreal and intimate play by Japanese playwright Ichihara Satoko, exploring identity, desire, and selfhood. At its center is Yuriko, a half-human, half-fairy who has lived her life beneath the surface. Through her journey of self-discovery, the play unravels themes of belonging and the inner tension between social expectation and personal freedom. With absurd yet nuanced characters and sensitive, sincere dialogue, the work offers a poetic meditation on transformation, repression, and the cost of being true to oneself.
The Underground Fairy is a surreal and intimate play by Japanese playwright Ichihara Satoko, exploring identity, desire, and selfhood. At its center is Yuriko, a half-human, half-fairy who has lived her life beneath the surface. Through her journey of self-discovery, the play unravels themes of belonging and the inner tension between social expectation and personal freedom. With absurd yet nuanced characters and sensitive, sincere dialogue, the work offers a poetic meditation on transformation, repression, and the cost of being true to oneself.
女士们的游戏
《女士们的游戏》中的三个女人都曾是平民姑娘，当赛尔的美国情人被自己的好友芙洛尔抢走后，赛尔和姐姐蒂娜的“富人梦”破灭，由于嫉妒和仇恨，赛尔得了一场疯病，并在几十年后酿成了一场疯狂的谋杀。当30年后三个闺蜜再次重逢时，上流社会的贵妇和两个生活窘迫的妇人之问形成了一种鲜明的对比，她们的对话也由起初的客套逐渐转为追忆过去，伤心和仇恨不断在赛尔和蒂娜的内心撕扯，这种折磨愈演愈烈，最终仇恨之火随着“真相大白”的游戏推向顶峰，直至最后把芙洛尔推下老式电梯的梯井里。复仇的余音环绕在赛尔和蒂娜的耳边，她们疯狂地将芙洛尔的死亡当作一场狂欢。
Three women, once ordinary girls, reunite after decades apart. Years ago, Sel’s American lover was stolen by her friend Flor, shattering both Sel and her sister Tina’s dream of marrying into wealth. Consumed by jealousy and betrayal, Sel descended into madness—until a violent revenge took shape decades later.
Now, the elegant socialite Flor sits across from two women worn by life. Their polite reunion gives way to bitter memories, grief, and blame. A “truth game” escalates, pushing Sel and Tina to the edge—until they hurl Flor down an old elevator shaft. Her death becomes their twisted moment of triumph.
Three women, once ordinary girls, reunite after decades apart. Years ago, Sel’s American lover was stolen by her friend Flor, shattering both Sel and her sister Tina’s dream of marrying into wealth. Consumed by jealousy and betrayal, Sel descended into madness—until a violent revenge took shape decades later.
Now, the elegant socialite Flor sits across from two women worn by life. Their polite reunion gives way to bitter memories, grief, and blame. A “truth game” escalates, pushing Sel and Tina to the edge—until they hurl Flor down an old elevator shaft. Her death becomes their twisted moment of triumph.
当我在说“我们”时，我说的其实是我和你
该作品以一名出生于90年代末苏北农村的女孩的成长经历作为介导，纪实性地呈现了1998-2020年间的中国社会现实，赋予私人记忆以“物质性”，从而得以潜入代际差异、女性启蒙、社会阶层变迁、贫困羞耻、数字时代的国家主义、现代权力技术的转向等议题。这部作品以“核”(core) 和“阈限”(Liminal)作为美学风格，整体呈现出超现实、复古数字技术、拼贴式叙事等特征，通过“诡异但安全”的场景构建，完成对现实创伤的象征性处理。
This piece traces the coming-of-age of a girl born in rural northern Jiangsu in the late 1990s, unfolding a documentary-style reflection on Chinese society from 1998 to 2020. Through materialized private memory, it probes generational gaps, female awakening, class shifts, poverty stigma, digital-age nationalism, and modern mechanisms of control.
Aesthetically shaped by concepts of “core” and “liminality,” the work fuses surrealism, retro digital textures, and collage narrative. In a setting that’s “uncanny yet safe,” it symbolically processes collective and personal trauma.
This piece traces the coming-of-age of a girl born in rural northern Jiangsu in the late 1990s, unfolding a documentary-style reflection on Chinese society from 1998 to 2020. Through materialized private memory, it probes generational gaps, female awakening, class shifts, poverty stigma, digital-age nationalism, and modern mechanisms of control.
Aesthetically shaped by concepts of “core” and “liminality,” the work fuses surrealism, retro digital textures, and collage narrative. In a setting that’s “uncanny yet safe,” it symbolically processes collective and personal trauma.
跨界艺术
CORSSOVER ARTS
未来戏剧 SHOWCASE
阿那亚戏剧节发起的全新戏剧竞赛单元
“未来”总是书页中的留白，是电影开放的结局，而在戏剧舞台上，在阿那亚，在「未来戏剧SHOWCASE」，它被一群勇敢的造梦者用语言、行动与想象力，拉进了此刻的浪潮中。在短短四天中，9部作品、25场活动，在阿那亚的各个角落点亮了一束又一束面向未来的光芒。这不是一次对未来的预言，而是一场接一场真实发生的行动，是对既定舞台的主动爆破。2025年6月25日至28日，九部先锋作品在苏卡剧场与排练场与五千余位观众相遇。它们或带来惊喜，或激发紧张，或唤起情绪深处的共鸣。观众在剧场中看到的不仅是作品，更是自己，是对未知的好奇，对瞬间的执着，对永恒的向往，对未来戏剧无尽的想象。
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。
候鸟沙城，300个小时的倒计时屏幕分秒跳动，今天迎来了0秒的到来。127组作品、165场演出、15个工作坊在沙城、湿地和北岸的共10个场地上接力呈现，共同构建起一座充满创造力与生命力的临时聚落。
团队 / 个人
阿鲤
艾伦&塔娜
爱新觉罗恒玉
And More
BCR
拜雅Beyerdynamic
半山羊剧社
半束玫瑰
鲍栋
不行动乐队
曹珮瑜
曹昱
曾科华KEHUA
尝尝咸淡
超现实木偶工作室
成龙影视传媒学院江若楠团队
城外建筑
春晓/More Studio
CINDYe
丛浚枫
丛生剧团
大大大玩具
呆萌和它的朋友们（张佳晶、缪晓东、缪斯睿/余继宏、柴松郎/刘新有、刘笑辰、张颀/徐滢、缪斯睿/缪晓东、柴松郎）
邓怡珺、邹舒艺
邸晋军工作室
丁浩
窦梓嘉
曹思苒&梁宇珏
非标准组合
疯玩肢体剧场
冯海
冯立
Group y
郭国柱
过客酒吧复活300小时x牛啤堂
海悦喜剧社
韩松落、走走、吴呈杰、徐楚舒、三三、周宏翔、张楚、白鲤（张超）、路内
汉仪字库
何叶/一个灵感A Sign Theatre
花西乐队Pentatonic
华成、何聪进
荒草公园
吉晶和复魅景观
纪思钰
季焉识/王志晨
翦馨予x顾洋
角落艺术
介绍信乐队
九成九
口述历史代理人
Lee喻丹
李怀瑾 X BASIL KRÄHER
李静涛胡昕懿团队
劉泉
李斯特中心-匈牙利文化中心
李宜桐&舒洁
林泽楷
林子楠
刘超
刘琛
刘铁源
罗冰梅
麻神工作室
美队
苗晶
牧高笛MOBI GARDEN
宁民福戏剧工作室
PROTO
PunkCui 崔朋克
栖息地剧团X武汉传媒学院
秦然
清华大学美术学院新媒体演艺创新研究所
去码头整点9
任爽
REPRODUCTION STUDIO
SAFEGAZE安全的凝视
三原力
尚爱兰
尚秀华/豆乐祖母《猫说》书画展
深层建筑
沈采、李晟东
舒米
水人街
四川美术学院monsoon团队
宋琨
Sophie 和她的小艺术家们
Stillwave group
苏航
隋建国
孙玛侬
TripSmith行匠精酿
王晓帅
王之纲
旺杰、刘雨轩
未来古典少年乐团
味道剧社
邬建安
吴江鸿
五里营
西安美院公共拓展计划（姚浩澜、李靖康、刘铁源）
西川x马岩松
西美公共拓展计划-重叠构想团队
夏慧聪
肖淇心
小玩剧组
谢琬臻
呀呼呦吼
杨心广
姚明明杂货铺
YC HOUSE
一点儿头绪都没有
艺奇客
于佳白 王姝雅
岳芸
造梦马车剧团
张大川
张权
张雨桐✖李拓坤
张玥
赵半狄
赵轶
郑靖
直得建筑
中传戏剧团
搬家的部落
中国美术学院公共空间艺术系艺术工程研究生团队
中戏五人
周轶伦
一位代理人向大家走来
对海的独白 Monologue to the Sea
冥想空间剧场
微醺鸟窝
OneDay
阿凡途300 x 候鸟300
日出前的二又二分之一小时
《半束玫瑰》倾听者
海枭
四万万双眼睛
公共的循环
病舞姬与格尔尼卡
秘密森林
薛定谔的鸟人
愈疯愈真
无绳之绳
风之亭—榫卯的呼吸
内观
梦中拾壳
万物安生
42
异外来客
猫舍/窑舟溯时 · 风栖经纬/鸥屿Oasis/风织梦轮的耳语 Whispers of the Windwheel/走出木工坊
地象
纪念碑300
晨辉
抗银
在场与X的消失
焰语者
无法蜕变
温柔的逃逸
鸟与梦
鸟其林
堂前间
过客酒吧复活300小时
脱脱脱口秀
比翼双飞计划
汉仪鸟文
戏剧共创工作坊：解构《玩偶之家》创意实验室
Sweet Childhood
解域之木
海潮之声
马丘比丘石
时间诗
寻己启示
时间之下
当废墟开始呼吸
《海的尽头是草原》候鸟300主题演出
怪诞盒子
一批专业观众
叁
我们在之间低语 We Speak Softly in the Between
墨影人生
吾计可施
飞向匈牙利
白日梦疗剧场
蜕夜
待定
潮汐织语
忧郁#3
无言的对谈
草台班子
未来魔法水母
先知的警告
搜物集objs_v03272025
Mobi Villa山野部落
丁乞三仔
候鸟的液态编年史
肥皂SLEEPING SOAP
嘶！小烛蛇
舞蹈《身体入场》、火舞《起源》
元像素矩阵
星尘橱窗•Plu的漂流乐园
未来辩证
Wedding
Monkey猴子
404号潮间带
不灭
猫咪群星绘
涟漪
过筛
LINK 心灵术体验
瞳谣
域外之园
鲛人泣珠
Go Hug a TREE
逐潮而幻
无题
中国制造
La Carpette
喝好醉好
娜拉的蒸汽朋克觉醒
时墟之翼
转经道上的光影
一起少年
被软禁的医生
候鸟500笔
猫人喷泉
五里营Place of ours
曲水有情，直水无情一系列
候鸟沙城2025
海边畅想系列
眼底的远景
拂晓
小玩剧龙
不止梦游
self
方形平面
蛇来运转
候鸟300:海边的300时
之前之后
这群鸟人
零时之筑
自我告捷
市郎图
海市蜃楼
KARORO
人形挂件
滞浪神经
熊猫蓄势待发
白雪公主
融
OAS/S-NEST
剧本真烂
当雪线沉入潮汐
他者过境
Pool
反正都开心
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。
公共艺术
PUBLIC ARTS
海边系列
表达之前，先有重要性感受
2025阿那亚戏剧节圆满落幕，但思考却未止步，海边对话为戏剧节期间的孤独图书馆注入深度的交流氛围，也为落幕后的观众留来思想的涟漪。6场对话直指当代生活与剧场内外的深刻话题，2场戏剧专场分别从「诗意」和「技术」展开，其余4场对话从「建筑」「活着」「柔软」「情绪」的话题展开，每场对话都汇聚行业瞩目阵容，呈现精彩纷呈的思想交锋。
6.21 从「建筑」的设计逻辑到情感体验
建筑的起点是理性的设计，而竣工呈现的那一刻，则迎来了充满感性的去中心化的演绎，这些演绎是建筑空间的“二次创作”。一个有趣的建筑空间，除了设计与建造的技艺，还有使用与场景的叙事。 建筑师马岩松与柳亦春从功能性出发，讨论建筑如何打开新的可能，又如何在自然地理与人文语境之间找到平衡。他们强调，建筑不仅是形式的营造，更是一种与人沟通的媒介——它如何回应社会、激发感知，是建筑师始终面对的命题。
6.22 「诗意」在留白之间自在生长
在高速传播与过度表达的当下，“诗意”似乎成了一种奢侈的存在。然而，诗意从未远离舞台，它潜藏于语言的节奏、场景的留白、人与人之间的情感缝隙之中。几位来自不同文化背景的艺术家，在此次对谈中重新追问：在当代表演中，诗意究竟为何？如何通过诗意的语言、节奏与留白，与观众建立情感连接？从各自的创作实践出发，他们围绕节奏、象征、社会责任与感知的唤起，展开了一场关于剧场与世界关系的深度思辨。
6.22 用先锋的姿态「或者」
在成功合作过《活着》《第七天》等作品后，《古典爱情》成为余华与孟京辉的第三度合作。话题首先从两人身上“先锋”标签开始，孟京辉谈到“先锋并非一种既定的结果，而是一种姿态，一种身体前倾、处于失衡状态的姿态”，它代表着突破常规、 勇于探索的锐气与立场。余华则认为任何好的作品都内含先锋性，不在于形式上的新奇，而在于思想与表达上的锐度和突破。
6.23 用「柔软」的力量去回应世界
本场对谈在孤独图书馆举行，这一空间本身就象征着“柔软”——海风、自然、开放的结构，以及剧场与生活无缝交织的状态。在一个节奏极快、情绪紧绷的时代，柔软反而变得更加稀缺，也更加重要。主持人杨澜指出，柔软不仅是一种个人状态，也是一种社会的能量，更是一种无分别心，不贴标签，是对自我完整性的真切感知。在公共空间中能保持柔软，就意味着我们还有聆听、理解、对话的能力。
6.24 与真实的「情绪」共处
作为国内领先的播客平台，小宇宙始终关注个体经验与公共议题的交汇，致力于为多元视角提供表达的场域。此次小宇宙与阿那亚戏剧节的合作，为“海边对话”注入了更具亲密性与延展性的声音维度，使之不仅是现场的交流，更是一次在听觉与思考中持续发生的公共对话。
在信息过载、表达碎片化的时代，聆听彼此内心的微小动，找回对情绪的真实感知与深度理解。围绕“你最近感受到的情绪是什么？”“如何定义和应对负面情绪？”“为什么这个时代如此情绪密集？”三个层层递进的问题，蒋方舟、刘雨霖、余明锋与马寅从文学、电影、哲学与生活实践的维度出发，展开了一场深刻而感性的对话。他们试图从个体经验与社会结构之间找到情绪的坐标，探讨情绪如何塑造我们与世界的关系。
6.26 「技术」无法抵达的地方，还 有戏剧
在这个算法主导的时代，戏剧被重新赋予了独特而深刻的意义——面对日益技术化的社会结构，剧场不仅没有失去意义，反而成为激发真实感知、重建人类关系的重要场域。搜索引擎无法搜索到的，正是戏剧创造的，在算法主导的现实中，戏剧是一种反向的力量，让人得以停下脚步、提出问题，并重新成为一个有温度、有思考的存在。
海边放映
新锐戏剧力量，激发创作活力
阿那亚戏剧节不止于戏剧，更有无限广阔的跨界内容呈现。海边公共艺术板块特别设置了海边放映，以探索戏剧与电影的边界及融合，试图孕育出全新的体验与思考。本次分为海边电影院室内放映和孤独图书馆外沙滩的露天户外放映。今年的展映片单风格充分融合年度主题“情感和理智”，室内展映美国戏剧、电影大师伍迪艾伦的经典影像，室外展映兼具视听与故事性的音乐纪录片和莎士比亚戏剧的最新改编剧目。感谢我们的合作伙伴：数梦DDDream、蓝媒时代、新现场高清放映。
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。
巡游队伍由来自“候鸟300”的跨领域艺术家群体担当主力，以无界创意构建出一支流动的装置艺术舰队。 当表演艺术家们在行进中即兴展开融肢体、声音与光影为一体的多元路演时，装置艺术家则以“移动展场”的概念不断将作品解构重组，将巡游车辆转化为动态的艺术载体。 这场如海边迁徙般的创作实践，始终保持着未完成的生长状态——金属结构的碰撞重组、织物的即兴缠绕、涂鸦的随机蔓延，所有元素在行进轨迹中持续发酵。 艺术家们通过这种“正在发生”的创作语法，让阿那亚的海风与星光也成为作品的变量，以实时演进的在地性创作，书写出一部鲜活的艺术启示录。
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