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... 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. 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. 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. 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.” 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... 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? 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. 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. 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. 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. 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? 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. 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. 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. 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. 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. 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. 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. 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? 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? 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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? 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. 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? 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. 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. 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. 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? 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. 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. 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. 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. 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. 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... 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. 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. 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. 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. 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。 In this year's OPEN Call , we received a total of 545 groups of works, with a total of 1,946 artists participating. Among them, 144 groups of theatre works and 781 artists; 129 groups of installation/sculpture works and 337 artists; 86 groups of performance works and 319 artists; 68 groups of painting/design works and 114 artists; 58 groups of video/photography works and 145 artists; 24 groups of music works and 124 artists; 19 groups of life art works and 76 artists; Poetry/Text 9 groups of 20 artists; Workshop 3 groups of 8 artists; Architecture 2 groups of 6 artists; Magic 2 groups of 2 artists; Opera 1 group of 14 artists. TEAM / INDIVIDUAL 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 WORKS 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。

2021-2022 ARANYA THEATER FESTIVAL CORE SECTIONS 阿那亚戏剧节 核心内容回顾 戏剧艺术 THEATER ARTS 2021开幕大戏 欧陆剧场巨人、波兰戏剧大师克里斯蒂安·陆 帕导演戏剧作品《狂人日记》，作品改编自鲁 迅同名小说，王学兵、梅婷等知名演员参演， 在阿那亚戏剧节开启完整版全球首演。 2021最受欢迎 先锋戏剧鬼才导演陈明昊执导，黑猫剧团主演 的新剧《海边的罗密欧与朱丽叶》，在阿那亚 戏剧节首演，创下开票仅三分钟便全部售空的 记录。 2021首发新作 孟京辉携《伤心咖啡馆之歌》在中国最大的海 边户外剧场——孤独外剧场全球首演。该剧改 编自美国天才女作家麦卡勒斯的同名著作，其 作品首次被搬上中国的戏剧舞台。 2021压轴大戏 被誉为“中国话剧的良心”“中国话剧巅峰之 作”的《白鹿原》，推出阿那亚戏剧节定制版， 以压轴大戏上演，带来全新的沉浸式体验。 2022重磅剧目 曾在英国国家剧院上演并风靡全球。英国著名导演多米尼克·德罗姆古尔执导、李任担任中方导演，郑云龙主演。汇集中英顶尖艺术家联手推出首个中文版本，作为开幕大戏在孤独外剧场进行阿那亚戏剧节首演。 2022重磅剧目 陈明昊导演作品。曾在凌晨3点创造了戏剧落幕与海上日出同频的陈明昊，继续在戏剧探索的道路上一路狂飙，带着永远出其不意的美丽与震撼，让所有阿那亚戏剧节的观众一起在白色剧场见证《红色》。 2022重磅剧目 莎士比亚以凝炼深刻的语言写下的时代悲剧《哈姆雷特》将在400年后迎着海风，向世界发问；无限的思考将随着中央芭蕾舞团凝汇力与美的肢体演绎绽放在海天融汇的舞台之上。 2022重磅剧目 当今亚洲剧坛最令人瞩目的导演杨婷以女性视角改编奥斯卡四冠王同名电影《寄生虫》，中国实力派演员郝蕾、知名歌手马天宇强强联手，在夸张戏谑的舞台之上揭开欲望与人性的黑暗谜题。 2022重磅剧目 高艳津子带领北京现代舞团以女性之力构筑的环境作品《行走的云》，将阿那亚礼堂想象成灵魂栖居的身体，用云的脚步诉说时间。这场“行走”，对“久在樊笼里”的我们来说，无异于一次向主体的回归。 2022重磅剧目 《樱桃园》创作源自俄罗斯著名剧作家契诃夫的同名代表作品，将在阿那亚的全新剧场——游轮剧场，开启首演。《樱桃园》的演出场次特别设置在日出和黄昏时分，观众将在一天中最浪漫的时分相聚海上，沉浸于“樱桃园”这场末日狂欢。 特邀剧目2021-2022 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。 阿那亚戏剧节“候鸟 300”是中国 2021 年现象级的艺术事件。2 大区域，7 个演出场地，近 200 场演出，包括戏剧、音乐、影像、装置、绘画、身体及生活艺术等多种艺术形式。由刘畅、朱砂、郑靖和陈明昊联合发起的“候鸟300”面向所有领域有想法的创作者。不为创造下定义，“候鸟300”在乎的是生活艺术的融合、戏剧边界的突破，共同探索创作的新可能。 SPACE PERFORMING READING 阿那亚戏剧节的特设单元，让经典在当代再次绽放。 在集戏剧创作、文字理解、环境感知、情境朗读、概念传达、观演共鸣于一体的戏剧实践中，我们将激发全新的戏剧灵感。在阿那亚独具审美意义的公共空间与建筑中，经典大师剧本碰撞多元朗读空间，为观众带来更为沉浸的限定戏剧体验。 在2021年戏剧节中，由杨婷、苏小刚、赵红薇、窦辉、毛雪雯、孙雨澄、孟京辉、刘畅、杜雨凡、陈明昊 10 位知名导演、戏剧人牵头，在 14 个形态各异的空间中，带来伍迪·艾伦、阿贝尔·加缪、西川等中外 16 位著名剧作家的 17 部经典剧目。 生活艺术 EVOLUTION ARTS 候鸟300 沙城概念图2022 沙城由著名建筑师马岩松为2022“候鸟300” 所设计。作为候鸟之一，他用非凡的想象力搭建起这个供创作者们一起生活、表达自我的场域。这里将成为彰显艺术新生代力量，进行极具实验性的创作表达的多元文化策源地。 全球顶级艺术家——英国涂鸦大师 Mr Doodle为候鸟 300 专门设计绘制了一顶涂鸦帐篷以及 9幅巨型天幕，与 312 顶帐篷共同组成艺术家们的生活区。后又联合合作方快手、壹基金，将帐篷捐赠给了灾区。 跨界艺术 CORSSOVER ARTS 戏剧房子 阿那亚戏剧节最有想象力的板块，探索时空中的多重表达。 戏剧房子由阿那亚戏剧节艺术总监陈明昊发起，与建筑师梁琛共同策划，邀请来自各个领域的朋友，在阿那亚搭建以经典戏剧为名的建筑空间。在2021年戏剧节中，该版块呈现了15 个文艺大咖的想法、15 组经典戏剧主题房子、24 小时的流动剧场、别出心裁的艺术现场和独一无二的戏剧“梦境”。 章子怡 Uma Wang 老狼 梁琛 宋易格 萨巴斯蒂安·凯撒 双雪涛 金星 饶晓志 陈明昊 李怒 火星电台 梅婷/曾剑 参与跨界的艺术家包括 SOLARS THEATER 2022剧场来自外太空 阿那亚戏剧节四年展（AQ）暨2022舞台美术9+9人展。 2022戏剧节全新模块，由舞台设计师张武首次发起。18位参展艺术家将以“剧场来自外太空”为主题，将他们脑海中的世界构筑成型。他们分别是：刘科栋、谭韶远、秦文宝、谭泽恩、窦辉、王之纲、王琦、倪放、桑琦、申奥、张武、马岩松、沈力、胡天骥、王欢、伍德GolemKlonVIII（德）、王琛、魏玮。 多媒体装置2022 在随时能够触摸潮涨潮落的海边，艺术家王之纲将用多媒体艺术装置为阿那亚打开另一种感官体验。在阿那亚，你永远可以看到意想不到的跨界碰撞，永远可以找到那把开启奇妙世界的万能钥匙。 公共艺术 PUBLIC ARTS 海边系列 彰显戏剧节的艺术内涵。 巡游、篝火、海边放映、工作坊、戏剧体验……多种系列活动敞开怀抱， 欢迎每一个鲜活的生命尽情感受饱满的情绪与氛围，表达对戏剧和生活的热爱，探索真实的自我与流动的世界。 海边对话 01 郝蕾 许知远 西川 陈明昊 一半被塑造 一半被误解 郝蕾： 焦虑是人的一种正常情绪，它跟兴奋、愉悦都是一样的，所 以焦虑的时候就焦虑去吧 ！ 许知远： 沉默是一个很好的“塑造”方式。 陈明昊： 愿望足够强烈的时候，就像太阳一样就出现了。 西川： 「习惯」可能是你过去的那种强大的自我在慢慢萎缩，提不 出更高更野蛮的要求了。 海边对话 02 孟京辉 梅婷 王学兵 姜思达 青春之后 认输之前 孟京辉： 越商业，就越没艺术；越艺术，就越有商业。 梅婷： 排戏时，如果明天和今天一样，就是在杀死这个角色。 王学兵： 不再年轻是不可阻挡，也是没法控制的。 姜思达： 一个人的创造力跟年龄从来不是负相关的关系，年轻没什么好鄙视的，也没什么好歌颂的。 海边对话 03 董功 马岩松 马寅 张武 时代审美 与网红建筑 董功： 建筑师就像在作画，你植入在建筑中的情绪，不是要为看画的人制定规则。 马岩松： 主流对“网红”的围剿，很多时候是把审美统一化，这个统一化是建筑师要反抗的东西。 马寅： 网红建筑只是一个阶段，这是探讨建筑发展的必经过程。 张武： 为跟风而来，还是为发自内心的喜爱而来，时间将会检验这一切。

“一半是海水，一半是戏剧”，阿那亚戏剧节的slogan蕴含独有内涵：海是无界的，戏剧也是。在阿那亚戏剧节以最多元、当代、开放、包容、干袤的语汇和形式，消除艺术的边界，数百位戏剧人和来自文学、音乐、舞蹈、建筑等各个领域的艺术家在此共创共生，汇成独一无二的艺术汪洋。在这里，戏剧不再是一种文化消费的符号，而是一个平台和连接方式，一种构建当代精神生活的核心力量。 THEATER ARTS International famous meet domestic pioneers This theater arts section showcases some of the most renowned artists, theater masters, dance, and physical performers from around the world. Bold and innovative minds explore new frontiers of artistic expression and open infinite possibilities for the audience. Their performances become a turning wheel of art by the seaside, bringing the audiences a rich sense of visual experiences. >>> EVOLUTION ARTS Theater youth make waves! Evolution Arts will take the "Migratory Bird 300" programme, which has been attracting much attention in the domestic art field, as its main theme, to create a stage for young creators. Using "migratory birds" as a metaphor, the programme creates an innovative platform with network, bringing together 300 creators from different backgrounds, providing them with a space to live and create together for 300 hours, and building an experience of "life - creativity - practice - expression". >>> PUBLIC ARTS Inside the theater, Outside the theater The Public Arts Program offers a variety of sections such as Seaside Dialogues, Seaside Workshops, Seaside Screenings, Seaside Theater Parades & Seaside Bonfires, and the Young Director Summit. Through these experiences, we gain a deeper understanding of the world we live in and the connections between theater and contemporary life. >>> CROSSOVER ARTS The Immersive Theater Universe As the most imaginative section of the Aranya Theater Festival, Crossover Art explores multiple expressions in time and space with the main content of Theatre House and The 9+9 Scenography Artists exhibition. It also incorporates multi-media art installations and live music, aiming to break boundaries and integrate multiple artistic disciplines to create a more diverse cultural experience. >>>

2024 ARANYA THEATER FESTIVAL CORE SECTIONS 阿那亚戏剧节 核心内容回顾 戏剧艺术 THEATER ARTS 命令哈姆雷特 “一千个读者，就有一千个哈姆雷特”，因为一千个读者就有一千种“存在”。行动、责任、死亡与哲思，多少矛盾在哈姆雷特一身汇集，奥利维耶·庇和他的演员们创造了一种元戏剧形式，他们试图以一种全新的视角去接近哈姆雷特这一包罗万象的经典形象。他们有着考古学家般的精准与耐心、掘墓人般的达观与幽默。在该剧中，创作者们不断回溯各个时代的人们对哈姆雷特的评论与哲思，在重读这一经典剧目的过程中，我们将重新发现“存在”的此岸。 “For a thousand readers, there are a thousand Hamlets”, because there are a thousand kinds of ‘To be’ for a thousand readers. Action, duty, death, and philosophies: all contradictions blended, as seen in Hamlet, its unforgettable images. Olivier Py and his performers invent a form of meta-theatre, in which they attempt to approach the all-encompassing classic image of Hamlet from a brand-new perspective. In this play, the creative teams have the precision and patience of archaeologists, as well as the humor of gravediggers, also they constantly review in the light of the centuries that have commented on Hamlet. In reapproaching this classic play while being performed, we may rediscover the life of ‘To be’. 戏剧疯子 当用户占据社交媒体的主体内容时，一群人正努力探寻舞台空间中所面临的机遇和所受到的限制。《戏剧疯子》融合了卡巴莱歌舞表演、法式魅力狂欢秀、朗朗上口的西班牙曲调、意大利式幽默、大量羽毛装饰的服装、大型音乐秀和喜闹剧的表演，剧中角色蕴含着人类学对流行文化的剖析欲望，试图探寻高雅艺术与低俗艺术之间的微妙关联与区别。在点击率和当下的流量时代之下，表演者们争抢着观众早已分散的注意力，可如何与永无止境、难辨真假的信息一同竞争呢？戏剧和悲剧或许不仅发生在舞台之上，而是无处不在。 A group of people works hard to sound out the opportunities and limits of the stage space when users have become the content of social media. DRAMA integrates a mixture of cabaret and French glamour revue, catchy Spanish tunes, Italian humor, lots of feathers, big music shows, and popular comedians, the figures in DRAMA nurture the anthropological desire to cut up popular culture to discover the arc of suspense between high art and low. The performers compete for the worn-out attention span of audiences in the current era of clickbait. But how can you compete with the never-ending spectacle of information, fake or true? Drama and tragedy may happen everywhere, not just on stage. 国王之谜 《国王之谜》是根据意大利诗人巴希尔的一则寓言改编而成，故事以一位国王为中心展开，他在狩猎归来时遭遇了一场突发的尴尬场面，引发了一连串令人啼笑皆非的事件。国王的身体被一只误认为他已死的鸡所寄居——它爬进了国王的内脏，并在他的肠道中定居。这只神奇的鸡吞食了国王所进食的一切，每天使他产下金蛋。国王精疲力竭，决定绝食致死，但却遭到了整个朝廷的反对，而国王的家人和宫廷则对此展开了各种欲望和权谋的争夺。《国王之谜》巧妙融合了喜剧、滑稽戏和悲剧的元素，同时汲取了巴洛克式诗歌富于意趣的风格，将观众带入一个离奇的世界。 Re Chicchinella is adapted from a fable by the Italian poet Basile. The story revolves around a king who, upon returning from a hunting trip, encounters an unexpected and embarrassing situation, leading to a series of comical events. The king's body becomes inhabited by a chicken mistakenly believed to be dead—it crawls into his intestines and takes up residence there. This magical creature consumes everything the king eats, causing him to lay golden eggs every day. Exhausted and determined to fast to death, the king faces opposition from his entire court, while his family and courtiers engage in various desires and power struggles. Re Chicchinella cleverly blends elements of comedy, farce, and tragedy, while also incorporating the whimsical style of Baroque poetry, transporting the audience into a bizarre world. 舞台剧《繁花》第⼀季 故事发生在上个世纪的上海。资本家家庭出身的阿宝，空军干部家庭出身的沪生和工人家庭出身的小毛，在少年时是好朋友。阿宝喜欢邻居小妹蓓蒂，60 年代，阿宝家被接管，蓓蒂失踪，以致阿宝二十年难以释怀。沪生钟情孤傲的姝华，姝华去吉林，遭遇变故，产生巨大变化，最后一封来信让沪生看淡世事。海员妻子银凤中意邻家少年小毛，二人偷情被揭，小毛误会银凤，并与阿宝、沪生绝交。 到 90 年代，做外贸生意的阿宝与律师沪生仍是好友，至真园饭店乃是他们邀客聚会的不二场所。长相出尘的饭店老板娘李李几次向阿宝表达感情，阿宝不置可否。李李带众人去常熟游玩，阿宝的客户汪小姐恣意寻欢，与常熟徐总发生关系。汪小姐怀孕事发，阿宝和李李才知汪小姐为生二胎，铤而走险，并欲与童年好友小毛假结婚生子。而汪小姐也不知道腹中孩子是徐总的还是丈夫的，进退两难。李李打开心扉，将自己的复杂经历和盘托出，被动的阿宝终于表露出了自己的感情。 The drama employs a spatial-temporal narrative structure, using the lives of three childhood friends from diverse backgrounds: Abao, from a capitalist family; Husheng, from an Air Force family; and Xiaomao, from a worker’s family as threads, to illustrate the profound transformations in Shanghai’s urban landscape from the 1960s to the 1990s. Abao nurtures a deep affection for his neighbor Betty, who mysteriously disappears when Abao’s family loses their wealth in the 1960s, and Abao is left with a lingering heartache for decades. Husheng, meanwhile, is captivated by Shuhua, an intellectual who loves to read and write poetry. Shuhua was afterwards sent to cultivate in the impoverished area of Northeast China which caused great turmoil in her heart. The last letter that she sent to Husheng profoundly alters Husheng's perspective on life which made him indifferent to worldly affairs. The narrative also entangles Yinfeng, a seafarer’s wife, who develops an illicit romance with Xiaomao, resulting in a scandal that shatters their friendship. By the 1990s, Abao and Husheng have maintained their friendship. Abao is now a foreign trader and Husheng is a lawyer. They often meet at “Zhi Zhen Yuan” Restaurant, their preferred venue for social gatherings. Lili, the enchanting owner of the restaurant, expresses her feelings to Abao multiple times, though Abao remains noncommittal. During a group trip to Changshu organized by Lili, Ms Wang, a client of Abao’s, indulges in an affair with a rich man of Changshu, Mr Xu. This affair leads to an unexpected pregnancy, Abao and Lili then discover Ms Wang’s risky attempt to have a second child and her plans to marry Abao’s childhood friend Xiaomao under pretenses. Caught in a quandary, Ms Wang is uncertain whether the child is Mr Xu's or her husband's. Amid these complications, Lili unveils her complicated past, prompting the typically passive Abao to finally express his own emotions... 天守物语 《天守物语》以 15 至16 世纪日本战国时期为背景，讲述了姬路城白鹭塔第五层居住着神灵的故事，据传进入此处的人都不可能再返回。当龟姬拜访她的姐姐、妖怪首领富姬时，她收到了武田播磨神最喜欢的白鹰作为纪念品。后来，领主命令年轻的小贩姬川左之助去寻找那只白鹰，他进入了第五层，准备受死。然而，富姬却被他的勇敢所感动，并让他回到了人间。但当他空手而归时，领主却生气了，命令他再次回到灵界…… Set in the Warring States period of 15th- and 16th-century Japan, the drama has spirit beings living on the fifth level of the White Heron (Shirasagi) tower of Himeji Castle, from where it’s believed no one entering ever returns. When Kamehime visits her sister Tomihime, the demons’ leader, she is given the Lord Takeda Harima no Kami’s favorite white hawk as a souvenir. Later, the lord orders a young hawker named Zushonosuke Himekawa to find the bird, and he enters the fifth level prepared to die. However, Tomihime is impressed by his bravery and lets him return to the world of humans. But when he appears empty-handed, the lord is angry and orders him back to the spirit beings’ world again … 枪，谎言和玫瑰 《枪，谎言和玫瑰》根据二十世纪俄罗斯剧作家艾德曼·尼古拉·罗伯尔托维奇的经典戏剧《自杀者》意向进行创意改编。讲述了一个荒诞幽默的畸形故事：一个人因无所事事追赶蚊子至精神崩溃，赌气说了一句“我要自杀！”结果激起了整座城市的勃勃野心。各界人士纷至沓来向他进行愚蠢的威逼利诱，投机、阴谋、企图相互交织着，一场闹剧就此开始，但究竟为谁而死，一切早已无法挽回…… The Suicide is a creative adaptation of the classic Russian play "The Suicide" by Edman Nikolai Robertovich. The play humorously tells the story of a man who, out of idleness, declares he wants to commit suicide after a bout of frustration with mosquitoes, sparking a flurry of ambitious schemes across the city. Various characters, driven by greed and conspiracy, rush to manipulate him, spiraling into a farcical showdown. Yet, as the chaos unfolds, the question remains: for whom is he dying, when everything is beyond repair? 潮汐 上世纪七八十年代的波兰正在经历一个转折性的解冻时刻，当社会被极端议题所分化时，知识分子总是需要站在公共性的前线。而主人公马塞尔·克莱里科斯基却在为缺乏亲密关系、个人成就感和家庭的幸福而感到困扰。因无法忍受私人领域的孤独感，他宁愿撇开思想进步的自由派精英们，放弃了生命中的激情梦想，选择与大部分人一同随波逐流。《潮汐》试图引领观众回溯冷战时期波兰社会“顺从主义”的诱惑，并希冀历史经验可以与当代的社会现实形成照应——如同过去的法西斯主义与当代的民粹主义，支撑这些历史的狂热力量的或许仅仅是那些“普通人”最庸碌的日常需要。 In the late 1970s and early 1980s, Poland was undergoing a pivotal thawing moment, marked by societal divisions over pressing issues. Intellectuals were often required to take a stand at the forefront of public discourse. However, the protagonist, Marcel Klerykoski, finds himself troubled by a lack of intimate connections, personal fulfillment, and familial happiness. Unable to tolerate the loneliness in his private sphere, he chooses to abandon his passionate dreams and instead goes with the flow, disregarding the liberal ideals of intellectual progressivism. KONFORMISTA 2029 attempts to guide audiences back to the conformism prevalent in Polish society during the Cold War era. It expects that these historical experiences can shed light on contemporary social realities, such as the parallels between past fascism and present-day populism. Perhaps, it suggests, the fervent forces driving these historical movements are merely driven by the banal daily needs of the ‘ordinary people’. 海边的伽利略 I+II+III 德国剧作家贝托尔特·布莱希特于1943年创作的历史哲理剧《伽利略传》，以十七实际意大利数学家和物理学家伽利略(1564—1642)的事迹为题材，把历史的经验教训和二十世纪 的现实斗争结合起来，形成了一个哲理性的主题思想。 食物和酒精，我们将以生态戏剧的方式，重建一个越界、差异和畸形的非日常生活剧场。在 日出宣言、礼堂餐厅、博物馆戏剧派对三个时间进行科学和艺术的争吵，另一种选择：在夜晚归复平静。唤醒快感 —— 生活必须成为人们自我解放的时空。 “在我们的旧大陆，出现过一种谣言，说是还有新大陆。自从我们的海船驶向新大陆以来， 欢笑的大陆上纷纷传说：令人恐怖的汪洋大海不过是一洼浅水。于是，对一切事物追本穷源 的巨大兴趣油然而生。” ——布莱希特《伽利略传》 可是当探索真理的欲望与俗世快感的诱惑受阻时，你还要成为英雄吗? 安德雷亚:“没有艺术家的国家真不幸！” 伽利略:“一个需要艺术家的国家，才是，不幸的。” German playwright Bertolt Brecht wrote the historical-philosophical drama "The Life of Galileo" in 1943. The play is based on the life and work of the 17th-century Italian mathematician and physicist Galileo Galilei (1564—1642). It combines historical lessons with the contemporary struggles of the 20th century to form a philosophical theme. Using food and alcohol within an ecological drama framework, we create a unique theater experience that challenges norms across three settings: the Sunrise Declaration, the Auditorium Restaurant, and the Museum Drama Party. These events blend science and art, culminating in a tranquil night, emphasizing life as a space for personal liberation. "In our old continent, there had been a rumor that there was a new continent. Since our ships have sailed towards the new continent, the laughing continent has been spreading the tale: the terrifying ocean is nothing but a shallow pool. And so a great curiosity to trace the origin of all things has arisen." - Bertolt Brecht, The Life of Galileo When faced with obstacles to your quest for truth and the temptations of fleeting pleasures, would you still choose to be a hero? Andrea:"Woe to the country that has no arts!" Galileo: "No. Unhappy is the land that needs arts." 关于演员的故事 我们能否通过艺术摆脱我们的生平，或者说艺术只是一种失败的关于自我解放的记录？米洛·劳与爱德华·路易斯呈现了一个关于怀疑与失败的个人化文本。一次脆弱的展示，也是一刻诗意的静止，《关于演员的故事》还原了一次深沉忧郁的对话，一段支离破碎又温情脉脉的故事，也是一部关于戏剧与现实、失败与转变、虚构与真实、成为与存在之间不断交织的作品。 Can we escape our biography through art, or is art only the record of a failed liberation? Milo Rau and Edouard Louis now present a very personal text about doubting and failing. A demonstration of vulnerability, a moment of poetic standstill, THE INTERROGATION is a deeply melancholic dialogue, a fragmentary story, a tender play, a constant exchange of theatre and reality, failing and transformation, fiction and truth, on becoming and being. 白鲸 一头古老的白鲸, 一位将船驶向毁灭的船长,《白鲸》既是一次捕鲸远航的传说, 也是一场关乎执念或探究生命不可言说之意的自白, 讲述了有着自我毁灭式执念的船长亚哈与一头名为莫比·迪克的白鲸之间所发生的激烈角逐。故事由亚哈所掌舵的捕鲸船“皮克德号”新船员伊斯梅尔的叙述而展开，即使会危及到船员的安危, 船长亚哈也要义无反顾地向白鲸莫比·迪克复仇。导演英维尔德·阿斯佩利结合演员表演、五十个木偶、影像投影和沉浸式乐队, 创造了一头同等白鲸大小的巨型木偶，对这部富有野性色彩的世界名著进行了奇妙的视觉创编。 An ancient white whale, a captain steering his ship into destruction. Moby Dick is the tale of a whaling expedition, but also the story of an obsession or an investigation into the unexplained mysteries of life, it is the story of Captain Ahab's self-destructive obsession with the white whale called Moby Dick. The scenario unfolds through the narration of Ishmael, a sailor new to Ahab's whaler, the Pequod, the plot of the novel follows Ahab's manic drive to kill the whale, even as it endangers his crew. With even actors, fifty puppets, video projections, a drowned orchestra, and a whale-sized whale, Yngvild Aspeli has created a visual adaptation of this wonderful beast of a world-famous book. 台词和台词之间的台词 蒂亚戈·罗德里格斯曾多次为托南·基多撰写剧本。而这一次，他必须创作一部全新的独角戏剧本，但由于一系列未公开的神秘原因，剧本始终无法完成。正在此时，一连串真实而又弥漫着文学气息的意外事件催生了《台词和台词之间的台词》的诞生。这部作品描绘了剧作家与演员之间神秘的关系，将现实与虚构的地下世界巧妙地连接在一起，宛如一条神秘通道。在错综复杂的叙事中，剧本将索福克勒斯的《俄狄浦斯王》与一位被囚禁者写给母亲的信相互交织，这些信藏匿在监狱图书馆的一本希腊悲剧书中，夹在文字之间的空隙中。此时，文本又将折返现实：一个演员走上舞台，向观众解释为何无法上演承诺中的那出戏… Tiago Rodrigues had previously written scripts for Tónan Quito on multiple occasions. However, this time, he had to create an entirely new solo play for the actor. Yet, due to a series of undisclosed mysterious reasons, the script remained unfinished. It was precisely at this moment that a sequence of real and literary-laden accidents gave birth to Entrelinhas. This play delves into the enigmatic relationship between the playwright and the actor, skillfully intertwining reality with the underworld of fiction, like a clandestine passage. Within its intricate narrative, the script merges Sophocles' Oedipus Rex with letters from a prisoner to his mother, hidden within the pages of a Greek tragedy found in the prison library, nestled between the lines. And yet, the text circles back to reality: an actor steps onto the stage, explaining to the audience why the promised play couldn't be performed... 谁是弗吉尼亚 • 伍尔夫 《谁是弗吉尼亚·伍尔夫》是一部由ATPA阿拉伯戏剧联盟创作的实验戏剧作品。该剧以英国20世纪最著名的作家之一的弗吉尼亚·伍尔夫的人生为题材，展现了她生活中的悲剧、她对后世小说创作的影响，以及她在争取妇女权利方面的重要成就。弗吉尼亚患有双相情感障碍，她的内心时常回响着某些噪音，同时经常受到丈夫伦纳德·伍尔夫的评判，这导致她多次精神崩溃，甚至企图自杀。在剧中，观众将见证弗吉尼亚经历失去亲人、受到性别偏见的压抑等困境，以及她深陷于对丈夫深深的情感。弗吉尼亚最终选择了在奥斯河中自尽，给世人留下了一封著名的遗书。她的自杀故事和其作品的文学影响至今仍被人们铭记。这部作品探索了弗吉尼亚·伍尔夫的生命历程，以及她作为女性主义先驱的重要地位和不朽贡献。 انتحار معلن is an experimental theatrical work launched by the Arab Theater Production Association (ATPA). This play portrays the life of Virginia Woolf, one of the most famous writers of the 20th century in Britain, depicting the tragedies she faced, her influence on later novelists, and her significant achievements in the fight for women's rights. Virginia suffered from bipolar disorder, with her mind often plagued by certain noises, and she frequently faced judgment from her husband Leonard Woolf, leading to multiple nervous breakdowns and even suicide attempts. In the play, audiences witness Virginia's experiences of losing loved ones, facing oppression due to gender bias, and her deep emotional attachment to her husband. Virginia ultimately chose to drown herself in the River Aws, leaving behind a famous suicide note. Her story of suicide and the literary impact of her works are still remembered to this day. This play explores Virginia Woolf's life journey, is that her crucial role as a pioneer of feminism, and her enduring contributions. 世界头世界尾 《世界头世界尾》并不是一场普通的演出，它更像是一次身临其境的体验，一则关于世界的大胆寓言，一场充满诗意和戏剧性的展演。它肆意着突破空间和时间的边界，在舞台上，导演呈现出的是雾气蒙蒙、崎岖不平的景致、逐渐填满雕塑面庞的木偶。这些微小的生物四处忙碌，执行着各式各样奇怪、荒谬的任务，它们精细地参与着此处的机械构造，沉浸在这个由木头、回收物品和绳索构成的人工造物的世界。在这片领土之上，数字监控着一切，并通过电子游戏的形式召唤着远程观众，意在引领他们走进内心深处最难以言说的神秘之地。 Le petit théâtre du bout du monde, Opus 2 is not a show like any other, it is rather an experience, an allegory of the world, a poetic and theatrical performance. Le petit théâtre du bout du monde, Opus 2 ignores the boundaries of space and time. On stage, it is the emergence of a vaporous and rugged landscape that is developed and gradually populated with puppets with sculpted faces. Here and there, these little beings busy themselves with strange, sometimes absurd tasks, and participate in meticulous detail in a clever little piece of machinery. Immersed in this artisanal universe made of wood, recycled objects, and strings, the digital sphere monitors this territory and through a video game summons a remote audience to guide them to run into their deepest place. 她他们 《她他们》是一部由女性主导创作的肢体剧场作品，它基于与来自不同国家的、自我认同为男性的受访者进行的数十次访谈，询问了他们对男性气质和生活本身的体验的理解。访谈后，四位来自冰岛和芬兰的女演员结合自己的亲身经历，深入地讨论了这个男性化的世界，分享关于各自的爱情、父亲的影响、作为女性的性别身份、自尊心以及对于成为累赘的恐惧。剧中不乏对于“有毒的男子气概”的尖锐点评，以及对于宏观的性别建制的深刻反思，而更难能可贵的是：《她他们》以温柔、幽默和同理心解开了围绕性别框架所构建的诸多迷思，尝试以好奇和开放的态度为出发点来探询、接纳个体的脆弱，并以同理心倾听之，作为一部肢体剧场作品，同时也融合了超现实主义风格和纪录剧场的元素。 Them is a female-led physical theatre performance. It is based on dozens of interviews with individuals from different countries who identify as male, exploring their understanding of masculinity and life itself. Following these interviews, four actresses from Iceland and Finland, drawing upon their own experiences, delve deeply into this masculinized world, sharing stories about love, the influence of fathers, gender identity as women, self-esteem, and the fear of being burdensome. The play offers sharp critiques of toxic masculinity and profound reflections on the overarching gender structure. What's particularly valuable is that "Them" gently, humorously, and empathetically dismantles many myths surrounding gender constructs, attempting to explore and embrace individual vulnerabilities with curiosity and openness, while listening with empathy. As a physical theatre performance, seamlessly blending elements of surrealism with those of documentary theatre. 魔音 辉煌一时的大房子曾居住着三姐妹，如今这栋房子正在慢慢坍塌，三姐妹中的达玛丽斯在战乱中艰难地守护着家园。在她身边的是马蒂亚、女儿斯卡拉塔、一名房客和一名无法回到在城市另一端家的年轻人，外部威胁和内部冲突之间持续着紧张的关系，来自外部的力量驱逐他们离开，而达玛丽斯却不愿放弃自己的家园和土地……《魔音》是一部摆脱传统文本叙述形式的作品，其中声音是作品的关键：战争制造的噪音几乎淹没了舞台上这些可辨识的语音，于是，舞台上的其他元素显现了出来，成为了理解该剧的关键：声音、视觉、物件。甚至是舞台本身，在那里，一辆破旧的车格外显眼，人们将其视为逃离此地的希望…… Once a grand mansion housing three sisters, now slowly collapsing, with DAMARIS, among them, struggling to protect their homeland amidst the chaos of war. Alongside her are MATEA, her daughter SCARLATA, a tenant, and a young person unable to return to their home on the other side of the city. The tension between external threats and internal conflicts persists, as forces from outside drive them away, yet Damaris refuses to abandon her home and land. UNA BANDA SONORA is a departure from the traditional textual narrative, with sound as its essence: the noise of war almost drowns out recognizable voices on stage, making other elements crucial to understanding the play: sound, visuals, and objects. Even the stage itself, where an old car stands out conspicuously, is seen as hope for escape... 涅瓦 《涅瓦》是智利剧作家吉列尔莫·卡尔德隆在2005年创作的剧本。剧情以一条流经俄罗斯圣彼得堡的河流为背景。在1905年的俄罗斯帝国首都，被称为“血腥星期日”的1月9日，当天抗议者向沙皇递交请愿书要求改善工厂工作条件，却遭到帝国卫队的枪击。故事正发生在一家剧院内，原本计划排练《樱桃园》的一名男演员和两名女演员意外成为了大屠杀的避难者，这场屠杀随后引发了国家的革命。剧中一名被困剧院的女演员是德国的奥尔加·尼佩尔，她是莫斯科艺术剧院的首席女演员，也是俄罗斯剧作家安东·契诃夫的妻子。在丈夫因肺结核去世六个月后，奥尔加无法继续表演，在城市外部崩溃的情况下，她鼓励玛莎和亚列科与她一起重演契诃夫的死亡。 NEVA is a play written in 2005 by Chilean playwright Guillermo Calderón. It refers to the Neva River, a river that flows through the city of Saint Petersburg, Russia. Calderón's play takes place in the then capital of the Russian Empire, on a day in 1905. On January 9, 1905, the day that became known as Bloody Sunday, when protesters who marched to deliver a petition to the Tsar, asking for better working conditions in the factories, were shot by the Imperial Guard. The action of NEVA, however, takes place inside a theatre, where an actor and two actresses who were going to meet to rehearse "The Cherry Orchard", end up, somewhat unintentionally, taking shelter from the massacre that takes place in the streets and which will be the trigger for the revolution that will take place later in the country. One of the actresses locked inside the theatre is German Olga Knipper, the first actress at the famous Moscow Art Theatre who was married to Russian playwright Anton Chekhov. Feeling unable to act, after her husband's death from tuberculosis six months ago, and in an attempt to keep on living while the city collapses outside, Olga encourages Masha and Aleko to repeatedly reenact Chekhov's death with her. 魔幻玩具铺 “在金钱气味里长大”的梅勒妮因父母遇难身亡，不得不带着弟弟妹妹，去投靠以制作玩具为生的舅舅生活。在这个黑暗诡异的玩具铺中，梅勒妮过上了和从前完全不同的生活。面对暴力的舅舅、不能开口说话的舅妈和家中两个粗俗又散发危险气息的男孩，梅勒妮艰难地开始学习另一个世界的生存法则。 《魔幻玩具铺》是李建军导演的最新作品，改编自英国著名女作家安吉拉·卡特的同名小说，将于2024年阿那亚戏剧节开启首演。这是安吉拉·卡特的作品在国内舞台的首次呈现，李建军的改编将延续原作“暗黑童话”的叙事风格，辅以“邪典”“魔幻”的视觉呈现，用荒诞喜剧的表演美学探讨当代人自我剥削的精神困境以及救赎之路。 Raised in wealth, Melanie is thrust into a starkly different world after her parents' untimely deaths. She and her siblings move in with their uncle, a toy maker, whose shop is as foreboding as it is mysterious. Amid the shadows of this new home, she confronts not just her harsh uncle and his mute wife, but also two rough and unsettling boys. Navigating this grim environment, Melanie must quickly adapt to the survival rules of a world far from her previous comforts. "The Magic Toy Shop" is the latest work directed by Li Jianjun, adapted from the novel of the same name by renowned British author Angela Carter. Set to premiere at the 2024 Aranya Theater Festival, this marks the first presentation of Carter's work on a domestic stage in China. Li Jianjun's adaptation maintains the original's "dark fairy tale" narrative style, enriched with "cult" and "magical" visual elements. Through absurd comedic aesthetics, the production explores contemporary themes of self-exploitation and the path to redemption. 鱼刺公主 菲利普王子遇见了既无魅力又无美貌的伊沃娜，王子为了挑衅自然法则宣布伊沃娜是他的未婚妻并带回王宫，她那哑然的，受惊的存在使得整个王宫变成了孕育“怪物”的温床，每一只“怪物”都梦寐以求地想要杀死令人难以忍受的伊沃娜……“夸张与癫狂”，“梦幻与荒谬”，一场愚昧的闹剧肆谑窜行在夏日的海风中。如同波兰当代文豪维托尔德·贡布罗维奇所说的：“我是马戏团、抒情性、诗、恐怖、打群架、游戏，您要再增添点什么称呼都随您的便。”我们将带来一个浪漫怪诞的故事，但与以往的爱情童话所不同，这将是一场有些“痒痒”，有些“痛感”，有些“滑稽”进而“悲怆”的挑战，那些荒谬的真实，灿烂与炙热，所有一切都将在阴郁淡漠的伊沃娜眼中融化殆尽…… Prince Philip meets Ivona, who lacks charm and beauty. Declaring her his fiancée as a challenge to nature, he brings her to the palace, which then becomes a haven for "monsters" wanting her dead. "Exaggeration and madness", "dream and absurdity", a foolish farce runs wild in the summer sea breeze. As the contemporary Polish literary giant Witold Gombrowicz said, "I am a circus, lyricism, poetry, horror, gang war, and games. You can call me whatever you want." We will bring a romantic and grotesque story, but unlike previous love fairy tales, this will be a challenge that is somewhat "ticklish", somewhat "painful", somewhat "funny" and then "tragic". Those absurd realities, radiance, and passion, everything will melt away in the gloomy and indifferent eyes of Iwona. 老舍五则 话剧《老舍五则》2024版选用由舒乙先生推荐的五篇小说改编而成的五则故事，融入新的元素，导演大胆启用青年演员与老戏骨同台演出，舞美更是以极具意象的提线木偶装置大胆破局，在传统的文本下展现新与旧、老与少、未来与过去的冲突碰撞，持续探讨老舍笔下的人性在当代的差异与相似。 《柳家大院》讲述了受尽公公、丈夫和小姑子欺凌的倒霉媳妇悬梁自尽后，一个家庭的悲剧；《也是三角》挖掘了一对穷苦的拜把子兄弟，共娶一个媳妇的心理挣扎；《断魂枪》隐喻了文化的失传，随着社会的演变致使功夫、镖局失去了其存在的价值；《上任》以戏谑的手法，呈现了曾混迹黑社会的头目成为治安官后与以前同党的纷争；《兔》是一首悲歌，上演了一个下海的男戏子逐渐丢了坚守和专业，迷失自我的悲剧。 The version of “Five Acts of Life for 2024" features adaptations of five stories recommended by Mr. Shu Yi, blending traditional and modern elements. Directed innovatively, it stages both emerging and veteran actors and uses striking puppetry in set design to highlight contrasts between the new and old, and different generations. The production delves into human nature as portrayed by Lao She, exploring contemporary differences and similarities. "The Liu Family Courtyard" depicts the tragedy of a family after a mistreated daughter-in-law commits suicide. "The Triangle" delves into the emotional turmoil of impoverished sworn brothers sharing a wife. "Soul Gun" uses martial arts and courier services as metaphors for cultural extinction amid social changes. "Ascension" humorously shows a former gang leader's conflicts with old allies after becoming a peace officer. "Rabbit" portrays the downfall of a male actor who loses his integrity and identity in the show business. 4.48 《4.48》是一首关于生命、时间、想象与残酷现实的长诗，剧作以语言和想象呈现一种现实与精神世界的模糊边界，以及身处其中之人的体验。凌晨 4:48分是剧作家萨拉·凯恩在患抑郁症期间时常醒来的时刻，也被心理学家研究认为是一天之中人的精神最脆弱、最容易自杀的时刻。该剧是由各领域艺术家共同完成的戏剧作品，试图突破戏剧传统叙事逻辑，探索新的戏剧语言。以当代的表现方法与观念串联多元化艺术形态，共同完成讲述，建立情感，赋予文本、空间、场域更丰富的想象和生命力。声场、音乐、文本、视觉与环境、Ai技术与表演艺术家个人的质感与表现力，将彼此构建成为非常重要的组成部分。在海边，文学、环境美学与实验影像相融，新古典音乐与噪音结合，从声音的哲学，噪音本体论和噪音政治的角度出发，进入充满想象的精神世界。 "4.48" delves into life's realities through poetic expressions of time, imagination, and raw emotion. It blurs the line between reality and the spiritual, reflecting playwright Sarah Kane's struggles with depression at 4:48 AM—a time psychologists note as particularly vulnerable. This collaborative theater piece pushes the boundaries of traditional narratives, employing modern performance art and technology to deepen the audience's engagement. The integration of literature, environmental aesthetics, and experimental visuals with music at a seaside setting explores profound themes through the lenses of sound and noise philosophies. 夜色温柔 夜色温柔，她刚从情人的家里出来，还未从销魂荡魄中平息下来，就遇到了一个奇怪女人的威胁和敲诈。这种危险绝妙地绷紧着她的神经。夜间激情似火，白天冷若冰霜，使她陷入迷惘。在玻璃的后面，有人在暗中窥探她的一举一动，白昼和黑夜，现实和虚幻，热烈和冷淡，矫饰和纯真，两个旋律交替出现。当温柔的夜色变成刺眼的强光，一座红色的房子露出了自己的真实面貌，琴声幽幽，心跳依旧。该剧改编自茨威格经典小说《恐惧》，由孟京辉导演，是独角戏女王黄湘丽“茨威格三部曲”的最终篇。 After a passionate night at her lover's, she faces extortion from a mysterious woman, escalating her tension. Caught between the heat of passion and daytime's cold, she's watched secretly, blending reality with illusion and warmth with detachment. As the night's softness turns stark, the truth of a red house is unveiled, still echoing with piano sounds and heartbeats. Adapted from Stefan Zweig's classic novel "Fear", directed by Meng Jinghui, this production starring Huang Xiangli as the "Queen of Monodrama" concludes her "Zweig Trilogy." 莎士比亚的女人们 莎士比亚股份公司是一家致力于将莎士比亚作品中的古典情感与现代人类的日常陪伴需求相结合的科技公司，他们正在研发一款以莎士比亚作品中的女性角色为情感样本的情感陪伴型电子植物。这一天，电子植物检测部迎来了A级样品——16号女人，她凭借无情感反应的精神状况在检测样本中脱颖而出，她将化身为莎士比亚女性角色，体验24小时的情动生活。作为算法的产物，16号女人如何在混乱真挚的情感冲击下安然无恙，又如何在情感和指令的裹挟之下，重新认识“我是谁”? Shakespeare Corporation, a tech firm, combines Shakespearean emotional depth with modern companionship needs. They are developing an electronic plant, Woman No. 16, inspired by Shakespeare's female characters, distinguished by her absence of emotional response. Tasked with experiencing a full day of Shakespearean emotions as an algorithmic entity, Woman No. 16 must navigate these intense feelings and reassess her identity amidst this emotional and command-driven turmoil. 鸡鸡复鸡鸡 《鸡鸡复鸡鸡》打破常规，将烹饪艺术和音乐世界完美融合。从质朴的布景到略显混乱的互动场景，演员们为观众呈现了一场超越传统观剧体验的沉浸式盛宴——从有节奏的鸡叫声到奶油搅拌的声响，观众将随着平底锅的节奏跺脚，或陶醉于吟唱的旋律，仿佛身临其境，成为这家独特餐厅的坐上宾。这是一场关于欢乐、创意、协作和烹饪想象力的狂欢， 演员们忙着烤鸡、捣土豆和准备开胃菜，20 世纪 30 年代美国约德尔唱法风格代表“德祖里克姐妹”的歌声与烤箱融为一体，烹制出令人惊喜的盛宴。 Kitchen Chicken is poised to shatter norms by seamlessly intertwining the realms of culinary arts and music. From its rustic set design to its interactive and slightly chaotic scenes, the performers deliver an immersive feast that transcends traditional theater experiences. From the rhythmic clucking of the chickens to the melodic stirring of cream, audience members will find themselves tapping their feet to the skillet's rhythm or entranced by the yodeled melodies, feeling like esteemed guests in this unique eatery. It is a celebration of joy, creativity, collaboration, and culinary imagination, troupe members hustle to roast chickens, mash potatoes, and prepare appetizers, and the songs of 1930s American yodel queens The Cackle Sisters will blend with the ovens to concoct an incredible feast. 罗密欧与朱丽叶 《罗密欧与朱丽叶》是波兰戏剧史上首次使用声音语言和手语进行双语创作和演出的作品，是一部克拉科夫尤利乌什·斯沃瓦茨基剧院改编莎士比亚经典的创意之作。该剧将原著中的两位主人公改为由四位演员出演——两位朱丽叶和两位罗密欧。角色之间的关系互相交织，不顾困境与社会观念的束缚，努力维系着彼此的感情。然而，当一切看似美好之时，悲剧却悄然降临... 该剧通过对莎士比亚经典原作的当代创造性转化，探究当下的爱情观念以及人们为爱情可能付出的代价，试图提出一个关于不同语言之下的爱情困境，从而挑战语言、文化和家庭之间的边界与藩篱。 Romeo i Julia is marking the first bilingual production in Polish theatre history, utilizing both spoken language and sign language, a creative masterpiece adapted from Shakespeare's classic Romeo and Juliet from the Juliusz Słowacki Theatre in Kraków. This production focuses on the two protagonists albeit reimagining them as four characters—two Juliets and two Romeos. These characters intertwine their relationships, defying societal norms and adversities to uphold their love for one another. Yet, just when everything seems idyllic, tragedy strikes silently...This play offers a creative transformation for contemporary audiences and delves into contemporary notions of love and the possible sacrifices one may make for it. It aims to pose a question about the complexities of love in different linguistic contexts, challenging boundaries and barriers between languages, cultures, and families. 孤岛 这是一个由塑料构造而成的鲜活地狱，有着四个在这奇异而孤立世界中生活的人，在这里，完全没有其他生物，四周被无法穿透的半透明的屏幕所包围。这个世界的居民能否摆脱这种单调乏味的生存状态？他们是否有这样的意愿和意识？为了抵御命运，为了摆脱无聊，他们日复一日地跳舞，精准地、热情地、充满激情地。一次偶然的邂逅，一次无法停止的追寻——也许，只是也许我们这四位朋友最终会做出最关键、最叛逆的行为：也许他们会对自己所处的生活感到惊讶。正如西奥兰所说，“一个文明始于一个神话，终于怀疑。我们需要重新创造我们自己的神话”。安东·拉契克创作的《孤岛》，以一个“新神话”拉开序幕，这个神话或许指向我们现代世界的崩溃，同时勾勒出一个可能重生的轮廓。 Les Autres is the story of four people who are living in a strangely isolated world. A living hell made out of plastic, entirely devoid of other living beings, and surrounded by impenetrable, translucent screens. Will its inhabitants manage to liberate themselves from this drab and dreary existence? Will they want to? To keep fate at bay, to keep boredom in check, they dance. Day after day, they dance. With precision, with fervor, with passion. A fortuitous encounter, a refusal to stop searching - maybe, just maybe our four friends will end up committing the most crucial, the most rebellious of all acts: maybe they will allow themselves to be amazed at life. As Cioran put it, ‘A civilisation begins with a myth and it ends with doubt. We need to reinvent our own myths’. This new piece by Anton Lachky starts with a new myth, a myth that points forward to the downfall of our modern world, whilst sketching the contours of a possible rebirth. 特邀剧目2024 37°2 环境戏剧朗读 阿那亚戏剧节的特设单元，让经典在当代再次绽放。 环境戏剧朗读由阿那亚戏剧节艺术策划杨婷整体统筹。环境戏剧朗读是由多位戏剧创作者在不设限的自然公共坏境中，集戏剧创作、文本理解、环境感知、情境朗读、概念传达、观演共鸣于一体的，具有实验性、创造性、延续性的戏剧实践。 37°2是一种特殊的温度，它代表着孕育，孕育新的生命，孕育新的作品，它充满了希望，是期待的温度；37°2的身体微微发热，头脑有些眩晕，感觉甜蜜幸福，是爱情的温度；37°2心跳加快，你想跑想跳想高声喊叫，是能量的溫度； 当我们在阿那亚的海边相遇，我们看见37°2，便知道我们去往同一个方向，是默契的温度，六月的阿那亚，六月的戏剧节，六月的37°2，环境戏剧朗读在风格迥异的奇妙空间等你 一种旁观 剧中事件源自作者作为记者时的采访，及其他真实媒体记录。本剧内含两类废墟，一次祭奠和一程历练，最后凝聚成《一种旁观》。“两类废墟”是汶川地震过后的建筑废墟与人们的情感废墟；“一次祭奠”是主人公在整个剧本中所经历的从“不知道为何纪念”到“主动纪念”的过程。“一种历练”是主人公进入远方，接触被遮蔽的世界。而“旁观了什么”和“重建了什么”则是本剧的主要内容。 The play is based on the author's experiences as a journalist and real media reports. It features two types of ruins: the physical ruins after an earthquake and the emotional ruins following a disaster. The protagonist embarks on a journey from passive to active commemoration, exploring distant places and hidden worlds along the way. The main themes focus on observation and rebuilding. 温德米尔夫人的扇子 《温德米尔夫人的扇子》是王尔德的第一部喜剧，所探讨的主题是上流社会的定义，说得具体一点，便是淑女与荡妇之别，王尔德的答案是：难以区别。要做淑女或荡妇，往往取决于一念之差。未经考验的淑女，也许就是潜在荡妇。众口相传的荡妇，却未必是真正的荡妇。在《温德米尔夫人的扇子》里，母女两人都陷入了这种“道德暖昧之境”。 Madame Windermere's Fan is Wilde's first comedy. The theme explores the definition of upper-class society, specifically the distinction between a lady and a fallen woman. Wilde's answer is: it is difficult to tell. Being considered a lady or a fallen woman often depends on a mere shift in perception. An untested lady might be a potential fallen woman. A woman labeled as fallen may not truly be one. In Madame Windermere's Fan, both mother and daughter find themselves trapped in this "moral ambiguity." 等待戈多 《等待戈多》（法文：En attendant Godot‎，英文：Waiting For Godot ）是萨缪尔·贝克特创作的一出荒诞派戏剧，讲述了弗拉季米尔和爱斯特拉冈二人徒劳地等待戈多的到来。戈多的不在场，以及戏剧的其它方面，都导致了许许多多的猜想和解释。原法语版在1948年10月9日到1949年1月29日完成，并于1952年发表。贝克特花了很长时间试图上演该剧，徒劳无果。最后终于在1953年1月5日在巴黎的巴比仑剧院（Théâtre de Babylone）首演。当时的导演是罗杰·布林（Roger Blin），并在剧中扮演波卓（Pozzo）的角色。这次演出获得意想不到的成功，从而帮助贝克特实现突破，成为著名的作家。《等待戈多》的英文版是贝克特自己对他法语版的翻译，并添加了副标题「两幕悲喜剧」。德语区的首演是在1953年9月8日的柏林的宫殿公园剧院。贝克特的世界成名其实应该追溯到这出“重复的单幕“剧作。该剧的名称《等待戈多》从此在国际上成了习语，即无可奈何地等待，漫长而毫无意义、并且最终徒劳无获。 "Waiting for Godot" is a play by Irish playwright Samuel Beckett in which two characters, Vladimir (Didi) and Estragon (Gogo), engage in a variety of discussions and encounters while awaiting the titular Godot, who never arrives.《Waiting for Godot》 is Beckett's reworking of his own original French-language play, En attendant Godot, and is subtitled (in English only) "a tragicomedy in two acts". The original French text was composed between 9 October 1948 and 29 January 1949.The premiere, directed by Roger Blin, was on 5 January 1953 at the Théâtre de Babylone , Paris. The English-language version premiered in London in 1955. In a poll conducted by the British Royal National Theatre in 1998/99, it was voted the "most significant English-language play of the 20th century". 光 一个女人被关在一间牢房里，她没有记忆，不知过去。当灵媒莱尔夫人需要一个新的助手，这个无名的女人似乎是完美的候选人。但随着这个女人的过去开始显露，他们却发现自己都没有做好迎接新力量的准备。 女人是一个如同“光”一般的存在，她串联起了每一个人物的故事，企图去拯救其他人，到最后才发现，自己也需要一团“光”去得到救赎，每个人都是因果去留中的一环，也都是自己的希望。 “物质会腐烂，但我们的精神永存。” A woman locked in a windowless cell, with no memory as to who she is, or how she arrived there.When spiritualist medium Mrs Lyall requires a new assistant, this nameless woman seems the perfect candidate.But as the woman’s past begins to reveal itself, so do new powers neither are prepared for. “Matter may decay, but the spirit persists. The energy we exude remains.” 大水冲了龙王庙，世界末日的水歌谣 仿佛末日将临，世界上的水，从四面八方涌来，唱起歌谣。一场人为的生态灾难正在世界的注视下将人类命运加速推向新纪元。与此同时，一个中国家庭正处在分崩离析的边缘。将要变卖的老房子、交友软件上认识的男孩、福岛核污水排放入海的网络直播、马克斯·弗里施的小说《人类出现于全新世》…… 纷乱复杂的现实让一个女孩陷入了噩梦：变异的海洋生物在广阔水域中游动着，既危险，又自由……这一日，安静的老房间内响起了意料之外的开门声，一个熟悉的身影意外重现——危机之中，我们如何才能重建生活的秩序？ This play is inspired by the appalling scene of the live-broadcast of the discharge of the Fukushima wastewater. It’s a story about the collapse of a Chinese family and how women in this family break free from this outburst and channel out a new way of living. A young translator Hee is haunted by the live-broadcast. Meanwhile, her family is outraged by the runaway of her aunt Tong, who is defined as insane by other family members since she falls out with the elder generation. Hee lives in the old family house where Tong spent her childhood, a place that is about to be sold. One night, Hee encounters various marine animals from the Pacific Ocean in her dream…… 女仆 《女仆》是法国作家让•热内的一部戏剧作品，写了两个对女主人心怀怨恨的女仆姐妹，经常背着女主人做主仆游戏，有一次居然弄假成真，扮演仆人的姐姐用一杯毒茶，毒死了扮演女主人的妹妹… The Maids by French writer Jean Genet tells the story of two maid sisters who harbor a grudge against their mistress. They often play a master-servant game behind her back. One day, the game turns deadly serious when the older sister, playing the servant, poisons her younger sister, who is playing the mistress, with a cup of poisoned tea. 钦差大臣 由英格兰著名剧作家，诗人，画家霍华德·巴克于1984年创作。原名为《Scenes from an Execution》。剧中描写了一位威尼斯女画家受托于威尼斯当权者，去绘制一幅赞美勒班托海战（1571）胜利的巨画，但生活放荡，个性独立的女画家决定利用这次机会描绘一幅更能表达真实战争残酷的作品。矛盾就此展开。 Written by Howard Barker, the famous English playwright, poet, and painter, in 1984. The original title was "Scenes from an Execution". The play depicts a Venetian painter commissioned by the Venetian powers that be to paint a huge painting in praise of the victory of the Battle of Lepanto (1571), but the artist, who lives a life of debauchery and independence, decides to use the opportunity to paint a work that better expresses the true brutality of war. This is how the conflict unfolds. 希波吕托斯 欧里庇得斯是古希腊三大悲剧作家中的最后一位。本次朗读用现代的方式对古代悲剧进行了另一种解读，用一个全新的视角对欧里庇得斯的野蛮世界进行了深入探讨。 卡特琳娜·伊万杰拉托斯是雅典戏剧节的舞台导演和艺术总监，她对于欧里庇得斯《希波吕托斯》的现代解读可以算作是对经典作品的一次激进尝试。该版剧目在2023年雅典戏剧节上由希腊国家剧院制作并出演。本次戏剧朗读的内容来自新版的《希波吕托斯》，体现出伊万杰拉托斯对于古代戏剧的持续研究。 本次戏剧朗读基于该剧的全新删节版，着重强调了演员之间的对话以及作曲家亚历山德罗斯·德拉科斯·克提斯塔基斯现场演奏的音乐。 The reading is a contemporary take on the ancient tragedy proposing a new perspective that delves into the savage world of Euripides, the last of classical Athens’s three great tragic dramatists. Evangelatos’s own modern version of Euripides’s Hippolytus is an example of a radical approach to the classics. Katerina Evangelatos, stage director and Artistic Director of the Athens Epidaurus Festival, initially staged a full-scale production of the play produced by the National Theatre of Greece as part of the Athens Epidaurus Festival 2023. This performance reading is a new version of the play with which Evangelatos continues her research on ancient drama. The performance reading is a new abridged version of the play focusing on the dialogue between the actors and the live music performed by the composer, Alexandros Drakos Ktistakis. 鸟 两个厌倦了城邦生活的雅典人和一群鸟一起在天和地之间建立了一个“云中鹁鸪国”。这个国家是一个理想的社会，其中没有贫富之分，没有剥削，劳动是生存的唯一条件。这部喜剧是欧洲文学史上最早描写理想社会的作品。并对后世的喜剧创作产生了重要的影响。阿里斯托芬因此被誉为“喜剧之父” Two Athenians, tired of city life, convince the birds to create a great city in the sky, an ideal society between heaven and earth. This utopia has no rich or poor, no exploitation, and survival depends solely on labor. This comedy, one of the earliest in European literature to depict an ideal society, significantly influenced later works. Aristophanes, the author, is thus hailed as the "Father of Comedy." 厕所在这里 一个绝望的女人拿着旧纸袋看着树上的绳子，遇到了一个男人，男人扭扭捏捏走来走去，语无伦次，他们展开了一场看似日常，又略显怪异的交谈。什么样的行为是不奇怪的？厕所是否存在？男人告诉陌生人厕所的方向正确吗？女人有稀奇古怪的建议合理吗？世界上的事情终究都会正常地运转下去。平凡又不平凡的夜晚，奇怪又不奇怪的男女，两人的相遇，改变了各自的命运。 A desperate woman with an old paper bag looking at a rope in a tree meets a man, who walks around squirming and incoherent, and they strike up a seemingly everyday, yet slightly bizarre conversation. What kind of behaviour is not weird? Do toilets exist? Is it right for a man to tell a stranger the direction of the loo? Is it reasonable for a woman to have odd suggestions? Things in the world go on as normal in the end. Ordinary and extraordinary night, strange and not so strange man and woman, two people meet and change their destiny. 海边 《海滨》是剧作家⽡杰迪·穆⽡德“誓⾔之⾎”四部曲中的第⼀部，讲述了一场⾏走在灾后世界的诗意的苦旅。主⼈公威尔弗⾥德在毫⽆准备的情况下得知了⽗亲的死讯，于是踏上了⼀条安葬⽗亲亡灵，回归故⼟的路。但由于战后死伤⽆数，安葬变得困难重重。⽗亲的亡灵仍然鲜活，不时地与⼉⼦进⾏着对话，⾝背⽗亲遗体的威尔弗⾥德发觉原来之前的⾃⼰对⽗亲其实⼀⽆所知。在沿途的旅程中他邂逅了形形⾊⾊不同的⼈，每⼀个⼈都背负着⾃⼰⽣命的⼗字架，成为了他的同⾏者，陪伴着他进⼊下⼀段旅程，他们是⼀群年轻的理想主义者，也是这深陷于残酷之中的世界⾥仅存的诗意。 A wildly theatrical tale of war and individual discovery, ‘Littoral’(‘Tideline’ in English) tells the personal story of Wilfrid, a young man born in Montreal, who struggles to bury his father in his parent's homeland. There, he acquires friends who all dream of a better life, and confronts a country scarred by war, where an additional corpse is one too many. Followed by ‘Scorched’, ‘Forests’ and ‘Skies’, ‘Littoral’ is the first part of Wajdi Mouawad's critically acclaimed dramatic quartet set “The Blood of Promises” in the painful wake of the past century. 女孩们 “我想，在五或十年之内，我们一定会拥有各种各样的幸福。”托什和露，这两个女孩永远在那儿。她们拥有彼此，她们和其他人不一样，这就够了。《女孩儿们》于2020年在皇家宫廷剧院首演。剧本是三个女孩的私密谈话：年轻女性对彼此产生了柏拉图式的奉献也拥有对彼此的控制。女性让彼此感到美丽、强大、被看见、被听见。女性也让彼此觉得不美、愚蠢、淫荡或冷漠。然而，正是这些关系造就了女孩儿们，造就了女孩儿们的个性和世界观。 Scenes With Girls premiered at the Royal Court Theatre in 2020. The play features the intimate conversations of three young women, exploring their platonic devotion and control over one another. These women make each other feel beautiful, powerful, seen, and heard. Yet, they can also make each other feel unattractive, foolish, promiscuous, or indifferent. It is these relationships that shape the girls, their personalities, and their worldviews. 桃花扇 孔尚任根据史实创作了传奇剧本《桃花扇》，通过侯方域和李香君的爱情和众多角色在动荡局势下的不同遭遇，表现了一个朝代的覆亡和丰富的社会历史内容。300多年过去，肖竞以当下的语言和情境重写了这个故事。此版《桃花扇》是对孔尚任笔下的历史进行挑战，更提出创作中的永恒问题：我们应该怎样对待经典？我们可以怎样对待经典？ Kong Shangren's legendary play, The Peach Blossom Fan, is based on historical events. It portrays the fall of a dynasty and its rich social and historical context through the love story of Hou Fangwei and Li Xiangjun, as well as the varied fates of numerous characters amidst the turmoil. Over 300 years later, Xiao Jing has rewritten this story with contemporary language and settings. This version of The Peach Blossom Fan not only challenges the historical narrative penned by Kong Shangren but also raises timeless questions: How should we treat the classics? How can we reinterpret them? 饥饿艺术家 阔别多年的饥饿艺术表演将于近期重新登上舞台！现诚招观众亲临现场感受饥饿艺术的魅力！您将在这里看到经过四十天漫长绝食的饥饿艺术家，并探寻他追寻伟大饥饿艺术的心路历程，见证他直击肠胃——直击灵魂的殉道之路！饥饿艺术表演，期待诸位的光临！ After many years of absence, the Hunger art performance will soon return to the stage! Now sincerely invite the audience to come to the scene to feel the charm of hunger art! Here you will see the hunger artist who has been on a hunger strike for 40 days, and discover his mental journey in pursuit of the great art of hunger, and witness his martyrdom path to the gut - to the soul! Hungry art performance, looking forward to your presence! 安提戈涅 《安提戈涅》是法国剧作家让·阿努伊的代表作，根据古希腊剧作家索福克勒斯的同名戏剧重写。该剧讲述了在希腊城邦忒拜，俄狄浦斯王的两子为夺王位而战死后，其舅父克瑞翁继位并颁布法令：守城者厚葬，攻城者曝尸。然而，俄狄浦斯之女安提戈涅因深爱兄长，不顾禁令执意埋葬攻城战死的兄长，最终与舅父发生冲突，酿成悲剧。该剧1944年在巴黎首演后大获成功，至今仍被世界各地舞台所演绎，剧本也常居法国图书网站销售榜首。 "Antigone," a masterpiece by French playwright Jean Anouilh, is a modern reinterpretation of Sophocles' ancient Greek tragedy. Set in the Greek city-state of Thebes, it follows King Oedipus's daughter, Antigone, who defies her uncle Creon's decree to bury her fallen brother, sparking a tragic conflict. Premiering in Paris in 1944, the play was a huge success and continues to be performed on stages worldwide, with its script frequently topping the sales charts on French book websites. 犀牛 《犀牛》是剧作家尤金·尤涅斯库于1959年创作的一部戏剧作品。主要写人在物的绝对统治之下，丧失人格，异化为犀牛。作品围绕小公务员贝兰吉的一场荒诞奇遇展开。他对生活不满，对未来感到茫然，时常有一种莫名其妙的恐惧感、孤独感，但能保持独立人格。犀牛刚刚在生活中出现，人们深为惊讶，或高谈阔论，或漠然置之。一旦演变犀牛成风，追随者又络绎不绝。这种异常的突变反而使贝兰吉头脑清醒起来，他一边挣扎，一边反抗，决不随波逐流。 Rhinoceros is a play by playwright Eugène Ionesco, written in 1959. It mainly describes how people lose their personalities and degenerate into rhinoceroses under the absolute dominance of objects. When rhinoceroses first appear in life, people are deeply surprised and either talk about it endlessly or ignore it indifferently. Once the trend of rhinoceros-worship becomes popular, followers come in droves. This abnormal mutation actually makes Berenger become more clear-headed. He struggles andresists, refusing to go with the flow. 婚姻生活 几个生活的场面，几段貌似悠然的生活对话，却让我们见证了这一对，朋友们眼中的恩爱夫妻的婚姻生活从山峰跌至谷底的过程。二人的原有的生活彻底崩塌，甚至连他们的精神状态也似山崖上的独枝，飘摇不定。剧中人在泥潭中不能自拔，旁观者似乎也随着二人越陷越深…… A few snapshots of daily life and seemingly casual conversations unveil the tragic descent of a once-admired couple's marriage from its peak to rock bottom. Their previously stable life collapses entirely, leaving their mental states teetering on the edge of a precipice. The protagonists find themselves ensnared in a mire from which they cannot escape, pulling the observers down with them into the depths of their despair. 鸡鸣早看天 以铜为鉴，可整衣冠; 以古为鉴，可知兴替。 — 中国成语 Taking copper as a guide, one can adjust one's clothes and crown; Taking history as a lesson, we can know the rise and fall Chinese idioms 一个乡村医生的噩梦 改编自卡夫卡的小说《乡村医生》：一个乡村医生要从家里出发，去十里外的村子给人看病，但是没有可以拉车的马而无法出行，正在医生一筹莫展的时候，两匹马在医生的猪圈里出现了，马车载着医生出发了，从此他坐在人间的车子上，驾着非人间的马，四处奔波，饱受折磨，永远也回不到出发的地方。 A Country Doctor's Nightmare is adapted from Kafka's novel A Country Doctor. The story follows a country doctor who urgently needs to visit a sick patient in a village ten miles away. However, he has no horse to pull his cart. Just as he despairs, two horses appeared, and the carriage sets off. From then on, he is trapped in a surreal journey, driven by otherworldly horses, endlessly traveling and suffering, never able to return to his starting point. 去年的树 剧本改编自日本童话《去年的树 》。 鸟与树是好朋友，鸟总是唱歌给树听。 冬天，鸟要飞回南方，许诺春天回来。春天鸟归来，树已经不在了。 鸟四处寻找“树”。 树被锯成了火柴，小鸟找到火柴点燃的烛火。 鸟儿对着烛火唱完一首无声的歌，就又飞走了... The script is based on the Japanese fairy tale The Tree of Last Year by Nankichi Niimi. The Bird and the Tree are good friends, with the Bird always singing to the Tree. In winter, the Bird flies south, promising to return in the spring. When spring arrives, the Bird comes back to find that the Tree is gone. Searching everywhere, the Bird discovers that the Tree has been cut down and made into matches. Eventually, the Bird finds a candle lit by those matches. The Bird sings a silent song to the candle flame and then flies away... 变成棒子的人 蒙娜丽莎啊，你在微笑。身披着微笑之谜，成为了永恒。即使身披盔甲，对于战士们，没有永恒。坦克，亦或是装甲车，也没有永恒。铁会生锈，氧化之后 成为赤色的砂，废铁堆积之处，无名战士之墓。不会生锈的是 蒙娜丽莎 不会氧化的是微笑，比之铠甲更坚硬，微笑来做面具。所以 祝贺您：弗朗西斯科·戴尔·吉奥亢多夫人，您的岁数是，四百九十岁。祝贺您，祝贺您，四百九十岁的蒙娜丽莎婆婆 Mona Lisa, you're smiling. The mystery of wearing a smile has become eternal. Even wearing armor, there is no eternity for warriors. Tanks, or armored vehicles, also have no eternity. Iron rusts and oxidizes into red sand, where scrap iron accumulates and remains the tomb of an unknown warrior. The one who won't rust is Mona Lisa. What won't oxidize is a smile, harder than armor. A smile is used as a mask. So congratulations: Mrs. Francisco del Giocondo, your age is 490 years old. Congratulations, congratulations. Granny Mona Lisa, 490 years old 雷雨 《雷雨》是由我国著名剧作家曹禺先生于1934创作的一部杰出的现实主义悲剧。故事发生在20世纪20年代的一个封建家庭里。这部作品以雷雨为背景，象征着自然界的不可抗力与人性的挣扎。它深刻地揭示了一个封建家庭的腐朽与道德沦丧，展现了人性的复杂与矛盾。同时也展现了亲情，爱情与家庭责任之间的冲突与纠葛。 Thunderstorm is a remarkable realist tragedy written by the renowned Chinese playwright Cao Yu in 1934. The story is set in the 1920s within a feudal family. Against the backdrop of a thunderstorm, symbolizing the irresistible forces of nature and the struggles of human nature, the play deeply exposes the decay and moral decline of a feudal family. It highlights the complexities and contradictions of human nature, and the conflicts and entanglements between family affection, romantic love, and family responsibilities. K之机器 一个城堡下面的村庄，准备进入城堡。他自称是城堡聘请来的土地测量员，却拿不出任何证明。他寄宿在村庄里，用尽心机，费劲努力，想要进入城堡。本次演出将由人工智能工具续写《城堡》的结局。 Das Schloß (The Castle) is an unfinished novel by Franz Kafka. The protagonist, K., arrives in a village governed by a mysterious bureaucracy operating from a nearby castle. Heclaimstobealandsurveyorsummoned by the castle authorities, though he has no proof. Boarding in the village, K. expends great effort to gain access to the castle. This performance will continue the story, with an ending generated by an artificial intelligence. 建筑大师 《建筑大师》讲述了一位毁灭性的天才——索尔尼斯的兴衰。一场神秘的大火让他成为建筑大师，功成名就后，他渴望再次登上巅峰。他的超凡活力和不羁魅力吸引了年轻女子，但同时也让他陷入道德边缘，在对青春的渴望与威胁之间徘徊。 "The Master Builder" tells the rise and fall of a destructive genius, Solness. A mysterious fire propels him to become a master builder, but with success, he yearns for a new peak. His extraordinary vitality and charm attract young women, yet also lead him to the edge of morality, torn between the desire for youth and its threat. 一条狗的研究 当我窥见生活中存在的一条小小的裂缝时，我的忧虑极有可能会引发其他狗类的不悦。 七条音乐家小狗从黑暗中走来，我就这样被凭空出现的音乐擭住，疑虑和挣扎毫无作用，只能在喧闹中被裹挟至精疲力尽。当我认为我已经被击垮时，我突然发现音乐狗的腿部其实正在不停地抽搐颤动，他们用近乎绝望地目光凝视彼此。当我晃过神来，我开始思考音乐，开始思考土地，思考食物，去探究周遭一切孤独和幻想。我对此毫无怨言，因为这是我的本性…… When i glimpsed a tiny crack in life, my worries could easily upset the other dogs. Seven musical dogs emerged from the darkness, and I was instantly captivated by the music that seemed to come out of nowhere. Doubt and struggle were futile; I was engulfed by the cacophony until I was utterly exhausted. Just when I thought I was defeated, I noticed the musical dogs' legs trembling, and they gazed at each other with almost desperate eyes. As I regained my senses, I began to ponder the music, the land, the food, and to explore the surrounding solitude and fantasies... 未来戏剧 SHOWCASE 阿那亚戏剧节发起的全新戏剧竞赛单元 「未来戏剧 SHOWCASE」是由阿那亚戏剧节发起的全新戏剧竞赛单元，由戏剧导演李建军与孟京辉共同策划，旨在启迪新剧场美学发生，促成当代戏剧革新的不断演进。本竞赛单元面向青年戏剧人开放报名，招募具有创新精神、独特美学风格的创作者及作品进行展演，特邀海内外知名戏剧节发起人、戏剧导演、剧场制作人及评论家组成「SHOWCASE 国际评委会」进行专业评选，9组入围剧目将竞逐丰厚创作支持奖金以及受邀下届阿那亚戏剧节特邀剧目单元的机会。期待为优秀戏剧作品打造连接观众、剧场和市场的国际性舞台。 生活艺术 EVOLUTION ARTS 候鸟300场地 候鸟300 以“候鸟300”计划为主体，是阿那亚戏剧节最原始、最浪漫、最自由、最有生命力的存在。 2021年诞生于阿那亚戏剧节的 候鸟300首次以"候鸟”作喻，开创性地搭建起全新展演平台和交流网络，每年汇聚300位不同身份、不同背景、来自世界各地的创作者，共同展演、共同栖居、共同创作300小时。 候鸟300专注于内容创作本身，打破常规的行业标准。不追求竞赛，不限制身份或年龄，品牌或平台，个人或集体，行业或机构，一起讨论规则、彼此启迪、共同生活、共同创造，不断变化，不断生长。 In this year's OPEN Call , we received a total of 545 groups of works, with a total of 1,946 artists participating. Among them, 144 groups of theatre works and 781 artists; 129 groups of installation/sculpture works and 337 artists; 86 groups of performance works and 319 artists; 68 groups of painting/design works and 114 artists; 58 groups of video/photography works and 145 artists; 24 groups of music works and 124 artists; 19 groups of life art works and 76 artists; Poetry/Text 9 groups of 20 artists; Workshop 3 groups of 8 artists; Architecture 2 groups of 6 artists; Magic 2 groups of 2 artists; Opera 1 group of 14 artists. TEAM / INDIVIDUAL 程雨阳 & 旁观身体剧场 二十一艺术工坊 中国美术学院象山剧社 静待春归 Kitchenland荒原 酒精艺术家 黑椅子剧团 黑山羊剧团 刘海龙工作室 不止戏剧 田野 中国传媒大学白杨剧团 潮湿动物园剧团 加州大学伯克利分校团队 仨瓜俩枣！ 舒米 张力川 魔术师 Max 团队 傅文欣 疯玩肢体剧场 木子璟舞团 巫五 袁浩 刘苏漫 x 洪亦涵 你说的都队 投掷现实 PM.4 郭靖 秦然x魏虎虎 黄彦琳和孙梦瑶 鞋靶子 景德镇大王 重影剧场 玖拾舞蹈工坊 良心艺术工厂 张大强的白日梦 UFO 乡村大玩具事务所 张释予 景德镇大王们 汉仪字库（赵蕾、孙溥键） 陈芷豪 郑闻卿 堡礁队 西美公共拓展计划——教师创作团队 西美公共拓展计划——solar创作团队 AmilGer（曹思苒、艾伦） 吴佳馨 李建安 中国美术学院公共空间艺术系艺术工程研究生团队“7” 尹宝 × 郭明童 谢俊义 西美公共拓展计划 —— 藩篱创作团队 傅世杰 尝尝咸淡艺术小组 鲁迅美术学院实验艺术系 岛+生产队 冯刀刀工作室 罗马湖人团队 九成九团队 直林工作室 梁宇舒 哈拉木吉 于佳白 王姝雅 史茜榕 午夜小酒馆 艺奇客 税佳仪 Chris Labrooy / 保时捷中国 P.PLEADER 西美公共拓展计划 —— 香蕉漂流创作团队 小猪找肉 Lee喻丹 丁奇胜 我比姚明高 苏丹VSD厂牌 刘韡 姜杰 赵半狄 马秋莎 梁翘柏 陈天灼 Vāta瓦它 荒野之国 卤猫 直得建筑 华成/高原骑士 尚盟团队 DOGTOWN 冯馨亿 锤瓜CuiGua H2 Naskhan 囍适乐队 BCR Voyou 歪友 Violet Indigo 紫罗蓝 Simia 希米亚 边亚 天童 染墨、胡（炸哥）、张文谱、于力、碗圆 杨小一 、未来古典 北京琂樂堂、李俊义 小兵乐队 生如夏花团队 Brayden Meng 王晓芳＆杨海崧 Kiiss Shao 邸晋军工作室 周尤 扎西兰措 摄影师 美队 李秋舒 高源 张旭龙 常春晓 大黄狗YellowCode 召换ZHAOHUAN 凯特与苏菲 虎必来 半束玫瑰 Filoméla Studio 耀扬的厨房 TripSmith行匠精酿 牛啤堂精酿啤酒 戏梦星球 Sophie和她的小艺术家们 合木建筑工作室&任爽 张佳晶、张东光 马岩松 新世相 始祖鸟 ReBIRD™ 360350440730/礼度房车 山海浮生 日出与仙人掌 禁闭 待春归 冰冷热带鱼 一只绿毛怪 账目两清 都灵马戏团 一块空地和四个笑话 Exploring Love… 倾斜的角度 海鸥海鸥 哈姆雷特or哈姆雷特机器？ 快乐王子 洛丽塔定律 心灵术体验 脑入侵2.0 Maximum Wonder 麦克斯的奇迹 Appearing M先生和F女士 黑洞 潮语 垃圾 种子不见了 人体喷泉——海的那边 新建身体测量单位 十分钟的距离 四则恐惧故事 悟·空2024 Collapse 享受 我的头，像皮球 ICE PIECE 透明 后八仙过海 白日梦 《安稳觉》《流动的诗性》 哪吒闹海 数·眠 You Pay You Gain Gain 走进来，飞出去 乘风 沨沨 那些未知的 《成为大海》《BOOM》《作为质疑的方式》 《Fight La Nina，拉尼娜》 A Moving Healing Home 移动的疗愈之家 拟象 时间沙丘-时间量化装置 《星陨漫游指南》 《星际漫语-异世界观察者》 《在把你带来的大海中》 藩篱塔 阿雷西博信息 项链/逆世界/大地之链/星尘/传送门/逃离 海鲜烧烤 岛+荒野图书馆 《回忆的余温》《烤鸟》 混生剧场 异星来客 大地烟火 海子边的旅人 赞美诗 《Eat it！》 Light v. 十日谈 樢 保时捷 996 天鹅 无界视界 香蕉YOU CAN BE COOL 饥饿地漫游 叁 可能的未来 旱船 游牧 / 竞折腰 泞 化身 《忏悔云》confessioncloud 埃里克·卡特曼的失败者俱乐部 风织梦轮的耳语 Whispers of the Windwheel 散财财神+二手玫瑰 舞 Oasis 岛屿 风的聚会 9X9 《我们脚踩的这片土地是真实的》 升空节 夏日躁动 图瓦原生态音乐展演 意外之囍 BCR 2024 夏至音乐日 2024 夏至音乐日 2024 夏至音乐日 “亚子在水边”音乐会 春江花月夜 诗歌当铺 一起少年 书法盒子 从前 有个香港 致大海 Urbanite Odyssey 《水道无形》艺术计划 夜以继日-候鸟300的日与夜 纪念碑 第二回 Match DayDream 在剧场，你就是宇宙的中心 这是跳舞的时刻 原来 瞬间即永恒 影像视觉的本体行为——真滋味 《界》 惟有饮者流其瓶 20位摊主和未来朋友的城市流浪计划 在海里干的那些事儿 方便面是不能胡来的 《归·海》 Ink With Glory 鸟其林 喝好醉好 复活过客酒吧300H 一直游到海水变蓝 RETURNING TO THE SEA 你的自由就是我的自由 目外晃神儿 沙城 City of Time 为共同的行动 重生 进化 搞创作还是需要舒服地呆着 WORKS 候鸟沙城“它就是一个真实的‘不存在’的城市，是所有疯狂想象的300候鸟的临时栖息地和载体，空间和动线都是为了人的行为而产生，图腾感的平面是呼应现代文明的另一种可能性”。“建立一个沙滩边的乌托邦，空想中的城市，隔绝现实，一个仅仅关于人的行为和自然、时间之间的关系的地方”由著名建筑师马岩松设计，是300位创作者们⼀起生活、创作、表达自我的场域，限时存在300个小时。 跨界艺术 CORSSOVER ARTS 戏剧房子 阿那亚戏剧节最有想象力的板块，探索时空中的多重表达。 2024年，独属于阿那亚戏剧节的“戏剧房子”将融入陈明昊导演的戏剧新作《海边的伽利略》；以空间与时间为名，建立一个可供观众生活、体验的专属剧场。与此同时，由声音艺术策展人殷漪特别策划，共同打造声音艺术场域。声音装置与观念性声音作品融合于表演与空间，以“伽利略之塔”为核心，营造独树一帜，辐射全阿那亚的聆听时空。将当代艺术、文学、美术、音乐、舞蹈、多媒体、美食等不同形态的媒介与艺术观念汇集“伽利略之塔”，进行7天7夜的跨界畅想，构建奇妙的戏剧新生态…… 多媒体装置 《白光》White Light 1666 年 有一束光 照向牛顿的三棱镜 白光被分解成七色光带 光谱学的传奇史诗由此开启 汪洋时空的对岸，一座纯白色的礼堂静立海边，夜幕下化作映照一切的棱镜，将自然与艺术创造的每一束光和色彩，折射出充满无限可能的视觉奇观。作品《白光》以光的色散概念为灵感来源，在色散产生的复杂且迷人的视觉效果中，用数字影像探索着光与色彩、光与空间的关系，并借以象征戏剧艺术的深度、复杂和无限延展性。 迷离、秩序、动感、稳定......在色彩营造的光学幻觉中，我们共同感受光的涌动、起伏与呼吸。 公共艺术 PUBLIC ARTS 海边系列 表达之前，先有重要性感受 阿那亚戏剧节，“一半是海水，一半是戏剧”，致力于在海边呈现年轻、先锋、新锐的国际戏剧盛宴，至今已举办三届，反响热烈。其中，作为阿那亚戏剧节公共艺术单元的重磅内容，海边对话旨在以深度对话的形式，邀约各行业人士就当下戏剧话题、社会议题等展开对谈，期望以富有思想深度与人文关切的内容，推动国内外戏剧艺术的交流和发展，促进多元思想的融合和激荡。今年，海边对话将迎来更加令人瞩目的国际化、专业化嘉宾阵容：国际八大戏剧节的九位艺术总监，十余位海外知名导演、策展人、艺术家参与对谈。同时，今年还将首次引入学术性话题，以戏剧艺术为起点，交流灵感，思想共振。 6.22 风格与表达 6月22日，在保时捷风格空间举行了第一场海边对话「风格与表达」，由金话筒奖获得者春妮主持，对谈嘉宾为阿那亚创始人马寅，MAD建筑事务所创始人马岩松，阿那亚戏剧节艺术策划、候鸟300发起人及艺术总监刘畅，中国美术学院教授郑靖。 6.23 向外走，向内看 6月23日上午，第一场【海边对话】以“向外走，向内看”为题，引领我们重思旅行的多重面向。由谷大白话担任本场的主持人，与青年作家柏琳、自由摄影师李亚楠和自由摄影师孙一冰三位嘉宾一起，在阿那亚社区的艺术地标孤独图书馆中，深入分享了各自的旅行经历和旅行之于他们的意义，探讨了在当下的语境中我们该如何重新理解旅行精神。 6.25 青年戏剧的声音 6月25日下午的【海边对话】以“青年戏剧的声音”为题，由李建军导演担任本场主持人，与UCLA戏剧电影电视学院院长、教授，同时也是资深戏剧导演的布莱恩·凯特（Brian Kite），戏剧导演、澳大利亚墨尔本国际青年戏剧节主席迈克尔·康托尔（Michael Kantor），和盖蒂研究所驻院访问学者、中国研究博士尤丽娅·梅利尼科娃（Yulia Mylnikova）一起就青年戏剧的现状，青年戏剧工作者们的工作方法等议题分享了各自独到的行业洞察与宝贵的建议 海边放映 新锐戏剧力量，激发创作活力 意在展现戏剧与电影的边界及融合。今年展映的片单类型多元、整体的风格调性通俗、轻盈、友好。片单一方面涵盖了莎士比亚、布莱希特、契诃夫、贝克特等戏剧大师经典文本的影视化改编，另一方面选取了罗迪•道尔、萨姆•门德斯等当代戏剧家、戏剧影视导演的影视化作品和高清戏剧录像，还包括了围绕剧场等戏剧幕后题材故事展开的影史经典作品和新锐作品。 海边大巡游 & 海边篝火 海边的篝火装置安静地伫立在无尽的深邃中，等待着一次彻底的燃烧。 海边篝火装置《你的自由就是我的自由》由候鸟艺术家张东光与艺术家任爽设计而成。含义取自于泰戈尔诗集（《飞鸟集》）中的一句：“弓在箭要射出之前，低声对箭说道：‘你的自由就是我的自由。’”参与者们将环绕其周围，共同见证装置从零星火苗到熊熊烈火的全过程。燃烧结束后，整个装置将褪去外壳，成为另外一个装置。本装置重在聚焦“发生”的全过程，意在唤醒人们对自然演变与自由的再感知。重新定义，正在发生，这也是“候鸟 300”永恒的主题。

2023 ARANYA THEATER FESTIVAL CORE SECTIONS 阿那亚戏剧节 核心内容回顾 戏剧艺术 THEATER ARTS 2023开幕大戏 在库拉跨国剧团的上一部作品中，多达十种语言的人在舞台上相遇，而库拉跨国剧团的最新作品《形同陌路的时刻》发生在一个人们还没有、还不用或不再说话的公共空间。来自6个国家的12位演员穿梭在时空交叠的空间中，在这个空间中，一个欧洲将被重构。在疆域历史流变不居的阿尔卑斯-亚得里亚海地区，库拉跨国剧团通过深入来自卡林西亚州格里芬的奥地利作家彼得·汉德克的文本，去习得他那使文字隐于无言的戏剧作品中的创作精髓。 After up to ten languages met on stage during the last productions, the Kula Compagnie’s latest production “The hour we knew nothing of each other” explores a public space in which people do not yet speak, do not yet speak again, or do no longer speak. 12 actors from six countries navigate a space in the temporal in-between, a space in which a European agora is reconstituted. In the Alpine-Adriatic region with its turbulent history of changing borders, the KULA Compagnie goes into the text of Peter Handke, the Austrian author from Griffen, Carinthia, and follows the idea of Peter Handke to make his own text disappear in a wordless theatre play. 2023闭幕大戏 圣诞节快要到了，娜拉正沉浸在节日的气氛中。 她有可爱的孩子们，还有体贴、温柔的丈夫海尔茂。海尔茂的事业正蒸蒸日上。然而有一天，海尔茂的部下来拜访娜拉，并揭露了她深藏的秘密，娜拉开始意识到她一直被丈夫当作洋娃娃对待，于是她决定摆脱这样的控制。这部由“现实主义之父” 亨里克·约翰·易卜生创作的剧作对全球女权运动产生了深远影响。导演宫城聪在1935年大胆地将该剧的背景语境从欧洲改为日本，这一极富创新性的改编值得在剧院中细细品读。 Christmas is almost here, and Nora is in the holiday spirit. She has lovely children and a thoughtful, affectionate husband, Helmut. Helmut's business is flourishing. One day, however, Helmut's men come to visit Nora and reveal her deepest secrets. Nora begins to realize that she has been treated like a doll by her husband, and she decides to get rid of this control. This great social play by “the father of realism” Henrik Johan Ibsen had a large impact on the global feminist movement. MIYAGI Satoshi, the director, boldly changed the setting of the play from Europe to Japan in 1935. The innovative interpretation is certainly worth witnessing in the theatre. 铁皮鼓 从诞生之日起，奥斯卡·马策拉特 (Oskar Matzerath) 就认识到我们所生活的世界充满了艰苦。他母亲留下的铁皮鼓为他打开了一扇希望之门：成为一个鼓手，成为一个把矛盾当作创造动力的艺术家。 在三岁生日那天，奥斯卡决定不再长大，他不再继续练习和演奏铁皮鼓，他从一个弱者的视角来观察二战，将个人故事与历史联系起来。奥斯卡成为世界的观察者，同时也是世界的参与者。在二战结束的时候，奥斯卡也决定面对人生的所有困难，他决定成长，长成一个独立的、能承担责任的人。比起负罪感，诺贝尔奖获得者君特·格拉斯终其一生都认为其需要为德国纳粹犯下的罪行负责。《铁皮鼓》亦将他的尝试可视化。尽管围绕这部小说和作者的争议不断，这不妨碍其文本本身成为德国战后文学中的一处里程碑。导演奥利弗·里斯在原版剧作之上进行了改编，从演员尼科·霍洛尼克的独角戏视角讲述了一个鼓手的故事。 Since birth, Oskar Matzerath rejects the world and views it as a disaster. He refuses to grow up, instead choosing to watch and play the drums. Oskar narrates the development of fascism and Nazi ideals from his perspective, witnessing adultery and attending a Nazi rally. He becomes an observer and a participant in a world where civilizational collapse and genocide are both possible. For all time of his life, Nobel Prize winner Günther Grass has felt not guilty but responsible for the crimes that have been committed in the name of the German people. The Tin Drum is also an attempt to make the mechanisms of the own seduction transparent. Despite all controversies around the novel and the author, this text stands for a milestone in German post-war literature. Director Oliver Reese has adapted the original version by telling the story of the eternal drummer from the perspective of the main character played in a solo by the actor Nico Holonics. 虫子 克莱尔·丹科希妮导演喜欢小动物，尤其是昆虫。她怎么能错过卡夫卡的杰作《变形记》呢？这部著名的小说中，主人公出身于传统而受人尊敬的家庭，但他却变成了一只硕大而恶心的蟑螂。受马尔克斯、克雷格、坎特和塔伦蒂诺的启发，克莱尔·丹科希妮根据《变形记》创作了《虫子》这部剧，充满马基雅维利惊悚片形式的奇幻黑色寓言，将令人不安的角色、幽默和幻想结合在一起。悲剧，怪诞——变成一只蟑螂不一定是光荣的蜕变，即使这个想法能把卡夫卡笑死——这种几乎具有腐蚀性的、非理性的创作将是纯粹巴洛克式幻想的戏剧发明，混杂着无限邪恶但又令人愉悦的荒谬性。 Director Claire Dancoisne loves small animals, especially insects. How could she miss Kafka's masterpiece “The Metamorphosis” then? The protagonist of this famous novel comes from a traditional and respectable family, but he is transformed into a large and disgusting cockroach. Inspired by Marquez, Craig, Kanter, and Tarantino, Claire Dancoisne created the play "BasiK InseKte" based on "The Metamorphosis", a fantastical noir fable full of disturbing characters, humor, and fantasy in the form of a Machiavellian thriller. Tragic, grotesque - turning into a cockroach is not necessarily a glorious metamorphosis, even if the idea would make Kafka laugh. This almost corrosive and irrational creation would be a theatrical invention of pure baroque fantasy, mixed with an infinitely evil but delightful absurdity. 没有午餐没有馅饼 织布厂的女工，每隔两个小时离开机器进行一次锻炼，因为她们必须保持身体健康。领到工资的矿工，去商店和银行还清债务，然后用下一份薪水还下一份债务。芭蕾舞演员，从不会抱怨高难度动作的要求，因为这毕竟是她的工作。打扫房子的女人，享受她唯一的休息时间，因为她可以得到一支她甚至不会抽的香烟。 戏剧《没有午餐没有馅饼》，讲述了那些被忽视的、隐形人一般的体力劳动者的故事。同时，这出戏也在质询：我们应该如何应对来自生活的无力感？我们如何找到自己的主体性？ Women workers in the weaving mills leave the machines for exercise every two hours because they must stay fit. The miner who receives a paycheck goes to the store and the bank to pay off his debts and then uses his next paycheck to pay off his next debt. The ballerina never complains about the demands of difficult moves because that is, after all, her job. The woman who cleans the house and enjoys her only break because she can get a cigarette, she won't even smoke. The play " Nothing About Us Without Us " tells the story of neglected, invisible people who are generally manual laborers. At the same time, the play asks: How should we respond to the powerlessness that comes from life? How do we find our own subjectivity? 红色 一台经典，三个角色，100分钟！2010年百老汇最佳舞台剧！七项托尼奖提名！六项托尼大奖！抽象派绘画大师马克罗斯科和杀死他的年轻艺术家精彩绝伦的对话！主持人说：“在绝对的艺术之上还有什么？”自命不凡的罗斯科说：“要让那些有钱的杂种毫无食欲！” 年轻艺术家说：“你不缺钱，也不缺名声，为什么要让自己伟大神圣的艺术沦为豪门饭店的装饰品？”主持人说：“孩子必须杀死父亲，尊重他但消灭他！”新的《红色》，作品和当下紧密相关。以戏剧卡拉OK的形态，大胆尝试。加入了新的角色，仇视并自我解剖。年轻艺术家每场邀请一位，即兴参演。一头老雄狮还在咆哮，但这无济于事。作为导演，他只能在自己的作品前不停的演说。天价的订单，揭露了艺术家创造力衰竭的真相。三个不同身份的虚拟人，闯入舞台。白色礼堂，一场对死亡的庆典。 请看：艺术家在商业社会的艺术创作困境中突围！ One classic, three characters, 100 minutes! Best Broadway show of 2010! Seven Tony Award nominations! Six Tony Awards! A fascinating dialogue between the master of abstract painting, Mark Rothko, and the young artist who killed him! The host says, "What's above absolute art?" The pretentious Rothko says: "To give those rich bastards no appetite!" The young artist says: "You don't lack money or fame, so why should you let your great and sacred art become an ornament for the luxury hotels?" The host says: "The child must kill the father, respect him but also destroy him!" This new work "Red" is closely related to the present and is a bold experiment made in the form of a theatrical karaoke. The newly added characters either hate themselves or continue their self-discovery journey. Young artists are invited one per scene, to improvise and participate. An old male lion still roars, but it doesn't help. As the director, he can only keep on speaking in front of his own work. The sky-high price reveals the truth of the artist's creative exhaustion. Three virtual people with different identities recklessly rush onto the stage which is situated in a white auditorium where a celebration of death takes place. Now, please start watching how artist breaks out of their creativity dilemma in light of commercialization. 十二首情诗 他有两个令他十分头疼的女儿。大女儿被丈夫醉熏熏的酒气和嫉妒猜疑深深困扰。小女儿为了自己的爱情和父亲斗智斗勇。然而，在爱的迷局中，再高深的智慧也测算不出到达一个吻所经历的距离……在生活的难题中，那些歇斯底里，是无事生非还是有迹可循？那些因缘际会，是阴谋诡计还是命中注定？ 歌声悠扬，情诗妙曼。终于，黑夜带走了没完没了的嬉笑怒骂，黎明重新将美酒注满了生活的高脚杯…… He has two daughters who are tough to deal with. The elder daughter was frustrated by her husband's drinking problem and jealousy. The younger one challenges him for her affection. What should he do next? No one can determine how much love goes into a kiss in the maze of love. Is it fate or a ruse? Is it destiny or a trick? Melody and love poems filled the endless days. Finally, the darkness took away the endless laughter, and the dawn refilled the goblet of life with wine. 飞向天空的人Ⅱ 《飞向天空的人II》是由“生活瞬间”构成的戏剧。那些日复一日回旋于我们脑海中的生活瞬间，它们冗长、私密、或者因为被我们无意识地篡改过而富有了戏剧性。它们来自我们的生活观察、记忆、阅读、或者梦境，无论从任何一个角度，在有关某个时代集体记忆的叙述中，这些瞬间都有可能被作为碎片而遗弃。《飞向天空的人II》就是由这些一时无法被归纳的“生活瞬间”组成的戏剧。它是一部私人生活史，也有关于我们的集体记忆，有关我们的爱与痛。 《飞向天空的人》曾于8年前首演于乌镇戏剧节，《飞向天空的人II》是在前一部创作主题和演出机制下的全新创作，新的故事来自新世代的表演者在这一命题下的共同探寻。 A Man Who Flies Up to the Sky II is a piece of theatre work composed of “moments of life”. Those moments, that linger in our mind day after day, are long, intimate, or dramatic because it has been unconsciously tampered with by us. They originate from our observations, memories, readings, or dreams about life. From any perspective, these moments are likely to be left as fragments in the narrative about the collective memory of an era. A Man Who Flies Up to the Sky II is a history of private life, but also about our collective memory, our pain, and love. 浪漫 中央芭蕾舞团芭蕾精品晚会《浪漫》即将首次登上阿那亚戏剧节的舞台，带来国际著名编导大师乔治·巴兰钦的经典名作《小夜曲》、中芭首部大型原创交响芭蕾《世纪》第二乐章、现代作品《祭》和交响芭蕾《黄河》第四乐章的精彩演绎，整场演出将为阿那亚的观众带来的芭蕾艺术独有的浪漫艺术气质…… Romantic, the Ballet Gala by the National Ballet of China, will hold its debut on the stage of the Aranya Theater Festival, which will show you the renowned choreographer George Balanchine's classic Serenade, the Second Movement of NBC’s first original symphonic ballet Inspiration and Glory, the modern work Sacrifice and the Fourth Movement of the symphonic ballet The Yellow River. The wonderful performance will surely bring the unique romance of ballet art to the audience of Aranya… 海边的罗密欧与朱丽叶 在意大利的维洛那城，有一对爱情明星。他们在上古时就已出生，经文豪的妙笔得以传颂。从世界各地寄给朱丽叶的信，记录了几百年的悲欢离合。黎明将至，追随他们的人们纷至沓来…… 本剧以诗人亚瑟·布鲁克的长诗 《罗密欧与朱丽叶悲剧历史》为文本，以莎士比亚著名悲剧《罗密欧与朱丽叶》为情感底色。黎明时的阿那亚海边，一场迟到645年的迷幻葬礼即将举行。这是为了忘却的爱情的祭祀，用身体在沙滩上给朱丽叶写的信。 在日出之前，我们只能等待。罗密欧与朱丽叶终将来到海边吗？什么才是这场悲剧的真相，爱情的永恒，还是以生命为代价的阴谋？ In the city of Verona, Italy, there is a pair of love stars. They were born in ancient times and were celebrated by the wonderful writing of a literary giant. Letters sent to Juliet from all over the world record centuries of sorrow and joy. The dawn will come, and those who follow them come in droves ......The play is based on the long poem "The Tragic History of Romeo and Juliet" by poet Arthur Brooke, with the famous Shakespeare’s "Romeo and Juliet" as the emotional undertones. At dawn, on the shores of Aranya, a psychedelic funeral, been late for 645 years, is about to take place. It is a sacrifice for a forgotten love, a letter written with the body to Juliet on the beach. Before the sunrise, we can only wait. Will Romeo and Juliet finally come to the beach? What is the truth of this tragedy, the eternity of love, or a conspiracy at the cost of life? 海达·高布勒 海达·高布勒意识到，如果周遭的一切都遵循规则地运作下去，那么诸如社会地位、物质水平等其他的一切也会令人满足。 这个外表看起来迷人的、令人兴奋的、近乎完美的女性，内心却充满了秘密、隐私、恐惧和压抑。当海达的前任意外地闯入她的生活时，宛如在这虚假的生活和平表象投入一块巨石，这层脆弱的冰面开始破裂。飞蛾般的圆舞在海达的摇摆不定下逐渐变为混乱的颠簸。在具有代表性的表象之下，我们将窥见冲破循规蹈矩生活的更真实的面孔。 Hedda Gabler learned that if everything is fine on the outside, then everything is fine. Status, money, comfort. The attractive and exciting, almost perfect woman's inner self is full of dark tones, secrets, manipulation, selfishness, fear, and repression. When an ex-love unexpectedly stumbles into her life, the ice begins to crack on the vulnerable surface of the feigned maximalism. The circular dance of the moth-like figures turns into a chaotic thrashing with the sway of Hedda. Underneath the representative outer layers, we can see irregular but much more real faces. 仲夏夜之梦 这部戏以一对不想遵从被安排好的婚姻的年轻恋人开始。故事随着一场婚礼展开。我们发现直到今天面对这种选择也是一件很复杂的事情。主要是因为在女性的成长轨迹中，她们往往会受到更多的约束，往往会有更多的顾虑，而不是那种习惯把事情掌握在自己手中，并采取行动。这就是为什么我们在保留喜剧基调和尽可能接近莎士比亚语言的同时，用了一些现代的手法的原因，我们希望女性角色能拥有更多的表达空间。 The play begins with the young lovers opposed to the social and familial order and unfurls in the traditional way, with weddings and the resolution of all conflicts. We found it complicated to defend this structure today, mainly because of the feminine character’s trajectory, who are often the ones who suffer rather than those who take things in their hands and act. That is why we took some liberties, whilst maintaining the codes of comedy and keeping as close as possible to the Shakespearean language, to give back the stolen speech to the feminine characters. 那个小孩 大雪天，大人们像往常一样出门上班，我们的小主人公独自在家玩耍，突然，她萌生了离家看望姥姥的想法，于是，一场奇幻又浪漫的冒险自此展开。她坐上公交车，迷失在森林中，与麋鹿为伴，飞上天空，遨游于天际。她遇到了更多朋友，甚至进到鲸鱼的肚子里冒险。大自然的神秘，让小孩经历了好奇、恐惧、开心和感动，她的感受力变得丰沛，好奇心得到满足。最后，她回到妈妈温暖的怀抱中，完成了这场奇幻的旅程。 On a snowy day, the adults go out to work as usual, and our young protagonist plays alone at home. Suddenly, she gets the idea to leave home to visit her grandma, so a fantasy and romantic adventure starts from there. She gets on a bus, gets lost in the forest, keeps company with a moose, flies into the sky, and travels through the heavens. She meets more friends and even ventures into the belly of a whale. The mystery of nature allows the child to experience curiosity, fear, joy, and emotion, her feelings become abundant and her curiosity is satisfied. Finally, she returns to the warm embrace of her mother and completes the fantastical journey. 控制狂 《控制狂》（Control Freak）是一场融合马戏艺术、现场音乐和科技元素为一体的单人演出。一个有趣的角色出现在舞台上，他完全不懂社交，却依然略显尴尬地尝试用逗趣的方式与观众互动，并在舞台上的复杂关系中苦苦挣扎。最终，他找到了方法，熟练地玩转于观众、技术、音乐、马戏、灯光和实时视频编辑。 “Control Freak” is a solo show synthesizing circus art, live music, humor, and cutting-edge technology. An interesting character appears on stage who is completely socially inept but still interacts with the audience in awkward and playful ways, struggling with complex relationships on stage. 弗朗明戈漫游 这是一个充满隐喻和讽刺的舞蹈故事，三个虚构的人物：旅人、吝啬鬼、老太太和爱人，创作者的灵感来自于雕塑家 Eduardo Cuadrado 的《空心漂流者》，这些人物带着对健康、财富和爱情的永恒渴望，诉说着“人生”这场游戏的随机运气与最终输赢。 Three imaginary characters, inspired by the collection "Náufragos Huecos" by sculptor Eduardo Cuadrado, with eternal desires for health, fortune, and love, tell us about winning and losing. 悲惨亲吻灵魂 《悲惨亲吻灵魂》是一个发生在当代的故事。它讲述了女性的脆弱，以及她们的绝望和无限的孤独。艾玛·丹特带着这部新剧回到了匹克拉-米兰剧院。剧情讲述了安娜、努扎和贝蒂娜三个妓女和一名叫阿图托的残疾男孩的故事。白天，三姐妹纺织披肩，日落后，她们坐在家门口，将自己衰老的身体献给过路人。生活很难，为了照顾智力缺陷的阿图托，三姐妹每做一件事都要需要巨大的勇气，每一件发生的事对她们来说都好似一场战斗。她们时而大笑，时而大哭，情绪从温柔如水到暴雨如瀑似乎只需要瞬间。 直到有一天，这种被勉强维持着的、原本就不平衡的和谐被打破了——阿图托长大了。 创作者在既暴力又温柔、既幽默又严肃的戏剧情境中讨论母性议题。在这个条件窘迫的家庭里，不寻常的家庭成员，因贫困而相聚，因爱而相守，这就是“悲惨亲吻灵魂”：三位女主角正贴合了神话里的命运三女神，她们能创造奇迹，所用的，只是爱与坚韧。 在有些世界里，妇女若是想要生存，就注定要与她们所拥有的一切斗争，以摆脱她们被社会所置于的肮脏和堕落的境地。这出戏剧致敬母性，致敬女人和她们爱的能力、坚韧的能量，这是一部对怜悯的颂歌。 Misericordia is a contemporary tale. It tells of the fragility of women and their desperate and limitless solitude. Emma Dante presents her new play, with which she returns to the Piccolo. This is the story of Anna, Nuzza, and Bettina, who knit during the day and sell themselves at night, and the poor disabled orphan who lives with them.The plot tells the story of three prostitutes and a disabled boy called Artuto who lives with them in a filthy and miserable one-room hotel. During the day, the women knit shawls, and after sunset, they sit at the entrance to their house and offer their decrepit bodies to passers-by. There are worlds where women are condemned to fight if they want to survive, to fight with everything they must emerge from the squalor and degradation that society appears to have relegated them to. 行走的云 原野、田园、乡村、城镇、都市，一如人生，是一道道行进中的梦想之云。 在城市的茫茫人海中，穿流着无数的自由行者—— 他们，追求象圣者；努力象劳工，太阳升起时，他們奔赴于时间赛道，星光闪亮时，流浪在梦想之门。 他们造就和支撑了城市大厦，但城市不是自己的家园，而只是一个个生命驿站，他们是城市上空一片片行走的云…… 《行走的云》是一部沉浸式舞蹈散文诗，编导直面时代的人生进程，试图打开现代人生活状态的盲盒，唤醒生命，让每个真实的自己，穿越故事和情感，走向自由的未来世界······ “云”—— 是情怀，是艰难中的诗和远方； 是梦想，是奋斗中的美和方向； 是灵境，是数字中的爱和智慧; 是梦乡，是幸福中的月和星光。 在现实、生命和数智交融的世界， 我们漫步云天， 一起看生命的风景， 一起创大地的云梦…… The wilds, the fields, the villages, the towns, and the cities, Like life, are but clouds of dreams in motion. Amidst the endless sea of urban sprawl, Flow countless free spirits— They pursue like saints; strive like laborers, At sunrise, they dash through the race of time, At starlight gleams, they wander through the gate of dreams. They shape and support towering city edifices, But the city is not their home, Merely stations for transient lives, They are clouds traversing the urban sky…… "Whispers of Clouds" is an immersive dance prose poem, When the choreographer confronts the journey of life in this era, Seeking to unlock the mystery box of modern existence, Awakening life and allowing every true self to venture, Through stories and emotions, towards a future of freedom. "Cloud" — It's sentiment, poetry in hardship and distant horizons. It's mission, beauty, and direction amid struggle. It's ethereal realms, love, and wisdom in the digits. It's dreamland, moonlight, and stars shine in the embrace of happiness. In a world where reality, life, and digital intelligence merge, We stroll through the clouds, Together, we behold the landscapes of life, Together, we create dreams of boundless earth… X趾 凌乱的肢体碎片 深黑色的吁求 遁于迷失域 众神雕像脚趾散落 斫痛世界 半途而废的仪式悬于空中 回响 …… 大他者不愿就此离场 一切将被重写： 快感必须牺牲于祭坛之下 口欲期 探知到身体的索求 也感受到 疲惫与空洞 人们在朋友圈中完成了革命 这与炮火摧毁的剧场中 曾上演之事 何其相似？ *末趾， 人类脚掌小趾， 引申为我们与世界之关系。 2022，口罩之难似过， 当「末趾」增生为《X趾》 ...... Disordered limb fragments, moaning into the black hole, and escaping into the realm of lostness. The toes of the statues of the gods are scattered, cutting the world with pain. The abandoned ritual hangs in the air, echoing. …… The big other is not willing to leave at this point, everything will be rewritten: Pleasure must be sacrificed under the altar. During the oral stage, the body is detected, and the fatigue and emptiness are also felt; People completed a revolution in their WeChat moments - how similar is this to what happened in theaters destroyed by artillery fire? *The last toe, the human foot's little toe, is metaphorically used to represent our relationship with the world. 2022, the difficulty of masks is gone in the past. 2023, when "end toes" grow into "X toes". …… 献给爱米丽的一朵玫瑰花 灵感源自美国作家威廉·福克纳的同名小说《献给爱米丽的一朵玫瑰花》，一个女人在扭曲、畸形的环境里成长，在可能变化的爱情和永恒的死亡面前，她选择了永恒。剧目以魔幻现实的方式呈现一个女人视角里的变形社会，哀悼一个女性被种种社会关系挤压直至死亡，是一部现代女性消亡史。 Inspired by American writer William Faulkner's novel ‘A Rose for Emily’, a woman grows up in a twisted, deformed environment, and chooses eternity in the face of possible changing love and eternal death. The play presents a deformed society from a woman's perspective in a magical reality, mourning a woman who is squeezed by various social relationships until she dies, which is a history of the demise of modern women. 铭铭 《铭铭》是一个肢体剧场作品，是集合身体、材料装置、多媒体影像、声音等元素的艺术综合体。其意指‘入梦之时，我本欲望’的概念。午夜时分，肉身凭空的躯体不再与思绪混为一谈，入梦者的世界从此刻开始。一只银色的大佛在地上扭捏；19楼的德国女人朝窗外扔下成捆的芭蕉；粉色的人群用刀片切割自己的身体；吞下他的那只海鲸已垂暮之年。《铭铭》的灵感来自创作者本人过去9年间记录的三百多个梦境，共计三万五千多字。极乐的欲望在白昼只有被隐埋的结果，黑夜给了空间，让意淫成为可视化的片段。房间、恐惧、重复、家人，你我在梦里窒息，在梦里享乐。真实、虚幻，表演者将私密的一切融为一场梦境，邀你进入这次失重的狂欢。午夜入梦沉睡之时，我本享乐欲望苟生。这是《铭铭》的一切，也是你的一切。 "Ming Ming" is a physical theater work, an artistic synthesis of body, material installation, multimedia video, and sound elements. Its meaning refers to the concept of 'when I enter the dream, I am originally desire'. At midnight, the physical body out of thin air no longer mixes with thoughts, and the world of the dreamer starts from this moment. A silvery Buddha is writhing on the ground; the German woman on the 19th floor throws bundles of plantains out of the window; the pink crowd cuts itself with a razor blade; the sea whale that swallowed him is in its twilight years. "Ming Ming" is inspired by more than three hundred dreams recorded by the creator himself over the past nine years, totaling more than thirty-five thousand words. The desire for extreme pleasure only results in being buried in the daytime; the night gives space for the mirth to become a visualized fragment. Room, fear, repetition, family, you, and I suffocate in dreams and enjoy in dreams. Real, unreal, the performer melts everything intimate into a dream, inviting you into this weightless orgy. At midnight when I fall asleep in my dream, I am supposed to enjoy my desire to live. This is everything about "Ming Ming", and everything about you. 迷雾世界 在舞台上，一共有四个演员。一位音乐家——从电音到古典乐，无视传统的声音规则——从一个和谐、舒缓的世界进入另一个高度不稳定的世界。一个不断变换声音的女高音，用她明亮的声音歌唱。她飘渺的形象倒映了现实中的想象。直到与两位舞者的能量和谐交错，他们通过彼此的动作找到了共同的呼吸。 The stage is a canvas for four entities: a musician who seamlessly shifts between classical and electronic oud, creating aural landscapes that are both harmonious and unsettling. A soprano who moves and sings with a ghostly presence, embodying the imaginary in the real. And two dancers whose movements create a counterpoint of energies, in which the tensions between them resolve into a common breath 这是你要的那条信息……不要让别人看到;-) 网络、手机、Cosplay、直播…… 现实与虚拟的边界映出的中国。 本作以女孩们躺在床上用手机打发时间的平凡场景开始，直播、换装cosplay等随心所欲，她们沉浸在虚拟世界同时也在现实世界中，慢慢地和观众席的界限也变得暧昧。作品的标题“Here Is the Message You Asked For…Don’t Tell Anyone Else ;-)”取自曾经在全球范围内扩散的“Melissa”计算机病毒所发送的病毒邮件。这是一个虚拟逐渐侵蚀现实，象征现代社会的话题舞台。 Internet, Mobile, Cosplay, Live Streaming ...... China is mirrored by the border between reality and the virtual. It begins with a mundane scene of girls lying in bed and passing time on their mobile phones, live-streaming, and cosplaying as they wish, immersing themselves in the virtual world as well as the real one, and slowly the boundaries between them and the audience become ambiguous. The title of the work "Here Is the Message You Asked For...Don't Tell Anyone Else ;-)" is taken from the "Melissa" computer game that has proliferated around the world. "The title 'Here Is the Message You Asked For...Don't Tell Anyone Else;-)' is taken from a viral email sent by the 'Melissa' computer virus that has spread worldwide. It is a theatre where the virtual gradually encroaches on the real, symbolizing modern society. 象棋的故事 《象棋的故事》这部独角戏基于斯蒂芬·茨威格生前发布的最后一部同名中篇小说《象棋的故事》（1942），故事讲述了在一艘远洋客轮上，一位从小就显示出惊人天才的国际象棋世界冠军“琴多维奇”，竟然被人群之中一位神秘的乘客战胜了！而这位神秘乘客的的确确是个普通人，甚至对象棋很陌生，只是由于一段异常经历，才导致能够轻松战胜世界冠军。当然，这位神秘的“普通人”再也回不到一个真正普通人的正常精神世界中去了…… “The Story of Chess” is based on the last novella of the same name that was released by Stefan Zweig before his death. It tells that a chess world champion "Chindovic" who has shown amazing talent since childhood was defeated by a mysterious passenger among the crowd on an ocean liner, and this mysterious passenger is indeed an ordinary person, even unfamiliar with chess. Because of an abnormal experience, he was able to easily defeat the world champion. Of course, this mysterious ordinary person will never return to the normal spiritual world as a truly ordinary person. 午夜电影 艾娃·莱恩（Eve Leigh）的自传性作品《午夜电影》聚焦一个深受慢性疼痛困扰的年轻女性。在多少个不眠之夜，她孤独地在互联网上游荡，试图靠点击一个个网页、阅读一个又一个故事来逃避现实。在剧中，编剧巧妙地将对自身病情的描述与来自多家网络论坛的故事结合在了一起。《午夜电影》以敏锐而富有诗意的文字，也关注到了那些通常缺席于戏剧剧场的人。 Eve Leigh's autobiographical work Midnight Movie focuses on a young woman suffering from chronic pain. For many sleepless nights, she wanders the Internet alone, trying to escape reality by clicking through page after page and reading story after story. In the play, the screenwriter cleverly combines descriptions of her condition with stories from several online forums. With perceptive and poetic writing, Midnight Movie also focuses on those who are usually absent from the theatre of drama. 说唱张爱玲 《说唱张爱玲》文本选取于张爱玲的作品及文章，以说、唱文章片段，在胡恩威领航下融合舞台科技与创意，由两岸三地的音乐人和演员作各种声、演、技实验创作，把张爱玲的文字立体化，结合科技与现场演绎，揉合传统及现代说唱的各种形式，撞击出全新作品，以创新形式重现张爱玲经典。 Read Sing Eileen Chang features texts from Eileen Chang’s novels and essays, presented through storytelling and singing, which are then integrated with stage technology by Zuni Innovation Lab led by Mathias Woo. The writings of Eileen Chang become three-dimensional as a Hong Kong cum cross-strait team of musicians and performers engage in a creative experiment on sound, acting, and technology. The show combines technology and live performance, blending a variety of traditional and modern forms of storytelling and singing, which are juxtaposed with sounds and images from Zuni’s past works on Eileen Chang to create a new piece of work. 特邀剧目2023 SPACE PERFORMING READING 阿那亚戏剧节的特设单元，让经典在当代再次绽放。 13位导演，16个剧场，23部剧本，47场环境戏剧朗读，4500位观众……在不设限的自然公共环境中，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，切磋戏剧的表达与想象，收获截然不同、身在其中的观剧体验。 自我控诉 《自我控诉》只有两个自我控诉者，而没有传统意义上的戏剧角色。两个站在空空如也的舞台上的人物从头到尾诉说着自己的冒犯行为，没有情景，没有对话，只有声音的交替变化。 There are only two self-accusers in “Self-accusation" and no dramatic characters in the traditional sense. The two characters stand on an empty stage and speak of their offenses from beginning to end, with no scenario, no dialogue, only alternating voices. 中央公园西路 这里是中央公园西路，是纽约繁华的地带。心理医生菲莉丝的丈夫萨姆爱上了别人，他打算和菲莉丝离婚。菲莉丝意外发现，丈夫抛弃一切要追随的女人朱丽叶，曾经是个厌男患者。菲莉丝的好友卡萝尔的丈夫霍德华竟想要和萨姆竞争朱丽叶，就在一片混乱之中，受到精神刺激的朱丽叶，拿起了一把德国制造的卢格尔枪，射向了萨姆... Central Park West is in the bustling area of New York City, home to many middle-class people. This one-act play focuses on the awkwardness of middle-class marital life in New York. Psychiatrist Phyllis' husband Sam is in love with someone else and he is planning to divorce Phyllis. When Phyllis complains to her best friend Carol, she accidentally discovers, the woman he left everything to follow, Juliette, was a former misogynist. Carol that is not in the state of Howard in their world, surprisingly wants to compete with Sam Juliette, so in a chaotic scuffle, the mentally stimulated Juliette picked up a German-made Luger gun and shot at Sam... 一个女人一生中的24小时 《一个女人一生中的24小时》是茨威格的代表作之一，与《一个陌生女人的来信》齐名。女主人公在四十岁时，出于一种高尚的感情，去挽救一个素昧平生的赌徒，却因瞬间的激情，奋不顾身地将自己的命运交付给这个她连姓名也不知道的男人，并在接下来的二十四小时里迎来让她终生难忘的结局。 "Twenty-four Hours in the Life of a Woman" is one of Zweig's masterpieces, on par with "A Letter from an Unknown Woman". The heroine of the story. At the age of forty, out of a lofty sentiment， she went to save a gambler she had never met before. However, due to her momentary passion, she sacrificed herself for someone she didn't know the name of, and within the next 24 hours, she ushered in an unforgettable ending. 雅克和他的主人 《雅克和他的主人》是米兰·昆德拉颇有影响的戏剧代表作，改编自法国启蒙思想家狄德罗的小说《宿命论者雅克》。故事从雅克和他的主人的漫游经历开始，主仆二人在途中不但对当时社会的流行话题，加以反思和辩论，以调笑的口吻讲述了各种各样的趣事。 "Jacques and His Master" is a theatrical masterpiece by Milan Kundera, adapted from Denis Diderot's novel. The story follows Jacques and his master as they debate and reflect on popular topics of the time and tell humorous stories. The overwhelming themes, endless interludes, and off-topic discussions make the plot complex and enjoyable to read. 我们身后的太空 《我们身后的太空》是西碧拉贝尔格于2018年出版的小说。讲述了一群生活在未世世界中的人，社会崩溃，科技掌控了生活。角色在这个冰冷且非人性化的世界中寻找意义和联系，并应对爱情、死亡和寻找鸟份等问题。 "We Are Doing Fine" is a novel by Sibylle Berg, published in 2018. The book tells the story of a group of people living in a dystopian future where society has collapsed, and technology has taken over all aspects of life. The characters are struggling to find meaning and connection in this sterile and dehumanized world. 秃头歌女 《秃头歌女》此剧描写了一对典型的英国中产阶级夫妇与他们的朋友——另一对典型的英国中产阶级夫妇之间的无聊的对话。尤奈斯库通过反复的夫妇对话，彻底打破了传统的戏剧模式，以反戏剧的形式引发轰动。 The drama "Bald Singer" depicts a typical middle-class British couple and their friend, another typical middle-class British couple, in a boring conversation. The play completely broke the traditional theatrical model and caused a sensation in an anti-theatrical form. 死亡与少女 《死亡与少女》是一部微型戏剧集。有着耶利内克的“危险”文本的典范，其文体介于中篇小说和戏剧集之间。它借舒伯特的名曲作为标题，以白雪公主、睡美人、罗莎蒙德、杰奎琳•肯尼迪、玛丽莲•梦露、西尔维娅•普拉斯、英格博格•巴赫曼、戴安娜王妃为主人公，化用海德格尔、罗兰•巴特、格林兄弟、海尔米纳•冯•谢济、玛尔伦•豪斯霍弗尔等人的思想和文学，在艰涩的文字背后打开了立体的思辨世界，用抽象的阅读体验带来震撼的艺术共鸣。将耶利内克魔术师般的文字，重新糅合再创作，利用跨文本、跨文体、跨领域的互文性，在礼堂这样神圣神秘的空间中，引发读者脑中的共振。 少女与死亡的紧紧依恋，死亡环抱着她，似乎在她耳边低语，脸上充满着怜悯安慰惊恐或不可知。 “Death and the Maiden” is a mini-drama. It is an example of Jellinek's "dangerous" texts, and its genre is somewhere between that of a middle-grade novel and a collection of plays. It takes the title from Schubert's famous song, with Snow White, Sleeping Beauty, Rosamund, Jacqueline Kennedy, Marilyn Monroe, Sylvia Plath, Ingeborg Bachmann, and Princess Diana as its protagonists, and uses Heidegger, Roland Barthes, the Brothers Grimm, Helmut Hormel, and the other characters. -It opens a three-dimensional world of discernment behind difficult words and brings a shocking artistic resonance with an abstract reading experience. 森林正前夜 一个孤独的人喝了酒，由于孤独难耐，便在舞台上讲述他遭受的挫折。他重复地讲述着，他说的事变了样，被夸大，被歪曲。他身无分文，独自一人，与他说起话来。说得急急忙忙，谈到将他淋得透湿的雨，谈到他的生活，他的思想，他失去了的爱情，两个刚把他打得头破血流、抢钱的小流氓，谈到他对世界的看法，以及尤其是他极其需要一个房间过夜…… A lonely man drank wine, and because his loneliness was unbearable, he told on the stage the frustrations he suffered. He kept telling it repeatedly, and what he said changed, was exaggerated, and was distorted. He was penniless and alone. He spoke about everything - in a hurry -, about the rain that had soaked him to the skin, about his life, his thoughts, his lost love, the two hooligans who had just beaten him to death and robbed him of his money, about his view of the world, and especially his extreme need for a room for the night ...... 朋友 一个男人的公寓里突然闯入了一群充满了邻里般友爱的陌生人。他们用亲切的态度和温和的话语侵占着这个男人生活的空间，在过分的忠诚和友情的强行推销之下，男人从抵抗，逐渐变成了盲目信任之下的一条狗。侵占男人房间自称为朋友的这群陌生人，始终站在牺牲者的立场之上，而男人却被放置在加害者的立场之下，朋友就像蜘蛛丝一样让人焦躁，并且窒息。 A man's apartment is suddenly filled with neighborly strangers. With their kind attitude and gentle words, they invaded the space of the man's life. Under the excessive loyalty and the hard sell of friendship, the man gradually changed from resistance to a dog under the blind trust. This group of strangers who occupy men's rooms and call themselves friends always stand in the position of the victim, while the man is placed in the position of the perpetrator. Friends are like spider silk, which makes people anxious and suffocating. 麦克白 女巫对麦克白说了一些预言和隐语，说他将进爵为王，但他并无子嗣能继承王位。麦克白是有野心的英雄，他在夫人的怂恿下谋杀邓肯，做了国王。为掩人耳目和防止他人夺位，他一步步害死了邓肯的侍卫，害死了班柯，害死了贵族麦克德夫的妻子和小孩。恐惧和猜疑使麦克白心里越来越有鬼，也越来越冷酷。麦克白夫人神经失常而自杀，麦克白面对邓肯之子，落得袅首的下场。 The witches told Macbeth some prophecies and cryptic words that he would be crowned king, but he had no heir to the throne. Macbeth, an ambitious hero, is encouraged by his wife to murder Duncan and become king. To cover his tracks and prevent others from seizing the throne, he step by step kills Duncan's guards, Banquo, and the wife and children of the nobleman Macduff. Fear and suspicion made Macbeth's heart more and more haunted and cold. Lady Macbeth's nervous disorder and suicide were also a great stimulus to him. In the midst of the rebellion, Macbeth faced the siege of Duncan's son and the English reinforcements he invited and ended up curling up. 罗森克兰茨和吉尔登斯坦已死 这一次，《哈姆雷特》中毫无存在感的两个小人物，将成为主角。罗森格兰兹和吉尔登斯坦，这两个蒙在鼓里的人从一开始就在扔钱币打赌、无聊可笑地探讨人生和他们所处的世界、好奇地窥探宫廷，完全没有想到他们是在执行国王企图杀死王子的密谋，更没有意识到命运使他们不明不白地送了命。两人一睁眼便开始走向死亡，死期在倒计时，好笑，又悲惨，这是现代人眼中的王子复仇记。 In this version of Hamlet, the two insignificant characters, Rosencrantz and Guildenstern, become the protagonists. They are clueless individuals who unknowingly execute the king's plot to kill the prince and are led to their deaths. The play showcases the end of these small characters in a funny and tragic manner, which is a modern interpretation of the prince’s revenge story. 老女孩 《老女孩》是一出时长约为1小时的独幕剧，讲述两个素不相识的女人来到一处湖滨旅游胜地度假，这里也许是意大利的加尔达湖。她们攀谈起来，对话中逐渐浮现出关于这两个女人命运的一幅扑朔迷离的图景，也隐隐约约出现了一位丈夫、女儿，以及生活。 “Idlaflickorna” is a one-act play about an hour long. Two women have come to a lakeside resort on vacation, according to them, it's probably Lake Garda in Italy. It seems that they never came across each other earlier. They start chatting, and a confusing picture of the fate of these two women, and a glimpse of a husband and a daughter are gradually revealed. 烂苹果 由英格兰著名剧作家，诗人，画家霍华德·巴克于1984年创作。原名为《Scenes from an Execution》。剧中描写了一位威尼斯女画家受托于威尼斯当权者，去绘制一幅赞美勒班托海战（1571）胜利的巨画，但生活放荡，个性独立的女画家决定利用这次机会描绘一幅更能表达真实战争残酷的作品。矛盾就此展开。 Written by Howard Barker, the famous English playwright, poet, and painter, in 1984. The original title was "Scenes from an Execution". The play depicts a Venetian painter commissioned by the Venetian powers that be to paint a huge painting in praise of the victory of the Battle of Lepanto (1571), but the artist, who lives a life of debauchery and independence, decides to use the opportunity to paint a work that better expresses the true brutality of war. This is how the conflict unfolds. 卡夫卡的城堡 改编自卡夫卡的小说：在城堡的酒馆里，卡夫卡笔下的人物每天在这里消磨时光，他们是饥饿艺术家、推销员格里高尔萨姆沙、K、守门人、指挥官……今天，酒馆里的客人们目睹了新来的土地测量员和酒馆女招待弗丽达之间发生的一起事件。 Adapted from Kafka's novel: In the castle's tavern, where Kafka's characters spend their time every day, they are the hunger Artist, the salesman Grigor Samsa, K, the keeper, and the commander...... Today, the tavern patrons witness a murder, caused by a steamy affair between the new land surveyor and the tavern hostess Frida. 鸡笼 关于一个女孩：她被束缚在一个与世隔绝的农场之中，过着程式化的生活。白天她在农场工作，而到了晚上，她就会坐在走廊里。为了摆脱父母的管束、严格的作息和极端的压抑与孤独，策划了一场谋杀，以使自己能够从“牢狱”中解脱。 The story is about a girl who is bound to an isolated farm and lives a programmed life. During the day she works on the farm, and at night she sits on the porch. In order to escape from her parents' discipline, strict routine, and extreme depression and loneliness, Avery plots a murder so that she can free herself from her "prison". 动物之名 莱昂·恩格勒（Leon Engler）在《动物之名》中做出了大胆的叙事尝试：一个超重的食品检验员踩到一片肝肠面包，不小心滑了一跤，无助地跌落到了地铁轨道上，却被人们误当作神圣的鲸鱼，以为只有通过解救他，才能帮助大家走出悲伤的海洋，拥抱幸福的生活。恩格勒借助这一场景设置，成功地打造了一出充满想象力的荒诞喜剧。 Leon Engler made a bold narrative attempt in "The Name of Animals": an overweight food inspector stepped on a piece of liver and intestines bread, accidentally slipped and fell helplessly onto the subway track, but was mistakenly regarded as a sacred whale by people, in order to help everyone overcome the ocean of sadness and embrace a happy life only by rescuing him. Engler successfully created an imaginative absurd comedy with the help of this scene setting. 动物园的故事 一个普通的星期天下午，中产人士彼得独自在安静的公园长凳上躲避来自妻子、两个女儿、两只宠物鹦鹉和猫带来的烦扰。流浪汉一样的杰利的出现打破了寂静，想要告诉彼得他在动物园看到的故事。彼得不愿听，杰利却一定要讲。杰利迟迟没有说出究竟在动物园里看到了什么，彼得的态度和情绪却逐渐发生了变化。 It is a quiet park; a Sunday afternoon in summer; the present. Peter was alone on a bench to avoid the annoyance from his wife, two daughters, two parakeets, and cats. Jerry broke the silence. He wanted to tell Peter about what happened at the zoo. Peter refused to listen while Jerry was insisted on speaking. Jerry didn't say what he saw in the zoo for a long time, but Peter's attitude and emotions gradually changed. 冬季的葬礼 阿尔特·布比切克临死前希望她的家人都参加她的葬礼。为了实现这个愿望她开启了一系列疯狂的行动。而此时，舒拉特西娅（阿尔特的姐姐）一家正在筹备婚礼。于是在阿尔特的儿子找到他们的那个夜晚，舒拉特西娅一家人开启了一场离奇的“逃跑之旅”。所有人一起奔向一场婚礼，最后每一个人又在葬礼汇合...... Before she died, Art Bubiczek wanted her family to attend her funeral. In order to fulfill this wish she started a series of crazy actions. At the same time, Shuratsiya's (Art's sister) family is preparing for their daughter's wedding. So, on the night that Art's son finds them, the Shuratsiya family embarks on a bizarre "escape". Everyone runs together to a wedding, and finally, everyone reunites at the funeral ...... 不可儿戏 《不可儿戏》是奥斯卡·王尔德的喜剧，真假身份带来误会与巧合，最终假戏真做皆大欢喜。故事里的杰克和阿尔杰农一个看似正经，另一个则是花花公子。他们分别追求格温多林和塞西莉，眼看就要因为同时用了“厄内斯特”这一虚构的姓名和身份搞砸婚事…… The Importance of Being Earnest is Oscar Wilde’s comedies. The characters’ confusing identities , which leads to misunderstandings and coincidences. While there is a happy ending for everyone after starting it as a fake show. 本巴 江格尔接到哈日王的挑战派少年洪古尔只身出征。本不愿出生的赫兰为营救哥哥洪古尔被迫降生人世，用搬家家游戏，让草原上所有的大人变成孩子。不愿长大的洪古尔为寻找弟弟，用捉迷藏游戏让草原上的一半人藏起来，另一半去寻找。 而在母腹中掌管拉玛国的哈日王，用做梦梦游戏让这一切成为他的梦，又在梦中让人们看见那个真实世界的本巴缔造者：史诗说唱者齐。 Reluctant to be born, Hiram uses the game of the moving house to turn all the adults in the steppe into children to rescue his brother Hongul from being born into the world. Reluctant to grow up, Hongul uses a game of hide-and-seek to make half the people on the grassland hide while the other half goes in search of his brother. And King Hari, who rules the kingdom of Rama in his mother's womb, makes it all his dream with the dreaming dream game, and in his dream, he makes people see the real-world creator of Bemba: The Epic Singer Qi. 巴尔 《巴尔》是布莱希特于1918年创作的第一部短剧，从中可以感到非常明显的表现主义风格倾向。1918年夏季学期，布莱希特在选修课上处理了奥地利表现主义作家安德利亚斯·托姆的通俗小说作品《安布罗斯·玛丽亚·巴尔》，布莱希特从中找到了所需的材料并且构筑了一个属于布莱希特的巴尔形象——这是一部“反英雄主义”的作品，是年轻且才华横溢的“诗人”巴尔走向毁灭的故事。 “Baal” is the first play written by Bertolt Brecht in 1918, one can see a strong expressionism inclination in this piece. In the summer quarter of 1919, Brecht studied Andreas Tom's popular novel "Ambrose Maria Baal," he found out what he needed to create Baal from his perspective. This classic anti-hero play tells the story of how a talented young poet, Baal, faces his damnation. 啊，美好的一天 在荒芜处，一个女人半截入土动弹不得。响铃是她生命中的绝对意志。即便埋在土堆里，日夜晨昏的日常流程也毫无妨碍。她的日子在响铃循环往复中度过。有一天，土堆到脖子。响铃到点依旧响起，女人生活继续，有响铃的日子每天都还是美好的日子。 In the middle of nowhere, a woman could not move with half of her body on the earth. The ringing of the bell is the absolute will of her life. Even being buried in the mound, the daily routine of her life repeats day and night unimpeded. Her days pass in the repetition of the ringing of the bell. One day, the earth of the mound raises to her neck. The bell still rings on time, and the woman's life continues as always. As long as the bell rings， the days remain beautiful days. 4.48精神崩溃 凯恩在英国当代戏剧界是独特的存在。作为“直面”戏剧的领军人物，她以最冷静的态度，描绘了英国社会年轻人的压抑。她用手术刀般的笔触，雕刻着人心里直面的愿景与现实的冲突。通篇坦然的自白默默揭示着日积月累中高度精神压力和极度精神空虚的裂变。 Kane is a unique presence in contemporary British theatre. As a leading figure in "in-your-face" theatre, she portrays the repression of young people in British society in the most dispassionate manner. With scalpel-like strokes, she sculpts the conflict between the straightforward vision and reality of the human heart. Throughout, her frank confessions silently reveal the fissures of high mental pressure and extreme spiritual emptiness that accumulate over time. 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。 2023 年 6 月 12 日 - 6 月 25 日， 在阿那亚的海边，候鸟 300 二零二三再次发生。候鸟 300 以“候鸟” 作喻， 汇聚 300 位不同领域、不同背景的创作者来到阿那亚， 在海边共同栖居、共同创作 300 个小时。 这场最具开创性、最多元化、持续创作时间最长的公共艺术项目， 由刘畅、朱砂、郑靖和陈明昊联合发起。在阿那亚戏剧节中，候鸟300 是最浪漫、最具想象力、最野蛮生长的存在，是一场 300 人、300 小时不间断的创作马拉松。 候鸟沙城“它就是一个真实的‘不存在’的城市，是所有疯狂想象的300候鸟的临时栖息地和载体，空间和动线都是为了人的行为而产生，图腾感的平面是呼应现代文明的另一种可能性”。“建立一个沙滩边的乌托邦，空想中的城市，隔绝现实，一个仅仅关于人的行为和自然、时间之间的关系的地方”由著名建筑师马岩松设计，是300位创作者们⼀起生活、创作、表达自我的场域，限时存在300个小时。 跨界艺术 CORSSOVER ARTS 戏剧房子 阿那亚戏剧节最有想象力的板块，探索时空中的多重表达。 戏剧房子是阿那亚戏剧节跨界艺术板块的重要单元，由阿那亚戏剧节艺术总监陈明昊发起，建筑师梁琛共同策划，邀请来自文学、哲学、音乐、美术、戏剧、电影、社会学、时尚等各个领域的艺术家，在阿那亚不同的场域搭建以经典戏剧为名的建筑空间。2021年，戏剧房子在阿那亚戏剧节上惊艳亮相，15座以经典戏剧命名的戏剧房子，在海边创造了一个独特的艺术场域。2023年，随着全新的阿那亚戏剧节即将起航，我们将围绕“海市蜃楼”这一主题，延续戏剧房子的里程，13+1处海边幻境，13+1种场所精神，我们期待和你一起，身临其境。 章子怡 Uma Wang 老狼 梁琛 宋易格 萨巴斯蒂安·凯撒 双雪涛 金星 饶晓志 陈明昊 李怒 火星电台 梅婷/曾剑 SOLARS THEATER 2023剧场来自外太空 阿那亚戏剧节四年展（AQ）暨2023舞台美术9+9人展。 阿那亚戏剧节四年展（AQ）暨2023舞台美术9+9人展由舞台设计师张武发起，以“剧场来自外太空”为主题，邀请到18位参展艺术家：王之纲、倪放、沈力、刘科栋、谭绍远、桑琦、秦文宝、胡天骥、王琛、王琦、马岩松、GolemKlonVIII、谭泽恩、申奥、张武、窦辉、王欢、魏玮，他们将以自己擅长的媒介，为观者重构戏剧的细腻与激烈。 多媒体装置《沉默的独白者》 光影声浪间，再现礼堂艺术盛景。 艺术家王之纲、孙瑜与鱼果文化科技团队创作，以阿那亚礼堂为依托，在数字影像与建筑的交融中，引领每⼀位观者沉浸其中，探寻自我。 公共艺术 PUBLIC ARTS 海边系列 表达之前， 先有重要性感受 今年，“海边对话”将从戏剧节主题“呼喊和细语”出发，在其强烈的情感深度与复杂性中，延展出“艺术交流”“建筑与生活方式”“影视创作”“戏剧演绎”多个对话领域，经由多元议题探讨时代经验与个人感受，邀约嘉宾与观众一同在矛盾与冲突中寻找答案。 传统与颠覆-梦想·艺术·色彩 艺术不是从现在开始才有了新的技术，整个21世纪所有的艺术都是和新技术有关。 主持人： 陈鲁豫 对谈嘉宾： Philip Tinari（田霏宇，美国）UCCA尤伦斯当代艺术中心馆长 Chris Labrooy（克里斯·拉布罗伊，英国）艺术家 Benedict Radcliffe (本尼迪克特·拉德克利夫，英国) 因戏剧而生的连接 戏剧是一副眼镜，它让你看到一个全然不同的世界，足以颠覆以前的认知。 主持人： 陈鲁豫 对谈嘉宾： 李建军 / 丁⼀滕 / 张杨 / 杨婷 「远方」的召唤与「附近」的消失 阿那亚包容不同的个体，拥抱人群的多样性，并希望在社区多元文化的土壤中，让人们对同一个世界有不同的认知。 主持人：李静 对谈嘉宾： 马岩松 / 张佳晶 / 董功 / 马寅 Young Director Summit 青年导演峰会 新锐戏剧力量，激发创作活力 汇聚了三十多位新锐青年导演，从戏剧创作、艺术生态、代际差异、职业发展等话题出发，展开了激烈的思辨和讨论。

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About Aranya aranya, a word derived from Sanskrit, refers to " a quiet, secluded place where you can recover your true self ". Based in Beidaihe New District, Qinhuangdao, Hebei Province, China, aranya develops itself into a lifestyle brand, featured by beautiful natural environment and cultural space, profound emotional value and spiritual connotation. " Life Can Be Better " is aranya's unique brand concept, which encourages people to conduct a series of community practices to pursue " A Better Life ". Today, aranya has transitioned from a cultural tourism real estate brand to a lifestyle brand. In the future, it will continue to move forward into a cultural brand with people-oriented cultures, and provide more improved life solutions for more people. Visit Website ABOUT Aranya Theater Festival Aranya Theater Festival eliminates the boundaries of art with the most diverse, contemporary, open, inclusive and forms, where hundreds of artists from drama, literature, music, dance, architecture and other fields co-create and coexist, creating a unique ocean of art. Here, theatre is no longer a symbol of cultural consumption, but a platform and a way of connection, a core force for building contemporary spiritual life. Organising Committee Organising Committee Members of the Artistic Committee Meng Jinghui, Zhang Ziyi, and Chen Minghao together are titled as artistic directors. The Artistic Committee of the festival is composed of working professionals from various fields such as theater, film, academia, architecture, music, literature, painting, video, dance, design, etc. They are Cui Jian, Cheng Er, Dong Gong, Duan Yihong, Guan Hu, Hao Lei, Jin Xing, Jia Zhangke, Liu Chang, Liao Fan, Lao Wolf, Lv Xioping, Ma Dong, Ma Yansong, Shen Lihui, Wang Luodan, Wang Xuebing, Wang Xiaoshuai, Xichuan, Xu Zhiyuan, Yao Chen, Yuan Quan, Zeng Zeng, Yao Chen, Yuan Quan, Zeng Yu, Zhang Wu, Zhang Yang, Zhang Yadong, and Zhu Sha. Jian Cui Er Cheng Gong Dong Yihong Duan Hu Guan Lei Hao Xing Jin Chang Liu Fan Liao Lang Lao Xiaoping Lv Yansong Ma Lihui Shen Luodan Wang Xuebing Wang Chuan Xi Zhiuyuan Xu Chen Yao Quan Yuan Yu Zeng Wu Zhang Yang Zhang Yadong Zhang Sha Zhu Zhangke Jia Dong Ma Lead Yin Ma Founder of Anaya Art Director Jinghui Meng Director Art D irector Ziyi Zhang Actress Art D irector Minghao Chen Actor / Director Art Curation Chang Liu Director Art Curation Ting Yang Director Theatre Space Introduction Theater A The letter A in Theater A stands for many words such as "action", "ability", and "amour" because it showcases a constant strive for higher goals. Theater A is a modern and flexible space that can accommodate a variety of performance styles. Its spacious design allows for traditional theater layouts, as well as immersive, four-sided stages. This flexibility gives artists the freedom to explore new possibilities and experiment with different forms of expression. White Theater The White Theater is an outdoor theater that lies outside the Aranya Community Hall. The Aranya Community Hall by the sea is not simply a meditation space but a cultural and art space imbued with a profound sense of ritual. This landmark architecture provides a setting for theater performances due to its spaciousness that endow our audiences a refreshing viewing experience. Beehive Theater The Aranya Beehive Theater is black in color, with sharp edges and a sense of hardcore avant-garde taste. The theatrical power here surges inexhaustibly and merges with the flow of life. Artists in this dynamic and inspiring environment are empowered to fearlessly move forward and embrace the future. Theater Dionysus Just like the form of the ancient Greek theater, the circular stage and semi-enclosed audience seating are its most signature features. The Theater Dionysus is an open-air theater that breaks the enclosure of the theatrical stage in an open manner. Facing the sea, the semi-circular building posture is not only a tribute to ancient Greek theater, but also a new starting point for the spirit of Dionysus in contemporary times. The exquisite cut coral fossils on the seabed, with speckled patterns left on them, are not only the tuning forks of the sea, but also the traces of its past. Yinlu Theater The Yinlu Theater is one of the new theaters this year, located in the banquet hall of the Yinlu Hotel. The Aranya Yinlu Hotel, designed to possess the stunning sea view and offers a minimalist and simple lifestyle. Here, we will explore the multiple ways in which performance, viewing, and space interact and create new experiences for audiences. MA Theater "A horse is like a mirror that sharply reflects the human heart." Performance held in the spacious MA Theater is destined to showcase dialogues between free souls. Here, the horse plays a role in an act as much as it functions as one of the audiences watching the performance from the outer perspective. Out Library Theater Outside the Lonely Library, between the sea and the architectures, stands the very unique Out Library Theater. The stage extends along the coastline, and the performances at the Out Library Theater will push the boundaries of imagination and form, providing a unique and unforgettable experience. Seaside Theater Standing tall on the beach, the Seaside Theater is a stunning and unique space for performance. With the sea as its backdrop, it creates a magical and unforgettable experience.” This captures the same essence of the description, but in a more concise and impactful way. Dune Theater The Dune Art Museum is an incredible space that combines the natural beauty of the dunes with the human-made elements of the building. The three outdoor exhibition halls face the sea and resemble three ‘big pits.’ This creates a unique and unforgettable experience for the audience. Office Theater The Office Theater is a new type of theater that combines the everyday environment of the office with the world of theater. This creates a unique and immersive experience for the audience, allowing them to feel more connected to the story and the characters. Tent Theater The tent is an essential element of camping. Just like camping, it's the right time away from the city's noise, listening to the birds and insects around, feeling the freedom in the wind, and spending some carefree time here. The Tent Theater is one of the recently launched theaters that aims to build up the sense of immersion. It will be the best place to escape the hustle and bustle of everyday life. It’s a place to experience art in a way that makes you feel connected to nature and to the world around you. Forest Theater Performing is not simply limited to the stage but to the very realm of nature world wherin one's imagination can be broaded as much as the human nature can be librated. The Forest Theater is one of the recently launched theaters for this year's edition and it offers a unique and immersive experience which combines the natural beauty of the forest with the art of theater. Using light and sound, the theater creators create a magical world that immerses the audience in the beauty of nature. Art Center Round Theater Inspired by nature, the Aranya Art Center Round Theater was designed to bring the audience closer to the performers, creating an intimate and immersive experience. The circular design is inspired by the cycle of life and creates a sense of community and connection between the performers and the audience. Rehearsing Space Rehearsal space is the incubator for theatrical performances. The final result of each act is always the outcome of countless rounds of rehearsals. In such a space where daily life is ritualized in a comparably chill manner, artists can explore new ideas and experiment with form and content. Library Theater The Lonely Library is a sacred space in the hearts of those who visit it. It is a destination in itself, and the journey to reach it is part of the theatrical experience. The audience walks along the beach, slowly approaching the library, and immersing themselves in its beauty.

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戏剧/ 戏剧/ 节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍节目介绍 关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目关于节目 上一个 下一个 CAST 演职人员 06/20 - 06/25 戏剧/ 戏剧/ 购票链接 INFO & CREDITS 演出信息

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