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当卡夫卡的寓言被置入当下的网络语境——“饥饿艺术家”成了一名走绝食直播赛道的年轻主播。 他为了热度与关注签约MCN，不断以更极端，更吸睛的行为博取流量。他不停地为自己的“艺术”寻找新的意义和价值，却始终无法触及内心真正的渴求。 他越被观看，越被误解；越想证明自己，越陷入迷失。最终，在“塌房”后退出直播，却依旧持续绝食，直到生命的尽头。 饥饿艺术家 A Hunger Artist 当卡夫卡的寓言被置入当下的网络语境——“饥饿艺术家”成了一名走绝食直播赛道的年轻主播。 他为了热度与关注签约MCN，不断以更极端，更吸睛的行为博取流量。他不停地为自己的“艺术”寻找新的意义和价值，却始终无法触及内心真正的渴求。 他越被观看，越被误解；越想证明自己，越陷入迷失。最终，在“塌房”后退出直播，却依旧持续绝食，直到生命的尽头。 Kafka's parable, reborn in the age of the internet: The "Hunger Artist" is now a young livestreamer who has carved out his niche in the competitive world of fasting content. Hungry for views and desperate to be seen, he signs with an MCN agency and escalates — each stunt wilder, more extreme than the last. He constructs the meaning behind his "art," spinning new reasons to justify what he does, but never gets close to whatever it is he’s truly starving for. The more he is watched, the more thoroughly he is misread. The more he strains to prove himself, the more he loses track of who he is. In the end, a scandal breaks him — his followers evaporate overnight, and he quietly exits the platform. But the fasting continues. He cannot stop. He goes on starving, in silence and obscurity, all the way to the end. 上一个 下一个 KEY CREATIVES 主创 导演/编剧：王亦斌 Director/Playwright: Yibin Wang 06/23-06/27 50分钟 未来剧场2号 购票链接 INFO & CREDITS 演出信息 演出地点：未来剧场2号 Venue: Future Theater II 演出时间 Performance Dates: 2026/06/23 14:15 2026/06/24 14:15 2026/06/25 14:15 2026/06/26 14:15 2026/06/27 14:15 演出时长：50分钟 Performance duration: 50 minutes 导演：王亦斌 编剧：王亦斌、迈克尔·兰德斯 制作人：郑雨洁 戏剧构作：陈奕铭 演员：高大永、雷雅涵、孙悦星 舞台监督：酆最怡 排练舞监：许耀天 舞美设计：张卿安、周亦扬 多媒体交互设计：谭笑 多媒体影像设计：冯晓丹 灯光设计：龚玲令 服化设计：张斐然 配乐设计：李天诚 音响设计：邱宣 肢体指导：李鸟 剧本顾问：卞家昊、叶密娟 海报设计：蔡爽 Director: Yibin Wang Playwright: Yibin Wang, Michael Landes Creative Producer: Hester Zheng Dramaturg: Yi-Ming Chen Performers: Dayong Gao, Yahan Lei, Star Yuexing Sun Stage Manager: Zoe Feng Rehearsal SM: Yaotian Xu Interactive Designer: Xiao Tan Projection Designer: Xiaodan Feng Scenic Designer: Qingan Zhang, Yiyang (George) Zhou Lighting Designer: Lingling Gong Costume&Hair/Makeup Designer: Feiran Zhang Composer/Music Supervisor: David LI Tiancheng Sound Designer: Xuan Qiu Movement Director: Niao Li Script Advisor: Clarity Bian, Mijuan Ye Poster Designer: Shuang Cai

“后来，接下来的那一年里，该轮到我死去了……” 三十四岁的路易，在离家十多年后，决定带着死讯回归。他试图在生命的终点，与那群几乎失联的家人完成最后的告别。 6月18日-6月19日 50分钟 森林剧场 《只不过世界尽头》 Juste la fin du monde “后来，接下来的那一年里，该轮到我死去了……” 三十四岁的路易，在离家十多年后，决定带着死讯回归。他试图在生命的终点，与那群几乎失联的家人完成最后的告别。 "Then, in the year that follows, it will be my turn to die..." Thirty-four-year-old Louis, after more than a decade away, decides to return home bearing news of his impending death. At the end of his life, he attempts a final farewell to the family he has all but lost. 剧作家/原著作者：让-吕克·拉戛尔斯Jean-Luc Lagarce【法】 Playwright/Original Author: Jean-Luc Lagarce [France] 译者：蔡燕 Translator: CAI Yan 导读导演：谷旻雯 Narrative Guide: GU Minwen 朗读表演者：揭小凤、王亦岩、肖京晨、朱茜、郑晓贇 Reading Performers: JIE Xiaofeng, WANG Yiyan, XIAO Jingchen, ZHU Qian, ZHENG Xiaoyun 音乐：郑又村、叶泉君 Musician: YE Quanjun,ZHENG Youcun 6月18日-6月19日 50分钟 森林剧场 购票链接 CAST 演职人员 导读导演：谷旻雯 Narrative Guide: GU Minwen 上一个 下一个 INFO 演出信息 演出地点：森林剧场 Venue: Forest Theater 演出时间： Performance Time: 2026/6/18 17:00 2026/6/19 17:00 演出时长：50分钟 Duration: 50 min

AGENDA 日程表 具体演出时间请查看“演出时间表”或进入“剧目详情页面”查看 DATE 艺术种类 Timetable Bartosz Szydłowski Czerwone i czarne 红与黑 北岸大剧场 国际剧目 130分钟 曲文豪 Yao Bikuni 公主与青蛙 未来剧场3号 未来戏剧 50分钟 Juan Carlos Zagal La Contadora de Películas 与电影共谋的爱情 马场 国际剧目 90分钟 王亦斌 A Hunger Artist 饥饿艺术家 未来剧场2号 未来戏剧 50分钟 Fabrice Aboulker, Tamara Fernando, Matthew Totaro Juliette & Roméo - jusqu'au dernier souffle 劳伦斯和朱丽叶和罗密欧 苏卡剧场 国际剧目 65分钟 展开更多

本剧改编自鲁迅小说集《呐喊》，以“全面便携式超贫困剧场”的形式，在当代剧场中重读鲁迅。作品探讨了边缘人的孤独和他的呐喊。融合《狂人日记》《孔乙己》《药》《祝福》《呐喊·序言》等文本，并延展至果戈里的《狂人日记》。演出从空的舞台开始，由演员生成全部剧场元素。作为一项中德文化合作项目，演员们承接了一种特定的先锋派传统，他们团结于表现主义之中。 06/23-06/24 105分钟 苏卡剧场 购票链接 呐喊 Na Han 本剧改编自鲁迅小说集《呐喊》，以“全面便携式超贫困剧场”的形式，在当代剧场中重读鲁迅。作品探讨了边缘人的孤独和他的呐喊。融合《狂人日记》《孔乙己》《药》《祝福》《呐喊·序言》等文本，并延展至果戈里的《狂人日记》。演出从空的舞台开始，由演员生成全部剧场元素。作为一项中德文化合作项目，演员们承接了一种特定的先锋派传统，他们团结于表现主义之中。 This production is adapted from Call to Arms (Nahan), a short story collection by Lu Xun, and reinterprets his work in a contemporary theatrical context through the form of “super poor and totally mobile theater.” The piece explores the loneliness of marginalized individuals and their cry for expression. It brings together texts including Diary of a Madman, Kong Yiji, Medicine, The New Year’s Sacrifice, and the preface to Call to Arms, while extending its scope to Diary of a Madman by Nikolai Gogol. The performance begins with an empty stage, from which all theatrical elements are generated by the performers. As a Sino-German cultural collaboration, the artists draw on a specific avant-garde tradition, united within an expressionist aesthetic. KEY CREATIVES 主创 导演：塞巴斯蒂安·凯撒 【德】 Director: Sebastian Kaiser INFO & CREDITS 演出信息 演出地点：苏卡剧场 Venue: Sukha Theater 演出时间 Performance Dates: 6/23 16:30 6/24 16:30 演出时长：105分钟 Performance duration: 105 minutes 原著 鲁迅、果戈里 导演 塞巴斯蒂安·凯撒 联合导演 邵灵喆 戏剧构作 袁楚童 音效设计 李雨舟 舞美服装道具设计 陈嫣熙/胡若楠 影像设计 林纪媛 制作人 朱玥 舞台监督 袁楚童 音响技术 刘锐锋 演员 陈嫣熙 陈宇辰 金子洋 李雨舟 邵灵喆 盛靖萱 夏凯钰 熊嘉懿 许森杰 杨思益 张洵 郑惟知 Original Authors: Lu Xun · Nikolai Gogol Director: Sebastian Kaiser Co-Director: Shao Lingzhe Dramaturg: Yuan Chutong Sound Design: Li Yuzhou Set, Costume, and Props Design: Chen Yanxi / Hu Ruonan Video Design: Lin Jiyuan Producer: Zhu Yue Stage Manager: Yuan Chutong Sound Technician: Liu Ruifeng Cast Chen Yanxi Chen Yuchen Jin Ziyang Li Yuzhou Shao Lingzhe Sheng Jingxuan Xia Kaiyu Xiong Jiayi Xu Senjie Yang Siyi Zhang Xun Zheng Weizhi 上一个 下一个

两名演员和一名小提琴手共述一个不只发生在爱尔兰的黑暗荒诞故事，有关恐惧、创伤和家庭。小翡在自己的公寓遭袭，她看到他戴着鸭子面具，下体裸露着。“暴露疗法”是妹妹的救命稻草，但哥哥毁灭性的秘密也即将曝光。 6月22日-6月23日 50分钟 theTANG唐舍酒店一层会议室 《藏在衣柜里的秘密》 Lie Low 两名演员和一名小提琴手共述一个不只发生在爱尔兰的黑暗荒诞故事，有关恐惧、创伤和家庭。小翡在自己的公寓遭袭，她看到他戴着鸭子面具，下体裸露着。“暴露疗法”是妹妹的救命稻草，但哥哥毁灭性的秘密也即将曝光。 Two actors and a violinist share a dark, absurd story that resonates far beyond Ireland — a story of fear, trauma and family. Fei is attacked in her apartment by a man in a duck mask, exposing himself. "Exposure therapy" is her sister's lifeline, but her brother's devastating secret is about to surface. 剧作家/原著作者：席亚拉·伊丽莎白·史密斯 Ciara Elizabeth Smyth【爱尔兰】 Playwright/Original Author: Ciara Elizabeth Smyth [Ireland] 译者：何叶 Translator: HE Ye 导读导演：何叶 Narrative Guide: HE Ye 译本润色：Fauve Alice Translation Polishing: Fauve Alice 朗读表演者：卢珊、何雨繁、朱玥（小提琴演奏） Reading Performers: LU Shan,HE Yufan, ZHU Yue（violin） 制作人：王瑶 Producer: WANG Yao 油画视觉：Damao（大猫） Oil Painting Visuals: Damao 舞台监督：张颖 Stage Manager: ZHANG Ying 6月22日-6月23日 50分钟 theTANG唐舍酒店一层会议室 购票链接 CAST 演职人员 导读导演：何叶 Narrative Guide: HE Ye 上一个 下一个 INFO 演出信息 演出地点：theTANG唐舍酒店一层会议室 Venue: theTANG Hotel, 1F Conference Room 演出时间： Performance Time: 2026/6/22 13:00 2026/6/23 13:00 演出时长：50分钟 Duration: 50 min

本剧仅两名男性角色，以交错独白构建双重视角，呈现一场关于控制、依赖与情感勒索的心理剧。极简封闭空间内，对话与心理博弈推进剧情，悬念层层叠加。主人公利奥与卡尔互为镜像，在“捕食者—猎物”间不断反转，批判数字时代的孤独与情感成瘾，追问何为“真实”。 6月23日-6月24日 60分钟 车库排练厅 《真实的事物》 Something Real 本剧仅两名男性角色，以交错独白构建双重视角，呈现一场关于控制、依赖与情感勒索的心理剧。极简封闭空间内，对话与心理博弈推进剧情，悬念层层叠加。主人公利奥与卡尔互为镜像，在“捕食者—猎物”间不断反转，批判数字时代的孤独与情感成瘾，追问何为“真实”。 Two men, two interweaving monologues, two fractured perspectives. In a claustrophobic space, dialogue becomes psychological warfare, suspense tightens layer by layer. Leo and Karl mirror each other, endlessly switching between predator and prey — a searing critique of loneliness and emotional addiction in the digital age, and a relentless question: what is real? 剧作家/原著作者：马丁·阿尔古斯 Martin Algus【爱沙尼亚】 Playwright: Martin Algus [Estonia] 译者：陈思安 Translator: CHEN Si'an 导读导演：杨婷 Narrative Guide: YANG Ting 朗读表演者：房子斌、王尧、杨雪 Reading Performers: FANG Zibin, WANG Yao, YANG Xue 舞台监督：王宇翔 Stage Supervisor: WANG Yuxiang 导演助理：吴若晗 Director's Assistant: WU Ruohan 剧本推介：声嚣 Script Recommender: Sound & Fury 6月23日-6月24日 60分钟 车库排练厅 购票链接 CAST 演职人员 杨婷.webp Narrative Guide: YANG Ting 上一个 下一个 INFO 演出信息 演出地点：车库排练厅 Venue: Parking Lot Rehearsal Hall 演出时间： Performance Time: 2026/6/23 22:00 2026/6/24 22:00 演出时长：60分钟 Duration: 60 min

《天堂游戏》作为托马斯·科克“气候三部曲”的终章，一列永不停靠的高速列车，乘客们在无休止的加速旅程中陷入集体恐慌与精神迷失。一边是中国裁缝从郑州到意大利普拉托的迁徙漂泊，一边是女儿在烧伤重症监护室对父亲的痛苦独白。多重线索交织缠绕，直指现代社会的人际疏离、生态危机、边界困境与人性挣扎。最终列车闯入无限轮回，在荒诞与虚幻的终局里，追问我们为何要奔向远方。 天堂游戏 Paradies spielen 《天堂游戏》作为托马斯·科克“气候三部曲”的终章，一列永不停靠的高速列车，乘客们在无休止的加速旅程中陷入集体恐慌与精神迷失。一边是中国裁缝从郑州到意大利普拉托的迁徙漂泊，一边是女儿在烧伤重症监护室对父亲的痛苦独白。多重线索交织缠绕，直指现代社会的人际疏离、生态危机、边界困境与人性挣扎。最终列车闯入无限轮回，在荒诞与虚幻的终局里，追问我们为何要奔向远方。 Paradies Spielen, the final part of Thomas Köck’s “Climate Trilogy,” unfolds aboard a high-speed train that never stops. As the journey accelerates without end, its passengers spiral into collective panic and psychological disorientation. Running in parallel are interwoven narratives: the migration of Chinese tailors travelling from Zhengzhou to Prato in Italy, and a daughter’s anguished monologue beside her father in a burn intensive care unit. These layered storylines converge to confront the fractures of contemporary society — alienation, ecological crisis, the instability of borders, and the struggles of human existence. In the end, the train breaks into an endless cycle, where absurdity and illusion collapse into one. Within this looping horizon, the work poses a final question: why do we continue to move forward, toward a distant elsewhere? 上一个 下一个 KEY CREATIVES 主创 导演：苏小刚 Director: Su Xiaogang 06/19-06/21 90分钟 火车剧场 购票链接 INFO & CREDITS 演出信息 演出地点：火车剧场 Venue: Train Theater 演出时间 Performance Dates: 6/19 20:00 6/20 20:00 6/21 20:00 演出时长：90分钟 Performance duration: 90 minutes 导演：苏小刚 编剧：托马斯•科克（Thomas Kock） 译者：张灯 视觉设计：邓文 舞美设计：马帅克 作曲：李星 制作人：王淏、梅笑寒 演员：傅晶、赵柳童、刘亚楠，墨谣，敬亚聪、唐俪宁、靳金龙、杜雨涵 歌者：张彤禧Selina 服装设计：杜江 多媒体设计：何玉祯 音响技术：翟家骥 舞台监督：柴嘉炜 摄影摄像：梅笑雪 化妆造型：任薇，杨梦婷 灯光控制：博元 出版社：® Suhrkamp Verlag GmbH, Berlin Director: Su Xiaogang Playwright: Thomas Köck Translator: Zhang Deng Visual Designer: Deng Wen Set Designer: Ma Shuaike Composer: Li Xing Producers: Wang Hao, Mei Xiaohan Cast: Fu Jing, Zhao Liutong, Liu Yanan, Mo Yao, Jing Yacong, Tang Lining, Jin Jinlong, Du Yuhan Vocalist: Zhang Tongxi (Selina) Costume Designer: Du Jiang Multimedia Designer: He Yuzhen Sound Engineer: Zhai Jiaji Stage Manager: Chai Jiawei Photography & Videography: Mei Xiaoxue Hair & Makeup Designers: Ren Wei, Yang Mengting Lighting Operator: Bo Yuan Publishing Rights: © Suhrkamp Verlag GmbH, Berlin

在流动的音乐承载下，观众将进入作曲家弗朗茨·舒伯特的世界。我们将遇见这位在躁动的爱与难以言说之间徘徊的羞涩天才，并跟随他走入一个由语言与音乐构成的想象空间。当舒伯特立志征服热爱音乐的维也纳时，他与朋友们踏上了一段前往维也纳乡村的旅程。在彼得·图里尼的这部悲喜剧中，这位作曲家既以“降临人间的音乐之神”的形象出现，同时也展现为一个羞怯内敛的普通人。他对建筑师之女的单相思令他困扰不已，而他的朋友则不断鼓励他勇敢表达心意。然而，这位腼腆的音乐天才在她面前却始终无法开口。他是否能够克服内心的恐惧？导演亚历山大·保罗·库贝尔卡将舒伯特的宇宙呈现为一种富有远见的空间，在这里，世界似乎不再被命运封闭，而是能够通过艺术的力量被重新感知。“现实总是充满缺憾。这正是我们需要艺术的原因。” 舒伯特的两个永恒 Schubert, für immer und Ewig 在流动的音乐承载下，观众将进入作曲家弗朗茨·舒伯特的世界。我们将遇见这位在躁动的爱与难以言说之间徘徊的羞涩天才，并跟随他走入一个由语言与音乐构成的想象空间。当舒伯特立志征服热爱音乐的维也纳时，他与朋友们踏上了一段前往维也纳乡村的旅程。在彼得·图里尼的这部悲喜剧中，这位作曲家既以“降临人间的音乐之神”的形象出现，同时也展现为一个羞怯内敛的普通人。他对建筑师之女的单相思令他困扰不已，而他的朋友则不断鼓励他勇敢表达心意。然而，这位腼腆的音乐天才在她面前却始终无法开口。他是否能够克服内心的恐惧？导演亚历山大·保罗·库贝尔卡将舒伯特的宇宙呈现为一种富有远见的空间，在这里，世界似乎不再被命运封闭，而是能够通过艺术的力量被重新感知。“现实总是充满缺憾。这正是我们需要艺术的原因。” Carried by moving music, the audience will experience the world of the composer Franz Schubert. We encounter the shy genius caught between restless love and speechlessness, and follow him into an imagined space filled with spoken word and music. As Schubert sets out to conquer music-loving Vienna, he embarks on a trip to the Viennese countryside with his friends. In Peter Turrini’s tragicomic play, the composer appears as the “descending god of music,” yet also as a shy and reserved human being. His unrequited love for the builder’s daughter troubles him, while his friend urges him to finally confess his feelings. But the timid musical genius freezes in her presence. Will he overcome his fears? Alexander Paul Kubelka presents Schubert’s universe as visionary spaces in which the world does not seem sealed by fate, but can be newly perceived through the power of art. “Reality is always a botched affair. That’s why we have art.” 上一个 下一个 KEY CREATIVES 主创 导演及舞台设计：亚历山大·保罗·库贝尔卡 Director and Set Design: Alexander Paul Kubelka 06/25-06/27 120分钟（含中场） 孤独外剧场 购票链接 INFO & CREDITS 演出信息 演出地点：孤独外剧场 Venue: Out Library Theater 演出时间 Performance Dates: 6/25 19:30 6/26 19:30 6/27 19:30 演出时长：120分钟 （含中场休息） Performance duration: 120 minutes （incl. interval） 演员 弗朗茨·舒伯特—— 斯特凡·比克尔 饰 约瑟法·冯·魏斯博恩—— 莱尼娅·格拉姆斯 饰 利奥波德·库佩尔维泽—— 安德烈·维奥雷尔·塔库 饰 弗朗茨·冯·塔西埃—— 费利克斯·奥伊青格 饰 多萝西娅·通佩尔—— 范妮·霍尔策 饰 路易丝·劳特纳—— 丽莎·施拉梅尔 饰 表演与钢琴（弗朗茨·舒伯特——音乐）—— 克拉拉·弗吕斯图克 表演、演唱与“死亡”（内波穆克·费德尔）—— 奥利弗·韦尔特 创作与制作团队 艺术总监：亚历山大·保罗·库贝尔卡 管理 / 市场营销：多丽丝·丹青格-豪尔 戏剧构作：西尔克·奥夫纳 导演与舞台设计：亚历山大·保罗·库贝尔卡 灯光设计：尼科·克莱马-施蒂克斯 服装设计：安德烈娅·赫尔茨尔 副导演 / 社交媒体：维多利亚·罗滕施泰纳 服装助理：桑德拉·施密特 制作统筹 / 舞台监督(Intendanz)：雷纳特·瓦韦拉 技术总监：格哈德·巴尔达什蒂 制作助理：卡塔林·帕斯蒂 灯光技术：约翰娜·里特 声音设计 / 声音统筹：瓦尔特·蒂尔 声音技术：玛蒂娜·赫克、亚当·迪茨尔 声音助理：汉娜-索菲·赫克 道具：克里斯托夫·普茨 舞台监督 / 舞台搭建：恩斯特·扎克 舞台技术：米夏埃尔·迈尔胡伯 服装与化妆 服装统筹：安吉丽卡·波里斯 服装统筹：妮娜·维普林格 化妆：赫尔穆特·格兰德格 化妆：纳迪耶·帕亚齐蒂 平面设计：imglashaus – 朱莉·大卫 赞助：索尼娅·绍科普 媒体与公共关系：克里斯蒂娜·维尔纳 前台 / 售票处：雷吉娜·索尔纳 排练场地（Probebühne Wien / Zacherlfabrik）：扎赫尔建筑师先生 导演照片摄影： 卡塔琳·帕斯蒂 剧照摄影：芭芭拉·帕尔菲 Cast Franz Schubert – Stephan Bieker Josepha von Weisborn – Lenya Gramß Leopold Kupelwieser – Andrei Viorel Tacu Franz von Tassié – Felix Oitzinger Dorothea Tumpel – Fanny Holzer Louise Lautner – Lisa Schrammel Performance & Piano (Franz Schubert – die Musik) – Clara Frühstück Performance, Singing & Der Tod (Nepomuk Feder) – Oliver Welter Creative & Production Team Artistic Director (Intendanz): Alexander Paul Kubelka Management / Marketing: Doris Danzinger-Hauer Dramaturgy: Silke Ofner Direction & Set Design: Alexander Paul Kubelka Lighting Design: Nico Kraeima-Stix Costume Design: Andrea Hölzl Assistant Director / Social Media: Victoria Rottensteiner Costume Assistant: Sandra Schmidt Production Coordination / Stage Management (Inspizienz): Renate Vavera Technical Director: Gerhard Baldaszti Production assistant: Katalin Pászti Lighting Technician: Johanna Ritter Sound Designer / Sound Supervisor: Walter Till Sound Technician: Martina Heck, Adam Ditzl Sound Assistant: Hannah-Sophie Heck Props: Christoph Putz Stage Manager / Stage Construction: Ernst Zsak Stage Technician: Michael Mayrhuber Costume & Makeup Costume Supervisor: Angelika Pories Costume Supervisor: Nina Wiplinger Makeup: Helmut Grandegger Makeup: Nadie Pajaziti Graphic Design: imglashaus – Julie David Sponsoring: Sonja Soukop Press & Public Relations: Christina Werner Front of House / Box Office: Regina Söllner Rehearsal Venue (Probebühne Wien / Zacherlfabrik): Hr. Arch. Zacherl Director Portrait Photography: Katalin Pàszti Production Photography: Barbara Pálffy

少年意气拆解世纪文本，青春视角重构大师哲思。一枚关于易卜生的“盲盒”，就此开启。 或是经典名段的全新演绎，或是剧作家坎坷人生的诗意复刻，或是私密情书里的温柔告白，每一段台词、每一幕场景，都是随机解锁的独家篇章。 本次剧目由中央戏剧学院2023级戏剧创作班师生倾力打造，以易卜生全域内容为创作基底，打破固定的剧情定式，没有既定的解读答案。这不仅是新生创作者重新注解的易卜生，更是当代青年对现实、自我与世界的诘问与表达。 《盲盒易卜生》，等你来“开箱”！ 盲盒易卜生 IBSEN'S unboxed soul 少年意气拆解世纪文本，青春视角重构大师哲思。一枚关于易卜生的“盲盒”，就此开启。 或是经典名段的全新演绎，或是剧作家坎坷人生的诗意复刻，或是私密情书里的温柔告白，每一段台词、每一幕场景，都是随机解锁的独家篇章。 本次剧目由中央戏剧学院2023级戏剧创作班师生倾力打造，以易卜生全域内容为创作基底，打破固定的剧情定式，没有既定的解读答案。这不仅是新生创作者重新注解的易卜生，更是当代青年对现实、自我与世界的诘问与表达。 《盲盒易卜生》，等你来“开箱”！ With youthful spirit, a century-old canon is taken apart and reimagined. Through a fresh, contemporary lens, the philosophical world of Henrik Ibsen is refracted into something new. A theatrical “blind box” dedicated to Ibsen—now ready to be opened. You might encounter a bold reinterpretation of a classic scene, a poetic reconstruction of the playwright’s turbulent life, or an intimate confession drawn from private letters. Each line, each moment on stage unfolds as a uniquely unlocked chapter. Created by the faculty and students of the Playwriting Class of 2023 at the Central Academy of Drama, this production draws from the full spectrum of Ibsen’s works. It breaks away from fixed narratives and resists singular interpretations. This is not only Ibsen reimagined by a new generation of artists, but also a reflection of how today’s youth question and engage with reality, the self, and the world. IBSEN'S unboxed soul，Come and open it. 上一个 下一个 KEY CREATIVES 主创 导演：苏小刚 Director: Su Xiaogang 06/21-06/22 60分钟 苏卡小剧场 购票链接 INFO & CREDITS 演出信息 演出地点：苏卡小剧场 Venue: Sukha Studio Theater 演出时间 Performance Dates: 6/21 18:00 6/22 16:30 演出时长：60分钟 Performance duration: 60 minutes 艺术监制：麻文琦 导演：苏小刚 指导老师：张端 音乐人：李星 制作人：梅笑寒 编剧/演员 吴雨纯，贺诗恩，黄盈，任柔冰，张超然，刘思含，李玥瑶，张纯艺，姚顺，刘畅，陈兰兰，王宝毅 Artistic Director: Ma Wenqi Director: Su Xiaogang Supervising Tutor: Zhang Duan Musician: Li Xing Producer: Mei Xiaohan Playwrights & Performers:Wu Yuchun, He Shien, Huang Ying, Ren Roubing, Zhang Chaoran, Liu Sihan, Li Yueyao, Zhang Chunyi, Yao Shun, Liu Chang, Chen Lanlan, Wang Baoyi

拥有永恒寿命的公主，又杀死了一只为她服务的短命的青蛙。她将青蛙喋喋不休的什么死亡又虚无之类的词汇抛诸脑后。她唾弃时间与历史，却在无限的生命中，感受到了身为无限的痛苦，遂：自己杀死自己，可她向往的浪漫与爆裂的死亡终未到来。该怎么在循环中打破循环呢？ 公主与青蛙 Yao Bikuni 拥有永恒寿命的公主，又杀死了一只为她服务的短命的青蛙。她将青蛙喋喋不休的什么死亡又虚无之类的词汇抛诸脑后。她唾弃时间与历史，却在无限的生命中，感受到了身为无限的痛苦，遂：自己杀死自己，可她向往的浪漫与爆裂的死亡终未到来。该怎么在循环中打破循环呢？ The princess of eternal life slew yet another short-lived frog that served her. She cast aside the frog’s incessant babble regarding death, nihility, and the like. She spurned time and history, yet within her infinite existence, she felt the agony of being infinite. Consequently, she committed suicide; however, the romantic and explosive death for which she yearned never arrived. How is one to break the cycle within the cycle? 上一个 下一个 KEY CREATIVES 主创 剧团：NINGEN Theater Company: NINGEN 06/23-06/27 50分钟 未来剧场3号 购票链接 INFO & CREDITS 演出信息 演出地点：未来剧场3号 Venue: Future Theater III 演出时间 Performance Dates: 2026/06/23 13:00 2026/06/24 13:00 2026/06/25 13:00 2026/06/26 13:00 2026/06/27 13:00 演出时长：50分钟 Performance duration: 50 minutes 编剧：曲文豪 演员：黄蒙、甲乙 制作：妻言叶 联合制作：苏雨 美术/装置设计：高鹏飞、李志德 音乐设计：小钊 舞台技术：小钊 摄影/摄像：王家琪 出品人：张晓熠 出品团队：偶发过程TeamPBA Playwright: Qu Wenhao Cast: Huang Meng, Jia Yi Producer: Qi Yanye Co-Producer: Su Yu Art Design/Spatial designer：Gao Pengfei，Li Zhide Composer：Xiao Zhao Stage technical: Xiao Zhao Photography / Videography: Wang Jiaqi Producer: Zhang Xiaoyi Presenter: TeamPBACreative Team

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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