"The Island of the Dreams 夢之島“ photos

Thanks for Fredrick Liu 劉人豪 catching these wonderful moments!

John Maloney ("The Island of the Dreams" director) written before the show

The art of the theatre is about people coming together to explore life and the questions of living. For theatre to happen, people must come together. First the artists come together to prepare, then the audience is invited to join and witness what has been created. Most modern theatre is written by a single author, then interpreted and performed by a group of actors and a director. Recently, particularly in the United States and other western countries, there has been a growing number of theatre artists who choose to collaboratively create theatre performances as a group. The artists begin by choosing a “theme”, or an “idea”, and then come together for a workshop to create characters and scenes that they finally develop together into a script. Most of the work is done together as a group. In the beginning there are many discussions and writing sessions – but usually, as time goes by, more and more of the work happens “on your feet”. However, there are no clear rules for how the show will develop. Everyone has to be part of the process of creation, and each person contributes in many ways: writing scenes, staging, creating characters, ideas for sound, scenery, costumes, etc. One reason for working this way is to try to bring multiple artistic perspectives into the work, so that the themes of the script are explored in a more complex manner than if a single author wrote it. Another reason is that when the characters and story are created by the actors who play the roles, they have a deeper connection with the roles and a feeling of ownership for the story. In this type of work, and actors cannot wait to be told what to do – they have to be active creators. And, the director’s job is less about telling actors what to do, but rather, more about listening to them and watching them and helping them to make stronger choices. I have worked on the development of many ensemble-created performances, and the process has never been the same. Each time, the play has developed differently and unexpectedly. It can be very frightening to begin the process, because you have no idea where you will go. There are no guarantees that the play will be great, or even good. You have to keep asking yourself, “what is this show?” It is a very risky way of working – but it is also very rewarding when it works well. Fortunately, there is always a point in the process when you start to “discover” the play: when you start to understand what it is about, and where it might be going. That is when it gets very exciting, because, once there is a clear focus for the direction of the show, the group really starts to come together and work as a strong creative ensemble. In my opinion, being part of this type of ensemble is one of the greatest things that can happen in the art of the theatre.

劇場是門有關人們聚集在一起探索人生和存活問題的藝術。為了讓劇場產生，人們必須要聚在一起。首先藝術家們聚集做準備，而後觀眾被邀請來參與和見證被創造出的成品。大部分的現代劇場是由單獨一位作者寫作，再由一個導演和一群演員演繹和演出。最近，特別是在美國和其他西方國家，有一群數量成長中的劇場藝術家選擇以團體合作的方式創作劇場表演。這些藝術家以選擇一個「主題」或者「想法」為開端，之後組成工作坊來創造角色和場景，最後共同發展出一個文本。大部分的工作以團隊的方式共同完成。在初期會有很多討論和寫作會－－但通常，隨著時間流逝，越來越多的工作會在「站起來排練」的時候產生。然而，對於表演會如何發展並沒有清楚的規定。每個人都是創作過程的一部分，同時每個人在各種方面提出貢獻：編寫場景，走位，創造角色，音效的想法，佈景，服裝等等。用這樣的方式工作的理由之一，是想把眾多藝術家的觀點帶進作品中，於是文本主題的發展方式會比起單一作者寫作來的複雜的多。另外一個理由是，由演員自己來發展角色和故事時，他們對角色和會有更深的連結，對故事也會有擁有的感覺。在這種類型的工作方式之下，演員不能等著別人告訴他怎麼做－－他們必須成為積極的創作者。同時，導演的工作較不是告訴演員該做什麼，而比較是傾聽和觀看和幫助他們做出比較有力的選擇。我已經運作過很多集體創作式表演的發展－－過程沒有一次是相同的。每一回，每齣戲都發展地非常迥異又出乎意料。過程的開始可以是非常駭人的，因為你完全不知道你會走去哪裡。沒有任何事情保證這齣戲會很棒，甚至很好。你必須一直不斷的問自己：「這齣戲是什麼？」這是一個風險性非常高的工作方式－－但是當它成功的推動時是非常有成就感的。幸好，總是在過程中的某個時刻，你會開始「發現」這齣戲：這時你開始理解這齣戲在說什麼，還有它可能的走向。那就是一切會開始變得非常令人興奮的時刻，因為，只要表演有一個清楚專一的方向，整個團體會開始凝聚並以一個有力的創造團隊運作。在我看來，身處這種團體演出的一部分是劇場藝術中所能發生的最好的事情之一。

“Flower Buds 二月少年“ DVD發行

剛剛入圍國際學生電影金獅獎國際組的“二月少年 Flower Buds“

將於100年10月10號發行DVD以及CD原聲帶
意者請mail到angu20@hotmail.com的信箱進行訂購詢問
在此代表萬花筒劇組表示感謝支持

"The Island of the Dreams 夢之島“ 劇照

"The Island of the Dreams 夢之島“

最近正緊鑼密鼓排練中的戲！

最真實的夢境，最迷離的人生
同黨劇團 國際交流計畫作品 《夢之島》

「愛莉絲夢遊仙境」現代拼貼版。一座必須橫越的沒有欄杆的天橋、一個可以借夢的圖書館、一本讓回憶出現的沒有文字的童話；一個在垃圾桶拾夢的老婦、一個幫病人吃藥的醫生、還有無法分離的三胞胎餐廳服務生。在荒謬、怪誕與奇想的旅程中，我們試圖在夢中尋找真實的自己，也試圖在真實的世界尋找我們的夢。《夢之島》結合美國導演John Maloney、編劇高俊耀與邱安忱、洪珮菁、陳佳穗、阿思、方岫嵐、李育芳、姜富琴、陳家逵、王珂瑤、原承伯等十名精彩劇場演員，一同跨越夢境與真實的 迷幻邊界。

導演︰John Maloney
編劇︰高俊耀
行政統籌：黃馨玉
舞台設計︰詹子嵐
燈光設計︰黃申全
服裝設計︰阿咪
音樂設計︰蔣韜
舞台監督：賴亮嘉
文宣設計暨攝影︰劉人豪
文本協力：原承伯、陳瀅羽
演員︰邱安忱、洪珮菁、陳佳穗、姜富琴、阿思、方岫嵐、陳家逵、王珂瑤、李育芳、原承伯
文本發展︰洪珮菁、阿思、陳佳穗、方岫嵐、姜富琴、王珂瑤、邱安忱、陳雪甄、黃婕菲、李育芳、陳家逵、原承伯、陳瀅羽、張嫚書
翻譯人員：顏若涵、Ann Chang、林步昇、俞橙、司徒嘉怡

售票︰兩廳院售票系統 www.artsticket.com.tw 02-3393-9888
或誠品書店、ibon、萊爾富門市。
演出地點︰台北市牯嶺街小劇場 (牯嶺街5巷2號)
演出時間︰100年9月30日(五) -10月2日(日) 7:30 PM
10月1日(六) -10月2日(日) 2:30 PM
票價︰ 600元 (學生九折，團體票購買10 張（含）以上8折優待)
指導單位︰文化建設委員會
贊助單位︰國藝會、文化局、教育部


演出單位︰同黨劇團
地址︰116台北市景興路262號2樓之2
Tel︰02-2935-4251
Email︰theparty@seed.net.tw
部落格：www.wretch.cc/blog/partytheatre
Facebook︰同黨劇團
購票洽詢︰0911266420 邱先生

"Handcuffs手銬“ 首映會 premiere

"Flower Buds" premiere

me & lead actor

Kaleidoscope Production

Kaleidoscope Production

me & lead actor

scriptwriter, me, director

me & scriptwriter

“Flower Buds 二月少年“ 西門町新光影城首映

"Flower Buds 二月少年“ 夢境版預告

"Handcuff 手銬" 首映會

中國文化大學 推廣教育部（台北市建國南路二段231號） B1F 表演廳 6/4 首映會

"Handcuff 手銬"

製作＿[羊皮狼] 工作室

導演＿莫勤治

演員＿莊清就，鄭小湘，韓孟甫，鄭捷宇，方岫嵐

"Flower Buds 二月少年“

“Flower Buds 二月少年“

世新大學廣電系電視組
導演_張匡德
演出_吳浚愷、賈孝國、方岫嵐

Department of TV of Shih Hsin University, Taiwan
Direct by

Kuang-De Chang

Star by Jiun Kai Wu, Shiau Guo Cha, Maggie Fang