Newsletter No. 421

2 No. 421, 19.8.2013 关于编剧 C About the Playwright 庄梅岩 Candace Chong •1999中文大学心理学系 Psychology, 1999, CUHK •香港演艺学院戏剧学院编剧系深造文凭 Advanced Diploma in Playwriting, School of Drama, Hong Kong Academy for Performing Arts •英国伦敦大学Royal Holloway编剧硕士 MA in Playwriting from Royal Holloway College, University of London •曾获第二十六届香港青年文学奖、香港演艺学院友谊社奖学金及 杰出编剧奖 Winner of the 26th Hong Kong Youth Literary Awards, the Society of Hong Kong Academy for Performing Arts Scholarships, and Outstanding Playwright Award •凭《留守太平间》(2003)、《找个人和我上火星》(2004)、《法吻》 (2006)及《圣荷西谋杀案》(2009)于第十二、十四、十五及十九届 香港舞台剧颁奖礼四度获得「最佳剧本奖」 Her works Alive in the Mortuary (2003), Shall We Go to Mars (2004), The French Kiss (2006) and Murder in San Jose (2009) were awarded the Best Play at the 12th, 14th, 15th and 19th Hong Kong Drama Awards, respectively •2003年香港戏剧协会「杰出青年编剧奖」 2003 Outstanding Young Playwright of the Hong Kong Drama Awards •2010年香港艺术发展奖最佳艺术家奖(戏剧) 2010 Best Artist (Drama) of the Hong Kong Arts Development Awards 十年内四获编剧奖,庄梅岩在演艺学院交的第一个长篇剧本,却被老 师苛评说:「真的很不济呢,说得重一点便是垃圾!」她走到大堂哭了 整个下午。怎么办?明明自觉是很好的,原来这判断是错的。 对于获奖,庄梅岩看法持平。「获奖有助申请拨款,对父母有交代,固 然开心。但渐渐你会明白那始终是某一套特定标准下的成果,而艺术 的标准是很主观的。」 她强调戏剧讲求合作,剧本拿奖除因用心去 写,更重要的是遇上一流的制作组合。「第一 次获奖的《留守太平间》,跻身在两位前辈的 作品当中,我自觉望尘莫及,得奖反令我惭 愧,同时又深感业界给我这个后辈的鼓励。 后来终于有自觉实至名归的作品得奖了,满 足感更大。」她视每一次创作是一个实验,在 幕开之前不会知道观众是否喜欢,唯一可做 的便是在实验中多些学习,累积经验。「奖项 不是必然的,但路是不会白走的,从事过自己喜爱的工作,他日我不 会遗憾。」 Candace bagged four awards in 10 years. But her first full-length script written at the Academy for Performing Arts was harshly criticized by her teacher who said, ‘If I could be frank, it’s garbage.’ She cried for the whole afternoon in the foyer, clueless about how her judgment could have gone wrong and differed so much from her teacher’s. Candace is placid about receiving awards. ‘They help me to get funding and win recognition from my parents. Of course I’m happy. But you will gradually understand that all awards are defined by specific sets of rules, which, when coming to art, can be very subjective.’ She highlights that drama is teamwork. The playwright’s hardwork is what a script requires to win an award. But more importantly is a strong crew for its production. ‘My first award-winning script was Alive in the Mortuary . It was nominated among works by senior masters who made me feel humble. I felt embarrassed winning, but at the same time I appreciated the support the profession has given me as a new member. I was much more comfortable later when I finally produced scripts which I felt better deserved being awarded.’ To her, every project is an experiment. Before the curtain draws, one can never tell whether the audience will like it or not. The only thing one can do is to learn as much as one can from the experiments and accumulate experiences. ‘Don’t take awards for granted. Each step you make will take you closer to the destination. When the final day comes, I will not have any regrets because I’ve worked on something I like.’ 关于导演 C About the Director 陈焯威 Octavian Chan •2004中文大学物理系 Physics, 2004, CUHK •2009香港演艺学院戏剧学院 导演系(一级荣誉) Directing (First Class Honours), 2009, School of Drama, Hong Kong Academy for Performing Arts •2009年香港艺术发展奖艺术新秀奖(戏剧) 2009 Young Artist Award (Drama) of the Hong Kong Arts Development Awards •MetroHoliK Studio创团成员、自由身导演及灯光设计师 Founding member of MetroHoliK Studio, freelance director and lighting designer •导演作品包括:MetroHoliK Studio《重遇在最后一天》、风车 草剧团《厨师J与侍应F》、香港话剧团《半天吊的流浪猫》、 Loft Stage《时光之光》、创验剧团《我的援交日记》、中英剧团 《剧场新丁》、新亚书院六十周年校庆话剧《珍重星光》、骑士 创作《江户无双》、231剧团 Are You Still ALIVE? 及糊涂戏班 自主剧场《花与凌》等 Works directed include: Windmill Grass Theatre’s Frankie & Johnny in the Clair De Lune , Hong Kong Repertory Theatre’s Desert the Dangling Cat , Theatre Lab’s I Sell Love , New Asia College 60th anniversary play Our Starlight Stories , 231 Theatre’s Are You Still ALIVE? , The Nonsensemakers’s Never Ending War 传媒提到陈焯威,总离不开「八十后」这个形容词。这位剧坛 新晋却说:「我是1982年出生的,除此我觉得自己攀不上这个 称呼。很多八十后上街参与学运,支持码头工人抗争,赋予这 个名词特别的含意。我可从来没有这份勇气或阅历,这样看 来,我可能是沾了八十后的光呢。」 陈焯威说导演要摆进一个剧的东西太多了,三十一岁,真的太 年轻。「遇上 潘灿良 、庄梅岩这等经验老到的演员和编剧,我 真是肃然起敬。相对他们所曾面对的世界,我只是一个小朋 友,只能不断吸收。」他尽量尝试不同岗位,如灯光、音响等, 希望把导演工作做得更好。 The media likes to label Octavian as a ‘post-80’s’. The aspiring director takes this as ‘a commendation which I do not deserve.’ ‘I was born in 1982. Other than that, I don’t think I live up to that name. The term now has a special connotation after many post-80’s have taken to the street, participated in student movements and supported the container terminal workers on strike. As for me, I have neither the courage nor the vision related to these.’ Octavian said 31 is way too young for a director because there are too many things that a director needs to attend to. ‘Working with experienced actors and playwrights like Poon Chan-leung and Candace, I am in awe. Compared to their extensive exposure, I am just a child. All I can do is to absorb like a sponge.’ He grasps every opportunity to work in different roles, ranging from lighting to sound, in the hope of becoming a more competent director. 今 年夏天,本港剧坛将出现一套本地原创 话剧《教授》,在8月31日先上演香港中文 大学五十周年校庆专场,继在9月1日起公开演出 十多场。中大作为这出香港话剧团制作的活动 伙伴,「两位中大之子」─ 庄梅岩 和 陈焯威 ─ 也在幕后担当了编剧和导演的重任。 既独特复普世 庄梅岩接到剧团邀约创作一个与中大五十周年有关的剧本 后,即开始思索能触动她的中大事物。「我想起曾因在网上 看到 沈祖尧 校长致毕业生的一篇讲词而滴泪,那篇文章勾 起我思考我所珍惜的中大朴素气质、人文精神。教育不该是 生产生财工具,教育该培养怎样的素质的人……这些现在 没有什么人会讲了。这是令我决定接受委约的主要原因。」 剧本是为中大而写,但庄梅岩明言不想写一个小圈子的作 品,而希望是「以表达中大感觉的平台来诉说一个普世性的 故事」,除了中大人,其他观众都会明白,故她以探讨教育本 质为定位。「教」与「学」是对立?还是同盟?教育能否改变 社会?还是纸上谈兵?「我不会写丰功伟绩、历史渊源。剧 本可能有一些中大人心领神会的细节,但还有更普及的课 题,例如师生关系、大学应否产业化、香港作为中国对外窗 口的角色是否日渐消亡。」 教育岂仅是课堂 谈到在中大数年的学习经验,庄梅岩说,教育的影响往往是 即时未能察觉的,日后回顾,却会联系到当时点点滴滴产生 的作用。「上课、写论文,当年我可曾会觉得跟写剧本有何关 系?现在回看,大学教育探求知识的步骤,做研究的方法, 组织材料的程序,统统都是教育。这些过程对于我怎样理 解事物,怎样探讨课题,都大有影响。」注重资料搜集和准 备工夫的她坦承,如果没有经历过大学教育,直接进入戏 剧学院的话,处理方式会不一样。 庄梅岩引述某位教授的话:教育是empowerment,重点不 在当下学到的A加B加C,而是了解到各样无限的可能。「这 个诠释很棒。透过学习可开启不同的门,通往不同的道路, 让我知道做一件事情可以有很多不同的方法。只恨当年少 不更事,那么多教授在开那么精彩的课,我干嘛不多旁听一 些,而要跑去帮人家补习?」 陈焯威也珍惜在中大的学习。当年教授要求他们看很多参 考资料备课,他不以为苦,反而欣赏这种教与学的方式。 「物理到了最后往往归结到哲学层面,当中的空隙如何填 补,得靠自己多下工夫。不善用大学的资源,不争取学习的 机会,不敲门叩问专研各种学问的学者,未免浪费。主动学 金禧剧作回应传承呼唤 陈焯威(右二)于《珍重星光》后台 Octavian Chan (2nd right) at backstage of Our Starlight Stories 习是我在大学学到最重要的课程,到现在从事戏剧,我仍抱 这种认真的态度。」 最引共鸣是传承 在搜集资料的过程中,庄梅岩得悉不少中大历史上的感人 故事,更发现受访者十之八九以中大人的社会关怀自豪,说 参加社运的大学生就以中大生为最多,又欣赏学校对非常 事件的处理手法。这些元素都渗进剧本里去,但不是直接 移植,而是取其原型。例如沈祖尧校长曾就学生 陈倩莹 冲 击立法会递补机制论坛被捕而发表文章,她考虑过是否把 这个写进去,后来作罢,因为跳离实案在剧中探讨学生社 运,可更加自由。戏里有关于辩论队的情节,原来她曾特地 观察他们受训。「学生很了不起,认识面很广。一群年轻人 激辩社会议题,在旁是专程回来指导他们的师兄。这些讨论 不会对世上政策起任何影响,然而那种对社会关怀的深厚 传承令我动容。」 陈焯威曾在2009年导演新亚书院六十周年戏剧《珍重星 光》,谈起当时为执导故向学长前辈请益,震撼犹深。「他 们忆述五十年代艰辛办学,七十年代的火红年代参与保钓, 八十年代(社会经济)开始起飞,然后又发生了89学运,到 他们怎样看我们这些千禧年代的学生,令我深深领会传承 的力量。没有当年不计付出的办学,便没有我这一代的中大 学生。在现代环境转变下,大学是否能保存创校的初衷,还 是有所偏离,有所挣扎?我知道Candace写的剧本一定会 触及这些大众关心的课题。」 由局内而局外 纵然对中大有强烈的情感依附,陈焯威跟庄梅岩一样,常常 刻意抽离一下,用普通观众的眼光看剧本的内容能否引起关 注,他们自觉还是拿捏得颇平衡的。二人虽是第一次合作, 导演是陈焯威,庄梅岩一万个放心。「他也是中大人,容易 明白我要表达的东西,又能给予我另一个角度的看法,合作 起来能产生互动。」 陈焯威这样看他的岗位,「导演之于剧本是第二度创作,是 剧本的第一个观众,呈现情节之外,还要令观众明白编剧的 世界观。我不敢说要把剧本提升,但如它能打动我,我的责 任便是把这份共鸣和震撼,通过画面、节奏和其他舞台处理 手法传送给观众。我和编剧的讯息该是一致的,我也该给 演员一个演绎的方向,因为我们须坐在同一条船上。」 有了剧本,有了导演,有了演员,还需要观众。一个剧作,必 要经过这层层演绎,生命才算圆满。一所学府庆祝五十周 年,有这么一出充满反思的剧作,也不啻是对传承和时代呼 唤的回应。就让中大人与广大观众踊跃见证,共同玉成这 份回应。 Honouring Our Heritage on Stage at the Golden Jubilee 拿 着 亮 丽 履 历 继 续 闯 A Shining Bio, a Long Road Ahead 边注边读 Marginalia 教授之于大学,犹如骏驹之于马厩。中文大学自是駃騠云 集,他们研究之精粹,除了在校内讲授外,也应与校外之大 众分享。这正是中大五十周年博文公开讲座系列的目的:把 知识从象牙塔带到万丈红尘。 在7月27日, 陈志辉 教授在香港中央图书馆主讲如何建立品 牌,他的讲解生动活泼,魅力十足。接下来的一场讲座将于 8月24日举行,由另一位深受欢迎的教授 朱明中 讲述大爆 炸,追寻幽灵粒子和宇宙的进化。 9月来到时,大学这个大舞台的剧幕又要拉起来了,一批新 老脸孔上场,各自扮演他们或崭新或熟悉的角色。两名中大 校友 庄梅岩 和 陈焯威 分别为一出舞台剧编剧和执导,追索 中大作为千里驹孕育场地的演变。 这出戏有一个很恰当的剧名─《教授》,它将在9月初上 演,8月31日则为中大友好和校友上演专场。本期特写为读 者报道幕后故事。编剧和导演也在「……如是说」告诉读者 他们为何会献身戏剧工作。 A stable is known by its horses; a university its professors. The Chinese University has a fine breed of them. It is fitting that pabulums from their research be shared among a wider audience than the campus. This is what the CUHK 50th Anniversary Public Lecture Series sets out to achieve: to bring gown to town. On 27 July, Prof. Andrew C.F. Chan brought charm and vivacity to his lecture at the Hong Kong Central Library on how to build a brand. From the brand to the Big Bang, the next lecture on 24 August will be by another professor with much popular appeal, Prof. Chu Ming- chung . He will hunt down ghost particles and sketch the evolution of the universe. When the curtain rises come September, the stage of the University will be populated by new and returning characters acting out roles fresh and repeated. Act One. Two alumni, Candace Chong and Octavian Chan , have respectively scripted and directed a play tracing the evolution of CUHK as a breeding ground for young minds. The play, appropriately titled The Professor , will be put on stage in early September with a special performance for CUHK friends and alumni on 31 August. Tickets are selling fast. Our feature tells you the story behind the scenes. ‘Thus Spake…’ lets the script-writer and director speak to you directly about the making of themselves as devotees to the stage. ———————■■■——————— 目录 Contents 金禧剧作回应传承呼唤 2 Honouring Our Heritage on Stage at the Golden Jubilee 校园消息 Campus News 4 艺文雅趣 Arts and Leisure 6 宣布事项 Announcements 7 人事动态 Ins and Outs 8 庄梅岩、陈焯威如是说 12 Thus Spake Candace Chong and Octavian Chan

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