大疫之年三載――《一一三部曲》

從2020年到2021年、再到2022年,非常林奕華並非以過往「一齣戲」的概念作為整體製作概念,不再是以詮釋一個經典文本,寫一個劇本,排戲,演出,巡迴這種既往已經維持十年的模式進行創作,而是將劇團的整個藝術目標從「創作→觀眾」導向,轉成「創作→未來」導向。每一個創作,不是疫情之下的權宜之計,而是不斷在嚴峻的限制之中探問──「甚麼是未來的社會?」、「甚麼是未來的藝術?」、「甚麼是未來的劇場(空間)?」、「甚麼是未來的戲劇?」、「甚麼是未來的影像?」、「甚麼是未來的觀看?」――在這些問題的不斷追尋之中,我們開啟了這三載來不斷前行的實驗、創作之路。

 

《一個人的一一》以「洋洋」為主角,主題是「看」;《給失眠的婷婷》以「婷婷」為主角,婆婆陷入昏迷導致她很內疚,加上青春期的敏感與悸動,她的內心世界滿滿都是聲音,所以主題是「聽」。第三部《NJ的熱海旅行》,又會以什麼感官能力為主題?

 

每一個我們在疫情之下所創作的作品,都是一場與現實的對話:是由歷史、當代與未來共構的,是由個人與集體共構的,是由精神與行為共構的,更是表象與本質共構的。電影《一一》是不會枯竭的創作泉源,讓我們不斷地被啟發,獲得不只是一個,而是無數的,不同回看現實的角度,以致我們可以跟觀眾一同分享的是:現實是我們創造的結果,卻也可以是創造的開端。

這三載,不只是大疫之年的三載,而是我們訪視過去,正視現在,預視未來的三載,而《一一》,就是我們觀看的顯微鏡、望遠鏡、多稜鏡,只是我們不是窺視他者,而是在這部電影中,我們成為他者,窺視自己。

2 or 3 Things About Adapting Yi Yi: A One and a Two

In May 2000, Yi Yi premiered at the Cannes Film Festival and won director Edward Yang the Best Director award. In May 2021, 14 Variations on the Theme of Yi Yi premiered on stage in Hong Kong.

2017

April
Meeting Ms Kaili Peng in Beijing for the first time, discussing the possibility of adapting works by director Edward Yang for the stage.

2018

From multiple conversations with Ms Kaili Peng, we reach a decision to adapt Yi Yi instead of A Confucian Confusion as originally planned. Director Edward Lam raises the possibility of presenting the work in the form of a musical, a suggestion that was met with agreement.

2019

May
The first joint meeting with the Taipei presenter (for the Taipei premiere) and Ms Kaili Peng on adapting Yi Yi the film.

The first design meeting for Yi Yi On Stage in Hong Kong.

The first draft of the play text is developed around the concept of “audio description”.

November
Exchanging ideas for the overall production; performers’ table reading of the first draft of the play text. Ms Kaili Peng joins rehearsals as principal creative consultant and producer. Discussing the musical direction of the production with music director Chen Chie-chi.

Begin devising the work from the twin ideas of audio description and music experimentations; Mr Wu Nien-jen and Ms Elaine Jin accept invitations to give voice performances.

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December 
Visits to Yi Yi filming locations in Japan (Tokyo and Atami) from research, which include Atami in Japan, Hotel Okura Tokyo, a small barbecue restaurant in Shinjuku, the Todoroki Valley Park, Akasaka Hikawa Shrine, etc., to better understand the characters’ and creator’s motivations and aesthetic sense.

The play text is revised.

2020

January
The play text is finalised.
Actors’ music workshop with experimental tutor Lee Shih-yang.

Visits to Yi Yi filming locations in Taipei and Taichung.
Poster key visual photoshoot and design

February
Outbreak of the COVID-19 pandemic

July   
Cancellation of the Taipei premiere of Yi Yi On Stage

September
Decide to face uncertainties posed to the performances with a change of plans: delay the stage production originally featuring nine actors and begin to devise 14 Variations on the Theme of Yi Yi.

December 
Actors Wang Hung-yuan and Huang Chun-chieh and dramaturg Hsu Yen-mei travel to Hong Kong to rehearse 14 Variations on the Theme of Yi Yi. They undergo 14 days of quarantine.

2021

January
Actors Wang Hung-yuan and Huang Chun-chieh and 
dramaturg Hsu Yen-mei work with multimedia designer Darwin Ng to rehearse 14 Variations on the Theme of Yi Yi.

February   
The original Hong Kong previews of 14 Variations on the Theme of Yi Yi are cancelled because Hong Kong’s fourth wave of pandemic has shut down theatres. Change of plans to filming the “On Screen” version.

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April   
Online rehearsals from Hong Kong and Taipei for 14 Variations on the Theme of Yi Yi in preparation for the premiere in May.

May
Actors Wang Hung-yuan and Huang Chun-chieh and dramaturg Hsu Yen-mei travel to Hong Kong again to rehearse 14 Variations on the Theme of Yi Yi. They undergo 14 days of quarantine again.

14 Variations on the Theme of Yi Yi On Stage and On Screen versions premiere at the Grand Theatre, Hong Kong Cultural Centre.

October
The Yi Yi project expands into Yi Yi Trilogy, set against the backdrop of the three years of pandemic. The second part of the trilogy is titled A Sonnet for My Sleepless Ting Ting and scheduled for premiere in May of the following year at the Hong Kong Cultural Centre. Lu Chia-hsin plays Ting Ting.

November
14 Variations on the Theme of Yi Yi online rehearsals from Hong Kong and Taiwan. Anti-epidemic measures preclude the Hong Kong team from entering Taipei. Actor Wang Hung-yuan doubles as executive director.

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December
14 Variations on the Theme of Yi Yi On Stage and On Screen versions premiere in Taipei. The theatre company office in Hong Kong is live-streamed for the entirety of the performance. Director Edward Lam takes curtain calls online with performers.

Director Edward Lam hosts an online creative sharing session with visual artist Chou Tung-yen. After the performance, Lam joins actors Wang Hung-yuan and Huang Chun-chieh in a live-streamed post-performance sharing session. Principal creative consultant and producer Ms Kaili Peng joins the online pre-performance sharing session.


 

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2022

January
Main visual announcement for A Sonnet for My Sleepless Ting Ting. Performances are scheduled in May at the Grand Theatre, Hong Kong Cultural Centre.

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April 
In Taipei, performers Lu Chia-hsin and Wang Hung-yuan and dramaturg Hsu Yen-mei rehearse online with the Hong Kong team – vocal coach Margaret Cheung, sound and music designer Chung Chak-ming, video designer Darwin Ng and creative coordinator Ho Ting-wai – for A Sonnet for My Sleepless Ting Ting.

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May 
The original Hong Kong premiere of A Sonnet for My Sleepless Ting Ting is cancelled because Hong Kong’s fifth wave of pandemic has shut down theatres.

Online filming of A Sonnet for My Sleepless Ting Ting (On Screen Version) from Hong Kong and Taiwan.

​June
Co-organises “Between Zero and Inspiration and One” Screening of Yi Yi: A One and a Two and Sharing Sessions with the General Education Unit of the University of Hong Kong.

July

A Sonnet for My Sleepless Ting Ting (On Screen Version) renamed as 14 Lullabies for Ting Ting (Installation version)

September
The screening of the restored version of A Confucian Confusion at the 79th Venice Film Festival was attended by Ms Kaili Peng.


14 Lullabies for Ting Ting (Installation Version) is performed and shown in the Exhibition Gallery at Tsuen Wan Town Hall.
 

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2023

May
Scheduled premieres of A Sonnet for My Sleepless Ting Ting and NJ's Atami Travel in Hong Kong.

July

“Edward Yang: A Retrospective” scheduled at the Taipei Fine Arts Museum

2024

June 
Scheduled premiere of Yi Yi the musical in Hong Kong

電影《一一》改編二三事

2000年五月電影《一一》康城影展首映,楊德昌導演獲最佳導演獎;
2021年五月舞台劇《一個人的一一》在香港首演。

2017

四月   
與彭鎧立女士於北京首次會面,討論改編楊德昌導演作品為舞台劇的可能性。

2018

與彭鎧立女士多次討論,從原定改編《獨立時代》定案為《一一》,林奕華導演提出以音樂劇式形式呈現的可能性,並獲認同。

2019

五月   
與台北主辦方(原定台北首演)及彭鎧立女士,首次共同會議,商討改編電影《一一》。
香港首次舞台劇《一一》設計會議。

以「口述影像」概念出發的演出文本,已有初稿。

十一月   
整體演出概念交流、演員文本初稿圍讀。首席創作顧問兼監製彭鎧立女士,參與排練。同時與音樂總監陳建騏討論演出的音樂方向。

以口述影像加上音樂實驗的意念展開創作,並邀請吳念真先生與金燕玲女士參加聲演,獲口頭應允。

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十二月   
電影《一一》日本(東京/熱海)拍攝場景考察。根據搜集的電影場景資料,到日本熱海、東京大倉酒店、新宿燒烤小店、等等力溪谷公園、赤坂神社等拍攝場地,進一步了解角色與創作者之動機與美學。

演出文本再修訂。

2020

一月   
演出文本定案。
演員音樂工作坊,邀來實驗導師李世揚一同參與。

電影《一一》台北和台中拍攝場地考察。
海報主視覺拍攝和設計。

二月   
新冠疫情爆發。

七月   
舞台劇《一一》台北首演(原定),取消。

九月   
決定變陣應對疫情下的演出不確定性,把原定九位演員演出的《一一》延後,改為創作《一一》變奏而衍生的《一個人的一一》。

十二月   
演員王宏元和黃俊傑及戲劇顧問徐硯美,來港排練《一個人的一一》,隔離14天。

2021

一月   
演員王宏元、黃俊傑和戲劇顧問徐硯美,及創作統籌何定偉和影像設計吳嘉彥一同進行《一個人的一一》香港排練。

二月   
《一個人的一一》香港預演(原定),香港第四波疫情爆、劇場關閉,取消。改為進行「映画版」攝錄。

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四月   
港台兩地線上排練《一個人的一一》,為五月首演準備。

五月
演員王宏元和黃俊傑及戲劇顧問徐硯美,再度來港排練《一個人的一一》,再次隔離14天。
《一個人的一一》(舞台版和映画版),香港文化中心大劇院首演。

​十月
決定把《一一》擴大成以疫情三載為背景的「一一三部曲」,第二部定名為《給失眠的婷婷》,將於隔年五月在香港文化中心首演。婷婷一角色,由路嘉欣飾演。

​十一月
港台兩地線上排練《一個人的一一》,防疫政策關係,香港團隊無法入境台北,演員王宏元同時兼任執行導演。

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十二月 
《一個人的一一》(舞台版和映画版),台北國家戲劇院公演。演出全程直播香港劇團辦公室,林奕華導演線上與演員一同謝幕。

林奕華導演在演前與影像藝術家周東彥進行線上創作分享;演後亦與兩位演員王宏元和黃俊傑一同線上直播交流。首席創作顧問兼監製彭鎧立女士,現身線上「演前導聆」進行交流。

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2022

一月 
《給失眠的婷婷》主視覺發佈,預計五月香港文化中心大劇院公演。

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四月 
在台北的演員路嘉欣和王宏元及戲劇顧問徐硯美,與香港的聲音指導張國穎、音樂及音響設計鍾澤明、映像導演吳嘉彥和創作統籌何定偉,港台兩地線上排練《給失眠的婷婷》。​

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五月 
《給失眠的婷婷》香港文化中心大劇院首演(原定),香港迎來第五波疫情、劇場關閉,取消。
《給失眠的婷婷》(影像版) ,港台兩地線上攝錄。

​六月
與香港大學通識教育部合辦「零與靈感與一之間」電影《一一》放映及分享講座。

七月 
《給失眠的婷婷》(影像版),更名為《14首搖籃曲》(映像裝置)。

九月
《獨立時代》修復版於第79屆「威尼斯影展」放映,彭鎧立女士出席。

《14首搖籃曲》(映像裝置),香港荃灣大會堂展覽館公演和展出。

十一月

「楊德昌回顧展」於波蘭第16屆五味亞洲電影節舉行。

《獨立時代》修復版參與2022金馬影展。

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2023

五月 
《給失眠的婷婷》和《NJ的熱海旅行》,預計香港首演。

七月

「楊德昌回顧展」將在台北市立美術館推出。

2024

六月 
《一一音樂劇》,預計香港首演。

 

Three Years of the Pandemic – Yi Yi Trilogy

From 2020 to 2021 and then to 2022, Edward Lam Dance Theatre has not used the concept of “a stage play” as the overall production concept; this means no longer adhering to interpreting a classic text, writing a script, rehearsing the play, performing it, and touring it as a model that has been in place for ten years, but changing the entire artistic goal of the company from “Creation->Audience” to being driven by “Creation->Future”. Each of the works is no longer a back-up plan under the pandemic, but a continuous questioning, when bound by harsh restrictions, of “What is society of the future?” “What is art of the future?”, “What is theatre (space) of the future?”, “What is drama of the future?”, “What are images of the future?” and "What is seeing of the future?” – As we explore these questions, we have embarked on a forward-looking journey of experimentation and creation over the past three years.

 

The theme of 14 Variations on the Theme of Yi Yi is “Seeing”, with “Yang Yang” as the protagonist. “Ting Ting” is the protagonist in A Sonnet for My Sleepless Ting Ting and she is troubled by guilt arising from Grandma being in a coma; and with puberty adding on her sensitivity and nerves, her mind is filled with voices – thus the theme is “Hearing”. Which of the senses will be the subject of the third instalment about NJ's Atami Travel?

 

Every work we create under the pandemic is a dialogue with reality: a co-creation between history, the present and the future, between the individual and the collective, between spirit and action, and moreover between representation and essence. Yi Yi is a forever-giving well of creativity that constantly inspire us. From it, we obtain not one but countless perspectives of seeing reality, so much so that we can share this with the audience: reality is the result of what we create, but it can also be the beginning of creation.

These three years are not just three years of the pandemic, but three years of visiting the past, looking squarely at the present and anticipating the future; Yi Yi is the microscope, telescope and prism we look through. Only instead of peeking at others, we become the other and peek into ourselves in this film.