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形體劇場X集體編作X超現實悲喜劇 《塵歸土土歸塵》 8月香港大會堂上演
超現實悲喜劇《塵歸土土歸塵》將於8月23至9月1日在香港大會堂劇院演出,怪異、反常、扭曲的肢體形態,在這慾望盤踞的荒誕世界更顯可笑。
2024/07/17
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中英劇團於6月21日晚上7時正,假西九文化區自由空間大盒,舉行四十五周年誌慶活動。
2024/25年度,中英迎來45周年誌慶,換上新標誌,以煥然一新的形象展現初心。
為促進藝評人之間的交流及全面記錄劇場作品,由中英劇團主辦,國際演藝評論家協會(香港分會)協辦「評深而論」藝評交流計劃,將透過有系統的戲劇欣賞活動,開拓觀眾觀賞視野,促進藝評人與公眾的交流,並以錄影和文字方式記錄及探討香港劇場作品。
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Culture Con #271 中英劇團45周年
人生有幾個十年?每個十年代表不同經歷及階段。中英劇團成立四十五週年之際,決定品牌重塑,推出多項計劃及活動。藝術總監張可堅會從自己與中英近18 年嘅緣份講起,娓娓道來發展歷程中嘅重要人物及故事。
2024/07/06
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有無試過拎住張飛,都唔太知套戲會做咩?亦都唔知自己做緊咩?我試過,我真係試過。
「和電影不同,表演藝術的文化是一瞬間,你們每一次看一個表現藝術的作品是當下的,其實它們有更多的,值得保存的價值。」——國際演藝評論家協會(香港分會)(IATC(HK))總經理陳國慧
Hong Kong theatres are struggling to preserve costumes and props from popular stage productions for public viewing amid a lack of space and funds, with some industry leaders calling for the creation of a dedicated archive to safeguard the city’s cultural gems.
【Yahoo 新聞報道】如果說演員是舞台劇的血肉,劇本便是舞台劇的靈魂,為觀眾創造當刻的共鳴。近年的《聖荷西謀殺案》、《愛我別走》和《大狀王》等叫好叫座,但作品轉瞬即逝,手稿和舞台設計概念的保育和活化,可帶作品走更遠地路,更能鑑古知今,惟見證本土創作掘起的中英劇團和香港話劇團,即使已晉身九大藝團,在保育路上仍未能衝破土地、資金、人才不足的重重困境。
本港一些歷史悠久的演藝團體,多年來進行過不少表演,有劇團設立檔案文獻庫,保存表演過的物品,以助業界發展。到底現時演藝界收藏用品,有甚麼困難呢?
藝評人:張秉權、邵善怡 主持:陳國慧 初稿整理:江祈穎 定稿:張秉權、邵善怡
中英劇團成立 45 周年,藉此推出全新品牌形象,繼續推動全民戲劇的願景。這次邀請到中英劇團藝術總監張可堅(堅叔)、助理藝術總監盧智燊(Edmond)和董事局主席鄺錦川(KC),分享劇團新的品牌形象及當中的故事,同時分享團隊將如何上承傳統,下啟「共集」(ensemble)時代,在歷史洪流中留下足印。
[Please refer to the Chinese version]
《窮艙守護隊》在葵青劇院正式公演,由創作到面向觀眾的過程中,各個部門包括主創團隊、導演、設計師、演員等都花盡心力為劇目注入不同養分。故事、角色設定,以及演員的演繹手法無疑令此劇定位為喜鬧劇,但當中探討的議題包括作為主線的母子關係卻比想像中更為嚴肅。是次「評深而論」繼續有主持人陳國慧,聯同兩位藝評人李博文及盧宜敬從劇本、演繹和舞台科技等角度解析《窮艙守護隊》。
一個夢想升空尋父的熱血少年,遇上四個被現實磨滅稜角與理想的過氣科學家,他們會交織出怎樣的故事?
一封來自33年前的信串連起昭和、平成兩代的命運,透過文字重拾人與人之間的連結。改編自東野圭吾暢銷小說《解憂雜貨店》,中英劇團今年三度搬演廣東話舞台劇,仍然場場爆滿。主持人陳國慧,聯同兩位藝評人李博文及楊志文,從文本、導演手法、舞台調度及演員演繹等角度剖析重演的魅力。
《辯護人》於2022年首演,劇本由郭永康原創,圍繞一宗無差別殺人案件所衍生的公義與民粹之爭。創作團隊經過一年反覆思考及修改,相信劇本還有「教化可能性」! 主持人陳國慧,聯同兩位藝評人李博文及時惠文在觀看重演版本後,從劇本改良、舞台調度及角色塑造等角度,分析兩次公演的異同及成長。
中英劇團第44劇季首個演出《冬梅》已圓滿落幕,這個製作既是中英劇團「戲劇新晉培育計劃」第三年的成果,也是我們首次與與香港專業教育學院資訊科技學科主題公園及劇場創意科技高級文憑合作,可以展現出藝術團隊的默契,亦是探索劇場與科技的開始。今年,我們再次與國際演藝評論家協會(香港分會)合辦「評深而論」,第一集邀請到年輕藝評人邵善怡、黎曜銘就《冬梅》的文本、舞台美學、氛圍及科技作深入討論。
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