日期Date: 18. 5. 2018
時間Time: 6:00pm- 7:30pm
地點Venue:中大鄭裕彤樓4號演講廳Lecture Theatre 4, Cheng Yu Tung Building, CUHK
報名Registration: https://goo.gl/forms/LTp7wiGoFZTNPI8k2
嘉賓講者 Guest Speakers:
Regine Dura (戲劇顧問 Dramaturge)
Hans-Werner Kroesinger (劇場導演 Theatre Director)
鄺智文教授 Prof. Kowng Chi Man (浸大歷史系 Dept. of History, HKBU)
主持 Moderator:
羅妙蘭博士 Dr. Law Miu Lan (中大文化管理本科課程BA in Cultural Management, CUHK)
今次講座邀得德國著名的紀錄劇場導演Hans-Werner Kroesinger，及其戲劇顧問Regine Dura ，分享他們多年來利用檔案文獻為創作起點，編成劇場作品的經驗。與傳統以故事為中軸的戲劇作品不同，創作紀錄劇場需要大量的資料搜集， 涉及文件包括訪問、歷史檔案、報紙及書本等等。講座將以他們2016年柏林戲劇節得獎作品《劇院的絆腳石》為例子闡述其創作技巧 。《劇院的絆腳石》重整了一段鮮為人知的德國歷史：1933年後第三帝國上台後，國家及城市劇院以行政及官僚手段，一步一步鏟除猶太裔或左翼演員及藝術家。劇院為了得到資助及維持營運，而犧牲了藝術的自由，甚至性命。由藝術家Gunter Demnig於2013年，在Karlsruhe城市劇院門前設置的紀念碑《絆腳石》開始探究，Kroesinger及Dura邀請觀眾由封塵的檔案，審視公營藝術機構及藝術家，在極權統治下的掙扎。
Renowned German theatre artists Hans-Werner Kroesinger and Regine Dura, are long-term collaborators in Documentary Theatre making. In this talk, the artists will share the process of their theatre making with archival materials. Detailed examples will be taken from one of their most frequently performed documentary theatre piece Stolpersteine Staatstheater (State Theatre Stolpersteine). Using the personnel records of the state theatre in Karlsruhe, Hans-Werner Kroesinger and Regine Dura reconstruct in detail the workings of anti-Semitic discrimination and the exclusion of leftist and liberal theatre artists after 1933 during the Third Reich. They also examine how little discussion of these events took place after 1945. The artists reminds us, at a particularly important moment in history, that institutions sometimes make uncomfortable compromises in exchange for government funding. Theaters at that time, were far from places of freedom and the avant-garde. This work in fact resonates with the current situation world-wide.
關於講者 About Speakers
Regine Dura 畢業於法蘭克福歌德大學，修讀政治、劇場及電影研究、德國文學及藝術教育碩士；亦曾在柏林藝術大學修讀電影。她擔任劇場、電影及電台的導演、作家及戲劇顧問。2012年她執導一套關於德國－南非助養計劃的紀錄片White Blood （ZDD／Arte），在德國馬克思·歐皮絲等眾多電影節上影。多年來她曾獲多個獎學金進行創作及研究：渥太華德國加拿大協會、德國聯邦電影基金會、歐盟媒體計劃、DEFA基金、伊斯坦堡Tarabya Cultural Academy及歌德學院京都鴨川中心等。自2000年起緊密地與Hans-Werner Kroesinger 合作發展作品，作品包括： 關於殖民歷史的TRUTH – COMMISSIONED BY THE HEART OF DARKNESS（柏林、漢堡、杜塞爾多夫、提爾堡）；關於歐洲邊界與地沿政治的FRONTEX SECURITY （自由大學政治節）；探討歷史敘述的矛盾的BATTLEFIELD MEMORY 1914/2014（威馬藝術節、Mess撒拉熱窩藝術節、BITEF 貝爾格萊德藝術節、伊斯坦堡、柏林）；關於德國軍火工業的EXPORTING WAR 及 有關德國與希臘政治與歷史的交雜的GRAECOMANIA； 有關亞曼尼亞大屠殺的MUSA DAGH – DAYS OF RESISTANCE （柏林高爾基劇院及河岸劇院）； WELCOME TO THE EUROPEAN PROTECTION ZONE （Steirischer Herbst 當代藝術節及格拉茲）；有關穆斯林LGBTIQ難民問題的NOWHERE OUT （卡爾斯魯厄劇院）； THE AIR HERE: SHARPENED METICULOUSLY（柏林國立歌劇院）； 探討新媒體如何操控選舉的#OPINION MAKER。而探討納粹時期卡爾斯魯厄劇院歷史的《市立劇院的絆腳石》，被選為2016年柏林戲劇節年度十大，並已在多個歐洲國家、以色列及中國巡演。Dura現正跟Kroesinger在京都鴨川中心，研究關於日本紅軍及新左翼歷史的作品。
Regine Dura studied Political Science, Theater and Film studies, German Literature and Art Education (M.A.) at the Goethe University in Frankfurt/M. and Video at the University of the Arts, Berlin. She works as a director, author and dramaturge for film, theatre and radio. In 2012 her documentary film White Blood (ZDF / Arte) about a racist German-South African adoption scheme premiered at the Max Ophüls Film Festival and was screened at various European Film Festivals. She received scholarships from the German-Canadian Society in Ottawa, the FEDERAL Film Fund, the MEDIA Programme of the European Union, DEFA Foundation, Tarabya Cultural Academy in Istanbul (2013/14) and Villa Kamogawa in Kyoto (2018) (with Hans-Werner Kroesinger) with whom she co-developped theatre performances since 2000; a.o. TRUTH – COMMISSIONED BY THE HEART OF DARKNESS on European colonial history (Berlin, Hamburg, Düsseldorf, Tilburg), FRONTEX SECURITY (Festival Politik im Freien Theater) on Europe’s border safeguarding, BATTLEFIELD MEMORY 1914/2014 (BITEF Festival Belgrade, MESS Festival Sarajevo, Kunstfest Weimar, Istanbul and Berlin,) on conflicting historical narratives, EXPORTING WAR on Germany’s arms industry and GRAECOMANIA 200 years on German-Greek historical and political involvement, MUSA DAGH – DAYS OF RESISTANCE on the Armenian genocide, Theatre Hebbel am Ufer and Gorki Theatre, Berlin; the performative walk WELCOME TO THE EUROPEAN PROTECTION ZONE, Steirischer Herbst, Graz, NOWHERE OUT, State Theatre Karlsruhe about Muslim LGBTIQ refugees; THE AIR HERE: SHARPENED METICULOUSLY, Berlin State Opera, #OPINION MAKER, Theatre Erlangen on social media as tool of voter microtargetting and control in the US and China. STATETHEATRE DRIPPINGSTONES on the nazification of the Karlsruhe state theatre was invited to the prestigious THEATERTREFFEN BERLIN in 2016 and has been on tour since then throughout Europe, in China and Israel. Currently she is a fellow at Villa Kamogawa in Kyoto (with Hans-Werner Kroesinger) where she researches the political history of the Japanese Red Army and the Japanese New Left.
Hans-Werner Kroesinger 1962年波恩出生。1983至88年在吉森大學（Justus Liebig University Gießen）的應用戲劇部跟Andrzej Wirth 及Hans-Thies Lehmann學習戲劇、劇場及媒體。1987年，當他還是學生的時候，已經擔任Robert Wilson 的助理導演及戲劇構作，歷時兩年。參與作品包括紐約的《哈姆雷特機器》，米蘭的《所羅門》及柏林的《森林》。1989年他成為Heiner Müller 《哈姆雷特／哈姆雷特機器》的創作成員之一。他亦參與了1997年第十屆卡塞爾文件展。自1993年開始，Kroesinger 作獨立發展，在德國有名的市立及邦立的劇團或劇院擔任導演，例如柏林人劇團、斯圖加特市立劇院、巴伐利亞劇院、柏林高爾基劇院； 他同時亦活躍於獨立藝術單位如河岸劇院、柏林索菲劇院、Radialsystem表演中心、Podewil文化中心、杜塞爾多夫自由表演論壇、德勒斯頓歐洲藝術中心、蘇黎世Gessnerallee劇院、卡爾斯魯厄藝術與媒體科技中心。自2000年起緊密地與Regine Dura 合作發展作品。他的作品亦受邀到德國及國際戲劇節作巡演，如Politics in Independent Theatre戲劇節（2003漢堡、2011德雷斯頓、2014巴賽爾及弗萊堡）、2008荷蘭Cultura Nova國際戲劇節及Impulse戲劇節（科隆及杜塞爾多夫）、2014威馬藝術節、Mess撒拉熱窩藝術節、BITEF 貝爾格萊德藝術節、塔林戲劇節及維爾紐斯國際戲劇節。2007年Kroesinger的作品Kindertransporte獲頒格林兄弟獎，在柏林Parkaue劇院公演，內容關於二次世界大戰拯救猶太兒童而進行的救援工作。2016年，他與Regine Dura的作品《市立劇院的絆腳石》獲柏林戲劇節選為年度十大演出。除戲劇外，他曾為斯圖加特及柏林城市歌劇院執導新音樂劇場作品。最新作品#OPINION MAKER探討國家怎樣利用新媒體操控選舉 。
Hans-Werner Kroesinger was born in Bonn in 1962 and lives in Berlin now. He studied drama, theatre and media from 1983 to 1988 with Andrzej Wirth and Hans-Thies Lehmann at the Institute for Applied Theatre Studies of the Justus Liebig University Gießen. In 1987, while he was still a student, Kroesinger began working as an assistant director and dramaturg for Robert Wilson, a position he held for two years. He was involved in Wilson’s productions of Hamletmachine in New York, Salome at the Scala in Milan and The Forest in Berlin. In 1989, he was a member of the creative team for Heiner Müller’s production of Hamlet/Hamletmachine at the Deutsches Theater Berlin, in these days East Berlin. He took part in „documenta X“ in Kassel in 1997. Since 1993, he has directed his own productions at prestigious municipal and state-funded theatres, such as the Berliner Ensemble, the Volksbühne Berlin, the Staatstheater Stuttgart, the Bayerisches Staatsschauspiel München and the Maxim Gorki Theater Berlin, as well as on the independent scene, above all at the Hebbel am Ufer (HAU), the Sophiensaele, Radialsystem, the Staatsbank and Podewil in Berlin, Forum Freies Theater (FFT) in Düsseldorf, the Festspielhaus Theatre at Dresden-Hellerau, the Theaterhaus Gessnerallee in Zürich and Zentrum für Kunst und Medientechnologie Karlsruhe ZKM. Since the year 2000 he developes the performances together with the filmmaker and author Regine Dura. Kroesinger has been invited to take his works to high-profile national and international festivals, including Politics in the Independent Theatre (Hamburg, 2003, Dresden 2011, Basel and Freiburg 2014), Cultura Nova (Herleen, 2008) and Impulse (Cologne and Düsseldorf, 2009), Kunstfest Weimar 2014, Mess Festival Sarajevo, Bitef Belgrade, Theatre Festival Tallin and International Theatre Festival Vilnius. In 2007, the director was awarded the Brothers Grimm Prize of the Land of Berlin for his Kindertransporte, a production for children and young people at the Theater an der Parkaue in Berlin. His work with Regine Dura Stolpersteine Staatstheaterwas for the Staatstheater Karlsruhe was selected in 2016, to showcase at the most important german-speaking theatre festival, Theatertreffen at Berlin. He also directed “Neues Musiktheater” New Music Theatre works at the Staatsoper Stuttgart and Staatsoper Berlin. His latest production #Meinungsmacher – Opion makers” together with Regine Dura at Theater Erlangen was dealing with the power of social media in the last elections in USA and as a tool for the control of people in China.
鄺智文，香港中文大學文學士（主修歷史），英國劍橋大學東亞及中東研究學院博士。現為香港浸會大學歷史系研究助理教授。研究興趣為近代東亞史，尤其着力於軍事史。於Modern Asian Studies、Journal of Military History（即將出版）、《國史館刊》等中英文學術雜誌發表論文，及撰有專著《新界鄉議局史》（合著）、《孤獨前哨：太平洋戰爭中的香港戰役》（合著）、《老兵不死：香港華籍英兵》、Eastern Fortress: A Military History of Hong Kong, 1840-1970、《重光之路：日據香港與太平洋戰爭》War and Geopolitics in Interwar Manchuria: Zhang Zuolin and the Fengtian Clique during the Northern Expedition 、《民國乎？軍國乎？第二次中日戰爭前的民國知識軍人、軍學與軍事變革》。
Kwong Chi Man earned his BA from the Chinese University of Hong Kong and his PhD from the University of Cambridge. He is currently Assistant Professor of Department of History at Hong Kong Baptist University. His journal articles can be found in Modern Asian Studies, Journal of Military History and Bulletin of Academia Historica. His publications include A History of Heung Yee Kuk (co-author), Exposed Outpost: the Battle of Hong Kong in the Pacific War (co-author), Old Soldiers Never Die: Hong Kong Chinese Soldiers in the British Forces, Eastern Fortress: A Military History of Hong Kong, 1840-1970, Road to Liberation: Japanese Occupation of Hong Kong, 1942-1945, War and Geopolitics in Interwar Manchuria: Zhang Zuolin and the Fengtian Clique during the Northern Expedition, and State for the People or State for War? The Intellectual Officers, Military Science and Military Change before the Second Sino-Japanese War.
歡迎參與，費用全免。
All are welcome. Free Admission.
以英語主講
Conducted in English.
香港演藝學院戲劇學院及香港中文大學文化管理碩士課程與文化研究中心合辦
Organized by The School of Drama, Hong Kong Academy for Performing Arts, and the MA in Cultural Management and the Centre for Cultural Studies, the Chinese University of Hong Kong
歌德學院贊助
Sponsored by Goethe Institut