明日活动预告丨东方时空、德国戏剧与三位艺术家

“为什么是主流价值”系列演讲与讨论（1）

“Why Mainstream” Lecture and Forum Series I

2018年11月24日 

北京中间美术馆会议室

November 24, 2018

Conference Room, Beijing Inside-Out Art Museum

活动均对公众开放，无需报名，参与者可免费参观展览及领取导览册！

14：00-15：30

《东方时空》之《生活空间》：个人影像纪录缘起

演讲者：蒋樾，卢望平

Living Space of Oriental Horizon: The Origin of Personal Documentary

Lecturers: Jiang Yue, Lu Wangping

1993年5月1日，中央电视台《东方时空》栏目正式开播，这个节目改变了中国电视观众的收看习惯和观念，以关注现实为出发点，在可能的范围内通过严肃的新闻视角聚焦社会热点、时政要闻以及老百姓的普通生活。《东方时空》也带动了电视制作体制的变化，采取制片人负责制，经费、人员使用灵活，使得生产效率大大提高。《生活空间》是其子栏目之一，卢望平曾短暂代理负责了一段时间。由于机制灵活，在卢望平负责期间，他邀请了体制外的独立纪录片导演蒋樾加入，将纪录片的拍摄手法和思维方式引入到中国的新闻领域，是后来那档广为人知的以“讲述老百姓自己的故事”为片头语的著名栏目的前奏。作为本次展览呈现的案例，两位亲历者蒋樾和卢望平将和我们分享这档栏目制作的幕后故事。

On May 1, 1993, the CCTV column Oriental Horizon( Dong Fang Shi Kong) was formally launched, This groundbreaking program changed the viewing habits and concepts of Chinese TV viewers, focusing on reality, social hot spots, current political news, and life of ordinary people through a serious news perspective. At the same time, Oriental Horizon also led to changes in the TV production system. Adopting the producer responsibility system, making flexible use of funds and staffs, the program greatly improved production efficiency.

Living Space (Sheng Huo Kong Jian) is a subprogram of Oriental Horizon, which Lu Wangping briefly managed for a period of time. Due to the flexibility of the mechanism, Lu Wangping invited Jiang Yue, an independent documentary director outside the official system, to join him during his tenure. They introduced the documentary shooting and thinking mode into the Chinese news field, which became the prelude of the later well-known column with the opening words “The Story of the People”. In the conversation, Jiang and Lu, two participating artists of The Lonely Spirit, will elaborate on the behind-the-scenes of this program.

简历 \ BIOS

卢望平，1984年毕业于北京广播学院电视系摄影专业，1984年进入中央电视台工作至今。1988年-1990年参与《流浪北京》这部新纪录片奠基作品的拍摄；1993年参与《东方时空》的筹备及开播工作，全程参与“生活空间”栏目的创立，并为后来以短纪录片形式讲述老百姓故事的栏目方向奠定基础。

Lu Wangping, graduated from the Department of Television of Beijing Broadcast Institute with a degree in photography in 1985. Since 1984 till now, he has been working at China Centre Television (CCTV). He participated in the filmingof Bumming in Beijing from 1988 to1990, which is considered as the cornerstone of China’s New Documentary Movement. In 1993, he took part in the pre-production and production progress of CCTV's groundbreaking program Oriental Horizon, and founded one of its subprograms named Living Space. His practices laid a foundation for the later format of Living Space – telling the stories of the normal people by short documentaries.

蒋樾，生于1962年，1988年毕业于中国戏曲学院文学系。后入北京电影制片厂工作，师从黄健中导演，在故事片《龙年警官》和《过年》中担任副导演。1993年拍摄纪录片《彼岸》，同时开创《东方时空_生活空间》短纪录片模式。2000年受BBC委托制作纪录片《幸福生活》，2006年完成反映土改运动的纪录片《暴风骤雨》。

Born in 1962, Jiang Yue graduated from the Department of Literature of National Academy of Chinese Theatre Arts. He then joined Beijing Film Studio. As the apprentice of film director Huang Jianzhong, he became the assistant director of Dragon Year Cops and The Spring Festival. In 1993, he filmed documentary The Other Shore and established the short documentary format for Living Space, a subprogram of CCTV's groundbreaking program Oriental Horizon. Entrusted by BBC, he produced documentary This Happy Life in 2000. In 2006, he finished The Storm which documents the Land Reform Movement in 1950s.

15：45-17：15

纪录剧场的美学和政治

演讲者：凯·图赫曼，汉斯-维尔纳·克吕辛格

Aesthetics and Politics of Documentary Theatre

Lecturers: Kai Tuchmann, Hans-Werner Kroesinger

如何将真实事件或历史事件展示在舞台上？当一出戏剧主要用报纸报道、目击者记录、记忆、普通人的传记或其他来源于现实生活的文字来编剧时，它看起来是什么样？与基于古典戏剧文学的戏剧相比，这种戏剧的潜力是什么？其限制和危险是什么？著名德国纪录剧场实践者凯·图赫曼，汉斯-维尔纳·克吕辛格将展示他们有着丰富德国纪录剧场传统的作品片段，来回答以上问题。

汉斯-维尔纳·克吕辛格和搭档Regine Dura从2000年开始合作，他们的表演涵盖的议题非常广泛：从德国殖民主义的历史到社交媒体对社会的影响。他们被邀请到中国展出的作品《国家剧院的绊脚石》调查了1933年后反犹太主义歧视和解雇左翼和自由派戏剧艺术家的历史事件。凯·图赫曼主要利用戏剧舞台作为编写历史的另一空间。他与中国艺术家文慧合作完成的最新作品《红色》，探讨了中国文革的来世。

在一个小时的演讲中，三位艺术家将讲述自己的创作经历，并阐释他们对纪录剧场美学和政治的态度。演讲之后会有观众讨论环节。

How to put real matters or historical events on stage? How does a theatre look like when it mainly utilizes newspaper reports, eyewitness accounts, memories, biographies of ordinary people or other documents of reality? What is the potential of such a theatre- compared to a theatre that is based on classical dramatic literature? What are the limits and dangers of documents? These questions will be touched when acclaimed German Documentary Theatre practitioners Kai Tuchmann, Hans-Werner Kreosinger will present excerpts of their performance work, which is closely associated to the rich tradition of German Documentary Theatre.

Hans-Werner Kroesinger and his partner Regine Dura are collaborating since 2000 and in their performances, they confront a large scope of topics: from the history of German colonialism to the impact of social media on societies. Their piece Tripping Stones State Theatre, which was invited to China, investigated the process of anti-Semitic discrimination and the dismissal of left-wing and liberal theatre artists after 1933.  Kai Tuchmann mainly utilizes theatre as a space for creating alternative historiographies. His latest work Red, developed in close collaboration with the Chinese artist Wen Hui, discussed the afterlife of Chinese Cultural revolution.

In a one-hour long presentation the three artists will elaborate on their practices, and highlight their approach towards aesthetics and politics of documentary theatre. This presentation will be followed by a discussion with the audience.

简历 \ BIOS 

汉斯-维尔纳·克吕辛格，1962年在波恩出生。1983至88年在吉森大学（Justus Liebig University Gie?en）的应用戏剧部与Andrzej Wirth 和Hans-Thies Lehmann学习戏剧、电影及媒体。1987年他还是学生的时候就开始担任Robert Wilson 的助理导演和剧作家，历时两年。他参与的作品包括纽约的《哈姆雷特机器》，米兰的《所罗门》及柏林的《森林》。1989年他成为Heiner Müller 《哈姆雷特／哈姆雷特机器》的创作成员之一。他亦参与了1997年第十届卡塞尔文献展。

自1993年开始，克吕辛格作独立发展，在德国有名的市立及邦立的剧团或剧院担任导演，例如柏林人剧团、斯图加特市立剧院、巴伐利亚剧院、柏林高尔基剧院； 他同时亦活跃于独立艺术单位如河岸剧院、柏林索菲剧院、Radialsystem表演中心、Podewil文化中心、杜塞尔多夫自由表演论坛、德勒斯顿欧洲艺术中心、苏黎世Gessnerallee剧院、卡尔斯鲁厄艺术与媒体科技中心。自2000年起紧密地与Regine Dura合作发展作品。

2007年克吕辛格在柏林Parkaue剧院公演的作品Kindertransporte获颁格林兄弟奖，其内容关于二次世界大战拯救犹太儿童而进行的救援工作。2016年，他与Regine Dura的作品《国家剧院的绊脚石》受邀参加柏林戏剧节。

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 Gie?en. 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.

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 Staatstheater was for the Staatstheater Karlsruhe was selected in 2016, to showcase at the most important german-speaking theatre festival, Theatertreffen at Berlin.

凯·图赫曼，在柏林的的恩斯特?布什戏剧学院学习导演。在2006年获得硕士学位后，他执导了Maxim Gorki等剧院的戏剧。2006年到2008年，他担任德国国家剧院的内部主管。从2008年到2010年，在歌德学院的支持下，他与民间团体的演员合作，在中东和北非开展戏剧和表演（包括位于耶路撒冷的巴勒斯坦国家剧院和位于埃尔比勒的伊拉克美术学院的表演）。在这个时期他的艺术实践方式基本成型，即把戏剧作为研究历史的工具。 2010/11年度，图赫曼成为维尔茨堡Mainfranken剧院的主要剧作家，他与汉斯-维尔纳·克吕辛格合作演绎了2012年埃斯库罗斯的的经典悲剧《祈援女》。

2013年以来他的纪录剧场实践主要集中在中国，意在促进中国与欧洲的艺术交流。现在他在中央戏剧学院授课。

Kai Tuchmann studied directing at the Hochschule für Schauspielkunst “Ernst Busch” (Ernst Busch Academy of Dramatic Arts) in Berlin. After taking his master’s degree in 2006, he directed plays at the Maxim Gorki Theatre, among others. From 2006 to 2008 he was in-house director at the Deutsches Nationaltheater (German National Theatre) in Weimar. From 2008 to 2010, under the aegis of the Goethe-Institut, he worked with civil-society actors to develop plays and performances in the Middle East and North Africa (including productions at the Palestinian National Theatre in Jerusalem and the Iraqi College of Fine Arts in Erbil). The main thrust of Tuchmann’s artistic approach took shape during this period, centering on the use of drama as a means of alternative historiography. In 2010/11 Tuchmann was the leading dramaturge at the Mainfranken Theatre in Würzburg, where he worked with Hans-Werner Kroesinger on a rendition of Aeschylus’ classic tragedy The Suppliants in 2012. 

Since 2013 Tuchmann has been refining his documentary approach mainly in China, championing artistic exchange between Europa and China. He currently teaches at the Central Drama Academy in Beijing.

艺术家在中间

Artists Talk at IOAM 

19：00-21：30

2018年11月24日 

北京中间美术馆会议室

November 24, 2018

Conference Room, Beijing Inside-Out Art Museum

刘张铂泷丨 关于新作《二周目》：艺术项目也是知识生产吗？

Liu Zhangbolong丨About “New Game+”: Can Art Project Be A Kind of Knowledge Production？

张淼丨方格 / 桥 / 白蚁 

Zhang Miao丨Square / Bridge / Termite

铁木尔·斯琴丨偶然性美学 

Timur Si-Qin 丨Aesthetics of Contingency 

简历 \ BIOS

刘张铂泷，艺术家，2012年毕业于北京清华大学材料科学与工程系，2015年毕业于纽约视觉艺术学院摄影、录像及相关媒体专业。他是正在中间美术馆进行的展览“想象·主流价值”的参展艺术家之一。

Liu Zhangbolong, artist, graduated from Materials Science and Engineering Department at Tsinghua University, Beijing (B.E.) in 2012 and Photography, Video and Related Media at School of Visual Arts, New York (M.F.A) in 2015. He is one of participating artists of the current exhibition The Lonely Spirit at Beijing Inside-Out Art Museum.

张淼1985年生于北京，2008年毕业于中央美术学院油画系，现工作和生活在北京。

Zhang Miao, born in Beijing in 1985,  graduated from the oil painting department of the Central Academy of Fine Arts in 2008 and now lives and works in Beijing.

铁木尔·斯琴1984年出生于柏林，是德国和中国蒙古混血的艺术家，他成长于柏林、北京和美国西南的印第安人社区，毕业于美国亚利桑那州立大学，现居纽约。在多元文化环境下长大，塑造了他对自然和文化之间关系的独特的感知能力。铁木尔·斯琴是后网络时代艺术家中的领军人物，这一代艺术家借用发达的科技手段来挑战人类社会和自然界生物法则之间的分离。

Timur Si-Qin (b. 1984), is an artist of German and Mongolian-Chinese descent who grew up in Berlin, Beijing and in a Native Indian community in the American Southwest. Growing up in a multi-cultural environment helped inform Si-Qin’s unique sensitivity to the relationship between nature and culture. Now living in New York, Si-Qin has become a leading figure in a Post-Internet generation of artists who reference new developments in science and technology to challenge the separation between the human world and the biological laws of the natural world.