[中][ENG] 總監主場 Artistic Director's Home: 黃俊達 Ata Wong
總監主場
Artistic Director's Home
黃俊達 Ata Wong
綠葉劇團藝術總監及導演 Artistic Director of Théâtre de la Feuille
翻譯Translation: Tiffany Wong
自問自答：綠葉劇團是一個怎樣的存在？
Q&A by myself: What kind of existence does Théâtre de la Feuille bring?
綠葉是花的襯托，銳意襯托來突顯人性如花一般的真善美。我們這一班説故事者，期望以徘徊於專業與非職業之間的態度，堅持以固定或兼職非劇場工作來持續與生活緊密聯繫，不離地，保持謙虛的心，把重點放於「花」的本體上。讓我們的小小想法和世界觀展示於不同角落，於不同國度中播種，產生光合作用，即表演者與世界各地觀眾之間的互動關係。透過劇場或非劇場空間，提供無限想像，共同反思及追求更美好的生活。
The leaf (la Feuille) is the foil to the flower, dedicated to highlight the truth, goodness and beauty of humanity as flowers state. We, as storytellers, wish to wander between professional and non-career-oriented attitudes, persisting on keeping in close contact with real life, with part-time or regular non-theatrical jobs to keep our feet on the ground, to stay humble, to focus on the ‘flower’ itself. May our little ideas and worldviews be shown in different corners of the world, planting seeds in different places, making photosynthesis happen — building the interactive relationship between performers and audience from all over the world. By offering boundless imagination in theatrical and non-theatrical spaces, we reflect and pursue a better life.
劇團像是一隊Indie Band（獨立樂團）
The company is like an Indie Band
核心團員們大多都有自己的本業，一邊從事劇場以外的工作，一邊參與劇團的恆常訓練、田野調查和創作；劇團希望培養界乎於專業與非專業性之間的一種創作關係，保持與生活的緊密聯繫，讓其創作演員不只逗留在藝術世界，同時擁有對生活的深刻體會，從而呈現有厚度的作品。
Most of our core members have their primary careers, working in areas irrelevant to theatre, beside taking part in the company’s regular trainings, field studies and creative processes. The company cultivates a relationship on creation between professional and non-professionalism, to stay close with real life instead of the mere artistic world. This allows all collaborating actors to have a deeper understanding of life, so as to present works with substance.
也許是因爲曾於法國留學，受當地文化衝擊，我重新定義了對劇場的看法，比起成為一個演員更想成為一個藝術實踐者。當我於歐洲進行第一次的創作時，會問自己一些核心問題：在當下的時代，我想問自己一個什麼問題？我想問觀眾一個什麼問題？在這個時代裏究竟什麼最重要 ？怎樣的問題才能讓我們雙方都有更深層的反思。
Perhaps of my studies in France, I was influenced by their culture, and so redefined my thoughts on theatre. Rather than becoming an actor, I wanted to be an arts practitioner. When I created my first work in Europe, I asked myself a few core questions: At the current time, what question do I want to ask myself? What question do I want to ask the audience? What is the most important thing in this time? What sort of questions could induce a deeper thought from both of us?
綠葉劇團演出《孤兒 2.0》Performance L’Orphelin 2.0 by Théâtre de la Feuille ；照片由黃俊達提供 Photo provided by Ata Wong
回港後，我便開始找尋一班有共同理念和創作語彙、對自己和身邊的人有要求的藝術實踐者。這五年間於不同的工作坊裏，我找到擁有這些條件和想法的伙伴，共同鍛鍊和探索說故事的可能，以肢體劇場或是肢體演技和創作的方法作為引子，讓伙伴了解身體作為工具去表達和表演，再經討論並在創作議題上達成共識。不單單說好故事，而要傳遞故事裡的故事，我們警醒自己保持虛心、與觀眾平等對立的面向，讓劇場發揮最佳的氛圍，讓雙方有更多的想像和思考。
After returning to Hong Kong, I started looking for a group of fellow arts practitioners with shared beliefs and creative vocabularies, as well as high expectations toward themselves and people around them. In different workshops throughout these five years, I found partners who share these conditions and ideas. We trained together and explored the possibilities of storytelling, making use of physical theatre or physical acting and creative methodologies, figuring out the body as a tool to express and perform. Then, we discussed and came to consensus of the topic of our work. Other than just telling a tale, we endeavoured to deliver the tale within a tale; reminding ourselves to stay open-minded and live up to an equal position with our audience, so as to initiate the best atmosphere in theatre, and allow further imagination and thinking.
為何把身體作為創作語彙的主要方向？
Why is body used as the main vocabulary in our creative work?
不管是任何的表現形式，身體的表達都會牽涉在內，除非是關上了燈，什麼都看不見。即使是原地站在舞台，表演就開始。一套完善的表演體系，有效讓表演者得到更多的創作工具或元素，從而讓身體的質感有更寬闊的可能性。這些工具和元素會化成身體的內在動力，最後動力會變成吸引觀眾想像和思考的空間。訓練的過程中，我經常會強調控制和極限，它讓我們找尋身體更多的未知，離開身體的慣性，把安全感放下，探索無盡的可能。經過這些年的實踐，身體作為語彙，能讓表演者有更好的發揮空間，同時讓表現更有感染力，最後觀眾就能從中找到更多共鳴和感受。
For any form of performance, our bodies are undoubtedly involved, unless being put in complete darkness with no vision. Even standing still on stage could mark the beginning of a performance. A comprehensive performance system effectively enables performers to acquire more creative tools or elements, to broaden the possibilities of their body’s qualities. These tools and elements turn into an inner motivation within the body, and the motivation becomes the space attracting audience’s imagination and reflections. In the training process, I often stress on control and extreme boundaries. They empower us to find the unknowns of our bodies, to escape from our body’s habits, to ditch our sense of security and to explore infinite possibilities. After such process is put into practice for all these years, taking body as vocabulary for creation empowers performers’ potential to showcase themselves, at the same time performing more appealingly, whereas eventually the audience resonates and feels towards the performance.
綠葉劇團演出《爸爸》Performance Papa by Théâtre de la Feuille ；照片由黃俊達提供 Photo provided by Ata Wong
訓練、創作和巡演時面對的？
What we faced during trainings, creating, and touring?
過去五年，我們走過很多不同地方，除了感受當地文化之外，最重要是讓作品和團員都能夠在過程中吸收到養分，閱歷比技巧更為重要。記得有一次我們去日本演出，整個演出過程，觀眾都沒有發出任何聲響，直至最後謝幕的時候，觀眾席的掌聲如雷，才知道當地觀眾在演出時會保持絕對安靜，讓演員投入。而在美國的觀眾剛剛相反，幾乎於每一個片段都會表現不同的反應。
In the past five years, we have been to a lot of different places. Apart from experiencing various local cultures , the most important thing is that our work and our members grow in the process. Gaining experience is always more important than technique. One time when we were performing in Japan, the audience was in complete silence throughout our show; just as we thought the house might be empty, we were given a big applause at the curtain call, from which we learned that local audience there maintain absolute silence during a show, avoid distracting the performers . While the audience in the US was quite the opposite, reacting differently for almost every segment.
我們的團員大多因爲已有一些固定工作，所以我們的恆常訓練於大清早六點開始直至八點，另外亦因為有一半團員身處國內，故此，有時候我們需要到國內跟他們密集排練，有時候亦需要他們來港，當中我們難免需要和家人經常分開。
Since most of our members are regularly employed, our regular trainings are held in the early morning at 6-8am. Besides, half of our members live in Mainland China, therefore, we occasionally travel back and give intensive training; sometimes they might need to travel to Hong Kong. It is inevitable that we are often separated from our families.
對未來的期盼？
Our anticipation?
期待我們這群人能走在一起，建構一個非常合拍的劇團，一同成長，說更動聽的故事；期待這些故事能夠走得更遠，遊歷更多不同的地方；期盼着下一個十年。
Together we hope to stride and make a troupe in steps, grow and tell mesmerising tales. We look forward to bringing our stories further, traveling to many more places, anticipating the next decade.
