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[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?