2010年2月9日
PHOTO: ZORIAH.COM
ALBUM: IRAQ WAR - ENTERING IRAQ
我们的世界要这个样子吗？
韓雪梅
2010年2月4日
Hey All!
ARTivate will be having our 2nd open rehearsal for Huayi Festival 2010: Fresh Takes ! We have made some changes since the first open rehearsal. With your feedback and participation, we hope to improve the workshop programme and at the same time share some stretching exercises and games with you !
Date/Time:
11 February 2010 (Thu) @ 7-9pm
Venue:
Drama Box 4th Level
14A - 14C Trengganu Street
Singapore 058468
Target audience: 13-20 years old
* Workshop will be conducted in Mandarin
* 10-12 pax per session
Please email Jiayi your Name and Contact Number @ jiayi.artivate@gmail.com if you are keen! (:
大家好！
经过一次的公开彩排，我们已在工作坊的节目上做了一些调整。艺树人将会为筹备华艺2010：生力军现场有第二次的公开彩排。希望大家能参与我们主办有益身体的肌肉暖身运动 ，同时给予我们宝贵的意见！
日期／时间：2月11日（星期四) 7-9pm
地点:
Drama Box 四楼
14A - 14C Trengganu Street
Singapore 058468
Drama Box 四楼
14A - 14C Trengganu Street
Singapore 058468
对象：13－20岁
＊工作坊将以华语进行
＊每个彩排人数：10至12人
有兴趣者，请发电邮到 jiayi.artivate@gmail.com ，并留下你的姓名以及联络号码
谢谢支持！
jiayi
2010年1月10日
Huayi Festival 2010: Fresh Takes (Open rehearsals)
Hi All!ARTivate is currently preparing a workshop for Participants in involved in the upcoming Huayi Festival 2010: Fresh Takes.
Fresh Takes is a showcase of Chinese Language Theatre productions put up by Singaporean schools, which have been an important nurturing ground for dramatic talent since the emergence of modern Chinese language theatre in Singapore in the early 20th century.
To help prepare these students physically and mentally for their performances, we will be conducting a 1-hour workshop on the day they will be performing.
We hope to invite some of you to join us in 2 of our open rehearsals so that we can further improve on the workshop content and structure. We appreciate your feedback !
Following are some details of the open rehearsals:
Dates:
23 January 2010 (Sat) @ 11.30am-1.30pm
Target audience: 13-20 years old
* Workshop will be conducted in Mandarin
* 10-12 pax per session
Please email Jiayi your Name and Contact Number @ jiayi.artivate@gmail.com if you are keen! Do tell us which date you prefer too (:
大家好！
艺树人最近在为华艺2010：生力军现场筹备一个为时一小时的工作坊。目的是为了帮助当天表演的学生做好准备演出.
新加坡学校里的戏剧活动，一向来是培养华语戏剧参与者的温床。许多有才华与热忱的学生戏剧爱好者，在老师的引导下，在课余积极参与戏剧活动，多年来也累积了丰富的成果。
为了让工作坊更有效而顺利地进行，我们希望邀请你们参与彩排， 给予我们你宝贵的意见！
日期／时间：
1月23日（星期六）11.30am-1.30pm
对象：13－20岁
＊工作坊将以华语进行
＊每个彩排人数：10至12人
有兴趣者，请发电邮到 jiayi.artivate@gmail.com ，并留下你的姓名，联络号码以及有意参与的彩排日期
请大家多多支持，谢谢！
jiayi
2010年1月1日
灯
新年快乐！感谢09年对艺树人的支持！希望2010大家能过得充实快乐！这里和你们分享一个制作灯光的工作坊，以 Jed Lim 为我们的导师，艺树人在两天的工作坊里完成了我们的灯光。
从我们对现有灯光的概念，到发挥创意设计个人灯光， 一直到真正寻找材料去制作，才发现并没有想像中那么简单。Jed 要求我们不能花超过10元买材料，所以只能用戏剧盒现有的东西发挥创意。在资源不足的情况下，我们也才能在困境中学到更多东西，想方设法突破难关！
到了交成绩单的时候了！在戏剧盒2009年尾派对中，艺树人用我们的灯光照亮了整个空间，尽可能点缀属于那盏灯光的每一个角落。。。
一开始，我们凭想像，生活中所见过的灯光，画出了一些图。才发现，许多人对灯光的典型印象太深刻了。听了许多的可能性，再迅速翻过杂志，艺树人渐渐有了独自与众不同的概念。看得出整个过程，灯光的形象在大家脑海中的演变。
丹凤 danfong
海彬 haibin
秀彬 entia
丽诗 myra
雪梅 xuemei
王放 kate
慧萍 hweepeng
玮婷 weiting
佳宜 jiayi
英豪 yinghao
健僮 kiantong
不同的灯光也有他们自己的任务。只是要营造某种氛围吗？还是点亮整个空间？是哪一种空间？一小盏橙黄色灯光可以只停留在卧房床边，使这私人空间更为隐秘，温柔。可以有许多许多灯照亮一整条乌节路。就像佳宜的灯，大家都说应该放在柜台。丽诗的在大厅，雪梅的或许在角落。
对于材料，我们还不是很熟悉。但看看大家的灯，材料都有所不同。那绝对是一种选择。这些选择不仅仅是因为材料的不足，而少了份坚持。相反的，因为材料不足，我们尽量使它们各自扮演好自己的角色，让不同的材料擦出火花。
（派对当天最后的赶工）
这次的探险，是刺激的，好玩的，累人的。许多艺树人都在不断尝试，无数次失败中学习，包括我。因为Jed总是鼓励强调我们要自己完成作品，他只是从旁协助。真的要感谢 Jed 在第二个晚上陪我们一些还未完成作品的人，留到凌晨5点赶工。谢谢！
Jed
（因为害羞不愿入镜）
请期待2010年的艺树人！ :D
weiting
2009年12月16日
超大的铁箱也是艺术
最近到了伦敦一游。闷在新加坡太久会变成井底蛙的，所以决定到国外去看世界。
伦敦有很多世界级的博物馆，展出或收藏物品的量和广度大得让人目不暇给。不管是现代艺术品，古典画作，古董，科学发明，自然科学，历史文物都可以在伦敦的博物馆里找得到。最重要的是，大部分的展览都是免费的，不花钱就可参观。
去伦敦之前，朋友就说在伦敦的博物馆里呆上十天也不一定看的完。当下觉得她也太夸张了。可是当我真正到了那里参观的时候，朋友的话应验了。花了一整个早上，结果只参观完维多利亚与阿尔伯特博物馆（Victoria and Albert Museum）的一楼而已。实在有太多的展出品值得去观赏，去研究了。
出名的博物馆包括国家画作展览馆（National Gallery），泰特古典艺术博物馆（Tate Britain），泰特现代艺术博物馆（Tate Modern），自然史博物馆（Natural History Museum）。其中让我印象与体验最深的，是 Tate Modern 里的其中一件互动艺术品。
这件艺术品从外观看起来真的很不像艺术品。基本上，他就是一个很大很大的货柜箱（以下照片）。当你站在箱子的入口处，可以看见是黑暗的，没有灯，只有少许的光线从外面投射进货柜箱里，内侧的四面墙也是黑的。眼前的画面，就是一个使人觉得有压迫感的大黑洞，等着你进去探险。
和朋友进去的时候，因为不知道里面有些什么，也看不见任何的东西，我们有些许由于，脚步非常缓慢。我甚至觉得有少许的害怕。可是走着走着，我们竟然到了空间的尽头。里面什么都没有。
原来，这个货柜箱就真的是一个空有暗的货柜箱。
我当时第一个反应：这展览品也太笨了吧！为了看设计这艺术品的艺术家怎么把这么笨的东西解释成艺术，我就去看说明的看板（以下照片）。我所看到的说明，出人意表得给了我灵感，启发和难忘的体验。
"How shall I move forward?" you might ask yourself, as you stand at the threshold, confronted by the darkness ahead. The unknown can be terrifying, especially if it is also without light. How you approach it is unique, as your first encounter with anything can only ever be as an individual. Staring ahead into the black void may make you wonder whether to move ahead at all.
'Its fine', you reassure yourself, "what can actually be inside?" How It Is is complete only when you, the viewer, enter. The container focuses you inwards, both physically and psychologically, deeper into the darkness. In choosing how to move ahead- to march in fearlessly, or to kirt along the walls - you create your won journey. But as you bump into others, or mistakenly grab a stranger's shoulder, your trepidation eases and collectively you navigate the void..
说明看板上所说的感觉，行动，思绪我在货柜箱里面都体验到了。顿时间，我对展览品的嘲笑变成了敬佩。这么简单的一件物品/空间，却带出了人内心的复杂情绪和外在行动的可能性。
再说，这些体会不会只停留在货柜箱里面的空间，可以延伸至日常生活。当我们碰到难题的时候，和在走入黑箱那一刻的反应是一样的。当我们面对看不到前景的未来，或算不到后果的抉择，在货柜空间里的反应也会出现。
想到这里，不得不为刚开始的那种无知的判断感到惭愧，也非常庆幸我去看了说明看板。如果没有参考，我可能永远都会是天真的愚人。
后来，我也发现，这个体验只会有一次。之后如果你在尝试进去的时候，你没有办法再找回同样的体验了。你已经熟悉那个空间了。也许人生也是如此吧。生活中的每一个经历，只会有一次。下一次，不管情况多么雷同，也已经不一样了。
最深层的意义，往往来自最简单的东西。
最简单的东西，也往往能拉近艺术与生活的关系。
Kian Tong
第十一堂biomechanics课（最后一堂）
上个星期我们上了最后一堂biomechanics课！我们把这十一个星期所学到的种种知识和训练总结起来。开始做dactyl之前，李邪提醒我们全身上下的线条：
Last Saturday was our last lesson for Biomechanics class!
Although we still have much more to learn (in deepening our knowledge and skills in Biomechanics), this lesson has helped us sum up all that we have learnt in these 11 weeks.
As we started the day with dactyl, Lixie reminded us of the different lines in our body. In this way, we can adjust and align our own body such that it is three-dimensional:
a) 头到天花板 from head to the ceiling (pulling upwards)
b) 背到后方 from the back (pulling backwards)
c) 胸口出去 from the chest (pulling forward)
d) 肩膀两条横的线 from the shoulders (horizontally outwards)
e) 膝盖（稍弯，不要锁起来）from the knees (knees slightly bent instead of being locked)
f) 脚板到地上 from the soles of your feet to the ground (downwards)
g) 骨盆 from pelvic
这是在空间走动，寻找新的tochika时的小提醒：
1. 行动虽然是有自觉性的，但不要刻意（让otkaz自然－不需要刻意去bounce过后，才找新的tochika）
2. 要有Dynamism，台上的动作才能“看”. 想像走路是胸前有一盏spotlight，照亮前面走的路。之后，想像背后也有一盏spotlight。走的时侯，应该有一种在切入空间的感觉。
We then walked in the space, finding a new tochika as we stop. Some notes here!
1. movement is conscious but not deliberate (e.g. keep otkaz natural-need not bounce on purpose before moving off to the new tochika)
2. Dynamism is VERY important in order to make our movements watchable on stage. A way to exercise this dynamism is to imagine that there is a spotlight in place of the line pulling forward from the chest. This spotlight shines in the direction of the new tochika as you walk. Next, the back also has a spotlight. And we own the space because we have this 2 spotlights.
如果是荒谬剧或是抽象剧，我们该怎么走呢？以下有一些关于biomechanics的误解和正解：
- biomechanics 不在于对抗自然主义
- 动作不要每次都那么大
- 刚开始，因为工业社会的关系，人的身体变得像机器，所以biomechanics专注于发现身体的“功能”。但这不是对biomechanics唯一的理解。
- 只要保留biomechanics的原则，它可以在任何不同的剧使用（注：千万不要把它当成一种style）
- etude夸张的动作，重点在于训练演员的身体
Continuing to walk in the space, we were told to sense the difference in our movements as we apply it to different forms (e.g. naturalistic play, absurd piece, abstract play). some notes here:
- biomechanics is not against naturalism
- movements need not always be large
- the initial understanding of biomechanics involves exploring the usability of human body (due to influence of industrialization, resulting in human behaving like "machines") but it is not the ONLY understanding
- as long as the principle of biomechanics holds, it can be applied to all kinds of play （note：do not make it like a style）
- etude movements are exaggerated in order to train actors
之后，我们学了slap etude最后的部分：散步。第一个打人的同伴将把对方的手带到自己身边（不要用力拉），同时对方也自动地站进来到同伴的身边. 双方要有共同的节奏，一起走，一起停下来。当大家呈现etude时，我们都“考试”不及格！以下有些原因／小提醒。
Proceeding to etude, we finally learnt the last part of the slap etude: the walk
The first person to slap will bring the partner's arm to herself/himself (NOT pull!). The pair will go for a walk together before coming to a stop with mutual consensus. There is a mutual rhythm between partners. The otkaz is important here in giving your partner where you are going.
We then took our "exam" and each pair presented their etude. Unfortunately, we all FAILED !
let's first look at some notes taken as we presented the slap!
- every movement should be calculated
- body control (grouping of stomach muscles)
- Lack of Dynamism (one of the MOST IMPT factor. Dynamism helps to trigger imagination for the audience. It gives meaning to the movements. We cannot be to "mild" when doing etude because this lack of energy does not create the dramatic tension. akhl also mentioned that the power/OMPH is what we need and lacked then)
- during the preparation command, the impulse/tension has to be held. stillness is important to prepare for the dynamic slap
- lines of the body went missing (being precise is very important!)
- note the storyline and rhythm of the entire slap etude. (not a movement piece!)
- different etudes have different levels of difficulty but on the whole, it is all about controlling the body.
第二部分李邪让我们了解biomechanics在以下不同地方的运用：
The 2nd part of the lesson we learnt the application of biomechanics:
1。肢体的biomechanics（body－As in a music score, there is rhythm and a physical score the things we do in biomechanics）
2。空间的biomechanics （space－this space/playground can include the set, object, blocking） and geometry
3。演员之间的biomechanics（between actors－we give each other signals in deciding when to walk together and when to stop together.）
＊All (1), (2) and (3) has scores that are being composed.
4。剧本的biomechanics （in the script－the script's Tochika refers to the objective or perspective taken by the playwright/director/actors/character. the playwright and the director can discuss can perhaps deconstruct the play in exploring its objective. the actors have to accommodate to the character's tochika in the play. The tochika also gives show a style.
otkaz is to prepare for the posil of the script, followed by a stoica. tomoz refers to a change/twist in the play, a change in rhythm or even a break.）
5。人物的biomechanics （in the character－character's otkaz refers to his/her background info and it often explains how the character prepares for something. (e.g. The queen in snow white and the seven dwarfs wants to be the fairest person on earth, hence she buys a mirror that tell her lies) Again posil refers to the action being carried by the character. its stoica can be an ending, consequence or realization. tomoz is what changes her objectives such as obstacles encountered.）
6。行动线的biomechanics （action－similar to (5), there is always this cycle of tochika, otkaz, posil, stoica and tormoz in every action.）
7。台词的biomechanics （specific line）
最后，我们以《废人》中的两个monologues为基础，把剧本分成小段落。在了解空间的同时，每个段落得配上一个画面来代表情景。下一堂课我们希望能再次呈现，请拭目以待！
We explored 2 monologues of the script Trash
1. we had to break down script into mini episodes (physical scores)
2. understand the playground (space)
3. map it and attach an image to each mini episode
we will be presenting again during the coming saturday lesson before starting on Voice Lesson with Lixie!
Do stay tuned for more !
jiayi
2009年12月13日
美术，从不会完成
大概年中的时候，达文西展览来到了新加坡。曾经因为《达文西密码》一书对达文西这位名画家产生了好奇，所以和友人参观了这场展览。
许多人都以为达文西只是个画了许多名画的杰出画家。很惭愧的，我也是。可是看完展览之后，我才知道达文西除了是画家，还是雕塑家，数学家，科学家和工程师。他不只画画，还发明了新的油画技术，各种各样实用的原始机械和战争武器。
朋友看完展览之后，称赞达文西：“Da Vinci真的很厉害。他原来会做这么多东西。”是的，大家参观了这个展览都会对他的很多成品叹为观止，尤其因为他生于一个科技完全不发达的年代。可是，鲜为人知，达文西真正令人敬佩的是他的精神。就像很多历史伟人，如俄罗斯现代戏剧大师斯坦尼斯拉夫斯基（Stanislavsky）和德国物理学家爱因斯坦（Einstein）一样，他一生都在观察，研究，探索与实验。如此难得的精神，每次在他画画和发明的过程中都会体现。
在画闻名世界的壁画《最后的晚餐》（The Last Supper)时，达文西为了可以一边画，一边修改这幅壁画，而发明了全新的壁画技术。不只如此，为了能让壁画里的人物能看起来栩栩如生，他花了两年的时间观察生活中人们的身体语言。在画壁画的过程中，他可以一天内不停地画，也可以花好几天不动笔只看着他的画，一直盘算，计划如何继续画。达文西的创作精神真的让我十分敬佩。
到了展览厅的最后，有一个看板汇集了达文西一生所说过的一些名言。其中有一句非常精简和准确，让大家透视了他聪明的脑袋。
"Art is never completed, only abandoned." (美术从不会完成，只会被遗弃）
这句话概述了达文西一生的创作理念与精神，相信也能带给很多人启发和灵感。
我想，表演艺术也是一样吧。不会完成，只会被遗弃。
Kian Tong
2009年12月5日
第十堂biomechanics课
上个新期又是一堂有趣的课。艺树人像以往一样，先找个tochika做dactyl开始，然后预算从一个tochika到另一个tochika需要走几步。这让我们锻炼自己的预算能力，好让我们更能够在台上保存精力。能够在台上充满活力真的需要靠功夫才行，尤其是那些演出时间长的戏。在一个小组一起走动是件更困难的是。由于自己会不知觉地倾向他人的步伐，我最终的踏步往往出乎预算。
艺树人接着学了raccouris，一种充满动态的姿态。借着otkaz，posyl和stoica的原则，艺树人各个都得与正方体竖立一个raccouris，每次只能有身体的一个部位接触到正方体。有个清楚的stoica非常重要因为它给人更多时间去预备下一个动作。
艺树人从一个接着一个到整组人一起做raccouris，训练自己的反应和应变能力。艺树人也尝试不同的层次和身体的形状，使整体看起来更有动感。
之后，艺树人分成两组、一组摆个姿势，而另一组得在观察了几秒种后，摆出一样地姿势。这向活动讲究艺树人的精确度的一贯性，尤其是当我们需要重复一样地姿势。
艺树人接着玩了“pass the message”的游戏，但我们传下的不是语言讯息的，而是一个自创的etude。少了一定的精确度，每人传下的etude一个比一个短，也漏了许多细节。艺树人各个的动作除了滑稽之外，有时也显得有点无意义，但大家都大笑了一场。
最后，艺树人练习了“The Slap”，但这次为了让我们把动作做得更尊却，李邪要每人手握着一杯装满水的杯子。艺树人各个都为了平衡手里的那杯水而非常苦恼，动作也自然地慢了下来。起初，大家的动作都有点笨拙，但慢慢地，艺树人各个开始注意自己的每个动作，也比较注重etude里的小细节。课程结素之前，艺树人一样做了几个dactyl。幸好这次李邪只要求我们想像自己手里握着一杯水，而不是来真的！
由于李邪这个星期病了，所以课程也跟着被取消。希望李邪能够尽早康复，陪伴艺树人度过个充实的星期六！
（照片马上就来！）
Last week’s Biomechanics lesson was fun! As always. ARTivate started the day doing our usual dactyl at different tochika. Then we moved on to estimating the number of steps we would take in moving from one tochika to another. This is supposed to hone our estimation/calculation skills so we can better learn how to conserve our energy on stage. Keeping one’s energy level constant throughout the entire duration definitely takes skill and experience. Moving in groups was definitely more challenging. For one, I had the tendency to be influenced by the speed and exact route that the others took hence my estimation went awry at times.
ARTivate then learnt a new term raccouris, which is a dynamic pose. Imagine taking a picture of someone in constant motion - the pose would be one with anticipation of a next move. Using the basic otkaz, posyl and stoica, each ARTivator had to strike araccouris with a cube, one at a time. Our poses were then varied such that we could only contact the cube with a specific part of our body. Giving a clear stoica is very important as it would buy time for us to plan how to leave the cube and generally, our next move.
ARTivate then did this in groups, striking a raccouris one after another and then concurrently, training our reflexes and improvisation at the same time. ARTivators also played with the different levels, shapes and planes of our body to create a more dynamic image.
Next, ARTivate split into two groups - one group strikes a pose and the other must mirror it after a few seconds of observation. This tested ARTivate’s precision and consistency, especially when the group which posed has to replicate the image again.
After that, ARTivate played “pass the message” but instead of an oral message, we had to pass down an etude. Precision was key in this exercise especially when we replicated the actions to the next person. It probably would have been easier if we could tag each action to some story but as the etude gets passed on, many minor details were left out and sometimes, the actions just seems plain senseless but very comical. It was a hilarious way of learning the need to be precise in everything one does.
As the last activity of the day, ARTivate practised “The Slap” etude but this time, each ARTivator had to hold a plastic cup filled to the brim with water as we did the etude. Every action was executed so slowly as each of us struggled to keep the cup perfectly upright. After a few random splashes of water and many awkward moments, ARTivate learnt that slowing down the actions actually made us more aware of how each move is made and more attention could be paid to the details. Everyone started getting more conscious too. We then concluded the day with a few dactyl, while imagining that we were holding on to those cups of water. Lucky us!
There was no lesson this week as Li Xie has, unfortunately, fallen ill. Here’s wishing her a speedy recovery and to another awesome three hours next week! (:
(Photos coming soon!)
Hwee
2009年11月26日
第九堂biomechanics课
脑海里的镜子 The mirror in our mind
做ductile的时候，李邪也提醒我们：stoika一定要清楚，不要急，一定要完成每一个cycle。
It is already the 9th biomechanics lesson! It is amazing that I pick up something new each week and have some personal reflections about it. We always make an effort to observe each other whenever we revise the lessons together. Stiff shoulders? Wrong positioning of legs? We remind each other. Last week, we were asked to do ductile and observe ourselves from the outside. In fact, Li Xie told us about this every now and then. It is important to be able to look at ourselves from the outside and we should have a mirror on our mind to know how we do ductile. I guess this apply to our everyday life as well, we ought to "see ourselves" in order to remind and correct ourselves. We help each other with this at the beginning, but it all depends on ourselves as we go along the way.
大家准备去卖艺？ Street performers to be?
哈哈，每次一要做这个动作就会听到一片哀嚎声。或许是身体结构的关系也可能因为走路的姿势或各种原因，我们比较少用到身体的某些肌肉，所以一些人在做这个动作时必须经历极大的痛苦才能完成！
Each time we are asked to do this, you will hear painful groans from the ARTivators. Perhaps it is how different bodies are structure, or maybe we're not used to using certain part of our body,some ARTivators went through tremendous pain to do this action!
这个动作则是训练我们的腰力。
重点来了！做了这些动作后，我们都必须用一个otkaz恢复到一开始的姿势！要怎么运用otkaz呢？如果有一直如果有一直在阅读我们的博客就会知道otkaz在biomechanics里头的重要性。大家不妨在家里试试看！ 不过一要做好暖身哦，不然可能会伤到腰。
Another exercise... this is to train our waist power. Here comes the important point! We are required to recover to the initial position with one otkaz. How? If you have been reading our blog, you should know the importance of otkaz in biomechanics. You can try it at home! But do remember to have a proper warm up, otherwise you might injure yourself.
这也是练习之一，我们必须把棍子往后拉到腰间，以及把脚跨过棍子。两只手之间的距离越短就越困难。可能因为不习惯，我们一开始做的时候都很lun zhun (福建读音)，就是很笨拙啦，渐渐懂得用otkaz之后就会发现它没有想像中困难。刚不相信的话，你们可以把家里的竹竿锯短，然后试一试。
上个星期我们也照样把竹竿放在手掌，手指和手肘上平衡。虽然我们还没能达到很高的程度，但大家都有明显的进步＝）＊小声鼓掌＊
Having the pole again..we were asked to hold in pole with both hands and pull it backwards to our waist, then bring it forward again and cross over it with our legs. We were clumsy at first, but it got better when we get the hang of it by using the ever wonderful OTkAZ!
Last week, we did the pole balancing exercise again. Though we were still not an expert of it, everyone is improving =) *Small clap* for all
我们的MTV？! Filming of MTV?
之前，我们学了“稳”，“准，“形”，上个星期，李邪又加入了多一个“真字”－－“律”。“律”是什么呢？丹凤说：“Rhythm!” Myra竟然笑她。佳宜马上接着说：“ discipline!",然后是一阵更大的笑声！其实佳宜也不算翻译错啦，只是李邪要教我们的是韵律的“律”，所以丹凤的答案更贴切。当我们掌握了etude的每一个细节时就会发现整套 etude 是很有韵律和节奏感的。当然不是像舞蹈动作，但我们会发现自己会又一种内在的韵律。
为了帮助我们找到这种韵律感，李邪又set up 了我们上课的“游乐场”，让我们有节奏的在里面活动。 如果上课时有人忽然进来，他们很可能会以为我们在拍MTV。然而这只是种初期的训练，一旦我们掌握了就要懂得怎么work against the music.
Previously, we were taught of the stability, accuracy and shape in biomechanics. Li Xie introduced a new word last week, "rythm"(loosely translated) We should be able to feel the sense of rhythm when we do our etude. It should something that is inside us. However, working with the music should only be included in the initial stage of training, when we proceed further, we should in fact learnt that biomechanics requires us to work against the music.
终于要“打人”了！！ Finally... the slap!
大家兴致勃勃地组成两人一组，准备进行大家期待以久的动作，the slap! 其实大家的感情是很好的，我们...我们..只是很期待完成整套 slap 的etude所以才会如此兴奋 T__T "
We are all excited to proceed with learning the slap. Everyone have been looking forward to it.. hmm not that ARTivators are not on good terms.. is just that.. hmm.. we are eager to learn the whole etude!
让我简单说说slap的过程 ( 从握手后的最后几个动作)
A simple explaination to the steps of a slap (After the handshake)
1. Handshake
2.Back to stoika position after hand shake (No photos)
3. Preparation to slap
4. Aim
5. Slap
After slapping the person, there are some details that we need to note. Look out for updates!
Handshake
Aim
Preparation to slap
The Slap! They are not really slapping each other, their hand is actually not touching each's other face, is just the actions. As you can see, they are taking turns to slap each other, but the video is stopped because 2 ARTivators ran across the room while practising some other things!
几个较重要的点：一定要记得每个动作的otkaz。Otkaz不是为了存在而存在，而是给自己，给对方也给动作的预备。我觉得它也是动作energy的一种来源。我自己觉得otkaz 也能让我们感觉到动作的韵律。
A few points to note: Remember the otkaz of each action. It is not there for the sake of being there. It served as a preparation for the action,for yourself and your partner. It gives the energy of the action as well. Personally, I felt that the rythm comes from the otkaz too.
用文字描述是很困难的，因为其中的细节和动作的精准度比文字复杂很多。我们都还在学习的过程中，所以我们做的未必是最正确，最标准的，放上一些照片希望大家可以有个概念 =)
看了几个星期的entries，你们有什么想法吗？很期待看到一些留言，让我们知道你们对biomechanics的一些想法。如果在家里有尝试任何我们提过的exercise，也欢迎留言！等我们真正学完这个etude，我们会再upload 完整etude的video..尽情期待！！
It is kind of difficult to describe the actions in words as there are far too much details and precision to be noted. Have uploaded some photos to better illustrate the slap. It is not a demonstration as we're still in the midst of learning. Hope it gives you guys a better idea of what it is like. Feel free to leave comments to let us know your thoughts on our entries!
Credits to Yinghao who was injured and helped me take notes
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秀彬
2009年11月17日
第八堂Biomechanics课
让竹杆立在手／手指上，接着慢慢换手／手指。可以的话，用手肘来平衡
balance pole (vertical)
-using palm
-using fingers
-changing from one hand/finger to another
-using elbow
rotation of pole
tomoz exercise 练习 #1
tomoz exercise 练习 #2
our playground
我们的游乐园
2 more biomechanics lessons left ! look forward to learn the complete slappp :D
还有两堂课，期待能学会“打人” ！
jiayi
2009年11月13日
第七堂Biomechanics课
上新期，艺树人以一系列的活动来练习Meyerhold的otkaz, posil和stoica：
- 边走，边把网球随意丢给对方
- 大家集合成组，各组随意走动，但换方向时不是随着一个人的带领，而是整组人的舆论 (与“fish exercise”相反)
- 俩人之间的“老鹰捉小鸡”游戏
艺树人各个的动作必须干净利落，才能让对方有办法预料自己的下一个动作。
接着，我们以腹部的肌肉，以上的三个原则和 tochka的变化来锻炼自己的平衡。李邪把同样大小的木立方体摆成一线，让艺树人像踩石头过河一样地踩过它们，到房间地另一端。立方体之间的距离慢慢地增加、大小和方向也变了，加上李邪的其他要求，例如转动身子或在原地转圈才能踩在立方体上。这些小小的更改使每向活动比之前的更难，但大家都玩得很开心。
休息过后，我们继续学习李邪为艺树人设计的Meyerhold的etude, “The Slap”。艺树人学会了Meyerhold的握手方式，还有准备给人一巴掌的姿势。从头练习整个etude是一件蛮辛苦的事，因为Meyerhold要求的准确性和我们平常不习惯的姿势使用的肌肉很少会被动用到。要不是这些etude，我想，这些肌肉差不多能说是永远都不会派上用场。
艺树人也以竹竿训练自己的平衡。我们得一边以手掌心平衡竹竿，一边在房间里走动、结伴在房间的中央点相遇，也让竹竿在两手之间交换。平衡着这么长的一支竹竿到处乱走一点也不简单，但看着对方怕竹竿掉的那焦急的样子实在另人发笑。
课结束时，艺树人的肌肉大多数都有点酸痛。但是，参插了喜悦和欢笑，一切都是值得的。这星期，我们应该会学习怎么给对方一巴掌了吧。真期待星期六的课！
In our last lesson, ARTivate continued working on our otkaz, posil and stoica through games activities such as:
- Throwing an increasing number of tennis balls across the room while moving in a random manner
- Moving around the room in groups, with every change in direction effected by general consensus and not following a leader (as opposed to the “fish exercise”)
- The game of laoyingzhuoxiaoji (“eagle and the chicken/chick”?) between each pair
Each ARTivator had to ensure that his/her actions are executed precisely so as to facilitate anticipation in the other parties.
We then practised our balancing skills, which consists of grouping our core muscles, the three principles listed above and switching of our tochka every step we take. Wooden cubes of the same size were placed in the middle of the room and every ARTivator had to cross the room by stepping on them, similar to crossing a river while stepping on stones. The distance between each cube was slowly increased and soon, even the size of the cubes was varied, and also the orientation of the cubes. Other requirements were added, such as rotating your upper body three times before crossing the “river” and spinning 360° before getting up a cube. All these little changes increased the difficulty at each stage but they were really simple activities that could keep us entertained.
We then continued learning Meyerhold’s etude, “The Slap”, as modified by Li Xie for the amateur ARTivators. From last week’s “greeting position”, we proceeded on to “greet” and “preparation to slap”. Revising these actions right from the start was really tiring. All the weird angles and the need for clean lines definitely put my lazy muscles to a good test.
We concluded the day by honing our balance with the help of bamboo poles. By balancing these poles on our palms, each ARTivators had to move around the room, meet up with a partner halfway through and even shift the poles from one palm to another. It certainly was no easy task moving around with a long extension from the middle of your palms but nonetheless, we enjoyed that activity very much.
Once again, the lesson ended on quite a good note, with it’s fair share of laughter and muscle aches (from staying in the same position while practising the etude). I’m definitely looking forward to learning the actual slap. *evil laughter*
Hwee
2009年11月6日
种一棵以你命名的树！Get Your Own Tree!
曾想过为这地球进一份力吗？
今早，听朋友说，新加坡管理大学(SMU)正在为Nokia举办一向环保活动。从今日到月底，只要你把不要的Nokia手机拿去SMU，它们将会替你种一棵以你命名的树！它们也会告诉你树的详细位置，只要你上网到Google Maps/Earth，你将会知道到自己的树在哪儿。
若想知道更多详情，不妨打个电话给你的SMU朋友们，或今天就到SMU走一回！
I've just heard from my friend this morning that Singapore Management University (SMU) is hosting a recycling drive by Nokia. From now till the end of November, simply drop off your old and unwanted Nokia mobile phones at SMU and you'll get to have a tree planted in YOUR name! The exact coordinates of the tree would be given so you can check the location of your tree on Google Maps/Earth.
Interested? You can probably find out more from your friends or make a trip down to the very accessible campus today!
Hwee
第六堂Biomechanics课
上个星期的课主要着重在脚的训练和我们身体每个关节的灵活度。在许多Biomechanics的动作里，双脚摆放的姿势和位置是很重要的， 因为那会影响我们身体重心的转换，也就是李邪和我们提过的“稳”的要求，而身体的灵活度则会影响我们在做动作时的“形”。 训练脚一点也不辛苦，因为李邪用了一些很有趣的方法让我们忘记了疲惫！
Last week, the main part of the lesson is placed on the training of our legs and the flexibility of our body. The placement and position of our legs are very important in biomechanics because these are some of the factors affecting the weight shifting of our body. The weight shifting will actually affect the steadiness of our body in some way and that is what Li Xie has been emphasizing to us -- the importance of the steadiness of our body. On the other hand, our flexibility will affect the "shape" of our body when we do certain actions. Training of our legs is not as tired as it seem to be as Li Xie trained us using some fun exercises!
大家一起玩Catching!!
这个游戏大家小时候都玩过吧？艺树人一听到要玩catching都超兴奋的！不过，在戏剧盒的排练空间玩这个游戏有一定的困难，因为空间不大，人又多，所以被抓到的几率很高。怎么样？听起来是不是很刺激？李邪当然不会让我们轻轻松松地跑，所以她设立了游戏规则。每个人只能用单脚跳的方式来跑！一只脚累了可以换另一只脚但一定要是单脚。如果差一点被抓到，我们可以用“chop”的方式解救自己。“chop”就是所谓的freeze，单脚站在原地不动。可别这动作，李邪其实是要通过这个方式训练我们对身体的控制，训练我们不管在怎样的情况下都能保持平衡，尤其时在忽然停下来时要保持平衡就得学会控制身体的重心和brake。这也就是上个星期学的tomoz。开始！抓人的人在喊，被抓的人也喊，没被抓抓的也在喊！一片兵荒马乱的情景...大家在玩乐时没不觉得累，直到停下来了才发觉双脚无力。玩了这个游戏大家好像回到小时候那种尽力旺盛的状态，同时又能够训练脚力，不错吧？
其实在玩catching之前，李邪已经先让我们作了一点“准备功夫”。她要我们以单脚跳的方式（而且要越稳越好）跳到排练空间的另外一端。大家刚开始都很专注地跳，可是当她一说 要我们比赛看谁先到时，大家便开始越跳越急，少了平衡。其实这是对我们心至上的一种训练，无论在怎样的情况下都要紧记：动作一定要“稳”！
除此之外，李邪也叫我们把脚弯曲，把身体放低，在空间走动。我们的身体必须仍是挺直的，看起来就像小矮人一样。这个动作也是很需要脚力的。
Still remember the games that we played when we were young? Catching was one of my favourite game then. Li Xie actually uses this game as part of our training! Everyone was excited when we knew that we are going to play that =) However, there are some rules and regulations that we need to follow. We are only allowed to move on one leg! But we can freeze ourselves and stay at the same spot if we are unable to escape in time. The purpose of having this "freeze" privilege is in fact one of the things that we had been trained on-- Thomoz. We have to learn to balance ourselves in all situations and identify the brake of our body. Sounds fun? It was indeed a fun game where everyone scream and run for their lives on one leg. It did not feel tiring at all until the game was stopped.I guess is really a good way to train our legs hee.
Prior to the catching game, we had some exercises to prepare ourselves for the game. We were asked to bend our knees and lowered our bodies to move across the space. We have to keep our bodies straight at the same time. This requires a lot effort from our leg as well.
我们也来跳 Hip Hop！
还记得每次看到舞蹈员跳 Hip Hop的其中一种舞步吗？就是蹲着，把其中一只脚伸直并把双手放在地上然后伸直的脚便会在地上旋转一圈。为了训练我们身体的灵活度，我们上个星期也练习了类似的动作。大家第一次尝试这样的动作难免看起来有点僵硬和笨拙但练习了几次大家便发现其实这个动作和我们之前学的很多动作一样，只要懂得运用otkaz就不会觉得那么吃力。Still remember the dance movements by hip hop dances? Those movements where they will squat down with one leg straighten and both of their hands on the ground after which they will then spin their leg on the ground. We did a similar exercise to train the flexibility of our body. Of course, we are not able to do it as swiftly and nicely. But, once we identify the use of otkaz for the movement, things become much easier.
Pole exercise
一开始是两个人一组，两人分别用自己的其中一只手指支撑同一个细棍子然后在空间里走动。听起来好像不难，但李邪后来要其中一个人比上眼睛提高难度。最后，两个人都必须比上眼睛继续一手指支撑棍子尽量不让棍子掉下。这训练了大家对环境的敏感度同时也和脚的训练脱不开关系。当我们需要在这样的情况下支撑着棍子，不让它掉下时，身体的重心和姿势便会不断转换，因此我们便会自然地需要更灵活地摆动双脚。后来，我们被分成5人一组，人的书目增加了，棍子的数量当然也增加了，要配合的事物更多，难度也就更高了。李邪不断加入各种不同的指示，大家也都一样样共同完成。本来想像起来是很难办到的事在大家掌握了身体的灵活度之后便越来越轻松了。
We were pair up at first for this exercise. Each pair had a pole and we were required to support the pole with one of our finger each while moving around in the room. We have to try to keep the pole in place and not let it dropped to the floor. It started off easy but as are asked to close our eyes, it became challenging. While we try to keep the pole in place, we are constantly shifting the weight of our body, hence we will naturally need to move our legs in a flexible way. We were later asked to form a group of 5. The increase number of people and poles requires more coordination of our body movement. Li xie added more conditions along the way and it challenges our body to be really flexible in order to complete the task without dropping the poles.
学握手
前几个星期，我们陆续学了怎么走，怎么跑，怎么跳，上个星期我们终于可以和对方握手了！听起来是不是有点奇怪呢？其实就象李邪所说的那样，Biomechanics 不是一种表演方式，而是一套训练演员的方法，所以不管我们是学走，跑还是跳，甚至是握手，那注重的都是我们完成这些动作时去舒展平时不会运用到的一些身体部位。大家把前几个星期学到的跳和跑等动作和刚学到的握手的动作连贯在一起。这一系列的动作其实是Biomechanics 里头“Slap”的这个etude的其中一些动作。我对etude的解释还不全面，担心会误导大家，所以就不在这里多加解释了，大家如果有兴趣可在网上找找看＝）
Shaking hands
For the past few weeks, we had been learning how to walk, run and jump. Last week, we have finally proceed to shaking hands! This may sound weird to you, why do we need to learn how to shake hand? The biomechanics way of a hand shake is different from the normal ones that we have when we met someone that we just know. Like what Li Xie had been emphasizing, biomechanics is not a performing method, it is a form of actors training. So, regardless of what we learnt, we are in fact tuning our body in order to achieve the shape of the actions we are required to do. In other words, many actions in biomechanics challenge us to use different parts of our body that we do not usually use. Last week, we line up the jump and run actions together with the handshake that we just learnt into a sequence of movements. This sequence of movements is actually part of an etude that we are learning - the "Slap". If you are interest in finding out what is an etude, you may want t read up on books or check it out online. I am still learning along the way, so I shall not state my understanding of a etude here in any case if I mislead anyone.
Looking forward to the next lesson! Hope you guys will look forward to our next post too! See you!
秀彬
2009年10月25日
第五堂Biomechanics课
1。暖身
上一次李邪要我们让身体的某个部位找20个方向。这次，她介绍了”形“。另外她也加了两个需要注意的地方：要事先想好下一个动作，并且想想每一个方向／形所给予的感觉。我觉得为全身找出20种形是最好玩的。因为它让我找出身体不同的可能性。
1. Warm Up
Again, we were to find 20 directions／shapes of different body parts during the warm up. 2 additional things we had to look out for were the pre-planning of our next direction/shape as well as the emotion attached to it. I found it most fun to find 20 shapes for the body as it really challenged me to give it more possibilities. 2。 呼啦圈
两人站在圈圈里，轮流互推，把对方推到圈外。重点在于使用tormoz，找出平衡，用对方给予的力道“还手”。
从这个活动，李邪强调了腹部肌肉的重要性。她让我们保持在“随时要跌倒”的状态。这么，我们就能够了解那里的肌肉如何帮我们保持平衡。
2. Hula Hoop (application of tomoz)
With 2 people standing in the hoop, they take turns to push each other once in attempt to get the other party out of the hoop. The idea is to apply our brake (tomoz) and regain balance quickly, while using the push from the other party as an otkaz to return the energy.
After this exercise, the "playing field" was expanded to the entire rehearsal space and each were to push the other party to a point.
One important point to note is that the application of our centre (muscles around the stomach) is especially important in finding our balance. To show that, we were told to maintain at the mode of being "on the verge of falling" so that we can feel our muscles at the centre of our body tensed up in order to prevent the fall.
3。逐渐萎缩的长方形
13个人在里面走动，尽量不要撞到其他人。空间慢慢变小，我们更得放慢动作，注意自己的身体。之后，用以上的活动，大家得把对方退出空间。丽诗成为最后得胜利者！
3. Shrinking Rectangle
The original rectangle had 13 people in it. The crowdedness was comparable to that of the amk central crowd along the shophouses. we were told to walk in it (applying our tomoz) and not hitting anyone. As the rectangle "shrinks", the crowd becomes that of citylink on a public holiday, and gradually to that of orchard road on christmas eve. We were told to slow-mo our movements so that we are fully aware of our body.
using the exercise above, we were to push each other our of the rectangle! and MYRA emerged as the winner ahahah
4。跑／跳
注：
－用右脚来把自己“弹”上来
－跳完后手的位置
4. Run & Jump
We finally learnt how to run and jump!
These were the main instructions:
preparation for running position
preparation for run
jumping to stop position (replaced by an "hurp" sound)
some notes here include beig aware of the "spring" on right foot and the position of hands after jump (hands should be "prepared" during jump)
jiayi
2009年10月24日
Demonstration of an etude in Biomechanics
A video on Biomechanics shared by Huiling
丹凤
母性泛滥; 热爱人
骆驼唱着美丽的诗歌。 我的朋友都这么记得我的名字。
南大中文系学生
浪漫主义者。
学生，南大中文系
我具有另类的幽默，爱练绝世武功，爱取捷径，爱发呆，是科学界的叛徒和一等的神经病。
义安理工学院中文系学生。
南洋理工大学，黄金辉传播与信息学院
平凡人。
南大中文系学生。
非常理智的女生
22岁，南大中文系学生。
在疑问和发掘的过程中成长，寻找平衡点
对世人所谓的琐事深感兴趣，也希望它们会给予她一些额外的惊喜。
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