2008年5月24日

Sharing Session with Yeo Yann Yann

hello all!

i attended the sharing session with local actress yeo yann yann, organised by Shiju, the i/c of Blanc Space, this afternoon (3-5pm) at dramabox.
so i'm here to share about some of the topics discussed (:
other people present were:
yeo yann yann, shiju, peifen, entia and guoqingliang who couldnt resist the temptation and decided to join us halfway. lol jus kiddin'
anyway, cos its my first time attending a sharing session like this with mostly unfamiliar faces, i was observing and trying to digest the discussion most of the time as it got a bit chim halfway through. the sharing was directed in the perpective of a playwright as the members of Blanc Space are working on their pieces.

topics discussed:
1. what yann yann does everytime she receives a script
- 了解剧本的走向，前因后果，剧本想表达的message，自己在剧本上加注解
- 对手的重要性 ：give and take, hitting the feel
- research (prototype), exercises to help find the character via eg. costumes, observe and notice people in the surroundings etc.
-expanding imagination based on info given in the script and coming to a consensus through meetings with director and co-actors
-qingliang also mentioned about 人物的生命脉络 which i half get it and half dont. a bit confusing heh . but it was bascially about shaping the character and bring it to life so that it can CONNECT with the audience. (connecting - allowing audience to recall a common experience, understand and feel for what is happening on stage etc.) perhaps qingliang can help expanding on this if i missed out anything? hehe
2. the authority of an actor vs that of director/playwright
-早早设定工作的框架
-COMMUNICATION
3. the difference between a movie/tv script and a theatre play script
-movie/tv script: 用画面来说故事，fewer lines(usually incomplete), 文字没有那么美, less time to explore the character
-theatre play script: 用舞台和画面/行动来说故事, more lines(complete), 文字比较美，more time to work with character
4. the difference between an english script and a chinese script
-长/短音的分别

this is about all that i've noted down but each topic was actually expanded. it was quite an enriching experience although i still have things on my mind w/o answer. eg. how much are you willing to compromise(eg. working for a production which you find it a waste of resources) in order to earn money etc. hopefully we can have a sharing session next time and we can share our views about different topics !

jiayi  

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关于艺树人

艺树人是本地剧场戏剧盒旗下的青年部，由12位充满热忱的年轻人组成的团体。我们希望能通过戏剧对各阶层的民众有更深入的了解和联系。

艺树人的创立是为了提供青年一个多方面训练的平台。通过三年的培训，艺树人希望能培育处一群拥有文化和社会意识的本地戏剧实践者。

我们使用一个名为O-A-O-R （ Orientation – Artistic – Organisation – Regeneration/ 定向 – 艺术性 – 组织 – 再生 ）的模式，让青年们得到的不仅是艺术方面的训练，也学习组织群体和制作管理的技能。除此之外，他们会接触到各种类的戏剧，例如论坛剧场、新闻剧场等等。他们同时还会接受其他艺术形体的培训，如音乐和多媒体。

除了提高社会问题的认识和讨论，艺树人希望能质问及挑战人们的思维，并改变大众对低下层或边缘族群的一些刻板观念，让单方向的独白转化成双方都能参与的对话。

2012 年将会是第一届艺树人青年的最后一年。我们将会在毕业前呈现一部作品，而灵感来至于高行健的《车站》。这作品会是艺树人培训三年来的精髓，也是我们对于原作和现今社会的反思。

About ARTivate

ARTivate - the youth wing of local theatre company Drama Box - is made up of a group of 12 passionate youths who aims to reach out to the community through the arts.

ARTivate was first established with the aim to provide a platform for youths who want to explore and gain all-rounded insight into theatre. Through a three-year program, ARTivate hopes to nurture a group of youths into cultured and socially aware theatre-practitioners in Singapore.

Using an O-A-O-R (Orientation-Artistic-Organization-Regeneration) model, these youths are trained not only artistically but also in organizational skills and production management. They will be exposed to different forms of theatre such as Forum Theatre and Newspaper Theatre. They will also be trained in other art forms such as music and multimedia.

Besides bringing awareness to the themes explored, ARTivators hopes to question, probe or even challenge minds. They want to engage audiences in discussion – to turn monologues into dialogues.

As 2012 will the last year of the pioneer batch of ARTivate youths, they will be putting up a piece of performance, Bus Stop, inspired by “Bus Stop” written by renowned playwright, Gao Xing Jian. This performance will be a collation of the trainings the youths had undergone for the past 3 years, as well as a critical perspective and evaluation of the script, in reference to the current society the youths are in.