2009年10月2日

与李邪的第一堂Biomechanics课！

自从城S圆满结束后，在着两个月的期间里，艺树人大多都没有经常运动 － 我也不例外。因此，对于李邪，我们的新导师，的 Biomechanics 课程，我是又兴奋、又害怕。对我而言，Biomechanics 听起来有点恐怖，似乎是需要我们做出一些超越普通人本能的动作。

艺树人决定以婉婧给予的软操来酥松胫骨，所以决定一大清早就在戏剧盒会合。（可惜，一大部分的人都迟到了！）接着，李邪播了一段段关于 Biomechanics 与它的功能的录影作为介绍。

之后，我们做了一系列的活动，例如以手掌与脚板穿越整个空间。这需要我们运用Biomechanics 的其中一向原则，otkaz，使我们向之前的动作 “借力” 来完成下一个动作。（注：这不是一个可靠的定义！）

我们也式着四肢朝天，以屁股在地板上平衡自己。由于我腹部的肌肉不是很强，这项活动一点也不简单，尤其是当李邪要大家把脚伸直时。接着，李邪要我们以四肢的摆动让自己原地转 360°。看着大家像白痴一样地拼命挥手，艺树人各个都忍不住地笑了。

总的来说，李邪的第一堂课真的很有趣。它似乎让我回想起小时候因为无聊而想出的一些游戏。我希望这个星期六的第二堂课也会一样精彩。我也许也应该开始抽出一些时间多做点运动吧！

(P.S. 若有兴趣，你可以上网查寻有关Biomechanics与Meyerhold的资料！ )

It was ARTivate’s first physically-demanding lesson since CityS concluded two months ago and most of us have not been doing much exercise regularly during this period! So while we were all really excited over the start of our Biomechanics lessons with a new (to us) instructor, Li Xie, I was a little apprehensive. After all, the name ‘Biomechanics’ itself seems to suggest something really demanding, something to do with machines or mechanical movements, which obviously are not acts of a normal human on normal days.

ARTivate decided to start the day with the set of warm-up exercises taught by Wan Ching during CityS. Li Xie then showed us a brief video on the history of Biomechanics and its possibilities, such as helping actors explore the theatrical space.

Next, we embarked on a series of activities which got us moving across the space on our palms and feet, using the amazing otkaz, whereby one draws strength from a previous action to perform a following action with much less energy than would be required. (Disclaimer: This is NOT a reliable definition!)

We also did some exercises which required us to balance ONLY on our bottom (i.e. it requires a lot of abdominal strength) and I almost died with my lack of abs ): By means of waving our limbs frantically, we were supposed to rotate a full 360° on the spot, with our bottoms never leaving the ground and our limbs never touching the ground. Everyone simply looked HILARIOUS!

All in all, I truly enjoyed our first Biomechanics lesson by Li Xie. I hope the next one this coming Saturday would be just as enjoyable too, if not more! I guess it’s time I start doing some light exercises again and break out of the monotony of school. Till then!

(P.S. You might want to google Biomechanics by Meyerhold for more information. Enjoy!)

Hwee  

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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.