第310部作品 310th...
TRANSCRIPT
第310部作品 310th Production
呈献 Presents The Practice Lab
关于实践实验室About the PrActice LAb
破•立 Deconstruct2013年成立的“实验室”作为实践剧场的支部，是一支探索边缘的先锋队。
“ 实 验 室 ”通 过 实 验 、创 作 、训 练 。进 行 对 作 品 、方 法 、人 才 的 开 发 。通 过 实 验 性 的 创 作 ，无 休 止 地 寻 求 剧 场 作 品 的 艺 术 创 新 ；通 过 创 作 式 的 训 练 ；培 养 具 有 思 辨 能 力 和 创 作 主 动 性 的 剧 场 人 才 ；通 过 训 练 中 的 实 验，挖 掘 集 体 碰 撞 和 训 练 方 法 的各种可能性。
“ 实 验 室 ”通 过 上 述 三 个 行 动，力 图 在 作 品 中 发 现 并 培 养 人才，以 人 才 来 分 享 和 归 纳 方 法，用 方 法 去 实 践 与 创 作 作 品 。
“实验室”分为四个部分：“演员实验室”、“导演实验室”、“编剧实验室”以及“剧评实验室”。
In 2013, The Theatre Practice formed The Practice Lab, a branch of the main company; a motley crew of emerging artists focusing on pushing artistic boundaries, and exploring the fringes.
At the heart of The Practice Lab is experimentation, devising and practice. Through experimentation, it relentlessly pursues new original creations. Through creative devising, it grooms artists with the desire to create. Through practice, it becomes a conducive platform which ideas collide. Through these, The Practice Lab strives to uncover new talents, facilitate creative sharing, and explore new methods and practices to approaching theatre.
The Practice Lab comprises of Actor’s Lab, Director’s Lab, Playwright’s Lab and Reviewer’s Lab.
实践剧场由郭宝崑和吴丽娟创办于1965年。今天，在艺术总监郭践红的领导下，实践剧场以双语优势和“扎根本土、放眼世界、求同存异、追求和谐”为理念，继续向前。
通过制作大型戏剧，我们鼓励原创，且拓展观众群体；通过主办“华文小剧场节”，探索和实验，并促进国际交流；通过开展“实践教育工程”，启发他人，提升自我；通过组建“实践实验室”，培养剧场新人，挑战艺术最边缘。
展望未来，实践剧场将更有意识地规划前路，追求艺术的至高标准，力求成为新加坡创意生活的先锋。
The Theatre Practice was established in 1965 by Kuo Pao Kun and Goh Lay Kuan. Today, under Artistic Director Kuo Jian Hong, it marches forward upon the strength of its bilingualism, while pursuing the ideals of “staying firmly rooted to the local, expanding awareness of the world, seeking commonalities, accepting differences, and embracing all in harmony”.
Through major productions, it encourages original creations and accessibility to a greater audience; through the “Chinese Theatre Festival”, it explores, experiments, and enhances international collaboration; through “The Theatre Practice Education Project”, it reaches out to inspire others and develop oneself; through “The Practice Lab”, it nurtures emerging artists and pushes artistic boundaries.
The Theatre Practice is a recipient of the National Arts Council Major Grant 2014 – 2016.
实践50年50 YeArs of PrActice
目录coNteNts
02 关于实践剧场 About The Theatre Practice
02 关于实践实验室About The Practice Lab
04 实验室总监的话 Lab Director Message
27 工作人员 Staff
30 鸣谢 Acknowledgements
Kyanite王芝榕 Zee Wong 05
07 我。妈。面相 郭程伟 Darren Guo
09 回声 ECHO刘晋旭 Ric Liu
11 75.85.89.99.续...洪节华 Hung Chit-Wah, Felix
13 我是一个无神论者梁海彬 Neo Hai Bin
15 000 柒李阡语 Lee Qian Yu
19 回到缘点谢惠琳 Jasmine Xie Hui Lin
2123 我全部都相信
吴敏宝 Ng Mun Poh
25 G.F.E张文扬 Chong Woon Yong
17
黄益民 Benjamin Wong
万水千山总是情何子详 Zachary Ho
翻译说明场刊共收录11位表演者亲自参与的创作内容。他们分别以不同语言（华语、英语或双语）和不同方式（文字、手稿、照片、插图）与您分享创作的心路历程。我们为方便读者阅读习惯，提供中英翻译。然而，翻译涉及不同语言、语境与文化的再度诠释，难免偏离作者本意。敬请读者以原文为本，译文为辅，方不失《从头开始》追本溯源之理。
Translator’s NoteThe E-programme contains a collection of creative contents from our 11 performers. These contents are presented in different languages (Chinese, English or both) and mediums (text, handwritten notes, photographs, illustrations). We have provided translated versions for purposes of accessibility. However, certain meanings and contexts unique to one language would be inevitably lost in the process of translation. Therefore, we highly recommend that translations be read only as a reference to the original content, to echo Upstream’s emphasis in the search for origins.
实验室总监的话MessAGe froM LAb Director
“实验室”今年迈入第三年了。作为一支新生的队伍，它的系统、方法、文化都在一年一年的实验和总结中成长。在这个过程中，人，作为一个有机的元素，起着至关重要的作用。
我们总是说：借由剧场去认识人、思辨人，从而尝试创新和改变。在“演员实验室”的训练中，我们进一步了解自己的身体，了解身体与空间时间的关系，了解身体与身体的关系，了解身体与思考的关系；然后我们在创作中，总结自己的思考，反省自己是如何思考的，并且尝试如何将自己的所思与他人沟通，接受批评和讨论。这一切，并不单单为了使演员成为一个更好的演员，而是为了培养一个创作者，为了成长为艺术家，为了成为一个更有生命力的个体。
因此，今年的演出将以“个人呈献”的方式和大家见面。11名演员参与了为期一年的活动，从最初的演员训练，到后来的即兴创作，再到最后的排练和演出。他们经过了自编自导自演，最终将个人经验和思考搬上舞台，这便是一次认识自我、思辨自我的旅程，也是一次复杂和难得的创作练习。
那么，这就不仅仅是一次演出了，这是一整年的旅程的最后一站，也将是新旅程的第一站。我为他们感到十分高兴，也为这样子的实验进行中，感到十分兴奋。
This is the third year of the Lab. This emerging team has been refining its trainings, methods and cultures over the past years of experimentations and consolidations. During the process, people, the organic element, is of crucial importance.
We use to say: Through theatre, one gets to know people, contemplate people, in an attempt for innovation and change. Under the training of Actor’s Lab, we took a step closer in knowing our body; the relationship between body, time and space; the relationship between body and body; the relationship between body and thinking. This is followed by our creative product, in which we try to sum up our thoughts, reflect on the process of our thoughts, and try to communicate these thoughts to others, accepting criticisms and engaging in discussions. All these is not solely to produce better actors but to nurture creators who will grow to become artists - becoming a more dynamic individual.
Hence, this year’s performance is a series of “individual presentations”. The 11 cast members participated in a year of activities which started with actor training, followed by improvisation, and culminates into rehearsals and performance. They take on the roles of playwright, director and actor to bring their experiences and ideas onto the stage. This is also a journey of self-discovery and self-contemplation - an intricate and rare creative exercise.
So, this is no longer a mere performance. It is the final stop of a year-long journey and also the starting point of a brand new journey. I am very happy for them and very thrilled for this experiment-in-progress.
晓义生于中国，十多年来活跃于新加坡剧场，现任实践剧场属下支部“实验室”总监，致力于开拓实验性剧场的创作、训练和探索。 他首先是作为一名出色的演员为 观众所熟悉，演出作品颇多。 之后，他对文字的喜爱与才华使他成为一名独具风格的编剧，文字多变而有丰富层次。 作为一名导演，刘晓义一向强调具有实验性、诗性和思辨性的剧场，作品都备受关注和争议。 他最近的编剧和演出作品是《天门决》，最近的导演作品则是《挣扎：多年以后》。
A native of China, Xiaoyi has been
a prolific contributor to Singapore
Theatre for over a decade. He now
serves as the Director of The Lab, one
of the arms of The Theatre Practice,
which aims to explore and break new
ground in the creation, training and
exploration of experimental theatre.
Having first distinguished himself as an
actor through numerous productions,
Xiaoyi’s passion and talent for words
also revealed a gifted playwright
with a deft sensibility for language.
As a playwright, his latest work was
Legends of the Southern Arch. As
a director, the cornerstones of his
oft lauded but controversial work
are unsurprisingly experimentation,
introspection, and poetry. He recently
directed The Struggle: Years Later, a
devised piece based on Kuo Pao Kun’s
script The Struggle.
刘晓义Liu XiAoYi
To my fellow collaborators, and these special souls - Rei, Tarn How, Sups - I see each of you in my piece, because you have shaped it together with me, and shaped me in the process.
Thank you.
Half broken, half whole -we begin again.
Photography : Zee Wong & Mariani Manja
05Kyanite王芝榕 Zee Wong
王芝榕Zee WoNG芝榕是一位双语的演员与歌手。当了五年的品牌调研师之后，决定全心投入她的最爱 ：剧场表演。
专业演出包括：凯门剧场的 《普通班》、 Asylum Theatre 的 《Holiday In My Head》、New Opera Singapore 的斯特劳斯歌剧 《蝙蝠》、Toy肥料厂的大型音乐剧 《搭错车》、SRT小剧团的儿童音乐剧 《小红帽》 和 《三只小猪》。
她 也 曾 在 2 0 1 4 年 参 与 由 St e p h e n Webber （SITI Company） 与九年剧场举办的观点训练，并在美国完成了5周密集的 Swedish-Italian school of singing 声音训练课程。
Zee is a bilingual actress and singer.
After five years in brand consulting,
she quit in early 2013 to focus on
training and performing onstage.
Her professional theatre credits include
Normal (Checkpoint Theatre); Holiday
In My Head (Asylum Theatre); Die
Fledermaus (New Opera Singapore);
Glass Anatomy (Toy Factory); Red
Riding Hood and Three Little Pigs
(SRT’s The Little Company).
In late 2014, she trained in Viewpoints
with Stephen Webber (SITI Company)
and Nine Years Theatre. She also
completed a five-week intensive voice
training programme in the Swedish-
Italian school of singing with Jeff
Stanfill in the US.
半 复 原
What if I told you, it's okay to revisit your past once in awhile and tell yourself it's alright, everything's fine now.
Do you believe?
0707我。妈。面相 郭程伟 Darren Guo
假如我说，偶尔可以回首过去，告诉自己没事了，现在一切都好了。
你信吗？
郭程伟DArreN Guo 来自南洋艺术学院，程伟毕业之前就参 与 了 各 种 舞 台 剧 表 演，包 括 莎 士比 亚 的《 马 克 白 》和《 罗 密 欧 与 朱 丽叶》、《Stars in the Morning Sky》、 和《 格 林 故 事 》的 歌 舞 剧 版 。 此外，作为一个双语的演员，他和新加坡的一些专业剧团合作过，包括戏剧盒、Toy 肥料厂 和 I Theatre。他最近参与的演出是《雨季》。
Having graduated from NAFA’s
Theatre course, Darren has acted in
various productions including P.I.E. and
Macbeth. Also, as a bilingual actor, he
performed for professional theatre
companies including Drama Box, Toy
Factory, and I Theatre. During the
Singapore Arts Festival 2009 & 2010,
Darren performed with international
arts groups as part of Arts on the Move,
The Agency by The DCP (Belgium) and
The Hood by La Passionata Svironi
(Israel) respectively. He was last seen
in Toy Factory’s December Rains and I
Theatre’s Aesop’s Fables. Other credits
include Toy Factory’s Glass Anatomy
(Shanghai Tour), People and Under the
Dragon Moon; both by Creative Edge,
Hop & Honk and Grimm’s Fairy Tales;
both by I Theatre and Poor Theatre
Series by The Theatre Practice.
“回声是一种恫吓，它不停息的深入人心，要的不过是一个证明。一些发生过的事情， 在以后能够记住吗？”～ 三毛
《回声》是改编自我个人的三个真实故事。
灵感源自于我在2013年9月写的一段对实践剧场的 Hall 的幻想： 《人。间。道。》
最近，我觉得这个 Hall 越来越像一个脑袋。每一扇窗都是让脑袋接触外界的媒介。如果外界太吵，影响思考，就会把窗关上。
每一扇门都是让人，事，物，出入脑的通道，也就是“记忆之门”。每当有人在 Hall 排练时，这里就好像一个正在幻想的脑袋。这脑袋每次都是那么不吝啬，不歧视，不抗拒的提供空间给实验和想象去填满。
在 Hall 里的每一个物件，都像是脑袋里的一个回忆，一个故事，一个缘分。每个都被好好的储藏起来，等待下一次被“唤醒”。
搞不好，这世上的每一个空间，都是人们脑袋的实体化…我们在这些空间里所做的事，都会直接影响着他人的思考，想像，决定和生命…
在创作《回声》剧本的时候，发现写关于自己的故事比自己写故事还难。可是这过程让我很有感触；透过文字，我重新体会了我的经历，更领悟到不同经历之间的微妙。
明年，实践剧场将要搬离 Stamford Arts Centre。这次的演出，《从头开始》，也是我们在这里的最后一个表演。
Stamford Arts Centre 是我接触实践剧场和开始剧场表演的地方， 对我有着很重的情感和意义，毕竟我八年的时光都留在这里了。
不管将来怎么样，我相信在这里留下的一切必有“回声”。我期待再一次听到这些历经了岁月后的“声音”。
“回声是当下的曾经与未来。”
～ 刘晋旭，Ric Liu2015年10月烟雾日。
09回声 ECHO刘晋旭 Ric Liu
刘晋旭ric Liu 晋 旭 荣 获 新 加 坡 国 家 艺 术 理 事 会 特项奖学金到法国的 École Philippe Gaulier进修戏剧表演。他是短剧《裸画 室 》的 导 演 和 联 合 编 剧，也 是《 挣扎：多年以后》的副导演。他曾参演过
《天冷就回来》，《都是当兵惹的祸》， 《聊斋 Rocks!》，《郑和的后代》，《阿Q
后传》，《老九》等的演出。除了是剧场工作者，晋旭也是歌手、创意人和手机摄影师。他也是《11.即兴郭宝崑》,《11.再即兴郭宝崑》和《行者悟空》的多媒体设计师。
Ric, a NAC+École Philippe Gaulier
Residency Award recipient, co-wrote
and directed The Nude, and was the
assistant director for The Struggle:
Years Later. He also acted in
“If There’re Seasons...” (2007, 2009
& 2014), The Soldier & his Virtuous
Wife (2008), Liao Zhai Rocks! (2010),
Descendants of the Eunuch Admiral
(2010), The Story After Ah Q (2011-
2013) and Lao Jiu to name a few.
Besides being a Theatre Practitioner,
Ric is also a Singer, Designer &
Mobile Photographer (Instagram: @
gogomonster). He was the multimedia
designer for 11•Kuo Pao Kun Devised,
11•Kuo Pao Kun Devised Again and
Wanderer-Seeker.
“Echo is a form of intimidation. It dwells deep in your heart for proof of its existence. Things happened, but do we remember them?” - San Mao (also known as Echo)
Echo is adapted from three of my own very real and personal stories.
The inspiration was derived from 《人。间。道》, a short fantasy I wrote in Sept 2013 about the Theatre Practice Hall.
Recently, I began to view the Hall as a brain.Every window, a connection to the outside world.The windows shut, when the outside world is too noisy, disrupting its thoughts.
Every door, a passage way for people, events, objects to come and go, a “Door of Memories”.When there is a rehearsal, the Hall becomes a brain filled with fantasies.The brain is never stingy, biased, nor resistant in lending its space to experiments and ideas.
Every object in the Hall is like a memory, a story, a fateful encounter in the brain.All tugged away safe and sound, waiting to be “awakened” next time.
Maybe, all the spaces in this world are the reification of people’s brains…The things we do in this space will influence their thoughts, imaginations, decisions and life.
While creating Echo, I realize writing your personal story is way more difficult than writing fiction.But this is an emotive process: through writing, I re-experience my past and learn the intricacies between the varied past events.
Next year, The Theatre Practice will leave Stamford Arts Centre.This performance, Upstream, will also be our last performance here.
Stamford Arts Centre is the place where I got to know The Theatre Practice and started performing as an actor.This is very important for me. After all, I've spent 8 years of my time here.
No matter how the future unfolds, I believe all that we leave behind will have “echos”.I look forward to hearing these “echoes” which withstand the test of time.
“Echo is the past and future, of the present.”
- Ric LiuOct 2015, Hazy Day
为什么搞死自己？
这个创作过程让我想起在演艺学院毕业两年后，跟朋友一起创作的一个戏叫《四季2000》。 四个演员根据十二个乐章从自己出发去创作。 其他三个演员都谈爱情啊、金钱啊、学业啊、前程啊。我呢？我去谈生命、生死、生命的意义（笑）在创作过程里面，他们都一帆风顺。我呢？抓到自己头破血流，感觉好像自己孤立自己，感觉好像自己挖了一个洞在里面挣扎扎扎扎扎~
我不停问自己：为什么我的路这么难走？又不是第一次创作独幕剧？这一次，为什么我不学乖呢？这次创作一样难受，抓到自己头发也掉了一公斤，掉了一公升眼泪，死了好几万亿脑细胞。感觉好像自己又挖了一个洞在里面 挣扎扎扎扎扎：多年之后。（好啦，不玩了）
我问自己，要不要走一条比较容易的路呢？戏又可以稳一点，大家又可以喜欢我多一点，观众的眼泪又可以掉多一点 。可是，我的确是一个感情用事的女人。
我就是要搞死自己！（在office大喊：哈哈哈哈哈）
这条路对吗？我在厕所不停问自己……
我不管啦！
如果在Lab里面只是为了做一个好看的戏的话，实验性在哪里？对自己的挑战在哪里？
所以，这十五分钟就……辛苦大家了！
话说回来，那次演出的closing afternoon，我的一个很尊敬的老师来看，可是因为我要为了糊口，演出以后要去别的地方卖艺，不可以好像别的演员围在老师旁边听他宝贵的意见。
没想到！#音效：Jeng Jeng Jeng
当我在化妆间匆忙收拾的时候，老师竟然跑下来跟我说：“娃娃。做得好。你要谈的议题一点都不容易。 You did a good job 加油。”
续……
1175.85.89.99.续...洪节华 Hung Chit-Wah, Felix
洪节华huNG chit‒WAh, feLiX
毕 业 于 香 港 演 艺 学 院 —— 戏 剧 学院。2003年，获香港戏剧协会颁发香港戏剧奖学金，到新加坡修读“剧场训练与研究课程”(现为跨文化戏剧学院)。曾在多个国家演出多部自编自导自演作品，也曾参与不同剧团的制作，其中《隔离嘅大母鸡》(台湾EX亚洲剧团)获第3届台北艺穗节年度首奖及第9届台新艺术奖表演艺术类提名。2011年，她加入实践剧场任驻团演员和戏剧导师，曾参与各种大小演出，近期演出为《挣扎：多年以后》、《天门决》、《她门》和《天冷就回来》。导演作品有《樟宜村姑妮妮》和《三房室》之《心房》。
Wahwah graduated from The Hong
Kong Academy for Performing Arts
(Drama). In 2003, she was awarded
a scholarship by the Hong Kong
Theatre Association to take part in
the Theatre Training and Research
Programme (Singapore), now known
as Intercultural Theatre Institute.
Wahwah has worked with several
theatre companies and her directorial/
performing works have been seen
in various countries. Among these
works, The Mother Hen Next Door
(EX-Theatre Asia, Taiwan) clinched the
highest accolades at the Taipei Fringe
Festival and was nominated for the 9th
Taishin Arts Award (Performing Arts).
In 2011, Wahwah joined The Theatre
Practice as a resident artist and drama
instructor. Recent appearances include
The Struggle: Years Later, Legends
of the Southern Arch, The Bride
Always Knocks Twice and “If There’re
Seasons…”. Wahwah also directed Nini
In Changi Village 3 Rooms – Anahata.
Why did I put myself in this mess?
This creative process reminds me of the time when I was creating a play titled Four Seasons 2000, two years after my graduation at Hong Kong Academy for Performing Arts. Four actors tried to tell their personal stories with inspiration from a music score. The other three actors talked about love, money, study, future etc. Me? I talked about life, death, and the meaning of life. (laughs) They had a smooth-sailing creative process while I kept scratching my head, like I was in self isolation, dug a hold for myself and had to strugggggggggggggggle...
I kept asking myself repeatedly: Why is my path so treacherous? It’s not my first time doing a monologue, right? Why haven’t I learn my lesson? This time is just as tormenting as ever. It felt like I lost one kilogram of hair, one gallon of tears and killed trillions of brain cells. I feel like I have dug another hole and had to strugggggggggggggggle: Years Later. (Ok, enough with the inside jokes)
I ask myself: Should I choose an easier path? The performance will be safer; everyone will like me more; audience will cry more. Alas, I am a sentimental woman.
I JUST HAVE TO PUT MYSELF IN THIS MESS! (shouts in office: HAHAHAHAHAHA)
Is this the right path? In the toilet, I ask myself…
I don’t care!
This is The Lab. If I were to simply settle for a pleasant performance, where’s the experimental element? Where’s the challenge for me? Hence, for this coming 15 minutes… thank you for your kind patience!
Back to the performance after my graduation, a teacher whom I respect very much came during the closing afternoon. But I had to rush to work right after the performance. Unlike the other actors, I did not have the luxury to attend the actor’s gathering with the teacher for post-performance comments.
However… # sfx: Jeng Jeng Jeng
While I was busy packing up in the dressing room, my teacher ran over and told me:
“Wahwah. Good Job. The theme you’ve explored in your performance was not easy. You did a good job. Keep it up.”
To be continued…
“It’s better to be violent, if there is violence in our heart, than to put on the cloak of nonviolence to cover impotence.”
– Mahatma Gandhi
只有这一户人家把衣服从组屋的这一边晾出来。是这一边的 阳光较猛？抑或是这一边的风量较大？从小老师就教导：给图画上色时千万不要彩出线条以外。蓦然回首，此生竟然都在战战兢兢地守住那一条隐形而分明的线。
工 工 整 整 的 组 屋 发 生 了 如 诗 一 般 的 破 格 事 件 。那 一 条 晾衣杆，还有那些迎风微微摇曳的衣服，在逐渐逐渐黯淡的暮 色中，早已经做好准备，准备沾上一夜的星光。
我开始不确定，我的循规蹈矩，究竟是我的选择，亦或是我用来掩饰无能的武器。
“此身从何而来，百年之后复归何处？” －《五灯会元》 司空本性禅师
每 次 问 起 这 个 问 题 ／ 都 会 在 心 里 ／ 轻 轻 唱 起 这 首 歌 ／ 我 从 山 中 来 ／ 带 着 兰花草／吊诡的是／我不住在山上／而且没看过兰花草…
“（你）这么简单地概括我？” － 友人XY
我可是一个虚无的人啊。
13我是一个无神论者梁海彬 Neo Hai Bin
梁海彬Neo hAi biN通过剧场面对、质问、改变自己；关心本土，关心社会。
梁 海 彬 于 戏 剧 盒 的 青 年 支 部 艺树 人 接 受 演 艺 训 练 ，接 触 剧 场 ，并 在 毕 业 后 毅 然 投 入 剧 场 参 与 演出 。他 和 本 地 剧 团 如 戏 剧 盒 、实 践剧 场 、九 年 剧 场 、十 指 帮 合 作 ，参与 过 的 演 出 包 括《 上 身 不 由 己 》、
《城S》、《绿帽王》、论坛剧场《新嘘…》、《告别：身体16章》（澳门艺术节2013）、《人民公敌》、《安乐》、《伪君子》等。
海彬目前亦是「九年剧场演员组合计划」的创建及核心组员。
Over the years, he experienced the
theatre’s power to question, transform,
create, and develop social awareness. It
is a humbling experience to be part of
theatre, part of life.
Neo Hai Bin started off as a member of
“ARTivate”, the youth wing of Drama
Box. He is now a freelance theatre
practitioner and has worked with
Drama Box, The Theatre Practice, Nine
Years Theatre, and The Finger Players.
His performances include Bondage,
Shh.. (Forum Theatre), Mulan (children’s
theatre), Dua Dai Ji (Mockumentary
Theatre), 11: Gao Xing Jian Devised
(TTP Lab Programme), Life Choices
(Monologue), Off-Centre (by The Finger
Players), 12 Angry Men, Enemy of the
People, Tartuffe, etc.
He is a founding and core member of
Nine Years Theatre Ensemble Project.
“如果心中存有暴力，去实施它，要比用非暴力的外衣遮掩自己的无能要强得多。”——圣雄甘地
This is the only family who hang their clothes out on this side of the block. Is the Sun stronger on this side? Or the wind stronger on this side? Since young, my teacher taught me to colour within the lines. As I look back, I realised I have been cautiously adhering to this invisible and distinct line.
The neat and tidy housing estate is interrupted by this rule-breaking event. As dusk approaches, that wooden pole and the clothes gently swaying in the wind, prepares to receive the starlight.
I become uncertain of my obedience to the rules. Is this my choice or a weapon to cover my impotence?
“Where did we come from, and where do we return to after a hundred years?” - Zen Master Sikong Ben Xing, Compendium of Five Lamps
Every time I raise this question/ in my heart/ I sing this song from the mountain I come/carrying the orchid grass/ the irony is that/ I do not stay in the mountains/ and have never seen the orchid grass…
“(You) generalise me so simply?”- Friend XY
I am a person of emptiness.
有⼈人说：⼈人⽣生的剧本不可能完美，但是可以是完整的。
当你感觉到遗憾，你就会体验到⼈人⽣生的五味，便拥有完整的⼈人⽣生。其实，不完美才是⼈人⽣生。
遗憾，是不曾在我⼈人⽣生字典⾥里出现的两个字。
不过在整个彩排过程中，我好像找到了我⼈人⽣生当中的遗憾。
原来没有遗憾，也是⼀一种遗憾。
有人说：人生的剧本不可能完美，但是可以是完整的。
当你感觉到遗憾，你就会体验到人生的五味，便拥有完整的人生。其实，不完美才是人生。
遗憾，是不曾在我人生字典里出现的两个字。
不过在整个彩排过程中，我好像找到了我人生当中的遗憾。
原来没有遗憾，也是一种遗憾。
15000 柒李阡语 Lee Qian Yu
Someone said:
Life, as a script, will never be perfect, but it can be fulfilling.
When you feel regretful, you savour the different flavours of life and hence,
experience a fulfilling life. In fact, life is about being imperfect.
Regret, has never appeared in my life.
But during this rehearsal process, I think I found my regret in life.
To have no regrets, is actually a regret.
李阡语Lee QiAN Yu
来自新加坡的新生代音乐舞台剧演员。曾参与多部音乐舞台剧，如《天冷就回来》、《雨季》、《老九》等。在《记得说再见》里饰演女主角，并在新加坡第一部中文晚宴音乐剧《再见。爱。》里饰演女主角。曾代表新加坡到美国芝加哥参加艺术表演比赛，并荣获冠军。 阡语也是新加坡电视台的主持人和演员。电视作品包括《彩虹夏日营》、《In一代》、偶像剧《偶像。爸爸。》等。阡语也在新传媒的
《IQ超人》节目中，凭着高超的智商被冠以“IQ超人”之美誉。户外主持活动包括为“联合早报”90周年报庆的三千人户外艺术飨宴《九。歌》担任中英双语大会司仪。今年阡语会参与许多和新谣有关的演出，例如《我们的新谣。我们的故事》的说唱会和《我们的新谣 Encore Show》，以 “新谣新生代” 的姿态把新谣时期的本地创作传扬给下一代。
At the age of 8, Qian Yu hosted and acted
in various Mediacorp TV programmes
like Kids' Camp, In Kids, The Story of
Nao Nao and Oh Dad!. In 2005, she
represented Singapore and came in first
for a theatre drama competition held
in Chicago. Qian Yu’s theatre credits
include “If There're Seasons…”, Lao Jiu:
The Musical, December Rains, Re:kindle
Love as leading role Ai Ai and Don’t
Forget to Say Goodbye as leading role
Xiu Juan. Qian Yu also hosted many
events such as Lianhe Zaobao’s 90th
Anniversary two-night outdoor arts
extravaganza at Fort Canning Park,
which attracted over 3000 people each
night. This year, Qian Yu was involved
in many xinyao related concerts and
performed xinyao songs at various
venues like Esplanade Recital Studio,
The Float at Marina Bay, Resorts World
Theatre, Singapore Indoor Stadium.
salmon sashimi
“my wife cannot believe that i would eat raw fish simply because i find cooked fish disgusting”
the first time i ate raw fish, my wife couldn’t believe. “i won’t believe it unless i see it” she said.
what’s not to believe? would i be so free as to make this up? i told her matter of factly.
there is a sweeteness in raw fish that is more palatable to me, even though truth be told, many fish
lovers have sworn by the sweetness of cooked fish. then, there is also texture to consider, and oh god, the smell….
this is my second time doing lab and it has been again a wonderful process of self-discovery and
growing older. we started this process by looking at Kuo Pao Kun’s 0ZERO01, which parallels
personal stories of several characters with the metaphor of salmon returning to their birthplace to
spawn their eggs and eventually die. this year has been especially busy for me, fighting to go
upstream like the salmon to get to where i want to be. thankfully, this “lab” has always been a place
of refuge and solace for me.
the work this year for me has mostly been about perception - not only how the audience sees you
but how you see yourself. recently i had the privilege of listening to an applied theatre practitioner
speak about her work, about how her work is about showing certain groups of people a mirror of
themselves, and how sometimes they don’t even recognise lines from scenes that came from
themselves.
the other thing that comes hand in hand with perception is judgement. and how we are constantly
adjusting and repositioning ourselves on this. sometimes we value our own experiences less or we
have already judged them before even uttering the first word. so how do we stay connected? how
do we listen to the texture, flavor, and smell of each moment? how do we continue to be fascinated
by the human experience? i think the process this year has made me carefully examined these things.
I have attached a photo of my baptism, which is related to my work. my grandmother is holding me
and my father is standing to her left. I hope you enjoy the evening as much as we have enjoyed
putting it together.
yours sincerely, zach.
17万水千山总是情何子详 Zachary Ho
何子详ZAchArY ho子详毕业于跨文化表演学院以及新加坡国立大学戏剧系。他现任新加坡艺术学院戏剧系兼职教师，也在多间学校用英文和华文教戏剧。他最近的剧场作品包括九年剧场的《十二怒汉》和 实 践 剧 场 的《1 1 • 即 兴 高 行 健》、
《 暴 雨 将 至 —— 傻 姑 娘 与 怪 老 树 》。 能成为本地剧场界的一份子，子详倍觉享受，享受可以成为某某人、任何人或没有人。
Zachary is a graduate of the
Intercultural Theatre Institute, as
well as the NUS Theatre Studies
Programme. He is currently teaching
at School of the Arts in the Theatre
Faculty. He also teaches drama in
English and Chinese. Recent credits
include 12 Angry Men by Nine Years
Theatre, 11• Gao Xing Jian Devised,
and The Impending Storm - The Silly
Little Girl and the Funny Old Tree by
The Theatre Practice. Zachary takes
immense pleasure in being a part
of theatre in Singapore. He loves
that he can be anybody, somebody,
and nobody.
鲑鱼生鱼片
“我觉得煮熟的鱼很恶心，但是我老婆不信我吃得下生鱼”
我第一次吃生鱼的时候，我老婆完全不能相信。她说“眼见为实”。
为什么不信我？我为什么要说谎骗她？我很老实地告诉她。
生鱼有一种更合我胃口的鲜甜口感，虽然在现实情况中，许多喜欢吃鱼的
人都酷爱熟鱼的鲜甜。但是，其实还得考虑到肉质的口感，以及那股味道，天啊……
这是我第二次参与实验室。和上次一样，又是一次愉快的自我探索和
成长过程。我们从郭宝崑的《000幺》出发，一部
对比几名角色的个人故事和鲑鱼回游出生地
产卵，继而死亡的作品。今年对我来说是特别忙碌的一年。我顽强地
逆流而上，像鲑鱼一样回到心之所属。我很感激“实验室”一直是
为我带来慰藉的避风港。
我今年的作品主要在探讨感知（perception）——不只是观众如何看待你
还包括自己如何看待自己。我最近有幸听到一位应用剧场实践者
谈 及 她 的 工 作 ：为 参 与 者 提 供 一 面 照 看 自 己 的 镜子，只是有时候他们根本认不出那些言行举止 是来自
他们自己。
随着感知延伸而来的还有批判（judgement），以及我们如何不断地依照批判来
调整和重置自己。有时候我们不太看重自己的意见，或我们
在抒发己见之前就加以批判。我们要如何维持与自己的联系？如何
倾听每一刻的质感、味道和气味？我们要如何继续为生命
感到好奇？我想今年的过程让我可以仔细地去思考这一切。
附上一张我在受洗仪式时候的照片。这张照片和我的作品有关。我的祖母抱着我
父亲站在她的左边。我希望你们将度过一个愉快的夜晚，好比我们在
筹备这次演出一样。
子详 敬启
What Was most memorable about lab?
hoW Was the Writing process like?
in the beginning we were like huh!?! but after a while,
if you allow it. it will just keep.and sometimes
.hmmm... when we were asked to do everything from the
it Was hell For me. at one point, i felt like myself.
i wanted to share in my monologue. i truly wanted a personal experience.
ok, not literally but you know what i mean. Writing has never been as easy task
for me because i think i cant write. but under extreme i can actually write .
moment. then sometimes u feelyou have the
sometimes. i can’t wait till the day i feel it does sound a little
so Yippeeee!!! it also took me a while to come to terms with what
i talked about matters which i hold close to my , issues which i
struggled with but all these in a rather light ed setting.
i hope i managed to bring that across and i hope you will enjoy this journey as much as i did.
19回到缘点谢惠琳 Jasmine Xie Hui Lin
谢惠琳JAsMiNe Xie hui LiN谢 惠 琳 毕 业 于 澳 洲 莫 道 克 大 学 。 她 持 有 表 演 系 文 凭，同 时 也 是 名 物理 治 疗 师 。她 曾 参 演 的 剧 目 包 括
《 那 喀 索 斯 》（ 艾 雷 那 现 代 剧 场 ）、 《 暴 风 雨 》（ 科 廷 大 学 ） 、 《Showpony》、《震动心弦》（Mood
现代剧场）、《神·妇人》、《安东尼与克莉奥佩特拉》（莫道克大学）、《大金山》（仙人掌公司）、《Micromanage Over work Exaggerate》（The common Folk）、《掌中》(十指帮)。 惠琳也参与电影演出、配音及主持工作。 惠琳也是十指帮培训计划的首批学徒。
Jasmine is a performance studies
graduate from Murdoch University
of Australia and also a trained
physiotherapist. She has performed
in both English and Mandarin
productions such as Narcissus (Arena
Theatre), Tempest (Curtin University),
Showpony, The Awakening (Mood
Theatre), Of God and Wenches,
Anthony and Cleopetra (Murdoch
University), The Big Gold Mountain
(Prickly Pear Productions),
Micromanage Overwork Exaggerate
(The common Folk), Turn by turn
we turn (The Finger Players).
Jasmine has also acted in feature
and short films, and counts voice
acting and event hosting in her
portfolio. She was part of the
inaugural batch of The Finger
Players’ apprenticeship programme.
压力
轻松
灵感
实验室最难忘的事？嗯 … … 当 我 们 被 吩 咐 要 从开始的时候，我们都“蛤”！？！但过了一会儿，你就会等到 到 来 的 一 刻 。有 时 候 觉 得 ，有 时 候 又 。但 就 是 要让 它 不 断 地 。说起来还蛮 的。我迫不及待活力全开的那一天！
写作的过程如何？根 本 就 是 人 间 地 狱 啊 。有 那 么 一 瞬 间，我 真 想 。好 吧 ，没 那 么 严 重 ，但 你 懂 我 的 意 思 。写 作 对 我 来 说 从 来 不 是 一 件 简 单 的 事，因 为 我 觉 得 我 不 会 写 啊 。可 是 当 我 面 临 极 端
的 时 候 就 真 的 写 出 来 了 。耶 ！！！我 也 花 了 好 些 时 间 才 能 正 视 独 白 里 谈 到 的 内 容 。 我 真 心 想 要 一 段 很 个 人 的 经 验 。我 提 到 的 是 非 常 贴 近 的 事，我 心 里 的 挣 扎，透 过比较 的方式呈现。我希望我有做到这一点，也希望你们和我一样享受这段旅程。
核心
生长 奇妙
上吊
内心
思如泉涌 才思枯竭
21黄益民 Benjamin Wong
黄益民beN WoNG 益民曾在英国中央演讲与戏剧学院，以及澳大利亚维多利亚艺术学院接受培训。
演出作品包括：《三只山羊嘎啦嘎啦》（新加坡专业剧场）、《点心宝贝：新加坡历史》第一部与第二部（滨海艺术中心）、《皮纳福号军舰》（英国巡演）、《西区圣诞》、《汉宫秋》、《豌豆公主》音乐剧（爱丁堡艺术节）、《Paper Dolls》、《摩登密莉》、《十二男高音》（德国巡演、欧洲巡演）、《国王与我》、
《烟火商的女儿》（英国首回巡演）、《魔法黑森林》、《Moonbird》（滨海艺术中心）、
《Death and Dancing》、《仲夏夜之梦》、《奥赛罗》、《哈姆雷特》（福康宁公园）。
Training: Royal Central School of
Speech and Drama (UK), Victorian
College of the Arts (Australia).
Past Performances: Big in The Three
Billy Goats Gruff (SRT), Dim Sum
Dollies: The History of Singapore Part
2, Part 1 (Esplanade), H.M.S Pinafore
(UK National Tour), West End Christmas
(The Actors’ Church), Mao Yan Shou in
Autumn of Han (Tristan Bates Theatre),
Prince in The Princess and the Pea,
The Musical (Edinburgh Arts Festival),
Cheska in Paper Dolls (Tricycle Theatre),
Ching Ho in Thoroughly Modern
Millie (The Watermill Theatre), The 12
Tenors (German Tour, European Tour),
Lun Tha in The King and I (Theatre
at the Mill), Chulak in The Firework
Maker’s Daughter (UK No. 1 Tour),
Mysterious Man in Into The Woods
(Embassy Theatre), King in Moonbird
(Esplanade), Max in Death and Dancing
(Play), Oberon in Midsummer Night’s
Dream (Federation Hall), Othello
(Victorian Arts Centre), Hamlet (Fort
Canning Park).
23我全部都相信吴敏宝 Ng Mun Poh
吴敏宝NG MuN Poh2014年加入实践剧场，开始接触剧场。参与的演出包括《当兵姑娘花木兰》、
《童年不同年》、《课本故事屋》、《ALL CLEAR》、《棺材太大洞太小》等校园巡演；《樟宜村姑妮妮》（2014 M1华文小剧场节）、《裸画室》（2014实践演员实验室结业呈现）、《天门决》（2015）以及
《小问号和探险家》（2015）。她期待并珍惜每一次的演出机会，在学习过程中努力并享受着。
Joined The Theatre Practice in
2014, and started her journey in
theatre. Her performing credits
include: School touring shows such
as Mulan, A Different Childhood,
Textbook Storytelling, ALL CLEAR,
The Coffin is Too Big for the Hole;
Nini in Changi Village (2014 M1
Chinese Theatre Festival); The
Nude (2014 The Practice Lab annual
showcase); Legends of the Southern
Arch (2015) and The wee Question
Mark and the Adventurer (2015).
She anticipates and treasures every
single opportunity to perform, and
enjoys the learning process while
also putting in her utmost effort.
* It started with some fragmented images• When I was young, I helped to bathe the bottles of shower foam, facial cream, soap box
etc. in the bathroom.• I was bathing and playing with my Sis in the living room. I turned my back on the door
and had a toy police car in my hand.• I sat on the floor of the living room, writing my journal with my left hand.
* Then, more details gradually emerge• It was the eve of Chinese New Year, before the reunion dinner. My Mum and my Sis were
laying the plates and chopsticks on the table. I could hear the sound they made from the bathroom. I used warm water to bathe the bottles. More water for the big bottles and less water for the small bottles.
• The police car was a present from my Dad. When the police car moves, its red light on top will flash, and its siren will sound. I can’t remember what my Sis was playing with. This should be the time when I was still in kindergarten.
• My secondary school teacher came up with an idea: write your journal with your opposite hand. She is Ms Zhang. The journal is rectangular in shape. It must be placed vertically and not diagonal. I used a pencil to write as it was easy to erase.
* And the emotions surface (some emotions appear concurrently with the images)• I felt pity for the bottles. It was so lively outside but they were left out of the CNY
celebration. So they should at least get a bath and be cleaned for the new year; I realise I really miss the hustle and bustle before the new year.
• I’m actually quite afraid of police and their police cars. My aunt used to threaten me: “If you’re naughty, the police will come and catch you.” I once saw a police car stopping by my neighbour’s house, and I cried. I thought I did something wrong and was going to be arrested.
• Because I used my left hand to write, I looked forward to writing my journal every week. That time I really looked up to Ms Zhang who inspired a journal-hater like me to fall in love with journal writing.
I actually remember all these.People, events and objects whose existence I had forgotten. If I have not revisited my past for this rehearsal,I think they will still be trapped in dust,waiting for the right opportunity to appear.Maybe, some of them have indeed disappeared.
Men.
We can toil away in soulless cubicle jobs for decades on end. We pull 16 hour shifts in dusty construction yards. We like to think we give up a lot of things for a better life. We take a beating, get our bones broken, we fail, and we get up again without shedding a tear. But give us a beautiful woman which charms us, inspires us, fulfills us and then take them away, and suddenly our life, identity and sense of self crumbles and falls into pieces.
Next comes a period of swinging between rage, self loathing, denial, and grand delusions. You think fondly of the times you laughed together, the trips you took, the secrets you shared, the times you made love. And then you shift around, pace back and forth thinking about how she has done you wrong, how selfish, and how much you have sacrificed for her. You blame yourself, you should have done this and that, and you shouldn’t have done this and that. Finally, you make one last valiant but ill fated attempt to win her back.
And then you decide, “to be sad is not manly, f*** this b****, the best revenge is to be successful”, and then you dive right back to your soulless cubicle to toil on, swearing to earn enough finally to start your empire, swearing to wean off romance like a bad habit and live your life as a swinging, free living, and rampaging bachelor, and the next time you meet her you will be emerging from the doors of a Porsche with some supermodel.
And then comes along another beautiful woman who charms us, inspires us and fulfills us.
And everything plays itself again, and again and again. Like sad violin music playing on loop.
Heartbreaks for men can be an epic tragedy or comedy, and more often than not, it is a mixture of both.
–
I want to use this opportunity to thank everyone in Actor’s Lab. Your courage and honesty in sharing so much of yourself in this process has been equal parts humbling, inspiring and spirited. I am truly privileged to be a part of this creation.
For all the men (and women) in the audience. I hope that as we hold a mirror up to ourselves, warts and all, you too will be able to see abit of yourself, in the reflection.
25G.F.E张文扬 Chong Woon Yong
张文扬choNG WooN YoNG 2 0 1 1 年 毕 业 自 新 加 坡 国 立 大 学，主修 戏 剧 系，之 前 从 事 艺 术 政 策 与 行政的工作 。2015参演《挣扎：多年以后》。2012年参演《11•即兴郭宝崑》，也在2011年参演了新加坡艺术节的
《Almost Left Behind》。 目前，他是实践实验室的成员之一。
Woon Yong graduated with a
B.A from NUS Theatre Studies
Programme in 2011. A former arts
bureaucrat and arts manager, Woon
Yong was part of the ensemble in
The Struggle: Years Later (2015),
previously acted in 11• Kuo Pao
Kun Devised (2012) and Almost Left
Behind in Singapore Arts Festival
2011. He is currently a member of
The Theatre Practice Lab.
男人。
你在办公室一个了无生气的小隔间，经年累月，毫无怨言，虚耗你的生命。你甚至在沙尘滚滚的工地值班16个小时。你以为牺牲那么多，换来美好的生活。你挨揍。你跌倒。你伤痕累累。你失败。你爬起来。不流一滴泪。可是，女人，一个漂亮的女人，让你为之着迷，为之发奋，为之心满意足，然后离开。她，离开你。然后你的人生忽然崩坏，四分五裂。
然后你愤怒。你厌恶自己。你否定自己。你自暴自弃。你痴心妄想。你怀念过去，一起欢笑的时候，旅行的时候，分享秘密的时候，做爱的时候。但很快的，你转身，你一来一回地走着。你想着。她对不起你。她有多自私。你为她牺牲了多少。你自责。你应该做些什么。你不应该做些什么。最后，你故作勇敢地尝试和她复合。然后失败。
你下定决心。“男人有什么好伤心的，去她的贱女人。离开我是你最大的损失。”你回到办公室了无生气的小隔间。你继续虚耗你的生命，发誓要赚大钱，建立你的企业王国。你决定戒掉恋爱这个坏习惯。你要成为一个情场浪子，过着风流快活的人生。下一次，当你见到她的时候，你会打开保时捷的车门，搂着某某名模从她眼前走过。
然后，又一个漂亮的女人，让你为之着迷，为之发奋，为之心满意足。
一切重复。再重复。重复。像一首不断重播的情歌。
可笑的男人。
-
心碎对男人来说可以是喜剧，可以是悲剧，很多时候其实是悲喜参半。
我想感谢演员实验室的每一位参与者。我见证了他们在创作故事中的血汗和泪水。你们在分享个人经验时候的勇气和坦诚让我在感到谦卑的同时也深受鼓舞。我很荣幸能够成为创作过程中的一份子。
致所有男性（和女性）观众：我希望当我们拿起镜子照看自己的时候，即使照出不堪，你也会在倒影中看见一点点的自己。
灵感来自 Inspired by 郭宝崑《000么》 Kuo Pao Kun’s 0Zero01
构思及顾问 Concept and Advisor 刘晓义 Liu Xiaoyi
创作，演出及设计 Creators, Designers & Performers
《从头开始》制作团队uPstreAM ProDuctioN teAM
实践剧场工作人员the theAtre PrActice stAff
张文扬 Chong Woon Yong郭程伟 Darren Guo何子详 Zachary Ho
洪节华 Hung Chit-Wah, Felix李阡语 Lee Qian Yu
刘晋旭 Ric Liu
艺术人员 Artistic
联合创始人Co-Founder / 艺术顾问 Artistic Advisor吴丽娟 Goh Lay Kuan
艺术总监 Artistic Director郭践红 Kuo Jian Hong
实验室总监 Lab Director刘晓义 Liu Xiaoyi
驻团演员 Resident Artists洪节华 Hung Chit Wah, Felix
吴敏宝 Ng Mun Poh
技术人员 Technical
舞台监督 Stage Manager黄诗淇 Eng Sze Kee
教育与拓展人员 Education & Outreach
教育与拓展顾问 Education & Outreach Advisor黄美兰 Wong May Lan
教育与拓展总监 Education & Outreach Director梁晓端 Melissa Leung Hiu Tuen
教育与拓展经理 Education & Outreach Manager黄惠敏 Catherine Wong
教育与拓展执行 Education & Outreach Executive陈思妤 Tan Si Yu Marilyn
行政人员 Administration
剧团经理 Company Manager林明凤 Jo Lim
助理节目经理 Assistant Programme Manager林于月 Lim Yu Yue张玮芳 Karene Teo
市场行销 Sales & Marketing李彩妘 Amber Lee
行销与宣传 Marketing & Communications林沁慧 Jasmine Lim陈凝馨 Tan Ning Xin董家威 Tung Ka Wai
宣传 Publicity果雄 Guo Xiong
平面设计 Graphic Design刘佳含 Low Jia Han
行政协调 Office Administrator廖美玉 Rena Lew
实习生Intern黄莉玲 Eeleen Ng
舞台监督 Stage Manager黄诗淇 Eng Sze Kee
梁海彬 Neo Hai Bin吴敏宝 Ng Mun Poh
黄益民 Benjamin Wong王芝榕 Zee Wong
谢惠琳 Jasmine Xie Hui Lin
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实践剧场将在2016年告别史丹福艺术中心，搬迁到同一条街（滑铁卢街）54至58号的地方。届时，我们将拥有 全新的排练教室和专属的黑箱剧场！可是我们非常需要各位朋友的鼎力支持与付出才能完成这项艰巨的任务。
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