策展人：田戈兵

学术主持：张献

Curator: Tian Gebing

Programme Researcher: Zhang Xian

15:00-17:00 对谈：《广深地区当代表演的历史脉络》

20:00-22:00 表演：另一种方式——关于《红》

地点：OCAT深圳馆 展厅A

当代表演文献开放展 “二〇20年：整个世界变成了剧场”

演出购票通道

演出票价：218¥

＊入场须知：请报名表演观众于表演前半小时从展厅A北门，凭购票回执二维码兑换手环依次核销入场；观众席不设座位编号，提前到场观众可优先入座，请勿迟到。（门票一经售出，不予退回）

＊来自北京的观众敬请携带已测报告

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 活动总览 

1

纸老虎“被动策略剧场”

Paper Tiger, Passive Strategy Theatre

《感染、紧急状态和贝多芬》

Infection, State of Emergency，Beethoven

7月3日（周五）/7月4日（周六）

20: 00 - 22: 00

展厅 Hall A

2 

生活舞蹈 讲座表演

Living Dance Studio

另一种方式——关于《红》

Another Approach - About Red

7月11日（周六）/7月12日（周日）

20: 00 - 22: 00

展厅 Hall A

 当代表演文献开放展

Participatory Exhibition with Archived Contemporary Performance

“二〇20年：整个世界变成了剧场”

2020: Twenty Years towards A World Theatre

2020年7月3日 - 8月9日

展厅 Hall B

策展人：张渊、刘超

Curators: Zhang Yuan, Liu Chao

1

开幕对谈 Opening Talk

《待测的剧场史和重写》

Rewriting and Theatre History Waiting for Testing

主持：方立华

7月3日（周五）14:00-16:00

OCAT图书馆

2

对谈 Talk

《20多年来表演场域的改变及当代表演的种种反界限》

The Changing Fields in Performance over 20 Years and Counter-disciplinary Attempts in Contemporary Performance

嘉宾：

张渊（表演项目策展人）

相西石（西安谷雨行为艺术节策展人）

卿青（艺术研究院舞研所研究员）

陈恬（南京大学剧场研究者）

7月4日（周六）15:00-17:00

OCAT图书馆

3

线上讲座 Lecture Online

《进程中的记忆：关于中国当代剧场的一些观察》

Memory in Process: Some Observations on Contemporary Theatre in China   

主讲嘉宾：

克里斯朵夫·莱普奇（Christoph Lepschy）

（萨尔茨堡莫扎特艺术学院剧场构作教授）

主持：张献

7月5日（周日）15:00-17:00

4

讲座 Lecture

《主体性剧场》

Theatre of Subjectivity

主讲：张献

主持：武月钦

7月10日（周五）19:00-21:00

OCAT图书馆

5

对谈 Talk

《广深地区当代表演的历史脉络》

Historical Contexts and Traces of Contemporary Performance in the Guangzhou-Shenzhen Area

嘉宾：

杨美琦（舞蹈教育家，广东现代舞团创团团长）

滿宇（艺术家、策划人，热带研究所）

江南藜果（广州独立剧场人）

二高（广州，独立编舞）

方立华（OCAT深圳馆副馆长）

主持：武月钦

7月11日（周六）15:00-17:00

OCAT图书馆

2020年开年及今，突然的疫情打断了全世界“从来如此”的正常秩序和频率。停摆、封锁的紧急状态居然成为正在发生的全球性现实。不仅每个人都成为等待检测的潜在感染物和病原体，也使得人类社会“之前和之后”的历史社会行为，以及政治经济、科学艺术的诸多问题骤然归于重重可疑的待机和“悬置”状态。

值此巨大不确定的“待测”情境，需要顺势而动的应急免疫反应。深圳“OCAT2020表演”原计划中的“重写剧场史”展演，借此情势“变异”为一次“特别项目”。即：在“待测情境下重写剧场史”的展演、展览和论坛系列活动。将表演、艺术史的讨论嵌合于正在发生的现实语境下。

2020年7月初，OCAT表演“特别项目”，将在“待测——重写剧场史”框架下，通过两个现场表演、五个论坛讲座、一个表演文献开放展的交织叠进，在大危机和大变局的迷魂汤中，讨论上世纪90年代以来的20多年，在社会历史和政治权力空间演进下，“表演”如何在“出走离开”的反抗和自反性行动中塑造了出人意料的个人史，并进而碎片式无机生成集体性的异质性能量。

在病毒让全球资本算法权力市场的加速度流动紧急制动的此刻，在“2020年，整个世界都变成了剧场”的现实神话面前。这种回魂式的历史张望，是向前向后的刺探步，是重塑记忆的企图心，也是对已无需待测的种种历史废料和丢弃物“众人纷纷上前，大喝一声”的群体免疫动作。

2020/5/17 田戈兵

Since the beginning of 2020, the outbreak of the pandemic has interrupted the order as well as pace of norm all around the world, that has been taken as always and for granted. The state of emergency,  characterised by standstill and lockdown, has become a global reality in the making. Not only has everyone found oneself latent in becoming an infectious agent and a pathogen, everyone waiting for testing, but the crisis has set forth a state of suspicion and suspension in many aspects of human society: the socio-historical human behaviours pre- and post- this crisis, the socio-economical enquiries, the scientific questions and the artistic concerns.

This immensely uncertain situation, where all wait for testing, demands an urgent immune response that follows the propensity. The planned Rewriting Theatre History festival for Shenzhen OCAT Performs 2020 thus has mutated into a project of exception, i.e. a series of events including performances, an exhibition, panels and lectures as an attempt to rewrite theatre history in a situation of Waiting for Testing. The discourse of performance and art history will be contextualised with the social reality of the crisis.

In early July 2020, under the frame of Waiting for Testing - Rewriting Theatre History, OCAT Performs will introduce a cross-referenced discourse formed and developed with two theatre pieces, five panels or lectures and one participatory exhibition with autobiographical documents of contemporary performance in China. Amid the commonly experienced disorientation in this game-changing crisis, we propose to hold a discussion on the history of the past two decades to look again at how, in contemporary performance, fugitive resistance and personal insurgence have formed biographies of surprise, as well at how a collective heterogeneous energy was generated through fragmentary and inorganic connections, against the backdrop of the development of socio-historical space and power landscape in China.

At this very historical moment, when a virus hit the emergency brake on the accelerating global capitalism and algorithm oligarchy, one finds oneself vis-a-vis the myths of 2020, the Whole World Becomes Theatre. This revision is an attempt of re-enchantment, a test on future and history, an ambition to reshape memories, and nonetheless, an action towards the herd immunity against all sorts and collections of historical wastes and refuse. Here everyone steps up for an outcry.

Tian Gebing

17.5.20