第5期_《乌鸦邦_》程安琪

乌鸦邦²
Utopia

片长(Length)： 19min
完成年份(Year)： 2010/9
影片类型（Type）：纪录 Documentary
导演(Director)：程安琪 Angel
Cheng
摄影(Cinematography)：姚咏豪 Dynax Yiu 田凯 King Tian 程安琪 Angel
Cheng
剪辑(Editing)：程安琪 Angel
Cheng 庄淑芳 Fanny
Chong
主演(Cast)：陈乃华 Naihua Chen
学校(School)：栗宪庭电影学校LXT\\\'s Film Fund
对白(Dialog)：中文Chinese
字幕(Subtitle)：中英文 Chinese & English
参展信息：
第一届首届国际学生短片节-北京/The 1st ISSFF
第四届重庆民间映画交流展/ CIFVF2010
第二届杭州大学生电影节/ HSFVF2010

故事梗概：
从7月15日起，北京临·帐篷剧社《乌鸦邦²》剧组和日本野战之月剧团、台湾海笔子剧团的成员们便开始在北京朝阳区皮村搭建演出的帐篷。7月31日到八月三号，每天一场演出，他们要在自己搭建起来的帐篷里演出中国首部原创帐篷剧《乌鸦邦²》，演出结束之后，还要自己拆除亲手搭建的帐篷。
帐篷剧是上世纪六十年代兴起于日本的艺术形式，1998年曾首次来到中国，2007年，《乌鸦邦²》的导演之一、日本著名帐篷剧导演樱井大造又应邀在北京导演了《变幻痂壳城》，这次在皮村，是他们第二次来到中国，《乌鸦邦²》是由中国的帐篷剧爱好者推出的第一部原创作品。
帐篷像一个小小的乌托邦，是归隐之处，更是桃花源般的乌托邦式存在。帐篷的成员也是鱼龙混杂，北京的帐篷更加复杂，也显得尤其特别，因为其社会精英的组员结构。日本与台湾的帐篷剧团的主要组员是小市民，小商贩和工人，而北京的剧团则多数受过高等的教育，组员中不乏各地留学生，博士生，博士后，大学教授甚至中科院的院士。这些人平时过着完全不同的生活，但是却因为喜欢
帐篷剧这样一种自我呈现的方式而聚拢在一起，在偏远低调的皮村做着这样一种看起来粗糙辛劳甚至有些山寨的表演。
Synopsis：
Since July 15th, the team of << Utopia
>> of Beijing, and the “rural war of moon” group, “Bihaizi” team of
Chinese Taipei are building tents in the Pi Village in the Chaoyang District of
Beijing. From July 31st to August 3rd, they act the first
original tent drama in the tents made by themselves. After the acting, they
also dismantle the tents made by themselves.
The tent drama is the Japanese are form rising in
the 60s. It comes to China in 1998 at the first time. In the year 2007, one
director of the drama <<
Utopia >>, the famous director Sakurai Daizo was invited to Beijing and directed the show << Utopia
>>. This time in Picun Village, it’s their second time to be in China.
<< Utopia >> is the first original masterpiece of the tent drama lovers.
Tent is
like a small utopia, a hidden place, where there is the utopia in existence.
The members of the tents various, even more complicated in Beijing and more
unique because of the structure of the
social elite teams. The main members of Japanese and Chinese Taipei tent
drama teams are citizens, small businessmen, and workers. Compared with that,
the Beijing drama team is made up of major members with high education. There
are many oversea students, doctor of philosophy, after doctor of philosophy
students, doctors in universities, and even The cas\\\'s academician. They live
totally different lives but are grouped by the same interest in tent dramas,
and do such rough and fortress work in the remote and low key Pi Village.

导演简历：简历
姓名: 程安琪
性别 ：女
出生日期：1989年5月4日
籍贯：安徽省黄山市
民族：汉
国籍：中华人民共和国
目前地址：浙江省杭州市西湖区转塘象山352号中国美术学院
学历：学士学位
主修：广播电视编导作品年表：2008：《说好的幸福呢》2009：《小幸福》　　　 《黑白》
《灯工》
2010：《电影时光》　　　《逆流》
Bio-filmography of Director：
Resume：
name: Angel Cheng
sex ：女female
date of birth：1989年5月4日
native place：Huangshan City of Anhui Provincenationality
Provincenationality：Han Nationality
citizenship：PRC
current
address：China Academy Of Art ， NO.352 Xiangshan ,Zhuantang ,Xihu Area , Hangzhou City of Zhejiang
Provincenationality
education：Bachelor degree
major：Radio and television scenarist Work timeline：2008：《The Agreement Of Happiness》2009：《Pieces Of Happiness》　　　 《Black and White》
《The Lamp Labor 》
2010：《Movie Time》　　　《Timeless》
导演阐述：
2010，盛夏，北京
皮村，被搁置之地
一场声情并茂，倾其所有的演出结束了，帐篷剧的舞台被人推到远处，帐篷里的人看到场外的世界。虽然有演员微笑谢幕，也有观众掌声雷动，似乎每一次观看，都是心灵上的一个温暖的拥抱，然而人群散尽，热闹,是别人的。
那些现实的疾苦和艰难，在精美的光影之间，在舞台绚烂多彩的之下，消失殆尽，没有存身之处。
就像在正午的日光下，我们看不见光柱中滚动的细微粒子，便以为这世间没有灰尘。
也许我的片子就是阳光中的灰尘，也许不那么精彩，但是它真实存在。
大家从四面八方赶来看这样一场演出，但是演出酝酿之前和结束之后呢？那些在帐篷中出现过的每一个人的每一张面庞，他们的姿态，他们的声音，他们在表演，他们在笑，更多他们的细节在慢慢模糊。
帐篷剧是这样特殊的一种形式，“帐篷”和“剧”本身是两个物体，更是紧密结合在一起的不可分割的整体。与其说是一种“表演”，称呼它为“行为艺术”更加贴切，因为帐篷剧开始的时间并不是演出开始的那一刻，而是支起帐篷第一根骨架支柱的那一刻。它不仅是一种表演艺术，更倾向于一种体力劳动，它的行为过程就是一种艺术。这是就我进驻帐篷的一周时间的最直观的感受。
这让我想到了关于艺术起源的问题。戏剧是一种非常古老且极其重要的的艺术形式，而艺术的一个重要起源就是来自于日常生活的集体劳动，帐篷剧这样的形式，或多或少都有向艺术本源致敬的味道，这让我觉得记录他们的劳动过程这一行为本身变得更加有趣，因为纪录的形式也是电影艺术的本源，两者在不同的领域有了微妙的交集，我喜欢这样的微妙。
“搭帐篷、做舞台、画布景、做道具乃至送水做饭——这些都是帐篷剧的一部分。”该剧另一位导演孙柏说。他认为，只有通过亲身体验每一个环节，剧组成员才能建构起对帐篷剧完整的认识。《乌鸦邦²》的演出帐篷由剧组成员和志愿者共同搭建，演出所需的4万元费用也都由主创们自己筹集，并且整个活动过程不接受任何外来经济支持，也没有盈利行为。但观众所看到的表演的只是一个摆在台面上的谁都可以一眼看到的结果，而整个进行的过程，所有相关人员与帐篷本身的磨合却被隐藏在了舞台之下
我尽其所能记录下相对完整的过程，从帐篷开始搭建到演出上映再到帐篷的消失，我想，这样简单直接的纪录方式可以保持他们留给我们的感动和满心欢喜。然后我们可以不停询问自己，在这样一个物欲横流，急功近利的社会，什么才可以带给我们这样单纯的满足与充实。
世界上没有一种相聚是没有告别的，北京的盛夏很少雨水，但是眼眶却常常湿润，记得有人送给我们临别的一句话：永远年轻，永远热泪盈眶。与君共勉。
Director’s Statement：
2010， midsummer，Beijing
Picun Village，a deserted place
A wonderful show is over. The stage of the tent-play was pushed to the far
side. The people in the tent see the outside world. Though it is always with
the smiling curtain call and happy audiences. But as if being seen every time,
it is a hug in the soul. However, when the people are　gone, the joy is others.
Those
real pain and hardness, between the light and the shadow, as well as under the
colorful stage was destroyed without itself.
Just like the sunshine
in the noon, we can’t see the flowing dust in the light pillar, in order to
create a no-dust world.
Maybe my movie is the
dust in the sunshine, and maybe it is not that fantastic, but it really exists.
People come from everywhere to see the show, but
what about the preparation of the show and after the end of the show?　Each face in the tent, their gestures, and
their voices show that they are acting, and they are laughing. More details are
fading.
The tent play is such
a exceptional form, “tent” and “drama” are two bodies, what’s more, they are an
integral whole. Though calling it a form of “act”, it’s more exact to call it “the
act arts”. Because the starting time is not the start of the show , rather, it’s
the moment when the tent is made.　It is
not only an acting art, but also a manual labor. The whole process of it is
somehow an art. This is the feeling after I live in the tent for one week.
This makes me think
about the origin of the art. Drama is a very old and extremely important form
of performance. But one important origin of art comes from the group work of
everyday life. The form of the tent drama, is more or less like the taste of a
tribute to the source. This makes me feel like more interesting itself when
recording the working process. Because the form of the recording is also the
origin of the film art. And the two in different areas have subtleties of the
intersection. I like the subtleties.
“Setting up the
tent,　making the stage, drawing the
scenery, making the props and even cooking, they are all parts of the　tent drama.” another director of the play,
Sun Bai said. He thought, only if experiencing each process can the members
build up the whole recognition of the tent play. The tents of
<> are built up by the members of the show and other
volunteers. The cost of the show-----40 thousand is also collected by the
creators. And there’s no other economic support and no earning behaviors. What
the audiences see is just the result of whoever can see on the stage. And the
whole process, the combination of the related people and the tent itself is hidden
behind the stage.
I do my best to record the relatively complete
process, from the building of the tents to the start of the show and then, the
disappearance of the tents. I think, such a direct way of recording can keep
the move and happiness. Then we can ask ourselves constantly, in such a realism
society, what can bring us such pure fulfillment ?
There is no meets without departures. It seldom
rains in the middle summer, but eyes always moistened. I remembered someone
sent me a leaving sentence : always young, always full of tears. With your
encouragement.
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