Tuesday 31 March 2009

你可能不知道的新加坡——戏剧盒《不知岛的欲望》

戏剧盒的社区作品——《不知岛的欲望》展现了芽笼的“神、色、食、史”。其中呈献了傅正龙、杨君伟和许婉婧的作品。

正龙在作品中探讨外籍娼妓和劳工在新加坡谋生的艰辛,君伟则表述了二战以后,一群热心公益的舞女在芽笼为失学儿童开办“快乐义务学校”的历史,婉婧再现了芽笼在殖民地时期华巫族群冲突的历史。


1946年,新加坡的一群舞女在芽笼为失学儿童创办了一间“快乐义务学校”。(杨君伟编导)

精心设计的演出场刊,除了介绍“芽笼”这一名字的历史由来以及与其他与芽笼相关的历史和名人外,还列出“20间最受芽笼居民推崇的食摊。”更有趣的是,场刊本身就是一张大地图,将娼妓在芽笼不同街巷的国籍分布,清楚标明。


1964年,华人和马来人在芽笼发生了一场剧烈的种族冲突。(许婉婧编导)



场刊中一段关于芽笼的历史,在我看来,是值得玩味的:


“1959年,新加坡政府在如切进行扫黄行动,妓女们纷纷逃到附近的芽笼避难,妓院也在芽笼另起炉灶拉客做生意,芽笼因此成了新加坡著名的风化区。”

这么说来,新加坡政府对芽笼风化区的初步建设,是功不可没了。当欲望被压抑或监控时,作为最能展现人性和大自然生命力的它,一定会另外找到一个自我疏导的缝隙。不管你个人是否赞同这个人类最古老的职业——娼妓——在看似最保守、最压抑的国度如伊朗,它始终有自己生存的空间和方式。

尤其是到了夜晚的芽笼。

我在3月27日晚上观赏了《不知岛的欲望》(预演),让我印象最深刻的,是在芽笼23巷的High Point Community Services Association 看完第一个演出后步行到第29巷的曾邱公会去观赏第二和第三部演出所观赏到的夜景。这是戏剧盒有意的安排,让观众能亲身体验芽笼的夜生活。每次经过芽笼时,都是透过行驶中的公共巴士或汽车的玻璃窗,在安全的距离下,隐约看到街上一些鬼鬼祟祟、或“胸有成竹”的行人,当然,还有妩媚的小姐们在站街。

但是,当天晚上,当我们穿行于臃肿的人群时候,一种迸发而旺盛的生命力排山倒海地围绕着我。

实在太不像新加坡了。

夜晚芽笼的人群之多,不亚于白天周末的乌节路。记得几次和朋友到那里吃夜宵时,都未曾见到这么多人。

有的摆了流动地摊在卖烟,有的正搔弄头发,笑容可掬地展现自己的魅力,有的在四处观望,左顾右盼,为突击检察把风。

我未曾与芽笼有过这么亲密的接触。它奇特的生命力,就如我们小时候唱的那首歌一样:

Geylang, si paku Geylang, Geylang, si rama rama.
Pulang, marilah pulang, marilah pulang bersama-sama.
中文翻译:
芽笼,如钉子。芽笼,如蝴蝶。
回家,我们回家,我们一起回家。

在一个自我标榜为干净、现代化、保守、圣洁的城市家园中,芽笼,仿佛梦境,仿佛海市蜃楼,仿佛一个国度中的另一座孤岛。


21世纪的今天,在芽笼谋生的外籍人,必需面对被剥削和歧视的问题。(傅正龙编导)


戏剧盒《不知岛的欲望》

日期:4月2至4日;时间:晚上7点30分

地点A:HighPoint Halfway House @ No. 1 Lorong 23 Geylang;

地点B:曾邱公会(Chan Khoo Kong Huay@ No. 29 Lorong 29 Geylang)

在A聚集的观众将在B解散,在B聚集的与此相反

票价:15元;售票:Gatecrash,各邮政局和S.A.M 自动机,询问电话:61002005.

戏剧盒在 omy 部落格上,也刊登了不少有关芽笼的有趣介绍:http://blog.omy.sg/dramabox

Saturday 28 March 2009

漫游UrbaNite《光影咖啡馆》预告

今晚访问第22届新加坡国际电影节的三位本地导演:

1. 《李伯》(This too Shall Pass)导演: 洪益兴(Ang Aik Heng)


THIS TOO SHALL PASS
By Ang Aik Heng / Singapore / 2009 / PG / 61 min

Producer: Ang Aik Heng, Screenplay: Ang Aik HengThe Substation 23rd Apr, 7:15pm
Final wishes and last regrets in the last three months before death.

Terminally ill with nose cancer, an elderly man prepares for his own passing, trying to settle his final affairs as best he can. In the meantime, his wife and children are also dealing with his imminent death in their own ways. Adopting a stoic and matter-of-fact approach, Mr Lee describes his body as a battleground and candidly speaks about his disease, his pain, and his hopes and fears. As his primary caregiver, his eldest daughter, Ellen Lee, helps to describe and place her family’s problems and her father’s condition in context, and the relationship between father and daughter is both heartwarming and poignant.

Discussing death is generally taboo in Singapore society, even within families that have to deal with it, and with great honesty and sensitivity, the filmmaker tries to articulate what dying is like for both the person experiencing it and the people witnessing the process. From an intimate perspective within the Lee family, the viewer observes the slow deterioration of Mr Lee, and the way this simple family man tries to die with utmost dignity.

Ang Aik Heng’s first international documentary, Culinary China: Food For Thought, won a finalist award for Best in Direction at the 2005 Asia Television Awards. Since then he has also worked on other documentaries for broadcast, including Brat Camp China and Boxing Behind Bars.

2. Brother No. 2, 导演: 赖捷生 (Jason Lai)



BROTHER NO. 2
By Jason Lai / Singapore, Cambodia / 2009 / PG / 75 min

In the wake of the Khmer Rouge’s genocide, a nation and her people still struggle for closure and inner peace.

Almost two million Cambodians died between 1975 and 1979 under the cruel and bloody regime of the Khmer Rouge, leaving the country scarred and devastated. This documentary gives voice to some of the survivors from that period, such as Soy Sen, a man who returns to his prison camp almost thirty years later to confront one of the prison chiefs who he believes was responsible for the murder of his father. Soy Sen’s encounter with the prison chief turns out to be both compelling and heartbreaking, a stark reminder that the process of reconciliation is a long and difficult one.

Also featured is a key interview with Nuon Chea, otherwise known as Brother No. 2, Pol Pot’s right-hand man, who is currently awaiting trial by an international tribunal. One of the key planners and perpetrators of the genocide, Nuon Chea’s interview raises as many questions as it answers, while offering a glimpse into the life of a man responsible for so many deaths. Juxtaposed with Soy Sen’s story and the accounts of other survivors, Nuon Chea’s words reflect an unsettling divergence in his conceptualisation of Cambodia’s recent past. Thought-provoking and moving, Brother No. 2 presents some important issues facing Cambodia’s future generations dealing with their traumatic past.
Filmmaker Jason Lai’s short films have played extensively at various film festivals including the Bangkok International and Busan Short Film Festival.


3. 《爱情十八克》(18 grams of Love), 导演: 韩耀光(Han Yew Kwang)


18 GRAMS OF LOVE
By Han Yew Kwang / Singapore / 2008 / PG / 85 min
Producer: Lau Chee Nien, Screenplay: Han Yew Kwang, Cast: Alaric Tay, Adam Chen, Yeo Yann YannSinema Old School (Free Screening) 18th Apr, 11:30am


18 Grams of Love asks the lifelong question - how do we measure the weight of love?
Long-time friends Zihua (Alaric Tay) and Ah Hui (Adam Chen) suspect their wives are cheating on them. In order to allay their suspicions, they decide to test their wives by writing anonymous love letters to see if they will respond. When the wives start to respond, the men find themselves in a fix. Winner of the Bronze Award in the Audience Choice category at the 13th Lyon Asian Film Festival, 18 Grams of Love offers an ironic and bittersweet take on modern relationships in a postmodern world.

Thursday 26 March 2009

再说台湾——使用公交是一种轻松愉快的经验

我还是忍不住要分享台北之行的美好经验。以下是我本周给《早报-逗号》(第11期)写的小专栏:
——————
你认识的台湾,也许是电视综艺节目里的明星、游戏、流行歌曲、美食、欢乐、创意融合而成的一个花花世界。

你认识的台湾,也许是报章、电视新闻里,国会上因政见不合,大打出手的一群野蛮人所构成的混乱地方。

你认识的台湾,也许是在主流政治观点叙述下,那个“叛离中国大陆,桀骜不驯的省份”。

但也许,你可能不知道的台湾,是一个富有人情味、公德心、与爱心的大同社会。

你只要乘搭捷运,就能充分感受到台湾人的彬彬有礼与文明。在捷运车厢内,乘客总会把座位让给老年人、孕妇和残疾人士。就算人流高峰期,车厢内挤满了人,为他们而设的“博爱座”总是空着的。使用电动扶梯时,乘客总是靠右站立,让需要赶时间的你能顺利通行,不用担心整个电动扶梯两边站满了完全没有自觉性的人。在台湾,因为大部分的人总是会设身处地,让你感觉到使用公交是一种轻松愉快的经验。老年人不用担心乘搭捷运时,会经常碰见脸皮其厚无比,假装睡着的年轻人霸占“博爱座”。

这,也许就是自我感觉良好的新加坡人不知道的台湾了。

台湾人在乘搭捷运时,会守秩序地排队,耐心地等候车厢内的乘客下车后才上车。

大部分的电动扶梯使用者,都会自动地靠右站,让赶车的人能顺利通行

Tuesday 24 March 2009

芽笼的“X-factor”

很多人一想到芽笼,常觉得那是食色俱全的红灯区。

曾经有过一个次有趣的经验。我的一些朋友住在芽笼,但问他们的住处时,他们都会说“靠近Sims Avenue” 或者“靠近Aljunied”。尽管后来询问清楚后,他们的家确实就是在芽笼的范围内,他们就是坚持不说“Geylang”,仿佛这是一个令他们尴尬难堪的字眼。其中一名朋友说,“很拍噻嘞,说自己住在Geylang,好像是......”

芽笼这个历史悠久的地区,只能给我们美食或风月的遐思吗?它是否有其他不为人知的故事?为什么那里有很多会馆和庙宇呢?仅仅是因为租金便宜吗?是否有其他原因呢?

我喜欢芽笼。

因为这个地方打破了新加坡井然的秩序与道貌岸然的虚伪。在这座狭小的岛屿上,每一个空间都被规划得让人不得越雷池半步。过于分明的城市文脉,无法给人在贫乏的生活有惊喜的发现。过于严谨的城市规划,反而遏制了最本真的人性,更无法给人太多想象和发挥的空间。

然而,在五光十色的芽笼,不同的能量得以融合,不同族群可以和睦共处。当最神圣和所谓最“龌龊”的可以并存时,芽笼展现了一种生命的张力、最不经修饰的活力和人本精神,这完全无需国家的大力提倡。信徒们在宁静的庙堂中寻获心灵的依托,嫖客们得以在灯红酒绿的花街柳巷中感觉到自己的存在,饕客们在琳琅满目的美食摊位中满足食欲。

这就是芽笼的“X-factor”。

Ekachai 的“Pleasure Factory”(《快乐工厂》) 所刻画的芽笼,急于强调它的风月,无论是人物旅程的刻画或地方色彩的描绘,都不够丰富。

我很期盼戏剧盒《不知岛的欲望》,希望它能为我们建立超越一般观念和想象的叙述。


戏剧盒呈献: 《不知岛的欲望》
7:30 pm
3月27日(预演)$10
4月2日-4日(正式演出)$15

Friday 20 March 2009

3月21日漫游UrbaNite 节目预告

当晚暴露狂:冯以量


暴露的部分:《把爱带回家》

“没有任何人, 希望自己是被标签为叛逆的不孝子女;
也没有任何人, 拒绝自己在温暖的家庭气氛中长大.
以量的十二则有"回家" 故事, 叙述了一个个从童年的家庭创伤, 到成年后勇敢面对过去;
自己与家人, 而创造成长的真实案例.
诚邀您在阅读书里的故事的同时, 也透过这本书去阅读自己的生命.
你需要爱.
你的家人同时也需要你的爱. 不是明天, 是现在. 你清楚知道这点.
其实你比谁都清楚知道,你的内心以及你的家, 到底有渴望爱.”
如何暴露:单亲妈妈如何走出婚姻失败的阴影?
她们怎样面对他人歧视的眼光,重新建立自信心,
与深受创伤的儿女培养感情?让以量为你诉说,
记得收听!

Wednesday 18 March 2009

在昏暗中,灯突然亮了

2月23日至3月2日的台北之行,有一次难忘的丰收。

我和阿栋在2月28日下 午,参加了龙应台基金会主办的“思沙龙——你可能不知道的台湾”讲座系列之一:“在昏暗里,灯突然亮了——台湾的政治觉醒。”对台湾人来说,这天在他们的 集体记忆中,留下一道深深的伤疤,也就是所谓的“二二八事件”。有关这一历史事件的资料很多,在此不赘述。

座谈是在靠近西门捷运站的中山堂举行,上半部分先放映侯孝贤的《悲情城市》。长达两个半小时的电影放映完以后,龙应台亲自担任主持人。当然,主角就是大导演侯孝贤了。


再次看到龙应台——阿栋和我的偶像——心中有一种久违了的感动。我们都是通过她针针见血、深情而有智慧的文字认识她的。我们同时也是侯孝贤的粉丝,他的《悲情城市》、《恋恋风尘》、《戏梦人生》、《咖啡时光》等,都是我们深爱的电影。

龙应台向大家说,自己是侯孝贤的头号粉丝还追溯了一段与侯导初次会面的有趣经验。没想到龙应台还没有机会目睹侯导他本人的风采却先是耳闻他一句富有江湖味儿的问候语


那是几年前台北国际电影节时任文化局局长的龙应台到会场去记者、摄影师像一群乌合之众搞得整个场面非常嘈杂混乱像菜市场一样。当时灯光昏暗角落里突然传来一句XX龙应台循着声音的源头探去那竟是出自侯导因忍受不了记者的喧扰,脱口而出的狠狠咒骂。


电影放映后龙应台与侯孝贤开始交流在场观众的问题频频不断。其中大部分都是年轻人。最令人震撼而感动的是,提问的人多得让工作人员得另外给他们摆椅子坐下等候。全场座无虚席,龙应台的睿智与犀利,侯孝贤的风趣和率真,频频碰擦出精彩的火花,让人回味无穷。


你相信吗?交流会竟然长达整整两个小时!观众的提问不仅富有深度,他们还分享了自己对《悲情城市》的见解。这在岛国是绝对不可想像的。不论是舞台剧或电影的戏后观众交流会,观众的被动与木讷,以及导演、编剧、演员得不断解释作品背后的主题、动机,费尽唇舌地充塞令人尴尬的沉默。我在中正堂充分感受到的,是台湾人的深刻思考、热情、觉醒、与理想。

谁说台湾是“悲情城市”?恐怕是新加坡吧。

然而我们没有情,只有悲。可悲。

傍晚615分,我和阿栋走出中山堂。之前仓促地吃了饭团充当早/午餐,但四个小时的电影和讲座,竟没有让我们感觉到饿。

台北的夜才苏醒,在春天的晚风中,我们不多话,只因为清冷的空气中,仿佛回荡着午后精彩的言谈、风趣的调侃,还有台湾人的挚情和理想。

在昏暗中,灯突然亮了。

Monday 16 March 2009

云南园也有春天



在一个风和日丽的早晨,我踩着轻快的脚步,走入云南园......。

天啊!多么俗套的开头!这不正是我们在小学写作文时常使用的cliché吗?

实际上,这天早晨虽无艳阳,但晨风倒是因为一场大雨而变得清爽怡然。我也不是步行,而是驱车前往南大。在抵达中文系的时候,眼前一棵棵树,绽放着累累的粉色花朵,顿时让我哗然赞叹。我不自觉地放慢车速,欣赏着岛国难得的三月美景。


没想到,在我们这压抑而千篇一律的座钢骨森林中,竟有温柔的时刻。让人如此心醉的季节,谓之为“岛国的樱花季”也未尝不可?

不知道这是什么树,但印象中岛国每年的三、四月分,经一场场赤道豪雨的灌溉之后,这些树就会像初醒的火山一样,热烈而奔放地,爆绽出层层叠叠的艳丽花朵。风儿吹拂,油绿的草坪上,满地落英堆积,仿佛柔美的熔岩。绚烂的粉色与嫩绿色相映,像是印象派的作品,又仿佛是偶然误闯温带国度春天里的花园时看到的一道风景。



有谁能告诉我,这是什么树呢?

三月天,当你在岛国的街道上彳亍时,请你放缓脚步,稍顿片刻,尽情享受这短暂而绚丽的风景。


Monday 9 March 2009

台大的春天

从台北回到新加坡后就忙得不可开交,如果再不把这些照片挂在部落格上,台北的春天就要过去了。
春天的台大,各种艳丽的花朵盛开。真难想像,不同地区的植物可以共存在这样一个静谧的环境里。有莲花、杜鹃、椰树、榕树。



喧哗的春意,唯恐你会错过这个季节稍纵即逝的华丽。


Friday 6 March 2009

漫游UrbaNite 今晚(2009年3月7日)节目预告

今晚电访:

1030pm:“ENCORE: An Evening of Ageless Theatre
导演-Jean Ng, 由 The Necessary Stage 制作:
编剧:Verena Tay

Dates/Times: Fri 13 to Sun 15 March 2009, 8 pm

Venue: Marine Parade Community Club Auditorium

Ticketing: Tickets are at $10 each and available at The Necessary Stage. To purchase tickets call 64408115, come down to TNS, or email our Theatre for Seniors Executive, Christina Ong at christina@necessary.org.


老年人在新加坡是沉默的一群吗?在公共领域中,他们的声音是否越来越被边缘化了?必要剧场与一群55岁以上的中老年人合作,让他们在学习剧场表演的同时,能够让我们走进他们的心灵世界。

转载自:http://www.verenatay.com/ :
Who says 'old age' is the last stage? ENCORE: An Evening of Ageless Theatre is a showcase from the participants of The Necessary Stage's Theatre For Seniors programme. This 3-year programme, which was launched in April 2008 with support from the Council for Third Age, comprises participants aged 55 and above undergoing a series of workshops with professional facilitators, led by Artistic Director Alvin Tan. The initiative was designed to equip participants with the essential skills and knowledge in drama.

Their end-of-first-year presentation, ENCORE: An Evening of Ageless Theatre, is a showcase of devised works and short plays culminating from TNS' innovative workshop. ENCORE: An Evening of Ageless Theatre will comprise 5 works—3 in English (Verena Tay's Prosperity, G.L. Horton's Best Practice, and @24, a play devised by Jalyn Han and the cast) and 2 in Mandarin. This showcase is the result of a synergy between theatre veterans and life's veterans bringing to light themes on aging, dignity, family and memory and youth. This ground-breaking programme provides seniors an avenue to impart their personal stories and adds a new spectrum of looking at their life-history and cultural identity. It also presents participants an opportunity to learn new skills, engage and interact with their peers, and explore new facets of life in their third age.


1120pm: The Importance of Being Earnest

这次为野米剧团(W!ld Rice Theatre)“The Importance of Being Earnest”现场伴奏的,就是新加坡的四重奏 Tang Quartet。清一色的男性卡斯和Tang Quartet将碰擦出什么火花呢?

25 Mar – 11 Apr 2009
Drama Centre Theatre @ National Library Building


转载自 W!ld Rice:


The Importance of Being Earnest, presented by W!ld Rice Theatre

Oscar Wilde’s THE IMPORTANCE OF BEING EARNEST is one of the world’s most enduringly popular comedies, boasting some of the funniest lines of the English language.

In WILD RICE's exciting production, celebrated theatre and film director Glen Goei puts a provocative spin on this comic masterpiece by casting an all-male ensemble in bespoke suits - revealing new insights into Wilde's comedy about courtship, hidden identities, and the foibles of high society.

With a sensational international cast, dressed to the nines by fashion doyen Frederick Lee, and live music by the internationally acclaimed T’ang Quartet, The Importance of Being Earnest promises to lift your spirits with an evening of sparkling wit, laughter and love. Don’t miss it on any account!

Starring
Hossan Leong, Chua Enlai, Daniel York, Gavin Yap, Brendon Fernandez, Zahim Albakri, Crispian Chan and Ivan Heng as "Lady" Bracknell with Live Musical Accompaniment by The T’ang Quartet



Tang Quartet