弹幕剧场计划
'Theatre of Rolling Comments'
牧羊少女和扫烟囱的青年逃跑了！←_←现在退场还来得及！
The Shepherdess and the Chimney Sweep and Their Elopement (Leave the show now if you want to!)
Previous Performances:
28 Aug 2016 15:30 @ Penghao Theatre (part of 7th Nanluoguxiang Performing Arts Festival)
16 Sep 2016 @ Beijing One International Festival 4th Edition
21-22 Oct 2016 @ Shanghai Theatre Academy (part of China Shanghai International Arts Festival)
一个网红，和一个过气网红，被老板硬凑着要做一场网上直播。能否留在排行榜，就在此一举了！
剧情到底要怎样发展，才能抓住广大观众的心？
镜头里的桌上剧场，刷满屏幕的密集弹幕，主播的卖力生演，众声喧哗，目不暇接。
这也许是今年你能看到的最混乱的剧场——真的，现在退场还来得及！！！
A cyberstar, and an ex-cyberstar, are pushed by their agency to stage a special show.
To regain their popularity and stay on the trend, they have to pull this off at any cost.
How are they going to win the audience this time?
A table-top object theatre, a live-fed storytelling, the ‘bullet curtain’ made of scrolling comments, two acting-out performers, and the Heteroglossia.
It might be the most chaotic show you can see this year -- as I've warned you -- leave the show now if you want to!
PRESS
'I have to be honest -- the speed of speech, and high amounts of Chinese writing meant I didn't understand it at all, and the fact that I still found it fun, interesting and thoroughly refreshing says a lot about the show. Well-paced, just the right length, charming performers, and some great ideas, like a breath of fresh air.' -- Nancy Pellegrini, Stage Editor forTime Out Beijing and Time Out Shanghai magazines
DESCRIPTION
The Shepherdess and the Chimney Sweep and Their Elopement (Leave the show now if you want to!) has suggested its origin in its name: it is based on Hans Christan Anderson's fairy tale 'The Shepherdess and the Chimney Sweep', which has been adapted to movie Le Roi et l'oiseau. As a postmodernist adaption, this piece shares with both the fairy tale and the movie the ironies about freedom and choices.
Two 'cyberstars' are retelling this Anderson story with a range of everyday objects, which is being live-fed by video camera and projected. Apart from the real-time image, the audience is going to see the most distinguishable feature of this show: the integration of ‘Danmaku’.
‘Danmaku’ literally means ‘bullet curtain’ in Japanese. This is a jargon originating from Nico Nico Douga, a Japanese video-sharing service. Although functioning mostly like YouTube, ‘its trademark feature is the ability to add timed scrolling or subtitle-style captions to a playing video instead of offering a regular comments page like YouTube. This solves one problem (multiple pages required to see all comments on a YouTube video) while introducing a whole new one’. Danmaku can be used in live broadcast as well (imagine a Periscope with live comments, though still looking very different). When an intense amount of comments simultaneously scrolling across the screen, it visually resembles a curtain of bullets, and hence its name.
The use of Danmaku brings out a different kind of spectatorship for video-watching: the audience are more ‘intimately’ brought together with these ‘live’ comments, and who cries louder can definitely receives more attention. If there is an argument between two watchers, their fight can make a scene along with the video, or even be more watchful than the video itself. The plot from the fairy tale will be performed with objects, which will be live fed onto a screen; in the meantime, a video with Danmaku is played on its top – looking ‘live’ but actually programmed.
Therefore two layers run in parallel: the ‘play of objects’ tells the original story, and the ‘play of Danmaku’ goes against it, argues about it, and eventually disrupts it. Freedom of speech goes wild here on the screen, and will this become a riot, or be suppressed by censorship?
Multiple layers of narratives. Multimedia and their differnt perspectives. The audience is given free rein to chooes their point of view, and they will inevitably miss things in this unfocused chaos. It is the contemporary information overload.
人员:
创意/导演/构作/技术/制作：严玙婧 卓梦婷
出演：车易晴 杨雪菲
摄像：肖彤
Creative team:
Conception/direction/dramaturgy/technology/production: Mengting ZHUO & Yujing YAN
with Yiqing CHE & Xuefei YANG
Camera operator: Tong XIAO
'Theatre of Rolling Comments'
牧羊少女和扫烟囱的青年逃跑了！←_←现在退场还来得及！
The Shepherdess and the Chimney Sweep and Their Elopement (Leave the show now if you want to!)
Previous Performances:
28 Aug 2016 15:30 @ Penghao Theatre (part of 7th Nanluoguxiang Performing Arts Festival)
16 Sep 2016 @ Beijing One International Festival 4th Edition
21-22 Oct 2016 @ Shanghai Theatre Academy (part of China Shanghai International Arts Festival)
一个网红，和一个过气网红，被老板硬凑着要做一场网上直播。能否留在排行榜，就在此一举了！
剧情到底要怎样发展，才能抓住广大观众的心？
镜头里的桌上剧场，刷满屏幕的密集弹幕，主播的卖力生演，众声喧哗，目不暇接。
这也许是今年你能看到的最混乱的剧场——真的，现在退场还来得及！！！
A cyberstar, and an ex-cyberstar, are pushed by their agency to stage a special show.
To regain their popularity and stay on the trend, they have to pull this off at any cost.
How are they going to win the audience this time?
A table-top object theatre, a live-fed storytelling, the ‘bullet curtain’ made of scrolling comments, two acting-out performers, and the Heteroglossia.
It might be the most chaotic show you can see this year -- as I've warned you -- leave the show now if you want to!
PRESS
'I have to be honest -- the speed of speech, and high amounts of Chinese writing meant I didn't understand it at all, and the fact that I still found it fun, interesting and thoroughly refreshing says a lot about the show. Well-paced, just the right length, charming performers, and some great ideas, like a breath of fresh air.' -- Nancy Pellegrini, Stage Editor forTime Out Beijing and Time Out Shanghai magazines
DESCRIPTION
The Shepherdess and the Chimney Sweep and Their Elopement (Leave the show now if you want to!) has suggested its origin in its name: it is based on Hans Christan Anderson's fairy tale 'The Shepherdess and the Chimney Sweep', which has been adapted to movie Le Roi et l'oiseau. As a postmodernist adaption, this piece shares with both the fairy tale and the movie the ironies about freedom and choices.
Two 'cyberstars' are retelling this Anderson story with a range of everyday objects, which is being live-fed by video camera and projected. Apart from the real-time image, the audience is going to see the most distinguishable feature of this show: the integration of ‘Danmaku’.
‘Danmaku’ literally means ‘bullet curtain’ in Japanese. This is a jargon originating from Nico Nico Douga, a Japanese video-sharing service. Although functioning mostly like YouTube, ‘its trademark feature is the ability to add timed scrolling or subtitle-style captions to a playing video instead of offering a regular comments page like YouTube. This solves one problem (multiple pages required to see all comments on a YouTube video) while introducing a whole new one’. Danmaku can be used in live broadcast as well (imagine a Periscope with live comments, though still looking very different). When an intense amount of comments simultaneously scrolling across the screen, it visually resembles a curtain of bullets, and hence its name.
The use of Danmaku brings out a different kind of spectatorship for video-watching: the audience are more ‘intimately’ brought together with these ‘live’ comments, and who cries louder can definitely receives more attention. If there is an argument between two watchers, their fight can make a scene along with the video, or even be more watchful than the video itself. The plot from the fairy tale will be performed with objects, which will be live fed onto a screen; in the meantime, a video with Danmaku is played on its top – looking ‘live’ but actually programmed.
Therefore two layers run in parallel: the ‘play of objects’ tells the original story, and the ‘play of Danmaku’ goes against it, argues about it, and eventually disrupts it. Freedom of speech goes wild here on the screen, and will this become a riot, or be suppressed by censorship?
Multiple layers of narratives. Multimedia and their differnt perspectives. The audience is given free rein to chooes their point of view, and they will inevitably miss things in this unfocused chaos. It is the contemporary information overload.
人员:
创意/导演/构作/技术/制作：严玙婧 卓梦婷
出演：车易晴 杨雪菲
摄像：肖彤
Creative team:
Conception/direction/dramaturgy/technology/production: Mengting ZHUO & Yujing YAN
with Yiqing CHE & Xuefei YANG
Camera operator: Tong XIAO