第二届乌镇戏剧节剧目之世界先锋特选——《万历十五年》

关于《万历十五年》

作为一个年份

明朝万历十五年，公元一五八七年。距离满清入关只有五十七年，距离鸦片战争则尚有两个半世纪；而西方社会脱离了中世纪的黑暗时代，刚踏进文艺复兴时期不久，并逐渐迈向工业革命。对于一般史学家来说，这年无事可记；但黄仁宇先生却认为，这年所发生的一些小事，以大历史(macro-history) 的眼光来看，足以揭示中国往后数百年至今的命运。

作为一本书

作者黄仁宇，多年的从军生涯使其深切体会中国现代革命的各种影响。退休后深研明朝财政制度，从而启发《万历十五年》一书的概念。本书于一九八一年出版，获美国国家书卷奖(American Book Awards) 历史类好书两度提名；更成为耶鲁大学中国历史课程必备教科书。在华语世界销售达二十万册以上，其影响力早已超出学术界，成为政商高层必备的中国历史参考书籍。

作为一出舞台剧

进念·二十面体获得授权改编，导演胡恩威与编剧家张建伟联手把《万历十五年》打造成最贴近原著的舞台剧剧本，以六个角色的六段戏构成，结合最能代表明朝的艺术体系“昆曲”以及多媒体，以简约美学重新演绎。昆曲经典剧目《牡丹亭》正完成于万历年间，提倡恋爱自由的解放思想，关键选段穿插剧中，与六个角色的各种遭遇互相引证。

About 1587, A Year of No Significance

As a Historical Event

AD 1587 was the fifteenth year of the reign of Ming Emperor Shen Zong. It was 57 years before the Manchus entered China and set up the Qing Dynasty; the Opium War was still two and a half centuries away. The Western world had just emerged from the Dark Ages, and was entering into the Renaissance. The Industrial Revolution was creeping ever closer. For ordinary historians, this year held nothing of significance. However, Ray Huang took the view that certain innocuous incidents – seen from the perspective of macro-history – were harbingers, as it were, of China’s destiny during the several hundred years that followed.

As a Book

Ray Huang’s many years of military experience gave him deep insight into the impact of modern revolution in China. After he retired from military service he devoted his time studying the financial and political systems of the Ming Dynasty, which ultimately inspired the book 1587, A Year of No Significance. The book was published in 1981, and has twice been nominated under the history category for the American Book Award. It has even become compulsory reading for a Chinese history course at Yale University. With over 200,000 volumes of the Chinese edition sold, its impact has gone beyond academic circles and is now an indispensable history reference book for political and business leaders.

As a Play

Zuni Isocahedron was authorized to create a stage adaptation of the book, with director Mathias Woo and playwright Zhang Jianwei creating a stage drama that is as close to the original book as possible. The play consists of 6 segments covering 6 characters, and is a multimedia reinterpretation using Kun Opera, an art form that is representative of the Ming Dynasty period. Worthy of note is the fact that Peony Pavilion, a classic Kun opera advocating the freedom to love, was completed during the reign of Emperor Shen Zong. Key segments of the Kun Opera are inserted into the play, as reinforcements of the experience of each of the six characters.

编剧：胡恩威、张建伟

导演、设计、故事：胡恩威

原著：黄仁宇

演员：杨永德、黄大徽、蒋可、钟家诚、陈浩峰

特邀昆剧演出：石小梅、赵坚、孔爱萍、单晓明

形象设计：张叔平

音乐总监：于逸尧@人山人海

创作统筹：陈浩峰

灯光设计：邝雅丽

音响设计：钟芳婷

多媒体动画设计：赵广超[设计及文化研究(香港)工作室]、黎达达荣

化妆、发型：Lam Alex Workshop

录像：方晓丹

舞台监督：周俊彦

巡演经理：周宝仪

制作经理：李浩贤

执行舞台监督：郑慧莹

执行舞台设计、排练统筹：刘思

字幕控制：陈安琪

服装助理、化妆(昆剧)：唐颖

服装助理：陈伟儿

特别感谢：Jefferson Huang（著作授权）、上海话剧艺术中心演员

Creative Team:

Script: Mathias Woo, Zhang Jianwei

Director, Designer, Story: Mathias Woo

Original Author: Ray Huang

Actors: Yang Yongde, Huang Dahui,Jiang Ke,Zhong Jiacheng, Chen Haofeng

Special Kun Opera Guest Performers: Shi Xiaomei, Zhao Jian, Kong Aiping, Shan Xiaoming

Image Design: Zhang Shuping

Music Director: Yu Yiyao@People Mountain, People Sea

Creative Coordinator: Chen Haofeng

Lighting Design: Kuang Yali

Sound Design and Control: Zhong Fangting

Multimedia Animation Design: Chiu Kwong Chiu (Design and Cultural Studies Workshop, Lat Tat Tat Wing)

Hair and Makeup: Lam Alex Workshop

Video: Fang Xiaodan

Stage Manager: Zhou Junyan

Tour Manager: Zhou Baoyi

Production Manager: Li Haoxian

Executive Stage Supervisor: Zheng Huiying

Executive Stage Design, Rehearsal Coordinator: Liu Si

Subtitle Control: Chen Anqi

Rehearsal Coordinator: Xu Peiyun

Wardrobe Assistant, Makeup (Kun Opera): Tang Yin

Wardrobe Assistant: Chen Weier

Special thanks to Jefferson Huang and the actors of the Shanghai Dramatic Arts Centre.

关于进念·二十面体

进念·二十面体于一九八二年成立，由香港特别行政区政府资助，是香港最具代表性的国际实验剧团。从事多元戏剧艺术创作，致力拓展香港文化艺术新领域，发展数位媒体及跨媒体等新类型艺术模式，积极推动国际文化交流，主推艺术评论及文化政策研究等工作。进念·二十面体的实验性不断启发华人社会的艺术和舞台美学发展。

About Zuni Icosahedron

Zuni Icosahedron was founded in 1982. Funded by the government of the Hong Kong Special Administrative Region, it is one of Hong Kong’s most prominent international experimental theatrical groups. The Group is focused on the promotion of new art forms in Hong Kong’s cultural and art scene through diversified drama works, development of digital media and cross-media art models. It also actively promotes international cultural exchanges through activities such as art review and research on cultural policies. The experimental work of Zuni Icosahedron has continued to inspire the development of art and stage aesthetics in Chinese society.

编剧、导演、设计、故事胡恩威

进念联合艺术总监暨行政总裁。从事编剧、导演、监制和策划等多方面的工作，是跨界剧场及多媒体剧场先锋，作品以强烈视觉影像建构剧场美学，作品曾应邀于北京、南京、上海、苏州、东京、新加坡、台北、柏林、布鲁塞尔、克拉科夫等世界各地演出，主题涵盖文学、历史、时政、建筑、宗教，包括《华严经》、《万历十五年》、《半生缘》、《东宫西宫》系列，昆剧《临川四梦汤显祖》及《紫禁城游记》，多媒体建筑音乐剧场系列《路易简的时代和生活》及《Looking for Mies》等，先后与多位华人剧场达人赖声川、林奕华、孟京辉等合作，负责多媒体舞台设计。2009年，胡氏策划了香港首个以建筑为题的“建筑是艺术节”，透过剧场演出、展览、讲座及研讨会等艺术形式，向市民大众展示不同层面的知识、美学和思辩的方法和讨论，探索建筑及剧场的各种艺术可能。2012年凭《Looking for Mies》获香港设计中心颁发“亚洲最具影响力优秀设计奖”。2013年获《南方都市报》颁授“深港生活大奖年度艺文人物奖”。

Playwright, Director, Designer, Story: Mathias Woo

Matthias Woo is the Co-Artistic Director and Executive Director of Zuni Icosahedron, where he functions as playwright, director, producer and planner. He is among the first to handle cross-media dramatic works and multimedia plays, and his works usually contain powerful visual images. His works have been performed in Beijing, Nanjing, Shanghai, Suzhou, Tokyo, Singapore, Taipei, Berlin, Brussels and Krakow. They cover literature, history, current affairs, architecture and religion and include Hua-yen Sutra, 1587, A Year of No Significance, Eighteen Springs, the East Wing West Wing series, Tang Xianzu’s Dream on Dreams and A Tale of the Forbidden City, as well as multimedia theater series combining architecture, music and theater, such as The Life and Times of Louis I. Kahn and Looking for Mies. With regard to multimedia stage design, he has collaborated with numerous masters of Chinese theater such as Stan Lai, Edward Lam and Meng Jinghui. In 2009 Woo planned and executed the inaugural “Architecture is Art Festival” in Hong Kong. This festival explored the artistic possibilities of architecture and theater. Different levels of knowledge, aesthetics and debate were presented to the public and discussed in formats such as theatrical performances, exhibitions, seminars and forums. In 2012 Woo was awarded the “Asia’s Most Influential Designer Award” by the Hong Kong Design Center for his work on Looking for Mies. In 2013 the Southern Metropolitan Daily presented Woo with the “Shenzhen and Hong Kong Life Award for Artistic Personality of the Year.”

编剧张建伟

长篇历史电视剧《走向共和》编剧。曾任中国青年报高级记者，业余时间研究历史，曾出版多部具影响力的新闻作品集及报告文学集，其中包括一部五册的《张建伟历史报告：晚清篇》。曾获“范长江新闻奖”及“鲁迅文学奖”，并为中国作家协会会员与及中国报告文学学会理事。

Playwright: Zhang Jianwei

Zhang wrote the screenplay for the epic television serial For the Sake of the Republic of China. He previously worked as a senior reporter for China Youth Daily. He studies history in his spare time and has published numerous influential news reporting collections and documentary literature volumes, including the five-volume History Report by Zhang Jianwei: Late Qing Dynasty. He has received the “Fan Changjiang News Award” and the “Lu Xun Literature Award.” He is also a member of the Chinese Writers’ Association and a Council Member of the China Documentary Literature Society.