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DTSTART;TZID=Europe/Berlin:20220413T130000
DTEND;TZID=Europe/Berlin:20220414T160000
DTSTAMP:20260404T131001
CREATED:20220330T072038Z
LAST-MODIFIED:20220414T064039Z
UID:9763-1649854800-1649952000@www.cemeas.de
SUMMARY:Contemporary Theater Art Workshop: Waiting for Testing - Rewriting Theater History
DESCRIPTION:Waiting for Testing – Rewriting Theater History\nEvent canceled!\n  \nWe are very honored to invite Director TIAN Gebing and Choreographer WANG Yanan. They will host the workshop at the University of Göttingen on April 13 and 14. Amid the commonly experienced disorientation in this game-changing crisis\, the workshop “Waiting for Testing – Rewriting Theatre History” proposes 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 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. Director Tian will also briefly introduce his new performance at the Humboldt Forum in Berlin. He will lead the workshop from the modern history of East-West exchanges since the 18th century to enter topics such as “revolution” and “colonization”\, trying to initiate discussions from a historical and macro perspective. \nTime: April 13\, 1: 00 PM-3: 00 PM (TIAN)\, April 14\, 1: 00 PM – 4: 00 PM (WANG) \nVenue: VG3.104\, the University of Göttingen \nThe first in-person event on April 13 is limited to 40 attendees\, and the second on April 14 is to 20. \nScan the QR codes on the posters to register.  \nShort bio:\nTIAN Gebing is a director\, curator\, and writer. He graduated from the Central Academy of Drama in Beijing in 1991. In 1997 he initiated the founding of Paper Tiger Studio. Over the past 20 years\, he has created a large number of artistic works and events mixing visual arts and performance. His works are seen in international cities and festivals around the world. Early works are exemplified by “Killer is Not Cold and High Art” (1998)\, “Cool” (2006)\, “Reading” (2010). From 2010 on he has shifted his focus to transcultural research and collaboration. Works in this period include “Dekalog” (2016)\, “500 Meters: Kafka\, Great Wall or Images from the Unreal World and Daily Heroism” (2017)\, “Infection\, State of Emergency\, Beethoven” (2020). Further in 2014 “Totally Happy” premiered at Münchner Kammerspiele. In 2021\, he collaborated with the ensemble of Muenchner Kammerspiele for “Hart Chamber Fragments”. \nWANG Yanan is a dancer and choreographer. She graduated from Beijing Dance Academy. Since 1999 Wang worked for ten years with Living Dance Studio and was part of productions such as Birth Report and Body Report. She toured international cities and festivals and won the ZKB Award at Zürcher Theater Spektakel. In 2004\, she founded Le Se Dance Studio and has created works such as Le Se 1\, Le Se 2\, House\, etc. She collaborated with artists with various backgrounds and toured in European countries. She has been part of Paper Tiger works since 2001\, as a performer\, concept\, and choreography. In 2014\, she was commissioned by Hong Kong Arts Festival for Iron Horse. In 2014 she collaborated with Münchner Kammerspiele and Goethe Institute (China) for Totally Happy. In 2016 she was commissioned by Stary Teatr Kraków for “Dekalog”. In 2017 she worked with Thalia Theater Hamburg to create 500 Meters: Kafka\, Great Wall or Images from the Unreal World\, and Daily Heroism. In 2021 she collaborated again with Münchner Kammerspiele for “Heart Chamber Fragments”. \n \n  \n  \n  \n  \n“当代剧场艺术” 工作坊 \n待测——重写剧场史 \n4月13日-14日，东亚系将邀请剧场导演田戈兵和舞蹈家王亚男来哥廷根大学，现场主持工作坊 —— “待测：重写剧场史”。将表演、艺术史的讨论嵌合于正在发生的现实语境下，通过身体和调研工作坊，探讨上世纪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的异质性能量。除了 “重写剧场史”，田戈兵导还将介绍最新的 “洪堡论坛” 项目，带领工作坊由18世纪以来东西方交流的近代史，进入“革命”，“殖民”等话题，尝试进行宏观历史视角的讨论。 \n时间：4月13日，下午1：00-3：00（田）；4月14日，下午1：00-4:00（王） \n地点：哥廷根大学 VG3.104 \n报名：身体工作坊接受最多20位线下参与者。调研工作坊线下人数不超过40人。欢迎大家参加！请扫描海报右下角的二维码注册报名。两场活动，请分别报名。从速！我们为参与者准备了限量版的小纪念品！ \n个人简介： \n田戈兵，剧场导演、独立制作人、策展人。王亚男，舞蹈家、编舞。田戈兵1997年创立纸老虎戏剧工作室，主持了该工作室的所有演出计划。早期代表作品包括：《北京蓝》(1997)、《杀手不太冷及高雅艺术》(1998)、《酷》(2006)、《朗诵》(2010)等。在2010年，纸老虎开始跨文化研究性剧场的创作，进行广泛的国际合作。连续两年在比利时安特卫普创作了《误读三部曲》。2012年在中国和德国同时开始大型剧场研究项目《群众：非常高兴》，2014年10月在德国慕尼黑室内剧院全球首演。2016年为波兰克拉科夫国立老剧院制作委约作品《十诫》。2017年剧场研究项目《500米：卡夫卡、长城、来自不真实世界的图像和日常生活中的英雄主义》参加 “世界戏剧节”，首演于汉堡塔利亚剧院。2021年9月获得柏林表演艺术基金会支持，制作了特定场域装置性表演项目《解除》。2021年10月《某种类似于我的地洞：心室片段》在慕尼黑室内剧院进行了世界首演。2021-22年，田戈兵与王亚男将在柏林洪堡论坛推出研究性表演项目。
URL:https://www.cemeas.de/event/contemporary-theater-art-workshop-waiting-for-testing-rewriting-theater-history/
LOCATION:VG 3.104
CATEGORIES:Theater,Workshop
ATTACH;FMTTYPE=image/png:https://www.cemeas.de/wp-content/uploads/2022/03/Tian-Gebing-poster-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20220420T140000
DTEND;TZID=Europe/Berlin:20220420T160000
DTSTAMP:20260404T131001
CREATED:20220419T095217Z
LAST-MODIFIED:20220419T100945Z
UID:9854-1650463200-1650470400@www.cemeas.de
SUMMARY:Contemporary Theater Art Seminar Series 10: Writing new plays in China and the US
DESCRIPTION:Topic: Writing new plays in China and the US (and getting them produced) 在中国与美国的原创剧本写作和开发 \nSpeaker: ZHU Yi \nTime: April 20\, Wednesday\, New York 8:00 AM\, Göttingen 2:00 PM\, Beijing 8:00 PM \nZoom Meeting: https://uni-goettingen.zoom.us/j/98307551103 \nMeeting ID: 983 0755 1103 \nLanguage: English \n  \nContent \nWriting new plays in China and US 中美的青年编剧的写作环境 \nHow does an aspiring young playwright “enter the industry”? \nDo you write and submit? Or do you get commissioned and write? \nWhen you write in your second language in a foreign country; \nHow much do you get paid as the playwright for the production of your play? \nCan you make a living off writing? \nHow do the theater critics work? \nHow important are reviews to a playwright? \nGetting your plays out in China and the US 中美的原创剧本的开发环境 \nHow do you get your new plays produced? \nHow do the directors work with the playwright? \nHow do you get your plays published? \nHow does the industry discover new plays/talents? \nFrom page to stage\, how long does it usually take? \nDo China and the US have different tastes in new plays? \nWhat kind of plays are popular in both countries? (And how to write those?) \nShort Bio \nZHU Yi is an NYC-based playwright and screenwriter\, born and raised in Shanghai. MFA in playwriting\, Columbia University.  BA in Theater and Film Literature\, Nanjing University. She is a member of Ma-Yi Writers Lab\, and the Royal Court Theatre’s International Playwrights Programme; an alumnus of New York Theatre Workshop’s Emerging Artist Fellowship\, Ensemble Studio Theatre’s Obie Award-winning playwrights group Youngblood\, and Clubbed Thumb’s Emerging Writers Group. She is a guest lecturer at Nanjing University. Her stage plays include You Never Touched the Dirt (Clubbed Thumb\, NYC; Edinburgh International Festival)\, I Am a Moon (Drum Tower West Theater\, Beijing; National Performing Arts Center of China)\, How Time Flies (National Theatre of China)\, A Deal (Urban Stages\, NYC; Chippen Theater\, Sydney)\, Holy Crab! (Wellspring Theater\, Taipei; Círculo de Tiza\, Monterrey)\, Apene i Himalaya (Hålogaland Teater\, Tromsø)\, I Know You (National Theater of Ireland)\, among others. Apolitical Romance\, a feature film she co-wrote\, received a nomination for Best Narrative Feature at the 2013 Taipei Film Festival. \n朱宜，上海出生长大，常住纽约。哥伦比亚大学戏剧编剧硕士，南京大学戏文本科。获2015全球泛华青年剧本创作竞赛一等奖。获上海戏剧谷壹戏剧大赏“2015年度菁英编剧”奖。获纽约戏剧工作坊新锐艺术家基金。获美国斯隆基金会的科学戏剧委托创作基金。纽约Ma-Yi剧院编剧团体成员。英国皇家宫廷剧院国际编剧项目成员。美国戏剧家协会会员。曾任纽约Ensemble Studio Theatre驻场编剧。南京大学文学院客座教师。 \n作品有话剧《长生》、《我是月亮》、《Holy Crab!异乡记》、《特洛马克》、《杂音》、《世外》、电影《对面的女孩杀过来》等，曾在爱丁堡国际艺术节、国家大剧院、中国国家话剧院-中国原创话剧邀请展、上海大剧院、上海话剧艺术中心、国话先锋剧场、外百老汇、圣路易斯莎士比亚戏剧节、北京青戏节、台湾戏曲中心、台湾水源剧场、挪威北极剧院、纽约亚洲电影节、台北电影节、台北金马影展、布宜诺斯艾利斯影展、福冈电影节、夏威夷电影节、意大利乌迪内远东电影节、西班牙大西洋影展、北京独立影展、台北国际纪录片影展等公演公映。剧本集《我是月亮》（译林出版社）。
URL:https://www.cemeas.de/event/lecture-writing-new-plays-in-china-and-the-us/
LOCATION:Zoom
CATEGORIES:Theater
ATTACH;FMTTYPE=image/jpeg:https://www.cemeas.de/wp-content/uploads/2022/04/zhu-yi.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20220504T160000
DTEND;TZID=Europe/Berlin:20220504T180000
DTSTAMP:20260404T131001
CREATED:20220419T100420Z
LAST-MODIFIED:20220419T100848Z
UID:9858-1651680000-1651687200@www.cemeas.de
SUMMARY:Contemporary Theater Art Seminar Series 11: Performing the Socialist State
DESCRIPTION:Performing the Socialist State \nSpeaker: Professor Xiaomei CHEN \nTime: May 4\, California 7:00 AM\, Wednesday\, Göttingen 4:00 PM\, Beijing 10:00 PM \nZoom Meeting: https://uni-goettingen.zoom.us/j/95966904122 \nMeeting ID: 959 6690 4122 \nLanguage: English \nPoster: Nathalie Morenings \n\n\n\nContent \nThe lecture offers a quick overview of Xiaomei Chen’s forthcoming book\, Performing the Socialist State: Moments\, Crisis and Success of Modern Chinese Theater (Columbia University Press\, 2022). It begins with the theatrical achievements of Tian Han\, Hong Shen\, and Ouyang Yuqian\, three founders of spoken drama\, and asks how their legacies in the Republican period played important roles in constructing socialist theater. She will demonstrate how these multi-faceted leaders provided the blueprints for the Maoist theater in the PRC\, contrary to the conventional claim that the PRC theater is a total break-away from the Republican period. To this end and in this context\, she will reflect on the continuities with the performing culture in the Republican period through examinations of “Rightist satirical comedies” in the 1950s\, women’s theater and film “red classic” in the 1960s\, scientists on stage in the Maoist and post-Maoist periods\, and soldiers in the transformation from the Republican\, to the socialist\, and finally\, to the post-socialist stage. She will also explore the relationship between science and theater\, music and theater\, and artists and their collective identities as “new cultural workers.” \nShort Bio\nXiaomei Chen is a Distinguished Professor at the University of California at Davis where she teaches modern Chinese literature\, film\, and theater. She is the author of Occidentalism (1995)\, Acting the Right Part (2002)\, and Staging Chinese Revolution (2016). She is the editor of Reading the Right Text (2003) and Columbia Anthology of Modern Chinese Drama (2010) and co-editor\, with Claire Sponsler\, of East of West: Cross-Cultural Performances and the Staging of Difference (2000)”; with Julia Andrew\, of Visual Culture in Contemporary China (2001)\, with Steven Siouan Liu\, Hong Shen and the Modern Mediasphere in Republican-Era China (2016)\, and with Tarryn Chun and Siyuan Liu\, Rethinking Socialist Theater Reform (2021). \nFurther information: https://yingmingtheater.com/seminar-series-no-11/\n\nOrganizer \n哥廷根大学东亚系 \n\n南京大学戏剧影视文学系 \n\n\nPartner \n哥廷根大学现代东亚研究中心 \n\n哥廷根大学嘤鸣戏剧社 \n\n哥廷根大学学术孔子学院 \n\n哥廷根中国学生学者联合会
URL:https://www.cemeas.de/event/lecture-performing-the-socialist-state/
LOCATION:Zoom
CATEGORIES:Theater
ATTACH;FMTTYPE=image/png:https://www.cemeas.de/wp-content/uploads/2022/04/pu3x3a.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20220525T140000
DTEND;TZID=Europe/Berlin:20220525T160000
DTSTAMP:20260404T131001
CREATED:20220602T064142Z
LAST-MODIFIED:20220602T064142Z
UID:9936-1653487200-1653494400@www.cemeas.de
SUMMARY:Contemporary Theater Art Seminar Series No. 12
DESCRIPTION:Writing a Play Script and Teaching How to Write One\nGuo Chenzi\nTime: Wednesday\, May 25\, 2: 00 PM CET\nZoom Meeting: https://uni-goettingen.zoom.us/j/62861416226\nMeeting ID: 628 6141 6226\nLanguage: Chinese \nContent \n1. Can we “learn” how to write a play? What are the pros and cons of playwriting “apprenticeships”? \n写剧本能“学”吗？ 编剧“学徒制”的利与弊。 \n2. Can we “teach” how to write a play? Is teaching playwriting equivalent to play diagnosis? \n写剧本能“教”吗？ 编剧教学=剧本诊断？ \n3. What is dramaturgy in the opinion of a playwright? How did I write “Hudec”? \n编剧眼中的 Dramaturgy 与《邬达克》的写作。 \nShort Bio \nGUO Chenzi\, M.A.\, associate professor of Shanghai Theater Academy. Her works written include the dramas performed in black box theaters “Don’t Ask Who I Am”\, “Love Slimming”\, “Resurrection”\, the musical drama “Zhong Kui”\, “A Moment Is Not Forever”\, the musical “Jews in Shanghai” (cooperation with others)\, stage plays “Hudec” and “Clear Ripples”\, etc. She has published books Kunqu Opera: The Past Life I See in This Life\, A Moment Is Not Forever – Guo Chenzi’s Drama Collection\, The Curtain Opens – Guo Chenzi’s Drama Critic Collection\, and Chenzi Watching Dramas. \n郭晨子，文学硕士，上海戏剧学院副教授。编剧并上演的作品主要有小剧场话剧《别问我是谁》《爱情瘦身》《还魂记》、音乐话剧《钟馗》《瞬间不是永远》、音乐剧《犹太人在上海》（与人合作）、舞台剧《邬达克》《清清涟漪》等。出版有《昆曲 今生看到的前世》《瞬间不是永远——郭晨子剧作集》《大幕拉开——郭晨子戏剧评论集》和《晨子看戏》 \n  \nFor further information please refer to Yingming Theater.
URL:https://www.cemeas.de/event/contemporary-theater-art-seminar-series-no-12/
LOCATION:Zoom
CATEGORIES:Theater
ATTACH;FMTTYPE=image/png:https://www.cemeas.de/wp-content/uploads/2022/06/guo-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220701
DTEND;VALUE=DATE:20220704
DTSTAMP:20260404T131001
CREATED:20220624T170451Z
LAST-MODIFIED:20220624T171501Z
UID:10007-1656633600-1656892799@www.cemeas.de
SUMMARY:Contemporary Theater Art Project: 你好，陌生人! Hello\, Stranger!
DESCRIPTION:你好，陌生人！Hello\, Stranger! (Nihao\, moshengren!)\nYing Ming Theater group\nDr. Yumin Ao\n  \nDate: July 01-03\, 2022\n \nVenue: Haus Sindlingen\, Sindlinger Bahnstraße 124\, 65931 Frankfurt am Main \n  \nThe play Hello\, Stranger! is produced by the Ying Ming theater group in Göttingen. The themes are cyberbullying\, animal rights\, freedom\, betrayal\, understanding\, etc. Students are engaged in scripting\, rehearsal\, and theater design and technology. The students will join Dr. Yumin Ao to perform the play at Haus Sindlingen\, Frankfurt\, July 1-3. \n  \nIn May\, the Ying Ming theater organized a study tour to the Berliner Theatertreffen 2022. Students went to watch theaters and attended stückmart workshops and conferences on eco-theater and sustainability. They interviewed performance artist\, composer\, and singer Aine Nakamura from Japan/Germany\, playwright Ruth Tang from Singapore/New Zealand\, and talked with directors from Asia and Europe. \n  \nOn June 4th\, the students attended the premiere of the documentary film Lao Mei Chun Xiang 老梅春香 on Chinese shadow puppetry screened at KOLK 17 Puppet Theatre & Museum in Lübeck. Ying Ming Theater group contributes to the production through research and translation. Students were interested in the diverse collection in the museum and the staff’s research work. They interviewed the director\, Dr. Antonia Napp. \n  \nCast and Crew: \nDirector: Yumin Ao \nScript: Xin Chen (drafting)\, Yumin Ao\, Jiayue Li\, Siyi Liu \nCast: Xin Chen\, Siyi Liu\, Jiayue Li\, Sishi Cao\, Ping He\, Matheus \nAssistant Director/Stage Manager: Xia Li \nCostumes/Props/Makeup: Jiayue Li \nLight Effect: Yumin Ao \nAudio/Video: Xia Li\, Sishi Cao\, Jiayue Li\, Siyi Liu\, Xin Chen\, Xiaoxi Li \nRap Music: Xin Chen \nVoiceover: Xiaoxi Li\, etc. \nPoster: Jiayue Li \n\n作品主题：  \n网络霸凌、动物权益、自由、背叛、孤独、理解 \n\n台词选段： \n【说唱《游乐园》】 \n欢乐世界 / 我们一起游戏/ 疯狂地嬉戏 \n随机选中一个闪烁靶心/ 箭一脱手/ 只能继续前进/ 飞速地前进 \n吞没/ 将我吞没/ 欢呼扑向我/ 我爱这堕落 \n远去/ 看着我远去/ 奔向沸腾人群/ 我满心憧憬 \n最后发现终点不止一个/ 你我面面相觑不知所措 \n没关系/ 一起享受这美妙的时刻 \n…… \n（场外音）：它是不是普通的狗重要吗？现在外界都在说我们中心伪造证明！再说 了，哪有人不希望自己的狗是名贵品种？哪有人会刻意要求自己的狗是普通品种？说出去谁会相信？你自己信吗？你见过谁鉴宝的时候希望自己的宝物是假的？现在你只需要向外界澄清自己判断失误，我们道个歉就完了。如果再坚持说下去，保不准我们整个鉴定中心都会被上级审核调查！再说了，这么多年谁能保证自己的鉴定没有失误呢？你也是蠢，塞红包的过程也被拍下来，你要是不想被吊销执照你赶紧给我道歉！不然就卷铺盖滚蛋！ \n宠物医生：是，是，是，我知道怎么做了。 \n…… \n鉴狗专家三：大家好，我是 James Wild。我认为，这只狗长成这样完全是自然界的错误，是基因突变的产物，因为我从没有在美国文献中发现这种狗的存在。（其他两位专家听见后耳语了一番）据——说，（稍停顿）据说，麒麟狗来自中国的古老神话，它寓意着子孙满堂，多子多福，品德高尚，才高八斗，招财进宝，财富满贯，长命百岁，寿比南山，事业顺畅，家庭和睦，吉祥如意，繁荣昌盛。谢谢！ \n…… \n艺术家（亢奋地）：“您好动物园，我是一位当代艺术家。得知跳舞小狗死去的消息，我深表遗憾，我想买下小狗的遗体做成作品…… 名字我都想好了，就叫《生者对死者的无动于衷》。草间弥生说过：‘魔鬼是艺术的敌人，但更是它的盟友，如果不是为了艺术，我应该很早就自杀了。我成为了创作的囚犯，创作成为了我的医生。’ 对，她是这么说的。这将是一件伟大的作品，一座堆满尸体的动物园，不再有痛苦….. ” \n动物园（打断）：“没问题啊，还有别的死了的都可以一起拉走。” \n\n\nPoster © Jiayue Li\n\n演职员表： \n导演：敖玉敏 \n编剧：陈鑫（执笔），敖玉敏，李佳玥，刘思忆 \n演员：陈鑫，刘思忆，李佳玥，曹思诗，何平，Matheus \n导演助理/舞台监督：李霞 \n服道化：李佳玥 \n灯光： 敖玉敏 \n音频/视频：李霞，曹思诗，李佳玥，刘思忆，陈鑫，李小溪 \n说唱词曲：陈鑫 \n场外音：李小溪等 \n海报：李佳玥 \n\nAttribution \nLet me go by Steep\, https://www.youtube.com/watch?v=WyIYoWm1Gio \nThe higher being by Wei Dou\, https://www.youtube.com/watch?v=6j6saRRm9B0 \nShameful Being Left Alone by Chu Zhang\, https://www.youtube.com/watch?v=lUYUWf1a5tQ \n音乐署名/来源 \nSteep乐队 Let me go，https://www.youtube.com/watch?v=WyIYoWm1Gio \n窦唯《高级动物》，https://www.youtube.com/watch?v=6j6saRRm9B0 \n张楚《孤独的人是可耻的》，https://www.youtube.com/watch?v=lUYUWf1a5tQ \n\nAcknowledgment  \nWe extend our appreciation to Shuhan Miao\, Zijun Li\, Junjun Zhang\, Hao Cui\, Xiaofeng Wu\, Pingping Zhu\, Qiwen Deng\, Yueming\, Huanhuan Yang\, and Yunshan Feng for their help in recording. We would like to especially thank Dr. Kai Zhang\, Ulrich\, Tong Zhang\, Katharina\, and Yu Hönicke\, for all their great support. \n致谢 \n感谢苗澍晗、李姿俊、张俊俊、崔昊、吴筱枫、朱平平、邓棋文、悦明、杨欢欢、冯韵珊为演出提供录音。也要特别感谢张凯博士、Ulrich，张桐、Katharina\, Yu Hönicke 的大力支持。 \n\nProducer 出品 \n\n\nSponsors 赞助
URL:https://www.cemeas.de/event/contemporary-theater-art-project-%e4%bd%a0%e5%a5%bd%ef%bc%8c%e9%99%8c%e7%94%9f%e4%ba%ba-hello-stranger/
LOCATION:Haus Sindlingen\, Sindlinger Bahnstraße 124\, Frankfurt am Main\, Frankfurt am Main\, Hesse\, 65931\, Germany
CATEGORIES:Theater
ATTACH;FMTTYPE=image/jpeg:https://www.cemeas.de/wp-content/uploads/2022/05/hello-stranger.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20221028T140000
DTEND;TZID=Europe/Berlin:20221028T153000
DTSTAMP:20260404T131001
CREATED:20220914T065139Z
LAST-MODIFIED:20221104T103114Z
UID:10262-1666965600-1666971000@www.cemeas.de
SUMMARY:“Contemporary Theater Arts” Seminar Series No. 13
DESCRIPTION:Cantonese Opera in a Shakespearean Garb: An East-West Adaption Framework\nYing Ming Theater group\nAssoc. Prof. Dr. Kelly Kar Yue Chan (陈家愉博士)\nDate: October 28\, 2022\, 02pm – 03:30pm (Beijing Time 8pm – 09.30pm) \nOnline:\nJoin the event via ZOOM\nOr by scanning the QR code:\n \n \n  \nDrama and performances are meticulously knitted with poetic and lyrical representations; poetry in turn conforms well to the dialogue-lyric-laden framework of plays and operas. Specifically in the case of Cantonese opera\, it is inspiring to scrutinize the intimate relationship amongst the specific poetic structure\, rhetorical features and their cultural implications manifested in performable genres during the process of translation and adaptation. \nOver the last few decades\, some attempts of adapting Shakespearean plays into Cantonese opera performances were witnessed. Well-known Shakespearean plays like Macbeth\, Hamlet and Midsummer Night’s Dream have been reformatted and restored into localized Cantonese opera titles (starting from 1996\, and in 2012 and 2015/2018 respectively)\, resulting from a breakaway of territorial and literary restrictions\, and a merging of Eastern and Western essentials to supplement the original taste of these performances. For Chinese performance goers who are also familiar with English literary masterpieces\, this creation subsequently serves as a brand-new knowledge transfer. In spite of some criticisms received for such adaptations for being “something in-between”\, it is still worthy of sensible discussions about the value of their existence. \n  \nShort Bio: \nKelly Kar Yue CHAN completed her undergraduate degree and her master’s degree both in the discipline of Translation and Interpretation at the City University of Hong Kong. She then finished her PhD in Classical Chinese Literature at the University of Edinburgh\, Scotland\, UK. She is currently an Associate Professor in language and translation at Hong Kong Metropolitan University\, teaching undergraduate and postgraduate courses on culture and translation\, and literary translation. Her research interests include literary translation\, translation of women’s poetry in pre-modern China\, and translation of Cantonese opera. \n\n陈家愉博士，获得香港城市大学翻译和口译学本科和硕士学位。毕业于英国苏格兰爱丁堡大学，获得中国古典文学博士学位。现任香港都会大学人文学院语言与翻译学副教授，教授文化与翻译、文学翻译等本科和研究生课程。她的研究兴趣包括文学翻译、前现代中国女性诗歌翻译和粤剧翻译。 \n. \n\n\n\n  \n\nProducer 出品 \n\n\nSponsors 赞助
URL:https://www.cemeas.de/event/contemporary-theater-arts-seminar-series-no-13/
LOCATION:Online
CATEGORIES:Theater
ATTACH;FMTTYPE=image/png:https://www.cemeas.de/wp-content/uploads/2022/09/20221028-No.-13.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20221129T130000
DTEND;TZID=Europe/Berlin:20221129T150000
DTSTAMP:20260404T131001
CREATED:20221130T143245Z
LAST-MODIFIED:20221130T143245Z
UID:10432-1669726800-1669734000@www.cemeas.de
SUMMARY:Lecture: Draft Theatre: The Assembly Line Theatre Production 
DESCRIPTION:Draft Theatre: The Assembly Line Theatre Production \n\nSpeaker: ZHAO Chuan\, author\, art critic\, independent theatre director\nTime: Tuesday\, Nov. 29th\, 2022\, 13: 00 PM CET\nLanguage: Chinese\nZoom link:  https://uni-goettingen.zoom.us/j/66476427828\n\n More information: https://yingmingtheater.com/chinese-culture-seminar-series/\n\n 
URL:https://www.cemeas.de/event/lecture-draft-theatre-the-assembly-line-theatre-production/
LOCATION:Zoom
CATEGORIES:Lecture,Theater
ATTACH;FMTTYPE=image/png:https://www.cemeas.de/wp-content/uploads/2022/11/Bild1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221208
DTEND;VALUE=DATE:20221210
DTSTAMP:20260404T131001
CREATED:20221104T103534Z
LAST-MODIFIED:20221112T104722Z
UID:10395-1670457600-1670630399@www.cemeas.de
SUMMARY:1. International Symposium on Contemporary Asian Theatre
DESCRIPTION:Between Asia and Europe\, Between Local Specificity and Global Recognition\n\n\n\n\nThe 1st International Symposium on Contemporary Asian Theatre\nYing Ming Theater group \n\nDate: December 8-9\, 2022\nLocation: Hannah Vogt Hall\, Wilhelmspl. 3\, 37073 Göttingen\nLivestream via Zoom Online **until Dec. 7** \n\n\n\n\n\nIntroduction \nThe first symposium on Asian theatre in Göttingen intends to invite practitioners and theorists to engage in the dialogue about contemporary Asian Theatre. Its speakers are theatre artists\, critics\, and scholars from Japan\, China\, India\, Hong Kong\, Vietnam\, and Singapore. The symposium also includes Europe-based speakers whose practices\, investigations\, or research are closely related to Asian theatre. The theme of the 1st symposium is “Between Asia and Europe\, Between Local Specificity and Global Recognition.” The objectives of the symposium are to generate actionable ideas\, including:\n\n\n\n\ninitiating new projects of diversity and inclusion for theatre artists from Asian cultural backgrounds\ncreating a plan to improve the onboarding process for Asian art migrants\nestablishing a platform of communication about\, within\, and beyond Asian artistic communities\ndeveloping a list of ideas on how Asian artists can raise funds in order to present their respective works internationally\nelaborating possibilities for new ways of celebrating the creative achievements of artists from an Asian background\n\nThe symposium will take place on Dec. 8th and 9th in a hybrid format. It consists of three keynote speeches and two conference thematic sessions open to registered audiences\, with a roundtable meant to summarize the panel discussions. The symposium will provide an online artist forum for artists to discuss the issues of interest to them in the context of global artistic communication. Scholars from the University of Göttingen and the University of Cambridge will cohost a workshop to explore the possibility of theatre in virtual space. A scholar and performance artist from the University of California in Berkeley will conduct an online workshop on voice and body in performing art. \n  \nTopics:\n\nUrban Development and Theatre in Emerging Countries\nCross-border and Cross-cultural Interaction in Theatre\nTrans-locality and the Migration of Artistic Communities\nEcological Sustainability in Theatre\nPerformative Intergenerational Dialogue\nTheatre Arts and Technological Integration\nArts Funding and Aesthetic Self-ignition\nDirecting Contemporary Theatre in Asia\nTraditions and Revivals in Asian Theatre\nTendencies in Playwriting\n\n  \nSpeakers (Short Bios):\n\nAmelie Deuflhard\, Theatre Producer\, Artistic Director of Kampnagel Theatre in Hamburg\, Awardee of the Theatrepreis Berlin 2022\nNurkan Erpulat\, Theatre Director\, Writer\,  Artistic Advisory Board Member of Gorki Theatre in Berlin\, Head of the Directing Department at the Bavarian Academy for Performing Arts in Regensburg\nAssoc. Prof. Dr. Kyoko Iwaki\, Critic\, Assoc. Prof. of Theatre and Performance Studies\, the University of Antwerp\, Co-programmer of Theatre der Welt 2023 Frankfurt\nXiaoyi Liu\, Artistic Director of Emergency Stairs in Singapore\, Artist-in-residence at Zuni Icosahedron\nAine Nakamura\, Singer\, Performer\, Composer\, Ph.D. Program in Composition\, the University of California\, Berkeley\nDan Thy Nguyen\, Theatre Director\, Actor\, Writer\, and Singer based in Hamburg\nMing Poon\, Berlin-based Dancer\, Choreographer\, and Initiator of the Asian Performing Arts Lab\nProf. Dr. Octavian Saiu\, Scholar\, Professional Theatre Critic\, Hong Kong Metropolitan University\nProf. Dr. Deepan Sivaraman\, Director\, Scenographer\, Professor at School of Culture and Creative Expressions at Ambedkar University in Delhi\, Curator of the International Theatre Festival of Kerala – 2023\nWANG Chong\, Theatre Director\, Founder of Théatre du Rêve Expérimental\nRonja von Wurmb-Seibel\, Author\, Filmmaker\, Journalist\nNick Rongjun Yu\, Playwright\, Artistic Director of the Shanghai Dramatic Arts Center\, Vice President of Shanghai Performing Arts Group\nMiao Zhao\, Theatre Director\, Founder of Theatre SanTuoQi\n\n  \nChair (Short Bio): \n\nDr. Yumin Ao\, Researcher\, Theatre Practitioner\, the University of Göttingen\n\n\nCoordinators (Short Bios):\n\nYinfu Gao\, MA student in Applied Theatre\, the University of Gießen\nAine Nakamura\, Singer\, Performer\, Composer\, Ph.D. student in Musical Composition\, the University of California\, Berkeley\nJing Wang Thomas\, Scenographer\, Stage Designer\, Ph.D. student in Arts and Technology\, the University of Cambridge\nWei Arianne Wang\, Theatre composer\, Translator\, Founder of Erised Theatre Laboratorium\, MA Student in Theatre Studies\, Sorbonne Nouvelle University in Paris\n\n\n\n\nProgram\nClick the Hyperlink for a Timetable\n\nSymposium Structure:\n\n\nKeynote Speeches: Nick Rongjun Yu; Prof. Deepan Sivaraman; Prof. Octavian Saiu  \n\n\nThematic Sessions: Global Recognition; Local Specificity  \n\n\n\n\nArtist Forum — A “Common Room” for Europe-based Asian Artists: Contemporary\, Collaboration\, Community  \n\n\nWorkshops: 1. Virtual Reality and Theatre on the Play Copenhagen 2. Finding the Communal through Transborder Art – Voice\, Bodies\, Stories  \n  \n\n\nApplication for Artist Forum: \n\nThank you for being interested in the Artists Forum. If you are an artist of Asian origin and are based in Europe\, if you want to participate in the Artists Forum and converse with other artists about common issues through a pragmatic approach\, please apply via Google Formular and submit the requested materials. Application deadline: Nov. 20th\, 2022.\n\n  \nAudience Registration:   \n\nThank you for your interest in the keynote speeches\, conference sections\, and workshops of the symposium. If you want to physically or digitally join the different parts of the symposium as an audience\, please fill in the registration form and submit it. The registration deadline is Dec. 7th\, 2022.\n\n  \nLocation:  \n\nHannah Vogt Hall. Conference and Event Center at Alte Mensa\, the University of Göttingen\, Wilhelmspl. 3\, 37073 Göttingen\nThe Conference and Event Center is located in the center of Göttingen\,  just a 14 minutes walk from the railway station. Alte Mensa\, Germany’s first canteen went into operation in 1922\, ceased operations in 2009 after 87 years\, and is now a conference and event center of the university.\nWhen you have successfully registered\, you will receive a confirmation email with information on how to join the webinar.\n\n  \nOrganizers: \n \n  \n \n  \n  \nSponsor 赞助
URL:https://www.cemeas.de/event/1-international-symposium-on-contemporary-asian-theatre-between-asia-and-europe-between-local-specificity-and-global-recognition/
LOCATION:Hannah Vogt Hall & Online\, Wilhelmsplatz 3\, Göttingen\, Lower Saxony\, 37073\, Germany
CATEGORIES:Theater
ATTACH;FMTTYPE=image/jpeg:https://www.cemeas.de/wp-content/uploads/2022/11/e1e8295a75184348b722d76e426174dc.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20230119T130000
DTEND;TZID=Europe/Berlin:20230119T143000
DTSTAMP:20260404T131001
CREATED:20230112T120920Z
LAST-MODIFIED:20230112T120920Z
UID:10476-1674133200-1674138600@www.cemeas.de
SUMMARY:"Contemporary Theater Arts” Seminar Series No. 15  Topic: The Art of Audience Participation in Applied Theatre 
DESCRIPTION:“Contemporary Theater Arts” Seminar Series No. 15\nTopic: The Art of Audience Participation in Applied Theatre \nSpeaker: Assoc. Prof. Estella Wong\nTime: Thursday\, Jan. 19\, 2023\, 13: 00 PM -14: 30 PM CET\, Hong Kong Time 20: 00-21: 30 PM\nLanguage: English\nLink:    https://uni-goettingen.zoom.us/j/69482194990\nMeeting ID: 694 8219 4990 \nAbstract:\nThe emergence of applied theatre as a refreshing alternative to the theatre mainstream has been gaining more attention and popularity in recent years both locally and internationally. Amongst all the definitive features of applied theatre works\, the specific modes of audience participation have been significant\, with very specific knowledge\, skills\, and rationale behind them. This short talk introduces the various forms of audience participation in the selected cases\, especially featuring a contemporary digital theatre work created during the pandemic times\, which was awarded “The Featured Works of 2020” by the International Association of Theatre Critics (Hong Kong)\, and its latest development. \nBio:\nEstella Wong is currently the Associate Professor and the Head of Applied Theatre in the School of Drama\, Hong Kong Academy for Performing Arts. Graduated from the academy and Birmingham City University UK\, Estella has been actively working as an applied theatre practitioner\, drama educator\, theatre director\, actress and a practice-as-research academic for 25 years. She established and designed the first local Master of Fine Arts programme Drama and Theatre Education major in 2008; and the first local Bachelor of Fine Arts programme Applied Theatre major in 2022. Estella’s publications include Applying Theatre (co-authored 2011)\, chapter contributor of Performing research: Tensions\, triumphs and trade-offs of Ethnodrama (edited by Ackroyd & O’Toole\, 2010)\, Chinese translation of Dramawise: An Introduction of GCSE of Drama by Brad Haseman & John O’Toole (2005)\, Chinese translation of Gavin Bolton: Essential Writings by David Davis (2013)\, editor of Risks and Opportunities: the Tension in Hong Kong (2007). The Estella Wong Applied Theatre and Drama Education Scholarships was founded in 2010 for supporting drama students who have shown outstanding commitment in the Applied theatre and drama education field\, more than 20 graduate and undergraduate students have been awarded thus far.
URL:https://www.cemeas.de/event/contemporary-theater-arts-seminar-series-no-15-topic-the-art-of-audience-participation-in-applied-theatre/
LOCATION:Zoom
CATEGORIES:Theater
ATTACH;FMTTYPE=image/png:https://www.cemeas.de/wp-content/uploads/2023/01/The-Art-of-Audience-Participation-in-Applied-Theatre.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20230127T150000
DTEND;TZID=Europe/Berlin:20230127T170000
DTSTAMP:20260404T131001
CREATED:20230112T113939Z
LAST-MODIFIED:20230112T113939Z
UID:10470-1674831600-1674838800@www.cemeas.de
SUMMARY:Script Reading: Mr. Big
DESCRIPTION:Mr. Big\nAuthor: Li Jing\nLanguage: Chinese\nDate: January 27\, 2023\nVenue: LSG University of Göttingen\nRegistration: yingming.theater@gmail.com\nWebpage: https://yingmingtheater.com \n\n  \n“Mr. Big\,” a play based on the leading figure of modern Chinese literature\, is the first attempt to visualize Lu Xun’s image on the stage. The play starts with Lu Xun’s death and then shows the flashback scenes of the protagonist’s encounters with the people he was most concerned about during his lifetime. The play highlights how they fell into conversations and were engaged in arguments. Li Jing uses stream-of-consciousness writing to capture Lu Xun’s most painful knots in his heart.
URL:https://www.cemeas.de/event/script-reading-mr-big/
LOCATION:LSG
CATEGORIES:Theater
ATTACH;FMTTYPE=image/png:https://www.cemeas.de/wp-content/uploads/2023/01/Lu-Xun.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20230315T130000
DTEND;TZID=Europe/Berlin:20230315T140000
DTSTAMP:20260404T131001
CREATED:20230308T142333Z
LAST-MODIFIED:20230308T143453Z
UID:10556-1678885200-1678888800@www.cemeas.de
SUMMARY:Theater Identity
DESCRIPTION:ZHANG Xian \nMarch 15\, 2023\, Wednesday\, CET 13:00 PM\, Beijing Time 20:00 PM \nZoom: https://uni-goettingen.zoom.us/j/64857394408 \nMeeting ID: 648 5739 4408 \nHosts: Prof. Dr. Ziwen Gao (Nanjing University)\, Dr. Yumin Ao (The University of Göttingen) \nZhang Xian is a playwright\, theater director\, social choreographer\, and art activist. As one of the earliest independent dramatists in China in the post-Mao era\, he has long been based on the idea of civil society\, initiating and hosting several folk art groups\, pan-theater spaces\, and art festivals. He devotes himself to socio-theatrical actions in the hope of transforming lives. In 2005\, he participated in the creation of the independent artists’ consensus group—Zuhe Niao (Teaser Association)\, where he presented his creative works of anarchist dramatic performances\, ranging from dance theater\, physical theater\, and installation performance to forum theater and conceptual theater\, which continue to influence the resistance culture of the younger generation. He has published books\, including The Theatre of the Occult\, Myth in Action\, and How to Create Yourself. \n张献，剧作家、剧场导演、社会编舞家、艺术行动者。作为后毛泽东时代中国最早的独立戏剧家，他长期立足民间社会，发起组织、主持多个民间艺术团体、泛剧场空间及艺术节，致力于改造生活的社会戏剧行动。2005年参与创建独立艺术家共识组织”组合嬲”，逐一推出从舞蹈剧场、身体剧场、装置表演，到言论行动剧场、概念剧场等创造性安那其社会表演代表作品，与其主要著作《隐修剧场》、《神话行动》和《怎样创造自己》一道，持续地影响着年青一代的抵抗文化。
URL:https://www.cemeas.de/event/theater-identity/
LOCATION:Zoom
CATEGORIES:Theater
ATTACH;FMTTYPE=image/png:https://www.cemeas.de/wp-content/uploads/2023/03/-Hello-Stranger-e1678286077147.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20230517T140000
DTEND;TZID=Europe/Berlin:20230517T160000
DTSTAMP:20260404T131001
CREATED:20230510T191949Z
LAST-MODIFIED:20230510T193254Z
UID:10719-1684332000-1684339200@www.cemeas.de
SUMMARY:“Contemporary Theatre Arts” Seminar No. 18: Theatre as Wild Grass
DESCRIPTION:  \n\nSpeaker: Kai Tuchmann \nTime: May 17\, 2023\, Wednesday\, CET 14:00 PM\, Beijing time 20:00 PM \nLanguage: English \nZoom: https://uni-goettingen.zoom.us/j/64821966382 \nMeeting ID: 648 2196 6382 \n  \n“The past life has died. I exult over its death because from this I know that it once existed. From the clay of life abandoned on the ground grow no lofty trees\, only wild grass. Wild grass strikes no empty roots\, has no beautiful flowers and leaves\, yet it imbibes dew\, water\, and the blood and flesh of the dead\, although all try to rob it of life.” –Lu Xun Wild Grass \n  \nThe Department of East Asian Studies at the University of Göttingen is delighted to extend an invitation to Mr. Kai Tuchmann\, a distinguished dramaturge\, director\, author\, and fellow of the Mellon School of Theatre at Harvard University. Mr. Tuchmann will be delivering a talk on May 17th. This event is jointly organized with the Department of Theater\, Film\, and TV Arts at Nanjing University. \nThis talk circles around Kai Tuchmann’s most recent publication “Postdramatic Dramaturgies-Resonances between Asia and Europe”. This volume introduces the reader to the aesthetics of leading practitioners of post-dramatic theatre from China and the German-speaking world: Zhao Chuan\, Wen Hui\, Boris Nikitin\, and Hans-Werner Kroesinger. The dramaturgies of these theatre makers utilize the assembly of theatre in a way that is not primarily concerned with aesthetic matters\, but instead\, they focus on connections to the neglected and forgotten. In his talk\, Kai will situate this dramaturgical approach by evoking Lu Xun’s metaphor of Wild Grass. \n  \n  \nKai Tuchmann graduated in directing from Hochschule für Schauspielkunst Ernst Busch in Berlin. He works as a dramaturge\, director\, and academic. As a visiting professor at the Central Academy of Drama in Beijing\, he helped develop the curriculum for the BA Dramaturgy program there. In his internationally shown documentary theatre works\, Kai has explored the afterlife of the Cultural Revolution in contemporary China\, the impact of urbanization on migrant workers in Europe and Asia\, and the role of the body in the face of digital technologies. His stagings and dramaturgies were invited\, among others\, to Seoul Marginal Theatre Festival\, Zürcher Theaterspektakel\, Festival d’Automne à Paris\, and documenta-institute. \nKai’s open-access publication is downloadable here: \nhttps://www.transcript-verlag.de/978-3-8376-5997-9/postdramatic-dramaturgies/?c=311000028
URL:https://www.cemeas.de/event/contemporary-theatre-arts-seminar-no-18-theatre-as-wild-grass/
LOCATION:Zoom
CATEGORIES:Theater
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DTSTART;TZID=Europe/Berlin:20231116T130000
DTEND;TZID=Europe/Berlin:20231116T150000
DTSTAMP:20260404T131001
CREATED:20231115T175751Z
LAST-MODIFIED:20231115T175852Z
UID:11270-1700139600-1700146800@www.cemeas.de
SUMMARY:“Contemporary Theater Art” Seminar Series No. 20: The Force of Mortality and Urban Villages Futurism of Butterfly Island 蝴蝶岛死亡力与城中村未来主义
DESCRIPTION:Speaker: Sun Xiaoxing\nVenue: Zoom 686 4710 3798\nTime: Nov. 16th\, 2023. 13: 00 CET / 20: 00 Beijing Time\nLanguage: Chinese with English translation \nAbstract:\nThe dramaturgy Sun Xiaoxing will base his analysis of the tragic nature and multiple futures presented in “Butterfly Island” on his article “The Force of Mortality and Urban Villages Futurism of The Butterfly Island”. He will dissect the metaphor of the ephemerality of the butterfly’s brief life and youth\, as well as the coexisting splendor and despair of the young lives on the island\, and their circumstance of being both detached from and connected to the world. Moreover\, by analyzing the significance implied in the “relocation” from the premiere in Hong Kong to the performance in urban villages in Shenzhen\, he will explore the shift from a Sinofuturism tinged with Techno-Orientalism or Techno-Nationalism to a pluralistic Urban Villages Futurism. \n戏剧构作者孙晓星将以他的文章《蝴蝶岛死亡力与城中村未来主义》为基础，解析《蝴蝶岛》所呈现的悲剧性和对未来的多重想象，蝴蝶短暂的一生与青春易逝的隐喻，以及岛上年轻生命绚烂与绝望并存的状态，和这种与世界既脱节又联系的处境。此外，通过分析由香港首演至深圳城中村“迁移”所蕴含的意义，探讨从一个带有技术东方主义或技术民族主义色彩的中华未来主义，向复数未来的城中村未来主义的转变。 \nShort Bio:\nSun Xiaoxing\, with a Bachelor’s and Master’s degree from the Central Academy of Drama and a Ph.D. candidate at Shanghai Theatre Academy\, is currently an Associate Professor in the Department of Drama\, Film and Television at Tianjin Conservatory of Music. As a playwright\, director\, and artist\, he has developed a series of works under the concept of “Cyber Theatre”\, and was invited to Festival/Tokyo\, Kyoto Experiment\, OzAsia Festival in Adelaide\, New Art Fest in Lisbon\, CPH Stage\, Low Fat Art Fes in Bangkok\, Hong Kong Arts Festival\, Shanghai Biennale\, Wuzhen Theatre Festival\, Beijing Fringe Festival\, Aranya Theatre Festival etc. As a dramaturgy\, he has collaborated with New Youth Group\, Ergao Dance Production Group etc. As a curator\, he curated Sphinx Metaverse Theatre Festival “4399. Paradise: To the Dying Web 2.0 Era”\, and Contemporary Theatre Biennale 2018 Performance Unit “Sceno Place” Public Space Performance Series “Glitch and Error” etc. \n孙晓星，中央戏剧学院学士、硕士，上海戏剧学院博士研究生，现为天津音乐学院戏剧影视系副教授。作为编剧、导演和艺术家，他以“赛博剧场”的概念开发了一系列作品，曾受邀参加东京国际剧场艺术节、京都国际舞台艺术祭、阿德莱德澳亚艺术节、里斯本新艺术节、曼谷低脂艺术节、香港艺术节、上海双年展、乌镇戏剧节、北京国际青年戏剧节、阿那亚戏剧节等；作为戏剧构作，他曾与新青年剧团、二高表演等合作；作为策展人，他曾策划斯芬克斯元宇宙戏剧节“4399.乐园——致即将逝去的Web2.0时代”、2018当代戏剧双年展/深圳福田展演单元“情场”公共空间表演系列《乱码过失》等。 \nOrganizers:\nYing Ming Theater\nAkademisches Konfuzius-Institut Göttingen\nOstasiatisches Seminar\nCeMEAS\nVerein chinesischer Studenten und Wissenschaftler in Göttingen
URL:https://www.cemeas.de/event/contemporary-theater-art-seminar-series-no-20-the-force-of-mortality-and-urban-villages-futurism-of-butterfly-island-%e8%9d%b4%e8%9d%b6%e5%b2%9b%e6%ad%bb%e4%ba%a1%e5%8a%9b%e4%b8%8e/
LOCATION:Zoom
CATEGORIES:Lecture,Theater
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