我們想要如何回憶今天？

我們想要如何回憶今天？

——多米尼克·布施上海戲劇工作坊

暨《單讀 42》新書分享會

“幾年、幾十年以后，現(xiàn)在對我們來說是什么，當(dāng)我們走到生命盡頭，現(xiàn)在對我們來說又是什么，當(dāng)我們逐漸老去，當(dāng)我們變成老人再回望此時(shí)此刻，這伴隨著我們，并將一直伴隨著我們的時(shí)刻：我們想如何看待自己？我們想看到什么？我想，也許是這么個(gè)問題，也許只有這么一個(gè)問題：我們想要如何回憶今天？”

對于劇本《合唱團(tuán)》中的角色來說，他們要面對的“今天”是：合唱團(tuán)正在參加合唱周，排練間隙，指揮宣布了這個(gè)消息，一位團(tuán)員的女兒被人槍殺了。所有人都震驚了。但是眼下還有問題要處理，往后日子還要過下去，我們該怎么辦？不同的聲音出現(xiàn)在劇本里，怎么面對突如其來的創(chuàng)傷，每個(gè)人都拿不定主意，每個(gè)人心里都不好過。直到有一個(gè)角色說出這句：“也許是這么個(gè)問題，也許只有這么一個(gè)問題：我們想要如何回憶今天？”

對于劇作家多米尼克·布施（Dominik Busch）來說，他要面對的“今天”，是 2001 年瑞士盧塞恩合唱團(tuán)在音樂節(jié)演出期間遭遇了槍擊案，他是親歷者。“我們想要如何回憶今天？”二十年后，布施給出了自己的答案，他回訪了曾經(jīng)的合唱團(tuán)成員，寫下劇本《合唱團(tuán)》。

我們每個(gè)人都可能遭遇一個(gè)糟糕的“今天”，社會的、集體的，或者個(gè)人的。事情的發(fā)生總是難以預(yù)料、難以掌控，所以唯一的問題，也是唯一能做的，就成了“我們想要如何回憶今天”，也便是我們想要創(chuàng)作怎樣的作品。

3 月 21 日，在德國駐上海總領(lǐng)事館文化教育處舉辦的工作坊中，他將與戲劇創(chuàng)作者諶桔、黃佳代一起，同參與者探討、實(shí)踐“我們想要如何回憶今天”。他們將從自己的創(chuàng)作談起，分享劇作如何成為一種記憶載體，如何回應(yīng)今天的種種變化，如何成為聯(lián)結(jié)人心的力量。

本場活動隸屬于“這一次，再一次，相信戲劇”系列活動，得到瑞士文化基金會上海辦公室、北京德國文化中心·歌德學(xué)院（中國）的支持，由德國駐上海總領(lǐng)事館文化教育處提供場地支持。

時(shí)間：

3 月 21 日（周六）

14:00—16:00

地點(diǎn)：

德國駐上海總領(lǐng)事館文化教育處

（路線指南）

嘉賓：

多米尼克·布施 × 諶桔 × 黃佳代

語言：

英語

報(bào)名方式:

工作坊為英文線下交流項(xiàng)目，請通過郵件報(bào)名。

郵箱：chenziyun@owspace.com

郵件內(nèi)容：個(gè)人簡歷

郵件標(biāo)題格式：姓名/昵稱+工作坊報(bào)名

報(bào)名截止時(shí)間：3 月 19 日 18:00

Workshop in Shanghai

Theme: How Do We Want to Remember Today?

For the characters in the script

The Choir (

Der Chor

, the “today” they face is this: the choir is participating in Choir Week. During a rehearsal break, the conductor announces the news that a member's daughter has been shot dead. All are stunned. Yet immediate concerns demand attention, and life must go on. What now? Diverse voices emerge within the script, each grappling with how to confront this sudden trauma. No one is certain how to proceed; each feels profoundly unsettled. Until one character articulates this: "perhaps that is the question, perhaps that is the question for us now: how do we want to remember today?"

For playwright Dominik Busch, the “today” he confronted was the 2001 shooting incident during the Lucerne Festival, which he witnessed firsthand as a member of the Swiss choir. "How do we want to remember today?" Two decades later, Busch offered his answer by revisiting former choir members and penning the play

The Choir (

Der Chor

Each of us may encounter a terrible “today”—be it societal, collective, or personal. Events are invariably unpredictable and beyond our control. Thus, the sole question—and the only action possible—becomes: “How do we want to remember today?” This question, in essence, is about what kind of work we seek to create.

This March, Dominik Busch will meet with Chinese theatre enthusiasts in Shanghai and Nanjing. On 21 March, during a workshop hosted by the Department of Culture and Education of the Consulate General of the Federal Republic of Germany in Shanghai, he will join theatre creators Chen Ju and Huang Jiadai to explore and practise “how we want to remember today” with participants. They will draw from their own creative experiences, sharing how plays become vessels of memory, how they respond to today's transformations, and how they serve as forces that connect hearts.

This event is part of the project "This Time, Once Again, Believe in Theatre", supported by Swiss Arts Council Pro Helvetia Shanghai, Goethe-Institut Beijing, with venue support provided by the Deparment of Culture and Education of the Consulate General of the Federal Republic of Germany in Shanghai.

Time:

March 21th (Sat.) 14:00-16:00

Location:

T

h

e Department of Culture and Education of the Consulate General of the Federal Republic of Germany in Shanghai

(ROUTE DIRECTIONS

Guests:

Dominik Busch, Chen Ju, and Ophelia Jiadai Huang

Language：

English

How to register:

Please email your resume to

chenziyun@owspace.com

by

March 19th at 18:00

. Ensure your name is in the subject line and the resume is attached.

劇本《合唱團(tuán)》完整收錄于

《單讀 42·當(dāng)代劇作選 II——世界早就瘋了》

本書所收錄的四部劇作均選自柏林戲劇節(jié)“劇本市場”及其在中國衍生的“重 JU 計(jì)劃”

The Choir (Der

Chor

is included in

The 42th issue of One-way Street Journal

Contemporary Plays II–The World Has Gone Mad

The four plays included in this book were all selected from Theatertreffen Stückemarkt and Reju-plan in China.

??

嘉賓介紹

Bio of Guests

多米尼克·布施（Dominik Busch）

1979 年出生于薩爾嫩，在盧塞恩長大。從阿爾彭凱中學(xué)畢業(yè)后，他在蘇黎世大學(xué)和柏林洪堡大學(xué)學(xué)習(xí)哲學(xué)和德語。布施的劇本曾在盧塞恩劇院、柏林德意志劇院、蘇黎世劇院、溫克爾維斯劇院、巴塞爾劇院、伯爾尼施拉赫特豪斯劇院、帕德博恩劇院、奧伯豪森劇院、比勒費(fèi)爾德劇院、魏瑪?shù)乱庵緡覄≡骸⒛箍泼芬傻轮行暮头ㄌm西喜劇院等劇院上演。

Dominik Busch was born in Sarnen in 1979 and grew up in Lucerne. After graduating from the Alpenquai Cantonal School, he studied philosophy and German language and literature at the University of Zurich and Humboldt University in Berlin. In 2012, he participated as an author in the Dramenprozessor programme at the Theater Winkelwiese. During the 2015/16 season, Dominik Busch was resident writer at the Lucerne Theatre, and in 2016/17 at the Theatre Basel, where he wrote his play

Das Recht des St?rkeren

The Right of the Stronger

). Busch's plays have been performed at the Lucerne Theatre, the Deutsches Theater in Berlin, the Schauspielhaus Zurich, the Theater Winkelwiese, the Theater Basel, the Schlachthaus Theater Bern, the Südpol Lucerne, the Westf?lische Kammerspiele Paderborn, the Theater Oberhausen, the Theater Bielefeld, the Deutsches Nationaltheater Weimar, the Meyerhold Center in Moscow and the Comédie-Fran?aise, among others.

諶桔（Chen Ju）

創(chuàng)作戲劇與表演藝術(shù)文本、影視劇及小說，畢業(yè)于上海戲劇學(xué)院，英國利茲大學(xué)。舞臺劇作品有：《木棉花》、《海鷗》、《哪吒回了陳塘關(guān)》、戲劇構(gòu)作《0910〈我現(xiàn)在所在的地方〉上海版》，電影劇本《囚徒游戲》獲 2024 北京國際電影節(jié)項(xiàng)目創(chuàng)投單元“最具開發(fā)潛力獎”；電影劇本《一墻之隔》獲上海文化發(fā)展基金會 2021 年度青年編劇資助，2022 北京國際電影節(jié)項(xiàng)目創(chuàng)投單元“最具商業(yè)潛力獎”；話劇《哪吒回了陳塘關(guān)》獲第 39 屆田漢戲劇獎劇本獎三等獎。

Ju Chen is a Chinese playwright of theatre as well as screen fiction. She graduated from the Shanghai Theatre Academy and the University of Leeds.

Her stage works include

Kapok Flower

The Seagull

A Fake Hero

, and the dramaturgical work

0910 The Place Where I Am Now (Shanghai)

Her screenplay

Prisoner’s Game

won the “Most Promising Project Award” in the Film Market of the Beijing International Film Festival in 2024. Screenplay

The Wall

won the 2021 Young Screenwriter Grant from the Shanghai Culture Development Foundation and the “Most Commercial Potential Award” in the Film Market of the Beijing International Film Festival in 2022.

Her play script

A Fake Hero

won the Third Prize for Script at the 39th Tian Han Drama Awards.

黃佳代（Ophelia Jiadai Huang）

表演藝術(shù)策劃人、劇場創(chuàng)作者。自 2015 年起擔(dān)任 ACT 上海當(dāng)代戲劇節(jié)節(jié)目總監(jiān)，并負(fù)責(zé)上海話劇藝術(shù)中心的國際交流與合作項(xiàng)目。在此之前曾在英國文化教育協(xié)會等機(jī)構(gòu)任職，并與北京 UCCA、廣州時(shí)代美術(shù)館、英國皇家宮廷劇院、京都國際舞臺藝術(shù)祭等合作策劃表演藝術(shù)項(xiàng)目。此外她也以編導(dǎo)或劇場構(gòu)作的身份等開展獨(dú)立創(chuàng)作，曾作為導(dǎo)演兩度參與柏林戲劇節(jié)“劇本市場”及在華后續(xù)計(jì)劃的劇本呈現(xiàn)。作品曾在國內(nèi)外多個(gè)劇場、美術(shù)館及亞太表演藝術(shù)三年展（AsiaTOPA）、悉尼藝術(shù)節(jié)、OzAsia藝術(shù)節(jié)等演出。

Ophelia Jiadai Huang is a performing arts curator and creator. She has been Program Director of ACT Shanghai Contemporary Theatre Festival since 2015 and leading international strategy and projects in Shanghai Dramatic Arts Centre. She previously curated arts projects in collaboration with arts organisations such as UCCA, Times Museum, Royal Court Theatre and Kyoto Experiment and worked in British Council. Beyond her institutional role, Ophelia also has an independent practice as an artist and dramaturg, participating twice as director in Theatertreffen Stückemarkt and Reju-plan in China. Her works and projects have been presented in theatres and museums, as well as international festivals such as AsiaTOPA, Sydney Festival, OzAsia and San Sabastian Film Festival.

更多新書巡回活動

主辦方

“單讀”誕生于 2009 年，是單向空間旗下集出版、聲音、影像、活動等全媒體原創(chuàng)內(nèi)容為一體的文化品牌。“單讀”堅(jiān)持全球化視野，挖掘國內(nèi)外新一代創(chuàng)作者和思想者，發(fā)表小說、詩歌、劇本、非虛構(gòu)和社科作品，尊重清醒、獨(dú)特、富有活力的聲音。

《單讀》MOOK 書影

支持方

瑞士文化基金會致力于在國內(nèi)外推廣瑞士當(dāng)代文化藝術(shù)。基金會于 1939 年由瑞士政府成立，其上海辦公室于 2010 年成立，旨在支持中瑞兩國藝術(shù)家與機(jī)構(gòu)間的合作與交流，通過開展項(xiàng)目促進(jìn)兩國在文化領(lǐng)域內(nèi)知識與經(jīng)驗(yàn)的分享。目前，瑞士文化基金會上海辦公室開展的項(xiàng)目主要集中在瑞士當(dāng)代藝術(shù)，其中包括視覺藝術(shù)、表演藝術(shù)、設(shè)計(jì)、音樂、文學(xué)等眾多領(lǐng)域。

About Pro Helvetia, the Swiss Arts Council

Pro Helvetia supports artists and cultural practitioners from Switzerland and is committed to international cultural exchange. Pro Helvetia Shanghai is founded in 2010 and represents the Swiss Arts Council in China. Its aim is to encourage dialogue between Swiss and Chinese cultural practitioners and institutions by supporting projects that enhance the exchange of knowledge and experience in the cultural field.

關(guān)注和參與瑞士文化基金會在中國的活動，歡迎查看：

Instagram - @prohelvetia

Facebook - @prohelvetia.shanghai

Wechat: pro_helvetia

Weibo: 瑞士文化基金會

歌德學(xué)院是德意志聯(lián)邦共和國在世界范圍內(nèi)從事文化交流活動的文化機(jī)構(gòu)。1988 年，歌德學(xué)院北京分院作為第一家外國文化中心在中國成立。自建院以來，我們一方面致力于德語在中國的傳播與運(yùn)用，另一方面積極廣泛地從事德中兩國在文化領(lǐng)域內(nèi)的交流與合作。我們根植于開放的德國社會和德國文化土壤，借助于我們所擁有的跨國文化方面的專業(yè)力量，多年來與中方合作伙伴在音樂、戲劇、舞蹈、電影、藝術(shù)、建筑等眾多領(lǐng)域內(nèi)組織了大量的文化活動。

Goethe-Institut China

The Goethe-Institut is the cultural institution of the Federal Republic of Germany, operating worldwide. When the Goethe-Institut Beijing was established on 1 November 1988, it was the first foreign cultural centre in the PRC. From the beginning, it devoted itself to the promotion of the use of the German language, to provide access to knowledge and information about Germany, and to cooperate with Chinese partners in various cultural fields such as music, dance, theater, film, visual arts and architecture.

德國駐上海總領(lǐng)事館文化教育處是歌德學(xué)院的關(guān)聯(lián)機(jī)構(gòu)，旨在讓全世界的人與人相聯(lián)，搭建文化交流的橋梁。作為聯(lián)邦德國的文化機(jī)構(gòu)，積極促進(jìn)文化交流、教育發(fā)展，在國際化的背景下促進(jìn)社會探討，并大力支持德語語言的教與學(xué)。與合作伙伴一起，德領(lǐng)館文教處共同觀察著全球發(fā)展的機(jī)遇和挑戰(zhàn)，致力于在不同的角度之間開啟充滿信任的溝通。文教處將傾聽與反思視為彼此相互理解的關(guān)鍵，開放包容、多元文化與可持續(xù)發(fā)展成為其堅(jiān)守的價(jià)值觀，并深刻指導(dǎo)各項(xiàng)工作及實(shí)踐方式。

The Department of Culture and Education of the Consulate General of the Federal Republic of Germany in Shanghai is an associated presence of the Goethe-Institut.

We connect people worldwide. As the cultural institute of the Federal Republic of Germany, we promote cultural exchange, education and social discourse in an international context and support the teaching and learning of the German language. Together with our partners, we focus on global opportunities and challenges and bring different perspectives into a dialogue based on mutual trust. We see listening and reflection as the key to understanding. We are committed to the principles of openness, diversity and sustainability. These principles shape our offers and working practices.