潮剧国际研讨会

International Teochew Opera Conference 2009

 

Organized by The Chinese Opera Institute,

Supported by the National Museum of Singapore

and partially sponsored by the National Arts Council

14th & 15 th March 2009

 

 

A.         Theme of the Conference

 

The International Teochew Opera Conference 2009 will examine the current situation of Teochew opera in different parts of the world. The global perspective will help all who are interested in the 500-year old theatre tradition to understand the artistic achievement and cultural strength of Teochew opera. The 15 distinguished scholars, leading directors, actors, promoters and educators will share their views on recent developments of Teochew opera in different cultural environments and that the various new approaches in playwriting, directing, stage practices, and cross-media/cross-cultural experimentations. The conference will help to identify areas of concern and strategies that can help to revitalize the art form. Speakers will analyse creative processes, individual artistes, professional or non-profit groups or cultural agencies undergoing change, their impact on performance practice and aesthetics, and other aspects. In addition, there will be also reports of current and ongoing research or documentation projects on Teochew opera.

 

 

B.        Topics to be addressed at the Conference

 

a.         Transmitting Teochew as Cultural Heritage:

Cultural heritage is transmitted in diverse ways both locally and globally: by professional theatre groups and non-profit community groups. Teochew operas are performed as a religious ritual, community event or theatrical presentation. How are they interpreted as a way of reconstructing the past, a cultural manifestation for tourists, or aesthetic activities?

 

b.         Teaching and Diffusion of knowledge of Teochew opera:

How widely are music and performance of Teochew opera shared across the large areas of the world in which the Teochews live? How is Teochew opera taught? Is it taught by professional training institutes? Or through in-house training provided by the professional groups? Are there full-time students or are students trained part-time? How do actors or musicians learn the knowledge of Teochew opera performance? Have the styles of performing changed over the years? How is Teochew opera seen as an economic commodity, such as in the form of DVD and CD? How effective is new media in helping to promote Teochew opera?

 

c.         The Repertoire of Teochew opera

How many traditional operas are performed nowadays? How many new scripts are being written and staged in non traditional Teochew opera style? What are the relationships between composition of new music, choreography, costume design, lighting design, structure of scripts and directing? What influences the ways new Teochew opera is produced?

 

     

C.        List of Speakers and topics

1.         Wang An Kui(China Arts Research Institute, Beijing)

            Dissemination and Protection of Tradition: Innovation as Strategy.

 

2.         Zheng Zhi Wei (Guangdong Teochew Opera Academy)

            Sustainable Development of Teochew Opera: Ideas and Issues.

 

3.         Chen Xue Xi (Guangdong China Federation of Literature, Arts and Culture)

            Innovation of Teochew opera: Perspective of Chinese Opera Aesthetics

 

4.         Chen Han Xin(Guangdong Arts Academy)

            Studies of Teochew Opera: A General Theoretical Approach.  

 

5.         Dr. Hai Zhen(China Chinese Opera Institute)

            Review of ‘Teochew Opera Annuals”: Issues in Documentation.

 

6.         Li Rong(Chinese Culture Development Company)

            Nature of Society and Protection and Development of Teochew Opera

 

7.         He Ji Xiong(Yun Xiao Teochew Opera Troupe)

            Teochew Opera Market and Asethecis Value of the Art Form

 

8.         Tan Ooh Chye(Nanyang Academy of Fine Arts)

            Changes in Teochew Opera Music, Melody and Presentational Style in the Last     Decade.

 

9.         Tan Keng Lai(Singapore)

            The Past and Present of Teochew Opera in Singapore

 

10.       Li Yun(Chinese Opera Institute, Singapore)

            Directing Teochew Opera for Amateur Groups: Constraints and Potentials

 

11.       Cai Bi Xia (Chinese Opera Institute, Singapore)

            Teochew Opera at the Community Clubs

 

12.       Tan Kok Lye(Singapore)

            Singapore Teochew Opera on World Stage

 

13.       Lin Jia(Chinese Opera Institute, Singapore)

            Nurturing New General Teochew Opera Performers in Johor

 

14.       Sukit Sae Eng(Thailand)

            Teochew Opera in Thailand: Today and Tomorrow

 

15.       Ng Li Eng(Er Woo Amateur Dramatic and Musical Association)

            A Hundred Years of Teochew Opera: Heritage of Er Woo

 

16.       Dr. Chua Soo Pong(Chinese Opera Institute, Singapore)

            Teochew Opera: Singapore Intangible Cultural Heritage

 

D.        Registration Fee: $80 (includes light refreshments) before

           8th March: $50

  

 

G.        Mailing Address

 

The Chinese Opera Institute

Telok Ayer Performing Arts Centre

182 Cecil Street

#02-10,

Singapore 069547

Email: coisinga@singnet.com.sg

 

 

 

潮剧保护、發展與传播国际学术研討会

 

 

新加坡戏曲学院、 国家博物馆將于2008 3  14(2点半至5点〕及15日(9点至5点)在新加坡国家博物馆画廊剧场举行 “潮剧保护、發展與传播国际学术研討会这是新加坡戏曲学院  国家博物馆继2006年联办的华族戏曲的变革与创新国际学术研討会2007年联办的传统戏曲,现代风华国际学术研討会之后,另一次学术的盛会。

 

会议议题有:

. 讨论潮剧在当地现状、探索潮剧艺术振兴之路。

. 发表田野调查、研究历史文献等学术报告。

. 探讨培训人材等有关潮剧艺术教育的问题。

. 评估和近年潮剧编剧、导演、表演、唱腔、音乐、舞美、服装等方面的实验与演进。

. 考察潮剧传播的方式、交流与合作情况。

 

有近五百年历史的潮剧,具有浓郁的地方特色。潮剧作爲潮汕文化的载体 ,是中外潮汕华人的精神紐帶。随着潮人移民到海外,从泰国、柬埔寨、越南、新加坡、马来西亚、印尼到美国、澳洲、法国,潮剧在许多地区,传播至今,开枝散叶,更见青翠。希望通过潮剧保护、發展與传播国际学术研討会大家能对世界上不同地区的潮剧发展现状,加以比较。或发表田野调查、历史研究的。从演出历史与传播、文本内涵、美学多个层面召开讨论,从事实描述到义理阐发、从表象观察到深层透视,宏观把握发展走向。对当今正在改变中的潮剧风貌,从编剧、导演、唱腔、音乐、舞美、服装的方面,加以评述。对今后如何保护经典剧目的传承与编写新戏,做精辟剖析。

 

参加国际潮剧研讨会学者包括:

 

1.         王安葵(中国艺术研究所)

            题目:《在创新、传播中保护传承》

 

2.         郑志伟(中国广东潮剧院)           

题目:论潮剧事业可持续发展

 

3.         陈学希(中国广东省文联副主席)

            题目:从中国戏曲审美论潮剧的改革创新   

 

4.         陈韩星(中国广东文艺职业学院)

            题目:加强潮剧理论建设,促进潮剧传承发展     

 

5.         海震博士(中国戏曲学院)

题目:剧种年鉴编辑的意义——以《潮剧年鉴》为例的探讨         

 

6.         李荣 中国广州华族文化发展有限公司、潮州市爱心福利会)

            题目:社会质素与潮剧的保护和发展

 

7.         何继雄(中国福建云霄潮剧团)

            题目:规范潮剧演出市场,体现潮剧艺术价值

 

8.         陈有才(新加坡)

题目:《由近期潮剧作品中看潮剧唱腔、音乐、表演的变化。》

 

9.         陈庆来(新加坡)

            题目:《新加坡潮剧的过去与未来发展》

 

10.       李云(新加坡)

题目:《在新加坡导演潮剧的体会:局限与潜力》

 

11.       蔡碧霞(新加坡)

题目:《潮剧在新加坡基层开花结果》

 

12.       陈国来(新加坡)

题目:《世界舞台上的潮剧:参加国际戏剧节经验综述》

 

13.       林嘉(新加坡)

题目:《新山潮剧:培养接班人的工程》

 

14.       翁宗周(新加坡)

题目:《泰国潮剧:文化传承的理想与现实》

 

15.       林丽英(新加坡)

题目:《余娱儒乐社:百年老字号的潮剧之旅》

 

16.       蔡曙鹏博士(新加坡)

题目:《新加坡潮剧:非物质文化遗产的保护与开放》

 

Programme:

 

14th March

 

 

2.00 pm

Registration

 

2.30 pm

Opening Ceremony Suggested GOH

 

3.00 pm

Tea Break

 

3.30 pm

郑志伟(中国广东潮剧院)           

陈韩星(中国广东文艺职业学院)

何继雄(中国福建云霄潮剧团)

论潮剧事业可持续发展

加强潮剧理论建设,促进潮剧传承发展     

规范潮剧演出市场,体现潮剧  艺术价值

5.05pm-6.00pm

Teochew Opera Showcase

tbc

 

 

 

15th March

 

 

9.00 am

Registration

 

9.30 am

林丽英(新加坡)

林嘉(新加坡)

翁宗周(泰国)

余娱儒乐社:百年老字号的潮剧之旅

新山潮剧:培养接班人的工程

泰国潮剧:文化传承的理想与现实

10.30 am

Tea Break

 

11.00 am

王安葵(中国艺术研究所)

陈学希(中国广东省文联副主席)

陈有才(新加坡)

 

在创新、传播中保护传承

从中国戏曲审美论潮剧的改革创新   

由近期潮剧作品中看潮剧唱腔、音乐、表演的变化

 

12.30 pm

Lunch

 

1.30  pm

陈庆来(新加坡)

李云(新加坡)

蔡碧霞(新加坡)

新加坡潮剧的过去与未来发展

在新加坡导演潮剧的体会:局限与潜力

潮剧在新加坡基层开花结果

3.00 pm

Tea Break

 

3.30 pm

海震博士(中国戏曲学院)

李荣 (中国广州华族文化发展有限公司、潮州市爱心福利会)

蔡曙鹏博士(新加坡)

剧种年鉴编辑的意义——以《潮剧年鉴》

社会质素与潮剧的保护和发展

 

《新加坡潮剧:非物质文化遗产的保护与开放》

5.00 pm

Closing Remark

 

5.15 pm

End of Conference

 

5.15 pm

Presentation of Souvenir to Speakers

 

 

*Subject to changes

 

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