Dandan Liang/梁丹丹

Musically, no opera of the classical period has had such an impact on later generations as ⟪ The Magic Flute ⟫. This work by Mozart is still the most popular opera in the world today. Children use dolls, masks, silhouettes and other props to go through a fairy tale version of the adventure journey, through text study, chorus and drama performance training, in the game and music, performance of the double training experience opera.

从音乐上讲，没有任何一部古典时期的歌剧像⟪魔笛⟫一样对后世产生如此巨大的影响。莫扎特的这部作品仍然是当今世界范围内最受欢迎的歌剧。孩子们运用玩偶、面具、剪影等道具，穿越一段童话版的冒险旅程，通过文本研读，合唱及戏剧表演训练，在游戏和音乐、表演的双重训练中体验歌剧。

Love’s End was Stanislas Nordey who wanted Rambert to write a play for him to perform, and Rembert, at the time, was trying to write a play about “separation”, which is about the violent differences between men and women of his age. The play was written especially for Nordey because not only did he have his own way of delivering his lines with clarity and precision (in French), but he also had a unique talent for conveying his words through his entire body by breathing. Love’s End was also made by Rambert especially for Audrey Bonnet. For the first half hour, the character she plays says nothing onstage, just watching Nordey’s explain, through the movements of his hands, lips, and chest, why he’s leaving her. After that, Audrey took a deep breath and was ready to respond. She was a warrior and did not need to move a sword or a gun to catch the blunt, dirty, caustic elements of her opponent’s words straight away, and then to test whether they were true or false, whether the love that was there had fallen apart, like she would observe the freshness of a dead fish.

《爱的落幕》最初是演员Stanislas Nordey希望由Rambert写一部由他表演的剧本，Rembert当时正好正想写一部有关“离别”的剧本，讲的正好是他这个年龄段的男女之间的激烈分歧。这个剧本之所以特别为Nordey所作，是由于他不仅在台词上有自己的表达方式，句句吐字清晰准确（法语），而且他还有着独特的天赋，那就是通过呼吸带动整个肢体来传达语言的能力。《爱的落幕》也是Rambert特别为Audrey Bonnet所作的。在前半个小时，她所扮演的角色在台上一言不发，只是看着斯拉斯·诺德艾通过双手、嘴唇和胸腔的动作解释他要离开她的原因。之后，奥黛丽深吸一口气，准备回应了。她是位战士，无需动刀动枪，就能直接捕捉对方言语中直白肮脏、尖酸刻薄的成分，然后像观察死鱼的新鲜程度那样，检验那言语是真是假、检验爱情那是否已彻底落幕。

Etiquette is a half-hour experience for two people in a public space. There is no-one watching, other people in the cafe are not aware of it. You wear headphone which tell you what to say to each other, or to use one of the objects positioned to the side. There is a kind of magic involved – for it to work you just need to listen and respond accordingly. Some say it’s good to do this with someone you know, someone to share this with. Others say it works well with a stranger.

《相请不如偶遇》是两个人在公共场所里半小时的体验。没有人看你，咖啡馆里的不会意识到你们在做什么。你戴上耳机，耳机会告诉你应该对对方说什么，或者使用桌上的道具。这体验中有一种魔力—而您只需倾听并做出相应的反应即可。有人说，与您认识的人一起做这件事会很好，因为可以与他们分享。也有人说和陌生人一起做效果也不错。

In 2008, Mr. Wang Xiang and I co-founded Penghao Theatre, a theater located in the old downtown area of Beijing, which is a converted courtyard house from the Republican era, containing a small black box theater, rehearsal hall, library, café, and terrace, with a 200 year old acacia tree on the grounds, which gives it a unique sense of life. Since its founding, the theater has invited artists and institutions from around the world to collaborate on performances, and from 2010 to 2016, it has gained a reputation in China for producing, planning and organizing international theatre festivals and professional theatre education activities, and in 2013, it won the Golden Lion Award for the best operation of a small theatre from the China Drama Research Association.

2008年我和王翔先生共同创办了蓬蒿剧场，它是一间坐落于北京市中心老城区的剧场，由民国时期的四合院改造，包含一间黑匣子小剧场、排练厅、图书馆、咖啡厅和露台，院内因为拥有一棵200年古槐树而使她独具生活气息。从创办伊始，就广纳世界各地的艺术家和机构合作演出，在2010至2016年期间，因制作、策划组织国际戏剧节及戏剧专业化教育活动而在中国享有盛誉。2013年，荣获中国话剧研究会“金狮奖”最佳小剧场运营奖。