Shakespearean Play ─ Titus Andronicus 2.0 (in Cantonese│English synopsis provided)

莎士比亞舞台劇 《泰特斯2.0》

故事簡介

莎士比亞最血腥作品。2009年首演時被譽為香港當代劇場最重要事件之一，其後更於歐亞六個城市巡演。鄧樹榮起用嶄新大膽的劇場手法，以形體劇場的說書形式，加入現場音樂及形體語彙，展現羅馬大將泰特斯以眼還眼的復仇經典。

《泰特斯2.0》的焦點回歸劇場核心。演員將直面觀眾，省去所有不必要的舞台元素，留下空的舞台、七張椅子以及七名穿梭於說書人與角色之間的表演者。密集式的整體協作訓練配合即興實驗演化出不同的說書形式，承載著表演者由內而發的巨大能量。

此劇將對劇場的各種可能進行一次最冒險的探索，帶領觀眾探索人類心靈的黑洞，進入充滿原始力量及無限想像的空間，踏上一段自我反省、覺醒及淨化心靈之旅，為莎翁逝世四百周年揭開精彩絕倫的序幕。

本節目部分情節可能令人情緒不安，適合十二歲或以上觀眾欣賞。

鄧樹榮戲劇工作室

「鄧樹榮戲劇工作室」為註冊慈善團體，獲香港特別行政區政府「藝能發展資助計劃」的躍進資助，2012年4月起成為香港藝術中心駐場藝團。

「工作室」定位為一所戲劇硏究及創作中心，使觀眾透過觀賞具創意的劇場作品而追求有質素的生活。形體劇場是工作室的藝術方向，因為劇場是一門透過自我發現去感受生命的藝術，而身體就是自我發現的起點，所以，形體劇場其實是一個訓練及創作方法。

「工作室」約有一半的作品為當代作品，一半為經典作品，每個作品都建基於一個核心的藝術命題，然後探索其舞台呈現的美學形式。我們致力為香港劇場藝術帶出新的可能性，同時亦積極促進國際文化交流，希望產生更激烈的創作火花。

「鄧樹榮戲劇工作室」前身是創立於1996年的「無人地帶」。「無人地帶」創作的作品超過20項，當中較具代表性的包括《生與死三部曲》 ── 《三級女子殺人事件》 （1997）、《解剖二千年》（1999）及《我的殺人故事》（1999）、《真面目》（1998）、《我們互不相識的一小時》（2000）、《生死界》（2002）、《死亡實驗室》（2002）、《代理阿媽教》（2003）、《日落前後的兩三種做愛方式》（2003）、《人、椅、龜：一齣關於文化的冥想》（2004）以及《泰特斯》（2008）。「無人地帶」的作品曾應邀參加紐約韓信國際木偶戲劇節、三藩市鬼節、香港藝術節、澳門藝穗節及新加坡華藝節，並曾獲香港舞台劇獎多個獎項。

「無人地帶」於2009年易名為「鄧樹榮戲劇工作室」。「工作室」的作品包括《泰特斯2.0》（2009）、康樂及文化事務署東亞運動會劇場系列《形．體．澎湃》（策劃）（2009）及《後代》（2010，與新加坡戲劇盒聯合製作），近期的作品為《打轉教室》、《舞．雷雨》、《熱血軀體》公開課堂及《你為甚麼不是Steve Jobs？》。

長壽劇目《打轉教室》，由2011年首演起，已演出127場，踏足歐亞九個城市,《泰特斯》曾獲邀於2015年5月參加倫敦世界莎劇節，在莎士比亞環球劇場演出，2013年獲邀於德國柏林及諾伊斯演出。《泰特斯2.0》在2011至2012年度先後巡演新加坡、挪威、波蘭、北京及台北。《舞．雷雨》於2012年10月香港新視野藝術節首演後，旋即獲邀在2013年2月新加坡華藝節演出、2014年10月於台北關渡藝術節演出，同時為「香港週2014」代表節目之一。

2015年5月​，工作室分別在倫敦莎士比亞環球劇場以粵語首演《馬克白》。於八月北京國家大劇院「舞蹈十二天」重演《舞．雷雨》，九月港重演《泰特斯2.0》。由2014年秋季開始，「工作室」獲「藝能發展基金」及「利希慎基金」資助，開展一個為期三年的「形體戲劇訓練課程」，主要內容包括一年制青少年班，專業實驗室及國際大師班。

Titus Andronicus 2.0

The goriest work of Shakespeare; hailed as one of the most significant events of Hong Kong contemporary theatre for its First Run in 2009; taken on tour to six cities in Europe and Asia - Director Tang Shu-wing takes an audacious and ground-breaking approach in presenting the revenge classic of the Roman General Titus by story-telling in physical theatre with live music and body language.

Titus Andronicus 2.0 focuses on the core of theatre where minimalism takes over: the removables are removed on an empty stage floor lit measurably on seven chairs and actors, commuting between the capacities of the characters and narrators. The resulting energy, after combining intensively collaborative training and multiple narrations from improvised experimentation, is radiantly gigantic.

This play represents the most adventurous trip ever to explore every possibility in theatre, inevitably guiding audiences to the black holes in our hearts. An entry to the vicinity filled with primal forces and immense imagination is invited, preluding the 400th anniversary of Shakespeare's death this year with a bold journey of self-reflection, awakening and internal cleansing.

This programme contains contents which some audience members may find disturbing. Suitable for ages 12 or above.

Tang Shu-wing Theatre Studio

Tang Shu-wing Theatre Studio, a registered charity, was formerly known as No Man’s Land which was founded in 1996. The more renowned works of No Man’s Land include Three Women in Pearl River Delta (1997), Millennium Autopsy (1999), My Murder Story (1999), The Hour We Knew Nothing of Each Other (2000), Between Life and Death (2002), Deathwatch (2002) and The Two or Three Ways of Making Love around Sunset (2003). Works of No Man’s Land have been presented in the Henson International Puppet Theatre Festival of New York, San Francisco Ghost Festival, Hong Kong Arts Festival and Macau Fringe Festival and have received a number of awards in the Hong Kong Drama Awards.

In 2009, No Man’s Land was renamed Tang Shu-wing Theatre Studio, with the mission to bring quality theatre works to wider audience. Being a centre for theatrical research and creation, the Studio is dedicated to promote a better quality of life to the public through their experience in participation of performing arts. Having physical theatre and minimalist aesthetics as its artistic direction, the Studio has a vision to bring new paths to the Hong Kong theatre. It aims at creating long-running productions, showcasing the unique culture of Hong Kong and at the same time exploring potentials to operate independently in the market. We also hope to facilitate cultural exchange, so that the theatre of Hong Kong will be given a proper place on the world stage. The Studio is open to cooperate with any organisations or individuals who share the same vision as ours.

Tang Shu-Wing Theatre Studio is financially supported by the Springboard Grant under the Arts Capacity Development Funding Scheme of the Government of the Hong Kong Special Administrative Region and has also established a long-term collaboration with the Hong Kong Arts Centre as its Residential Theatre Company.

The works of the Studio include Titus Andronicus, Titus Andronicus 2.0, Next Generations (co-production with Drama Box, Singapore), Detention and Thunderstorm. Titus Andronicus was invited to participate in the Globe to Globe Festival at the Shakespeare’s Globe in the London Cultural Olympiad 2012 and became the first Cantonese production ever performed in this theatre, followed by an international tourof Titus Andronicus 2.0 in Fredrikstad (Norway), Wroclaw and Bytom (Poland), Beijing and Taipei whilst Detention, before embarking a 5-cities tour in China,was highly acclaimed by the U.K. media in the Edinburgh Festival Fringe 2012. Thunderstorm, premiered in the New Vision Arts Festival of Hong Kong in October 2012, was performed in Huayi Festival of Arts in Singapore in February 2013 with enthusiastic reception. In 2014, it participated in Kuandu Arts Festival as one of the representatives to Hong Kong Week 2014.

In August 2015, Studio has been invited to premiere Macbeth in Globe and re-run Detention in Edinburgh Fringe Festival respectively. In September 2015, the studio will re-run Titus Andronicus 2.0 in Hong Kong.