文 | 采访 | 韩馨逸

戴陈连毕业于中国美术学院油画系，但通过对于欧洲、日本九十年代剧场表演艺术的发展进程研究，他开始逐渐转入剧场艺术的创作之中，并在2005年前往德国进行驻地与交流。2008年起艺术家在上海创办了妈妈拉剧场艺术节，三年组合式的创作方法让艺术家开始反思。2013年戴陈连开始了 “一江春水向东流” 家庭剧场的创作，艺术家先后以艺术家杨勋、杨健、闫冰、贺勋以及艺术家母亲为创作原型，并在与其相关的环境之中进行剧场表演，艺术家将创作建立于扎实的对于他人个体经验的理解之上，试图在流动的家庭环境之中完成丰富的个体样本采集与分析。

最初萌生做家庭剧场是在2011年，选择创作的对象也都是我熟悉的人，通常的我的做法都是花一周到十几天的时间，跟他喝酒、吃饭、聊天，在这个过程中我尽最大的能力去观察他们所有的生理动作。每个人的身体其实都有他身体日常的特质，我会先找到这些容易被忽略的、甚至是他自己都不知道的动作，作为表演的素材，有时候这些动作可能很难看，甚至是错误的或者说不应该被表现出来。

但是这种方法在闫冰工作室的家庭剧场创作之时出现了问题，因为他的肢体语言非常少，因为他平时总是很端正地坐着，看上去有些羞涩，只是抽烟的时候会不大一样，也就是从那个时候开始我决定改变这种工作方式。2013我开始在自己的工作室做我个人的家庭剧场，有的时候都没有观众的，我就把门关起来，自己表演。直到去年我的外婆去世才让我真的清楚地意识到一定要做自己想做的，因为我不知道自己的身体哪一天就会突然崩溃。

“在正确的表演之中，观众看到的都是幕后已经排练好的内容，或者观众看不到后台的指令，而我有意把指令编排到表演的动作之中。 ”

实际上家庭剧场需要庞大的个案数量，这种工作方式其实就像做纪录片，它需要采集很多素材；就像一个人类学教授做研究一样，他需要采集大量亚洲的、欧洲的或者非洲的个案，只有这样才能为这些人群做出分类，概括他们的活动以及思维状况是什么样的。其实家庭剧场之中的参与者包括我的创作对象都是身边的朋友：艺术家、大叔大妈、黑车师傅、物流小哥等等。我就想做个体，那些非常细微的信息对我是很有触动的。我很喜欢这种工作方式，我想了解家庭剧场之中每一个人的个人信息，当然前提是他愿意告诉我。因为这样的创作对象才是具体的，有血有肉的。就像“一江春水向东流”说的，时代将我们裹挟其中，那我们该以怎样的方式前行呢？我选择面对个体，用自己的经验参与到时代的进程之中。

在我的剧场之中有指令，但指令其实代表了“错误”。因为在戏剧正常的观演关系都是仪式化的固定的，你看我演，演完就结束了，观众也就散场了。但在我的剧场之中我想把所有思想的过程全部呈现，我的指令是在告诉观众我要进行的动作，而所谓“错误”就是这样形成的，因为在正确的表演之中，观众看到的都是幕后已经排练好的内容，或者观众看不到后台的指令，而我有意把指令编排到表演的动作之中。关于这一问题的思考是源自于我自己的身体经验的。我生下来就是唇腭裂，这从生理构造上来说本来就是个错误。所以我就对这些不正确的行为很关注，你知道吧，我一直在怀疑人们对“正确”本身的定义。也就是说其实我的创作一直把“错误”当作方法论。

我保留所有能搜集到的文字素材，将它们转录为声音，而每次家庭剧场之中的影像是我根据创作对象而定做的。这次的家庭剧场我用了贺勋工作室之中的那些生活用品：画架、植物以及帽子，它们都是现成品，是他最为熟悉的实物。可是这次没有开放表演现场，观众只能通过工作室外墙的实时投影看到表演的局部，因为我就是想加强无法真切地全部感受的视角。这就是这次剧场不同所在，但也是因为创作对象贺勋是诗人的缘故，其实在表演之中，我也一直试图强调这一点。例如我在影像的表演之中是按照单个音节在做动作的，其实就像词一样。影像之中我在掰花枝，掰一下又放回去，这一动作其实相当于诗歌里面的平平仄仄的韵脚。表演之中有一幕是有很多镜子的，还有纸片做的白方块，这其实就像诗歌之中词义的替换。所以这次的剧场对于不熟悉贺勋的众来说是有门槛的，是比较难进入的。在接下来的创作中，我打算与黑车师傅合作下一次家庭剧场。

Spring River Flowing East

Han xinyi

The idea of doing home theatre originated in 2011, and the people I chose to work with were the people that I knew. Usually I spent around one or two weeks drinking, eating, and talking with him, during which I try to observe all their physical movements. Everyone has his own body habits and features, and I'd first find these movements that are easily overlooked, even by himself, and treat those traits as performance material. The movements can sometimes be ugly, or even wrong or shouldn't be shown.

But this approach appeared problematic when working with the home theatre of Yan Bing, as he shows very limited body language and he’s always sitting up straight and looking a bit shy. He only shows a little different when smoking. From then on, I decided to change my way of working. In 2013 I started my own home theatre in my studio, and sometimes when there’s no audience, I shut the door and perform for myself. It wasn't until my grandmother died last year that I realized, I had to do what I wanted to do because I couldn't predict which day my body would suddenly collapse.

In fact, home theatre requires a large number of cases, and this way of working is actually like making a documentary, where you need to collect a lot of material. It’s like an anthropology professor doing research. He needs to collect a large number of cases from Asia, Europe or Africa, and only then will he be able to classify into categories, and make reasonable summaries on their ways of action and thinking. In fact, the participants in the home theatre, including the objects of my work, were all my friends: artists, aunts and uncles, illegal taxi drivers, the delivery guys, etc. I just want to work on individuals. The very subtle messages from these individuals touch me a lot. I like the way I work. I want to get to know everyone’s personal information in the home theatre, of course, if they give me the permission to get to know them. Because that's the only way to create something concrete, something with real bones and blood. As Spring Water Flows East puts it, the times swallows us into its tides. Then how can we move forward? I choose to face the individual and participate in the process of the times with my own experiences.

In my theatre there are instructions, but the instructions actually represent "mistakes". Because in drama the normal relationship between actors and audience is ritualized and fixed. You watch, and I perform, and when the performance is over, and the audience disperses. But in my theatre I want to present all the processes of thought. My instructions are telling the audience the actions I’m making, and this is how "mistakes" are made. Because in a“correct” performance, the audience sees what has been rehearsed behind the scenes, or the audience just can't see the instructions in the background. But I intentionally program them into the action of the performance. My views on this issue is rooted in my own physical experience. I was born with a cleft lip and palate, which is inherently a mistake in terms of physical construction. So I'm very concerned about these incorrect behaviors, you know, and I've always been suspicious of people's definition of "correct". That is to say, I've been using " mistakes " as my working methodology.

I keep all the textual material I can gather, transcribe it into sound, and the images in each home theatre are based on the objects I work on. For this home theatre I used the household items from Hexun's studio: easels, plants, and hats, which were all readily-available, and all items that he’s most familiar with. However, this time there is no full-open performance, and the audience could only see a partial performance through a live projection on the exterior wall of the studio, because I just wanted to It reinforces the point of view that you can't really feel everything. That's why the theatre is different this time, but also because the object of the work, Hexun, is a poet. Actually, I’m trying to emphasize this point throughout my performance. For example, in my performance in the video, my actions follow single syllables, actually like words. In the video, I am breaking the branches of flowers, breaking them and putting them back, which is equivalent to the level and oblique rhymes in poetry. In one scene of the performance, there are a lot of mirrors and white cubics made of pieces of paper, which is like the substitution of words in poetry. Therefore, there’s a threshold in this theatre for those who are unfamiliar with HeXun. In the next production, I plan to collaborate with the illegal taxi driver for the next family theatre.

Introduction to the family theatre project

The family theater project is the artistic creation project of artist Chenlian Dai. It is a "Customized" theater that takes individuals as the research object and uses their life experience, personality and physical characteristics as the materials.The family theater project to combine the oral history, image, shadow puppetry performance, painting, writing, sound and other linguistic means to form a complex interactive body. Combining the ordinary stories of each family object，expand the imagination and narrative of current China.With this project, the artist hopes to outline the cost that ordinary people have to bear in an era of social transformation, and to explore the emotions and events that have been concealed.