項目背景介紹  Background

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“群眾的眼睛是雪亮的”——這句毛澤東提出的著名口號，說出了群眾無處不在的滲透力。同時作為壹種終極的喚起與威脅，它引發強而有力的聯想，觸及中國與歐洲各自的創傷經歷，程度同等而角度不同。

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„Masses have bright eyes“ – is one oft the famous slogans by Mao Zedong, that articulates the pervasive power oft the mass. Mass is an ultimate evocation and threat at the same time. The concept triggers powerful associations. It touches on traumatic experiences in China and Europe in equal measure, from different perspectives. 

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在中國，群眾的概念對於個人似是壹個鬼魂的存在，它總是在妳的身後看著並觀察著妳，而這不僅始於文化大革命。但在文化大革命的歲月中（以及革命前的幾次群眾運動），群眾的鬼魂成了日常生活的壹種真實經驗，影響到數百上千萬人的生活。直至今日，它仍頤指氣使，如影隨形。“我在中國群眾運動最瘋狂的歲月裏長大。每壹個人，沒有例外，都被運動的洪流所席卷。我所受的整個教育是在教我為了偉大的革命事業而做壹枚小小的“螺絲釘”——只有這樣，人生才有意義。因此，個人主義與自我的想法在當時等同於“罪惡”與“墮落”。在這種沈重而無法逃避的壓力之下，成為群眾的壹部分實際上是出於不被群眾與那個時代接受而產生的恐懼的結果。脫離群眾成為少數人，意味著壹種黑暗而未知的命運。來自童年時期的群眾經歷，使我在成長中與成年之後愈來愈想要遠離於它。”（田戈兵）

 

The notion of the mass in China appears to the individual like a ghost that is always behind you, watching and observing you - not just since the revolution. But in the years of cultural revolution (and as well during several mass campaigns before) this ghost of the mass has become a real experience of every day live affecting the lives of millions of individuals. Until today the dominant imperative of the ghost of the mass persists.

„I grew up during the craziest period of Mass Movement in China. Everyone, without any exception, was swept away by this Mass torrent. Since childhood, I was told throughout my education to become a tiny little ‘screw’ for the grand revolutional career - only in this way could a life become meaningful. Thus, the ideas of individualism and self were synonym with ‘sin’ and ‘filthy’. Under this heavy inevitable pressure of the Mass, the idea to become a part of the mass actually came from the fear of not being accepted by the mass and the times. Walking away from the mass and becoming a minority indicate a unknown and dark destiny. While growing  up and as an adult, the experiences with Mass from my childhood actually increased my willingness to get away from it.” (Tian Gebing)

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以這樣的角度來看歐洲對於個人的定義，兩者的差別顯而易見。個人的發展是最為重要的，整個社會要求妳走自己的路，從小受到的教育就是：培養自己，竭盡所能標新立異，絕不和其他人一樣。當然，二十世紀尤其是納粹時期整個創傷性歷史的記憶在德國群眾運動的當代道德意識形成上也起到了巨大的作用。

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Looking from this point of view to the notion of the individual in Europe, the difference becomes obvious. The evolution of the individual has become a leading issue and the notion of going your own way is an omnipresent imperative, that you get taught from your childhood on: Cultivate yourself, be as original as possible, avoid in all circumstances to be like everyman. Of course the memory of the traumatic history of 20th century especially during the Nazi era plays as well an enormous role for the contemporary conscience towards mass movements in Germany. 

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另一方面，群眾的鬼魂似乎在資本主義的名義下，以壹種全球統壹的方式在今天高效地運作著...

 

On the other hand it seems that the ghost of the mass is working currently quite efficiently on a kind of global uniformity in the name of capitalism…

關於項目 Project

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基於這樣的背景，來自東方和西方兩種文化的表演者的加入顯得至關重要，從而使各自經歷的交流與分享成為可能。項目通過壹段時間的擴展研究後，五名來自慕尼黑室內劇院的戲劇演員與五名來自北京紙老虎工作室的舞者相聚，分不同階段在北京和慕尼黑壹起排練。這是壹次充滿戲劇性的探索，關於儀式的時刻，氣場的創造，關於相聚與分離，處理文化語境與象征的轉換，關於暴力，關於反抗性的身體與戒律的身體，關於消解與幻滅——還有最後但非最不重要的，關於翻譯與闡釋。問題是：當歐洲的戲劇演員遇上中國的舞者來共同應對這樣壹個主題時，會喚起怎樣的記憶和聯想，產生出怎樣的誤會以及言語上的困惑？

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On this background it was crucial to involve performers from both cultures, east and west, in order to make possible the exchange and sharing of experiences. After an extensive research period five actors from Muenchner Kammerspiele and five dancers from Paper Tiger started common rehearsals that took place partly in Beijing and Munich. It has been a theatrical research on the moments of ritual, on the creation of qi-chang, on gathering and separation, dealing with the shifting of cultural context and symbols, on violence, on the resisting body and the disciplined body, on dissolution and disillusion – and last but not least on the matter of translation and interpreting. The question was: What memories, misunderstandings, linguistic confusion, and associations arise when european actors encounter Chinese dancers to approach this theme together?

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在不同文本（小說，檔案，理論）以及壹系列對於中德兩國發生過的運動的調研基礎上，我們得以創作這場演出，探索且反映同時生發於兩種時刻的情感運動，即個人成為群眾的壹部分，然而又與其分離。它關於融化，鏟除，恐嚇，喚醒以及懷疑，從中個人的需求與群眾的秩序之間產生沖突。在項目的演出中，大量群眾性經歷得以展示，像是壹本充滿意外的百科全書。來自不同文化與歷史背景的故事，自傳片段，記錄檔案，物件，運動，情感等素材通過收集與篩選，糅雜成形，從壹次展開想象的旅程開始，到歷史性的群眾運動，最後以壹組隨機的關於群眾的詞匯結尾。

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On the base of different kinds of text (fiction, documentary, theory) and of a series of movement research in China and Germany a performance was created that explores and reflects the emotional movement that is emerging from the moments both, where the individual becomes part oft he mass and where it separates from the mass. It is about dissolving, eliminating, frightening, awakening and the feeling of doubt, where a conflict occurs between the need of the individual and the order oft the mass. The project presents a vast field of mass experiences as an accidental encyclopedia in performance. Stories, biographical moments, documents, objects, movements, emotions from different cultural and historical backgrounds have been collected, selected and put in a kind of physical essay that starts with an imaginary journey to historical mass movements and ends with a random vocabulary of the mass. 

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項目由北京紙老虎戲劇工作室，慕尼黑室內劇院與中國歌德學院共同合作完成。投入於其中的不僅有在舞臺上跨越各自文化的兩國演員，更有壹支在田戈兵帶領下的出色的中歐工作團隊。項目的名字源自壹次對壹組隨機選取的中國年輕人的調研，問及他們各自對於過去壹次群眾性經歷的確切感受。他們給出的一致答案？“非常高興”。

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The project was realised as a coproduction between Paper Tiger Theater Studio, Muenchner Kammespiele and Goethe-Institut China. It involved not only a transcultural cast but as well a chinese-european leading team under the direction of Tian Gebing. The title was taken from a randomly chosen group of young Chinese who were given a survey on the defining feeling of a formative mass experience. Their unanimous answer? “Fei Chang Gao Xing”—totally happy.