| 導演：Francois-Orsoni |
《虎王子》與《神馬 》的故事
導演：弗朗索瓦•奧索尼（法國）
插畫：陳江洪（中國）
適合六歲以上兒童觀看
與中央戲劇學院合作呈現中文版演出
創作緣起：
2008年我在法國巴黎Villette劇院遇到旅法畫家陳江洪。當時，Codex藝術節邀請我為孩子們創作一出節目。於是，我向陳江洪建議圍繞他的兩部兒童繪本《虎王子》和《神馬》進行創作。
這涉及到藝術在世界中的位置，傳播的力量，以及在不同中活著的困難，有時這些不同之處又是好的。用一種詩意和隱喻的方式，這兩個故事講述了陳江洪的文化傳承和他個人的經歷。作為畫家和插畫家，陳江洪總是一個人在工作室中獨自創作，但他也喜歡舞臺和觀眾，享受舞臺要求的多樣性，力量和慷慨。我非常欣賞這一點並讓我想要創作這個戲。所有的一切都圍繞著這兩個元素：親密和表演。
內容簡介：
法國NéNéKa劇院劇團和旅法畫家、插畫家陳江洪聯袂邀您進入《虎王子》與《神馬》的神奇世界。陳江洪在中華文化的根源中汲取靈感，創作了《虎王子》和《神馬》兩本兒童繪本。這兩則故事被導演搬到舞臺上，變幻成為生動的大型圖畫書，同時又創造出如給小朋友講述睡前故事般的親暱感。在現場音樂的伴奏下，一幅幅圖畫相繼出現，栩栩如生的人物和動物被賦予了生命。這是一場充滿詩意和魔力的表演。
虎王子
虎王的孩子們被獵人殺死，悲痛的虎王開始報復人類，人們悽慘的哭聲在迴蕩……在老婆婆的指引下，國王將小王子送到森林裡，讓他到虎王身邊去，因為只有這樣才能拯救老百姓。虎王看著王子，想要一口吞掉他，但是母愛戰勝了復仇之心，虎王憐愛地叼起小王子，就像叼起自己的寶寶一樣。
神馬
唐朝的時候，有一個非常有名的大畫家韓幹，他最愛畫馬，人們傳說他的筆具有奇特的魔力，可以讓紙上的馬擁有生命。一位大將軍聽說後，向韓幹索要神馬，果然，一匹俊美非凡的馬從韓幹的畫上躍下，陪將軍徵戰沙場，它不需要喝水，不需要吃草。將軍所向無敵，殺敵無數，但神馬卻越來越悲傷……
導演介紹：
弗朗索瓦•奧索尼，他原本是宏觀貨幣經濟學家，在一次加州之行之後決定去註冊參加戲劇學校的學習。於是，二十九歲的他開始演員生涯。在轉型做導演之前，他出演了路伊吉•皮蘭德婁的作品《傻瓜》和《瘋子的帽子》，結識了演員阿爾巴•吉永,克洛蒂爾德•艾斯姆和託馬斯•蘭伯，從此成為戲劇道路上的夥伴。1999年，他成立了自己的劇團：NéNéKa劇院。他把臺詞置於藝術嘗試的中心位置。奧索尼以及他的演員把皮蘭德婁, 帕索裡尼, 布爾加科夫, 畢希納, 奧利維耶•皮, 黛亞•洛兒, 莫泊桑和布萊希特的作品相繼搬上了舞臺。奧索尼喜歡在與演員進行長時間的即興表演，這樣可以讓演員們自由的創作。他試圖將場景變得極簡化而充滿故事感，從而更好的為臺詞服務。
演出團體：
NéNéKa劇團成立於1999年，由弗朗索瓦•奧索尼領導。
該劇團在戲劇創作上有著清晰的主線，即「創造的藝術」,在該劇團的多部創作中逐漸建立起來，成為該劇團的鮮明特點。在劇本的選擇上，臺詞是一切的中心，是位於首位的，劇團創作過Pirandello,Pasolini,Brecht, Büchner, Dea Lohers 等劇作家的作品。這些作品的臺詞廢棄固有的條條框框和矯揉造作，釋放思考的自由並成為其源泉，臺詞是一部戲本身的體現。在他的舞臺上，沒有特效和虛張聲勢，舞臺布景總是精心打造且服務於臺詞的。演員們用他們的演技和身體，使劇本更加明了。在劇團裡，演員們被賦予自由創作自己的角色。通過很多的即興，提議，分析，嘗試，直到最後一刻沒有人知道這部戲整體是什麼樣子的。但關注François Orsoni作品的人知道，如魔術一般，他的每一部作品都是全新的。而且每一次，導演都是服務於臺詞的。從未相反。
主創列表：
導演：弗朗索瓦•奧索尼
插畫：陳江洪
音樂：雷米•貝爾熱 & 託馬斯•蘭伯
布景和視頻：皮埃爾•努維爾
The Tiger Prince and The Magic Horse
Director: Francois Orsoni （FRANCE）
Illustration: Chen Jiang Hong （CHINA）
The program is suitable for children aged 6 upwards
Chinese version in collaboration with The Central Academy of Drama
Motivation：
I met with artist Chen Jiang Hong at Le Théâtre Paris-Villette in France. At that time, I was invited by Codex Festival to create a play for children. So I suggested to Chen Hong Jiang a play centering on his two children’s picture books, The Prince Tiger and The Magic Horse of Han Gan.
It involves the locality of art in the world, the power of communication, and the hardship of living among differences which are sometimes positive. In a poetic and metaphorical way, these two stories recount Chen Jiang Hong’s cultural inheritance and personal experiences. As a painter and illustrator, Chen Jiang Hong always works alone, but he also relishes the stage and audience, and enjoys the diversity, power and generosity of stage requirements. This is highly admirable and also motivated me to create this play. All is centered around two elements: intimacy and performance.
Synopsis：
The wonderful world of Chinese Tales has created a show born out of a joint effort between Le Théâtre de NéNéKa Company and the Chinese painter and illustrator Chen Jiang Hong, who found inspirations from the root of Chinese culture and illustrated two children’s picture books: The Tiger Prince and The Magic Horse of Hans Gan. The presentation of these two stories transforms the scenery into a big pop-up book, thus reproducing the intimacy of children's bedtime stories. Following the rhythm of live music, pictures appear one after another, and vivid characters are enlivened on the stage. A show full of poetry and magic.
The Tiger Prince
The child of the Tiger King was shot to death by hunters. The grieved mother seeks revenge on human beings. Miserable wails echo... Under the guidance of an old woman, the King sends his little prince to befriend the Tiger King, as this is the only way to save everyone. Looking at the little Prince, the Tiger King decides to devour the little baby. Eventually, motherhood defeats vengeance, and the Tiger Queen carries the little Prince as tenderly as her own cub.
The Magic Horse of Han Gan
During the Tang Dynasty, there was a very famous painter, Han Gan who loves to paint horses. People say his painting brushes are magical because they can bring horses to life on the paper! A General hears about this and asks for a magic horse from Han Gan. Sure enough, an extraordinarily fine horse jumps out of the paper! It accompanies the General to fight in the battlefields and no water or grass are needed. The General invincibly triumphs and kills many enemies. However, the magic horse becomes sadder and sadder...
Director:
François Orsoni used to be a macroeconomist and he decided to enroll in a theatre school after a trip to California. So he started his acting career at the age of 29. Before he transformed a director, he acted in the Idiots and The Hat of a Madman of Luigi Pirandello and acquainted with actors/actress Alba Guyon, Clotilde Hesme, Thomas Landbo and become partners since then on the road of theatre. In 1999, he established his own company, Le Théâtre de NéNéKa. He puts the lines in the center of his art experiments. Orsoni and his fellow performers put works of Pirandello, Pasolini, Bulgakov, Büchner, Olivier Py, Dea Loher, Maupassant, and Brecht onto stage. Orsoni prefers to play impromptu with performers for a long time so that performers can create freely. He tries to create extremely simple scenes and create narratives to set a great stage for the lines.
Performance Group:
Le Théâtre de NéNéKa was founded in 1999 and is headed by François Orsoni.
The company has a clear thread of drama creation, the 「art de faire」, which is established from many work pieces over time and has become the specialty of this company. The lines are central at script-choosing. This company has produced works of Pirandello, Pasolini, Brecht, Büchner, Dea Lohers, and other dramatists. The lines of these works all discard immanent restrictions, fetters and pretences. They release the freedom of thought and also become its source. The lines are the reflection of a play. On his stage, there is no special effect or bluffing. A stage is always exquisitely made and serves for the lines. Performers make the script clearer with their performing skills and body. In the company, performers are entitled to the role of free creation. With many impromptu, proposition, analysis, and trials, no one will understand the play comprehensively till the very last moment. But to people who have been following François Orsoni’s works, they will know that every single piece of his works is brand new, just like magic. And every time, the director serves for the lines. And it is never the other way around.
Crew:
Director: François Orsoni
Illustration: Chen Jiang Hong
Music: Rémi Berger & Thomas Landbo
Setting and Video: Pierre Nouvel