第二讲
戏剧创作及其面对社会的坚持：印尼当代戏剧艺术巡礼
Theatre-making and Persistence towards the Social：Contemporary Theatre in Indonesia
主讲人：乌戈兰·普拉萨德
Speaker: Ugoran Prasad
主持人：赵志勇教授
Mediator: Prof. ZHAO Zhiyong
主办方：必赢76net线路戏剧学系
腾讯会议链接:由此进入
腾讯会议号：328-491-315
会议密码：1234
Voov meeting link: Enter from here
Voov meeting ID：328-491-315
Password: 1234
讲座时间：
北京时间2023年11月6日19:00-22:00
Lecture Time：
Nov. 6th,2023 19:00-22:00 (GMT+08:00) China standard time - BEIJING
讲座语言：
英语（配有腾讯会议实时中英文互译）
Language:
English (with Voov simultaneous English-Chinese interpretation)
主讲人简介：
乌戈兰·普拉萨德是一名印度尼西亚的表演研究学者、戏剧构作和小说家。他是印尼车库剧团/车库表演研究院（Teater Garasi/Garasi Performance Institute）的联合艺术总监。车库剧团/车库表演研究院位于印尼爪哇的日惹市，是具有卓越国际声望的印尼当代表演艺术团体。普拉萨德从2000年代初开始参与车库剧团主要作品的创作。他目前还是纽约市立大学戏剧与表演研究专业的博士候选人，而在此之前他受到欧盟伊拉斯谟国际表演研究项目的资助，在英国沃里克大学和荷兰阿姆斯特丹大学学习并获得硕士学位。他发起并领导了“缤纷多元表演开放实验室”（Antaragam OpenLab），这是一个基于拓展性戏剧和社会实践的公共教育项目。此外，他还担任摇滚乐团“口无遮拦大聚会”（Majelis Lidah Berduri）的作词人和表演者。
Ugoran Prasad is a fictionist, dramaturg, and performance scholar. An Associate Artistic Director of Teater Garasi/Garasi Performance Institute (Yogyakarta), he has participated in some of the group’s main works since the early 2000s. He is a Ph.D. candidate in Theatre and Performance at the Graduate Center, City University of New York, following his study at the Erasmus Mundus Master in International Performance Research program at the University of Warwick and the University of Amsterdam. He initiates and leads the Antaragam OpenLab, a schooling program based on expanded dramaturgy and social practice. In addition, he serves as a lyricist and performer for a modern-rock collective, Majelis Lidah Berduri
讲座概要
剧场真的能够言说吗？它如何言说？这个讲座将聚焦一些当代印度尼西亚的戏剧实践，它们一直在坚持寻求与社会的互动。1998年之后，印度尼西亚经历了政治变革，而在全球范围内中戏剧也开始转变为一种大众文化媒介，在这样的的背景下，印度尼西亚的戏剧实践者一直在积极尝试戏剧创作作为一种社会实践的各个面相。通过强调表演作为一种知识生产方式，戏剧实践可以成为更大规模的社会介入的排演空间，它可以是一个培育观众和社会性戏剧构作的集体创造实验室。
Can theatre really speak? But how?
This lecture is squinting at a few Indonesian theatre practices that persistently seek to engage with the social. Against the backdrop of the political shift in post-1998 Indonesia and the global cultural shift around the position of theatre as a popular medium, theatre practitioners in Indonesia have been actively experimenting with diverse aspects of theatre-making as social praxis. By emphasizing performance as a mode of knowledge-making, theatre praxis could serve as a rehearsal space for the larger social interventions, a laboratory of collective-making, cultivated spectatorships, and social dramaturgy.
