High Life

22 品 香 港戏剧才子林奕华，中学毕业前就被高薪请进电视台担任编剧。毕业之后 与友人在港组成前卫剧团「进念·二十面体」，开始尝试先锋戏剧创作。 1989至1995年他前往伦敦居住，期间于1991年成立「非常林奕华舞蹈剧 场」，先后在伦敦、布鲁塞尔、巴黎及香港发表舞台创作。1994年凭电影《红 玫瑰白玫瑰》（关锦鹏导演）获台湾金马奖最佳改编剧本。 然而金马奖并未将这位青年才俊留在电影界。1995年，林奕华返港并专注 致力于舞台创作，迄今编导戏剧作品58出。其中有三部作品为他分别在2010、 2012及2017年收获上海现代戏剧谷「壹戏剧大赏」年度最佳导演奖。 「非常林奕华」系列剧目皆具有典型的林氏风格——以都市为背景，关注城 市人的生活和情感经历，探讨他们普遍存在的困扰、痛苦、孤独等情绪，不断向 观众抛出发人深省的问题。 四月底一个周五的下午，林奕华在其位于香港的工作室接受了《品》杂志的 专访。他解释说：“理论上我觉得所有导演都应该拥有自己的风格，因为它代表 着你的想法，你所关心、所相信及所追求的事物。” 「非常林奕华」是前卫而先锋的，始终致力于将小众意识注入大众社会，无 论是其对社会热点的关注、对消费文化的态度、对女性主义的尊重以及对经典作 品的解构及重组，都始终保持着对体制、对强势、对中心的警醒、嘲弄和批判。 无论是林奕华还是「非常林奕华」的演出，都是站在常规的对立面——游离于中 心，站在弱势群族一边，毫不掩饰其对社会传统观念和某些旧俗陋习的嘲弄、调 侃和批判。 H ong Kong director Edward Lam Yick-wah, one of today’s most popular and critically acclaimed directors in the Chinese theater scene, started writing scripts for TV in Hong Kong while still in high school. After graduation, he formed avant-garde theater group Zuni Icosahedron with some friends. In 1991, he set up Edward LamDance Theatre whilst based in the UK. Three years later, his script for Stanley Kwan’s film Red Rose, White Rose won Best Adapted Screenplay at the Golden Horse Awards in Taiwan, one of the most significant film festivals in the Chinese film industry. After returning to Hong Kong in 1995, Lam devoted himself to promoting theater. He has written or directed 58 works with renowned Chinese artists and organizations across multiple cities and platforms. Lam’s works all have a distinctive style: adopting the “city” as their backdrop, focusing on the lives and emotions of “city dwellers” and exploring their universal feelings of doubt, pain and degradation. “I think all directors should have their own style,” Lam explains when High Life meets him in his Hong Kong studio one Friday afternoon, “because it represents your thoughts, what you care about, what you believe in and what you want to pursue.” The plays of Edward LamDance Theatre are avant-garde and pioneering, always committed to the awareness of minorities existing within the general public. In addition to its focus on social hotspots, attitudes toward consumer culture, respect for feminism and the deconstruction and reorganization of classic works of literature, the theater has always maintained a vigilance, representing minority groups and rebelling against traditional social concepts, old habits and customs.