2016.10.19 Curatorial Instruments in Speculation 策展工器:工作坊 Workshop#2 純愛.夢.歲月:瓊瑤的電影與瓊瑤的時代 True love, dreams and glory: The age of Chiung Yao movies

 

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工作坊#2 純愛.夢.歲月:瓊瑤的電影與瓊瑤的時代 

時間:2016年10月19日(三)晚間7~9點
地點:打開-當代藝術工作站(台北市大同區甘州街25號)
主辦單位:台北當代藝術中心、鳳甲美術館
報名表單,單場限十二位參與者,本活動將以中文進行。

瓊瑤自1963年發跡至今,書寫了超過半個世紀的浪漫;瓊瑤小說改編搬上電影銀幕:前中後三個時期,目前統計則共有51部電影。她流暢的敘事功力、細膩的閨閣筆觸、敏銳的生活觀察,使她的作品「雖然」只講愛情,卻牢牢抓住每個不同世代青年男女對於愛情的詮釋,在時代巨輪轟然碾過的同時,留下了一些永恆不變的點滴。

瓊瑤的「電影」世紀,自1965年夏天《婉君表妹》公映起算,至1983年春拈熄《昨夜之燈》,18個年頭的歲月裡,這51部電影(若將《幾度夕陽紅》上下集分開計算,便是52部)不僅紀錄了台灣社會18個年頭的變遷痕跡,更像時空膠囊一樣,把不同時空的生活切片,揉合著不同時期不同創作者的無限才情,活色生香地保存在影片裡。

這次的工作坊,我們將由前中後期不同階段的「瓊瑤電影」,側觀台灣庶民社會生活美學的流轉與變遷。原則上我們將以瓊瑤電影片頭設計,或者重要插曲畫面的經營,作為涉入思考的探針,進入這個交織著純愛、美夢與歲月的詩意世界。

預計探索作品:《婉君表妹》、《啞女情深》、《煙雨濛濛》、《幾度夕陽紅》、《窗外》(1966與1973)、《船》、《第六個夢》、《庭院深深》、《海鷗飛處》、《秋歌》、《在水一方》、《風鈴風鈴》、《我是一片雲》、《月朦朧鳥朦朧》、《聚散兩依依》、《夢的衣裳》、《昨夜之燈》。

 

陳煒智

自由撰稿人、電影與劇場歷史研究者、創作者、編劇、導演、作詞者

紐約大學藝術學院(Tisch School of Arts)電影研究所(Cinema Studies)畢業。曾任教於上海戲劇學院暨戲曲學院、上海音樂學院,上海東方衛視《世說新語》節目「發現音樂劇」專題主持(共十集)。並於中華民國100年「歌聲舞影慶百年」華語歌唱片影展擔任影展企劃統籌,曾任國家電影中心研究出版組組長。

著有《我愛黃梅調—絲竹中國,古典印象》、《音樂劇史記》上下冊(合著)、《湮沒的悲歡—『中聯』、『華影』電影初探》(合著)、《寶島回想曲》(合著),並於2003年起,於北美《世界日報》週刊先後開設「百老匯」、「電影世界」專欄,撰稿逾十年之久。舞台劇作包括音樂劇《小太陽》等。專長為歌舞電影與劇場藝術、有聲電影發展、華語電影發展史及李翰祥導演作品研究。

本次活動特別感謝打開-當代藝術工作站

 

Workshop#2 True love, dreams and glory: The age of Chiung Yao movies
Time: 7-9pm, October 19, 2016
Venue: Open Contemporary Art Center(No.25, Ganzhou St., Datong Dist., TAIPEI CITY 10346, TAIWAN)
Organizers: Taipei Contemporary Art Center, Hong-gah Museum
Sign-up herethe workshop opens for 12 participants, and it will be in Chinese
.

With fluent story-telling, dedicated writing and sharp observation, Chiung Yao’s novels are not merely about love but the interpretation of love through the generations. They speak of eternal memories within epic moments. Since 1963 she has authored countless romantic stories and the majority of movies during that time were adapted from her fiction with 51 films released in Chiung Yao’s life.

The age of Chiung Yao movies began with the screening of Wan-chun in the summer of 1965 until Last Night’s Light in the spring of 1983. With 51 movies (52 moives if the series How Often It’s Red Sunset is counted as two) within 18 years it can be read as a time capsule. As well as showing the social changes over this time, the movies can also be read as a document of the creative work of many different directors, scenographers and others involved in film productions.  

The workshop introduces the different stages of Chiung Yao movies to explore the aesthetics of local Taiwanese life. By looking at the design of opening sequences and the visual composition accompanying theme songs in the films, it will lead to an investigation of the poetic narratives that lie behind the scenes.

The workshop will discuss:

Four Loves; The Silent Wife; The Rain of Sorrow; Many Enchanting Nights; Outside the Window (1966 & 1973); My Dream Boat, Because of Love; You Can’t Tell Him; Where the Sea Gull Flies; The Autumn Love Song; The Unforgettable Character; Love Rings a Bell; Cloud of Romance; The Misty Moon; Errant Love; My Cape of Many Dreams; Last Night’s Light

 

EDWIN W. CHEN

Theatre and film historian.

Graduated from Tisch School of Arts, New York University, CHEN once served as the Head of Research and Publication Department in Taiwan Film Institute, curating its classic film repertoire since 2014.  Visiting Professor in Department of Musical Theatre, Shanghai Conservatory of Music from 2006 to 2009.  Notable publications: The Classical Impression of Chinese Operatic Film, The Evolution of the American Musical Theatre, part one and part two (co-author), The Lost Time: A Memoir of Chinese Cinema in the Early 1940’s (co-author). CHEN is also an experienced playwright/librettist and theatre director.

Special thanks to Open Contemporary Art Center