標籤：藝術管理

“綿羊302”——哥本哈根最小的親暱劇場（一）

當同伴們展翅飛向更廣闊的天空時，夏伊選擇了留守：“我還是覺得，要留住這顆‘珍珠’。在

Theatre Får302 — the Smallest Intimate Stage of Copenhagen (part 4)

“We are still an actors’ theatre. Very often actors are seen as soldiers in a way, who follow others’ decisions, but we

Theatre Får302 — the Smallest Intimate Stage of Copenhagen (part 3)

Sympathy for the Devil was Pauli’s exclusive show. Lucas Svensson, author of the monologue, suggested him play the sole role

Theatre Får302 — the Smallest Intimate Stage of Copenhagen (part 2)

Being faithful to Stanislavski’s method, the ensemble of nine had pushed against the traditions in the realm of the absurd,

Theatre Får302 — the Smallest Intimate Stage of Copenhagen (part 1)

“It is a gift…” Charlotte Elizabeth Munksgaard recalls her memories of the year 2001. Her voice, a typical mezzo, is soo

“將這部受眾人親睞的小說帶到華人外的世界，並使之獲得矚目。”——林壁珠談歌劇《紅樓夢》

“歌劇《紅樓夢》的世界首演若對您而言意味著“圓夢”，那在小說原著的誕生地北京上演，對

“To Bring Our Beloved Chinese Novel to the Attention of the Non-Chinese World. ” — Pearl Lam Bergad Talks About Dream of the Red Chamber

"If the world premiere of Dream of the Red Chamber means your 'dream come true', then what the premiere in Beijing, the birthp

紅樓夢圓

2016年9月10日，林壁珠坐在舊金山戰爭紀念歌劇院……翌日，《舊金山紀事報》以“觀感之豐腴

Qintai 9/23: Being an Onlooker of Dream of the Red Chamber

The tour of Dream of the Red Chamber in China involved nearly 300 people from more than 10 countries and regions, covering a d

琴台9.23：一場歌劇《紅樓夢》的旁觀

“假如沒有寫這部歌劇，我們也不會聚在這裡，付出這麼多……”

蓬蒿劇場5.20：“錢荒”三部曲（之三）

本文前兩篇詳細分析了蓬蒿劇場作為“演出經紀”和“商業不動產”的屬性。不過，敢於賭上全

蓬蒿劇場5.20：“錢荒”三部曲（之二）

今日蓬蒿劇場被 “錢荒”逼至絕境，是否應歸咎於劇院房產“租轉購”的偶然？ 回答這一問題

蓬蒿劇場5.20：“錢荒”三部曲（之一）

為什麼蓬蒿劇場總是缺錢？——若不解開這個疑問，恐怕難以服眾募捐，也恐怕難以看清今後的

天橋4.9：一場關乎藝術、金錢和歌劇趨勢的首演（下）

由《紅樓夢》和《塞魅麗》走過的歷程來看，通過聯合製作引進外國基金會發起的項目，有可能

天橋4.9：一場關乎藝術，金錢和歌劇趨勢的首演（上）

4月9日晚匯聚於此的人們，是為了歌劇，更確切的說，是為了一部誕生在182年前意大利兩西西里
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