這是怎麼回事？怎麼變這樣？
What has happened? How does it come to this?
主頁
/
HOME
新聞
/
NEWS
2022
2021
2020
2019
2018
2017
2016
2015
2014
2013
關於
/
ABOUT
作品
/
WORK
2021
西湖底雅座 VIP UNDER THE WEST LAKE
尋親啓事：探訪由此路進 THIS WAY TO VISIT ROOM
集美門 MEHOTEL
蘇州夜話 ENDLESS NIGHT IN SUZHOU
2020
犀牛 RHINOCEROS
2019
《玩偶之家》第一集：抖音玩偶 “A DOLL’S HOUSE” EPISODE I: TIK TOK DOLL
2018
櫻桃園 THE CHERRY ORCHARD
2016
這是你要的那條信息……不要讓別人看到；-） HERE IS THE MESSAGE YOU ASKED FOR… DON’T TELL ANYONE ELSE ;-)
空愛①場 LOVE’S LABOUR’S LOST
SPEED SHOW：漂流网咖 SPEED SHOW: DRIFT INTERNET CAFE
2015
————這裡是分割線———— ————HERE IS THE DIVIDING LINE————
2014
向雪松的故事 XIANG XUESONG’S STORY
漂流宅 DRIFT HOME
群眾 THE MASSES
2013
日常_非常日常 DAILY_UNUSUAL EVERYDAY
寫詩 WRITING POEMS
計劃
/
PROJECT
賽博劇場計畫 CYBER THEATRE PROJECT
策展
/
CURATING
2018深圳當代戲劇雙年展《亂碼過失》 SHENZHEN CONTEMPORARY THEATRE BIENNALE “GLITCH AND ERROR”
2017三星堆戲劇節「斷層再造」公共展演單元 SANXINGDUI THEATRE FESTIVAL 2017 PUBLIC PERFORMANCE UNIT “DUÀN CÉNG ZÀI ZÀO”
寫作
/
WRITING
2021
從「去政治化」的詩劇到「再政治化」的「重新社會問題劇」——以三版《雷雨》演出為例
2020
21世纪的戲劇觀討論：後戲劇劇場的政治性與重建第四堵牆的戲劇劇場 THEATRE VIEW OF DISCUSSION IN THE 21ST CENTURY: POLITICS OF POST-DRAMATIC THEATRE AND THE DRAMATIC THEATRE
21世紀的表演藝術：數字技術、機器、賽博格與人工智能 PERFORMING ARTS IN THE 21ST CENTURY: DIGITAL TECHNOLOGY, MACHINES, CYBORG AND ARTIFICIAL INTELLIGENCE
2019
《櫻桃園》：未來輓歌、少女崇拜、賽博神學與黃昏之時
2018
SPEED SHOW：漂流網咖
以「惡」來演示惡——《輕鬆五章》的「毒性」
屏幕吞噬和溢出屏幕——測試性的「賽博劇場計劃」 DEVOURED BY THE SCREEN AND OVERFLOWING ON THE SCREEN―CYBER THEATRE PROJECT (BETA)
這幾個日本年輕人我們好像也見過
2017
王翀2.0
飛向天空的人
暗夜獨行
2016
21世紀被遮蔽的日本當代戲劇 JAPANESE CONTEMPORARY THEATRE IS OBSCURED IN 21ST CENTURY
數字幽靈：C.K沉珂 DIGITAL GHOST: THE LEGEND OF CEEKAY
漸行漸遠的亞洲當代戲劇——中日視域下的觀察 AN ESTRANGEMENT MORE AND MORE PRESENT IN THE CONTEMPORARY ASIAN THEATRE: AN OB
由「本壘」出發 ——記2015東京國際劇場藝術節 STARTING FROM THE “HOME BASE”: RECORD THE FESTIVAL/TOKYO 2015
2015
皺褶：從劇場到中間地帶 FOLDS: FROM THEATRE TO THE INTERMEDIATE ZONE
中國賽博劇場，表演還是行動？ CHINESE CYBER THEATRE, ACTION OR REPRESENTATION?
兔子洞與分割線：愛麗絲夢遊賽博劇場 THE RABBIT HOLE AND DIVIDING LINE: ALICE IN CYBER THEATRE
日本當代戲劇搜索引擎——記2014東京國際劇場藝術節 JAPANESE CONTEMPORARY THEATRE SEARCH ENGINE: RECORD THE FESTIVAL/TOKYO 20
2014
成為不再呈現圖像的劇場藝術 BECOME THE THEATRE ART NOT RENDERED IMAGE
在公車上演出的紀錄戲劇
2013
北京「四環外」劇場界 THEATRE CIRCLE OUTSIDE THE 4TH RING ROAD IN BEIJING
河床劇團：作為展覽的劇場
碧麗霞：設計記憶
2012
獨立戲劇地理學 INDEPENDENT THEATRE GEOGRAPHY
媒体报道
/
MEDIA REPORT
2021
「上雙」藝術家對談丨殷艾雯×孫曉星：賽博空間的過去和未來 (FROM “THE PAPER”)
On Platform Design, Part I: From Subject-Centred Communities to Persona-Driven Platforms (FROM “so-far”)
尋無此人的集體扮「親」之旅 (FROM “IATC”)
沉浸式劇場和日常生活的分別 (FROM “IATC”)
好奇探索之旅《尋親啓示：探訪由此路進》 (FROM “IATC”)
2020
科技·戲劇·想象力 (FROM “THE THINKER WEEKLY”)
孫曉星：數字時代，肉身正在集體隱入世界的黃昏 (FROM “BODY ON & ON”)
2019
孫曉星：遊走于N個次元之間 (FROM “ART COLLECTION”)
孫曉星X總是如此，朝暮色抹去雕像的方向 (FROM “FICTION WORLD”)
2018
那個虛擬與現實間的真空地帶——看孫曉星導演版《櫻桃園》(FROM “G.D.ART”)
OZASIA FESTIVAL REVIEW
HERE IS THE MESSAGE YOU ASKED FOR… DON’T TELL ANYONE ELSE ;-) FROM CHINA (FROM THE ADVERTISER)
ANYWHERE BUT HERE (FROM INDAILY)
因為二次元，所以「可怕」的《櫻桃園》 (FROM 浙江24小時)
從戲劇出發，我們能走多遠 (FROM “G.D.ART”)
2017
プレイバック2017年 (FROM 演劇最強論-ING)
KYOTO EXPERIMENT 京都国際舞台芸術祭 2017 スン・シャオシン『HERE IS THE MESSAGE YOU ASKED FOR...』 (FROM ARTSCAPE JAPAN
21世紀初頭、もげる首 (FROM 新・批評家育成サイト)
HERE IS XIAOXING SUN YOU ASKED FOR... (FROM KYOTO EXPERIMENT 2017)
賽博劇場的劇場行動 (FROM “ART WORLD”)
2016
陰森的萌物？(FROM PSA)
SPEED SHOW: DRIFTING INTERNET CAFE (FROM “LEAP”)
真實的虛擬，與無足輕重的真實——孫曉星談《SPEED SHOW：漂流網咖》 (FROM “G.D.ART”)
賽博表演是个什麼東東？(FROM “BEIJING YOUTH DAILY”)
在幽靈網吧循環播放的網絡超日常 (FROM VICE CHINA)
2015
黑匣子與白匣子間的劇場 (FROM “TANC”)
PERFORMANCE AND EVERYDAY LIFE IN CONTEMPORARY CHINA (FROM “LEAP”)
A BIOGRAPHY FOR THE YOUTH OF CHINESE NETWORK GENERATION (FROM “SHANGHAI THEATRE”)
借此想象一個戲劇藝術的未來？(FROM “BEIJING DAILY”)
關於實驗劇場三十年的四個切片 (FROM “THE BUND”)
孫曉星的超文本線上劇場帶我們回到了2000年的QQ空間 (FROM VICE CHINA)
2014
ドキュメントなるもの (FROM AICT\IATC JAPAN)
紀錄劇場作品《群眾》：獨一無二的講述力量 (FROM SOHU.COM)
出版
/
PUBLISH
漂流宅 DRIFT HOME
再劇場：獨立戲劇的城市地圖 RE-THEATRE: THE INDEPENDENT THEATRE CITIES MAP
新聞
关闭
返回上一级
2022
2021
2020
2019
2018
2017
2016
2015
2014
2013
Copyright © en? (What has happened? How does it come to this?). All Rights Reserved.
