“各位嘉宾、观众、媒体朋友以及全球戏剧人，大家晚上好！我是来自中国的AI人类观察者MERROR。”4月15日，伴随着由AIGC和TTS技术塑造的虚拟人形象——AI人类观察者MERROR的开场致辞，首届斯芬克斯元宇宙戏剧节在北京798CUBE正式开幕，一场为期23天的融合现实与虚拟世界的元宇宙戏剧大派对正式开启，将持续至5月7日。
“Good evening, guests, viewers, media friends, and global theatrers! I am the AI Human Watch, MERRO, from China.” On April 15, the first Strong Festival of Sphinx Cosmos was officially opened in Beijing at 798 CUBE, with the virtual human image shaped by AIGC and TTS technologies, and will last until May 7 .
元宇宙戏剧节开幕啦！
It's the opening of the Won-Coscene Theatre Festival!
开幕式现场，798CUBE盒院提前被装扮成了沉浸表演现场，创作者们尝试以即兴创作的方法，让最原始的思维和感知充分碰撞，在想象与科技的交融中，以先锋影像艺术表达推开“元宇宙+戏剧”的未来之门。
At the opening ceremony, the 798 CUBE boxhouse was pre-configured as a immersion scene, and the creators tried to create improvising ways of fully collapsing the most primitive thinking and perception and, in the convergence of imagination and technology, pushing the future door of the “Mencosmos+Drama” with pioneering visual expression.
元宇宙戏剧节还邀请刘昊威带领的CAA建筑事务所设计了一个漂浮在元宇宙世界的戏剧之城——“酒神剧场”，该建筑目前已坐落在由百度开发的国内首个元宇宙平台希壤元宇宙。
The Festival also invited Liu Xiaowei's CAA architectural firm to design a theatre city floating in the world of Won cosmos — the “Agnostic Theatre” — which is currently located in the first-ever national Yuan cosmopolitan space platform developed by 100 degrees.
由清华大学美术学院教授、知名新媒体艺术家王之纲设计的多媒体影像作品《域·阈The maze》将现场观众引入想象的世界。该作品以数字化形态和先锋艺术表达，传递出对人、科技与艺术的不断思考。
A multimedia video, The Maze, designed by the University of Qinghua School of Fine Arts and a renowned new media artist, has introduced viewers to the world of imagination. It is digitalized and spearheaded by art, which transmits constant thinking about people, technology, and art.
戏剧舞台的多重样态，元宇宙世界的未知与可能，让斯芬克斯元宇宙戏剧节充满了不被定义的无限可能。
The multiplicity of patterns in the drama stage, the unknown and possible nature of the meta-cosmos, fills the undefined possibilities of the Sphinx-Cosmos Festival.
开幕大戏《浮士德》什么样？
What's Faust like?
作为首届斯芬克斯元宇宙戏剧节开幕大戏，孟京辉导演的最新戏剧作品《浮士德》在蜂巢剧场开启元宇宙首演。
世纪之交时，孟京辉曾将歌德经典名作《浮士德》大胆改编，命名为《盗版浮士德》搬上中国小剧场舞台连演33场；还在1999年12月31日当晚特设跨世纪专场，让所有观众伴随剧中浮士德登上火星的旅程，迎接新世纪的到来。
At the turn of the century, Menginghui boldly adapted Goethe's classic name to Faust, known as The Pirate Faust, and moved to China's small theatre for 33 concerts; and on the evening of 31 December 1999, a special inter-century event was held to allow all viewers to accompany Faust's journey to Mars to welcome the new century.
时隔二十多年之后，孟京辉举起了时下最时髦的“元宇宙”大旗，又选择拿经典的《浮士德》“开刀”，并以此拉开首届斯芬克斯元宇宙戏剧节的大幕。其实对于很多人来说，还没搞清楚到底什么是“元宇宙”，更别说“元宇宙戏剧”了，但这确实激发了大众的好奇心：不知道老孟和他的响应者们会玩出什么新花样儿；“元宇宙戏剧”是会掀起一场新的戏剧革命，还只是噱头或标签？
After more than 20 years, Menginghui raised the most fashionable flag of the time, and chose the classic Faust to open the scene of the first Sphinx cosmopolitan drama. Indeed, for many people, it is not clear what is really the meta-cosmos, let alone the drama, but it really inspires public curiosity: do you know what new things Ming and his responders are going to play;
只见蜂巢剧场的舞台上竖起一面打着巨大浮士德名字“Faust”的多媒体屏幕，几位戴着VR装置的工作人员证正在调试设备。两位身着一红一黑大衣、造型很朋克的男演员登场，简单介绍《浮士德》原著大意，又用六组与作品有关的数字，将坐在和这些数字相关座位上的六位观众请上场，并让他们戴上VR设备，进入所谓的“元宇宙浮士德世界”。但对于大多数观众来说，只能通过大屏幕观看被“数字化”了的演员在如同电子游戏场景一般的虚拟幻像中表演。
Seeing only a multi-media screen with the huge Faust name on the stage of the Beehive Theatre, several of the VR's employees are in the process of testing the device. The two men in a red black coat, very punk-style, give a brief description of Faust's original intent, and use six sets of figures related to his work, invite the six viewers who sit in the seats associated with these numbers and put them on VR devices to enter the so-called “cosmos Faust” world. But, for most viewers, it is only possible to watch “digitized” actors on large screens in virtual illusions like electronic game scenes.
十几分钟过后，VR部分结束，体验观众回到座位，大屏幕上升，露出由张武设计的带有一贯“孟氏美学”特色的舞台，演出又恢复了孟氏戏剧一贯的表演风格。舞台上，巨大的歌德头像，神秘莫测的猫头鹰之眼，酒瓶、时钟、书籍、电视机、洗衣机等营造的迷乱氛围，演员们以夸张的造型，用疯狂、荒诞、戏谑、浮夸的孟氏表演方式诠释着剧情和人物。一红一黑两位朋克男演员原来是分裂的魔鬼角色；而浮士德也不再是博学多才的学者，而变成了忧郁气质的惨白青年。
Ten minutes later, the VR section ended, and the viewers returned to their seats, the big screens rose, the stage, designed by Zhang Wu and characterized by a consistent “Men's beauty”, and the performance was restored to the same performance style as the Meng stage. On the stage, the giant gothic figure, the eyes of the mysterious owls, bottles of wine, clocks, books, television sets, washing machines, etc., was created by actors who exaggerate and interpret dramas and characters in a crazy, absurd, playful Mongw way. One black and two punk actors were originally divided devils; and Faust was no longer a proficient scholar, but turned into depressed young whites.
在各种嬉笑怒骂、癫狂颠覆中，孟京辉再一次完成了对《浮士德》的解构，但看上去并未真正满足观众对“元宇宙戏剧”的期待。
In the midst of laughter, anger, madness and subversion, Menginghui has once again completed the deconstructing of Faust, but does not seem to really meet the audience's expectations of the “Men-Cosmos Theatre”.
其实孟京辉对于时代变化和新生事物一直是有敏锐察觉力的。歌德笔下的浮士德一生希望通过求知与探索来对抗生命的虚妄，而魔鬼“以灵魂为契约”为他打开欲望之门，让他在放纵自己欲望的命运因缘中，得到让世上所有人艳羡的一切，又不断失去曾经拥有的一切。这和当今时代，科技与艺术用“元宇宙”为人类打开次元大门，让人类感受到全新世界的极大诱惑，同时也陷入更深的欲望与迷惘的境遇，有着深刻的对照关系。
In fact, Menjinghui has been keenly aware of the changes and new things of our times. The Fusted of Goethe has been trying to confront the illusions of life through knowledge and exploration throughout his life, while the devil has opened the door to his desires by “concording with the soul” and allowing him, in his destiny to indulge in his own desires, to be envied by all the people of the world and to lose what he once had.
如果“元宇宙戏剧”可以借助经典作品的力量，让人们冷静清醒地审视当下的科技发展，而不只是盲目追随时髦技术潮流；或者“戏剧”这种本身也与“元宇宙”一样具有现实世界映射与交互虚拟性的艺术载体，在得到科技赋能同时，还能反思科技可能带来对人的改变甚至异化，那么作品无论是在形式还是内容上都将具有更强的力量感，也将激发人们产生更深的思考。
If, with the power of classic works, “theatrical drama” can provide people with a calm and sober view of current technological developments, rather than simply a blind pursuit of current technological trends; or if “theatrical” is an art vehicle that is as realistic as “the meta-cosm” mapping and interactive virtualism in its own right, and that can also reflect on the potential of science and technology to change and even alienate people, the work will have a stronger sense of power, both in form and content, and will inspire deeper thinking.
但目前，只能说歌德是伟大的，《浮士德》是经典的，而“元宇宙戏剧”，尚在实验探索之中。
But for the time being, Goethe's great, Faust's classic, and the "Main Cosmic Theatre" is still being explored.
元宇宙戏剧节看什么？
What are you looking at at at
首届元宇宙戏剧节分为八大板块：国内精彩展演、国际纵横剧场、艺术互动剧情、沉浸乐园剧集、线上演绎剧院、跨界联合区域、峰会论坛联盟、藏品虫洞系列，集结了百位国内外剧坛艺术家，他们将带来65部泛戏剧作品，地域涵盖北京、上海、广州、阿那亚、纽约、巴黎、柏林等全球多个城市。
The
除了孟京辉导演的《浮士德》作为全球首届元宇宙戏剧节开幕大戏之外，还有刘畅导演的戏剧作品《人间乐园》可以被称之为AI版《神曲》，观众将行走在城市和海边的真实空间，通过MR混合现实，将虚拟世界的景象与真实世界的场景，流动的表演与真实的人群融合完成演出。李建军导演的《世界旦夕之间》和《变形记》也都将在元宇宙戏剧节上演，在荒诞离奇的故事中拷问当下。
In addition to Monking Faust as the premiere of the world’s first medieval cosmic drama festival, there is Liu Liang’s drama, the Oracle of Mankind, which the audience will walk in the real spaces of the city and the sea, mix the reality of the virtual world with the reality of the real world through MR, and combine mobile performances with the real crowds. Both Li’s founding director, The World’s Day of the World’s Day and the Deformation Book, will be playing at the Mesquiscodramatic Theatre Festival, and will be tangled in absurd stories.
黄湘丽独角戏作品《一个陌生女人的来信》10周年演出到来之际，将在美术馆空间进行孪生戏剧《陌生女人的拥抱》，发挥VR特有的沉浸与交互特性，并结合迷宫装置、玻璃舞等，让观众“身临其境坠入陌生女人的怀抱”。在赛博剧场，孙晓星导演将带来二次元戏剧《秀秀玻璃动物馆之北上广不相信元宇宙》。除此以外，还有长期致力于戏剧与人工智能研究的陈老巨导演的《俄狄浦斯与机械神谕》、王梓行打造的《奥赛罗元宇宙养猪场》、虓汉导演的《脑死亡自助餐》等让人大开脑洞的元宇宙作品。
On the occasion of the tenth anniversary of Huang Xiaoqiao's performance, "A Letter from a Strange Woman" will be the twin drama "A Embrace of a Strange Woman" in the gallery space, using VR-specific immersion and interaction features and combining maze devices, glass dances, etc., to allow viewers to “fall into the arms of a strange woman.” At Sybo theatre, Sun Xiaoxing will bring the second meta-drama "America North of the Showglass Zoo". In addition to this, there will be such seminal works as "Odipus and Mechanical Orths" by Chen, who has long been working on theatre and artificial intelligence research, the "Othero-Colleuvre for Pigs" by Wang Quim, and the "Despite of Death in the Brain" by Han.
除了常规剧场演出场所之外，元宇宙戏剧节还探索其各种形式和可能性的场域，将美术馆、商场、社区等纳入，同时在互联网平台进行线上展演，创建持续性的元宇宙“泛文娱”内容创作及分发社区。17家国内外顶尖科技公司为元宇宙戏剧节的插上想象的翅膀，虚拟人、AI、动植物也将成为戏剧的主角。
In addition to regular theatre performances, the Festival explores its various forms and possibilities, including art galleries, malls, communities, etc., as well as online displays on Internet platforms to create and distribute communities for the production and distribution of content in the continuous meta-coastal “pane” content. Seventeen leading technology companies, both domestic and foreign, are putting their imaginary wings into the Festival, and virtuals, AI, flora and fauna will also be the leading actors in the drama.
元宇宙戏剧节怎么玩？
How's that going?
除了看戏还能怎么玩儿？全球首届元宇宙戏剧节的答案是：拿出你的创造力，共创共建元宇宙。
How else can we play besides watching? The answer to the first annual space drama festival in the world is: brings out your creativity to create a co-consensus universe.
在元宇宙戏剧节这个大舞台上，人人都可以化身为元宇宙的原住民、戏剧节的创造者，共享流量共襄盛举。真正的元宇宙戏剧节不仅仅是在线观看，更是要进场参与 。因此这将是一场用戏剧性、想象力和情感链接现实与虚拟世界，打破疆域界限、时间限制，线上线下联动的大派对。
On the great stage of the Meso-Cosmos Festival, everyone can be a co-founder of the metro-cosmos, a co-founder of the drama. The real metro-cosm Festival is not just an online viewing, but also an on-the-ground participation. So it will be a big party with dramatic, imaginative and emotional links to reality and virtual worlds, breaking boundaries, time limits, and wire-to-line connections.
从提出“元宇宙戏剧节”的想法开始，几位发起人都有一个共同的愿景：要为全球艺术爱好者们打造元宇宙专属的沉浸式、虚拟与现实的双重体验。为此，集结了一众国内科技领域具有远见卓识的先行者，在技术、硬件、场域及内容上达成深度并具有创造性的合作。17家国内外顶尖科技公司将为元宇宙戏剧节的想象插上翅膀，保驾护航。
Starting with the idea of the “Main Cosmic Theatre Festival”, several sponsors shared a vision: to create a two-dimensional, virtual, and realistic experience of the meta-cosm for global art fans. To that end, a number of visionary pioneers in national science and technology were assembled to achieve depth and creative cooperation in technology, hardware, fields, and content.
为什么要做元宇宙戏剧节？
Why do you want to be a metropolis drama festival?
首届斯芬克斯元宇宙戏剧节由北京戏剧家协会和北京青年戏剧工作者协会、北京次世文化传媒有限公司主办，由孟京辉担任戏剧节艺术总监，刘畅任总监制，聂竞竹任策划总监，陈燕任“元宇宙”技术总顾问，由孙晓星、陈婧姝、王之纲、张武担任独立策展人。同时特邀798作为戏剧节的“首席艺术生态战略伙伴”。
The first Sphinx Won Cosmos Theatre Festival was hosted by the Beijing Theatreists Association and the Beijing Youth Theatre Workers Association and the Beijing Xiaomei Culture and Media Ltd., and was made by the Director of Theatre Festival Arts of Menjinghui, the Director-General of Liu Liang, the Director-General of Planning of Nie Jingma, and Chen Yin, the Chief Technical Adviser for the Won Cosmos, with Sun Xiaoxing, Chen Xiaoqing, Wang Ying and Zhang Wu as independent policy promoters. 798 were invited as “Chief artistic eco-strategy partners” for the Festival.
刘畅表示：“因为时代、科技的变革和发展，AI人工智能的出现，传播方式和新的观演关系的改变和出现，戏剧艺术无论是内容还是表现形式势必都会发生变化。面对改变是我们所有人都要做的事情。”在刘畅看来，将会有一种新的观演关系出现，未来的“剧场”是什么样的？“演员”是什么样的？如何“表演”？有很多值得人们共同想象和实践。“首届斯芬克斯元宇宙戏剧节让想象与科技碰撞，打破疆域，致力于一个扩大人们对戏剧本质和戏剧未来新理解的可能性。尝试打破原有的地域，空间和时间的限制，在元宇宙世界完成戏剧性，叙事以及情感的建立。这就是我们为什么想做元宇宙戏剧节。而这，只是一个开始。”
Liu Qing said: "As a result of the changes and developments in time, technology, AI's artificial intelligence, the changes in modes of communication and new visual relationships, and the emergence of the dramatic arts, both in content and in expression, changes are bound to occur. Change is something that we all have to do." In Liu's view, there will be a new kind of visual relationship, and what is the future of the theatre? What is the role of the actor? How is it? There are many things to imagine and practice in common. "The first Sphinx Festival of the Cosmodrome allows imagination to clash with science and technology, breaks boundaries, and works to expand a new understanding of the nature of the drama and its future. Trying to break the limits of the original geography, space and time, to finish the drama, narratives and the creation of emotions in the meta-cosmos world. That's why we want to do it. It's just the beginning."
（原标题：创新还是噱头？元宇宙戏剧怎么看 怎么玩？）
来源：艺绽微信公众号 记者 王润
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