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快樂頌的三個樂章
RTHK 音樂關係 / 明報
採訪者:陳雋騫、旋仔
「楊竣淘,才20歲出頭,問及作曲靈感,他舉了一個例,說看了一本書,繼而反思故事的歷史背景,尋找當中的一件事件,做出人生之間的比較,和當中衍生的情緒,便作了一首曲。戲劇,是他對思考、創作、演藝的泉源,所有人、事、物在他腦海都能構成一幅獨特畫面,和多層的內涵。」
沉默自封使人走遠 《回憶升降機》讓沒宣之於口的親情縫合
AM730 文化評壇
採訪者:簡淑明
「經歷過十二次修改的《回憶升降機》即將於本月卅日面世,與其說是回憶及說親情,楊竣淘更加想說關於沉默的事。沉默可以說是一種忍耐,又可以解讀為忍不時風平浪靜,但事實當凡事都讓自己處於沉默的狀態,最終會變得傷人,甚至會成為損人不利己的一把利刀。」
「在他眼中,音樂劇能習三大元素在一個作品裡面,是一種全身(full body experience),「我覺得戲劇是講邏輯的,我們理性地運用大腦思考當中的人物關係、劇情推進。唱歌是感性的,沒有一個基準表明要用哪一個音符去呈現感覺,但確實音樂使人能隨歌而喜怒哀樂。而跳舞是狂喜的,是刺激眼球的一種美學,凡人類都喜歡美麗的東西。因此合三為一,便會發出無比的震撼,一次過刺激所有的感知。」
「空白頁」後續訪談 —— 楊竣淘:要看遍整個宇宙,才知道哪裡能夠容納自己
音樂劇作
採訪者:阮子恩
「靈感總會在意想不到的時候出現,所以必定長期有一本筆記本,寫下這些突如其來的點子。不知道什麼時候會有用,但寫下來就不會忘記。當你有一個很喜歡的點子的時候,你是會察覺到的。因為你會無時無刻都想著它,它會佔據你的生活,就像一個慢性疾病等著你去處理。就算你嘗試將它擱置一旁,日常的各樣瑣碎都會提醒你它的存在。」
「我喜歡先有想說的故事,然後才決定用什麼方法呈現。可能你最近也有一個點子想以音樂呈現,不妨問一問自己如果用另一個媒體呈現的話,效果會否更好?如果會的話,你又會不會有勇氣進入一個新領域,嘗試一樣你未曾接觸過的媒體,務求將點子的影響力最大化?我想把握自己的青春,讓自己放任去玩、放膽去試,不要框死自己的未來。」
表演何處去
RTHK 鏗鏘集
採訪者:燊
「這是一個學習形體和共同創作的工作坊。主要想讓學生認識形體是怎麼一回事,也想刺激他們的創作精神。」
「讓他們放膽去試、放膽去玩、甚至放膽去搗亂,這方面是我覺得做人不能缺少的。」
「希望可以越做越大,如果有機會可以做巡迴表演。最後我們發展到可以有一個… 我們毋需再借用學校,又屬於自己的空間,這也是一個理想。但現在算是踏腳石。」
《DSE奪夢追星》 嘉賓: 王樂行、楊竣淘
「《DSE奪夢追星》是一套原創粵語音樂劇,探究中學生的種種情緒和憂慮。在未來的一年,這班年輕人即將要面臨目前為止最大的考驗:香港中學文憑考試(簡稱DSE)。而在這場生死戰中的四位學生,各自為了追尋不同的人生默默奮鬥著。下一年他們做的每個決定將會不知不覺地互相影響著,創造出強烈的摩擦和燦爛的火花,令他們真正體會到現實的殘酷,探究活著的真理。人往往在最刻苦的抉擇中成長,你也有勇氣為你嚮往的生活放棄一切嗎?」
RTHK 新文化運動
採訪者:鍾傑良、黃懿雯
'Chasing Stars', a musical about the HKDSEs,
shows what Hong Kong students go through, say its creators
SCMP Young Post
Interviewer:Veronica Lin
While this year’s HKDSE exams may be done and dusted, the drama and struggles will continue to play out onstage – in the form of an original Cantonese musical, Chasing Stars. It explores the ups and down Hong Kong teens go through as they prepare for the biggest challenge of their school life: the DSEs.
We spoke to the show’s composer and producer Amos Wong, and director, writer and choreographer Yeung Chun-to, about the inspiration behind this project, and the challenges of putting together an original musical.
Now both 21, the duo first met in Year Six while taking part in the Yip’s Children’s choir. In 2017, they founded XTRAMENTAL, a non-profit performing arts group.
| EXPRESSING THE “TOTALIZED VOICE” a manifesto |
Each medium has its limitations. One cannot fully express the complicated self if he chooses to resign in one or merely few mediums. It is not simply desirable, but essential to familiarize oneself with the myriad artforms, as they are different means of expression, in which allows you to find a "totalized voice" (an extension to Richard Wagner's Gesamkuntstwerk). It is irresponsible for an artist to indulge in one stream and not the full breadth of art.
*This website therefore documents, professional or however amateurish, my journey into exploring my entire being.
First stage: Observation and Appreciation. (Look at as much of the medium as you can get your hands on, and try and appreciate or critique it. For instance painting - you want to start looking at paintings from each art movement, from each country, from each artist. Find what you like and don't like, and never stop asking why that is. What does it say about who you are?)
Second stage: Learn. (Learn everything, then practice in focus. For instance music - learn to read a score, learn to play an instrument, learn to compose, learn to arrange, learn to mix. Take what you like about this medium, and learn as deeply as possible.)
Third stage: Application. (Apply what you've learnt into something you're familiar with. For instance a musician trying playwriting - listen to a song you've written, and let that inspire your play. How can you write it so that the music fits perfectly with the story, how do you pace it? What is the world like? What words would you choose? How long and short are each sentence? How much pauses are used? What is the mood? etc.)
Fourth stage: Adaptation and Transformation. (Now you've learnt enough about this medium. Explore what is unique about it. Why do you have to use this medium and nothing else. What makes it irreplaceable? In what circumstance does it trump every other medium? In what contexts does this medium makes the most sense? I did a dance film on 1984, because watching through a TV mimics the feel of surveillance, dance because characters don't think in words. Makes sense. I did an immersive theatre piece about an Art Heist, because theatre allows tactility, realness, and spontaneity to a degree that no other mediums can provide, I want the audience to feel the adrenaline rush as the heist happens.)
Rinse and repeat. And then you'll realize, that if you're an actor, learning singing will provide you an intuition to how you use your voice, pace your dialogues; if you're a visual artist, learning playwriting will provide you an intuition to how you construct a story that extends beyond the moment of the painting; if you're a director, learning dance will provide you an intuition to how you put actors in the space. It's time-consuming, but in the long run, it gives you fresh eyes that far exceeds your peers whom are focused on one thing.
Art is an expression of the self, not a competition of technique. Art is meaningless without a totalized voice.
It is counterintuitive, but for me, I always start with the idea, then I choose the medium.
Then the medium will be in complete synchrony with the idea.