一瞥矇矓 — 鄭冬的劇場攝影 A Glimpse of Mist: Winter Chiang’s Theater Photography
如魔術般的聲光在瞬間流過⋯⋯
As if magic, the sound and light flow by
in an instant…
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劇場再現流轉世情．攝影捕捉無常光景
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129 個｜演出、排練、後臺定格
邂逅 30 年來澳門
表演藝術工作者與場景
銷售點
澳門- 井井三一書屋、边度有書、Bookand.、At Light
攝影 鄭冬
編輯 莫兆忠
美術設計 鄭志偉 ＠SomethingMoon Design
統籌 盧頌寧
校對 馬慧妍、莫兆忠、盧頌寧
出版 澳門劇場文化學會
《伊狄帕斯王》，曉角話劇研進社，1998
序：邂逅．光影
從來，覺得必需要有一台照相機，小型的也好。
生活裡，有時看到的想留住又掠過。每天生活如常地重覆又重覆，然而消逝的景象卻不再重回。
九十年代中期給舞台的光影迷住了，從那時候照相機便成為我隨身夥伴，台前台後隨心隨意拍，也燃起攝影動力。
在劇場，我的工作是監製，跟隨不同的製作團隊由排練室到劇場，現場攝影都是不可錯過的機遇。演出製作一個接一個，回頭望，時光流過了，記憶硬盒子藏著多年的劇場回憶，在照片與照片間遊走時發現，有時思考進入攝影時與作品的相遇，似是虛無的瞬間，原來是記憶最深的。照片曾有音樂、光影和演員細膩情感的傳情，指尖輕觸咔嚓定格，以後照片經年累月積存，無聲地躲在記憶盒子裡，永遠無光收藏。
也因如此，對攝影展覽和攝影集開始有了個想法……
環境劇場確實記錄了空間變化，因城市發展而擴展或消失的空間，今天重新遊歷照片時記憶不期然再現 ; 如1999年在城市心臟慢駛的3號巴士上演出《巴士奇遇結良緣2001》、2002年在氹仔近海岸的碼頭花園演出《蘭陵王》、2009年在青洲坊各閒置空間演出《聽風的卡夫卡》。尤其2010年在友誼橋大馬路海濱演出《記憶》，那夜，堤邊濺起浪花，燈光照向堤道上提腿而立的舞者，望向黑夜海面的他，凝神。演出完謝幕時，記得導演大致說 :「今晚的月亮很大很圓，海很黑很寬，但快要填海了，大家趁海還在，多來享受吧。」快門閃動，送海心情。
我必須承認，我對環境劇場特別偏愛，拍攝時還有一種追尋的快樂興致，如旅行的出發、觀察和遇見。舊日回想也是叫人向前望，城市空間的擠迫和發展，消失的是空間不是創意，總相信劇場創作人的好奇心和創作力，再發掘，再發現。
當這本攝影集出版時，南灣舊法院黑盒劇場和澳門當代藝術中心．海事工房２號快將停止開放。攝影集所記載有幾個消失的小劇場成為歷史，新的小劇場亦將會誕生。若再提著攝影機面對新的陌生空間，是另一個神秘的瞬間。
依然想說，舞台攝影對我而言是整體創作的溝通，同時亦是對戲劇作品的另一種領悟方式。
這輯照片能成集，極其感謝過去與我走過漫長戲劇旅程的導師及每位夥伴的奮力合作，因為他們勇於實現的精神，讓作品真誠地呈現在舞台。誰也沒想到竟有三年的疫情期，這期間劇場朋友們不言棄，共同守候，共同跨越難關，渡過劇場流離不穩的日子，繼續使每場演出在舞台上留下回憶，甚為珍貴。
特別感謝為籌辦6月The Moment劇場攝影展及是次攝影集的澳門劇場文化學會莫兆忠、盧頌寧， SomethingMoon Design 鄭志偉，他們的細心策劃和設計成就了劇場攝影展和攝影集的出版。
冬
6 May 2023
《詞話人間》，足跡，2021
Preface: Encountering Light and Shadow
I always feel that having a camera is necessary, even if it is a small one.
In daily lives, we often see things we want to remember but they pass by so quickly. Even though life can be repetitive, some fleeting moments will never come back.
In the mid-1990s, I became captivated by the interplay of light and shadow on stage. Since then, the camera has been my loyal companion. I began taking photos casually both backstage and onstage, igniting my life-long passion for photography.
As a theatre producer, I often follow productions from rehearsal room to the stage, and I never want to miss the opportunity to capture those precious moments. Show after show, time passes by, and I realize that a wealth of memories is stored in the hard drive. Wandering through these pictures, reflecting on the intersection of photography and performance, I come to see that the fleeting moments are actually the deepest memories. These photos capture the sensations conveyed by music, lighting, and actors. When the shutter button is pressed, the moment is frozen in time and sits in the dark abyss of the hard drive, silently waiting to be revisited again.
Therefore, I started to consider organizing a photography exhibition and publishing my collections.
Site-specific theater has the ability to record the changes of a place, capturing spaces that have expanded or disappeared due to urban development. As we revisit the photos, memories are being rediscovered and revitalized, such as Macau Memory “The Bus of 2001”, which took place around the city center on a slowly touring №3 bus in 2009; Prince of Lan Ling, performed in 2002 at Jardim do Cais in Taipa; KAFKA listening to the wind, which took place in vacant areas at Ilha Verde in 2009, among others. One performance that particularly stands out is Memory, which took place on the waterfront of Ponte de Amizade in 2001. Waves splashed on the embankment, and the lights shone on the dancer lifting one of his feet. As I looked at him facing the sea in the dark, I was filled with astonishment. At the end of the show, the director said, “We have such a beautiful moon and sea tonight. Let’s enjoy them before the upcoming reclamation.” The accompanying photos captured the mood of saying goodbye to the sea.
I must admit, I have a deep admiration for site-specific theater. When photographing these performances, I experience the joy of searching and discovering, much like embarking on a journey. As I reflect on the past and look to the future, I still believe that despite the city’s development diminishing countless spaces, the curiosity and creativity of theater artists will continue to thrive. They will persist in exploring and discovering their craft.
As this photobook is published, the Black Box Theatre in the Old Court Building at Nam Van and Navy Yard №2 at the Macao Contemporary Art Center are about to permanently close. Some of the theater spaces featured in the photobook will soon become a part of history, while new spaces will be born. As I continue to photograph new spaces, my camera will guide me towards new mysterious moments.
Theater photography, for me, is a means of communication and a way to understand the performance on a deeper level.
I am deeply grateful to all the mentors and partners who have joined me on this long journey in the theater. It is because of their courage and dedication to bringing their works to the stage that this photobook has become a reality. Despite the challenges of the pandemic over the past three years, these artists have preserved and continued to create memories on stage, making these experiences all the more precious.
I have to express my special thanks to Siochong Mok and Chongneng Lou from Macao Theatre Culture Institute, and CK Cheang from Something Moon Design, for their conscientious cooperation and design that led to this The Moment photography exhibition and the publishing of the photobook.
Winter Chiang
6, May, 2023
