舞台场景设计

Scenography Portfolio

国家艺术基金 戏剧构作，舞台设计 上海国际舞蹈中心

China National Arts Fund -

Dramaturgy，

Stage Design

Shanghai International Dance Center

设计阐述：

这个舞剧取材于中国残疾人艺术团萨克斯演奏家王琦的成长故事。讲述他是如何从一个贪玩少年炸伤眼睛失明，又如何在伤痛自卑中迷失，又因为寻得热爱的音乐重新人生的故事。

这个设计最重要的元素，是“光”。每一个物件都有自己的光，但盲人的光被收走了。这种伤痛怎么表现呢？

这个项目工作时正是盛夏，盂兰节后很长一段时间，街道的十字路口焚烧过的印记怎么也冲洗不去，日子长了那些痕迹还在。我想心里的伤疤也是这样的，隐痛如同呼吸一直存在。于是我用多媒体做了一个可放大缩小左右前后移动的黑色光斑。这个光斑就是这个失明少年的心像与处境。在舞剧编排的过程中把黑色的光斑与舞段的节奏组织在一起如同呼吸。时而黑色的光斑把少年笼罩，时而黑色的光斑把所有的场景与人吞噬。时而少年与黑色的光斑的边沿交流，如同与自己说话。

舞台设计做了一个“光”的形象，黑色的光斑，黑色的光斑与灯光设计师的光融合为同一种语言。

到后面慢慢地随着众演员的奔跑黑色的光被跑散，众人跑呀跑啊整个舞台一片光明。

Interpretation of the Work：

This dance drama is inspired by the life story of Wang Qi, a saxophonist from the China Disabled People's Performing Art Troupe. It tells the story of how he, as a playful boy, accidentally injured his eyes and became blind, how he lost himself in pain and inferiority, and how he rediscovered his life through his love for music.

The most important element in this design is "light". Every object has its own light, but the light of the blind is taken away. How can this pain be expressed?

The project took place in the height of summer, and after the Ghost Festival (a traditional Chinese holiday when people burn paper money to honor their deceased loved ones), for a long time, the marks left by the burning at the crossroads couldn’t be washed away. Over time, those traces remained. I thought emotional scars are also like this—hidden pain that persists constantly, like breathing. So, I created a black spot of light in the multimedia design, one that could enlarge, shrink, and move in all directions. This black spot of light represents the inner vision and situation of the blind boy. In the choreography of the dance drama, the black spot of light was organized with the rhythm of the dance, like breathing. Sometimes the black spot would cover the boy, sometimes it would swallow the entire scene and the people. Sometimes, the boy would interact with the edge of the black spot, like talking to himself.

The stage design created an image of "light", with the black spot of light merging with the lighting designer's work to form a unified language. As the performance progressed, the black light gradually dispersed with the movement of the actors. As they ran, the entire stage was filled with light.

Qfun儿童剧团 舞台设计 2024年北京保利剧院

Stage Design Beijing Poly Theatre 2024

设计阐述：

《诗经海海》让我联想起鲁迅先生笔下的《从百草园到三味书屋》。

鲁迅先生洞悉所有孩子隐秘的乐趣，《从百草园到三味书屋》童年与成长似乎就在野草丛生的百草园与学堂的那段距离里。

野草从有某种与我们的古典传统血脉的连接。把童年与生命的成长放置在芦苇荡里，在镜面平台的水天之间，自有一番我们中国人独有的天人合一的自在与浪漫。

在镜面平台与芦苇荡之间的攀爬与飞奔间，成长已至。

Design Statement:

The Book of Songs: Vast Waters recalls Lu Xun's essay From Hundred-Herb Garden to Three-Flavour Study, where childhood unfolds in the distance between a wild, overgrown garden and the strict desks of a schoolhouse. Wild grasses carry a quiet link to Chinese classical tradition. I set the stage as a vast mirrored platform surrounded by reed marshes, dissolving the line between water and sky. Clambering and sprinting between the mirrored floor and the reeds, the children grow through movement.

舞台设计 2022年

Stage Design 2022

设计阐述：

妈妈去世了。在这个困难的时刻，爸爸把难过隐藏了起来，孩子则动手用纸箱子做了一个去世的妈妈来陪伴自己吃饭读书睡觉，甚至带着“妈妈”一起出门去逛超市，这让爸爸非常尴尬。

一天孩子要带着她的“妈妈”去学校，让同学们见见自己的“妈妈”。爸爸担心地给老师打电话。老师告诉爸爸，同学们都能接受“妈妈”并一起动手打扮“妈妈”。孩子带着“妈妈”从学校回家后，从此，吃饭，睡觉时不再需要“妈妈”的陪伴了。孩子用自己的想象力完成了与去世的妈妈的告别。

我用成人的视角开始这个舞台设计。成人的情绪不轻易向他人敞露，像一个被束紧的包裹。成人的面相，一面对外，一面则是他人不可见的私人情绪空间。我设计了两个一模一样的客厅，一个客厅展现在观众面前，另一个客厅用了丝网材质包裹起来，起先不透光，观众是看不见的。权当做是爸爸的储物间，或是厨房。

故事开始，家是沉闷的。爸爸几乎是一个人躲在丝网做的房子里,观众只能听见声音爸爸躲在厨房里的洗洗涮涮的声音。观众面前的客厅是正在进行时的时空，在这个空间里爸爸和孩子过着失去妈妈的生活。只是当记忆中的妈妈走进后面的丝网房间里面的灯亮起来，观众才惊觉后面的屋子里有一个与舞台前区一模一样的客厅，一样的时钟，一样的桌子，一样的桌布。爸爸的储物室与曾经家的客厅叠加了在一起。

从学校带“妈妈”回家，孩子晚上睡觉不再需要“妈妈”的陪伴了。“妈妈”独自坐在客厅里。后面的丝网房子渐渐亮了起来，整个客厅椅子，桌子，时钟一并向上缓缓升起，像一个孔明灯在半空轻晃，像一个祝福。

Stage Design Statement

The mother has passed away. During this difficult time, the fat herconceals his grief. The child, meanwhile, processes the loss by constructing a cardboard effigy of their deceased mother to accompany them during meals, study time, sleep, and even outings to the supermarket. This behavior causes the father significant embarrassment. When the child wishes to bring “Mom” to school to share with classmates, the father anxiously contacts the teacher. The teacher reassures him that the classmates not only accept “Mom” but collectively adorn her. Upon returning home with “Mom” that day, the child no longer requires her presence at mealtimes or bedtime. Through this act of imagination, the child achieves closure in bidding farewell to their departed mother.

The design originates from an adult perspective. Adult emotions remain guarded, like a tightly fastened parcel—locked away and inaccessible. Adults present dual facades: one external, the other inhabiting a private emotional realm invisible to others.The stage features two identical living rooms. The first is fully visible to the audience. The second, concealed behind an initially opaque wire mesh scrim, remains unseen at the outset—perceived perhaps as the father’s storage room or kitchen. The narrative opens in a stifling home: The father retreats almost constantly into the kitchen; the audience hears only the sounds of him washing dishes. The foreground living room occupies the present-tense reality where the father and the child navigate life after the mother’s death.

Only when the memory of the mother enters the space behind the scrim do its interior lights illuminate. The audience then discovers an identical room beyond: the same clock, table, and tablecloth. The father’s

utilitarian space becomes superimposed upon the memory of the family’s former living room. After the school day, when the child retires to bed—no longer needing “Mom”— the cardboard figure

remains seated alone in the living room. Gradually, the lights intensify within the mesh-enclosed room. The entire interior—chairs, table, clock—begins a slow, vertical ascent. It sways gently mid-air like a Kongming lantern (sky lantern), evoking a benediction lifting into the heavens.

导演 ，舞台设计 2019年中国国家话剧院

Directed，Stage Design China National Theatre 2019

《旅鼠》( 导演作品）

从绝望寓言到疯狂喜剧

《旅鼠》在1979年嘉成，是寺山修司一生中最後的一个戏剧剧本。故事讲的是中华料理学徒“王先生”房周的

“墙”忽然消失的意外。

一旦“墙”消失后，所有的事情都开始变得超现实。寺山修司以墙消失作为切入口，把现实生活剖开，切碎。看似

漫不心，却以游戏化相互扮演的方式揭示人存在的困境及自我迷失的真相。

“墙”成为了规则与标准的隐喻

墙”是语言，

“墙”是性别，“墙”是肤色。

“墙”是规则。我用被子来表现“墙”。

一人一床被子。表现“墙”消失后的私人空间是如何相互渗透。人在集体中如何失去自我的标准。大家裹挟睡在

同一床被子里。如何在彼此的被子里下自己的蛋。让自己的梦可以长得更大。

这是一出疯狂喜剧。

"Lemmings" (Director’s Work)

From Despair Parable to Absurdist Comedy

Lemmings, completed in 1979, stands as Terayama Shūji’s final theatrical script. The story centers on "Mr. Wang," an apprentice in a Chinese restaurant, whose surrounding "walls" suddenly vanish.

Once the walls disappear, reality unravels into surreal chaos. Terayama uses this vanishing boundary to dissect and fragment everyday life. Seemingly casual yet revealing, the play employs role-swapping games to expose human existential crises and the truth of self-loss.

The Wall as Multilayered Metaphor:

"The Wall" is language

"The Wall" is gender

"The Wall" is race

"The Wall" is social norms

Staging Concept:

I materialize "the wall" through quilts.

One actor, one quilt — visualizing how private spaces permeate each other post-"wall."

Collective sleep under a shared quilt embodies the erosion of selfhood within groups.

Actors

"hatch eggs" in each other’s quilts — a grotesque metaphor for implanting dreams in borrowed spaces to nurture delusions of growth.

This is madcap comedy — a carnivalesque requiem for collapsed boundaries.

舞台设计

Stage Design

设计阐述:

明代才子徐渭的剧本。讲的是庙里的和尚四处偷情 ，寡妇家门，州官在寡妇的闺帷里时常出入。官不

官，民不民。

于是设计了一个小于正常比例四处穿帮的城镇。把四个场景组织在一个结构里,衙门的后面是州

官后院,庙里和尚的菜园子与和他通奸的娘子家对门.各个场景在转台上旋转。你家的物件到了我

家，我家的婆娘去了你家。一团乱麻。

人间闹剧，且歌且啸。

Design Statement:

This staging reimagines a Ming Dynasty satire by literatus Xu Wei, exposing monastic debauchery, widows' compromised doors, and magistrates' bedchamber intrigues—where social hierarchies collapse into

carnivalesque bedlam.

Core Scenographic Strategy:

A diminutive town model

riddled with deliberate breaches:

Four interconnected scenes compressed within one structure

The magistrate’s courtyard backs directly against his courtroom

The monk’s garden faces his lover’s houseacross an alley

Mounted on a revolving stage, the model spins in disorienting cycles:

Domestic objects migrate across scenes

Wives appear in strangers’ doorways

Sacred and profane spaces bleed into each other

Visual Syntax:

Scale distortion: Undersized architecture mirrors social order atrophy

Forced perspective: Leaning walls create moral vertigo

Transgressing boundaries: A cabbage rolling from nunnery to courtroom becomes lust incarnate

The machinery groans; the town spins faster. What emerges is not chaos but exquisite entropy

—a whirligig of human folly where every rotation tightens the noose of hypocrisy.

舞台设计

Stage Design

中国传媒大学 2009年金刺猬戏剧节金奖

Gold Award, Golden Hedgehog Theatre Festival 2009

China University of Communication (CUC)

设计阐述:

两对青年男女在同一屋檐下，青春期荷尔蒙激荡，交错的情爱与友谊，不安躁动的情绪如何表现？设计了一个离地50cm的房间。如同悬在半空的跷跷板。这个房间可360度旋转。房间倾斜随着演员的行动与演员自身的质量而改变，每一个人的行动都需要小心审慎一不留神平衡即将被打破。有危险也有游戏的意味。在这个舞台设计中提供了规则与限制。演员的肢体行动与舞台设计之间的相互成就。所有的情绪与激动，最后在房间的空转中结束，惆怅的青春在轰轰空转的房子的惆怅汹涌的情绪里终结。

Design Statement:

Two young couples coexist under one roof. How to manifest the hormonal turbulence, entangled affections, and restless emotions of adolescence? We designed a room suspended 50cm above ground — like a teetering platform mid-air. This structure rotates 360 degrees, its tilt dynamically shifting with the actors’ movements and body weights. Every action demands meticulous caution; a single misstep could shatter the balance. Danger and play intertwine.

The stage design imposes rules and constraints:

Actors’ physicality and the architecture exist in mutual dependence.

Each gesture recalibrates the space; each tilt heightens emotional stakes.

All passions and agitation culminate in the room’s ceaseless, empty rotation. Youthful melancholy dissolves into the droning whir of the revolving house — a requiem for adolescence where fervor surrenders to gravitational sorrow.

设计阐述:

百无聊赖、几乎静止不动的生活该如何用空间表现？那就把“风”和“时间”具体地做出来。舞台上所有的日常物件都被锁定吹向同一个方向：飞在半空的干草、紧绷的床单，以及烟囱里冒出的、被具象制作成固体体积的黑烟。这个凝固的场景几乎整场戏没有一丝变化，用时间给一成不变的日常做最冷酷的注解；直到尾声，凝固的黑烟开始分解散落成灰烬，露出空余的金属框架，干草与床单才在真正的新风中微微摇晃。

Design Statement:

To manifest a life frozen in suffocating stillness, we materialized wind and time as solid forms: hay bundles, bedsheets, and volumetric black chimney smoke are all locked mid-gust in a single direction. Only at the very end does the solid black smoke fracture into falling ash, leaving bare metal frames as the hay and sheets finally stir in fresh air.

舞台设计

Stage Design

设计阐释：

吉卜林的这几个小故事发生在南美洲的热带雨林里，几个故事如何共享同一方舞台并快速迁换？最绚烂的想象永远藏在没有直接显现的空间里。起初舞台是全黑的，唯有黑色天幕上掏出的一个洞。洞后设有滑轨，随剧情滑出橙色的太阳、窥探的眼珠，或猛地探出几个脑袋往舞台上扔东西。当表演来到亚马逊河时，演员一把揭掉地面的一块黑布，露出一道镜面——这就是河流了；另一人把黑天幕撕开一角，舞台深处的光穿透层叠的叶片射上台面——这几个被撕开的角落，便构成了我心中未曾抵达却无比浓郁的热带雨林。

Design Statement:

Rudyard Kipling's tales unfold in the South American rainforest. How can several stories share a single stage with rapid transitions? The richest imagination always lives in what remains unseen. At first, the floor and backdrop are completely black, except for a single hole cut into the back cloth. Behind that hole runs a sliding track—revealing an orange sun, a peering eyeball, or heads suddenly popping out to toss objects onto the stage. When the story reaches the Amazon River, an actor pulls back a strip of black floor cloth to expose a mirror beneath: the river. Another tears open a corner of the black backdrop, letting deep stage light cut through layered leaves. Those few uncovered corners form the rainforest of the imagination.

舞台设计

Stage Design

2006 中央戏剧学院北剧场

North Theatre, Central Academy of Drama 2006

设计阐述:

我理解剧中四姐弟他们是不在异乡的异乡人,以此为方案的切入点。

选择皮箱作为所有舞台行动的载体及构建场景的最要形象。行李对于要离家去莫斯科的三姊妹来说，似乎永远也装不满，带不走的。。。踌躇的脚步注定了放不下,离不开的命运。到如今三姊妹依然是呆坐在满是落叶林子里的异地幽灵。

Design Statement:

I perceive the four siblings in the play as exiles within their own homeland — this paradox forms the conceptual anchor.

The suitcase emerges as the primary vessel for stage action and scenographic construction. For the three sisters bound for Moscow, their luggage remains perpetually unpacked, forever incomplete... Their hesitant footsteps

are destined to linger, trapped between departure and belonging. Decades later, they persist as specters of displacement — seated motionless in a foreign grove, swallowed by a carpet of dead leaves.