剧目介绍

演出语言：中文演出，英文字幕

 

诺贝尔文学奖得主韩江代表作，首次改编舞蹈剧场

舞蹈剧场《素食者》口碑返场！

中国内地唯 一官方授权改编·舞蹈剧场

 

 

一把剖开女性、父权与暴力的利刃之作

席卷全球的现象级女性主义杰作

从文字到剧场，诠释一个关于自由选择与社会规训的当代寓言

“你现在不吃肉，这世界上的人们就会吃掉你。”

霸榜韩女文学的热门之作

这一次，用充满张力与诗性的舞蹈剧场颠覆想象

 

 

韩江本人认可，用身体传递故事内核

舞蹈剧场《素食者》初期的戏剧结构和作品构思

得到了作者韩江本人的积极认可和支持

"我在写作时，经常会思考这些问题：人类的暴力能达到什么

程度；如何界定理智和疯狂；我们能在多大程度上理解别人。

我希望《素食者》可以回答我的这些问题。“

——原著作者 韩江

 
剧目简介

舞蹈剧场《素食者》改编自韩国作家韩江（2024年诺贝尔文学奖得主）的同名小说。原作以女性英惠的身心转变为线索，讲述她因一场梦而不再吃肉，并逐步拒绝被解释、拒绝进食，走向一种近乎植物般的存在状态。

 

 

出品 三种碗合作社 疯阁楼

联合出品 YOUNG剧场

编舞/导演 江帆

编剧 庄稼昀

制作人 沈璐珺

共创 陈舒畅、丁友为、雷琰、廖婧琳、薛雯丹、王璨、徐志翔、余果

舞美设计 沈力

灯光设计 刘怡兰

作曲 王懿（EAU）

服装造型设计 曾韵竹

 
英文简介

Dance Theatre

The Vegetarian

 

A Masterpiece by 2024 Nobel Prize Laureate Han Kang

Adapted into a Dance Theatre for the First Time in Asia

Dance theatre production "The Vegetarian" is officially announced!

 

A phenomenal feminist masterpiece that has swept the globe

From text to theatre, interpreting a contemporary allegory about free choice and social norms

A Sharp and Incisive Work that cuts through Feminism, Patriarchy, and Violence

 

"If you don't eat meat now, the people of this world will eat you."

A popular novel that topped the charts of Korean women's literature

Making its debut on the Chinese stage, subverting expectations with a tense and poetic dance theatre production

 

Creative inceptions approved by Han Kang herself, conveying the story's core through performers' movement

 

"When I write, I often think about these questions: To what extent can human violence reach?How do we define rationality and madness? To what extent can we understand others?I hope 'The Vegetarian' can answer these questions for me."

— HAN Kang

 

Synopsis

The dance theatre "The Vegetarian" is adapted from the novel by Korean author Han Kang (winner of the 2024 Nobel Prize in Literature). The original work uses the physical and mental transformation of the female protagonist, Yeong-hye, as a clue, telling the story of how she stops eating meat after a dream, and gradually refuses to be interpreted, refuses to eat, and moves towards a state of existence almost like a plant.

 

Director's notes

Facing Han Kang's "The Vegetarian", I've always felt a sense of awe and pressure. It's like a mirror, reflecting the dark side of all of us within the "normal" order. Our adaptation doesn't aim to realistically recreate the novel's content, but rather focuses on presenting the subtle and chilling process of violence's insidious erosion, transforming this invisible violence into theatrical energy that can be perceived by the audience.

 

I want to express once again the greatness of Han Kang; her work constantly makes me ponder: Young-hye's refusal, beginning with vegetarianism, ultimately leads to the rejection of the human form. Is this the powerless resistance of the weak, or the ultimate awakening of the wise? Her inner world collapses, but does that almost plant-like state of existence build something new upon the ruins? These questions haunt me day and night.

 

I look forward to breathing this pressure-laden air together with the audience in the theater. We may not be able to provide the "standard" answers you seek, but we hope to share a tremor of "spiritual boundaries" through this shared experience, thus gaining a brief, unfamiliar glimpse into the "normalcy" upon which we depend for our existence.

 

—Choreographer/Director JIANG Fan

 

Playwright's notes

 

The first time I read *The Vegetarian*, my mind and body went on a journey with Yeong-hye, constantly pushing the limits. Perhaps many readers have also wondered: Was this Yeong-hye's only option? How will In-hye continue her life?

 

This is the power of the novel's narrative ethics—it doesn't explain Yeong-hye's choices, but instead pushes us towards a more fundamental question: How do we coexist with lives that refuse to be explained? How are their voices obscured, suppressed, and ultimately silenced within family, society, and intimate relationships? This sense of suspension, suffocation, and unresolvable frustration experienced during reading is precisely the starting point for our theatrical adaptation of the text.

 

Theater is a method of discovery, and the body is the site where both power and trauma simultaneously occur. When language fails, the body remains present, continuously asking questions. Yeong-hye's body can no longer bear the burden of existence as a human being: she refuses to eat, refuses to function, refuses to be "fixed," and thus encounters even more direct violence. In-hye's body also struggles to maintain "normal" integrity, constantly depleting itself through caregiving and maintenance, becoming the hidden cost of the community's functioning. Our work will present these bodies in their states of exhaustion, struggle, and failure; capture the moments of their mutual searching and brief alliances; and transform the cycle of violence constituted by infantilization, domestication, and sexualization into a tangible sensory experience for the audience.

 

This is what theater can do: create a perceived re-presence for those whose voices have been silenced.

—Playwright ZHUANG Jiayun

 

Adapted from HAN Kang's novel The Vegetarian

Choreographer/Director JIANG Fan

Playwright ZHUANG Jiayun

Producer SHEN Lujun

Stage Design SHEN Li

Light Design LIU Yilan

Composer WANG Yi (EAU)

Costume Design ZENG Yunzhu

 
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