王子月是一名關注當下社會問題和社會現實的多媒體藝術家，多以多頻錄像、裝置、劇場表演為媒介進行創作。

曾舉辦個展“第六天”（ 2019，北京Tabula Rasa畫廊），“詩？小說？”（2018，日本京都藝術中心），“破碎的偶像”（2016，廣州風眠藝術中心）、“沒事，隱形的存在在後腰頂你”（2015，北京Tabula Rasa畫廊）。

其創作受邀參加深港城市 / 建築雙城雙年展(2019， 深圳)、第十屆上海雙年展（2014，上海 PSA）、第九屆上海雙年展特別項目中山公園之《回聲》展（2013，上海 PSA）等群展。

作為劇場創作者曾參與創作西岸 2013 建築與當代藝術雙年展開幕演出（2013）、第十五屆上海藝術博覽會國際當代藝術展開幕演出（2011）等。

作為策展人策劃展覽有“實驗劇場 30 年” （2015），這也是中國實驗劇場自出現以來的第一次總結文獻展， 同時關注地域拆遷和城市化進程問題所策劃的“轉塘拆遷區駐地創作計劃”共七期活動（2012-2014）等 。

作為Capsule Mall劇團（成立於2016年）的創始人，她試圖重建一套“跨媒介遊戲劇場”的實踐方法論和教學理論，並於2019年受邀為“浙江省教育廳藝術委員會全省優秀中小學美術教師培訓計劃”設計授課課程和創作實踐。

Wang Ziyue is a multi-media artist whose works often tackle social issues and span a range of media, from multi-screen video, installation to theater performance.

She has been the subject of numerous solo exhibitions, including “The Six Day”(Tabula Rasa Gallery, Beijing, 2019)， “Novel of Poem” (Kyoto Art Center, Japan, 2018), “Broken Idols” (FM Art Space, Guangzhou, 2016), “Relax, the Force Has Got Your Back” (Tabula Rasa Gallery, Beijing, 2015).

She was invited to participate in numerous group exhibitions, including the Bi-city Biennale Of Urbanism/Architecture (Shenzhen,2019)、The 10^th Shanghai Biennale (PSA, Shanghai, 2014) and Reecho: Mingyuan Zhongshan Park Project of 9th Shanghai Biennale (PSA, Shanghai, 2013).

As a theater practitioner, she created the opening performances for the West Bund 2013 A Biennial of Architecture and Contemporary Art (2013) and Shanghai Art Fair International Contemporary Art Exhibition (2011).

As a curator, she curated the “30 Years of Experimental Theater” (2015), which was the first survey exhibition since the emergence of Chinese experimental theatre. From 2012 to 2014, she organized seven occasions of the “Artist-In-Residency at Zhuantang Demolition Area”, which focuses on the issues of demolition and urbanization.

As the founder of the Capsule Mall Experimental Theater (founded in 2016), she attempts to create a set of theory and teaching methodology for “Multi-media Gaming Theater”, and in 2019, she was invited to design a course and creative practice for the “the Art Teacher Training Program” organized by Art Committee of Education Department in Zhejiang province.

提對問題

從「社會劇場」到「問題劇場」

「我在去每個城市做『問題劇場』項目之前，會先有一個大概的問題方向，到達這個城市後，通過合作機構的平臺公開招募不同年齡、階層的當地民眾參與工作坊，他們需不間斷地參與到兩個月內的每週六全天的劇場工作坊中，一共大概七、八天的工作量。在這幾天的劇場工作坊中，會用到『感覺重塑-肢體遊戲、個人地形圖示、日常物的感知訓練、一分鐘關鍵字故事和身體創作實踐…』這些我設計的方法對參與者進行引導和訓練，再結合平時我在城市中觀察走訪的思考產生創作方案。本質上，劇場工作坊就是提供給參與者一個可以通過遊戲、對話、肢體等方式進行自由交流、表達自我、釋放情感的空間，同時它也是一個用來回應自己對當下生活的思考、對社會問題的看法的場所。(……)在創作中，我會在表演作品的結構基礎上引導參與者共同完善，他們可能是其中的演員，也可能是提供文本素材的人。」參與者是素人演員們。最開始參與者很難有很強自主性，大多會抱着體驗和學習藝術的心情進入。但是在大家一起漸漸瞭解狀況後，在共同推動之中，參與者會發現其實自己是可以影響整個團體的，甚至影響最後的創作或表演走向，所以工作坊後期會很自然的調動自發性，會比較生動有趣，互動性也變很強。在劇場工作坊的過程中，我的角色其實更像是構作和導演的身份，也可以理解為設計「遊戲」規則的人，前期我會給出一個框架，然後由參與者來填充。可能我初始設置一個情境，讓大家進入之後，在這個遊戲的過程當中，我會去感受每一位參與者的狀態、性格，他的身體語言和自我表達各個方面的狀況，然後我在每一場工作結束之後，會根據當時的狀況去更新下一場的內容，總體而言這是一個貼合性很強的創作過程。

這種共同工作的經驗，一方面使我可以更多角度、維度的去理解我提出的問題；同時它也是參與者之間的相互補充，每個人由於身份背景和人生經驗的不同會導致對同一個問題的看法完全不同。當我們現場參與者都表達出自己對問題的看法時，會使我們對這個問題的回饋相對比較完善和全面。我認為這種工作方式在創作前期是比較有效的一個田野方法。

提對問題

我2017年準備開始「問題劇場」計劃時，將整個創作計劃的核心定位於針對我們現在所生活的現實狀況提出問題，希望通過藝術作品可以喚醒民眾的「問題意識」的一個出發點去開展工作。因為經常會和台灣藝術家陳界仁老師聊一些藝術觀點和創作，他很直接的指出，提問題比較容易，但是提「對」比較難，他讓我確定提「對」問題的重要性。從「社會劇場」到「問題劇場」計劃，核心關懷都是當今社會不斷彰顯出的問題和「人」的存在狀態。

從藝術創作到藝術教育

2016年，我開始在着手調研並嘗試研發一些不同於市面上的藝術教育機構和學校裏所做的藝術教育。譬如說我設置一個針對3-16歲少兒的綜合性藝術教育活動、強調跨媒介遊戲參與的實驗場。

2017年開始我和團隊在國內不同城市開展實踐活動，跟不同的學校合作。這種從不同年齡段的兒童以及前來參與的代際關係中所得到的回饋都堅定了我對於藝術教育的設想。我嘗試構建一個「跨媒介遊戲劇場」的藝術教育體系。

在這幾年的實踐過程中，因為要推進很多合作項目，和不同行業的人打交道，反而更加完善了我對於社會現狀和不同年齡段的人群的認識，這補充和增進了我的個人創作。無論是「問題劇場計畫」還是「跨媒介遊戲劇場教育」這些實踐都是相互滋養和增進的，我也相信它們共同構成了我認為有意義的事。

Asking the Right Question

From Social Theatre to Question Theatre

“Before I go to each city to carry out the ‘Question Theatre’ project, I will first have a general idea of certain social issues. After arrival, through the platforms of collaborating organisations, I will openly recruit local people of different age groups and classes to participate in the workshops. Participants constantly take part in the full-day theatre workshops every Saturday for two months, about seven or eight days of work in total. During the theatre workshops, we will use ‘Reshaping Senses-body games, personal mapping, perception training on everyday objects, one-minute keyword stories, and body creation practice…’ I designed such methods to guide and train the participants, and combine with the thoughts and observations derived from my visits in the cities to generate the final creation. In essence, theatre workshop is to provide participants a space where they can freely communicate, express themselves and release their emotions through games, dialogues, and body movement. At the same time, it is also a space for responding to their own thinking about current life and their opinions on social issues. […] During the creative process, I will guide the participants to collectively improve the performance based on the performance work structure. They may be the performers among them, or they may be the people who provide the content.”

Participants are amateur performers. At the beginning, the participants do not have a strong sense of subjectivity, most of them will come with the intention of experiencing and learning art. But after everyone gradually understands the situation and develops together, participants will find that they can actually influence the entire group, and even have a great contribution on the final creation or performance’s development. So in the later stage of the workshop, participants will be highly self-motivated, as a result the workshop becomes more vivid, interesting and interactive. In the process of the theatre workshop, my role is actually more like a composer and director, also considered as a ‘game’ rule designer. I will provide a framework from the beginning, then let the participants improvise. For instance, I initially set up a situation, and during the process of this game, I will feel the state, personality, body language and self-expression of each participant. Each day after the workshop, I would update the content for the next session according to the current situation. Generally speaking, this is a very intimate and interdependent creative process.

This kind of experience of collaboration, allows me to understand the questions in more diverse perspectives and dimensions; at the same time, it is also a complement to each other among the participants, each is so different because of one’s unique identity, background and life experience. Thus, when our on-site participants all express their views on the issues, it will make our feedback relatively more complete and comprehensive. To me, this field method is more effective in the early stage of creation.

Asking the Right Question

When I was preparing to start the ‘Question Theatre’ project in 2017, it centered on questioning the reality of our lives at present, hoping to raise ‘critical awareness’ of the public through artworks. By the time I often discuss with Taiwanese artist Mr. Chen Chieh-jen about some artistic viewpoints and creative process, he pointed out directly that it is easy to ask questions, but it is more difficult to ask ’right’ questions. He inspires me the importance of raising the ‘right’ question. The project from ‘Social Theatre’ to ‘Question Theatre’ , the core concern should remain the same, that is, the social issues kept manifested in the society and the state of existence of the ‘people’.

From Art Creation to Art Education

In 2016, I started to research and develop art education programs that are different from the current art education institutions and schools. For example, I set up a comprehensive art education activity for children aged 3-16, emphasising the comprehensive participation in cross-media experimental games.

From 2017, my team and I began to carry out practical activities in different cities in China. Positive feedback from children at different ages and intergenerational relationships has reassured my vision for art education. I wish to build a ‘cross-media game theatre’ art education system.

In the past few years’ practises, in order to push forward many collaborative projects, I have been working with people from different industries, which complements and enhances my creative practice. No matter is ‘Question Theatre’ project or ‘Cross-Media Game Theatre Education’, these practices nourish and reinforce each other, and I also believe that these collectively constitute something meaningful.