《玩偶之家》第一集：抖音玩偶
“A Doll’s House” Episode I: Tik Tok Doll
《〈玩偶之家〉第一集：抖音玩偶》中的新娜拉们是几个习得抖音拍摄的短视频“达人”，她们通过一套自我身体治理和人设打造，或拥有娇好容颜或举止乖巧，在滤镜和美妆特效里观看自己，也被别人观看。手势舞、娃娃音，她们像永远长不大的孩子，会向荧幕对面的陌生人以“爸爸”、“老公”相称，她们扮演可爱，脸上一尘不染，动作仿若小猫、兔子等宠物，发出“喵呜”的声音，如果仔细凝视她们，会发现与“玩偶”无异，是升华抑或堕落？互联网随时批量生产的审美范式，在她们身上得以实验，同化无差别的“脸盲”，也在点赞经济效应下被崇拜着，俘获信众几十万甚至几百万的关注量，让她们成为无数人传阅的少女写真集。
《〈玩偶之家〉第一集：抖音玩偶》将让观众看到一群“可爱”的女孩是如何养成的，她们如何通过穿衣服、化妆以及舞蹈排练，使自己成为“理想”的形象。但当“可爱”泛滥成灾直至“可爱到爆炸”，会否演变成可怖？可怖是否也可以崇高？这些新娜拉们，哪怕嘴里念出当年娜拉即将毅然决然“离家出走”的台词，但不想长大的娃娃音终于使之坠入甜蜜软糯的呢喃。
In the “‘A Doll’s House’ Episode I: Tik Tok Doll”, the new Noras are the “experts” acquiring the skills of shooting short videos for Tik Tok. Through a series of body adjustments and character settings, they have either good appearances or gentle manners, and they look at themselves in filters and make-up special effects, and are looked at by others. With gesture dances and childlike voices, they were like kids who never grow up, and call strangers on the other side of the screen as “Daddy” or “Hubby”. Having clean faces, they act cute and are like pets, such as cats or rabbits. They even make a sound of “Meow”. If you stare at them, you will find they are just the same as “dolls”. Is it a sublimation or degeneration? The aesthetic paradigms produced by the Internet in volume at any time are practiced on them. The indistinctive “face blindness” is pursued under the economic effect of “giving a like”, and catches the attention of hundreds of thousands and even millions, making them a photo album of young girls viewed by countless people.
“‘A Doll’s House’ Episode I: Tik Tok Doll” will let the audience see how a group of “cute” girls are fostered, how they make themselves “ideal” images through dress collocations, make-ups, and dance rehearsals. However, when “being cute” is seen everywhere and even becomes “being extremely cute”, will it turn into terror? Will such terror become sublime? Though these new Noras speak the words of “running away from home” resolutely, their childlike voices of not wanting to grow up finally turn it to be sweet and soft twittering.
导演/舞美设计：孙晓星
表演：王嘉仪，李泇黎，付妤舒，刘婉彤
音乐设计：TSUNAMI，Tomás Peláez
Director/Scenographer: Sun Xiaoxing
Performers: Wang Jiayi, Li Jiali, Fu Yushu, Liu Wantong
Music Designer: TSUNAMI, Tomás Peláez
演出经历：
2019 第十二届北京国际青年戏剧节 中国国家话剧院国话先锋剧场 北京
2020 二〇20年：整个世界变成了剧场（策展人：张渊，刘超) OCAT深圳馆 深圳
2020 2020新艺术节“Maker Art”thenewartfest.com 里斯本
2020 中国大戏院“微戏剧”在线邀请展bilibili.com 上海
Previous performances:
2019, Beijing Fringe Festival 2019, National Theatre of China Guohua Xianfeng Theatre, Beijing.
2020, 2020: Twenty Years towards A World Theatre (Curators: Zhang Yuan, Liu Chao), OCAT Shenzhen, Shenzhen.
2020, The New Art Fest 2020 “Maker Art”, thenewartfest.com, Lisbon.
2020, Great Theatre of China “WE DRAMA”, bilibili.com, Shanghai.