刘科栋_中国舞台美术学会

专业分类：专题报道

05.14.2019

Liu Kedong

stage designer for The National Theatre of China. He is also Vice President of the China Institute of Stage Design (CASA).

He graduated from The Central Academy of Drama’s stage design department in 1995,As of today, his has over a hundred works, including operas, musicals, theatre, dances, and contemporary dances. His works are grand and full of spirit, with great variation, all creating awe inspiring visuals. He is an avid fanatic of Chinese traditional aesthetics. He interprets many traditional Chinese elements into his contemporary work which have met with great success.

THEATRE<Special Amnesty >

STAGE DESIGN：LIU KEDONG

LIGHT DESIGN：HU YAOHUI

COSTUME DESIGN：ZHAO YAN

2018 PREMIERED IN NATIONAL THEATRE OF CHINA

The concept of stage art design for drama “Amnesty”
The visual style of this play requires an ultimate sense of modernity that reveals the charm of the Republic of China wrapped by modern elements - the solemn and calm performance temperament. On the theatrical stage, there is even a piece of Zen thinking like entering the subconsciousness, externalizing the isolation of revengers from others, and being imprisoned by loneliness, which means seeking an extrication, even suffering pain, slowness and inextricability. The space structure both on and off the stage can stimulate intense communication and confrontation.

OPERA<SANDALWOOD DEATH>

PLAYWRIGHT：MO YAN

DIRECTOR：CHEN WEI

STAGE DESIGN：LIU KEDONG

LIGHT DESIGN：WANG QI

COSTUME DESIGN：PENG DINGHUANG

2017 PREMIERED IN SHANDONG GRAND THEATRE

The concept of stage art design for opera “Sandalwood Death”

Master Mo Yan has introduced a magic, jocose and trembling moral in his libretto for opera „Sandalwood Death “ by means of zilch in great era, fates intertwine with each other, blazing disturbing reflection due to interaction, the night before the building collapse and the doomsday, invisible and tangible, strong and weak, whole and individual… Complex dialectical message is conveyed in these characters‘ conflicting fates, such as confrontation and obedience, truth and illusion, cruelty and warmth etc., and the tragic ending is pushed forward by the power of the end of the world.

Scenic presentation for this opera only consists of the puppet as character element with an invisible operation. It reinforces abrupt modality and thrilling visual sensation. The collision between ordinariness and extraordinariness deserves the focus and thinking of the audience, cultivates profound connotation and creates atmosphere of the modern opera.

刘科栋

中国国家话剧院一级舞美设计

中国舞台美术学会副会长

1995年毕业于中央戏剧学院，设计作品曾多次参加中国艺术节及中国戏剧节、以及众多的国际艺术节和戏剧节，2013年入选英国世界舞台设计展100人（WSD2013），2105年参加PQ国际舞美展中国国家展、2017年作品入选台北世界舞美展，舞台设计多次获国家级奖项。主要作品：话剧《简爱》《理查三世》《红玫瑰与白玫瑰》《萨勒姆的女巫》《丽南山的美人》，歌剧《游吟诗人》，现代舞《GENESIS生长》。

话剧《特赦》

舞美设计：刘科栋

灯光设计：胡耀辉

服装设计：赵艳

首演于2018年中国国家话剧院剧场

话剧《特赦》舞美设计构思
这个剧目的视觉风格追求极致的现代感，在现代品格的包裹下透露出民国的气韵—即庄重而冷静的演出气质。演剧空间甚至透着一丝禅意的思考，如同进入了潜意识的境界，外化复仇者与他人的隔绝，深锁在孤独的世界里，痛苦、缓慢、无法解脱却依然要寻求着解脱。台上台下的空间结构可以刺激出激烈的交流和对抗。

歌剧《檀香刑》
编剧：莫言
导演：陈蔚
舞美设计：刘科栋
灯光设计：王琦
服装设计：彭丁煌
首演于2017山东省大剧院

山东艺术学院出品

歌剧《檀香刑》舞美设计阐述

莫言老师的歌剧剧本《檀香刑》具有魔幻戏谑的、让人心生战栗的寓言气质，从小人物到大时代，命运相互交织、相互作用间释放着不安的强烈信号，似大厦将倾、万劫不复的前夜，无形和有形，强大和弱小，整体和个体……，传递复杂辩证的讯息,在对抗与顺从、真实与虚幻、残酷与温情等等这些相互冲撞的人物命运中，在强权末世的时代裹挟下、推动着情节发展走向黑色的悲剧结尾。

舞台呈现我仅用提线木偶的人体元素，一种无形的操纵，进行扭曲夸张的组合，强调出突兀的形式感和惊悚的视觉感。在形象平庸和奇艺的对撞中引发观者的深思，营造富于深刻内涵的现代歌剧氛围。