關於 english speaking group 英文 口說團 ，我們在網路上蒐集到這些相關的討論、資訊與評價

📌📍《5月35日》「庚子版」 眾籌活動
集結力量 網上演出 六四前夕 全球直播
"May 35th" Gengzi Edition - Crowd Funding
Join Forces for Global Live Online Performance on the night before June 4th.

🔇🔇「以現在的社會狀況，我們的政治氣候，我擔心這個戲未必有機會再上演﹗」導演陳曙曦說。
🔊🔊"With the forecast of the political climate now, I am very worried that this play will not be any chance to put on stage again" said Chan Chu-hei, the director.

🚨🕯️我們希望集結公民力量，
令全球所有人都可以在「六四」免費網上觀賞《5月35日》，
讓這個故事遍地開花，
讓更多人了解真相、追求公義。
🚨🕯️We target to join the force of citizen
to let us share this Online LIVE theatre production
“May 35th”globally, make this story worldwide,
and let the truth speak for itself, justice be sought after.

‼️➡️眾籌支持方法 Way of Crowdfunding：

1) 請即登入網上平台：https://goget.fund/2Wz5kO9
（暫不能用PayPal 戶口，請用"Visa/ Master" 捐款
Please DO NOT use PayPal Account, but click the icon "Visa / Master")

2) 支票捐款- 抬頭寫「六四舞台」，郵寄到
九龍旺角彌敦道618號好望角大廈8字樓（六四舞台）
By Cheque - Please make the cheque payable to "Stage 64", and mail to 8/F, Good Hope Building, 618 Nathan Road, KLN. (Stage 64)

************************************************
2019年六月，是「六四」的三十周年，六四舞台邀請了著名編劇莊梅岩創作《5月35日》。首演5場及加開的6場門票均全部售罄，一致好評，更獲本屆舞台劇獎六大提名，包括最佳劇本！經歷了大半年的社會運動，面對過暴政與暴力，「六四」對香港人多了另一重意義，在謊言與假新聞氾濫的社會，《5月35日》為悼念亦為警世！

🧐🧐為了蒐集資料，編劇莊梅岩曾到訪內地訪問當年「難屬」，亦因此被神秘人「探訪」和「關注」，令她質疑香港的創作自由可能已經岌岌可危。

🤐🤐眼下的暴政和警暴，「廿三條立法」如箭在弦，六四舞台在香港再有生存的空間嗎？

🤬🤬當網絡上充斥假新聞，官方又不斷篡改歷史事件，究竟「六四屠城」和「反送中運動」在不久的將來會變成什麼樣的故事呢？

我們不知道答案，但只要有機會，我們仍然要演下去﹗因此當社會運動仍在激烈抗爭之際，六四舞台就馬上籌組了《5月35日》（庚子版）。

📆根據中國歷法，2020年是庚子年；翻開中國歷史，庚子年往往是浩劫之年。香港經歷多個月的社會運動，「六四」對步入庚子年的香港人有何意義？六四舞台今年誠邀著名導演陳曙曦，連同全新班底，重新創作《5月35日》 的「庚子版」。

😷😷鑑於疫情持續，政府下令關閉全港劇院，令原訂5月在香港藝術中心的舞台演出被迫取消，劇團為堅守信念，破天荒決定把這個震撼人心的六四故事以網上直播形式，於2020年六四前夕向全球人士同步免費播放（粵語演出，附中英文字幕），並於6月4日全日24小時在網上分享。其錄像版本亦將會製作成電影影片，把演出搬上大銀幕，讓更多人了解真相、追求公義。🖐️🖐️🖐️🖐️🖐️

June 2019 marked the 30th anniversary of the “June Fourth Incident”. Local art group Stage 64 joined hands with renowned playwright Candace Chong Mui-ngam to create May 35th. The first 5 premieres as well as the 6 additional shows were all sold out with great acclaims, followed by 6 nominations in the subsequent Hong Kong Drama Awards, including Best Script!

The social movement in the past 6 months has made Hong Kongers no strangers to tyranny and brutality, and has transcended the meaning of "June Fourth" within us. Especially when we are living in a world full of lies and fake news, the play "May 35th" is for mourning and also a warning!

🧐🧐Candance Chong Mui-ngam has visited the Mainland for screenplay research. There she met up with some interviewees, whose family members were June Fourth Massacre victims. It turned out some mysterious figures paid her a "visit" in return with "unexpected concern". She couldn't help but worrying: Is the creative freedom deprived even in Hong Kong?

🤐🤐Witnessing the escalating brutality against protestors, the eagerness of enacting Basic Law Article 23, how much longer can a play like "May 35th" be staged in Hong Kong?

🤬🤬Worse still are the tremendous fake news on the Internet and the tampering with history. Can you imagine how "June Fourth Incident" and "Anti-Extradition Bill Protest" will be interpreted in the near future?

We have no clue, but! As long as we have this opportunity to express, we will go on. Even when the protest across the city was still intense, Stage 64 started to plan for another "May 35th" , the Gengzi Edition.

📆In the Lunar calender, 2020 is called the year of the Gengzi. Historically speaking, the year of the Gengzi were always catastrophic. After months of social unrest, Stage 64 invited prominent director Chan Chu-hei, to re-create "May 35th" into Gengzi Edition with new cast and crew.

😷😷Then comes the Coronavirus pandemic and the compulsory closure of theatres by the Government. That left us no choice but to cancel the "May 35th" performance, which was originally scheduled to stage at Arts Centre in May. But what if we adhere to our beliefs? Here comes the bold decision-\-\to live stream this astonishing show, globally and for free on the night before June 4th, 2020 (Presented in Cantonese, with Chinese and English subtitles). The live version will then be shared online throughout the day on June 4th. What’s more? The performance will be filmed separately and released in cinemas. Let the truth speak for itself, justice be sought after. 🖐️🖐️🖐️🖐️✋

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

💰籌款目標💰
35萬，但50萬能讓我們做得更多
Crowding Funding Goal
HK$350,000, but we can go further if we get HK$500,000.

🆘製作一齣舞台劇的基本成本相當高，一般要靠數千張數百元的門票收入才能維持收支平衡。在疫情下失去劇院，沒有門票收入，加上題材敏感，《5月35日》要獲得商業贊助機會是「零」。因此，我們只能靠公民發揮力量，解囊相助，協助我們把舞台劇作全球網上直播及製成影片，把故事帶到更遠。

🆘A stage production costs a lot. Generally we need to sell several thousands of tickets to break-even. Considering the circumstances of coronavirus pandemic, we can no longer perform in theatres and therefore no income from box office. In addition, due to the sensitivity of the theme / topic, in spite of our best endeavours, it is impossible for May 35th (Gengzi Edition) to receive any commercial sponsorship. What we need now is everyone exert their power and generosity, elevating May 35th (Gengzi Edition) to online streaming platform and even to cinemas, bringing the story to the rest of the world.

家父常常會對我說不要自己一個人到處跑，好歹也找個一起伴吧（不過近年來他的這番話開始讓我懷疑有另一層含義，相信各位懂的，科科；老爸不好意思連續兩天cue你出場）！不諱言我已經非常習慣一個人旅行，而且有些行程是真的找不到伴，不過偶爾為了要去一個人比較難到的地方（通常是因為交通不便或單人成本太高）我還是會讓自助旅行變得不太自助，順便讓認識新朋友也變成旅行的一部分；今天和接下來兩天前往撒哈拉的行程便是如此。

My dad often said to me "don't always travel alone. You should find some partners!" (Which probably also implies he wants me to find a partner for the journey of life ASAP, haha.) Indeed I'm very used to traveling alone, and it's often hard to find people to join my trip, but occasionally I made exceptions -- due to lack of public transit or high cost, in some places I'd join tour groups. This is what I'm doing today and the next two days, on my way to Sahara.

今天的旅程是翻過北非的屋脊「地圖集山」（Atlas Mountain，其實是亞特拉斯山，但是身為一個地理人很私心的想把它翻譯成地圖集山，哈哈）。山的北邊是地中海氣候，最近正好是雨季，兩天都斷斷續續的下著雨，出發時下著滂沱大雨的山路讓人開始擔心會不會碰到土石流阻斷去路；幸好到了山的南邊就成為類似加州內陸的乾燥氣候帶，雨再怎麼下也下不過山脊，倒是在稜線上留下了皓皓白雪，像是塗滿糖霜的巧克力蛋糕那樣可口（我是肚子有多餓才會寫出這種奇怪的比擬啊）XD。

We crossed over Atlas Mountain, the ridge of North Africa. The north of the mountain has typical Mediterranean climate, and it was quite rainy when I visited, to the extent that I was concerned about the trip; the other side of the mountain, however, has arid climate similar to Californian inland. The rain only went as far as the mountain ridge, and stopped as snow on tope of the ridge. The snow-capped ridge looked like chocolate cake with icing on top. The other side of the mountain was quite nice and sunny.

山的另一邊是廣闊的赭紅色土地，上面長著棕櫚樹和矮灌木，傳統民房多為土造，因此顏色也自然和大地毫無違和的融為一體；即使是新建的磚造房屋，在顏色和風格上也保留了原本的協調性。這裡的重要景點是泥造古城Aït Benhaddou，一個讓人看到馬上就會想到典型電影中東或北非場景的地方。這裡原本是柏柏爾人的聚落，人去樓空之後透過電影獲得第二春，後來的確拍了不少電影，尤其是1970到1990年代間的聖經電影，最新的出鏡則是在劇集《權力遊戲》裡。到了這裡，同團的人都說真的有來到印象中的北非的感覺。不過漂亮歸漂亮，當地人無所不用其極從觀光客身上榨出錢的功力也是一絕，最好要有點心理準備。

Most buildings are made from mud, and thus retain the brown-red color of the land. Even contemporary buildings made from bricks still match this local style. Our major stop is Aït Benhaddou, previously a Berber village and later became a well-preserved ancient city. It has been featured in many films with north Africa and middle East backgrounds. Particularly, many of the "Bible movies" in 1970-1990 were shot here, and the latest on-screen appearance is on the game of thrones. The beauty here, however, comes at the cost of ambitious locals, who would try everything they can do make to buy things.

最後來講講新朋友這塊。雖然英文是大家的最大公約數，團裡卻沒有人的母語是英文，大概調查了一下國籍包括：比利時、義大利、波蘭、斯洛伐克，再加上文化相對接近的兩個中國女生、三個日本女生和一對日本情侶，這下又被我逮到練習其他語言（尤其是想學好卻超級破的日文）的好機會了。另外很有趣的是我透過自己知道的少少西班牙文，竟然可以從義大利文對話裡聽懂一些，意外讓我親身印證了兩者間的高度關連。跟團出來還有個超大的好處：終於有我能入境的照片啦！

明天就要和這些可愛的小夥伴前進撒拉拉沙漠了。令人期待。

Lastly about the "partners" I found in this group -- while English is the common language, none of us are born in a English-speaking country. Nationalities include: Belgium, Slavokia, Poland, Italy, Japan and China. This gave me good opportunities to practice foreign languages, especially Japanese. Even listening to Italian conversations make me realize its similarity to Spanish. What a bonus!

They'll be my peers to Sahara tomorrow. Look forward to it :)

這篇文章精闢描繪了現今台北市政府乃至於整個台灣對表演藝術的態度，卡勒看了既氣憤又無奈，在此翻譯分享給各位粉絲。希望我們都能盡微薄之力，慢慢改變台灣對藝術的看法。只有當我們能夠尊重一項專業時，它才能蓬勃發展，讓台灣發光。

＿＿
〈今天在公共場合發飆了〉
譯／卡勒

這是我第一次當眾情緒失控，氣到不行。

今天本來過得開開心心的，想說去參觀一下台北市街頭藝人考試，應該會更加愉快。到了國父紀念館，看見表演者都在各自的表演區準備就緒，感覺滿不錯的。直到我看到評審團的主審如何對待那些表演者，我就再也無法閉口不語。

我先說明一下這個考試：每位表演者都必須報名繳費，才能參加街頭藝人證照考試。他們有三分鐘的表演時間，希望能藉此獲得證照，就能靠自己的興趣來賺點小錢。但這位帶隊的評審（如照片所示）似乎很沒耐心。還不到一分鐘，他就硬生生打斷一個歌手的表演，說：「很多人都會唱不同語言的歌捏，像是英文歌啊什麼的。你唱一首來聽聽！」於是這個歌手開始唱台語歌。但才唱沒兩句，那位主審就和旁邊的評審交頭接耳，根本沒注意聽，接著他直接轉身離開，揮手示意其他評審跟上。

那個歌手根本唱不到一分半的時間（說好的三分鐘呢，不但沒有，還一直被這個評審打斷）。要記得：這個評審可是有領薪水的，是這些滿懷希望的表演者付錢請他來這邊看他們一展長才的。他基本上一再用同樣態度對待每個表演者，默視他們的用心與努力。連一句感謝的話也沒有說。他一副自己是大老闆的樣子，高高在上，俯視這些可悲的表演者。想聊天就聊天，想離開就離開，一聲「謝謝」、一個讚賞的手勢都沒有。一個鼓手在表演的時候一直被他打斷，說要「換點別的」。換了三次，他就頭也不回的走了。其他評審只是跟在他後頭，什麼也沒說。

於是，我走向前去，彬彬有禮的詢問他的大名和名片，告訴他希望未來能私下跟他一對一聊聊。他出言不遜，問我是什麼人。我能看出在他眼中，我這個年輕人不過就是個區區大學生。但我不是。我是個四十歲的舞蹈家、製片人，還是指導過全球各大名校與藝術節的教育家。

他不想給我他的名片。他似乎不太爽，而且很驚訝竟然有人會出聲。於是我說我可以留下自己的聯絡資訊，但我們需要好好討論一下剛剛的考核情形。

今天台北市政府審核表演者的方式，不僅不尊重，而且還嚴重侮辱了整個表演藝術圈。我不想把話說那麼白，但他讓我別無選擇。

我告訴他：第一，他對表演者的態度很不尊重。身為一個教育家，看到這種狀況，我是沒辦法保持緘默的。第二，這樣的審核流程對表演藝術社群很不公平。如果他不能把表演藝術者當作人看待，那他對藝術的看法又有何可取之處。我可以看出他氣炸了。但老話一句，他讓我別無選擇。他對待這些表演者的態度非常低劣。身為一個藝術家與藝術推動者，我必須有所行動。

承辦單位向我道歉，說考核必須繼續進行。我說我沒有要他們停下來的意思，只是想知道可以如何跟他們聯絡，討論這件事。跟我熟識的人，就會知道我是什麼個性。我這個人隨遇而安，幾乎不在公共場合發脾氣。但我今天所目睹的，對所有的表演藝術者來說都是天大的侮辱與蔑視。

這位高傲的評審完全不在乎我的意見。從他的眼神看得出來。基本上，他就是他自己所處世界的主宰，他說一，沒有人能說二。那就是他一貫的作風。在場的所有年輕員工都怕他。他今天表現這麼輕慢、無理、高傲，我真的很想知道他為什麼要這樣。

事後有幾個人走過來，感謝我勇於出聲抗議。他們其實也覺得很不滿，卻沒有勇氣對那個評審、或是對核發證照的單位表達意見。一名來自新北市的承辦人員說，看到表演者被如此對待，就連她自己也感到很不好受。

我不明白為什麼大家不站出來聲援彼此。台北市政府辜負了自己的市民，更是辜負了自己的表演藝術社群。

作為一個理應提倡藝術、文化與誠信的政府單位，他們今日的表現可說是慘不忍睹。這就像是叫貓、狗、鳥、猴來參加考試，然後告訴牠們考試內容是爬樹一樣。荒謬至極。

我留下聯絡資訊，他們說之後會跟我聯繫。如果他們沒這麼做，這就會成為我下一部製片計畫的主題，肯定很有意思。就拍一部紀錄片吧，拍攝一群滿懷希望與抱負的表演者受到何等對待的紀實。

我很抓狂，我很氣憤。真心希望他們能改變這般膚淺看待藝術的方式。

謝謝大家關注這個議題，我剛剛把評審的照片拿掉了，原因是我希望大家不要將這位評審當成壞人，而也我們把焦點專注在這個事件上，而不是人身上，我們才能真正長期的改善這個問題．因為我不會中文，所以我會和我的夥伴們一起再產出一篇更詳盡完整的中文文章，屆時也煩請大家一同關注，讓台灣的藝術環境更好，最好也謝謝幫我翻譯以下文章的朋友，我非常訝異這篇造成的影響力，感謝你們！

I CAUSED A SCENE TODAY IN THE PUBLIC

Today I got very angry and upset for the first time in public in front of a crowd.

What started out as a nice day, I thought it would only get better by attending the street performance artist's exam in Taipei. Everything seemed nice when I saw the performers were all prepared in their provided locations around the Sun Yat Sen Memorial Hall. But after I saw the head of the judge panel treated the street performers while performing, I couldn't keep my mouth shut.

Let me explained: each performer had to pay to register for the license exam. They were given 3 minutes to present their work(s) hoping they'd get a lisence so they can earn some sort of living from their passion. This one particular judge (pictured) leading the group seems impatiently listen and watch the street performers. It barely hit the one minute mark, he aggressively cut into the song of a singer and told the performer "many singers sing in different languages like English etc, sing in another language!"(I paraphrased with my bad Chinese translation). Then the singer started singing in Taiwanese language. But barely two sentences, he talked to another judge barely paying attention to the performer this head judge basically just left and gestured to the rest of the group to follow him.

The singer sang barely a minute and a half (they were promised 3 mins and they kept being interrupted by this judge). Bare in mind, this judge is earning a wage while these hopeful performers were paying him to be there. He basically did the same thing over and over again disregarding the artist's intent and hard work. Not a single word of appreciation. He just acted as he was a big boss looking down on these petty performers. He chatted as he wished and walked away without saying a "thank you" or a gesture of acknowledgement. A percussionist kept being interrupted asking him to do something different. Then he just left after the third time. The rest of the judges just followed.

So, i approached him politely asking for his name and his business card. I told him I wanted to talk to him one on one in the future. Degradingly he asked me who I was. I could see in his eyes that he saw a young man who looked like a student to him. But I was not and am not. I am a 40 year old dance artist, filmmaker and educator that have taught around the globe and in many prestigious colleges and festivals.

He didn't want to give me his business card. He seemed annoyed and surprised that someone spoke up. So I said I can give him my contact info but we needed to talk on how the exam went.

The way Taipei city exams the performers today was both disrespectful and insulting to the arts community in general. I didn't want to say this all out. But he left me with no choice.

I told him, for one, the way he treated the performers was disrespectful. As an educator I could not be quiet when I see something like that. Second, the process of the exam is not doing the art community any justice. If he cannot see the artists as a human being first, then what does it say about his view on the Arts. I could see him pissed off. But again he left me with no choice. He was very degrading towards these performers. As an artist myself and an art advocate I had to do something.

The organizer apologized to me said the process needed to go on. I told him I wasn't trying to stop them. I merely want to know how I could get in touch with them to discuss this. If you know me well enough, you should know my temperament. I am a happy go lucky person. I almost never get angry in the public. But it was genuinely insulting and degrading to every artists based on what I saw today.

This arrogant judge didn't care of my opinion. I could see it in his eyes. He was basically the superior in his world and his way was the right way. That's how he had always done it. All the young staffers there were afraid of him. Today he was disrespectful, rude, and arrogant. I really want to know why he does what he does.

After the incident, a few people came up and thanked me for speaking up. They felt the same way but they didn't have the courage to say it to this judge or the organization that issues these licenses. One organizer from the New Taipei City said even she felt bad seeing how the performers being treated.

I don't understand why people don't stand up for each other. The Taipei City has failed their community and even more so to their arts community.

For an organization that is supposed to advocate for the arts, culture and authenticity, they did miserably today. It is like giving an exam to a dog, a cat, a bird and a monkey then telling them that their exam is climbing a tree. It's absolutely ridiculous.

I left them my contact information. They said they will contact me. If they don't, this could be an interesting subject for my next film project. A documentary on how these hopeful, aspiring performers being treated.

I am mad and I am angry. I really hope they will change their shallow way of seeing Arts.

P.S. Share or repost in Chinese. They need to change. Thanks.

台北國際藝術村－寶藏巖 Taipei Artist Village－Treasure Hill
Taipei National University of the Arts
臺北表演藝術中心 Taipei Performing Arts Center
National Theater and Concert Hall, Taipei
中正紀念堂 Chiang Kai-shek Memorial Hall
National Taiwan University of Arts