Abstract:

Cambodia's spoken drama, lakhorn niyeay, did not receive the same resuscitation for the arts after the Khmer Rouge genocide that was given to traditional dance and music at the end of the twentieth century. It is currently getting more attention from the country's main arts NGO, Cambodia Living Arts, as well as support from the French Institute's Cultural Center, and Meta House affiliated with the Goethe Institute. In addition, two local directors, Jean-Baptist Phou and Sopheak Soung, have been particularly active in staging spoken dramas, developing the form in workshops, and promoting it in the school system. They build upon lakhorn niyeay's realistic style and socio-political critique to address social ills and aspirations, but at the same time, they are trying to improve the form's storytelling techniques to attract new audiences and establish a ticket-buying public for local arts.

摘要：

柬埔寨的口语戏剧lakhorn niyeay在 20 世纪末被赋予传统舞蹈和音乐的红色高棉种族灭绝之后并没有得到同样的艺术复苏。目前，它得到了该国主要艺术非政府组织柬埔寨生活艺术的更多关注，以及法国学院文化中心和歌德学院附属 Meta House 的支持。此外，两位当地导演 Jean-Baptist Phou 和 Sopheak Soung 特别积极地上演口语剧，在工作坊中发展这种形式，并在学校系统中推广。他们建立在lakhorn niyeay的现实主义风格和社会政治批判来解决社会弊病和愿望，但同时，他们也在努力改进这种形式的讲故事技巧，以吸引新的观众，并为当地艺术建立一个购票大众。