《警幻绝》源引《红楼梦》“太虚幻境”片段……宝玉梦游太虚幻境，遇见警幻仙姑。

      Dreams of Zen was inspired by an episode of A Dream of Red Mansions: in his dream,the malelead character Jia Baoyu walks around in an illusive world and meets a fairy there.

     一簇鲜花、一盏灯笼、一方蒲团、一领草席，一尊木马、一座床榻、一颈荷花、一握绣扇、一轮明月、一帐熏香、一抹黛眉、一扇围屏。舞台上"十二"的隐语，因弃而得，为得而弃，参透前世情缘。 "好一似食尽鸟投林，落了片白茫茫大地真干净"。群芳争艳，浮生绝美，一袭华袍之下终不离千红一哭，万艳同悲……

        The metaphor of“12” is illustrated on the stage: a bunch offlowers, a lamp, a meditation cushion, a straw mat, a wooden horse, a bed, alotus, a silk fan, a moon, an incense, a set of eyebrows after make-up and afolding screen.With the idea of “having by letting go” or “letting go for the sake of having”, one may gain insights into their past life love stories.“Just as birds would eventually part their ways after sharing food inthe forest, in the end, all is gone and nothing is left.”Despite all the stories of the beautiful ladies (in A Dream of RedMansions), in the end, the male lead character was left alone with a tragicending.

     《警幻绝》在三部曲中诞生的时间最早，制作周期最长，人物角色亦是三部曲中最多的一部。导演赵梁在创作此剧时几经磨难，又遇父亲过世，该部作品的最终顺利上演亦凝结了他对父亲在天之灵的一份告慰和追思。

         Dreams of Zen was the earliest show created among the three and took the longest time.It alsohas the largest number of roles to play.Director Zhao Liang went throughnumerous challenges in the production process, including his father’s passing away during that time.In the end, the successful debut ofthis performance was his way to memorize his late father...

      线索源于法门寺出土的文物——唐朝皇帝僖宗李儇的一套精美茶具，以“茶”为因，由男性舞者反串绝色女子茶幻并与剧中的樵夫、高士、僧人分别相遇。

       Plot of The Tea Spell originates from a group of antiques unearthed at FamenTemple:exquisite tea sets used by Emperor Xizong of Tang Dynasty.The show usestea as a vehicle and illustrates the encounters of a stunningly beautiful woman(played by male dancer) with a farmer, an officer and a monk respectively.

       这三个人物分别隐喻三种不同精神指向的个体，在与美若天人的女子茶幻偶遇后或心动或伪装或煎熬或恍然的心路历程，步步皆戏，章章见心，引领观众在高古深致的感通体验中悦纳“素处以默、妙机其微”的神韵。这部作品在视觉艺术上，无论服装，道具，舞美，妆容等无不展示出赵梁ART的国际化审美，深厚文化底蕴和艺术创作追求。

        The three malecharacters imply people with three different kinds of psychologicalorientations.After meeting with the stunning beauty,they are either beingallured, or pretending nothing has happened, or struggling, or getting carriedaway.The storyline is vivid and manifests profound human nature.Throughmulti-sensory experience, the audiences glimpse into the subtle wisdom of theuniverse in a detached way.In terms of visual effect, the performance presentsits cutting-edge aesthetics in terms of costumes, props, choreography andartistic makeup. 

       该剧以博物的角度历史性地首次将法门寺三大圣物齐聚舞台，是获得国家艺术基金2015年度资助项目，曾代表中国文化艺术出访德国，韩国。在演出期间广受赞誉。因作品质朴动人，赵梁导演被德国人称之为来自东方的“牧羊人”。本年度首次启动全国巡演模式，在北京，上海，杭州，天津，重庆所到之处受到观众的热烈追捧，屡屡创下现代舞的票房纪录。《幻茶谜经》甚至成为国内茶人心目中独一无二的作品，令许多重视内在成长的人们投注关切与热忱。

           All these arefull of cultural characteristics and artistic creativity.In this performance,all three antiques are presented from Famen Temple on the stage for the firsttime.Funded by the National Art Funds 2015, the dance group toured in Germanyand South Korea on behalf of the Chinese cultural and artistic community andwas very well received in the two countries.Due to his natural yet touchingworks, Director Zhao Liang is called the “Shepard” from the East by the Germans.During its national tour in China, ATea Spell repeatedly sets the record for the box office in the modern dancehistory and is met with great enthusiasm by the fans in Beijing, Shanghai,Hangzhou, Tianjin and Chongqing.The Tea Spell has become one-of-a-kindmasterpiece for the Chinese audiences, attracting attention and warm support fromthose who care for their inner growth.

    《双下山》一剧缘起昆曲中非常著名的两出折子戏《思凡》和《下山》，戏曲界素来有“男怕夜奔，女怕思凡”一说，正是言其难度之大。著名学者林语堂先生在其著作《吾国与吾民》中称赞《思凡》采用小尼姑的口吻独白“其文辞堪当中国第一流作品之称而无愧色”。

      EscapingFrom the Temple was derived from two famous Chinese Kunqu Operas: Longing Forthe Mundane and Going Down the Mountain.As far as difficulty level isconcerned, Longing For the Mundane is well known as the demanding one toperform for female artists. In his book My Country and My People, famous authorMr. Lin Yutang once marveled at the monolog script of the young nun in LongingFor the Mundane that, “this is undoubtedly a top notchliterature in China.”

       赵梁ART在这部作品中大胆将《思凡》昆曲唱段与舞蹈表演同时呈现在舞台上，不但保留了昆曲的婉转清丽，又蕴含现代舞的先锋灵动，这种戏中戏的尝试颇具挑战和难度。小尼姑的角色则化为两人分饰，梅派传人董飞饰演其中的优尼空一角并现场完成昆曲演唱的环节可谓亮点。

Zhao Liang inventively presents the Kunqu Opera singing and dance performancessimultaneously on the stage, featuring both the natural beauty of the formerand the avant-garde dynamics of the latter.Such approach to incorporate “drama within drama” is very challenging.Therole of the young nun is played out by two people, among whom Ms. Dong Fei hasbeen trained under the lineage of the great Peking Opera master Mr. MeiLanfang. She will play the role of Empty and sing Kunqu alive on the stage.

       在视觉呈现上《双下山》或许是灵欲三部曲中最素净淡雅的一部，一切回归纯朴本真。然而正是这部堪称清水芙蓉的《双下山》引发的现实层面的讨论和争议却从未停歇过，上山下山，出世入世，如何方能如履平地可谓每个观者的功课。该部作品也是2015年上海国际艺术节的特别委约作品之一，2016年夏天在德国巡演刷新了观众的对中国现代舞的印象，好评如潮。

       From the point of view of visual effects, Escaping From the Temple may be theleast fancy show among all three in Trilogy: everything is presented as itis.  However discussions and debates triggered by the show and its “as-is” style have never stopped.To be or notto be -- in the mountain or down from the mountain, in the temple or in themundane -- and how to transit smoothly in between... Audiences of this show mayfind themselves pondering these questions.This art work was also featured asspecial performance on the Shanghai International Art Festival in 2015.Insummer 2016, this show was on a tour in Germany, which won enormous positivefeedbacks and pressed a ‘reset’button to German audiences’ impression on Chinesemodern dance.