架构师提供的文本描述。建利居剧团在一次有趣的类型学考察中，提供了一种独特的观众体验，观众在演出和制作中扮演着不可或缺的角色，因此，在上海新址的简介中，需要对空间、事件和动作之间的关系采取仔细的建筑方法。MDO，被选中来承担这一使命的建筑师们，已经通过对形式、照明和循环的刻意和夸张的探索来解决这些情况。这种做法采用了黑色电影的电影表现方式，并将其高度的戏剧感应用于电影内部的气氛中，创造了一系列对比空间，将其解读为电影卷轴截图的蒙太奇。

Text description provided by the architects. The Jianliju theatre company, in an interesting examination of typology, offers a unique spectator experience where the audience plays an integral part of their performances and productions, as such the brief for their new premises in Shanghai demands a careful architectural approach to the relationships between space, event and movement. MDO, the architects selected to take on this mantle, have addressed these conditions with a deliberate and exaggerated exploration of form, lighting and circulation. The practice has taken the cinematic expression of film noir and applied its heightened sense of drama to the atmosphere within to create a sequence of contrasting spaces that read as a montage of screenshots from a film reel.

 © Dirk Weiblen

德克·韦布伦

有了这种性质的工作，Tschumi的建筑理论，特别是1976年的电影剧本项目，从来没有太远，MDO所采用的许多正式策略都直接引用了与屏幕编辑和建筑时空性质的平行关系。电影黑幕大导演经常使用的扭曲、重复和叠加等工具，都被用来在50年代好莱坞情节剧的氛围中浸泡内部。

With work of this nature, the architectural theory of Tschumi, especially the 1976 Screenplays project, is never far away and many of the formal strategies employed by MDO directly reference the parallels with screen editing and the time-space nature of architecture. Tools such as distortion, repetition and superimposition often used by the great directors of the film noir scene have all been applied as a method to soak the interior with all the atmosphere of a 50s Hollywood melodrama.

 Folded Plan

折叠计划

剧院从上海市中心一条不起眼的小街进入，入口门隐藏在一家古董家具商场的后面。游客只带着时间、地点和人数到达。从门上，楼梯通向黑暗，从那里，循环试图创造一种离开外部世界的感觉，一种由一个强调低调灯光和不平衡成分的暗弯走廊故意造成的迷失方向的行为，导致内部的空间。这些功能被组织成一个线性排列的空间，在那里游客被阻止倒退，就像跟踪一个未知的人物穿过街道在夜间。

The theatre is accessed off a non-descript side-street in central Shanghai, the entrance door hidden at the back of an antique furniture emporium. Visitors arrive only with a time, location and number. From the door, a stair leads down into the darkness and from there the circulation seeks to create a sense of departure from the world outside, a deliberate act of disorientation initiated by a dark curved corridor that emphasizes low-key lighting and unbalanced compositions leads to the spaces inside. The functions are organized into a linear arrangement of spaces, where the visitor is prevented from going backwards, as if following an unknown figure through the street at night.

 © Dirk Weiblen

德克·韦布伦

整个调色板是简单的，单调的，最小的，暗示纹理通过处理石膏，给空间的光泽和深度。与门限序列，第一个空间，大厅，是明亮的，内衬声学板在墙壁和长椅上创造了一个封闭和柔软的环境。在演出开始前休息一下，戏剧就会进一步升级。

The palette is simple throughout, monotone, minimal with a hint at texture through the treatment of the plaster to give a lustre and depth to the spaces.  In contrast to the threshold sequence, the first space, the lobby, is bright and lined with acoustic paneling on the walls and benches creating a closed and soft environment, a moment of respite before the performance begins and the drama is further heightened.

 © Dirk Weiblen

德克·韦布伦

当到了时间，每个参与者进入一个小的变化空间，突出显示一个奇怪的数字从针孔投射到黑暗的走廊地板。这里的空间让人联想到林奇制作的全套厚重天鹅绒窗帘，为他们提供了一个剧本，并将其转化为人物。

When it is time, each participant in the production enters a small changing space, highlighted by an eerie number projected from a pinhole aperture on to the dark corridor floor. Here in a space reminiscent of a Lynch production set complete with heavy velvet curtains, they are provided with a script and transform into character.

 © Dirk Weiblen

德克·韦布伦

他们从服装的变化变成一个小的反室，在那里四面围墙是不对称的，一个令人不安的空间，主要集中在一个数字展示通过放大镜给舞台上的参与演员的方向，等待期待。

They emerge from a costume change into a small anti-chamber where the four enclosing walls are asymmetrical, an unsettling space where the main focus is on a number displayed through a magnifying glass giving stage directions to the participating actors waiting in anticipation.

 © Dirk Weiblen

德克·韦布伦

在节目结束后，这个序列以一个镜子大厅结束，最后一次对电影卷轴和他们的设计所涉及的电影传统表示最后的赞许。鉴于这最后的空间主要用于照片和自拍，他们最后的笔记是故意诙谐的，这也许是对演员和观众之间模糊的关系的一个批判性的反映，他们的建筑一直在策划。

After the show concludes the sequence finishes with a hall of mirrors, one final nod to the film reel and the cinematic traditions that their design engages with. Given this final space is predominantly used for photographs and selfies, their last note is intentionally witty, a critical reflection perhaps on the ambiguous relationship between actor and audience that their architecture has curated throughout. 

 © Dirk Weiblen

德克·韦布伦