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- 帕梅拉与她所见——谨此纪念帕梅拉·霍华德（1939—2026）Pamela and What She Saw—— In loving memory of Pamela Howard (1939–2026)
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11-05
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帕梅拉·霍华德
1939-2026
英国著名舞台美术家、戏剧导演、教育家帕梅拉·霍华德（Pamela Howard）于2026年10月26日（伦敦时间）在英国逝世，享年87岁。
Pamela Howard, the renowned British scenographer, theatre director and educator, died in the United Kingdom on 26 October 2026 (London time), aged 87.
她的艺术生涯跨越半个多世纪，涵盖绘画、舞台设计、戏剧导演与教学。她始终细致观察日常生活，从寻常的人物与细节中发现人物角色，并将这些观察融入创作与教学之中。
Her artistic career spanned more than half a century, encompassing painting, stage design, theatre directing and teaching. She observed everyday life with care, finding the beginnings of stage characters in ordinary people and small details. These observations informed both her creative practice and her teaching.
▲帕梅拉的工作室
她曾任伦敦艺术大学荣休教授、皇家威尔士音乐戏剧学院国际戏剧主席及伯恩茅斯艺术大学客座教授，2019年获香港演艺学院荣誉院士称号。她的著作《What is Scenography?》（《什么是舞台设计》）长期以来都作为舞台设计专业的指导教科书以及专业丛书并被翻译成7种语言出现在世界各地从业者手中。
She was Professor Emeritus at the University of the Arts London, International Chair in Drama at the Royal Welsh College of Music and Drama, and Visiting Professor at Arts University Bournemouth. In 2019, she was made an Honorary Fellow of the Hong Kong Academy for Performing Arts. Her book What Is Scenography? has long served as both a teaching text and a professional reference for stage designers. Available in seven languages, it has reached theatre practitioners around the world.
她是Scenofest剧场艺术节的创始人，曾任艺术总监。2008年，她因对戏剧的贡献获颁OBE勋衔；2017年，获得国际舞美组织（OISTAT）特殊贡献表彰及世界舞台设计展（WSD）“打破界限”特别奖。
She was the founder of Scenofest and served as its Artistic Director. In 2008, she received an OBE for services to drama. In 2017, she was recognised for her exceptional contribution to the International Organisation of Scenographers, Theatre Architects and Technicians (OISTAT), and received the “Breaking the Boundaries” special award at World Stage Design (WSD).
▲2025年9月20日，帕梅拉·霍华德参与“产教融合与行业发展——2025舞台美术学术研讨会”学术对谈
帕梅拉与中国舞台美术界始终保持持续性交流与互动。2017年12月，她在中央戏剧学院举办的iSTAN国际人物造型设计学术周中，举办《文本、空间与视觉》工作坊，带领学生探索人物、文本与空间之间的关系。同月15日，作为主讲嘉宾参加由中国舞台美术学会主办的CISD第四届国际舞美大师论坛，围绕“当代舞台美学的视觉重构”分享创作经验。
Pamela maintained an ongoing dialogue with China’s scenography community. In December 2017, she led a workshop entitled “Text, Space and Visual Expression” during the iSTAN International Academic Week on Costume and Make-up Design at the Central Academy of Drama in Beijing, guiding students as they explored the relationships between characters, text and space. On 15 December, she was the keynote speaker at the Fourth CISD International Masters Forum on Stage Design, jointly organised by the China Institute of Stage Design (CISD) and the Central Academy of Drama. There she shared her creative experience under the theme “The Visual Reconfiguration of Contemporary Stage Aesthetics”.
2021年12月，中央戏剧学院举办帕梅拉·霍华德线上交流活动，进一步了解她从绘画走向舞台的创作过程。
In December 2021, the Central Academy of Drama hosted an online exchange with Pamela Howard, offering further insight into how she developed her drawings into work for the stage.
2025年9月，她再次来到中央戏剧学院，参加由中国舞台美术学会、中央戏剧学院、中国舞台美术教育联盟联合主办的“产教融合与行业发展——2025舞台美术学术研讨会”，与国内外舞美同行、教育工作者及青年学生一起，共同研讨舞台美术的学科建设、艺术创新与产教融合的长远路径，留下富有启发性的思考与珍贵的学术回响。
In September 2025, she returned to the Central Academy of Drama for “Industry–Education Integration and Sector Development: The 2025 Symposium on Stage Design”, jointly organised by the China Institute of Stage Design, the Central Academy of Drama and the China Stage Design Education Alliance. She joined scenographers, educators and students from China and abroad in a shared exchange of ideas.
▲帕梅拉的童年
在《什么是舞台美术》一书中，帕梅拉曾写道：“这本书是献给我的叔叔亨利·加托夫，他在我还是个孩子的时候让我看他画画。”作为犹太裔移民，亨利虽未能实现成为独立艺术家的理想，却始终热爱绘画。童年时，帕梅拉常观看叔叔作画，也跟随他散步、写生。自然风景与建筑图纸，成为她最初认识世界的艺术媒介。绘画由此融入她的日常，成为她观察、记录与理解世界的方式。
In What Is Scenography?, Pamela wrote: “This book is dedicated to my uncle Henry Gatoff, who let me watch him draw when I was a child.” A Jewish immigrant, Henry had been unable to fulfil his ambition of becoming an independent artist, but never lost his love of drawing. As a child, Pamela often watched him at work and accompanied him on walks and sketching trips. Landscapes and architectural drawings became her first means of exploring the world through art. Drawing entered her everyday life, becoming a way of observing, recording and understanding the world.
从伯明翰艺术学院毕业后，帕梅拉开始从事舞台美术设计，师从英国著名舞台美术家拉尔夫·科尔泰，并先后进入斯莱德艺术学校与老维克国家剧院。20世纪60年代，英国戏剧的新形式与新观念不断涌现。科尔泰大胆的视觉表达，以及对音乐、舞蹈和历史题材的独特处理，深刻影响了她早期的舞台设计；老维克国家剧院的创作实践与欧洲各类戏剧节的交流，也拓展了她对戏剧艺术的认识。
After graduating from Birmingham College of Art, Pamela began working in theatre design. She studied under the celebrated British scenographer Ralph Koltai, and her early career took her to the Slade School of Fine Art and the National Theatre at the Old Vic. The 1960s brought a proliferation of new theatrical forms and ideas in Britain. Koltai’s bold visual language and distinctive approach to music, dance and historical subjects profoundly influenced her early designs. Work at the National Theatre and encounters at theatre festivals across Europe also broadened her understanding of the art form.
20世纪70年代，帕梅拉前往法国求学，并在此后的十年间参与大量戏剧创作。当时，法国实验戏剧运动推动演出走出传统剧场，进入咖啡馆、艺术中心与城市公共空间。多样的演出形式，以及与法国导演普朗雄等艺术家的合作，使她加深了对戏剧与现实生活关系的认识，丰富了对舞台空间与视觉表达的理解，逐渐形成勇于实验、突破传统剧场边界的创作观念。
In the 1970s, Pamela went to France to study and spent the following decade working on numerous theatre productions. The experimental theatre movement then flourishing in France was taking performance beyond conventional theatres and into cafés, arts centres and public spaces. These varied forms of performance, together with collaborations with artists such as the French director Roger Planchon, deepened her understanding of the relationship between theatre and everyday life. They enriched her approach to space and visual expression, helping to shape her willingness to experiment and to reach beyond the boundaries of the conventional theatre.
在帕梅拉的创作中，绘画、舞台设计与导演工作始终彼此相连。她随身携带速写本，记录生活中的人物、景象与事件，从这些日积月累的观察中获得创作的灵感。绘画也参与着戏剧的形成：画面中的人物、细节与关系，能够为剧本提供素材，为舞台上的表达打开思路。
In Pamela’s practice, drawing, scenography and directing were closely intertwined. She carried a sketchbook with her, recording people, scenes and events, and drawing inspiration from observations accumulated over time. The drawings were themselves part of how a production took shape: the people, details and relationships within an image could provide material for a script and suggest new possibilities for the stage.
“帕梅拉·霍华德教授的戏剧舞台美术创作具有鲜明特点，从生活到戏剧，再从戏剧到生活，她都能够从身边的事物中获得启发找到灵感，把观众试图带入到戏剧情境中，这是她始终秉持的创作理念。
“Professor Pamela Howard’s work in scenography has a distinctive character. Moving from life to theatre, and from theatre back to life, she draws ideas and inspiration from the things around her, seeking to bring audiences into the world of a play. This has always been her guiding artistic principle.”
——张庆山 / Qingshan Zhang
帕梅拉·霍华德
的绘画
“对我来说帕梅拉绘画中蕴含的戏剧性是最令人深刻的，每一张图画都伴随着观察和趣闻，这些都为夏洛特的剧本提供了素材。的确这个剧本是我写的，但同时也是她用绘画来创作的产物。”
“For me, what is most striking about Pamela’s drawings is the theatricality they contain. Each comes with observations and anecdotes that have provided material for the libretto of Charlotte. I did write the libretto, but it is also something she created through drawing.”
——阿隆·纳什曼/Alon Nashman
帕梅拉·霍华德
作品图集
《卡门》
《Carmen》
角色造型手稿
剧照
“我经常在画面的边缘和角落作画，创造出出人意料的效果，很像那些建筑图，在画的边缘有一群人，这让我非常着迷。我被那些被忽视的、偶然的、看起来只属于一堆废品的东西所吸引，这些小东西带有很强的个性和时间留下的印记，它们乍一看似乎与主题无关，但往往会成为场景的中心。”
“I often work at the edges and in the corners of a drawing, creating unexpected effects—rather like those architectural drawings with a group of people at the margins. I find that fascinating. I am drawn to things that are overlooked, incidental, or seem to belong on a rubbish heap. These small things have a strong character of their own and bear the marks of time. At first they may seem unrelated to the subject, yet they often become the centre of a scene.”
《夏洛特：三原色音乐剧场》
《Charlotte: A Tri-Coloured Play with Music》
场景手绘稿
角色造型手稿
“艺术家通过画面发现某个历史瞬间与生活细节，并把它作为主要创作来源。视觉研究的目的不仅是要传达戏剧的视觉效果，还通过搜集到的这一客观真实信息，给导演和演员在排练期间的创作提供支持。从绘画作品中能够发现，无论其叙述主题如何，都充满了偶然性，所有艺术创作都是其生活的的产物和再现，这种研究为世界打开了一个新的窗口。”
“Through drawing, artists discover moments in history and details of everyday life that become a primary source for their work. Visual research is not only about conveying what a production will look like; it also provides directors and performers with material drawn from the real world to support their work in rehearsal. Whatever their subject, the drawings reveal the presence of chance. All artistic creation grows out of, and reflects, the artist’s life. This kind of research opens a new window onto the world.”
《咖啡馆》
《Cosmo》
场景手绘稿
角色造型手稿
“城市是观众最自然聚集的地方，而专用的剧院建筑经常是城市中心和城市自豪感的标志。城市内部还有其他建筑空间，这些空间也是居民文化生活的一部分。一些空间是公共的，在广场和街道上，而另一些空间则不太显眼，被用于体育场所、社交和宗教活动，这些活动都发生在建筑内。除了公共场所之外，城市也充满了空旷的边缘空间， 这些空间坐落在那里，没有人爱，孤独和被遗忘，表演和事件就在那里等待着发生。”
“Cities are where audiences most naturally come together, and purpose-built theatres are often landmarks at their centres and a source of civic pride. Cities also contain other buildings and spaces that form part of their inhabitants’ cultural lives. Some are public, in squares and streets; others are less conspicuous, inside buildings used for sport, social gatherings or religious activities. Beyond these public places lie empty, marginal spaces—unloved, isolated and forgotten—where performances and events are waiting to happen.”
《婚姻》
《The Marriage》
场景手绘稿
角色造型手稿
剧照
《希腊激情》
《The Greek Passion》
角色造型手稿
场景手绘稿
模型
“我的剧院工作已经从剧院设计师发展为‘舞台空间雕塑家’。我对布景的需求越来越少，我更关心如何充分利用建筑空间本身创建简约的舞台来真实地讲述故事。”
“My work in the theatre has taken me from being a theatre designer to being a ‘sculptor of stage space’. I find that I need less and less scenery. I am more concerned with making the most of the architecture itself, creating a simple stage on which to tell a story truthfully.”
《江湖骗子》
《Sarlatan》
场景手绘稿
《布鲁切克先生的月球之旅》
《The Excursion of Mr Brouček to the Moon》
场景手绘稿
人物造型手稿
剧照
“从现有文本开始工作是我寻找戏剧视觉解决方案的出发点和灵感来源。我认为自己是一个视觉侦探，持续寻找线索，最终，当我发现线索时，这些将为解决该剧本的整个谜团提供令人惊讶的方案。”
“Working from an existing text is my starting point and my source of inspiration when I seek visual solutions for a play. I think of myself as a visual detective, constantly searching for clues. When I finally find them, they offer surprising ways to solve the whole puzzle of the play.”
《新耶路撒冷》
《The New Jerusalem》
场景手绘稿
从童年观看叔叔作画，到后来为城市中被遗忘的空间寻找演出的可能，帕梅拉始终保持着对身边事物的好奇。她注意画面边缘的人物，也留意那些看似与主题无关的物件，愿意循着它们留下的痕迹寻找故事。她对剧场边界的探索，也与这种目光相连：那些尚未受到关注的人与空间，同样值得我们走近。
From watching her uncle draw as a child to finding possibilities for performance in forgotten urban spaces, Pamela remained curious about the things around her. She noticed the people at the margins of an image and the objects that seemed unrelated to its subject, following the traces they carried in search of stories. Her exploration of the boundaries of theatre grew out of this way of looking: people and places that have yet to receive attention are equally worthy of it.
帕梅拉为我们打开了戏剧之门，也让我们重新认识剧场之外的戏剧。她的教学，使这些创作经验得以被更多人理解、讨论，并带入各自的工作。纪念她，也意味着继续思考她所提出的问题。
Pamela opened the door to theatre for us, helping us see theatre anew beyond its conventional walls. Through her teaching, these creative insights could be understood, discussed and put into practice by others. To remember her is also to keep asking the questions she raised.
此时此刻，我们共处一个空间，无论身在伦敦还是北京，让我们以各自的方式与帕梅拉告别！
Here and now, whether we are in London or Beijing, we share a space. Let us each, in our own way, say farewell to Pamela.
从生活到戏剧，再从戏剧到生活。如今再翻开她的手稿，我们仍能沿着那些线条，看到她曾留意的人与事。往后，在排练场里，在城市的某个角落，当一个寻常的细节使我们停下脚步，也许会再次想起她......
From life to theatre, and from theatre back to life. When we turn again to her drawings, we can still follow their lines to the people and moments that caught her attention. In the years ahead, in a rehearsal room or some corner of a city, an ordinary detail may make us pause—and bring her to mind again…
尊重帕梅拉老师及家人的意愿与习俗，在征得同意后，我们谨以此文寄托怀念。
This tribute is published with her family’s consent, and with respect for the wishes and traditions of Pamela and her family.
2026年11月5日/ 5 November 2026
作者： 都兰 冯博
视频： 赵冠宇
责编： 都兰 张若千 冯博 张丽佳
审校：赵妍
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