2012 GLOBE TO GLOBE
WORLD SHAKESPEARE FESTIVAL
2012 “從環球到寰球” 世界莎士比亞 戲劇節


37 plays in 37 languages were shown in this festival. With unprecedented ambition, the festival brought all Shakespeare’s plays in different languages via various theatres from different countries. During the whole six weeks, national theatres, well-known artists as well as new theatres presented Shakespeare’s plays in their own languages every day in this unique venue where original appearance of Shakespeare’s time was reproduced.

37齣劇目,37種語言。此次活動充滿了前所未 有的野心,莎士比亞的全部戲劇作品都將被以 不同的語言,被不同國家的劇團演出。整整六 週,國家級劇院,知名藝術家以及新型的劇團, 每一天都會在這座獨特的、復原莎翁時代原貌 的劇場裡以他們自己的語言演繹莎士比亞。

It is a high-profile act to call on artists from various countries to perform works of a British playwright under one roof within limited time, thus, the motive of Shakespeare’s Globe, and even that of the British government is tinted with chauvinism in the eyes of many critics and scholars. However, it is undeniable that performances in more than a month create unprecedented opportunity for audience in London and even audience all over the world to know Shakespeare, a name equating to “theater”, in different linguistic and cultural contexts.

如此高調地號召全世界各國的藝術家響應 參與,在唯一指定的劇場,緊湊的時間,演出 一位英國劇作家的作品。莎士比亞寰球劇場 (Shakespeare’s Globe),甚至英國政府的動機 在很多評論家和學者的眼裡有着沙文主義的色 彩。但是不可否認的是,為期一個多月的演出活 動為倫敦乃至世界觀眾帶來了前所未有的機會 去瞭解這個幾乎已經和“戲劇”等同的名字在不 同語言,文化背景下的認知。

Due to linguistic and cultural differences caused by geographical differences, as well as some historical reasons, two theatres in China were invited to participate in this festival, namely the National Theatre Company of China that represents the level of mainstream theatre of mainland China, and the Tang Shu-wing Theatre Studio that is an independent theatre from Hong Kong. They respectively performed Richard III in Mandarin and Titus Andronicus in Cantonese, which present two types of distinct Chinese performance art for overseas audience in one festival.

由於地域差異造成的語言文化差異,以及部分 歷史原因,中國地區有兩個劇團受邀參加該次 戲劇節,一個是代表中國大陸主流戲劇的國家 話劇院,一個是來自香港的獨立劇團“鄧樹榮 工作室”,分別以普通話和粵語演繹《理查三世 (Richard III)》和《泰特斯•安多尼古 (Titus Andronicus)》,在同一戲劇節,為海外觀眾們 呈現了兩種截然不同的中國戲劇風貌。

Richard III was staged in London, which reminded audience between this monstrous story and current affairs. Perhaps this is the charm of Shakespeare’s works, to be specific, the dissection of humanity in his works is beyond historical and geographical differences, and an old and even fictional story enables people to associate it with the present with the same feeling.The director, stage designer and producer of this production respectively introduced their concepts of the work and stories that happened during their visit to the United Kingdom.

《理查三世》在倫敦的上演讓它的觀眾不由將 這個畸形的故事和不久前的時事做了聯繫。也 許,這也正是莎翁作品的魅力,有關人性的剖 析,足以跨越歷史和地域,一個久遠,甚至虛構 的故事卻能讓世人聯貫眼下,脊背發涼。該部作 品的導演,舞臺設計師及製作人分別向我們介 紹了創作的意圖以及此次來訪英國的故事。