RICHARD III 理查三世


The director Xiaoying Wang1

導演:王曉鷹1

We hope that we can perform this play of Shakespeare for
 the British audience according to our understanding of it.
this play is about power in a kingdom as early as 400 years ago; however, through this story, we would like to explore
our understanding of ambition and desire for power, and test how a power struggle twists human nature and drives an ordinary man to extremes. Thus, what we are talking about is no longer a story of Richard iii; accordingly, whether he is a hunchback or not, or whether he is ugly or not is unimportant, and we presume that his appearance and innermost being are consistent with each other. We do not intend to reproduce British history, but pay more attention to Richard iii’s inner world, which, however, causes many problems. for example, in Shakespeare’s work, this role is a disabled man, and readers in 400 years after the creation of this work has gotten accustomed to accepting such an image; nevertheless, in our production, we do not attach particular importance to the appearance of Richard iii. Normally, he is one ordinary man, but there will be some changes in his appearance when the demon in his heart makes trouble. In the entire performance, there are a total of three enthronement ceremonies, namely the enthronement ceremony of Edward IV, that of Richard iii and that of Henry Vii. the forms of these three ceremonies are designed as the same, so as to reflect the common lust for power in human nature, which not only found in Richard iii’s mind, but also can be seen everywhere throughout history. ‘my kingdom for a horse’, from these words of Richard iii we see a cycle, rather than just a man.

希望能用我們的理解來為英國觀眾演繹莎士比 亞。這齣戲講的是早在400多年前,有關王國權 力的故事。但是,通過這個故事,我們很想探討 我們對爭奪權力的野心和慾望的理解。我們想 檢驗對權力的爭奪將怎樣扭曲人性,並將一個 普通人推到邊緣。由於我們所講的不再是一個 英國的理查三世的故事,因此他是不是駝背,或 者是否醜陋都不重要。我們將他的外表和內心 設置為一致。我們並不著意重現英國歷史,而 是更關注他的內心世界。但是,這樣就存在很多 問題。在莎士比亞的作品裡,這個角色是殘疾 的,這樣的形象被之後400年的讀者都慣以接 受了,在這裡我們並沒有特別關注理查的外形。 通常情況下他是個常人,在內心的惡魔作怪的 時候外形上會產生一些變化。在整場演出中,一 共有三場登基典禮,愛德華四世,理查三世及亨 利七世。三場典禮被設計成一樣的形式,用以表 現人性中共同的對權力的慾望,而不僅僅是理 查三世的,這在歷史上比比皆是。”一個王國, 換一匹馬!”我們看到一個循環,而不僅僅是一 個人。

C.

The script adaptor Dajun luo

劇本改編:羅大軍

To participate in the World Shakespeare festival, we originally intended to perform Henry V. However, the audiences of china do not know much about this play of Shakespeare,
so we decide to make a production that can not only be presented in the UK, but also be included in the repertoire of the National theatre company of china, and finally,
we choose Richard III. This play of Shakespeare has been performed in china in at least three versions. To meet requirements of performances in the Shakespeare’s global, such as the control of the number of performers and staff, two-hour stage construction and many other factors, we re-create the original script, making some deletions and alterations to it. We adapt the play on the basis of several versions of translations, focusing on Liang Shiqiu’s version of translation. the principle of adaption is that literary flavor of Shakespeare’s work should be reflected and meanwhile the relationship between this play and the present should not be ignored. When we see a performance of Shakespeare’s play, we not only see matters of royal and aristocratic family, but also our own matters. When performing this play in this era, we also want to explore “why do we live?” and “what should we pursue?” in our version, we attach importance to indicating “a crown is worn by oneself”. We would like to use Chinese elements to show Shakespeare’s play, so we use visual symbols of Sanxingdui culture2. in the performance, we also use the ways of performance in Chinese opera, for example, the inner world of Mrs. Annie is reflected through figures of Peking opera performers.

參演全球莎士比亞戲劇節,最初我們打算排演 《亨利五世》,但是中國觀眾對於莎士比亞的這 部戲瞭解並不多。並且我們打算製作一部劇目 不僅僅是能夠在英國演出,更希望能成為我們 中國國家劇院的保留劇目,於是最後選擇了《 理查三世》,莎士比亞的這部戲在中國至少演出 過三個版本。為滿足在環球莎士比亞劇院演出 的要求,如演職人員數量的控制、兩小時裝臺 時間等諸多因素,我們對於劇本進行了再創作, 做了部分刪除和改動。我們將多個翻譯版本作 為改編的基礎,主要以梁實秋的翻譯本為主。 我們改動的原則是:既要看到莎士比亞筆下的 文學色彩,又不能失去這個戲與當今時代的關 係。 我們看莎士比亞的戲不是僅僅在看皇宮貴 族的事,同時也是在看我們自己的事。在這個時 代演繹這部作品,我們也想探討“我們為什麼活 着?““我們該去追求些什麼?”這個版本裡我們 重點刻畫了“皇冠是自己給佩戴的“。我們還想運 用中國元素來表現莎士比亞,於是使用了三星 堆2文化的視覺符號。在這部戲裡我們也使用了 中國戲曲的表演方式,比如用京劇演員的身段 語言表現”安夫人“的內心世界。


1 2 3 >>>