Everyone who sits in Lyric Hammersmith Theatre must prepare to view this classic play Saved of 1965, yet the shock they get is far stronger than they expect. 47 years ago, this play by Edward Bond, one of the greatest playwrights of the 20th century, had aroused huge controversy before it was staged, for the disturbing scene that a baby was stoning to death in its pram. Bond refused to alter the script even Lord Chamberlain tried to censor it according to the Theatre Act 1843. Lawrence Oliver, who was the Artistic Director of The National Theatre at that time defended the play Saved, confirming artistic aspirations in the plot design. This play stirred up the British society at that time, and even led to debate in the House of Lords. It was this play that roused re-examination on theater and ultimately led to abolition of theatre censorship in the UK.I t was also this play that made contemporary British theater strengthen its rigorous style of emphasis on scripts. Last performance of this play in London was presented 27 years ago, while today the performance still catches special attention of British theater festivals.
相信每個坐在利瑞克哈默史密斯劇場(Lyric Hammersmith Theatre)的人都有所準備,再一次看到這部1965年的作品 《拯救(Saved)》,那種震撼遠比預料中來得更猛烈些。47 年前,如今被評價為20世紀最偉大的劇作家之一的愛德華• 邦德(Edward Bond)的這部作品還沒有上演就引發爭議,劇 中一幕是小混混們用石頭砸死嬰兒車裡的孩子,英國戲劇協會依據當時的戲劇審查制度要求刪改這部分的演出。時任英國國家劇院藝術總監的勞倫斯·奧立弗(Laurence Olivier)為 《拯救(Saved)》作了辯護發言,肯定了劇情設置的藝術訴 求。這部戲在當年掀起層層波瀾,甚至驚動政界引發上議院 的辯論;也正是這部戲,喚醒了英國戲劇界對於戲劇藝術的 重新審視,最終終結了英國的戲劇審查制度;也正是這部 戲,堅定了當代英國戲劇重視劇本的嚴謹風格。上一次在倫 敦的演出是在27年前,因此這一次的上映也引起了英國戲劇 界的格外關注。
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演出場地: Lyric Hammersmith Theatre 利瑞克哈默史密斯劇場
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