Interviews 採訪記錄
main actors/actress: Darcie Bone, Rhian Williams
主要演員:達西•波恩(Darcie Bone)瑞恩•威 廉斯(Rhian Williams)
ART.ZiP: This is a play translated from other language. How long did you take to read the materials about this play?
D&R :I read it about 3 days. It is very long, we have to cut it down. Everyone takes similar time, one week, I will say.
ART.ZiP: 這是一出翻譯自非英語語言的戲劇, 你們花了多長時間來閲讀材料?
D&R:我讀了三天。這部戲很長,所以我們把他們 分成段來讀。平均每個人花了約一週的時間吧。
ART.ZiP: The language from the original readings, comparing with the language you are using in this play, is there any different?
D&R :Yes, we planed to modernise it, but it couldn’t be fully organized. So we kept a lot of the poetry in it. We are a kind of throwing it to western audiences related to Shakespeare. There are a lot of verse and poetry in it. We are also interactions of the characters. It’s a kind of mixture of naturalistic language and poetry, etc.
I think that they keep the key point very well. As I said, weal ways as a group to pick what is important and what is the key things. We decide to keep two key things. One is the timeless thing, which we picked this love story. And the other thing we picked is the war time background. The language is very different. Some parts of the original text need rewritten, which can’t sound too old which needs to suit what we play it. They did a very good job to balance the traditional language and the language we use today.
ART.ZiP: 你們最後使用的劇本和之前你們閲讀 的劇本區別大嗎?
D&R:區別很大,我們希望把這部戲做得現代一 些,但是需要很好地組織素材。我們保留了很多 詩化的語言。我們有一點像在為西方觀眾做現 代版的莎士比亞,依舊有很多韻律和詩句在裡 面。我們為原來的角色增加了很多互動,最後是 以一種半口語,半詩歌的形式的語言存在的。
我覺得我們還是很好地保持了最重要的部分, 我們是一同討論決定什麼是最重要的事情的。最終我們決定有兩件事最重要,一個是跨越 時空的事情,這就是我們選擇的愛情故事為主 線。另一個就是我們保持這個戰爭的背景。語 言上變化很大,很多部分都是重寫的,我們需要 讓語言適合我們演的,於是語言上是傳統和現代的結合。
ART.ZiP: We heard from the directing supervisor saying that you have been introduced some Beijing Opera knowledge. Do you think you are using some of the learning?
D&R :Yes, we use some of the movement. We changed some of the way we did. Such as the way of using the fans and the female roles standing pose, one foot is 1/3 behind the other, etc. In wearing and makeup, there are big hairs, a lot of hair pieces, full costume, etc.
ART.ZiP: 我們聽導演執導說你們也接受了一些 京劇相關的嘗試培訓?你覺得你們有沒有把在 這裡學到的用在這齣戲裡面?
D&R:是的,我們用了一些動作。我們改變了一 些之前設置的動作。比如說如何用扇子以及女 性角色的站姿,一隻腳在另一隻的三分之一後 面一些等等。在服裝化妝上,有很多頭飾,梳得 很高的髮型,從頭到腳都有裝飾。
ART.ZiP: For this kind of wearing, it’s very different from western costume. How did you feel when you put them on? Do you feel your body movement is different?
D&R: The girl in charge of costume has decided not to make it very traditional Chinese. But for us, it’s still very different from us. Such as the very wide belt and 3 or 4 layers wearing. It’s quite hard to walk. For me, I play as a man. The trousers are with ribbons and narrow cut bottom. It is very difficult to walk wearing them. It’s quite hot as well. But I’m always doing some naturalistic acting, so it’s alacrity for me.
ART.ZiP: 對於這些服裝,它們和西方服裝區別 很大,你們穿上後的感覺是怎樣的,會不會讓動 作也因此不同了?
D&R: 設計服裝的女生決定不製作非常傳統的 中國服裝。但是對於演員而言,還是很大不同。 例如那些寬腰帶,三四層的衣服。很難走路。對 於我來說,我需要扮演一個男性角色。那條褲 子有綁腰帶還有收腿的褲腳,難以行走而且穿 著很熱。但是我的動作比較自然,幅度比較小, 所以對我而言還算靈活。
ART.ZiP: It’s already very difficult to play a Chinese role as a westerner, but you are playing a man as a girl. What do you think about your acting?
D&R: I didn’t do it as a very tough man and I’m more naturalistic in my performance. Other than think about this role as a man, I’m thinking more about this character. My character is a poet and a scholar, so he is very intelligent, calm and relaxed. I’m more focusing on personality of the character.
ART.ZiP: 對於西方演員而言,扮演中國人已經 很難了,而你作為女性又是扮演一位男性角色, 你覺得表演得怎麼樣?
D&R: 我沒有非要扮演一位硬漢,而是比較自 然。不是刻意想著性別,我更多思考的是人物性 格。我的角色是一位詩人,一個學者,所以他應 該是很智慧、冷靜和放鬆的。我更多是從人物 性格入手。
ART.ZiP: Do you think this experience will be helpful for you to look at other non-English plays from other countries?
D&R: Yes, I think I will be more confident and easier to do the research in other productions.
ART.ZiP: 你認為這段經歷對於你瞭解非英語語 言的戲劇有哪些幫助嗎?
D&R: 我想以後我會更加自信和容易地去做其 他戲劇的調研等工作。
Costume Designer: Becca Phillips
服裝設計師:貝卡•菲利普斯(Becca Phillips)
ART.ZiP: This is a very traditional Chinese play, is there any challenge for you as a costume designer?
B: Actually, the budget is very low. I only have 200 pounds to dress up all the cast. I got materials from charity shops or the fabric shops. The first challenge is to find Chinese clothing. Even the Chinese clothes stores here are of modern style other than in traditional style. So I have to do a modern twist. The first thing I do is to use English clothes but with oriental decorations. It allows me to save some budget. Some of the elements look like Japanese style. But it is purely because of the limited budget and resource. I did a lot of research that I know the difference between Chinese clothes and Japanese clothes, but I can’t really use them exactly in this performance. But it is helpful to make it more like a modern twist. I did my research through Internet and some Chinese films.
ART.ZiP: 這是一部很傳統的中國戲劇,你覺得對於服裝設計的挑戰是什麼?
B:事實上,我覺得最大的挑戰首先是預算。我 需要用200鎊來為所有演員着裝。大部分材料來 自慈善商店和布料商店。第一個挑戰是我們找 不到中國布料。即使是中國服裝,也是很現代 的,所以我只能做成現代和古典的結合。比如 我會在西方服裝上裝飾以東方元素。這使得我 能夠在有限的預算裡完成任務。一些元素看上 去也許很日本,但是這也是預算有限造成的。 在調研中我清楚地瞭解中國和日本服裝的區 別,所以我做的既不中國也不日本,這樣的方式 反而讓服裝看上去很現代。我做資料收集主要 是通過互聯網和電影等方式。
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Director: David Jiang
導演:蔣維國 (David Jiang)
ART.ZiP: As a director, what do you think of the show?
D: After the show, many people felt pity that the performance could not be staged outside the university. It is very hard to keep student work, for people’s gone, the play has gone. Each performance made history. This play is a trial for everyone, what I can do is to make them work together. This is very different from what a theatre director does, for I am not holding a firm direction. It could be said as a good try in terms of education, which students make use of what they can get, and I am connecting them. Many students felt fresh to read Chinese play script, and such an experience would help them in culturally mutual tolerance in the future. I encouraged them, saying now that you overcome all these, there would not be anything tougher. We are trying to present the new, but not reproduce the old. So it is no need to fear for not knowing China, or making something not Chinese. We are at tempting to produce a contemporary play, as long as some Chineseness stays, that’s enough.
ART.ZiP: 作為導演,您怎麼看待這次演出?
D:第一次演出後,很多人就說,很可惜,這個 戲沒有辦法拿出去演出。因為這是一個學校的 演出,不大容易保留下去。人走了戲就散了。每 一場演出就是一個歷史。這個演出是每個人七 零八碎的嘗試,我做的就是負責把他們聯繫起 來。這和以往作為純粹的戲劇導演很不一樣, 並不是我有一個很明確的想法。這是一種為了 教育目的的一種嘗試,根據他們自己的材料,醞 釀到了一定的時候,我的任務就是把它們聯繫 起來。很多同學提到了這次接觸中國的劇本對 於他們來言很新鮮,在以後的工作中也許有助 於文化的包容性。我就和他們講,這麼難的東 西都啃下來以後做其他的東西都會容易起來。 我們做的是當代的,而不是去復古。這方面不 要怕不懂中國,不像中國的東西。但這個不用擔 心,這是一個當代戲劇的嘗試。只要有中國的 元素在裡面就可以了,更多的是一種嘗試。
