The Peach Blossom Fan

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。