The Peach Blossom Fan
桃花扇


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。

J.

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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。


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