黃土地劇團 – 久美子·孟德爾

PI: What advise do you have for new writers? Any book recommendations, practice tips?

KM: The good thing to do is to read lots of plays and real range, and to go see lots of theatre, so as to really get an idea of what’s possible. So many people know about TV and film, without really knowing what theatre is about, or having much experience of theatre. So that’s one major thing. I don’t know what is like in China, what’s available for them. Obviously it depends on where people live. It’s very different from writing a story or a poem. Observe people, listen, listen to people’s dialogue, let your imagination go, try stuff out, work with actors. I think it’s always brilliant for writers to come into the rehearsal room and have an opportunity to workshop their scripts. You learn so much, what you imagined in your heard in your room can be very different in reality. You realize how something’s going to work or not going to work, and you see how something could work. Actors bring ideas. For me, it’s about working as a creative team with the actors, with the director and the writer. I come from a devising background so that ideas come from the creative team rather than one writer so this is also a way of approaching and making new work but it is more time consuming and requires more resources which we currently don’t really have.

PI: 對於新生代作家您會給出什麼建議呢?可以推薦一下相關書籍或者 練習技巧嗎?

KM: 最好當然是讀大量的、各種類型的劇本,去盡可能多的劇院,從而得 到任何可能的想法。大多數人都很了解電視電影,卻不真正清楚知道戲 劇是什麼,或者沒有豐富的戲劇體驗。這是一個很重要的環節。我不清 楚中國的情況如何,哪些資源是他們可用的。這都與生活在哪裏有關, 寫出來的故事或詩歌都會大大不同。觀察身邊的人們,傾聽人們的對話, 任由你的想象力遊走,嘗試各式各樣的事情,和演員們一起工作。我認為 作家可以走進彩排室看看並發展他們的劇本是很明智的。因為他們自己 在房間裡想像的和現實發生的肯定會很不一樣。他們可以知道哪些是可 行的,哪些不行。演員能激發編劇不一樣的想法。對我來說,那是與演員 們、導演和編劇作為一個創意團隊在工作。我是負責組織規劃的,所以創 意都來源於創意團隊而不僅是一位作家,這是創作新作品的好方法,但 這需要更多時間與資源,我們目前還沒有具備。

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