SHU-WING TANG3, DIRECTOR, HONG KONG
I’ve heard that none of the cast members are from Acting. Generally speaking, a few actors were quite outstanding. … The mise en scène was minimal: a way of expressing the director’s treatment and interpretation of the original works. Some of the lighting design, for example the silhouettes, created the non- realistic scenes full of metaphor. The emphasis of this production was to lead the students from different disciplines to work in different areas of the theatre and to understand the plays and the playwright’s ideas. … The production has helped Western students see China and gain some knowledge of Chinese theatre. … The body is a tool which can cross cultures. It is the foundation. Physical training is the creative process. No matter whether the final presentation is conventional verbal drama or physical theatre the idea behind it is the same. It is a type of relationship between ‘big’ and ‘small’. The physical expression can bring out the words, especially when we try to interpret classical plays. Lines in these plays are often difficult to deliver, and the physicality is needed to help.
我聽說這個戲的演員都不是學表演專業,從一 般的標準來看,有幾位演員表演比較突出。…… 舞臺上用簡約的方法去處理和演繹劇本,有一 些燈光的設計,比如光影的那些部分,營造了一 些不是很寫實的場景,有一種隱喻的感覺。重 點是要幾個不同部門的學生去瞭解這些劇本, 劇作家創作的精神……能夠讓西方學生去瞭 解中國,對中國的戲劇有一些認識……身體是 跨越不同文化的一種工具,身體這個東西是基 礎,對於形體的訓練重點是在創作的過程。無 論是最後呈現為話劇還是肢體劇,背後的精神 都是一樣,就是大和小的關係……身體的表達可以把一些話帶出來,尤其是在演繹比較老的 經典劇本上,因為臺詞不好講,需要身體的演 繹來烘托。
SHIHUI WENG4, ASSISTANT PRODUCER NATIONAL THEATRE OF SCOTLAND
First of all, I found all the scenes were clear and expressive. The display of the women’s condition in a closed society was obvious. I feel more modernity could be explored further. Even now the concept of equality between men and women in China is different from that in the West. We never had campaigns about women’s rights….These young British actors are all first- or second-year university students, and they are supposed not to be able to understand the condition of the Chinese women. Thus we gained a sense of disjunction when we saw them act these Chinese female characters; the theatrical exploration thus achieved significance. For these actors, I’m sure they gained a great deal when they came to understand the history and the women’s conditions through the performance.
首先我覺得這個戲要表達的畫面很清晰,上個 世紀的中國封閉社會裡女性的各種狀態展現得 非常明顯。我覺得可能還有更多的當代性可以 挖掘。因為即使到現在,中國男女平等的概念 也沒有像西方這樣開放,中國從來沒有過女權 運動。…… 這些英國的年輕演員都是大一大二 的學生,還是天天喝酒買醉的年齡,應該完全 不能理解這樣的一個狀態。讓這些年輕人去飾 演這個狀態有一種錯位的意味,探索的意義比 較大,對於他們自己,參與演出去瞭解當時的那 些歷史和處境一定收穫非常大。
DAVEY ANDERSON5, WEITER, DIRECTOR, DRAMATURG, COMPOSER OF SCOTLAND NATIONAL THEATRE
大衛•安德森(DAVEY ANDERSON)5,蘇格蘭國家劇院導演,編劇 ,作曲家
I’m not knowledgeable about this play and the original script, but I thought it’s fasnating to explore the man and women’s relationships at that particular time and place, I can feel that high pressure…very well try, well acting this emotional play…it’s very well choice from this female angel…
我對於這個戲還有原著劇本都不瞭解,但是我 覺得這部作品把那個特定的時代和環境下男女 關係展現得很好,我能感到巨大的壓力……演 員們很努力地去表達這些感情豐沛的角色…… 這個女性的視角也是一個很好的選擇。
Chong Wang6, DIRECTOR, BEIJING
I had not seen Cao Yu’s plays performed in English before. … In today’s production, there were many moments when we could recognize the original characters and related stories. This is most fascinating. I must say this is the type of appreciation that audiences acquire when they watch classics being reinterpreted. I very much like the angle this production sets. From the female point of view, the performance links Cao Yu’s different plays together. … This can be done only when you stand aloft and gain an overview of these plays. I’ve just done my production Thunderstorm 2.0, which is also a performance focusing on women and exploring the sadness between the two contrasting images. This is a good way to explore the themes of the plays, and I like it. No doubt, as a way of learning, all the participants, whether they were on the stage or backstage, gained much expertise from this production. They must have learned knowledge of theatre, of stage, and of the texts. This is an excellent method of teaching. However, this demands huge resources, as well as educators’ time and energy. It is excellent but it is not easy. Good education should follow this model and educators need to throw themselves into it.
我從來沒有看過曹禺(的戲)用英文演出…在這 部戲裡面,有很多可以指認的點,這個是什麼故 事,是什麼人物,這是很有趣味性的,可以說是 對經典的再詮釋的時候,給觀眾的一種觀看的 快感。非常喜歡這個視角,從女性角度來連接 這些作品⋯⋯是站在俯瞰曹禺諸多作品的視野 上做出的。我剛剛導演的《雷雨2.0》恰好也是 從女性的視角,去挖掘兩位人物身上具有對照 性的悲哀。我很喜歡這樣方式的主題挖掘。毫 無疑問,作為教育的一種方式,對於每個人,舞 臺上的舞臺下的,參與進來學生們,肯定都有特 別大的收穫,去瞭解方方面面的關於戲劇的, 關於舞臺的,關於文本的等等知識。是一種特 別好的教育經歷⋯⋯這種方式耗費很多資源, 很多教育者的心血,很好也很不容易,好的教育 都應該這樣,用心去做。
SUSAN GELLAITRY, AN ENTHUSIASTIC MEMBER OF AUDIENCE
Like Chekov and Shakespeare, his characters can crisscross all boundaries allowing us to sigh, laugh, cry and smile with them as they are brought memorably to life by this engaging cast of actors.
如同契可夫與莎士比亞,曹禺的人物可以跨越任 何邊界,而這一群演員演得活生生,令人難忘, 讓我們和他們一起嘆息、暢懷、痛哭與微笑。
AN ANONYMOUS AUDIENCE
There was pathos, humour and several dramatic moments. This is a different drama and worth seeing.