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Performance Infinity

The Stories Behind International Joint Production
國際聯合創作背後的故事

The Stories Behind International Joint Production 國際聯合創作背後的故事   Text by Harry Liu 我們曾經在第15期雜誌中聚焦了英國青少年劇場,重點研究了他們是如何將“劇場”與創意實踐、人文教育以及觀眾培育有機結合到一起的。在那一期的雜誌中,我們采訪到了將科學實驗與講故事完美融合的戲劇作品《能量秀》的導演Martin Lamb, 並隨著他探索了關於《能量秀》臺前幕後的故事。繼2013年倫敦科學博物館內首演後,《能量秀》還緊接著在英國進行了35家劇院的全國巡演。而現在,在2018年8月9日,《能量秀》搖身一變被改編成了中文版的《能量密室》,站在了中國的舞臺,為中國的孩子們帶去快樂。已經在北京保利劇院首演後的《能量密室》正於中國20個城市進行全國巡演中,演出將持續到12月3日。這個中文版的《能量密室》由Performance Infinity公司與北京精英集團合作制作,Martin Lamb改編劇本,在中國取得了巨大的成功。 In the 15th Issue, we focused on British theatre for the young and examined how theatre, creative practice, humanistic education and audience cultivation are interwoven organically. We also interviewed British Director Martin Lamb, whose self-directed and co-written production

十年蛻變
非職業劇社玩嗨愛丁堡

ART.ZIP : ★★★★ .8月的愛丁堡,因為有了國際藝術節而熱鬧非凡。期間3000多場次演出,國際大牌明星、小眾的獨立表演團體甚至個人,在這個舞臺上都縱情綻放的機會。 一群穿著鴿子、蛇、蠍子等造型的中國表演者在愛丁堡的街頭發著他們的演出宣傳單《泰特斯》,這是西方公認莎士比亞作品中“最血腥最暴力、表演難度極高”的一部,而這群表演者來自中國第一家非職業戲劇社——演演戲劇社。 從玩票到專業 “演演戲”跨越十年蛻變 “演演戲”,從劇社名字就聽出了玩票心態。社員大都是時尚、IT、傳媒、外貿、廣告等領域的高管或精英,從2005年成立之初就沒有想把表演當作職業的票友心態,不過憑借原創話劇《七年知癢》一舉獲得第二屆中國戲劇文化獎的七項大獎,是唯一獲得過國家級獎項的非職業劇社。 “我們就是為了要去愛丁堡演出呀!”這是十年前演演戲劇社成員的一句戲言,沒想到十年後卻成真:沒有學院派枷鎖的束縛、為了自己的愛好和熱誠,一眾演職人員拋下各自在國內的正式工作,在“度假”名義下完成了夢想和現實的連接——愛丁堡國際藝穗節四場演出,場場觀眾都爆滿,吸引了足夠眼球,也引起英國媒體高度關註——演演戲劇社跨越了從愛好者到豐富中國戲劇生態的蛻變。 卡卡,劇社的社長,舞臺上反串“泰特斯”大將軍的女主角,也是“街宣狂”。帶著化好妝的演員們在愛丁堡街頭和所有碰到的人聊。除了用華美精致並充滿符號意義的妝容和服飾來吸引眼球,更在和其他劇團和觀眾的交流中學習。 “我就是來實現一個夢想的”,卡卡說,“我就想聽聽觀眾對我們的作品的看法,看看其他的戲,學習一下,這樣就夠了。” 不過,首次亮相愛丁堡的“演演戲劇社”,收獲卻大大出乎社員們的預想。 融合東方哲學元素創新演繹莎翁血腥悲劇 《泰特斯》講述羅馬大將軍泰特斯歷經十年戰火後凱旋回國,俘虜了敵國皇後塔摩拉和她的兒子,新國王薩特尼納斯欲迎娶泰特斯的女兒拉維妮婭,可拉維妮婭早已與國王弟弟訂下婚約。泰特斯的兒子們決定協助二人逃婚,新國王薩特尼納斯倍感恥辱,盛怒之下改立塔摩拉為皇後,之後引發了一連串血腥且悲虐的報仇…… “演演戲劇社”在愛丁堡的Spotlites劇場,從8月24至27日連續演出四天。在這部堪稱莎翁最殘忍的悲劇中,巧妙融入東方色彩、註入中國陰陽論哲學基礎,詮釋出不一樣的精彩。 中戲博士畢業的顏永祺,是“演演戲”劇社的駐團導演,首次率團來愛丁堡演出的他,接受《歐洲時報》記者采訪時表示:“針對愛丁堡國際藝穗節的不同觀眾群,我引入很多新元素,因為西方觀眾對這出戲的故事相對比較熟悉,我希望讓他們看到不同的泰特斯。比如說,妝容和服裝上應用很多東方元素形成‘陰陽’對比,同時也暗示東西方的對峙。我非常希望觀眾看到不同層次的對抗,這和西方對於泰特斯的解讀是不同的。” 這些新元素令人驚喜,比如演出服裝創造性地設計了鴿子、蛇、蠍、蟾蜍等造型,服飾細節突出了人物所表現的或純潔、或陰險狡詐的性格。與原劇不同,塔摩拉皇後身邊多了一位心如蛇蠍的仆人,象征人們內心的心魔,一名身著蟾蜍服飾的男演員出色演繹了塔摩拉的兒子,反差的性格,戰爭無情,人心更是無情,其實最後的對手也是自己。 又比如由女性反串泰特斯大將軍,象征“陰”。女性角色生動展現出泰特斯凱旋歸來渴望頤養天年的美好願望,但在經歷皇後塔摩拉陷害與殘暴復仇後,終於在怒火中爆發,扭轉乾坤。劇中皇後塔摩拉的蘭州口音,也讓原本殘酷的劇情多了一絲輕松的元素。 首次亮相愛丁堡藝穗節受認可英國媒體譽稱,這部作品是一次先鋒性的大膽改編,導演使用演員碾碎西紅柿的表演手法,來表達角色離去、以及斬首泰特斯兩個兒子的首級,巧妙過度了殘忍的場面,卻又讓觀眾感受到了血腥的殘酷,讓整部作品更具視覺感和沖擊力。 負責當地宣傳推廣的Performance Infinity特別針對該劇團的特點,特別安排了攝影記者的擺拍,讓這個非職業團體在僅有四場演出的情況下獲得英國《衛報》的整版圖片報道,一定程度上認可了“演演戲劇社”首次亮相愛丁堡的視覺吸引力。 這種不同的演繹和出位的街頭宣傳在觀眾中也得到了認可。一位英國退休的戲劇從業者在觀看《泰特斯》後,表達了自己的驚喜,她說:“藝穗節就是一個發現不同戲劇的地方,我很高興看到這麽不同的‘泰特斯’,舞美簡直讓人驚嘆!非常遺憾只演四場,我相信如果有更多場次,會有更多人願意看到這種不同的演繹。” 心有多大舞臺有多大,首次亮相愛丁堡,能得到英國媒體和觀眾認可,劇社算是完成了一個願望。導演顏永祺說,“演演戲劇社”的成員來自各行各業,平時都很忙,這次自費掏腰包、克服重重困難,聚在愛丁堡實屬不易,有一位成員甚至辭去了原來的工作。 問及劇社未來發展,顏永祺表示,希望能代表中國民間戲劇團,去到更多國外藝術節、戲劇節演出;同時,也希望更多熱愛戲劇的非職業人員參與進來,把隊伍壯大,為喜歡戲劇的人們搭建一個互動演出的平臺。“當你不用為生存而發愁的時候,以‘喜愛’和‘玩’的心態加入,那麽演出才沒有那麽多功利心,你才會因為自己是劇社成員而更加觀察生活、用心生活。” 職場是舞臺,人生是舞臺,這群好好生活、用心演戲的非職業人員,以對戲劇的熱愛和創新姿態,在不同舞臺上演繹出自身不一樣的價值。 鏈接: “演演戲劇社”成立於2005年,是中國第一家非職業劇社,成員來自時尚、IT、傳媒、外貿、廣告等領域白領和精英。2006年,“演演戲劇社”第一次在北京人藝公演話劇《到現在還沒想好》。隨後幾年,分別在北京、上海上演話劇50多場,保持著票房飄紅佳績。2011 年憑借原創話劇《七年知癢》一舉拿下中國戲劇文化獎的七項大獎。代表作有《再見拿破侖》、《泰特斯》、《八個女人》等。 歐洲時報特約記者宮瑋、Echo愛丁堡報道

Double Vision
雙瞳

In theatre, the development of technology has always inspired artists and realized creative possibilities. More than ever, performers and choreographers consider using in live performances recorded videos or utilizing cinematic means, as this is also what the audience anticipates. At the same time, however, abusive use of multi-media has also damaged many productions. Simply, it

Interview with Leo Warner, creative director of 59 Production 
專訪59製作公司創意總監里歐·華納

Interviewed by: Joanna Dong / 採訪:董一燃 Text by: Struan Robinson / 撰文:Struan Robinson Translated by: Peng Zuqiang / 翻譯:彭祖強 59Production is a pioneer design company in contemporary global context, their project such as London 2012 Olympic opening ceremony shown their talent to everyone on this planet. Whether creating stage productions, museum installations, live music shows, large scale events,

Bannerman on Live
生動的旗手

Text by: Struan Robinson / 撰文:Struan Robinson Translated by: Peng Zuqiang / 翻譯:彭祖強 The marriage between the live action of stage and the smooth cinematic experience of screen is central to Katie Mitchell’s most recent work, Forbidden Zone.  Emphasis upon the visual is a recurrent theme throughout her plays; from the illustrative projections in Some Trace of

Theatre O
O 劇院

Theatre O is a difficult company to pin down: they have produced only a handful of shows in their 14-year tenure, with their artistic directors Joseph Alford and Carolina Valdes also choosing to collaborate with auteurs such as Katie Mitchell (on a children’s Christmas production of The Cat in the Hat at the National Theatre in 2009) and the Young Vic Theatre (on Juliet Stevenson’s ‘Happy Days’ in 2014), rather than solely

Interview with Joseph Seelig, Founder of Mime Festival
專訪倫敦國際默劇藝術節總監約瑟夫·塞利格

Text by: Joanna Dong / 撰文:董一燃   Joseph Seelig is co-founder and co-director of the annual London International Mime Festival. He was formerly international programme director of the Hong Kong Festival and artistic director of the New Zealand Festival. As the director of HQ Theatres and the Birmingham European (BE) Festival, Seelig also serves as consultant

Punchdrunk
暈眩劇團

Text by: Ava Davies / 撰文:Ava Davies Translated by: Zhao Kunfang / 翻譯:趙坤芳 Fusing installation art, physical and site-specific theatre, Punchdrunk are the world’s most recognisable immersive theatre company. Set up in 2000 by Felix Barrett, the troupe has garnered a huge following and spawned multiple lookalike companies which seek to emulate their global success. Though no

shunt 尚特劇團

Text by: Struan Robinson / 撰文:Struan Robinson Translated by: Shen Xinyi / 翻譯:沉心懿 “shunt” was founded by ten artists from Central School of Speech and Drama, who met in 1997 whilst doing a one year postgraduate course. Its beginnings as a collaborative effort has become the group’s defining feature, as embodied in the company’s title as a

Le Patin Libre
自由冰舞舞團

Text by: Ava Davies / 撰文:Ava Davies Translated by: Zhao Kunfang / 翻譯:趙坤芳 Le Patin Libre, which translates as ‘The Free Skate’, are the first company of their kind, coining a new form of performance which they have named ‘contemporary skating’. They completely overturn any notion of a saccharine, ‘Dancing on Ice’ style, and forgo the glitter

BFI《中國百年電影》
BFI Century of Chinese Cinema

Text by: Struan Robison / 撰文:Struan Robinson Translated by: Harry Liu / 翻譯:劉競晨 Noah Cowan, previously co-director of the Toronto International Film Festival (TIFF) put together the selection of films to be included in the program to reflect this. He writes: “We have aimed to achieve a balance between the canonical and the unjustly neglected, the historically

Fuel 燃料

Text by: Du Xinxi / 撰文:杜昕禧 ‘Produce fresh work for adventurous people by inspiring artists.’ ‘充滿靈感的藝術家為冒險者們所創作的新作品’   Fuel is a London based theatre producing company founded by Louise Blackwell and Kate McGrath in 2004, the company producing works in partnership with a lot of very exciting artists across the UK including Will Adamsdale, Clod Ensemble, not

Kneehigh Theatre 虹彩劇團

Text by 撰文:Ava Davies Translated by 翻譯: Li Ruixue 李瑞雪 Cornwall-based Kneehigh’s humble beginning as a community theatre workshop in 1980 is essentially the key to understanding them as a company. Led by artistic director Emma Rice, who started her career in Kneehigh as an actor before progressing into directing, as many of the company

DV8 背離劇團

Edited by 編輯:Ava Davies Translated by 翻譯:Li Ruixue 李瑞雪 Information Provided by 資料來源:DV8 背離劇團 DV8 are a dance and theatre troupe who look to challenge boundaries and subvert preconceptions, whether in their physical performances or in the intellectually challenging issues they grapple with. Set up in 1986 by Lloyd Newson, who remains their artistic director

Complicite 同夥劇團

Text by  撰文:Ava Davies Translated by 翻譯:Li Ruixue 李瑞雪 The company that perhaps created and are now synonymous with the concept of contemporary visual theatre are almost certainly Complicite, set up in 1983 by Simon McBurney, Annabel Arden and Marcello Magni. Complicite are probably the most influential experimental theatre establishment in the UK, setting the

The Master and Margarita
大師與瑪格麗特

Text by: Joanna Dong  撰文:董一燃 Translated by: Li Bowen  翻譯:李博文 In 2013, on stage was a production that has conquered countless audience with its unmatched darkness and unpredictable magic. It was The Master and Margarita by Complicite. Established in 1983, the Complicite is dedicated to presenting visual effects and the art of design in a

The Beauty of Silence 大音希聲

Modern physical theatre is first and foremost influenced by mime and contemporary dance. Presently, an exact, clear definition of the physical theatre is still called for. To the audience, however, the rich, unconventional body movements bring the physical theatre onto the border between contemporary dance and conventional theatre. It is exactly this unmarked border of

The Heads 《腦袋腦袋》

Text by: Joanna Dong   撰文:董一燃  Translated by: Elaine Yu   翻譯:余寧     Blind Summit was founded in 1997 in an attempt to overturn and reinvent Japanese Bunraku Puppetry. People have always visited their productions with great expectation and the plays have often caused surprise. Blind Summit does not repeat itself merely to please audiences, it

Blind Summit 盲顶剧场

Blind Summit’s mission is to reinvent the idea of puppetry and bring contemporary puppeteering to a new audience. In their own words, they say that they ‘see puppetry as a radical part of the reinvention of theatre in our time.’ Mark Down acts as Blind Summit’s Artistic Director, and has held the post since founding

Little Angel Theatre 小天使剧院

Interview with Slavka Jovanović, Interim Director, Little Angel Theatre 专访小天使剧院临时主任 斯拉夫卡约万诺维奇 The Little Angel Theatre’s modest appearance, tucked away from the London bustle in an old one hundred seater Islington hall, does little to betray its status as the UK’s premier theatrical puppetry company. It is widely seen as being the ‘Home of British Puppetry’,

40th Anniversary of Puppet Centre
傾心於“偶”40年

Interviewed by: Harry Liu  採訪:劉競晨 Text and edited by: Ava Davies  採訪整理:Ava Davies Translated by: Michelle Yu  翻譯:余小悅 註釋:本文中所提及的木偶並非只是木質偶,只是出於習慣統一使用“木偶”相稱。   Interview with the Co-founder of Puppet Centre, Penny Francis 專訪木偶中心聯合創始人潘妮·弗朗西斯 “If we don’t know the answer to your question, we know someone who does.” As a national development agency for puppetry, Puppet Centre focuses on

Not only a Puppet 無獨有“偶”

    From the moment of its animation, puppet becomes one with its master. Be it small, colossal, realistic or abstract, behind the puppet lies the inexplicable inspiration of the artist. Puppetry may be one of the oldest form of theatrical performance, related closely to religious rituals. Because of its profound history, puppetry is fascinating

The Roundhouse 圓屋劇場

Interviewed by: Joanna Dong  採訪:董一燃 Edited by: Struan Robinson& Sarah Pettitt  編輯整理:Struan Robinson& Sarah Pettitt Translated by: Chen Ting  翻譯:陳婷   Originally built in 1847 as a railway turntable engine shed, Chalkfarm’s Roundhouse is now better known for serving London’s culture and arts than its railways. Its conversion from a disused locomotive house to a

NoFit State 别扭馬戲團

Text by: Ava Davies  撰文:Ava Davies Translated by: Chen Ting  翻譯:Chen Ting   NoFit State is a circus troupe like no other. Borne as a product of Thatcherite Britain and a creative reaction to the recession surrounding them, they have been part of British culture for twenty-seven years and are a valuable asset to the

A Brief Introduction of Contemporary Circus
當代馬戲簡史

Text by 編輯整理:Struan Robinson Reference 資料來源: John Ellingsworth Translated by 翻譯:Chen Ting 陳婷 For most people the word ‘circus’ will usually call to mind classical images of red and yellow tents, performing animals, painted clowns and long chains of wagons and trailers – whilst circus may have indeed looked like that at one point in

Contemporary Circus: Physical Surprise
當代馬戲:身體的驚喜

Text by: Joanna Dong  撰文:董一燃  Translated by: Chen Ting  翻譯:陳婷   Contemporary circus, or Cirque Nouveau, is a term coined mostly to differentiate itself from traditional circus. Yet the difference is not in the innovation of skills. Compared to traditional circus which is a form of entertainment, contemporary circus strives for greater artistic achievement. Today,

Visual Fest 視覺盛宴

The physical existence of theatre proves the importance of visuality in theatre. In the numerous languages transformed from the text, the verbal is always the first that one can think of; however, undeniably, the carefully choreographed body movements and the meticulously crafted environments on stage also reads and writes the text at the same time. Occasionally, these

The Legend of the Sun 逐夢天涯

A long time ago, the ancestors of the Zhuang used to live in a place without sunshine. It is said that far beyond the horizon lives a flaming Sun that will bring light and warmth to their homeland. Everyone volunteers for the adventurous journey in search of the Sun… The elders say: “We have the

1984

Robert Icke and Duncan Macmillan have created 1984, originally written by George Orwell, into a new adaptation. Due to unprecedented demand, a 5-week extension is announced for the Headlong, Nottingham Playhouse and Almeida Theatre production of 1984, a critically acclaimed adaptation by Robert Icke and Duncan Macmillan. The production has been run at the West

Tao Dance

06/06-07/06/2014, 20/10-21/10/2014, Sadler’s Wells

Valley of Astonishment
驚奇之谷

作者:沈心懿 6月20日至7月12,倫敦Young Vic劇場將帶領觀眾走進一個光怪陸離的故事。這個世界中每一個聲響都有一種色彩,每一種色彩都有一個味道,每一個味道都有一個形狀;而數字8是個胖女人,蜘蛛網則是無底洞…… 《驚奇之谷》呈現的的就是這樣一個萬花筒般的世界。 在現實生活中這樣的體驗並非是天方夜譚,這是每一個通感癥的患者的生活日常。該病患者由於感覺神經的交錯而能夠在聽到音樂的時候看見色彩。在透過幾位通感癥患者的視角,該劇旨在剖析大腦是如何決定人類認知能力並構架他們的世界觀。劇本的靈感取源於真實事件和多年的神經學研究成果,糅合了古波斯神話長詩的元素而成。觀眾將隨著這些人物的一舉一動,共同體驗他們的大腦是如何讓他們在天堂和地獄之間坐上情緒的過山車。信息網站Time Out 是這樣評論《驚奇之谷》的:本劇劇情將會挑戰你的大腦的極限。 劇本是英國導演Peter Brook(彼得.布魯克)與法國編劇Marie-Hélène Estienne (瑪麗-海倫·艾蒂安)再度精誠合作的結晶。此前兩人在長達30年的時間中有過多次合作,包括80年代的《往事追憶錄》以及在2012年Young Vic上演並名聲大噪的輕音樂劇《情人的西裝》。這是他們繼作品《那個人》(The Man Who)之後再次將主題著眼於人類大腦的創作。Peter曾經在70年代將古波斯神話長詩搬上舞臺,而這一次時隔30年之久的創作是在積澱之後對這部長詩的另類解讀。同時,這也是基於Peter和Marie兩人多年對神經學和伊斯蘭教義的熱情而孕育的探索之作。 Peter Brook出生於俄國一個猶太人家庭,在大革命之時舉家逃亡到英國,因而他的作品中時常夾雜著與對美好事物的眷戀以及居無定所的漂泊。他最具代表性的戲劇作品是在上世紀六十年代與皇家莎士比亞劇團合作的《李爾王》。在這部劇在成功的舞臺演出後被搬上了大熒幕。他的作品在法國等歐洲國家受到極大的贊譽。 6月24日戲劇開演前,兩位導演將攜手劍橋大學神經學學者和通感協會副會長在表演前為大家解讀劇本以及通感是如何產生和影響人類生活的。有興趣的觀眾屆時可以有機會在現場提問並深度挖掘主題。     票價:£10, £19.50, £25, £35 網站:http://www.youngvic.org/whats-on/the-valley-of-astonishment

Flying Roast Goose
《飛天燒鴨》穿越時空

華人街一向是有趣的城中城。坐落在這座城市的心臟部位,有著繁忙擁擠的街道和永不打烊的餐食店。每一個店家櫥窗裏懸吊的燒味,臘味, 濃油重彩地傳遞著多少人心中家鄉的味道。 於是這部作品, 就這樣香氣滿溢地閃亮登場。用港餐廳不能再熟悉的燒鵝命名, 講述了那些已經褪色的歷史中平實的溫情。以第二次世界大戰為背景,故事發生在1941 年 的冬天。日本軍隊攻佔香港,廚師金怡的大排檔的命運也隨著這座繁榮和平的城市的淪陷而前途未蔔。在食品匱乏的難題面前,金怡必須用她的力量和智慧,陷入混亂;面對糧食短缺的問題。金怡必須用她的力量和智慧,保護自己,當然還有她的拍檔——古靈精怪、非常嘴饞的寵物鵝蓉蓉,他們的命運將是怎樣的呢?通過形體、偶戲和物件劇場的相互交融,該劇講述一個關於食品、生存和犧牲的故事;殖民歷史這段鮮為人知的篇章也被詼諧地呈現在舞臺上。 《飛天燒鵝》的創意最初來自Paula Siu,這也是混沌空間戲劇公司(Out of Chaos)首部全長製作,該公司致力於講述東亞,尤其是中國大陸和香港故事。聯合黃土地劇團聯合制作, 其精選片段曾先後在 Oval House、Blue Elephant、Pulse Festival 2013 演出。值得一提的是作品中肢體和木偶演員,Kristoffer Huball和David Ralfe都曾經在世界著名的肢體戲劇學校法國勒考克學校受訓,同時木偶藝術家Oliver Smart也是英國木偶之家Little Angel Theatre的成員。團隊中更是包括了曾經在《戰馬》,倫敦奧運會開幕式已經正在上映的LIFT藝術節作品中有著精彩表現的藝術家和創作人員。 黃土地劇團(Yellow Earth Theatre)由5位英籍東亞裔藝術人士在1995年成立,是致力於提升英籍東亞藝人影響力的團體。 6 月 3 日至 6 月 21 日晚上 8 時 6 月 11 日演出後設有討論環節 地址:Blue Elephant Theatre,59a Bethwin Rd,Camberwell,London SE5 0XT 票價:12 鎊/10 鎊,南域(Southwark)居民 9 鎊 票房:020 7701 0100、0844

Tis Pity She’s a Whore @ Barbican

  真是个让人尴尬了几百年的剧名!含蓄的台湾巡演翻译成了文诌诌的《罪爱》,历史上,也曾被翻译成莫名其妙的假装家庭温馨的《兄妹》,雅中作俗,其实我觉得最合适的名字绝对应该是《哎呀妈呀,她咋是只鸡?!》我希望John Ford在天有灵,会喜欢这个露骨的翻译。就是这个让当时整个戏届跌破眼镜的剧本,成为了四百年来英语世界的一出重口经典。 兄妹乱伦,仇杀下毒,咬舌剖心……文明社会的最后一块遮羞布也被活生生揭开了。通常这样的剧本,很多导演都会被陷入故事主导的语境,幸亏这一次上演的版本来自著名的英国巡演剧团Cheek by Jowl,标志性的肢体语汇,骚到家的男女演员,端给观众一个活色生香的拼盘舞台。红色铺满整个舞台,中心的大床色情而肮脏,两扇大门贯穿起了所有的情節和人物。兄妹偷情结下孽果,父亲蒙在鼓里为女儿找来高富帅郎君,婚事在即,新郎旧情人妒火中烧,蓄意破坏却因自己的毒药在婚礼上暴毙,洞房夜完全不受干扰,干柴烈火却发现新娘有喜!“爸爸去哪了?”知情女佣泄密付出了整条舌头的代价,狂爱最终战胜伦理,撒旦狂欢,心脏作伴!真是一个不吃再吃不下,吃了翻肠倒胃的夜晚啊。 Cheek by Jowl于1981年创立,在舞台上充分体现了导演对于表演及演员的迷恋,唤醒演员内心深处的表演天赋,同时把语言本身作为表演的一个方面,应用法语,俄语作品探索欧洲大陆独特的表演方式和习惯。 只是可惜,有时候,当一件事成为经典的时候,谈论起它的时候也就没有那本该有的感情。散场的观众们,远没有曾经的震惊和兴奋,只是各个面露菜色,消失在了伦敦清冷而闷骚的夜色里,么也没剩…… https://www.barbican.org.uk/theatre/event-detail.asp?ID=15588  

                   

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