The stage designer Kedong liu
With a wood, high, open-air and enclosed stage, the physical conformation of the stage of the Shakespeare’s globe is very similar to that of ancient stages in china, so I graft the forms of chujiang (entering on the stage) and Ruxiang (exiting) on a Chinese opera stage onto Shakespeare’s play. the dwelling in the Fuchun Mountains, a painting by Huang gongwang who is a yuan dynasty painter, is placed in the rear of the stage, so that chujiang and Ruxiang are reasonably arranged. Xu Bing, the famous Chinese artist, specially writes some unique words for the play of Richard III, which, together with rice paper, constitutes a Shoujiu (curtains on an ancient Chinese opera stage), namely the stage background of traditional Chinese opera. We transfer the emotions conveyed by Chinese paper and china ink to Shakespeare’s era, and we expect that such
A spatial design would produce a chemical reaction in the Shakespeare’s globe in London. Unfortunately, due to a delay in transport by sea, not all visual effects are reflected on the stage as we expected, so there appears “the empty space” in the UK.
面對物理空間與中國古戲臺十分相似的環球劇院舞臺時,木質 、高臺 、 露天、圍合方式,讓我將中國戲曲舞臺的“出將、入相” 架構到了莎士比亞 的劇作裡。並將元朝畫家黃公望的《富春山居圖》居於舞臺後區,出將、 入相便有了合理的出場。著名藝術家徐冰特地為《理查三世》抒寫了獨特 的文字,這些文字與中國紙張構成一道“守舊”,也就是中國傳統戲裡的舞 臺背景,將中國紙、墨所承載的情感和方式置入莎士比亞的時代。這樣的 空間設計期待在英國倫敦的環球莎士比亞劇場實現一次化學反應。可巧 因為海運延誤之故,所有的視覺呈現完全沒有如期體現在舞臺上,於是 便有了這一次在英國的“空的空間”。