tag:blogger.com,1999:blog-54569033033189027892024-02-20T09:22:39.543-08:00展演資訊國立臺北藝術大學戲劇系國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.comBlogger252125tag:blogger.com,1999:blog-5456903303318902789.post-35498390794720691092015-11-30T01:49:00.003-08:002015-11-30T01:51:06.210-08:00國立臺北藝術大學戲劇學院2015冬季公演《玩命諾拉》<br />
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<span lang="EN-US"> </span>關於原劇:</div>
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<span lang="EN-US"> </span>《玩偶之家》(<span lang="EN-US">A Doll's House</span>)是挪威劇作家亨利‧易卜生,最重要的一部戲劇作品,<span lang="EN-US">1879</span>年於哥本哈根首演後曾引起軒然大波。劇中女性的地位低落,明顯是對十九世紀婚姻關係及父權社會進行的嚴厲批判。諾拉長期淪為男性(父親和丈夫)的附屬品,能夠經濟自立後,她的主體性也隨著劇情推衍慢慢形成。劇末,諾拉明白個體的責任在於自我了解,為了能獨立思考,首先要擺脫她在家中的從屬地位。諾拉最後的出走,除了可以解讀成個人尋找主體性的實踐外,也被視為女性主義的先鋒行動。</div>
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<span lang="EN-US"> </span>關於改編:</div>
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<span lang="EN-US"> </span><span lang="EN-US">2008</span>年爆發華爾街金融危機,引起全球經濟衰退,《玩偶之家》劇本中的經濟因素,成為新的當代詮釋觀點。「金錢借貸」引爆一個家庭的分裂,或者說「經濟因素」已經深入每個家庭,十九世紀末的易卜生,寓言了資本主義崛起、開始掌控人們的生活。《玩命諾拉》(<span lang="EN-US">Nora Kills</span>)的改編,著重於全球化高速資本運作的現代生活中,一個看似美好的中產家庭,如何竭力維持其生活樣貌,以及在此之下之人性扭曲、傳統價值觀的崩毀,及人性暗黑力量的爆發。</div>
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<span style="color: black; font-size: 11pt;">◆全台</span><span lang="EN-US" style="color: black; font-family: "arial" , sans-serif; font-size: 11pt;">7-11</span><span style="color: black; font-size: 11pt;">、全家</span><span style="color: black; font-size: 11pt;">及萊爾富超商皆可購票</span></div>
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<span style="color: black; font-size: 11pt;">◆【北藝大戲劇系演出行政組】<span lang="EN-US">02-2893-8259</span>(<span lang="EN-US">20</span>人<wbr></wbr>以上團體優惠票亦請聯繫此專線)</span></div>
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<span style="color: black; font-size: 11pt;">◆演出部落格:<span lang="EN-US"><a href="http://tnua-theatre.blogspot.com/" style="color: #1155cc; text-decoration: none;" target="_blank">http://tnua-theatre.<wbr></wbr>blogspot.com</a></span></span></div>
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<span style="font-size: 11pt;"><span style="color: black;">◆</span><span lang="EN-US"><span style="color: #9900ff;"><b>Facebook</b></span></span><span style="color: black;">:請搜尋「</span><a href="https://www.facebook.com/TNUATHEATRE/" style="color: black; text-decoration: none;" target="_blank">國立臺北藝術大學戲劇學系</a><span style="color: black;">」</span></span></div>
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製 作 人:林于竝、王世信</div>
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執行製作:詹惠登、曹安徽</div>
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導<span lang="EN-US"> </span>演:謝東寧</div>
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原<span lang="EN-US"> </span>作:亨利‧易卜生(<span lang="EN-US">Henrik Johan Ibsen</span>)《玩偶之家》</div>
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劇本改編:劉天涯</div>
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舞台設計:潘又瑞</div>
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服裝設計:黃致凡</div>
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燈光設計:李浩祥</div>
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舞台技術設計:蔡傳仁</div>
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音樂設計:許博烝</div>
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影像設計:曾御欽、黃皓偉</div>
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平面設計:吳子敬</div>
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舞台監督:吳峽寧</div>
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演<span lang="EN-US"> </span>員:高圓媛、陳世寧、林政融、盧瑞寰、張文易、王識安</div>
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<span style="color: black;">演出地點:</span><span style="color: blue;"><b>國立臺北藝術大學 展演藝術中心 戲劇廳</b><span lang="EN-US"><b> </b></span></span><span style="color: black;">(臺北市北投區學園路一號)</span></div>
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<span style="color: black;">演出時間:</span><span lang="EN-US">2015</span>年<span lang="EN-US">12/17</span>、<span lang="EN-US">12/18</span>、<span lang="EN-US">12/19</span>、<span lang="EN-US">12<wbr></wbr>/20 19</span>:<span lang="EN-US">30 PM</span></div>
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<span lang="EN-US"> 2015</span>年<span lang="EN-US">12/19</span>、<span lang="EN-US">12/20 14</span>:<span lang="EN-US">30 PM</span></div>
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<span style="color: black;">票</span><span lang="EN-US" style="color: black;"> </span><span style="color: black;">價:</span><span style="color: blue;"><b><span lang="EN-US">350</span>元<span lang="EN-US">/</span>張</b></span></div>
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<span style="color: black; letter-spacing: 0.75pt; line-height: normal;">【優惠折扣】</span></div>
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<span style="color: black; font-family: 細明體; letter-spacing: 0.75pt;">◎</span>華碩好鄰居購票優惠憑代碼每筆訂單打<span lang="EN-US">8</span>折。</div>
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<span lang="EN-US"><span style="color: black; font-family: 細明體; letter-spacing: 0.75pt;">◎</span>誠品會員每筆訂單打<span lang="EN-US">8</span>折。</span></div>
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<span style="color: black; font-family: 細明體; letter-spacing: 0.75pt;">◎</span><span style="color: black; letter-spacing: 0.75pt;">學生購票可享</span><span lang="EN-US" style="color: black; font-family: "arial" , sans-serif; letter-spacing: 0.75pt;">8</span><span style="color: black; letter-spacing: 0.75pt;">折優惠</span></div>
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<span style="color: black; font-family: 細明體; letter-spacing: 0.75pt;">◎</span>團體票購滿總數量<span lang="EN-US">20</span>張以上每筆訂單打<span lang="EN-US">8</span>折。<span lang="EN-US" style="color: black; font-family: "arial" , sans-serif; letter-spacing: 0.75pt;"><br /></span></div>
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<span style="color: black; letter-spacing: 0.75pt;">【注意事項】</span><span lang="EN-US" style="color: black; font-family: "arial" , sans-serif; letter-spacing: 0.75pt;"><br /></span><span style="color: red; letter-spacing: 0.75pt;">◎退、換票事宜請於演出<span lang="EN-US">10</span>天前辦理,並需酌收票價<span lang="EN-US">10%</span>手續費</span></div>
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<span style="color: red; letter-spacing: 0.75pt;">◎本節目非親子節目建議<span lang="EN-US">12</span>歲以下兒童不宜入場。</span></div>
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<span style="color: red; letter-spacing: 0.75pt;">◎場內禁止拍照、攝影、錄音</span><span style="background-image: initial; background-repeat: initial; color: black;">。</span></div>
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國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-23120478372362271702015-10-20T01:54:00.001-07:002015-10-20T01:56:05.985-07:00臺北藝術大學戲劇學院2015秋季公演《此時此地》畢製生演員 詹毓仁<br /><br />臺北藝術大學戲劇學院2015秋季公演《此時此地》畢製生演員 詹毓仁要告訴你的是......<br /><br />「在你的生活中,你不見得感覺得到自己是主角,這時,你得說服自己站在中心的位置。然而,我們又確確實實的是自己生命中的唯一主角,其他輻射出去的都是過客、不同程度的路人」by .......這個男人<br /><br /><br />我的畢製終於來了,開始到了會做惡夢的階段了<br /><br /><br />這次的演出形式很特別.......走路看戲<br /><br /><br />是實驗、是挑戰,應該也很難再遇到一次這樣的製作<br /><br /><br />雖然大家好像都遇到很多磨難跟不開心<br /><br /><br />但好險我遇到了一群可愛的戰友,一起在劇場裡打仗<br /><br /><br />很久沒對一個地方有歸屬感了........<br /><br /><br />雖然我一樣也還不知道戲最後會長成什麼樣子<br /><br /><br />但我很希望大家進劇場來一起成就 《此時此地》<br /><br /><br />我會加油的!<br /><br /><br />兩廳院可以買票,ibon也可以買票喔 <br /><br /><br />ibon > 購票 > 戲劇 > 《此時此地》<br /><br /><br />11/13(五) -11/15(日) & 11/20(五) - 11/22 (日)<div class="text_exposed_show" style="background-color: white; color: #141823; display: inline; font-family: helvetica, arial, sans-serif; font-size: 15px; line-height: 20.7px;">
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國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-50373512059132391282015-10-20T01:50:00.001-07:002015-10-20T01:50:03.199-07:0010/16《此時此地》創作理念說明會<div style="background-color: white; margin-bottom: 6px;">
<span style="color: #141823; font-family: helvetica, arial, sans-serif;"><span style="font-size: 15px; line-height: 20.7px;">(撰文/報導評論組 陳佾均)</span></span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixdVrbj4VCGDVKjwigY7gFRCEwOUhyphenhyphentmDGSWPQTccgMLeqVW9LEx9dBrInY9n1GJP8G23LMEdu9O63cHMKKWb9jcYuQNTfDJSHcOzotrtM62Ib7zsnZ0tXfMkRU2u2IPAueZDweXKg7Dbg/s1600/%25E5%2589%25B5%25E4%25BD%259C%25E7%2590%2586%25E5%25BF%25B5%25E8%25AA%25AA%25E6%2598%258E%25E6%259C%258304.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixdVrbj4VCGDVKjwigY7gFRCEwOUhyphenhyphentmDGSWPQTccgMLeqVW9LEx9dBrInY9n1GJP8G23LMEdu9O63cHMKKWb9jcYuQNTfDJSHcOzotrtM62Ib7zsnZ0tXfMkRU2u2IPAueZDweXKg7Dbg/s320/%25E5%2589%25B5%25E4%25BD%259C%25E7%2590%2586%25E5%25BF%25B5%25E8%25AA%25AA%25E6%2598%258E%25E6%259C%258304.jpg" width="180" /></a><span style="color: #141823; font-family: helvetica, arial, sans-serif;"><span style="font-size: 15px; line-height: 20.7px;">有感於世界劇場的發展至今早已走出劇院舞台空間的限制、模糊生活經驗與藝術作品之間的界線,本次學製導演陸愛玲老師決定採取環境劇場的演出方法,將舞台區擴展到戲劇廳外的布景與繪圖工廠;觀眾亦以自由走動的方式觀賞演出。在不同區塊的空間裡,不同戲劇場景接連發生。觀眾遊走的過程中,自己選擇視角,保持流動與變換視角的可能。多線且不斷重新連結的敘事結構,意味著所謂真正的作品,將於觀眾腦中發生,與個人經歷形成連結。</span></span><br />
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<span style="color: #141823; font-family: helvetica, arial, sans-serif;"><span style="font-size: 15px; line-height: 20.7px;">這次的文本結合經典戲劇作品的拼貼與演員即興。眾人在空間中共存、互動亦為我們都市生活的寫照。舞台設計張哲龍老師鎖定流動、在場(presence)與隨機偶發三個關鍵字發想,在戲劇廳觀眾席、舞台與布景繪圖工廠連通的區域中,搭建出具城市特質的空間結構。舞台空間的設計讓表演區在水平位移外也有垂直移動的可能。流動的不僅是觀眾與演員本身,也包括視角與高低關係。服裝設計楊妤德老師將以抽象時裝結合變形,以其獨樹一幟的造型表現人性扭曲的狀態。面對這樣的演出空間,燈光設計簡立人老師以大範圍、氛圍式的燈光切入,並將以顏色暗示場景情緒並界定表演空間,為流動的演出提供結構。</span></span><br />
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<span style="color: #141823; font-family: helvetica, arial, sans-serif;"><span style="font-size: 15px; line-height: 20.7px;">本次學製說明會有近百名同學參與,偌大的排練空間難得熱鬧。一切皆因這次的學製無論在設計與製作面都是一大挑戰,不只考驗導演、各設計與演員,在人力調度上也是前所未有。製作時程與邏輯也必須同步因應,期待多方緊鑼密鼓激盪之後,獨一無二的觀賞經驗。</span></span><br />
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國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-9490465398533245052015-09-21T03:05:00.000-07:002015-09-22T00:16:42.242-07:00國立臺北藝術大學戲劇學院 2015秋季公演《此時此地》<div class="cjk" style="line-height: 100%; margin-bottom: 0cm;">
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<span style="line-height: 15.874px;">製作人/林于竝、王世信</span><br />
<span style="line-height: 15.874px;">執行製作/詹惠登、曹安徽</span><br />
<span style="line-height: 15.874px;">劇作/陸愛玲</span><br />
<span style="line-height: 15.874px;">導演/陸愛玲</span><br />
<span style="line-height: 15.874px;">舞臺設計/張哲龍</span><br />
<span style="line-height: 15.874px;">服裝設計/楊妤德</span><br />
<span style="line-height: 15.874px;">燈光設計/簡立人</span><br />
<span style="line-height: 15.874px;">舞臺技術設計/楊金源</span><br />
<span style="line-height: 15.874px;">影像設計/柯智豪</span><br />
<span style="line-height: 15.874px;">音樂設計/柯智豪</span><br />
<span style="line-height: 15.874px;">動作設計/余彥芳</span><br />
<span style="line-height: 15.874px;">舞台監督/陳昭郡</span><br />
<span style="line-height: 15.874px;">平面設計/陳泓圻</span><br />
<span style="line-height: 15.874px;">演出人員/尤勝宏、何冠儀、吳佩庭、李瀛涵、林三如、林怡德、林品翰、林奕達、邱志瑄、洪廣芝、范頤、張雅淳、張語歡、許育瑋、郭育圻、陳冠齊、陳虹均、黃上嘉、楊靖輝、詹毓仁、劉文誠、劉培萱、蔡超聖、蔡曜仲、鴻狄、瞿正柔、譚業祥(依姓名筆畫順序排列)</span><br />
<span style="line-height: 15.874px;"><br /></span>
<span style="line-height: 15.874px;"><br /></span>
<span style="line-height: 15.874px;">一個獨特的經驗</span><br />
<span style="line-height: 15.874px;">流動的場景</span><br />
<span style="line-height: 15.874px;">流動的意象</span><br />
<span style="line-height: 15.874px;">流動的演員</span><br />
<span style="line-height: 15.874px;">流動的觀眾</span><br />
<span style="line-height: 15.874px;">想像與視角的不斷轉移變化</span><br />
<span style="line-height: 15.874px;">個人-家庭-城市</span><br />
<span style="line-height: 15.874px;">男人-女人-小孩</span><br />
<span style="line-height: 15.874px;">事件-關係-影響</span><br />
<span style="line-height: 15.874px;">聲音-溫度-顏色</span><br />
<span style="line-height: 15.874px;">影子-回聲-耳語</span><br />
<span style="line-height: 15.874px;">河流-時間-鐘聲</span><br />
<span style="line-height: 15.874px;">上百個角色。數十個日常場景。難以言詮的物我關係</span><br />
<span style="line-height: 15.874px;">一個城市裡的時空人地蒙太奇景觀</span><br />
<span style="line-height: 15.874px;">沒有開始</span><br />
<span style="line-height: 15.874px;">沒有終結</span><br />
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<span style="line-height: 15.874px;">演出內容:</span><br />
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<span style="line-height: 15.874px;">《此時此地》一語雙關的指涉了人們當下生活切片與生命情態,以及劇場觀演的現場當下性,兩者均具有不可重來之珍貴本色與獨特性。</span><br />
<span style="line-height: 15.874px;"><br /></span>
<span style="line-height: 15.874px;">一如流動的城市、變化的人生,全戲沒有「連續」的劇情,沒有所謂的「主題脈絡」,而是由許多大大小小的場景串連,一個個角色不斷替換,互不關連但互相呼應,來詮釋稍縱即逝的當下處境。無止盡的暫棲。偶發的相遇。不可預知的因果。浮動的經歷。說不清的慾望 。無法溝通的關係。沒有開始和結束的敘事。就像每個人有自己的故事一樣,在我們的四周也有別人的故事同時發生。每個人都在自己的故事中心。每個人都是自己生命的當然主角。所以也是他人的配角、或是不相干的過客。每個人是自己,也是他人。</span><br />
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<span style="line-height: 15.874px;">流動的戲景,流動的看倌。讓戲劇、演員、觀眾共時性進行。觀眾將遊走於分散的、多層次空間與戲劇場景光影裡,處在不同的觀賞次序中,或前進,或停留,由他們自己決定,並根據自己的經驗和聯想賦予本戲「個人的意義」。離開劇院時,觀眾將參照自身脈絡,帶走自己的文本。</span><br />
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<span style="line-height: 15.874px;">演出地點:國立臺北藝術大學 展演藝術中心 戲劇廳</span><br />
<span style="line-height: 15.874px;">(臺北市北投區學園路一號)</span><br />
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<span style="line-height: 15.874px;">演出時間:</span><br />
<span style="line-height: 15.874px;">2015年11/13、11/14、11/20、11/21 20:00 PM</span><br />
<span style="line-height: 15.874px;">2015年11/14、11/15、11/21、11/22 14:00 PM,17:00PM</span><br />
<span style="line-height: 15.874px;"><br /></span>
<span style="line-height: 15.874px;">票 價:500元/張</span><br />
<span style="line-height: 15.874px;"><br /></span>
<span style="line-height: 15.874px;">◆購票請上兩廳院售票系統http://www.artsticket.com.tw或兩廳院售票端點</span><br />
<span style="line-height: 15.874px;">◆全台7-11、全家及萊爾富超商皆可購票</span><br />
<span style="line-height: 15.874px;">◆【北藝大戲劇系演出行政組】02-2893-8259(20人以上團體優惠票亦請聯繫此專線)</span><br />
<span style="line-height: 15.874px;">◆演出部落格:http://tnua-theatre.blogspot.com</span><br />
<span style="line-height: 15.874px;">◆Facebook:請搜尋「國立臺北藝術大學戲劇學系」</span><br />
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<span style="line-height: 15.874px;">【優惠折扣】</span><br />
<span style="line-height: 15.874px;">◎學生購票可享8折優惠</span><br />
<span style="line-height: 15.874px;">◎團體票20張以上可享8折優惠</span><br />
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<span style="line-height: 15.874px;">【注意事項】</span><br />
<span style="line-height: 15.874px;"><br /></span>
<span style="line-height: 15.874px;">◎本劇為多元形式演出,結合環境劇場、展演與街頭演戲;打破一般被動觀賞方式,採取觀演互動體驗,觀眾能自由選擇停留或遊走於不同場景,觀賞位置和角度。整個劇場皆為演出空間,看戲體驗也因自我的決定而有所不同。</span><br />
<span style="line-height: 15.874px;">◎退、換票事宜請於演出10天前辦理,並需酌收票價10%手續費。</span><br />
<span style="line-height: 15.874px;">◎本節目非親子節目建議12歲以下兒童不宜入場。</span><br />
<span style="line-height: 15.874px;">◎場內禁止拍照、攝影、錄音。</span><br />
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國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-39991673908941129592015-06-21T23:16:00.002-07:002015-06-21T23:16:57.803-07:00關於評論的評論,以《我們的小鎮》為例<div class="MsoNormal">
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<b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">文字記錄:蔡茵茵</span><span lang="EN-US"> <o:p></o:p></span></b></div>
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<b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">影像記錄:劉睿筑</span><span lang="EN-US"><o:p></o:p></span></b></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">林乃文:對評論的評論是對評論的再一次檢視,加上導演蔣薇華老師也來到現場,所以我們可以屆此再探討回:評論對創作產生什麼作用?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">這次期末評論我著重在修潤學生寫作技巧,而把對內容的評論工作交給兩位老師。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">(中場接續)大概歸納一下同學們的特色:紹萱的評論依照劇場的分工出發,整體認為是和諧、安靜,群體性大於個人性,但對設計認為各行其是,對表演比較肯定,而結論是「另類的精采」(</span><span lang="EN-US">?</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">)。范頤的評論則依照劇本結構分三幕,對第一幕的肯定超過二、三幕;歸結於導演最後一段「文明史」的動作設計:「我們活在隱性的戰爭,結論是我覺得大家要好好的生活」。黃筱崴的評論把每一幕帶給她的情緒變化細細交代,可是同樣有對象是劇本還是演出分不清楚的問題;她有提到舞台像「海嘯」吞沒一切,可惜沒有深入分析。黃勤芳的文章是唯一有觸及到改編意識的一篇。楊燦鴻的文章對永恆的闡述很深然後由此返回對演出的辯證。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">同學們在現場報告的時候,對細節的舉例比較詳細,情緒字眼用得很多。不過,評論老師基本上還是依照文章部分做評論。</span><span lang="EN-US"><o:p></o:p></span></div>
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<!--[if !supportLists]--><b><span lang="EN-US">1.<span style="font-size: 7pt; font-stretch: normal; font-weight: normal;">
</span></span></b><!--[endif]--><b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">黃紹萱:〈安靜調和一切爭端:設計失焦、演出真誠〉</span><span lang="EN-US"><o:p></o:p></span></b></div>
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<span lang="EN-US"><a href="https://youtu.be/4-3oS0pCFlY"><span style="border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; padding: 0cm;">https://youtu.be/4-3oS0pCFlY</span></a><span style="border: solid windowtext 1.0pt; color: red; mso-border-alt: solid windowtext .5pt; padding: 0cm;"><o:p></o:p></span></span></div>
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<b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">郭亮廷:</span></b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">「另類的精彩」,那主流的精彩是什麼可以解釋一下嗎?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">討拍去臉書,所以我就直接提問題,我只提缺點。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">比起戲能不能說服觀眾,更應該是你的評論如何說服讀者。這篇不是很有說服力,我完全不同意對舞台的批評。首先不要再用「真誠」來形容表演了,而應該檢視表演的真實感怎麼發生怎麼建立。還有舞台為什麼一定要有景深?這是寫實主義的透視美學,不是唯一的美學標準。我的觀點如黃筱崴,正因為沒有景深才有趣,原本木質感應給人踏實,卻因為捲起來,使得穩固的日常開始崩解。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">關於空台,這是劇作家要求的,除非你要直接批評劇作家,不然你不能再以此評論導演。歷史上戲劇用空白才是多數,因為劇場正是可用空台去表現普遍性,是到</span><span lang="EN-US">19</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">世紀才要求什麼都要看得見,不可見的不算數。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">關於「群體性大於個人」我知道你的意思是好的,但應該更進一步去談,是舞台上的哪些元素是怎麼樣的群體性不是只泯滅個體的群體性,而是包容各體的群體性,應該要解釋過成跟怎麼發現。邵萱「光的敘事」這詞用的好,但這應該是好事不是壞事,敘事為什麼只能有一個單一焦點,劇場的優點在於不是鏡頭,可以有多種敘述,而且這劇本都沒有主腳,這劇本本身就是多焦點。</span><span lang="EN-US"><o:p></o:p></span></div>
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<b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">紀慧玲:</span></b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">你的評論沒有那麼不好,我談優點,我們寫一齣戲的想法,一定要保留對戲的第一印象,當下直觀感受要先留住,會變成最終評價,經過寫作論述的過程變成評論。邵萱總體氛圍掌握清楚,但要怎麼落實到文字,就是寫作的方法。第一段用了太多結論了,結論應該要一個一個推出來,要有鋪陳才能往下走。開始從劇本的去分析,但比較多從結論去分析,例如懷爾德向來是比較內在深層的作品沒錯,但這句要怎樣用更學術的說法講話才比較準確和客觀?又如因為年代怎麼樣怎麼樣,所以你用劇本去往前推,你接下來幾斷試著去分析推回第一段,但分析不夠到位,沒辦法支撐你第一段的結論。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">我對你的評論比較好奇的是,你總體評價高,但舞台評價又很低,有點分裂,何不單純的談一個有沒有達到和諧感就好?評論能容納的有限,寫你最有感覺的切入就好。用場上的細節去支撐你的批評。批評舞台的不足要說服,要跟整齣戲回應,要去講贏人家</span><span lang="EN-US">(</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">所以亮廷顯然講贏</span><span lang="EN-US">)</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">。「光的敘事剝奪演員的敘述」這個觀點很有趣,每個人有不同的看戲方法,看得越多寫得越多,慢慢推出。寫得很用心,但結論推得太早。</span><span lang="EN-US"><o:p></o:p></span></div>
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</span></span></b><!--[endif]--><b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">范頤:〈</span></b><b><span style="font-family: "新細明體","serif"; font-size: 13.0pt; mso-ansi-language: ZH-TW; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">永恆的片刻</span></b><b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">〉</span><span lang="EN-US"><o:p></o:p></span></b></div>
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<b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">郭亮廷:</span></b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">寫劇評不能濫用、錯用「疏離」,因為在劇場「疏離」是一種專有名詞,在布雷希特的美學裡這是正面的,難道投入就是很好嗎?難道視覺跟聽覺不同一定不好嗎?我反而覺得視覺和聽覺的錯位是有趣的,因為看電影音源就是喇叭啊,但劇場不是。去挑剔細節技術沒意義,應該擴大成美學問題,應該問既然用傾斜舞台,有沒有傾斜舞台走路的方法?例如雲門的《屋漏痕》因為舞台傾斜舞者連運氣呼吸都不同了。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">我覺得你可以講喜歡不喜歡,但你要下這麼強烈更需要細節去說明,你結論給了這戲很大的表揚:「好好生活」,但這個結論太容易從任何得來?否則《史瑞克》《冰雪奇緣》都可以教我們好好生活,而為什麼是這齣戲?</span><span lang="EN-US"><o:p></o:p></span></div>
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<b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">紀慧玲:</span></b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">我看這兩篇會有一個好奇,你這篇戲劇評論寫給誰看?范頤像在跟老師、劇組報告,像對學校報告,不是給外面沒看過戲的人的評論,因為范頤的的結構直接切小,沒有一個視野去看這個演出,屬於課堂呈現必須提出批評的文章。太快進入細節,沒有先提出一個架構我要如何去評這齣戲。無「對象意識」。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">為什麼要一幕一幕談?做為評論寫做跟課堂報告不一樣。范的寫法很直接很直白,但讀者來看會問為什麼,你推崇一個東西如集體意識,你喜歡難道就是對的嗎,這是一個評論危險的地方,你要問為什麼這形式成立,是因為根劇本吻合嗎?給太細像在給演員筆記,不像評論,重要的應該是你評論的觀點,很多是你直觀的想法,這不太好,你要常常反思這跟整齣戲的美學關係。范結構不穩,該談前面就談完但又回來談,那這樣應該要反推回去你的結論,好好生活的結論是怎麼達成的,扣在一起。「文明史」這部份看不懂,要解釋,提出處。</span><span lang="EN-US"><o:p></o:p></span></div>
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</span></span></b><!--[endif]--><b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">黃筱崴:〈平凡中的不平凡〉</span><span lang="EN-US"><o:p></o:p></span></b></div>
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<b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">紀慧玲:</span></b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">小崴你分析也是一幕兩幕三幕我很欣賞這個畫面深深撼動我</span>
<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">我的情緒變化三幕是什麼,這是</span><span lang="EN-US">OK</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">,但寫評論要把當下的感覺用論述再重新說出去,變成一家之言。這個東西感動了我是怎麼被感動的,你要重你戲劇系的背景,你場上看跟戲劇理論、戲劇分析、角色分析</span>
<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">導演怎麼騙到你使你感動?善用你的知識背景。讓你飆淚</span><span lang="EN-US">...</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">沒讓你飆淚</span><span lang="EN-US">...</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">反問導演艾蜜莉有要讓你飆淚嗎?你在掌握你自己的感動很重要,但你要反問你的戲劇專業如何達成的。在一個公共討論的空間中,演員性向是很內部很私人的觀點,說出來時要小心。</span><span lang="EN-US"><o:p></o:p></span></div>
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<b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">郭亮廷:</span></b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">「艾蜜莉喬治那段」的分析很空虛。我覺得演員的空虛不在愛情戲啊、家庭戲啊的情緒不夠,表演的空虛是演員身體上的社會性不夠,不夠勞動感。例如我小時候站著頂太陽等公車。之前去看《全國賓士車最多的小鎮》那戲無法說服我的理由是我無法相信住在南部的三個姐妹,深體會是那樣子的。我前陣子看電影《牯嶺街殺人事件》,當時演員張震只是高中生,卻在身體上做到五零年代人的那樣子。高中生都做得到的表演你們大學生怎麼沒做到。我覺得懷爾德要談接受遺忘很困難,但沒有要我們聲淚俱下啊。</span><b><span lang="EN-US"><o:p></o:p></span></b></div>
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</span></span></b><!--[endif]--><b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">黃勤芳:〈《我們的小鎮》,誰的小鎮?〉</span><span lang="EN-US"><o:p></o:p></span></b></div>
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<span lang="EN-US" style="border: solid windowtext 1.0pt; color: red; mso-border-alt: solid windowtext .5pt; padding: 0cm;">https://youtu.be/g8rz1ject5A<o:p></o:p></span></div>
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<b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">紀慧玲:</span></b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">讚賞你提出一個有效性的觀點。你提出宗教歷史的背景(劇本反對新教倫理,但改編無法觸及這點),你的觀點,怎麼對應,所以創作者可以直接跟你對話。首先你肯定那個劇本是有一個背景,你用更多篇幅來分析原劇本,可是我們今天要討論的是演出,你懷爾德分析得多了,對《我們的小鎮》就少了,你可以去分析演出與文本之間哪些少了、哪些多了。</span><span lang="EN-US"><o:p></o:p></span></div>
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<b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">郭亮廷:</span></b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">蠻厲害你有看到賽門是個邊緣人的觀點,他做為一個邊緣人在溫馨封閉的小鎮裡如何被犧牲掉。但你最後一段說這齣戲屬於美國所以不具普遍性,說得太快,這樣的話根本不會有「世界性」的存在啊,這樣變得太獨斷而不是去討論這件事。</span><span lang="EN-US"><o:p></o:p></span></div>
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<b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">紀慧玲:</span></b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">燦鴻有自己很強的觀點出自他對劇本的解讀:永恆的不存在感。有一個問題是你整個再做原著劇本分析,不是演出,評論比重失衡。你的很多個人對永恆的感懷兩段可以收成兩行就好,而且這兩段是同觀點不同文字。「…聰明地善用學生的特質」,在評論中「聰明」這字眼很反諷的,也不知道你說的聰明是聰明什麼,這本來就是學生製作啊,擅用學生是什麼意思?可能造成誤會,那就是你評論的一點點小缺憾,修辭要注意。你覺得創作者是用「反戰」做結尾,我不太同意,也許不是反戰,也許只是循環吧,應該說我只是沒感受到反戰,你把那段放的很大,你讀到的字眼我好奇。</span><span lang="EN-US"><o:p></o:p></span></div>
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<b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">郭亮廷:</span></b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">與其說是反戰,應該更是我們無法反戰。</span><span lang="EN-US">Vicky</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">導的這個懷爾德很隱、很含蓄。這是個講求政治正確的時代,只要有一點政治味你就感覺得到。例如婚禮,媽媽在哭這世界變得更壞,基調突然變得非常黑暗,讓你覺得有戰爭的陰影,但只有一瞬間,剛范頤講我們活在隱性戰爭沒有錯啊。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">懷爾德也許根本沒有要講缺席的永恆,從他與朋友的書信裡,他更感興趣的是時間的遊戲。在德文導演與舞監同一字,但用舞監更可以打破戲劇幻覺,他是時間的調度師。永恆就是忘記時間沒有過去未來當下,我覺得懷爾德不是消去時間遁入永恆,而是在玩時間遊戲。</span><span lang="EN-US"><o:p></o:p></span></div>
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<b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">導演</span><span lang="EN-US">Vicky</span></b><b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">:</span><span lang="EN-US"><o:p></o:p></span></b></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">大家討論很多。但時間有限不容我感性回答。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">這個劇本沒有改編,但後面那些人的</span><span lang="EN-US">(</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">文明史</span><span lang="EN-US">)</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">的動作我覺得是導演的權力,唯一個小篇幅多給賽門,但可能沒做好。我也不喜歡我有風格,我沒有任何個人風格,我已經五十歲了,我不希望看到我個人強烈意見,但願意深入劇本,教我更敞開更看入人的本質。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">我不想要留懷舊悲傷,艾蜜莉我沒有要大家哭,我希望更劇有哲學思考性。懷爾德不要煽情。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">我蠻喜歡舞台,舞台、服裝、我都有抓到,但進劇場前沒辦法確認。原本舞台要三米多,根本已經不只是二樓的感覺了,後來討論改兩百四十米,我認為是美妙的巧合。觀眾會覺得角色沒個性是因為戲沒有大衝突,只是片斷,打破佳構式結構,反覆辯證,這種沒衝突的戲表演者最難以發揮,我能做的是讓表演者的底層是真實的,沒有表演技巧。這是我個人美學,不要表現你看我很厲害的表演,一有虛假,就立刻被我禁止。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">其實我沒有要求集體,只有要求安靜,為有你感受到自己的存在,別人才感受到你的。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">賽門很難表現,都是別人在討論他,我只允許賽門有小小即興,例如想像你嘴巴裡有</span><span lang="EN-US">…….</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">(每一次都不一樣),因為是這麼細膩的人所以是被小鎮拒絕,我沒把他處理成醉鬼,他的醉是太敏感細膩了。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">我有試過拿掉所有道具,會變很極簡、很風格化,又不是我要的。我從表演出發,有一些代表性的物件,像爸爸的手帕、書、報紙等等,使演員可以更真實流動。我給它一個新的邏輯是:看得見的物件舞監拿給演員的。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">乃文:感謝這樣的討論,一方面為大家展示了更多看戲的方法。一方面一齣戲劇不會終止於謝幕那刻,會不斷餘波盪漾,評論更推進了這點;關於評論的評論則將當代美學更加擴延。</span><span lang="EN-US"><o:p></o:p></span></div>
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國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-81589836377024977192015-06-07T20:54:00.003-07:002015-06-07T20:58:22.589-07:002015夏季公演《我們的小鎮》現場訪問<br />
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<span style="background-color: white;"><span style="background: #F6F7F8; color: #141823; font-size: 10.0pt; mso-ascii-font-family: Helvetica; mso-hansi-font-family: Helvetica;">《我們的小鎮》</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "Helvetica","sans-serif"; font-size: 10pt;">5</span><span style="background: #F6F7F8; color: #141823; font-size: 10.0pt; mso-ascii-font-family: Helvetica; mso-hansi-font-family: Helvetica;">月</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "Helvetica","sans-serif"; font-size: 10pt;">28</span><span style="background: #F6F7F8; color: #141823; font-size: 10.0pt; mso-ascii-font-family: Helvetica; mso-hansi-font-family: Helvetica;">日現場。</span><span style="color: #333333; font-size: 10.0pt; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">受訪者:</span><span style="background: #F6F7F8; color: #141823; font-size: 10.0pt; mso-ascii-font-family: Helvetica; mso-hansi-font-family: Helvetica;">羅諄。訪問者:黃紹萱。</span></span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: #333333; font-family: "Arial","sans-serif"; font-size: 10.0pt;"> </span><span lang="EN-US"><a href="https://youtu.be/Cm1f18auv4Q" target="_blank"><span style="background: #F6F7F8; color: #3b5998; font-family: "Helvetica","sans-serif"; font-size: 10.0pt; text-decoration: none; text-underline: none;">https://youtu.be/Cm1f18auv4Q</span></a><o:p></o:p></span></div>
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<span style="background: #F6F7F8; color: #141823; font-size: 10.0pt; mso-ascii-font-family: Helvetica; mso-hansi-font-family: Helvetica;">《我們的小鎮》</span><span lang="EN-US" style="background: #F6F7F8; font-family: "Helvetica","sans-serif"; font-size: 10.0pt;">5</span><span style="background: #F6F7F8; color: #141823; font-size: 10.0pt; mso-ascii-font-family: Helvetica; mso-hansi-font-family: Helvetica;">月</span><span lang="EN-US" style="background: #F6F7F8; font-family: "Helvetica","sans-serif"; font-size: 10.0pt;">28</span><span style="background: #F6F7F8; color: #141823; font-size: 10.0pt; mso-ascii-font-family: Helvetica; mso-hansi-font-family: Helvetica;">日現場。受訪者不具名。訪問者:朱俊憲。</span><span lang="EN-US"><br clear="all" />
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<span style="background: #F6F7F8; color: #141823; font-size: 10.0pt; mso-ascii-font-family: Helvetica; mso-hansi-font-family: Helvetica;">《我們的小鎮》</span><span lang="EN-US" style="background: #F6F7F8; font-family: "Helvetica","sans-serif"; font-size: 10.0pt;">5</span><span style="background: #F6F7F8; color: #141823; font-size: 10.0pt; mso-ascii-font-family: Helvetica; mso-hansi-font-family: Helvetica;">月</span><span lang="EN-US" style="background: #F6F7F8; font-family: "Helvetica","sans-serif"; font-size: 10.0pt;">29</span><span style="background: #F6F7F8; color: #141823; font-size: 10.0pt; mso-ascii-font-family: Helvetica; mso-hansi-font-family: Helvetica;">日現場。受訪者:不具名。訪問者:黃勤芳。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="background: #F6F7F8; color: #141823; font-size: 10.0pt; mso-ascii-font-family: Helvetica; mso-hansi-font-family: Helvetica;">《我們的小鎮》</span><span lang="EN-US" style="background: #F6F7F8; font-family: "Helvetica","sans-serif"; font-size: 10.0pt;">5</span><span style="background: #F6F7F8; color: #141823; font-size: 10.0pt; mso-ascii-font-family: Helvetica; mso-hansi-font-family: Helvetica;">月</span><span lang="EN-US" style="background: #F6F7F8; font-family: "Helvetica","sans-serif"; font-size: 10.0pt;">28</span><span style="background: #F6F7F8; color: #141823; font-size: 10.0pt; mso-ascii-font-family: Helvetica; mso-hansi-font-family: Helvetica;">日現場。受訪者不具名。訪問者:黃紹萱。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US"><a href="https://youtu.be/DoDXzLnT3aw" target="_blank"><span style="background: #F6F7F8; color: #3b5998; font-family: "Helvetica","sans-serif"; font-size: 10.0pt; text-decoration: none; text-underline: none;">https://youtu.be/DoDXzLnT3aw</span></a><o:p></o:p></span></div>
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<span style="background: #F6F7F8; color: #141823; font-size: 10.0pt; mso-ascii-font-family: Helvetica; mso-hansi-font-family: Helvetica;">《我們的小鎮》</span><span lang="EN-US" style="background: #F6F7F8; font-family: "Helvetica","sans-serif"; font-size: 10.0pt;">5</span><span style="background: #F6F7F8; color: #141823; font-size: 10.0pt; mso-ascii-font-family: Helvetica; mso-hansi-font-family: Helvetica;">月</span><span lang="EN-US" style="background: #F6F7F8; font-family: "Helvetica","sans-serif"; font-size: 10.0pt;">28</span><span style="background: #F6F7F8; color: #141823; font-size: 10.0pt; mso-ascii-font-family: Helvetica; mso-hansi-font-family: Helvetica;">日現場。受訪者:不具名。訪問者:朱俊憲。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US"><a href="https://youtu.be/JyZAGoCtz60" target="_blank"><span style="background: #F6F7F8; color: #3b5998; font-family: "Helvetica","sans-serif"; font-size: 10.0pt; text-decoration: none; text-underline: none;">https://youtu.be/JyZAGoCtz60</span></a><o:p></o:p></span></div>
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<span style="background: #F6F7F8; color: #141823; font-size: 10.0pt; mso-ascii-font-family: Helvetica; mso-hansi-font-family: Helvetica;">《我們的小鎮》</span><span lang="EN-US" style="background: #F6F7F8; font-family: "Helvetica","sans-serif"; font-size: 10.0pt;">5</span><span style="background: #F6F7F8; color: #141823; font-size: 10.0pt; mso-ascii-font-family: Helvetica; mso-hansi-font-family: Helvetica;">月</span><span lang="EN-US" style="background: #F6F7F8; font-family: "Helvetica","sans-serif"; font-size: 10.0pt;">29</span><span style="background: #F6F7F8; color: #141823; font-size: 10.0pt; mso-ascii-font-family: Helvetica; mso-hansi-font-family: Helvetica;">日現場。受訪者:不具名。訪問者:黃勤芳。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US"><a href="https://youtu.be/vSlb6eob1-I" target="_blank"><span style="background: #F6F7F8; color: #3b5998; font-family: "Helvetica","sans-serif"; font-size: 10.0pt; text-decoration: none; text-underline: none;">https://youtu.be/vSlb6eob1-I</span></a><o:p></o:p></span></div>
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<span style="background-color: white;"><span style="background: #F6F7F8; color: #141823; font-size: 10.0pt; mso-ascii-font-family: Helvetica; mso-hansi-font-family: Helvetica;">《我們的小鎮》</span><span lang="EN-US" style="background: rgb(246, 247, 248); color: #141823; font-family: "Helvetica","sans-serif"; font-size: 10pt;">5</span><span style="background: #F6F7F8; color: #141823; font-size: 10.0pt; mso-ascii-font-family: Helvetica; mso-hansi-font-family: Helvetica;">月</span><span lang="EN-US" style="background: rgb(246, 247, 248); color: #141823; font-family: "Helvetica","sans-serif"; font-size: 10pt;">28</span><span style="background: #F6F7F8; color: #141823; font-size: 10.0pt; mso-ascii-font-family: Helvetica; mso-hansi-font-family: Helvetica;">日現場。</span><span style="color: #333333; font-size: 10.0pt; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">受訪者不具名</span><span style="background: #F6F7F8; color: #141823; font-size: 10.0pt; mso-ascii-font-family: Helvetica; mso-hansi-font-family: Helvetica;">。訪問者:蔡茵茵。</span></span></div>
<a href="https://www.youtube.com/watch?v=cuIY53QcCnA&feature=youtu.be" target="_blank"><span style="background: #F6F7F8; color: #3b5998; font-family: "Helvetica","sans-serif"; font-size: 10.0pt; text-decoration: none; text-underline: none;">https://www.youtube.com/watch?v=cuIY53QcCnA&feature=youtu.be</span></a>國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-52029309586044721292015-05-15T01:42:00.002-07:002015-05-15T01:42:44.611-07:00打開小鎮的鑰匙──音樂 ‧ 《我們的小鎮》音樂設計/周莉婷專訪<div style="margin-top: 0cm; tab-stops: center 207.5pt;">
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<span style="font-family: 新細明體, serif; font-size: 13pt;">文</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;">/</span><span style="font-family: 新細明體, serif; font-size: 13pt;">朱俊憲</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;"><o:p></o:p></span></div>
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<span style="font-family: 新細明體, serif; font-size: 13pt;">在今年北藝大夏季公演《我們的小鎮》中擔任音樂設計的周莉婷,畢業於北藝大音樂所,除畢業製作歌劇《第七封印》(</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;">2012</span><span style="font-family: 新細明體, serif; font-size: 13pt;">)外,周莉婷第一部實際參與的戲劇演出是</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;">2007</span><span style="font-family: 新細明體, serif; font-size: 13pt;">戲劇學院秋季公演《吶喊竇娥》,並擔任現場樂手;這些年陸續參與戲劇學院的公演,包含去年的《大家安靜》(</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;">2014</span><span style="font-family: 新細明體, serif; font-size: 13pt;">)。</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;"><o:p></o:p></span></div>
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<span style="font-family: 新細明體, serif; font-size: 13pt;">還記得懷爾德原著《小鎮》中,家庭主婦媽媽們晚飯後的社團活動──唱詩班嗎?劇中的音樂,劇中的聲音,以及營造整體情境的音樂,交織成這齣《我們的小鎮》的聽覺。這齣戲的音樂設計特別重要,因此趕在公演之前為大家訪問到周莉婷的親身說法。</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;">Q:</span><span style="font-family: 新細明體, serif; font-size: 13pt;">音樂在這次演出中扮演什麼樣的角色?</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;">A:</span><span style="font-family: 新細明體, serif; font-size: 13pt;">音樂通常是一個多面角色。需要呈現劇本所出現的各種聲音</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;">/</span><span style="font-family: 新細明體, serif; font-size: 13pt;">音樂,需要表達抽象的角色的內心世界或是情境氛圍,有時又需要當串場、當轉場、當回憶當年的說書人,又有時需要帶出劇中的背景,當有畫面的處理或是大量的肢體段落,音樂更是其中的引導的主軸。說起來,它</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;">(</span><span style="font-family: 新細明體, serif; font-size: 13pt;">編按:音樂</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;">)</span><span style="font-family: 新細明體, serif; font-size: 13pt;">身兼許多角色,其實一直都是很忙的。這次我們的小鎮幾乎都用到了呢。</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;"><br />
</span><span style="font-family: 新細明體, serif; font-size: 13pt;">如果具體的說,這次音樂總共分成音樂、聲音、劇情中的音樂這三大類。現場樂手都參與這三類的演奏,比較特別的地方是,演員這次也參與了許多音樂與聲音的部分。他們發展了許多劇中場景聲音的描繪,又身兼唱詩班,也為此找了聲樂指導,花了些時間練了發聲與合唱,應該可以好好期待一下。</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 14pt;">Q:</span><span style="font-family: 新細明體, serif; font-size: 14pt;">對於這次音樂的創作是由甚麼樣的方式進行?</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 14pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;">A:</span><span style="font-family: 新細明體, serif; font-size: 13pt;">這次的音樂,與以往的製作都是個人創作的方式不同,是採用共同發展的方式進行,樂手們雖然都有音樂基礎,但也不是像以往我比較常接觸的,都是有音樂專業背景出生的樂手們,對我而言也是一個蠻有挑戰的新體驗。尤其樂團全體合奏的部分,是需要彼此配合的,每個樂手們除了要找到自己所擅長的部分,聽的同時還要創造出聲音,將音樂、節奏組織起來,需要協調而不雜亂,是我覺得是蠻困難的部分。或許從文字中,有點難去體會這其中困難的部分,但音樂即興對一個有古典背景出生的人都不是件特別簡單的事,它</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;">(</span><span style="font-family: 新細明體, serif; font-size: 13pt;">編按:音樂</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;">)</span><span style="font-family: 新細明體, serif; font-size: 13pt;">無形而且有前後文,且又互相配合,是需要經過長時間的訓練跟培養,才能達到一個協調的。所以在創作之前我會希望他們學會怎麼聽。請他們各自找尋各個段落適合小鎮的歌曲,也是透過每個人對音樂對劇本的感受,互相了解各自對音樂的觀感跟特性。</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;"> </span><span style="font-family: 新細明體, serif; font-size: 13pt;">樂手們每週有跟排的時間、與樂手自己固定工作的兩個部分。很多劇中使用到的音樂,都是他們自己在排練場,在不斷的觀察跟嘗試中,透過跟戲排練,摸索出來的。然後在樂手自己工作的時段裡,我再做音樂的進一步組織、發展與修正。所以與其說這次是音樂設計,音樂指導說不定會更適切。很多聲音的產生是我一開始想像不到的,也使用很多有趣的素材跟道具,在他們能力所及的範圍作了多方面的嘗試,與很多一開始想像不到的可能,可以感受到他們的用心跟潛力,玩出了符合小鎮的音樂,我想這應該就是集體創作的樂趣與魅力。</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;">Q:</span><span style="font-family: 新細明體, serif; font-size: 13pt;">想藉由這次音樂對觀眾傳達甚麼?</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;">A:</span><span style="font-family: 新細明體, serif; font-size: 13pt;">這次我們的小鎮裡的音樂,中心思想是比較希望觀眾可以好好感受音樂所營造出來的小鎮。如同上述所提到的,做了很多不同面向的表達,在音樂裡我們也很內化的藏了劇本裡所提到的中心思想,用了很多象徵符號來襯托與闡述,所以還請多多支持我們卡爾雷特大樂隊</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;">(</span><span style="font-family: 新細明體, serif; font-size: 13pt;">小鎮的音樂團隊名</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;">)</span><span style="font-family: 新細明體, serif; font-size: 13pt;">。</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;"><br />
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<span style="font-family: 新細明體, serif; font-size: 13pt;">記者小結:如果說導演是一齣戲的大腦,演員是四肢,那我想音樂可以說是一齣戲的靈魂。訪問後才知道音樂原來在戲中還有分成三類,音樂、聲音、劇中音樂,平常或許我們總會聽過就忽略了,但其實音樂真的幫助了我們更進一步的貼近劇情。但周莉婷身為一個如此優秀的音樂設計也是十分謙虛,她表示在這次演出中與其說是音樂設計,音樂指導說不定會更適切。因為很多聲音的產生是他原本意想不到的,所以,在看戲中我們不妨多留意一下這些新的樂手們無窮的潛力與想像力。另外,拿劇中音樂來作說明,我們聽過後總會以為就只是音樂,但正因為有了劇中音樂的存在,也讓我們知道了劇中的真實部分,就像標題說的,這些音樂同時也建立出了小鎮,演員使用的聲音表演,甚至是輔助劇情的音樂,這些都是幫助觀眾走進小鎮的鑰匙,當我們握有這些鑰匙時,要不要走進小鎮的選擇權就在各位觀眾的手裡了。</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 13pt;"><o:p></o:p></span></div>
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國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-37236082096215192302015-05-15T01:07:00.001-07:002015-05-15T01:09:20.162-07:00重看最平凡無奇的那一天──專訪《我們的小鎮》導演蔣薇華<div align="right" class="MsoNormal" style="text-align: right;">
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<i><span lang="EN-US"> </span></i><i><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">我們都太容易活在他人的期望中,</span><span lang="EN-US"><o:p></o:p></span></i></div>
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<i><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"> 活在無意識中,沒有真正的活在行動中。──蔣薇華</span><span lang="EN-US"><o:p></o:p></span></i></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"> 五月即將上演北藝大夏季公演《我們的小鎮》,導演蔣薇華為國立臺北藝術大學的表演老師,學生暱稱她為</span><span lang="EN-US">Vicky</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">。在過去北藝大所執導過的學期製作皆偏好長篇史詩類的作品,蔣薇華在</span><span lang="EN-US">2003</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">年做過一次關於希臘神話的《航向愛情海》,另一次則是</span><span lang="EN-US">2010</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">年印度神話的《摩訶婆羅達》,演出往往超過三小時。這一次的夏季公演原本打算做西藏神話,但由於燦文的劇本來不及寫完,所以便決定製作懷爾德的劇作《我們的小鎮》(</span><span lang="EN-US">Our
Town</span><span style="color: red; font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">)</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">。另外導演蔣薇華也說自己偏好空台,之前排的學製也都有這個共同點,這次的舞台將會有</span><span lang="EN-US">250</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">公分高的斜坡在上舞台對著觀眾,並把觀眾席前三排拆掉,有一個離觀眾很近的平面空間。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"> 這次導演蔣薇華面對經典文本,決定對《我們的小鎮》不做任何改編,而是盡量貼近原著,在排戲過程中也讓戲劇顧問跟劇組一起仔細分析這個劇本。沒有把《小鎮》搬到台灣的某一個時代及任何一個地方。盡量貼合原著的原因是,她認為不論是果陀劇場的《淡水小鎮》或台南人劇團的《安平小鎮》,由於轉換地理時空的關係,都只較著重劇中女主角艾蜜莉死後重回小鎮一天的感傷情懷,但她更希望能呈現劇本中關於許多跟文化相關而不可轉譯的台詞,像是二戰前的背景,工業革命後的世界等。蔣薇華說排這次的製作到後來,她發現原來這次的創作是一個關於存在的哲學,而且非常貼近現代的生活。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">以下為筆者(以下簡稱Q)在導演蔣薇華(以下簡稱A)的辦公室所做的訪談整理:</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Q:為何特別強調貼近原著?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">A:我覺得我們太小看觀眾了,不是只有改成在地化版本,觀眾才能理解裡頭要講的東西,有些東西是共同的。而且改編版會忽略很多台詞,只著重在感傷的情懷裡,像是劇本裡有提到很多大自然的事情,這跟人類的生命做對應,講生滅生滅其實就是一種永恆。像是第一幕裡教授從泥盆紀的玄武岩,幾億年前的十頭一路講回科倫威爾鎮的地表風貌。這齣戲的一開頭也是把鏡頭拉到宇宙、地球、經緯度……然後拉回這個小鎮,最後一幕舞台監督又把整個時空拉回宇宙。另外劇中美國新教徒的背景也很重要,新教徒對生活的規範、期望,影響了他們整個生活方式,也讓他們無法真正看到彼此。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Q:永恆是什麼呢?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">A:我覺得作者非常低調,他想要講的話都放在很後面,所以他並沒有給一個答案,我也不想要做一齣教育別人的戲。而我自己做《小鎮》,心中對永恆的答案有兩個層次。一個是大自然生生不息,死亡本身是消失,但人往往不想承認,譬如說「他在天上繼續保佑著我們」就是一種不承認,第三幕作者把死亡直接擺在眼前,沒有新教徒的地獄天堂,死亡就是單純地消失回歸到大自然。第二個層次是,我覺得啊,你只要清明醒來,你看你做的是不是機械式的活動?是結構、儀式推著你去做的,跟別人都一樣,別人做什麼你就去做,怕不參加這次的聚會,就會錯過什麼機會,我們都很容易活在他人的期望中,活在無意識中,沒有真正的活在行動中。劇中艾蜜莉問舞台監督有沒有人沒錯過生命?舞監回答她:「聖人或詩人或許沒錯過一些。」另外在第一幕舞台監督講國王、條約這些看似很重要必須被記下來的事情等,但其實每晚這些家庭坐下吃晚餐就是永恆。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"> 我們太容易活在他人的期望中,這些期望的聲音到底是誰的聲音,是你真的想要的嗎,渴望跟慾望是不一樣的,渴望是吃飽穿暖,或是被愛這些很直接的,慾望則是想被很多人認同、喜愛,找替代品越走越遠。譬如說渴望是一碗白米飯可以吃得很滿足,但慾望卻是讓你想要更多,想要吃大餐,所以要賺更多錢的,但反而離你最當初的渴望越來越遠。像是一個爸爸想去愛一個女兒,所以拼命地工作賺錢,別人問怎麼不多陪陪女兒呢,他回答因為我要去愛我的女兒啊,這其實是一件很荒謬卻普遍的事。所以現在我很多事都推掉了,只留下我覺得真正重要的事,像是在排練場工作這件事。但這樣也會遭受到一些非難,例如我不參加這次學製的任何會議。我曾經去開過一次會,發現這樣真的不行,回到家頭腦快要爆炸,一天能工作的就是這麼多,我只想留給真正重要的事,我需要很多安靜的空間才能創作,所以就不再去了。也把很多的交際應酬推掉,兩個人可以好好說話,到三個人以上通常就是泛泛之談了,我覺得沒有什麼意義。像現在我跟你在談話,就是真的在談話,活在行動中,我不去想這個談話必須要有什麼意義、未來,我並不是希望這次的談話後你能寫出一篇很好的報導吸引票房什麼的,我希望的是好好跟你說話。(這一次的訪談中,蔣薇華老師一開始就說我們不急,泡了一壺很香的紅茶。)</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Q:這次的《小鎮》是怎麼工作出來的呢?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">A:我覺得能在學校創作是一件很幸福的事,可以用很長的時間去工作(註:二月工作坊,三月開排,五月演出),外面可能排個十次,就要演員用腎上腺素把它演完。而舞台劇跟電影又不太一樣,電影需要的是撞撞看,演員背好詞就試試看火花。但舞台劇需要很精密的排練後,保持流動性呈現給觀眾看。我覺得這次的學生都很可愛,非常聰明,由於網路的關係反而很坦誠,比起以前的學生跟我的關係比較沒有權力上的恐懼,但感官外露得很明顯,非常容易累。現代比起過去,一天內發生很多事情,很多快轉,每件事都在加速。以前排《摩訶婆羅達》時,我排完戲後,學生就自己留下來練身體,這不是我要求的;但現在的學生可能大部分要三、四點才會去睡,有非常多的資訊在轉。這並沒有什麼不好,只是時代的差別,每個時代都會有不同的情況。所以我就在想要用什麼方法去排,有鍛鍊、有呼吸、有創作。我覺得創作很重要的點是安靜,安靜後感官才會打開,現在大家都太忙碌了。因為練瑜珈我自己覺得受益良多,所以就把這個帶進排練場,瑜珈就是沉靜下來不特別做什麼,後來我們每一週真的就一堂瑜珈,學生覺得很放鬆睡著了我也無所謂,因為他們在生活上真的很累,那就睡,我覺得沒關係。排練前我自己就先做足功課,不做實驗品,先想好要排什麼,那排練時我們就來試試看。在排練時我發現這個劇本很容易失掉動能,因為不是講就是演(註:講是指舞監的大段敘述性獨白),也沒有什麼衝突,就是很平淡樸實的生活。所以我會要求演員去了解劇本的底蘊,演員是角色的載體,要有深度的流動感,像是要工作新教徒的保守身體,或者人在面對不同場合時的不同面向,像是吉卜斯太太在家庭裡身為母親的模樣,和練完合唱團跟太太們聊天比較少女活潑的樣子是不同的。我覺得演出最重要的就是表演,因為別人第一眼也不會看導演,就是台上的表演者。現在後期我們主要是在調韻律、節奏、精細度,焦點的拋接,音樂進音樂出的氣氛掌握。雖然是空台,服裝的顏色也走極簡,但其實我注重的並不是導演風格,我不希望變成一個很冷峻的東西,而是一個很暖很活的東西,而這些就要靠表演了。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"> 當我們在排一出關於探討「真正活著」的戲時,排練過程有沒有也真正活著呢,還是只活在戲裡?排一齣大製作要耗掉非常多的人力及時間,光是技術組就有戲劇系加劇設系裡兩個年級的學生們,在後台耗掉大量的精力時間。身為一個大二戲劇系的學生,你一天的生活可能會是:前天熬夜趕了一份報告,早上起來上一整天的課,下午再去工廠裝《小鎮》的台,經過課堂的腦力轟炸,和大量的肉體勞動後,晚上排戲到十二點,回宿舍發現還有一份作業遲交,被生活麻木地追著走,再也擠不出任何東西,耗掉又一個平凡無奇的日子。但導演蔣薇華不只在意劇中的意義,也在意劇外的世界,試圖讓整齣戲的製作過程也是有生活,且充滿創造力的。她把創作這件事帶進生命裡,真正的在生活裡實踐,並把這份態度帶到排練場與學生們一起練習。《小鎮》的最後,死去的艾蜜麗感嘆人們太容易錯過生活,沒有時間好好地真正看見對方一眼,她含著淚問:「當人們活著的時後,他們是否意識到生活的意義,每一分鐘、每一分鐘生活的意義?」。在死後,她只能選一天生命中最不重要的日子回去看,這一天不能是結婚,不能是生孩子,就是最平凡無奇的一天。但就是在這一天,她意識到這平平凡凡的生活多麼重要,多麼特別,多麼美,一如我們的每一天。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US">2015</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">年</span><span lang="EN-US">5</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">月</span><span lang="EN-US">22</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">日</span><span lang="EN-US">-31</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">日</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US">http://tnua-theatre.blogspot.com/2015/03/2015_42.html<o:p></o:p></span></div>
國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-52429339622155215802015-05-01T01:06:00.001-07:002015-05-01T01:06:00.171-07:00關於《我們的小鎮》Our Town<div class="MsoNormal">
<b><span style="font-family: "新細明體","serif"; mso-ascii-theme-font: minor-fareast; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">關於《我們的小鎮》<span lang="EN-US">Our Town<o:p></o:p></span></span></b></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-theme-font: minor-fareast; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">新教倫理.<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-theme-font: minor-fareast; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"> 《我們的小鎮》書寫於<span lang="EN-US">1937</span>年,劇中跨越的年代,從<span lang="EN-US">1901</span>年小鎮的一天,到<span lang="EN-US">1913</span>年愛蜜麗的葬禮。時間點的選擇具其代表性。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-theme-font: minor-fareast; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"> <span lang="EN-US">1937</span>年的世界充滿不安:西班牙內戰正炙,軸心國決定干涉,格爾尼卡轟炸即發生在這一年。德國前一年違反凡爾賽條約,派軍進駐萊茵蘭,英法各國正為此事外交斡旋,避免在準備好對德戰爭前爆發戰爭。美國仍在大蕭條的慘況中掙扎,不願介入歐洲事務。整個西方世界,處於戰爭與和平的十字路口。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-theme-font: minor-fareast; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;"> 景況彷彿回到<span lang="EN-US">1913</span>年,第一次世界大戰爆發的前夕,奧匈帝國多次干涉巴爾幹半島,俄國為了保護斯拉夫人,威脅發布動員令,德國為了爭取市場,與奧匈、義大利等新興殖民帝國組成同盟國,對抗英法俄等老牌殖民帝國組成的協約國。戰爭只待導火線,當奧匈王儲遇刺,第一次世界大戰就在<span lang="EN-US">1914</span>年爆發。<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: "Times New Roman";"> 這場戰爭徹底改變了一代人的精神。在此之前,西方人挾著工業化源源不絕的補給體系、民族主義對戰爭的激情、機槍大砲等先進武器的威力,殖民了亞非各地的傳統王國。數百人的西方部隊,可以征服擁兵數十萬人的東方王國。因此,對當時的西方人來說,戰爭是建立功業的機遇,雖有風險,卻值得一試。</span><span lang="EN-US" style="font-family: "Times New Roman","serif";"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: "Times New Roman";"> 殖民浪潮背後最主要的推力,是工業化後,龐大的中產階級所支持的資本機器,對原料與市場無窮盡的飢渴。殖民地一方面供給歐洲缺乏的農礦原料,東方龐大的人口基數更是不可多得的市場。</span><span lang="EN-US" style="font-family: "Times New Roman","serif";"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: "Times New Roman";"> 西方對財富追求的熱情,源於宗教改革後,從中產階級城市發展出來的新教精神。基於喀爾文教派的新教倫理,強調現世的工作,不僅僅是為個人的生存,且是對社會的整體責任。勤奮工作是光榮的象徵,世俗的成就是榮耀上帝的方式。當賺取財富、獲得成就不再是自私而是榮譽,人們更熱切地尋找發財的機會。人們對工業發展懷抱崇敬的心情。</span><span lang="EN-US" style="font-family: "Times New Roman","serif";"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: "Times New Roman";"> 工業革命帶來的進步,拉大了歐洲與亞非各國之間的國力差距,對外殖民的順利,讓西方人更加確信宗教價值是正確的道路。貿易與殖民固然重要,將基督教光明帶去異教徒盤據的黑暗大陸,開化整個世界的使命感,更是促使千千萬萬人遠去海外的主要動力。</span><span lang="EN-US" style="font-family: "Times New Roman","serif";"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: "Times New Roman";"> 劇中小鎮看似平靜的生活,正受這種強烈的開化使命所支配著。這群被稱作清教徒的基督新教信徒,來自英國,為了逃避國內的宗教迫害,來到美國東北角定居。他們相信,人必須找到一個你一生最好的朋友組成家庭,然後在神的幫助下生活,養兒育女,注重身體與靈魂,過一個虔敬、穩重、對社會有用的成人生活,善意、忍耐、保持樂觀、簡樸、努力受教育,發展自己的產業。這些美德幫助他們在一無所有的殖民地立足。他們並非像二戰後的中產階級,滿懷個人野心與欲望去追求財富,反而謙虛且沉默地建立現世基業,以完成上帝在現世給予的任務。這種小心翼翼保全美德的努力,仍促使國家成為一部強而有力的資本機器。美國同樣參予歐洲各國的殖民地競逐行列。</span><span lang="EN-US" style="font-family: "Times New Roman","serif";"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: "Times New Roman";">第一次世界大戰.</span><span lang="EN-US" style="font-family: "Times New Roman","serif";"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: "Times New Roman";"> 大戰爆發前,人們無不期待著一場戰爭,普法戰爭累積的民族仇恨,讓德法兩國人民對彼此懷抱敵意,希望透過一場短暫的戰爭,一舉結束所有的利益衝突。人們以為戰爭將如同征服亞非的過程,紛紛志願從軍,樂觀地認為戰爭將在幾個月內結束,能帶著戰利品回國過一個豐盛的耶誕節。可是人們沒有意識到,當歐洲列強彼此碰撞,工業體系與新式武器,將讓戰場成為一個漫長而痛苦的屠殺地獄。</span><span lang="EN-US" style="font-family: "Times New Roman","serif";"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: "Times New Roman";"> 第一次世界大戰造成近四千萬人傷亡,持續四年的戰爭,之所以如此慘烈,是因為機槍與火砲等防禦性武器的出現。各國軍官尚未意識到戰爭天平的變化,仍墨守拿破崙時期的進攻戰術,大量的步兵與騎兵以密集陣行,毫無防備地正面衝擊機槍陣地。第一次馬恩河戰役,短短七天,雙方即死傷五十萬人。防禦武器的威力,讓戰爭漸漸發展成壕溝戰,機槍、鐵絲網、壕溝,交織在戰場上,步兵在固定的時間,作毫無希望的衝鋒,被機槍成排射死,即便勉強推進,隔天又可能被對方付出同樣慘重的代價推進回來。</span><span lang="EN-US" style="font-family: "Times New Roman","serif";"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: "Times New Roman";"> 人命在戰場上毫無意義地消耗,壕溝內惡劣的衛生條件,讓活下來的傷者常面臨截肢命運。當一批又一批缺手斷腳的傷兵,與一封又一封的陣亡告知信從前線湧回,人們開始疑惑成功的價值,是不是值得用上千萬的人命去換,也疑惑是否真有一個上帝能拯救他們。</span><span lang="EN-US" style="font-family: "Times New Roman","serif";"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: "Times New Roman";"> 成功的美夢被漫長的戰爭擊碎了。凡爾登會戰造成了近百萬人死傷、索姆河會戰更造成了一百二十萬人死傷。可是即使付出慘重代價,戰局仍僵持在原地動彈不得。當</span><span lang="EN-US" style="font-family: "Times New Roman","serif";">1918</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: "Times New Roman";">年,無力維持戰爭機器的德國投降時,沙俄已崩潰消失,戰勝國英美法,面臨的是殘破不堪的歐洲,失序的國際貿易體系(數年後造成了經濟大蕭條),與數千萬喪失親屬的家庭。那個上帝應許的甜美之境並不存在。</span><span lang="EN-US" style="font-family: "Times New Roman","serif";"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: "Times New Roman";"> 劇中葛羅威爾角的鎮民們,自然沒有思考過,他們安份守己的生活,正推動著這個世界,前往瘋狂殘暴的方向。他們非常小心地避免超出先祖留下來的生活軌道,節制自己的渴望,努力扮演社會期許他們該有的樣子。</span><span lang="EN-US" style="font-family: "Times New Roman","serif";"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: "Times New Roman";"> 吉博斯太太從小夢想到歐洲旅行,努力忍耐,留下賣衣櫃所得的三百五十元,犧牲了夢想,只不過換到馬的飲水槽。吉博斯醫生一輩子扮演嚴肅的好丈夫,最後只能在妻子安眠的墓前,枉然地試圖表達心中的溫柔。魏博先生不斷提醒自己要是成熟穩健的父親,克制親愛女兒的情感,愛蜜麗卻年紀輕輕就離開人世。更別說喬</span><span lang="EN-US" style="font-family: "Times New Roman","serif";">……</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: "Times New Roman";">這些生命的苦澀充滿荒謬,小心翼翼的生活,在戰前是幸福的象徵,可是當懷爾德透過舞監跳躍式、片段式的敘述方式,拉出了觀看的距離,四〇年代的觀眾,肯定會意識到這群人,正一步一步將自己推向痛苦的深淵。</span><span lang="EN-US" style="font-family: "Times New Roman","serif";"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: "Times New Roman";"> 生命的目的究竟為何,信仰破滅的這一代人,不再能像十九世紀的人們,相信生命是一步步完成責任,榮耀上帝的路。暴起暴落的戰後經濟,讓他們更加體會到世界其實不存在宗教應許的絕對秩序。憂鬱、徬徨、不安,成為戰後人們的普遍精神狀態。</span><span lang="EN-US" style="font-family: "Times New Roman","serif";"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: "Times New Roman";"> 懷爾德並不是膚淺地批判戰爭本身,他甚至不表露一點點憤怒,因為他深知,這部機器只是人們微小慾望的累積。他勾勒出的簡單生活,在歌頌慾望,在已對慾望麻痺的現代資本主義社會看來,似乎是桃花源式的生活。可是如同劇中琴師賽門所言,人們活在盲目與無知,被激情的慾望所蒙蔽,這群二十世紀初的近代人,即使過著質樸近乎禁慾的生活,背後的目的,仍是建造無盡成就的巨大結構。懷爾德看出了這點,透過捕捉生活模型,讓我們看見人們是如何延緩生活、自我催眠,人們如何抱著希望摧毀自己,只是因為被幸福的嚮往蒙蔽。</span><span lang="EN-US" style="font-family: "Times New Roman","serif";"><o:p></o:p></span></div>
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國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-7733498337165304252015-04-07T23:55:00.000-07:002015-04-07T23:55:12.409-07:00《六個尋找作者的劇中人》觀後心得--By 楊璨鴻<div align="center" class="MsoNormal" style="line-height: 150%; text-align: center;">
<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">北藝大2015春季公演畢製</span>《<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">六個尋找作者的劇中人》</span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">場次:2015/3/19</span>(<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">四)</span><span lang="EN-US">14:30 </span><span style="font-family: 新細明體, serif; line-height: 150%;">楊璨鴻 戲劇學系三年級 </span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"> 如果說,演員創造的就是幻覺,而這個幻覺不曾企圖取代真實,那這「劇場幻覺」有被建立嗎?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"> 觀眾進場時舞台上有六個上半身人型,披上衣服和道具表示身分。戲一開始六個劇團成員陸續從觀眾席後方進場,在舞台下做排練筆記的溝通,此時大幕仍尚未拉開,劇團討論至一半時,大幕自行升起,台上除了本來的布景之外,人型衣架則成為六個活生生的人,這六人表明他們是角色,希望找到劇作者來賦予他們永恆的生命,導演逐漸被他們的故事所吸引,最後決定聆聽紀錄,以成為劇團接下來戲的文本。而在第一幕劇情進展到半途時,六個屬於真實的角色以慢動作和劇團中的六個成員互換角色,舞台側面則有人喊「舞台換景」,瞬間隱藏翼幕的工作人員蜂擁而上,將道具撤換並貼上排練的舞台線。交換角色後,所有「演員」繼續進行原本的劇情,直至導演要整理文本,演員撤場轉至第二幕。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"> 這樣的改編帶來了什麼樣的難題呢?首先,此一改動表明了舞台上所有人都是演員:代表真實的角色只是在演戲、代表現實的劇團也是在演戲。於是乎,本來建立幻覺的邏輯架構被打破,台上沒有人是企圖取代真實或現實,只存留著「表演動作」。幻覺一旦曝光,沒有人相信它是他物,那麼幻覺還稱得上是幻覺嗎?原本劇本留存到最後的幻覺,在此改編幾乎開始就被摧毀,不僅少了戲中虛實之間的對照,之後許多辯證性的台詞,也就只剩下一個答案:一切都是幻覺。更讓我覺得惋惜的是,演員去也失去建立真實和現實的挑戰性。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"> 再來,此戲中戲變成戲</span><span lang="EN-US">(</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">觀眾</span><span lang="EN-US">)</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">中戲</span><span lang="EN-US">(</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">劇場工作人員</span><span lang="EN-US">)</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">中戲</span><span lang="EN-US">(</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">劇團</span><span lang="EN-US">)</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">中戲</span><span lang="EN-US">(</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">角色</span><span lang="EN-US">)</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">的改動,也使得某些部分的邏輯不清楚。觀眾在一開始和劇團在同個空間,卻完全被忽視,但在其他段落裡,演父親的演員走到台前直對觀眾說話,在劇團的戲突然拉到觀眾的範疇,先前也沒有先建立這份邏輯。大幕沒有指示卻自行拉起,劇團成員也毫不在意,這在邏輯上表示大幕並不存在於劇團戲的時空之中,但在接下來導演又被大幕隔在外頭。換景人員更是詭異,一開始是像劇團外的人,在演員互換的神奇時間來上景,後來又很自然得變成像是同劇團的工作人員,最後又回到和劇團無關的劇場工作者,逕自撤走所有佈景。改編越是大,所影響的層面越是廣,改動必須要兼顧到合理性,否則不僅違背本來劇作家的本意,同時也造成戲劇本身的完整性受損。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"> 第二幕轉場為一劇團成員拿著自拍神器,藉由投影帶出另一視角,訴說著劇場是大人嚴肅玩扮家家酒的地方,但我實在覺得這句台詞和整個劇團很矛盾,這劇團天殺的不嚴肅,我未曾感受到這劇團真的想要做一齣戲,只有許許多多的漫不經心、隨意以及短暫的笑料。而後劇團排演女兒與父親的片段,父親質疑著劇團演員的真實性:「他一點也不像我。」拜託,你們交換之後誰像過誰,自己早就打了自己一道耳光。即便說這要反過來表達一切都是幻覺,而是因為你相信他是真實,他才為真,那也太言過其實。因為我實在無法看到那些角色所談的真實,台上最後僅存的,只有一群人演著戲的幻覺。皮藍德簍所要說的角色不可取代性,在此時都已不存在,僅存孤單的台詞,留給沒看過劇本的觀眾哲學上滿足。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"> 最後當小女兒、小兒子自殺後,媽媽哭喊著誰來救救他,劇團的成員質問了幾聲到底是真是假後,換景人員在此登場:「舞台換景!」,舞台的後門拉開,全部布景都被一一撤走,只留下十二個正在演演員的演員演著他們相信這一切是真的,最後父親脫下外套,放在象徵著劇作家或者神的椅子上,說:「演戲嗎?不,是真的。」就在一個虛幻到不能再虛幻狀態下,對所有觀眾說出明顯的反諷,然後投影幕現出坐在位子上的觀眾,彷彿我們也同樣相信這個世界,它才會是真的。這個觀點是很好、很棒,但我無法認同的是,一個空乏到不行的幻覺,怎麼能跟現實世界相比?當整場戲並不企圖取代真實,而只是呈現「我們在演」,那麼它所成立的就只是台上一群人在演戲的這個幻覺,原作中真實和現實之間的辯證以及這一切終歸一場戲這部分,就在台上演出時直接變成「怎麼樣,這就是一場戲」,然後要告訴我們,人生也是一樣,這會不會太簡單了些?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"> 皮藍德簍只是提出個問題:什麼才是真實?他並沒有給出答案,給觀眾和後人更多咀嚼的空間。某一天我從北藝走上來的時候,和剛看完戲的觀眾擦肩而過,聽到他們說:「如果皮藍德簍看到一定從墳墓裡爬出來。」「對!肯定的。」我轉頭回覆他們:「沒錯!」他們與我對眼,明白後大笑走下山。「哈哈哈哈哈哈!」常常看完戲都令人痛苦萬分,像是要解開亂到不行的毛線球,而弄亂它的又不是我。唉,現實,如果我能夠互換角色就能看清生命的話,那我也會愛死這齣戲吧!</span><span lang="EN-US"><o:p></o:p></span></div>
國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-74802554646659555612015-04-07T23:50:00.002-07:002015-04-07T23:59:56.113-07:00《六個尋找作者的劇中人》劇評會心得--By 蔡茵茵<div class="MsoNormal">
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">時間:2015/03/23(一)13:00~15:00</span><br />
<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">地點:戲劇學系T305教室</span><br />
<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">主持人:林乃文</span><br />
<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">劇評人:傅裕惠、白斐嵐</span><br />
<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">撰文:</span><span style="text-align: right;">蔡茵茵</span></div>
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<span lang="EN-US"> </span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">北藝大版本的《六個尋找作者的劇中人》有一個非常大的變動是台上讓演員和劇中人對換了兩次,在再看的時後我覺得非常有趣,因為實際上再進去劇場前觀眾也知道劇中人是演員扮演的,後設的劇本加上後設的詮釋方式,其實我覺得還蠻符合原作幻覺的探討,因為劇中人所謂的真實與像不像變成一個沒有標準去衡量,永遠都不符合(不知道存不存在的)最高的幻覺標準,畢竟你知道那就是演員。在看戲的時候會想到原本劇本的東西,看的時候是雖然覺得有意思,但卻也感到混亂。所以期待劇評會裡專業劇評人的解析能幫助我更釐清這齣戲,以及劇組人員為何這樣工作這劇本的分享。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"> 一開始主持人林乃文問了白斐蘭和傅裕惠兩位講評人對經典作品改編如何評論,兩位講者都傾向於這個看頭是在於導演的解讀。會這樣回答,我想這也是建立在來看戲的是劇場人,而這個劇本在過去被搬演這麼多遍,沒有必要好好講一次這個故事(導演在設計理念說明會也講過類似的話。)這讓我聯想散戲時訪問到一位沒看過這劇本的觀眾,我想如果我們大多預設來看戲的是劇場人的話,也不能怪為什麼大眾不買票來看戲了。不過這齣戲的燈光和舞台設計實在太好了,導演畫面調度美的不得了,百葉窗巨大屏風跟光影的切割讓人印象深刻,傅裕惠老師提出來這場戲不聽台詞,看畫面人群位置也能大致了解劇情是對導演能力很大的讚美。這場劇評會讓我最印象深刻的是林于竝老師提出的問題和解析關於二度四度的,雖然有些專有名詞太多了我聽不懂,但我聽完他的發問,我對戲有更清楚些。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"> 另外導演回答問題的態度很有趣,好像有點受傷,有點生氣,有一題回答台上</span><span lang="EN-US">Crew</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">的安排,她用一句我想我們可以說這是假設性存在的問題,所以沒必要多作說明。我完全聽不懂她的意思,一來是假設性存在這個詞太難了聽不懂,二來是如果你讓原本黑衣黑褲黑暗中行動,希望被忽略當不存在的舞台</span><span lang="EN-US">Crew</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">特地穿上鮮豔衣服,還趕台上演員下台,說現在要換台了,彷彿在說你們如此悲痛也不過是場戲;但同時又把兩個顯眼的拉</span><span lang="EN-US">Fly</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">、兩個顯眼的拉屏風手穿上黑衣黑褲希望被忽略存在,那就非常有必要說明這個現實與幻覺的邏輯怎樣,何況觀眾都問了。最後有探討些現代劇場的多媒體運用,個人覺得小男孩戲中拿自拍鏡照自己、照觀眾席投影有點不知所云。但戲結束時,當戲中戲的悲劇庭留在最高點,母親的哀嚎,而觀眾拍手,自己身為觀眾被拍手的畫面被投影在舞台上的巨大螢幕,有種錯覺是我也是被雇來這裡拍手的演員,我也是假的,拿著票走進劇院的那個人是真的嗎,還是另一個演員來替換的我呢?</span><span lang="EN-US"><o:p></o:p></span></div>
國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-11150210947639396052015-04-07T23:48:00.002-07:002015-04-07T23:48:29.916-07:00 北藝大2015春季公演《六個尋找作者的劇中人》演後訪問<br />
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<span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 10.5pt;">3/18</span><span style="font-size: 10.5pt;">晚。受訪者:北藝大學生蔡奇恩。訪問人</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 10.5pt;">:</span><span style="font-size: 10.5pt;">劉睿筑。</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 10.5pt;"> <u1:p class=""></u1:p><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 10.5pt;">3/19</span><span style="font-size: 10.5pt;">晚。受訪者:魏雋展。採訪者:楊燦鴻+朱俊憲</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 10.5pt;"><u1:p class=""></u1:p><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times, serif; font-size: 10pt;"><span id="yui_3_16_0_1_1428459072679_17578"><a href="https://www.youtube.com/watch?v=1LtYG0P1_JI&hc_location=ufi">https://www.youtube.com/watch?v=1LtYG0P1_JI&hc_location=ufi</a></span></span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 10.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 10.5pt;">3/19</span><span style="font-size: 10.5pt;">晚。受訪者:學生。採訪者:朱俊憲</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 10.5pt;"><u1:p class=""></u1:p><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 10.5pt;"><a href="https://www.youtube.com/watch?v=jOZf8ayRGAc&hc_location=ufi">https://www.youtube.com/watch?v=jOZf8ayRGAc&hc_location=ufi</a><u1:p class=""></u1:p><o:p></o:p></span></div>
<div class="MsoNormal" style="background: white;">
<span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 10.5pt;">3/19</span><span style="font-size: 10.5pt;">晚。受訪者:一位女性。採訪者:楊燦鴻</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 10.5pt;"><u1:p class=""></u1:p><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 10.5pt;"><span id="yui_3_16_0_1_1428459072679_17581"><a href="https://www.youtube.com/watch?v=9tdAlXn95Nk" id="yui_3_16_0_1_1428459072679_17580">https://www.youtube.com/watch?v=9tdAlXn95Nk</a></span><u1:p class=""></u1:p></span><o:p></o:p></div>
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<span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 10.5pt;">3/19</span><span style="font-size: 10.5pt;">晚。受訪者:一位男性。採訪者:黃筱崴+范頤</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 10.5pt;"><u1:p class=""></u1:p><o:p></o:p></span></div>
<div class="MsoNormal" style="background: white;">
<span lang="EN-US" style="background: #F6F7F8; color: #141823; font-family: "Helvetica","sans-serif"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal" style="background: white;">
<span lang="EN-US" style="background: #F6F7F8; color: #141823; font-family: "Helvetica","sans-serif"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="color: #3b5998;"><a href="https://www.youtube.com/watch?v=75Egi0ZAXYU&hc_location=ufi">https://www.youtube.com/watch?v=75Egi0ZAXYU</a></span><u1:p class=""></u1:p></span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 10.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 10.5pt;">3/20</span><span style="font-size: 10.5pt;">晚。受訪者:戲劇系圓融學姊。採訪者:黃紹萱</span><span lang="EN-US" style="background: #F6F7F8; color: #141823; font-family: "Helvetica","sans-serif"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><br />
<span style="color: #3b5998;"><br /></span></span></div>
<div class="MsoNormal" style="background: white;">
<span lang="EN-US" style="background: rgb(246, 247, 248); font-family: Helvetica, sans-serif; font-size: 10pt;"><a href="https://www.youtube.com/watch?v=X7zmlCYlKAI&hc_location=ufi">https://www.youtube.com/watch?v=X7zmlCYlKAI</a><span style="color: #141823;"><u1:p class=""></u1:p></span></span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 10.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 10.5pt;">3/20</span><span style="font-size: 10.5pt;">晚。受訪者:華岡藝校戲劇科學生。採訪者:蔡茵茵</span><span lang="EN-US" style="background: #F6F7F8; color: #141823; font-family: "Helvetica","sans-serif"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><br />
<span id="yui_3_16_0_1_1428459072679_11167"><span style="color: #3b5998;"><span id="yui_3_16_0_1_1428459072679_11165"><br /></span></span></span></span></div>
<div class="MsoNormal" style="background: white;">
<span lang="EN-US" style="background: rgb(246, 247, 248); font-family: Helvetica, sans-serif; font-size: 10pt;"><a href="https://www.youtube.com/watch?v=C_s3Imc-iX8&hc_location=ufi" id="yui_3_16_0_1_1428459072679_11166">https://www.youtube.com/watch?v=C_s3Imc-iX8</a><span style="color: #141823;"><u1:p class=""></u1:p></span></span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 10.5pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="background: white;">
<span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 10.5pt;">3/20</span><span style="font-size: 10.5pt;">晚。受訪者:一位女性。採訪者:黃勤芳</span><span lang="EN-US" style="background: #F6F7F8; color: #141823; font-family: "Helvetica","sans-serif"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><br />
<span id="yui_3_16_0_1_1428459072679_11173"><span style="color: #3b5998;"><span id="yui_3_16_0_1_1428459072679_11171"><br /></span></span></span></span></div>
<div class="MsoNormal" style="background: white;">
<span lang="EN-US" style="background: rgb(246, 247, 248); font-family: Helvetica, sans-serif; font-size: 10pt;"><a href="https://www.youtube.com/watch?v=QTa0WnfJbVc&hc_location=ufi" id="yui_3_16_0_1_1428459072679_11172">https://www.youtube.com/watch?v=QTa0WnfJbVc</a><span style="color: #141823;"><u1:p class=""></u1:p></span></span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 10.5pt;"><o:p></o:p></span></div>
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</xml><![endif]--><!--StartFragment--><!--EndFragment-->3/20</span><span style="font-size: 10.5pt;">晚。受訪者:藝教所畢業學姐。採訪者:黃紹萱</span><span lang="EN-US" style="font-family: Helvetica, sans-serif; font-size: 10.5pt;"><u1:p class=""></u1:p><o:p></o:p></span></div>
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國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-72250070746945063862015-03-21T00:47:00.002-07:002015-04-08T03:30:15.052-07:002015戲劇學院夏季公演《我們的小鎮》<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">製作人<span lang="EN-US">/</span>林于竝、王世信</span></span><span style="font-family: 新細明體, serif;"><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">執行製作<span lang="EN-US">/</span>詹惠登、曹安徽</span></span><span style="font-family: 新細明體, serif;"><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">原著</span><span lang="EN-US" style="font-family: 新細明體, serif;">/</span><span lang="EN-US" style="font-family: Georgia, serif;"> </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #545454; font-family: Arial, sans-serif;">Thornton Wilder</span><span class="st2"><span lang="EN-US" style="font-family: 'Times New Roman', serif;"> </span></span></span><span class="st2"><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">導演<span lang="EN-US">/</span></span><span style="font-family: 新細明體, serif;">蔣薇華</span></span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">舞臺設計<span lang="EN-US">/</span></span><span class="null"><span style="font-family: 新細明體, serif;">高豪杰</span></span><span lang="EN-US" style="font-family: 新細明體, serif;"> </span></span><span lang="EN-US" style="font-family: 新細明體, serif;"><o:p></o:p></span></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">服裝設計<span lang="EN-US">/</span>陳佳敏</span></span><span lang="EN-US" style="font-family: 新細明體, serif;"><o:p></o:p></span></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">燈光設計<span lang="EN-US">/</span>曹安徽<span lang="EN-US"> </span></span></span><span style="font-family: 新細明體, serif;"><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">舞臺技術設計<span lang="EN-US">/</span>楊金源</span></span><span style="font-family: 新細明體, serif;"><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">音樂設計<span lang="EN-US">/</span>周莉婷</span></span><span lang="EN-US" style="font-family: 新細明體, serif;"><o:p></o:p></span></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">動作設計<span lang="EN-US">/</span>魏沁如</span></span><span style="font-family: 新細明體, serif;"><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">戲劇顧問<span lang="EN-US">/</span>方粲文<span lang="EN-US"> </span></span></span><span style="font-family: 新細明體, serif;"><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">舞台監督<span lang="EN-US">/</span>張文宏<span lang="EN-US"> </span></span></span><span style="font-family: 新細明體, serif;"><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">演出人員<span lang="EN-US">/</span></span><span style="font-family: 新細明體, serif;">古峯、古昀昀、何冠儀、余翊帆、林志慶、林奕達、施艿芳、高翊珊、徐俊傑、徐嘉宏、孫韻甯、許育瑋、黃千容、</span><span style="color: #141823; font-family: 新細明體, serif;">黃思瑋</span><span style="font-family: 新細明體, serif;">、陳冠齊、程壬宣、廖祐慶、劉育松、劉曜瑄、賴定均、賴怡雯、</span><span class="uficommentbody"><span style="color: #141823; font-family: 新細明體, serif;">簡姵伽</span></span><span style="font-family: 新細明體, serif;">、</span><span style="color: #141823; font-family: 新細明體, serif;">羅令珆、</span><span style="font-family: 新細明體, serif;">譚業祥。</span></span><span style="font-family: 新細明體, serif;"><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><b><span style="font-family: 標楷體;">演出內容:</span></b></span><b><span style="font-family: 標楷體; font-size: 13pt;"><span lang="EN-US"><o:p></o:p></span></span></b></div>
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<span style="font-size: x-small;"><span lang="EN-US" style="font-family: 新細明體, serif;"><br />20</span><span style="font-family: 細明體;">世紀的開頭發生許多令人眼花撩亂的劇變:林白架著單引擎飛機飛越大西洋、環球電報網架設完成、佛洛伊德與愛因斯坦,帶領人類展開最近與最遠的探索、八國聯軍敲開北京的城門、奧匈帝國的軍隊開進波斯尼亞、革命的熱情沒有因拿破崙失敗消失,無產階級與知識分子聯合,發動更激烈的政治改革</span><span lang="EN-US" style="font-family: 新細明體, serif;">……</span><span style="font-family: 細明體;">在葛羅威爾角,這個美國東北一隅的小鎮,人們過著和他們祖父母輩一樣平靜的生活</span><span lang="EN-US" style="font-family: 標楷體;">──</span></span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">出生,結婚,死亡,日復一日。動盪不安世界,似乎與他們毫無關係。他們努力打造更安全的家庭堡壘,忙到忘記身邊的人,並允許國家將小孩送到戰場。倘若有個遙遠星球的訪客造訪地球,肯定困惑於人們為何要費盡力氣錯過彼此。<span lang="EN-US"><br /><br />1913</span>年的某一天,也可能是懷爾德下筆時的<span lang="EN-US">1938</span>年。對遙遠的星星上的人來說,這些人或許在鑽入墳墓前已經死去。</span></span><span style="font-family: 新細明體, serif;"><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><span lang="ZH-CN" style="font-family: 新細明體, serif;">演出地點:國立臺北藝術大學</span><span lang="ZH-CN"><span style="font-family: Times;"> </span></span><span lang="ZH-CN" style="font-family: 新細明體, serif;">展演藝術中心</span><span lang="ZH-CN"><span style="font-family: Times;"> </span></span><span lang="ZH-CN" style="font-family: 新細明體, serif;">戲劇廳</span></span><span lang="EN-US" style="font-size: 12pt;"><o:p></o:p></span></div>
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<span style="font-size: x-small;"><span lang="EN-US"><span style="font-family: Calibri;"> </span></span><span style="font-family: 新細明體, serif;">(臺北市北投區學園路一號)</span></span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">演出時間:</span><span lang="EN-US"><span style="font-family: Calibri;">2015</span></span><span style="font-family: 新細明體, serif;">年</span><span lang="EN-US"><span style="font-family: Calibri;">05/22</span></span><span style="font-family: 新細明體, serif;">、</span><span lang="EN-US"><span style="font-family: Calibri;">05/23</span></span><span style="font-family: 新細明體, serif;">、</span><span lang="EN-US"><span style="font-family: Calibri;">05/29</span></span><span style="font-family: 新細明體, serif;">、</span><span lang="EN-US"><span style="font-family: Calibri;">05/30 19</span></span><span style="font-family: 新細明體, serif;">:</span><span lang="EN-US"><span style="font-family: Calibri;">30 PM</span></span></span><span lang="EN-US"><span style="font-family: Calibri;"><o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><span lang="EN-US"><span style="font-family: Calibri;"> 05/23</span></span><span style="font-family: 新細明體, serif;">、</span><span lang="EN-US"><span style="font-family: Calibri;">05/24</span></span><span style="font-family: 新細明體, serif;">、</span><span lang="EN-US"><span style="font-family: Calibri;">05/30</span></span><span style="font-family: 新細明體, serif;">、</span><span lang="EN-US"><span style="font-family: Calibri;">05/31 14</span></span><span style="font-family: 新細明體, serif;">:</span><span lang="EN-US"><span style="font-family: Calibri;">30 PM</span></span></span><span lang="EN-US"><span style="font-family: Calibri;"><o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">票</span><span lang="EN-US"><span style="font-family: Calibri;"> </span></span><span style="font-family: 新細明體, serif;">價:</span><span lang="EN-US"><span style="font-family: Calibri;">500</span></span><span style="font-family: 新細明體, serif;">元</span><span lang="EN-US"><span style="font-family: Calibri;">/</span></span><span style="font-family: 新細明體, serif;">張</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">◆購票請上兩廳院售票系統</span></span><span style="font-size: x-small;"><span lang="EN-US"><a href="http://www.artsticket.com.tw/" style="color: #f87211; text-decoration: none;"><span style="color: black;"><span style="font-family: Calibri;">http://www.artsticket.com.tw</span></span></a></span><span style="font-family: 新細明體, serif;">或兩廳院售票端點</span><span style="font-family: Calibri;"></span></span><span style="font-family: Calibri;"><span lang="EN-US" style="font-size: 11pt;"><o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">◆全台</span><span lang="EN-US" style="font-family: Arial, sans-serif;">7-11</span><span style="font-family: 新細明體, serif;">、全家</span><span style="font-family: 新細明體, serif;">及萊爾富超商皆可購票</span></span><span lang="EN-US" style="font-size: 11pt;"><o:p></o:p></span></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">◆【北藝大戲劇系演出行政組】</span><span lang="EN-US"><span style="font-family: Calibri;">02-2893-8772</span></span><span style="font-family: 新細明體, serif;">(</span><span lang="EN-US"><span style="font-family: Calibri;">20</span></span><span style="font-family: 新細明體, serif;">人以上團體優惠票亦請聯繫此專線)</span></span><span lang="EN-US" style="font-size: 11pt;"><o:p></o:p></span></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">◆演出部落格:</span><span style="font-family: Calibri;"><span lang="EN-US">http://tnua-theatre.blogspot.com</span></span></span><span style="font-family: Calibri;"><span lang="EN-US" style="font-size: 11pt;"><o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: 新細明體, serif;">◆</span><span lang="EN-US"><span style="font-family: Calibri;">Facebook</span></span><span style="font-family: 新細明體, serif;">:請搜尋「國立臺北藝術大學戲劇學系」</span></span><span lang="EN-US" style="font-size: 11pt;"><o:p></o:p></span></div>
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<span style="font-size: x-small;"><span class="listlink"><span style="font-family: 新細明體, serif; letter-spacing: 0.75pt;">【優惠折扣】</span></span><span lang="EN-US" style="font-family: Arial, sans-serif; letter-spacing: 0.75pt;"><br /></span><span class="listlink"><span style="font-family: 細明體; letter-spacing: 0.75pt;">◎</span></span><span class="listlink"><span style="font-family: 新細明體, serif; letter-spacing: 0.75pt;">學生購票可享</span></span><span class="listlink"><span lang="EN-US" style="font-family: Arial, sans-serif; letter-spacing: 0.75pt;">8</span></span><span class="listlink"><span style="font-family: 新細明體, serif; letter-spacing: 0.75pt;">折優惠</span></span><span lang="EN-US" style="font-family: Arial, sans-serif; letter-spacing: 0.75pt;"><br /></span><span class="listlink"><span style="font-family: 細明體; letter-spacing: 0.75pt;">◎</span></span><span class="listlink"><span style="font-family: 新細明體, serif; letter-spacing: 0.75pt;">團體票</span></span><span class="listlink"><span lang="EN-US" style="font-family: Arial, sans-serif; letter-spacing: 0.75pt;">20</span></span><span class="listlink"><span style="font-family: 新細明體, serif; letter-spacing: 0.75pt;">張以上可享</span></span><span class="listlink"><span lang="EN-US" style="font-family: Arial, sans-serif; letter-spacing: 0.75pt;">8</span></span><span class="listlink"><span style="font-family: 新細明體, serif; letter-spacing: 0.75pt;">折優惠</span></span></span><span class="listlink"><span style="font-family: 新細明體, serif; letter-spacing: 0.75pt;"><span lang="EN-US"><o:p></o:p></span></span></span></div>
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<span style="font-size: x-small;"><span class="listlink"><span style="font-family: 新細明體, serif; letter-spacing: 0.75pt;">【注意事項】</span></span><span lang="EN-US" style="font-family: Arial, sans-serif; letter-spacing: 0.75pt;"><br /></span><span class="listlink"><b><u><span style="color: red; font-family: 細明體; letter-spacing: 0.75pt;">◎</span></u></b></span><span class="listlink"><b><u><span style="color: red; font-family: 新細明體, serif; letter-spacing: 0.75pt;">退、換票事宜請於演出</span></u></b></span><span class="listlink"><b><u><span lang="EN-US" style="color: red; font-family: Arial, sans-serif; letter-spacing: 0.75pt;">10</span></u></b></span><span class="listlink"><b><u><span style="color: red; font-family: 新細明體, serif; letter-spacing: 0.75pt;">天前辦理,並需酌收票價</span></u></b></span><span class="listlink"><b><u><span lang="EN-US" style="color: red; font-family: Arial, sans-serif; letter-spacing: 0.75pt;">10%</span></u></b></span><span class="listlink"><b><u><span style="color: red; font-family: 新細明體, serif; letter-spacing: 0.75pt;">手續費</span></u></b></span></span></div>
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國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-5557334966084266212015-03-19T23:51:00.000-07:002015-03-19T23:51:22.988-07:002015春季公演《六個尋找作者的劇中人》劇評會<div class="separator" style="clear: both; text-align: center;">
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<b><span lang="EN-US" style="color: #0070c0; font-family: 標楷體; font-size: 14.0pt;">2015</span></b><b><span lang="ZH-CN" style="color: #0070c0; font-family: 標楷體; font-size: 14.0pt;">戲劇學院春季公演《六個尋找作者的劇中人》演出劇評會</span></b><b><span lang="EN-US" style="color: #0070c0; font-family: 標楷體; font-size: 14.0pt;"><o:p></o:p></span></b></div>
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<b><span lang="ZH-CN" style="color: #0070c0; font-family: 標楷體; font-size: 14.0pt;">時間:</span></b><b><span lang="EN-US" style="color: #0070c0; font-family: 標楷體; font-size: 14.0pt;">2015/03/23</span></b><b><span lang="ZH-CN" style="color: #0070c0; font-family: 標楷體; font-size: 14.0pt;">(一)</span></b><b><span lang="EN-US" style="color: #0070c0; font-family: 標楷體; font-size: 14.0pt;">13</span></b><b><span lang="ZH-CN" style="color: #0070c0; font-family: 標楷體; font-size: 14.0pt;">:</span></b><b><span lang="EN-US" style="color: #0070c0; font-family: 標楷體; font-size: 14.0pt;">00</span></b><b><span lang="ZH-CN" style="color: #0070c0; font-family: 標楷體; font-size: 14.0pt;">~</span></b><b><span lang="EN-US" style="color: #0070c0; font-family: 標楷體; font-size: 14.0pt;">15</span></b><b><span lang="ZH-CN" style="color: #0070c0; font-family: 標楷體; font-size: 14.0pt;">:</span></b><b><span lang="EN-US" style="color: #0070c0; font-family: 標楷體; font-size: 14.0pt;">00<o:p></o:p></span></b></div>
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<b><span lang="ZH-CN" style="color: #0070c0; font-family: 標楷體; font-size: 14.0pt;">地點:戲劇系館</span></b><b><span lang="EN-US" style="color: #0070c0; font-family: 標楷體; font-size: 14.0pt;">T305</span></b><b><span lang="ZH-CN" style="color: #0070c0; font-family: 標楷體; font-size: 14.0pt;">教室</span></b><b><span lang="EN-US" style="color: #0070c0; font-family: 標楷體; font-size: 14.0pt;"><o:p></o:p></span></b></div>
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<b><span lang="ZH-CN" style="color: #0070c0; font-family: 標楷體; font-size: 14.0pt;">劇評會主持人:林乃文</span></b><b><span lang="EN-US" style="color: #0070c0; font-family: 標楷體; font-size: 14.0pt;"><o:p></o:p></span></b></div>
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<b><span lang="ZH-CN" style="color: #0070c0; font-family: 標楷體; font-size: 14.0pt;">劇評會講評人:傅裕惠、白斐嵐</span></b><b><span lang="EN-US" style="color: #0070c0; font-family: 標楷體; font-size: 14.0pt;"><o:p></o:p></span></b></div>
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<b><u><span lang="ZH-CN" style="color: #0070c0; font-family: 標楷體; font-size: 14.0pt;">☆自由入場,歡迎觀眾前來參與☆</span></u></b><b><u><span lang="EN-US" style="color: #0070c0; font-family: 標楷體; font-size: 14.0pt;"><o:p></o:p></span></u></b></div>
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國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-67512425267612616532015-03-19T23:48:00.000-07:002015-03-19T23:48:54.548-07:002015春季公演《六個尋找作者的劇中人》--導演陳品蓉專訪<div class="MsoNormal">
<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">國立臺北藝術大學</span> <span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">戲劇學院</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US">2015</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">春季公演《六個尋找作者的劇中人》</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">撰稿人:陳韋伶</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">訪談日期:</span><span lang="EN-US">2015/03/14<o:p></o:p></span></div>
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<span lang="EN-US">Q</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">:導演為何挑選製作這個劇本呢?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US">A</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">:我也蠻不確定的,所以可以老派地說是一種緣份和巧合。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US"> </span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">不過選劇本的時候,我在尋找的是一個值得我的劇組一起去努力奮鬥、面對的劇本。這個劇本問了蠻多的問題,尤其對於學習戲劇、劇場、表演的我們。另一方面,我也想在踏出學校的此時,問自己問題,在劇場幹嘛?追求甚麼?甚麼是「做劇場」?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US">Q</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">:最想要跟觀眾分享的是?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US">A</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">:就是「劇場」。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US"> </span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">我心中相信劇場的魔力,我覺得這是一個用一條線、一塊布、一束光,就可以讓想像力完成的地方。相較於電視電影的邏輯,劇場有一個很特別的地方就在於,你不需要在劇場內真正的蓋一棟房子,就能說那是房子;你畫一道線就能說它是海,這是劇場的迷人之處。我們當代去思考劇場太多了,而我想要分享的就是這個不一樣,就像前面問的,為何在「此時此刻」搬演這個劇本?隨著戲劇史和時代的演進,此時此刻跟在劇場中思考這個劇本的邏輯也一定有不同的。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US">Q</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">:和演員工作的情形?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US">A</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">:很刺激、很快樂、很充實。我在尋找他們。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US">Q</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">:六個劇中人與六個劇場人的對照會是什麼呢?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US">A</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">:在劇本裡,有六個角色在說他們在尋找作者,而同時又有六個劇場人也在尋找他們心中的劇場、角色與真實。這其實是一個互相尋找的過程,就像是問我為什麼做戲,而我還在尋找我的「戲」的時候,而竟然有「戲」冒出來問我:「你為什麼要做?」這兩個對照組很有趣,在互相尋找的過程中,他們發現彼此分不開,而在那個過程之中就成就了一個作品。在雙方都分不清到底是「你找我?」還是「我找你?」的時候,雙方便都不知不覺進入了最真實的情感之中,這是最好的狀況。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US">Q</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">:找尋的過程中,也包括了真實嗎?那劇場人的真實與角色的真實又是甚麼呢?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US">A</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">:所謂的「真實」,並不是一個被決定好,指定好大家就得買單接收的東西。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">劇場人找尋的真實與角色的真實是不一樣的,而那個不同是很動人的。劇場人想要找到那個能觸動人心的東西,角色尋找的真實卻只為了活那一次而已。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US"> </span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">在前期工作時,我一直努力想讓角色是「真實」的,相較之下劇場人的面孔模糊,是相對比較「假」的,工作一段時間,我有一點點醒悟,我發現兩邊的生命很真實,這讓我想通一件事情,我們費了這麼多力氣去模仿生命,但有甚麼東西比我們的生命更真實呢?我們想跑去複製人生是徒勞無功的。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US">Q:</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">搬演這個劇本的困難之處</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US">A</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">:很多。其中一個是,我們明明看見一個演員正在扮演「角色」,這個演員卻得對著另一個演員說:「你是不可能演我的。」講這句話的同時,演員本身正在自我否定,講出來的話就打在自己身上,因為怎麼樣他都是個「演員」。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US"> </span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">這當然是我想多了,當我在閱讀劇本的時候,我聽見皮蘭德婁辛辣地問劇場人:我們怎麼會去做「追求人生」這種事呢?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US"> </span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">《六個尋找作者的劇中人》充滿了皮蘭德婁對劇本與劇場的各種質問。角色在劇本裡一直說:「劇作家不要我們。」因為劇作家不忍這些角色只是一種廉價的觀眾消耗,或是被觀眾當作自己情感抒發的對象而已,在我們的生命之中,觀眾可以因為台上發生的事而哭泣,但卻不願對身旁的人發生同情。寧願花錢被戲劇或電影裡的假象欺騙,掉下眼淚,但對我們生命中那些真實不幸的人卻沒有感受,這是很弔詭的,皮蘭德婁在問這個問題。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US"> </span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">這個迷人的劇本提出的這些哲學如此費解,我的挑戰是引導觀眾「看見」、「聽見」劇本的內在意涵,試圖帶著觀眾從另一個方式去想,「他們在幹嘛?」「他們誰是真的?」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US"> </span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">我應該帶著觀眾去想像真實,讓觀眾去思考真實,留些想像的空間。我無法預期觀眾能帶走甚麼,也無法限制他們的想像,我憑甚麼決定他們「應該要」帶走什麼呢?但如果我們的團隊幸運的話,我們和觀眾會在劇場內完成溝通,那觀眾在離開劇場那一刻,他們便能明白他們要帶走什麼。</span><span lang="EN-US"><o:p></o:p></span></div>
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國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-14185359816977260872015-01-27T19:57:00.003-08:002015-02-03T19:25:36.878-08:002015戲劇學院春季公演《六個尋找作者的劇中人》<div style="layout-grid-mode: char; line-height: 12.0pt; mso-layout-grid-align: none; mso-line-height-rule: exactly;">
製作人<span lang="EN-US" style="font-family: 'Times New Roman', serif;">/</span>林于竝、王世信<span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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執行製作<span lang="EN-US" style="font-family: 'Times New Roman', serif;">/</span>詹惠登、曹安徽<span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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劇作家:<span lang="EN-US" style="background: white; color: #545454; font-family: "Arial","sans-serif";">Luigi Pirandello</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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劇本翻譯暨顧問:陳巧蓉<span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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戲劇顧問:何應權<span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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導演:陳品蓉<span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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舞台監督:沈哲弘<span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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燈光設計:藍靖婷<span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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服裝設計:張渝婕<span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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舞台設計:藍紫瑄<span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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舞台技術設計:蔡孟哲<span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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影像設計:巫思萱<span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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影像協力:邱昱綺、阮翔雯</div>
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動作設計:林瑞瑜<span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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音樂設計:吳重毅<span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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導演助理:鄭怡婷、徐瑋佑<span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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舞監助理:何三希、寇家欣<span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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排演助理:李毓悅、阮慧敏<span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span><br />
平面設計:尹信雄</div>
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演員:尹宣方、李瀛涵、林書函、胡書綿、陳弘洋、陳港虹、詹毓仁、趙欣怡、<span style="font-family: 'Times New Roman', serif;"> </span>鄭舜文、鄭凱云、劉唐成、賴孟君<span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<b>演出內容<span lang="EN-US"><o:p></o:p></span></b></div>
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<b>‧劇場是一個什麼都會發生的地方。<span lang="EN-US"><o:p></o:p></span></b></div>
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某天,六個神秘的人,自稱是被劇作家偶然創造出來的角色,卻沒有得到完整的結局,他們存在於荒謬而痛苦的一刻。他們渴望改寫命運,卻在一個劇作家缺席的劇場裡出現,迫不得已下惟有依賴劇場的魔力。然而,六個劇場工作者一邊質疑他們的存在,卻一邊被他們的痛苦所吸引……<span lang="EN-US"><o:p></o:p></span></div>
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<b>‧六個看似虛構卻活得真實的角色<span lang="EN-US">VS</span>一群真實卻渴望虛構的劇場工作者<span lang="EN-US"><o:p></o:p></span></b></div>
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諾貝爾文學獎得主皮蘭德婁彷彿先知,在他的時代已預言了一種混亂:一種「上帝已死」、「作家已死」,甚至是「我們已死」的後現代處境。在資訊爆炸、媒體造謠的時代,我們能相信什麼是真實?否定什麼是虛構嗎?<span lang="EN-US"><o:p></o:p></span></div>
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身為劇場人,面對的是:劇場是否需要繼續存在的思考;而面對皮蘭德婁的質疑,我們更是痛苦,因為我們已分不清真實與虛構了,或是真實與虛構其實互相依存,就是劇場人生活的全部。而走出劇場,身為現代人惟一可以做的:就是在兩個世界的中間,在邊緣的鋼索上痛苦地平衡著。<span lang="EN-US"><o:p></o:p></span></div>
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演出地點:國立臺北藝術大學 展演藝術中心 戲劇廳<span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US"> </span>(臺北市北投區學園路一號)<span lang="EN-US"><o:p></o:p></span></div>
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演出時間:<span lang="EN-US">2015</span>年<span lang="EN-US">03</span>月<span lang="EN-US">19</span>、<span lang="EN-US">20</span>、<span lang="EN-US">21</span>日<span lang="EN-US">19</span>:<span lang="EN-US">30 PM<o:p></o:p></span></div>
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<span lang="EN-US"> 03</span>月<span lang="EN-US">21</span>、<span lang="EN-US">22</span>日<span lang="EN-US"> 14</span>:<span lang="EN-US">30 PM<o:p></o:p></span></div>
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票<span lang="EN-US"> </span>價:<span lang="EN-US">350</span>元<span lang="EN-US">/</span>張 <span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-size: 11pt;">◆購票請上兩廳院售票系統<span lang="EN-US"><a href="http://www.artsticket.com.tw/"><span style="color: black;">http://www.artsticket.com.tw</span></a></span>或兩廳院售票端點
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<span style="font-size: 11pt;">◆全台</span><span lang="EN-US" style="font-family: Arial, sans-serif; font-size: 11pt;">7-11</span><span style="font-size: 11pt;">、全家</span><span style="font-size: 11pt;">及萊爾富超商皆可購票</span><span lang="EN-US" style="font-size: 11pt;"><o:p></o:p></span></div>
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<span style="font-size: 11pt;">◆【北藝大戲劇系演出行政組】<span lang="EN-US">02-2893-8772</span>(<span lang="EN-US">20</span>人以上團體優惠票亦請聯繫此專線)</span><span lang="EN-US" style="font-size: 11pt;"><o:p></o:p></span></div>
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<span style="font-size: 11pt;">◆演出部落格:<span lang="EN-US">http://tnua-theatre.blogspot.com</span></span><span lang="EN-US" style="font-size: 11pt;"><o:p></o:p></span></div>
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<span style="font-size: 11pt;">◆<span lang="EN-US">Facebook</span>:請搜尋「國立臺北藝術大學戲劇學系」</span><span lang="EN-US" style="font-size: 11pt;"><o:p></o:p></span></div>
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<span class="listlink"><span style="letter-spacing: 0.75pt;">【優惠折扣】</span></span><span lang="EN-US" style="font-family: Arial, sans-serif; letter-spacing: 0.75pt;"><br />
</span><span class="listlink"><span style="font-family: 細明體; letter-spacing: 0.75pt;">◎</span><span style="letter-spacing: 0.75pt;">學生購票可享</span></span><span class="listlink"><span lang="EN-US" style="font-family: Arial, sans-serif; letter-spacing: 0.75pt;">8</span><span style="letter-spacing: 0.75pt;">折優惠</span></span><span lang="EN-US" style="font-family: Arial, sans-serif; letter-spacing: 0.75pt;"><br />
</span><span class="listlink"><span style="font-family: 細明體; letter-spacing: 0.75pt;">◎</span><span style="letter-spacing: 0.75pt;">團體票</span></span><span class="listlink"><span lang="EN-US" style="font-family: Arial, sans-serif; letter-spacing: 0.75pt;">20</span><span style="letter-spacing: 0.75pt;">張以上可享</span></span><span class="listlink"><span lang="EN-US" style="font-family: Arial, sans-serif; letter-spacing: 0.75pt;">8</span><span style="letter-spacing: 0.75pt;">折優惠<span lang="EN-US"><o:p></o:p></span></span></span></div>
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<span class="listlink"><span style="letter-spacing: 0.75pt;">【注意事項】</span></span><span lang="EN-US" style="font-family: Arial, sans-serif; letter-spacing: 0.75pt;"><br />
</span><span class="listlink"><b><u><span style="color: red; font-family: 細明體; letter-spacing: .75pt;">◎</span><span style="color: red; letter-spacing: .75pt;">退、換票事宜請於演出</span></u></b></span><span class="listlink"><b><u><span lang="EN-US" style="color: red; font-family: "Arial","sans-serif"; letter-spacing: .75pt;">10</span><span style="color: red; letter-spacing: .75pt;">天前辦理,並需酌收票價</span></u></b></span><span class="listlink"><b><u><span lang="EN-US" style="color: red; font-family: "Arial","sans-serif"; letter-spacing: .75pt;">10%</span><span style="color: red; letter-spacing: .75pt;">手續費</span></u></b></span><b><span lang="EN-US"><o:p></o:p></span></b></div>
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<span class="listlink"><b><span style="color: red; font-family: 細明體; letter-spacing: .75pt; mso-bidi-font-family: 細明體;">◎</span></b></span><span class="listlink"><b><span style="color: red; letter-spacing: .75pt; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">開車前來觀賞演出的觀眾請記得於入口刷卡處取得停車代幣,如使用悠遊卡停車則無法享有</span></b></span><span class="listlink"><b><span lang="EN-US" style="color: red; font-family: "Arial","sans-serif"; letter-spacing: .75pt;">30</span></b></span><span class="listlink"><b><span style="color: red; letter-spacing: .75pt; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">元的停車優惠。</span></b></span><b><span lang="EN-US" style="color: red; font-family: "Arial","sans-serif"; letter-spacing: .75pt;"><o:p></o:p></span></b></div>
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國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-44531952148066881862015-01-21T18:58:00.001-08:002015-01-21T18:58:14.564-08:00《床上的愛麗思》劇評:可曾如她一般纏綿病榻? <div class="MsoNormal">
<b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">《床上的愛麗思》劇評:可曾如她一般纏綿病榻? 蔣韻儒</span><span lang="EN-US"><o:p></o:p></span></b></div>
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<b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><br /></span></b></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">投影,是現代劇場時常使用的技術之一。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">在茶會場之後,愛麗思有一段長獨白,講述她心中的羅馬,講述那個她只能在心中遊覽的羅馬,彷彿打開了心,讓眼界與想像開闊,那麼就哪兒都能去,即使事實上她哪兒都去不了,只能夠受病痛所錮,被囚禁在那白色的柔軟的病床上。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">這段獨白演出時,舞台上投影出了一連串羅馬的照片。對於採取了遊客的觀點來選擇這些照片,我實在不解。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">愛麗思是一個極為聰明的女子,她的才智與她名揚天下的哥哥們相比是有過之而無不及,然而她腦中的一切都被疾病綁住了,思緒時而清晰時而混亂,她的藥劑是良藥,讓她冷靜,也是毒藥,讓她的腦子陷入如同癱瘓一般的停滯,身體上的無力更使她連床都下不了,人生被不知名的痛苦絆住了,永遠不可能被完整言說的痛苦。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">這樣的愛麗思,在想像中去到了羅馬,在不可能成行的前提下選擇去到了羅馬,既然是這樣的愛麗思,那為什麼投影的圖片是</span><span lang="EN-US">Google</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">圖片總覽?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">投影了數十張圖片,都是以觀光客角度所拍攝的照片,那風格是如此光鮮亮麗,但非是深層呈現這城市的人文歷史之美,也非是藉由對大城市中的小人物做細緻的描繪來刻畫不為人知的小地方,單純是那樣廣角而高彩度的觀光客照片,甚至有許多張連長寬比都沒有調整好,呈現出令人驚訝的粗糙。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">試問,一個博學、聰慧、敏感、多思、長年纏綿病榻的女子,她幻想到羅馬遊歷,她對羅馬的渴望怎麼會是一般觀光客能夠理解的呢?她的視角又怎麼會與只是到此一遊的過客重疊呢?世界上有那麼多觀光景點、風景名勝,她又為什麼獨獨對羅馬懷抱如此憧憬呢?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">獨白被切割成好幾段,由多名演員呈現,在劇場的各種地方出現,台上、二樓觀眾席左方、右方、觀眾席後方、三樓燈區,裝扮也不一樣,有時候是能站起來走動的愛麗思,穿著洋裝,有時候是在床上的愛麗思,面色憔悴。但這些片段都無法建立起本段羅馬獨白的畫面感,若是說語言中的畫面感能以投影補強,那麼是否說明投影在劇場的作用性強大到能夠完整取代表演本身呢?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">若答案是否定的,我們還是肯定劇場現場表演的價值,那麼投影的限度是否不能夠擴張到「補強」,而只能夠是「增色」,也就是在已然完整的表演上,加入更多精彩的元素使之更加飽滿。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">回到獨白本身,由於畫面感不足,觀眾無法單純由語言進入對羅馬的想像,投影非但無法增色,更因圖片選擇而使得文字失去深度,也陷入文字觀點與圖片衝突的窘境。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">再者,讓多名演員在劇場各處出現的手法也使我困惑,與空間互動並不是使演員在不同角落出現就可以了,出現在該處本身就要具有意義,否則這樣被切割的語言、散亂的音源只是徒增觀者負擔而已。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">小偷出現在愛麗思家裡行竊這場也有相同的問題,一是小偷從觀眾席走道上場的必要性為何?二是小偷到了舞台上之後,與不停互換的活動牆面跳舞追逐的必要性又為何?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">牆面追逐小偷,小偷閃躲,若是要呈現新手竊賊的驚慌,三五次攻防也就綽綽有餘了,然而在無甚變化的編排下,如此你追我跑的動作來回了多次,末了也就又陷入徒增不耐的氛圍。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">而因為前幾場已經見到愛麗思雙足落地,來回走動,所以愛麗思在這一場初次下床行走的舉動也失去力道,同時也削弱了疾病與病榻所帶來的束縛,彷彿愛麗思只是一個有些不正常的女孩,單純是因為過度的任性而不願意離開床鋪、不願意面對現實世界而已。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">劇本結尾時,護士與愛麗思的對話帶有一種無力但又極至溫柔的救贖感,對於病者本身,健康的人無論再親也都無法真正理解他們,然而即使如此,病者還是無可救藥的渴求著愛,即使那是多麼的無濟於事,如同所有生命必然死去一樣。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">然而演出卻無法傳達出這樣絕望的救贖感,由於並沒有深刻呈現出愛麗思的痛苦,她所思索的事物沒有深度,她所感受的絕望並不嚴重,她所見的世界並不使人癲狂,她所渴求的一切並不真實,所以她所得到的救贖也並不珍貴,她僅存的溫暖也因寒冷並非如此刺骨而顯得輕如鴻毛了。</span><span lang="EN-US"><o:p></o:p></span></div>
國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-81747390860793251022014-12-16T00:11:00.000-08:002014-12-16T00:11:25.523-08:00北藝戲劇2014冬季公演 《床上的愛麗思》 汪兆謙 導演專訪<div align="CENTER" style="margin-bottom: 0cm;">
<span style="color: white;">國立臺北藝術大學 戲劇學院 <span style="font-family: Times New Roman, serif;">2014</span>冬季公演</span></div>
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<b><span style="color: white;">《床上的愛麗思》</span></b></div>
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<span style="color: white;"><b>汪兆謙 </b>導演專訪</span></div>
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<span style="color: white;">撰稿人:詹毓仁、周冠婷</span></div>
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訪談日期<span style="font-family: Times New Roman, serif;">:
2014/12/10</span></span></div>
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<span style="color: white;"><span style="font-family: Times New Roman, serif;"><span style="font-family: serif;">Q</span></span>:<b>當初決定進戲劇廳做畢製時,為何會選擇床上愛莉絲劇本?</b></span></div>
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<span style="color: white;"><span style="font-family: Times New Roman, serif;"><span style="font-family: serif;">A</span></span>:我自己對於畢業製作當然有一定的期許,也希望能夠做個有研究高度又能代表一個時代的劇作家的作品,所以選擇了蘇珊<span style="font-family: 新細明體;">.</span>桑塔格的這個劇本,因為我認為她是美國太重要的知識份子了,她的很多著作也影響我們後代非常多,所以要做這齣戲必須在背後有非常龐大的閱讀量來支撐。這個劇本其實不好讀,蘇珊<span style="font-family: 新細明體;">.</span>桑塔格著作中也談到過亞陶,雖然講的是殘酷劇場,但背後的概念還是在講總體劇場,許多西方導演如彼得布魯克等等也是運用了不同的形式和調度來傳達這些概念。這個劇本提供了創作者很多創意的可能性,當然,要如何符合原著劇本希望具體化呈現愛麗思在空間中無法相容的這件事也是個很大的挑戰,所以這次製作也用了很多佈景、影像配置等等的形式來表現、強調。</span></div>
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<span style="color: white;"><span style="font-family: Times New Roman, serif;"><span style="font-family: serif;">Q</span></span>:<b>會不會擔心因為形式表現的關係很難去傳達作品要表達的內涵……</b></span></div>
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<span style="color: white;"><span style="font-family: Times New Roman, serif;"><span style="font-family: 新細明體, serif;">A</span></span><span style="font-family: 新細明體;">:
</span>我覺得看你怎麼做……劇場或現代藝術好玩的地方是,到了現代我們早就不能說形式跟內涵是不等同的,就像一些觀念藝術等等的,其實它的形式就是它要說、想要傳達的東西,只是形式和內容要怎麼扣合,我覺得就是非常大的一個挑戰。我們常會有一些謬誤,認為搞形式就等於沒內涵,而否定甚至排斥它,但我認為其實這些是兩回事,我認為形式和內涵其實是雙軌並行的,只是挑戰就在於如何去調度、如何去安排,使傳達的觀念更清晰。這個戲的確知識分子的味道比較重,我們也希望盡量避免太文謅謅的感覺,希望帶出更多「人」的味道出現。</span></div>
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<span style="color: white;"><span style="font-family: Times New Roman, serif;"><span style="font-family: serif;">Q</span></span>:<b>來談談創作過程吧</b><span style="font-family: Times New Roman, serif;"><span style="font-family: serif;"><b>....</b></span></span><b>這次排練過程中,戲的產生是導演指示較多,還是先給演員根據自己的理解發展再做修整?在發展過程中有沒有遇到什麼困難?</b></span></div>
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<span style="color: white;"><span style="font-family: Times New Roman, serif;"><span style="font-family: serif;">A</span></span>:在暑假時就有許多的訓練,包括聲音與身體,比較多是身體的訓練。一方面進入文本的較晚,因為希望讓演員有比較多發展的空間,因此在暑假期間就有讓演員們根據不同片段來做呈現,算是共同發展。我是一個比較希望可以看見演員可塑性的導演,換句話說,就是不會光是<span style="font-family: 新細明體;">「指導」演員該如何做,而是去看演員讓我看見什麼,這樣也比較多可能性可以發想。在發展中一定會碰到困難的,畢竟這個文本本身也很困難,深度也比較深,因此創作過程中一方面要想想如何呈現,也要去深思劇作家的意思,但我並不認為一定要照本宣科,我們也可以有我們的立場。就像是三四場把它融合成一場,其中用同一個演員去詮釋父親與哥哥,就是要隱喻父權的影響性。</span></span></div>
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<span style="color: white;"><span style="font-family: Times New Roman, serif;"><span style="font-family: 新細明體, serif;">Q</span></span><span style="font-family: 新細明體;">:</span><span style="font-family: 新細明體;"><b>對於用到許多形式性的呈現方式,感覺就是傳達給觀眾許多的隱喻等等,是否有要觀眾去思考你的觀點?</b></span></span></div>
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<span style="color: white;"><span style="font-family: Times New Roman, serif;"><span style="font-family: 新細明體, serif;">A</span></span><span style="font-family: 新細明體;">:我覺得給予觀眾思考的空間是好的,可是我不會刻意去塞給觀眾所謂的「觀念」或「想法」,我比較傾向於他們感受到什麼就是什麼。</span></span></div>
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<span style="color: white;"><span style="font-family: Times New Roman, serif;"><span style="font-family: serif;">Q</span></span>:<b>發現這次的製作相對於劇本,有很多令人意想不到安排,包含佈景空間的使用以及演員的走位等等都非常有風格,有沒有曾經想過要用更寫實的方式來定調這齣戲呢?</b></span></div>
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<span style="color: white;"><span style="font-family: Times New Roman, serif;"><span style="font-family: serif;">A</span></span>:其實所謂的寫實或形式都只是表現的方式,我並不會覺得應該刻意要使用這兩種其中一種,不過因為劇本中也有許多是參考愛麗思夢遊仙境的狀態,我們也希望可以忠於原著,因此這種夢境的呈現方式很容易就會使用形式來表現。就像是午宴那場,對於空間的縮小與放大,這都是我們工作的內容之一。</span></div>
國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-32084757617345725072014-12-10T19:51:00.001-08:002014-12-15T23:18:32.541-08:00《床上的愛麗思》燈光設計/畢製生呂家慧專訪<div class="MsoNormal">
<span lang="AR-SA" style="font-family: "新細明體","serif"; font-size: 16.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">《床上的愛麗思》燈光設計</span><span lang="EN-US" style="font-size: 16.0pt;">/</span><span style="font-family: "新細明體","serif"; font-size: 16.0pt; mso-ascii-font-family: Calibri; mso-fareast-language: ZH-TW; mso-hansi-font-family: Calibri;">畢製生</span><span lang="AR-SA" style="font-family: "新細明體","serif"; font-size: 16.0pt; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">呂家慧專訪</span><span lang="EN-US" style="font-size: 16.0pt;"><o:p></o:p></span></div>
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<span lang="AR-SA" style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-hansi-font-family: Calibri;">撰文、採訪:許育瑋&林奕達</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-size: small;"><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 12.0pt; font-weight: normal; mso-fareast-language: ZH-TW;">Q</span><span style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-language: ZH-TW; mso-hansi-font-family: Arial;">:</span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">這次畢製有什麼特別的挑戰跟困難的地方嗎?</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 12.0pt; font-weight: normal; mso-fareast-language: ZH-TW;"><o:p></o:p></span></span></h1>
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<span style="font-size: small;"><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 12.0pt; font-weight: normal; mso-fareast-language: ZH-TW;">A</span><span style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-language: ZH-TW; mso-hansi-font-family: Arial;">:</span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">以前在思考燈光設計的時候,會著重於燈光的角度去思考,也就是腦子裡</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"> </span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">都會是光源的顏色、方向、角度</span><span lang="EN-US" style="color: #222222; font-family: 細明體; font-size: 12.0pt; font-weight: normal; mso-bidi-font-family: 細明體; mso-fareast-language: ZH-TW;">......</span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">,但這次面對《床上的愛麗思》這個劇本,及導演的處理手法,我覺得各設計都需學著如何站在導演的角度看這齣作品,並共同去構想與發展,接著才是運用各個領域的特點去完成我們這齣作品想傳遞給觀者的話與感受。我想,光是這點,便與以往在思考燈光設計一職最一開始的出發點十分不同,這關乎了我怎麼去思考自己的定位與如何著手設計。因此,對我而言,這次畢製的燈光設計對我的挑戰,大概就是在戲裡懂得如何靠光來說話,且這些燈光語言,力道要拿捏得宜,且清楚乾淨。</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"><o:p></o:p></span></span></h1>
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<span style="font-size: small;"><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 12.0pt; font-weight: normal; mso-fareast-language: ZH-TW;">Q</span><span style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-language: ZH-TW; mso-hansi-font-family: Arial;">:</span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">你對《床上愛麗思》這個劇本的想法是什麼?</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"><o:p></o:p></span></span></h1>
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<span style="font-size: small;"><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 12.0pt; font-weight: normal; mso-fareast-language: ZH-TW;">A</span><span style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-language: ZH-TW; mso-hansi-font-family: Arial;">:</span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">我以前在看這齣作品的時候,對它感受還沒那麼深,只依稀記得好似一個</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"><o:p></o:p></span></span></h1>
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<span style="font-size: small;"><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"> </span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">被自己圍困起來的女性,很悲哀、很壓抑。但到這次真正去了解,透過其它</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"><o:p></o:p></span></span></h1>
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<span style="font-size: small;"><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"> </span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">相關書籍的大量閱讀,並與導演每次開會討論,都讓我漸漸地更了解它,甚</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"><o:p></o:p></span></span></h1>
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<span style="font-size: small;"><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"> </span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">至從中找到了一些關乎於人,或是我們共有的、可能有的特質。我發現角色</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"><o:p></o:p></span></span></h1>
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<span style="font-size: small;"><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"> </span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">間彼此的關係,或是在愛麗思身上,都可以去反思自己。而感觸最深切的,</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"><o:p></o:p></span></span></h1>
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<span style="font-size: small;"><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"> </span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">大概是何以透過閱讀、書寫、思考、想像,了解並完整了自己。</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"><o:p></o:p></span></span></h1>
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<span style="font-size: small;"><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 12.0pt; font-weight: normal; mso-fareast-language: ZH-TW;">Q</span><span style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-language: ZH-TW; mso-hansi-font-family: Arial;">:</span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">跟這個劇組合作有什麼特別的感覺?</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"><o:p></o:p></span></span></h1>
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<span style="font-size: small;"><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 12.0pt; font-weight: normal; mso-fareast-language: ZH-TW;">A</span><span style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-language: ZH-TW; mso-hansi-font-family: Arial;">:</span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">這個劇組給我的感覺,大概就是一種時而擔心、焦慮,卻又時而期待興奮的感覺吧</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"> ! </span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">我很欣賞導演帶領演員及設計共同發展的過程,這歷程雖然漫長,但當整齣作品漸漸成形的時候,確實是令人期待與滿足的。</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"><o:p></o:p></span></span></h1>
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<span style="font-size: small;"><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 12.0pt; font-weight: normal; mso-fareast-language: ZH-TW;">A</span><span style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-language: ZH-TW; mso-hansi-font-family: Arial;">:</span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">多看其它東西吧</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;">!</span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">不相關或延伸領域的都好。我知道自己確實是容易焦慮的人,但也更該逼自己在當下做適時的轉移,而通常很多在設計上的卡關,也都能在這時候找到靈感。我也會記得主修老師對我說的話,能幫助我在設計上更加開闊的方法,就是「放輕鬆」吧!</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 12.0pt; font-weight: normal; mso-fareast-language: ZH-TW;"><o:p></o:p></span></span></h1>
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<span style="font-size: small;"><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 12.0pt; font-weight: normal; mso-fareast-language: ZH-TW;">Q</span><span style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-language: ZH-TW; mso-hansi-font-family: Arial;">:</span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">你認為做燈光最困難的地方在哪裏呢?是文本剖析過程,還是設計過程,還進劇場的時候呢?</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"><o:p></o:p></span></span></h1>
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<span style="font-size: small;"><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 12.0pt; font-weight: normal; mso-fareast-language: ZH-TW;">A</span><span style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-language: ZH-TW; mso-hansi-font-family: Arial;">:</span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">真正最困難的,大概是一開始要進入蘇珊.桑塔格,這位偉大的女性作家的世界。尤其這齣作品並不好讀,需要長時間的思考與消化,並藉由更大量的閱讀,才能慢慢藉由劇本,抽絲剝繭出其中的意涵。否則,很容易只看見表面的文字,那便十分可惜</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;">! </span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">我想,這就像是了解一個人,或是了解自己一樣,需要時間的累積吧。</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"><o:p></o:p></span></span></h1>
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<span style="font-size: small;"><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 12.0pt; font-weight: normal; mso-fareast-language: ZH-TW;">Q</span><span style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-language: ZH-TW; mso-hansi-font-family: Arial;">:</span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">你有對自己未來的規劃嗎?</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"><o:p></o:p></span></span></h1>
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<span style="font-size: small;"><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 12.0pt; font-weight: normal; mso-fareast-language: ZH-TW;">A</span><span style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-language: ZH-TW; mso-hansi-font-family: Arial;">:</span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">有大致的想法和規畫,當然未知的事情未必會完全照著計畫發生,但我想方向肯定離不開設計和藝術。然後,在這四年裡,我依然喜歡光,喜歡隨之與人產生的關係,這都是我未來想持續努力學習並與之相處的部分。</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"><o:p></o:p></span></span></h1>
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<span style="font-size: small;"><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 12.0pt; font-weight: normal; mso-fareast-language: ZH-TW;">Q</span><span style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-language: ZH-TW; mso-hansi-font-family: Arial;">:</span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">燈光給的是一種氛圍,你渴望燈光帶給觀眾什麼呢?</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"><o:p></o:p></span></span></h1>
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<span style="font-size: small;"><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 12.0pt; font-weight: normal; mso-fareast-language: ZH-TW;">A</span><span style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-language: ZH-TW; mso-hansi-font-family: Arial;">:</span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">以這齣作品而言,我真的覺得與其思考觀眾能看見怎麼樣的燈光氛圍,更該把重點擺在戲劇本身。所以,最希望的還是觀眾能從這齣作品獲得一些感受。至於燈光,則是一種讓文本的字句說得更清楚些的其中一種方式。</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"><o:p></o:p></span></span></h1>
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<span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-size: small; font-weight: normal; mso-fareast-language: ZH-TW;"> </span></h1>
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<span style="font-size: small;"><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 12.0pt; font-weight: normal; mso-fareast-language: ZH-TW;">Q</span><span style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-language: ZH-TW; mso-hansi-font-family: Arial;">:</span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">談談成為畢製生的感想。</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-weight: normal;"><o:p></o:p></span></span></h1>
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<span style="font-size: small;"><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 12.0pt; font-weight: normal; mso-fareast-language: ZH-TW;">A</span><span style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-language: ZH-TW; mso-hansi-font-family: Arial;">:</span><span lang="AR-SA" style="color: #222222; font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: Arial; mso-bidi-font-family: Arial; mso-hansi-font-family: Arial;">做畢製的燈光設計,真的有一種趕鴨子上架的感覺。一路上好像半夢半醒,我想到結束之後,大概都還會驚魂未定,以為自己還在夢裡吧。因為,這陣子實在是太忙碌、太充實了。但我想,這也是畢製最過癮、最令人難忘的地方吧!</span></span><span lang="EN-US"><o:p></o:p></span></h1>
國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-77912142585379377122014-12-07T18:55:00.001-08:002014-12-07T18:55:52.008-08:00《死亡計畫》導演/蔣執中專訪<div align="center" class="MsoNormal" style="text-align: center;">
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<span style="font-family: "新細明體","serif"; font-size: 20.0pt; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">《死亡計畫》導演</span><span lang="EN-US" style="font-size: 20.0pt;">/</span><span style="font-family: "新細明體","serif"; font-size: 20.0pt; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">蔣執中專訪</span><span lang="EN-US" style="font-size: 20.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">撰稿人:涂佳吟、蔣韻儒</span><span lang="EN-US"><o:p></o:p></span></div>
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2014/12/03<o:p></o:p></span></div>
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<b><span lang="EN-US">Q1.</span></b><b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">本次執導《死亡計畫》的核心理念?</span><span lang="EN-US"><o:p></o:p></span></b></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">對我來說,死亡本身是很簡單、很突然會發生的,重點它是未知的,而且不管你生前生活如何,死亡這件事情在最後只能由你獨自面對,這一點算是我在處理這個劇本時很重要的中心思想。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">因為這齣戲在第一幕就很明顯的扣緊死亡這件事,殺手是隨機殺人,而非有目的的,因此人人都有可能成為下一個被害者,因此大家對於這件事情的不安感使得後面的治安委員會和種種計畫都變得不理性、帶有荒謬感,這在某一層面可以和現在的社會互相比照,只是劇作家用「死亡」來表達那種不安,扣緊這個議題。反觀當今社會,其實社會大眾也是在自己對未來那種未知的不安和自我矛盾下,群體建立了某些機制,產生了類似兩黨對立、群眾盲從現象。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">當然,除了這個主要議題,劇作家在每個不同段落也會有劇作家本人的一些哲學思想,例如妓女片段就帶出了伍迪˙艾倫對於存在主義的觀點,「既然人都要死,那為什麼要活,活著的意義為何」,或者像是醫生片段,當一個凡事都相信數據的醫生在面臨死亡時,卻問身旁的人相不相信靈魂轉世,這個反差本身就帶出了某種諷刺,因為就伍迪˙艾倫而言,他自己本身其實是個無神論者。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">但說回劇本,其實劇作家在書寫時並沒有刻意要傳達自己的理論,這也是為什麼我在設計理念說明會時也沒有特別去訴說這部分,我會希望當觀眾看戲時是自己去聯想到這其中帶有某種哲學性。</span><span lang="EN-US"><o:p></o:p></span></div>
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<b><span lang="EN-US">Q2.</span></b><b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">導戲過程中遇到什麼樣的困難?</span><span lang="EN-US"><o:p></o:p></span></b></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">一方面是前面有提到的,伍式哲學在片段中應用的辯證應該怎麼更妥善的處理,讓他兼具戲劇性和理念,另一方面則是整齣戲的步調和節奏處理。前者部分像是妓女段中的「真實與否兩方辯證」其實就讓我思考了很久,後來和我的戲劇顧問聊過後,在他的建議下去看了《</span><span lang="EN-US">Without Feather</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">》這本書,書中收錄了《</span><span lang="EN-US">God</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">》和《</span><span lang="EN-US">Death</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">》兩齣獨幕劇,這兩齣劇目其實不適合鑽研,而是適合直接拿來演,它的內容其實就是由生活中的片段組成,進而令觀眾去笑看這些過程,於是我便從劇作家的陷阱中跳脫出來,開始從整齣戲的核心去發掘其戲劇張力,有趣的是,這些哲學好像就從這樣的張力中衍生出來了。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">從文本上來看,大家都會直覺性認為每個片段、角色都很飽滿,每件事情也都發生得很緊湊。我試著從這些緊湊中去找細節和呼吸,放膽留時間讓演員喘息和加深內容,使整個片段除了保持喜劇氛圍外,還能真實的打動觀眾,這是最困難的部分;接著就是確定好哪些片段該快、哪些要慢,藉由節奏的變化拉出不同角色的表演方式、質感和線條。</span><span lang="EN-US"><o:p></o:p></span></div>
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<b><span lang="EN-US">Q3.</span></b><b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">和演員的工作方式有採用特定的方式或體系嗎?</span><span lang="EN-US"><o:p></o:p></span></b></div>
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<b><span lang="EN-US">Q4.</span></b><b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">本次文本有嘗試和現實狀況,如鄭捷事件做聯結嗎?</span><span lang="EN-US"><o:p></o:p></span></b></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">其實當初發生該事件時也驚訝於兩者的相似和巧合,但在發展上並沒有要帶入社會事件,主要還是以「對未知的恐懼」做延伸,不過假如觀眾本身有產生聯結的話,也是覺得很不錯。</span><span lang="EN-US"><o:p></o:p></span></div>
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<b><span lang="EN-US">Q6.</span></b><b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">對於來看戲的觀眾,有什麼特別想說的話嗎?</span><span lang="EN-US"><o:p></o:p></span></b></div>
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國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-90201584218088564252014-12-07T18:31:00.001-08:002014-12-07T18:31:47.698-08:00《床上的愛麗思》表演畢製生/陳守玉專訪<div align="center" class="MsoNormal" style="mso-char-indent-count: 2.0; text-align: center; text-indent: 32.0pt;">
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">跟守玉訪談很有趣,不時伴有小小的驚叫聲、跟害羞的笑容,這很容易讓我們知道她是個怎麼樣的人。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">守玉形容她自己是個比較被動、畏縮的人,通常不容易自己決定要出頭,覺得很多事情讓別人去演就好了,所以需要一個人鞭策她,因此選擇嚴格又能給予守玉方向、培養她企圖心的如萍老師。那時候守玉很想好好詮釋寫實戲,她說;「這應該是每個主修表演的願望吧,希望可以好好工作一個角色」,本來想演《備忘錄》,但如萍老師希望守玉去參加系上的</span><span lang="EN-US">audition</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">,讓自己更勇敢、更突破,而不是安於自己的舒適圈。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">所以守玉在要準備畢製這一年去</span><span lang="EN-US">audition</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">《床上的愛麗思》,然後這成了她的畢製。守玉談這個劇本,她說:「其實我一開始沒有很喜歡這個劇本,而且應該說很討厭這個劇本」,雖然守玉總是跟周圍的人說「看不懂」、「好討厭」但守玉靜下來好好想,發現自己並不是看不懂這個劇本,而是這個劇本讓守玉很直接面對到愛麗思的不快樂,愛麗思的矛盾和掙扎跟守玉非常相像。「對我來說很赤裸,尤其讓我想到國中的時候,精神狀態不太穩定。我不喜歡說憂鬱,但其實就是憂鬱,這劇本讓我想到那時候的我,非常不快樂的時候,想跨出去,卻跨不出去。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">我問她,這跟以前演出不同的挑戰在哪裏?她說有一個共通點:「你,指的是那個角色,怎麼看出去的這個世界」對於守玉來說,這次演出跟兩年前守玉演出的《</span><span lang="EN-US">Preparadise Sorry Now</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">》可說是大同小異。守玉說她在劇中飾演各種不同面向的愛麗思─床上的愛麗思、行走的愛麗思、觀看的愛麗思。一部份是怎麼看怎麼驚喜她的世界;一部份是怎麼思考生命跟死亡。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">這次排戲很好玩的地方除了身體的訓練,還有初期針對文本的小呈現。小呈現可以看到其他演員對於這個文本的看法,那些可能是守玉沒有發現的地方。守玉說:「排練最期待的不是工作文本,而是身體訓練的部分。因為我上大學以前完全不會跳舞,肢體很不協調,所以我很羨慕那些會跳舞,會運用自己身體的人。」這次的排練幾乎每次都要練身體,像是跳芭蕾、肌力訓練,所以每次排戲都很興奮跟開心。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">雖然排戲時間有點緊迫,不過守玉很相信導演會帶他們到一個看起來很美的地方。劇組大家都會互相幫助,排練期間守玉有兩次自己受傷,沒辦法排戲,但大家都會關心她,幫她裝水、幫她跑腿。因為導演比較晚才工作劇本,守玉有點緊張,雖然覺得時間不夠,但又相信導演的實力。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">守玉說不管什麼演出都是挑戰,《床上的愛麗思》在生理跟心理上的狀態都要去工作。她飾演的愛麗思有一段跟哥哥的對話,守玉所遇到的瓶頸是她不管怎麼樣,都會把自己演成悲情的女子,有一次金士傑老師來看彩排,他說:「妳就像個非常淒厲的女鬼」,因為他們是兄妹,所以對話中還是要有親情,要怎麼拿捏親情?且她跟哥哥又都是知識分子,文人的談話有些用語要怎麼你來我往,但又不能針鋒相對,這是最難的地方,魔王級的吧!再來是年幼的愛麗思,跟爸爸講話的態度,我還在找怎麼跟爸爸講話的態度,因為爸爸是有威嚴的,要怎麼跟爸爸討論生命、死亡這件事也是個難題,那時的愛麗思年齡是很低的,要怎麼詮釋年紀輕,又不會表演得很像弱智。這些守玉都還在摸索。再來是旅行的愛麗思,要怎麼跟觀眾傳達我看到什麼,這也是很難的地方,雖然相對其他愛麗思,這是我比較可以掌握的,但我們表演指導說我很像娃娃兵,要再多一點知識分子的樣子。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">最後我問守玉關於將要畢業的心情,她說當初進來的熱情其實被消磨掉不少,一開始很喜歡和大家一起工作努力的感覺。但四年實在不夠學習,守玉還說:「我覺得我太放過我自己了,大一大二還把自己逼滿緊的,但後來好像少了什麼鞭策自己的事物,而且後來沒有練習劇本,沒有逼自己排練」,但守玉覺得自己不再鑽牛角尖、逃避,承認自己過不去的地方,然後想辦法跨過去。最重要的是,守玉說:「大一</span><span lang="EN-US">Vicky</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">老師說過不要去批判,我學會不批判自己,接受自己的不完美」,她甚至笑笑地說:「其實我學到滿多的嘛!」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">結束後,她感謝我們採訪她,她說她最近排戲遇到瓶頸。但我問的問題讓守玉得以重新開始工作劇本跟角色。所以,讓我們拭目以待守玉</span><span lang="EN-US">12/19-12/24</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">的《床上愛麗思》吧!</span><span lang="EN-US"><o:p></o:p></span></div>
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國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-53342960793099560642014-12-05T07:32:00.001-08:002014-12-05T07:35:51.484-08:00《床上的愛麗思》表演畢製生 張閔淳 專訪<div align="center" class="MsoNormal" style="mso-char-indent-count: 2.0; text-align: center; text-indent: 32.0pt;">
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">閔淳上研究所後,常常接觸跟身體有關的專題。她特別注重身體訓練的部分,後來還去舞蹈研究所選修芭蕾和接觸即興的課程。選擇如萍老師當主修老師的原因跟這個也有關,如萍老師在閔淳研究所一年級時開了一門「動作專題」的表演課,加上如萍老師很注重體態的部分,讓閔淳很佩服如萍老師投入演員教育的精神,而如萍老師帶給閔淳的,也正是她想追求的、想學的。</span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">「我一直都很喜歡需要工作很多的劇本,像是有歷史背景或是有文獻資料探討的劇本,我很喜歡做這些角色功課」閔淳說了她喜歡這個劇本的原因。另一方面,兆謙導演要求演員們要讀</span><span lang="EN-US">Susan Sontag</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">的著作,但其實她的東西很硬,某些程度上可能會拉遠距離,所以演員應該要回到心理狀態,有助於拉近</span><span lang="EN-US">Susan Sontag</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">的內心思考。</span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">對於《床上的愛麗思》目前還正在摸索中。這劇本是</span><span lang="EN-US">Susan Sontag</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">在罹患癌症時寫的,寫的是一個女性的困境,因為就算是現在社會,依然有個框架存在,這個框架不僅僅是女性的框架,也是人的困境。「我現在的感覺這是一個很溫暖的劇本,而兆謙看到的是人跟人之間無法溝通的劇本。我自己覺得……好難講喔。」閔淳述說內心對於這個劇本的想法。金士傑老師來看彩排的時候說:「這是一個女病人的奇想過程,這個女病人可以很幽默、很討厭、很尖酸又可以很聰明,這是一個很吸引人的角色狀態」,閔淳說:「後來我漸漸了解這是一個關於生死的劇本,生死這個大問題是我們每個人都在面對的。雖然在面對生死,呈現的方式卻是特別且有趣的,因此變得沒有那麼沉重、那麼</span><span style="font-family: "新細明體","serif"; mso-ascii-theme-font: minor-fareast; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">非黑即白,它其實很輕、很幽默。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">提到生死,我問她,關於這個劇本是否有令她想到類似的生命經驗,可以用來詮釋角色,或是反而造成一種阻礙。</span><span style="font-family: "新細明體","serif"; mso-ascii-theme-font: minor-fareast; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">這要先說到《床上的愛麗思》原型是兩位愛麗思,一位是<span style="background: white;">美國小說家</span></span><span lang="EN-US" style="background: white; color: #252525; font-family: "新細明體","serif"; mso-ascii-theme-font: minor-fareast; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">Henry James</span><span style="background: white; font-family: 新細明體, serif;">與心理學家及倫理學家</span><span lang="EN-US" style="background: white; color: #252525; font-family: "新細明體","serif"; mso-ascii-theme-font: minor-fareast; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-fareast;">William James</span><span style="background: white; font-family: 新細明體, serif;">的胞妹<span lang="EN-US">Alice Jame</span></span><span lang="EN-US" style="background: white; font-family: 新細明體, serif;">s</span><span style="background: white; font-family: 新細明體, serif;">。她才華橫溢,<span lang="EN-US">19</span>歲時就開始渴望了斷自己的生命,在<span lang="EN-US">43</span>歲因乳腺癌去世;另一位是「愛麗思夢遊仙境裡」的愛麗思。閔淳在劇中主要扮演病床上的愛麗思。「一是年老、二是成熟、三是世故、四是病,我是要生病的,而我扮演得很特別,病徵不知道是什麼,就只知道很虛弱。」「我前陣子在實驗一個食療,果汁食療,為了讓自己身體清潔及排毒。那三天我還必須去排練場花很多體力,那幾天不停地腳軟,很餓而且頭暈疲憊。剛好這個狀態讓我有點可以揣摩愛麗思生病的狀態跟極限。」<span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="background: white; font-family: 新細明體, serif;">閔淳說,生病的人最容易胡思亂想,什麼事都不能而且不用做,真的會讓心裡很雜亂。所以她明白當年臥病在床的</span><span lang="EN-US">Susan Sontag</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">為何寫出這樣的劇本。而這本劇本(前面也提過了),是一位女性寫的,而且又在講關於女性的情境,身為一個女性真的可以明白跟體會,女性是很奇妙的生物,很生命、很原始。不管怎麼樣,我們現在就是在一個講求理性邏輯跟思維的社會當中,很父系的社會。「我想</span><span lang="EN-US">Susan Sontag</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">只是想呈現這個狀況而已,這大概就是這個劇本想說的,當一個女性被放在裡面,她該怎麼自處。這是一個很情感性的東西,但這個社會是在反情感的。」</span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">最後我問閔淳這次排戲最有趣的地方或印象深刻的地方,她說前半部都在做一些類似工作坊的活動,那些創造對後面排戲可能沒有很直接的幫助,但在這大家展現創意的過程中,過得很開心。發展中可能有</span><span lang="EN-US">90%</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">都用不到,但給學弟妹很好的機會。後來導演扎扎實實地分好角色,有些學弟妹可能會分到沒有台詞,或台詞很少的角色,但這個發展讓他們有收穫、有參與、有投入。這個劇組很整體性,大家也因為這個工作坊的創作期而感覺是一體的。</span></div>
國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-48316617510357426762014-12-05T01:24:00.001-08:002014-12-05T01:24:09.128-08:00《死亡計畫》舞台設計/林珈安專訪<div align="center" class="MsoNormal" style="text-align: center;">
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<span style="font-family: 新細明體, serif;">撰文、採訪:楊燦鴻</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">舞台設計坐在位子上,看起來準備周全,整個咖啡桌像是她剛搭好的舞台,旁邊擺著道具包包,採訪戲已準備開演。當初系務會議開完之後,被分配到了死亡計畫劇組,這是她的第一次進組作品。</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">「感覺其實滿開心,因為可以上學期趕快做完。一開始看劇本的時候,發現很快就看完了,以為劇本很淺。我們設計先討論了兩個禮拜,後來跟導演討論後,發現劇本裡更多的部分。我其實很怕接到寫實的東西,導演在一開始就給了我一張圖片,一張街道房子的圖片,但我並不想這麼寫實,所以就保留部分寫實的素材,像是房間、磁磚,這齣戲也運用台車來換景,起初的設計複雜但粗淺,改了很多次,應該至少有十次吧。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">能夠描繪一下,從起初到現在是如何變化的嗎?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">「基本上,找到一個出發點後,其他的就會慢慢找到。當時決定用美式漫畫當主要風格,跟老師開完會後,老師覺得可以,我是個喜歡趕快決定事情的人,所以就定下來走。美式漫畫中常有時事、政治的議題,卻呈現得荒謬可笑,那種荒謬、非寫實卻帶點詼諧的感覺,是很符合這齣戲。所以就開始從平面到立體,質感上也採用漸層和潑灑,是之前沒有嘗試過的。舞台越來越有味道後,再和服裝與燈光做搭配。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">有從哪邊獲取靈感嗎?﹝舞台設計珈安的目光轉向旁邊的街景。﹞</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">「會開始注意城市街道和街景,整個城市的輪廓。也有滿多資料是從網路上得到,因為有台車換景的部分,所以看滿多劇場劇照來幫助思考。有一次,在</span><span lang="EN-US">7-11</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">坐下來喝咖啡的時候,看到玻璃窗上貼著</span><span lang="EN-US">Hello Kitty</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">,背景剛好是城市的剪影,那時候就把它畫了下來。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">作為舞台設計,有什麼特有的經驗可以分享?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">「作舞台設計真的很偉大,要不停解決問題。很多道具都要想辦法自己生出來,像在外面的劇場工作,很多都是舞台設計自己買,然後戲演完再賣給別人。這件事真的會燃燒我的熱情</span><span lang="EN-US">(</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">笑</span><span lang="EN-US">)</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">。我是個很想趕快完成問題的人,老師甚至會說我一直在解決問題而非設計。有時候跟老師開完會之後,會有種發現自己──有種重生的感覺。對我來說,設計就是要堅持自己的理想,很確定要什麼之後,就是努力去得到道具和佈景。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">那這次的工作,讓妳覺得如何呢?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">「劇組很積極,很快就喬好每次的時間,然後再去修正,來來回回有很多次設計會議,埋頭改了很多次,感覺做了很多,滿有成就感。感覺劇組的向心力很強。本來很擔心舞台會不會來不及完成,但現在進度很快,讓我比較放心。現在比較擔心的是觀眾有什麼看法</span><span lang="EN-US">(</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">笑</span><span lang="EN-US">)</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">畢業之後有什麼打算呢?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">「還是喜歡劇場,但不會走舞台設計,太累了。應該還是會走表演藝術圈,像是當館方、行政、舞監之類的,或是到國外唸書,還不一定。賺夠錢後,想開個咖啡廳,然後在店裡弄一個空間,結合劇場或是當展演空間。」</span><span lang="EN-US"><o:p></o:p></span></div>
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國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-37974725831011950772014-12-04T22:41:00.001-08:002014-12-04T22:41:34.299-08:00愛麗思鏡子裡的自己/畢製演員古昀昀專訪<div align="center" class="MsoNormal" style="mso-line-height-alt: 13.5pt; text-align: center;">
<span lang="HI" style="font-family: 新細明體, serif; font-size: 16pt;">愛麗思鏡子裡的自己/</span><span lang="HI" style="font-family: 新細明體, serif; font-size: 16pt;">畢製演員古昀昀專訪</span><span lang="EN-US" style="font-family: 新細明體, serif; font-size: 10.5pt;"><o:p></o:p></span></div>
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<span lang="HI" style="font-family: 新細明體, serif; font-size: 10.5pt;">撰文、採訪:蔡思韵</span><span lang="HI" style="font-family: 新細明體, serif; font-size: 16pt;"> </span><span lang="EN-US" style="font-family: 新細明體, serif;"><o:p></o:p></span></div>
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<span lang="HI" style="font-family: 新細明體, serif;"> 「這個劇本是在談一個極端情況下的人的痛苦,人在生命中都會遇到孤獨的時候,然後我們透過這個生病的女生的角度更理解那個痛苦是什麼。乍看之下這是一個有關女性話題的劇本,主角是一個女生,而跟主角有重要對談的也是女生的角色居多,所以我在第一次看這個劇本的時候認為這是在講一個女性困境的劇本。在當時的女性,她們不能夠為自己做些什麼,而現代的女性雖然有些時候也是會有不平等的地方,但相對於過去已經自由很多,也有很多的女強人出現。所以我在思考,當這個劇本搬到現代來演有什麼意義?</span><span lang="EN-US" style="font-family: 新細明體, serif;"><o:p></o:p></span></div>
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<span lang="HI" style="font-family: 新細明體, serif;">主角愛麗思是一個很聰明的女生,她在十九歲的時候就得了憂鬱症,但在當時人們沒有對憂鬱症有所研究。所以她沒有得到治療,只是讓自己的人生都住在家裏,透過書籍閱讀還有很多的想像,來幻想這個世界的樣子。她也有很多的自我拉扯,當一個女人應當去成就一些什麼嗎?只是在生物上來說為了生育繁衍而存在,還是其實也可以有自己的一片天?有沒有可能成為一個作家或是對社會上有貢獻的人?」</span><span lang="EN-US" style="font-family: 新細明體, serif;"><o:p></o:p></span></div>
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<span lang="HI" style="font-family: 新細明體, serif;">被問到《床上的愛麗思》</span><span lang="HI" style="font-family: 新細明體, serif;">作為</span><span lang="HI" style="font-family: 新細明體, serif;">演員古昀昀的</span><span lang="HI" style="font-family: 新細明體, serif;">表演畢製作品,有什麼吸引</span><span lang="HI" style="font-family: 新細明體, serif;">的地方。而最</span><span lang="HI" style="font-family: 新細明體, serif;">特別的是</span><span lang="HI" style="font-family: 新細明體, serif;">「會覺得自己跟我所扮演的角色愛麗思在多多少少的事情上都很相似。」愛麗思活在一個男性化的家庭,她有兩個哥哥兩個弟弟,然後是爸爸養大的。讓古昀昀也會有共嗚的生命經驗是「我也是爸爸養大的,可能有些部分不會像一個平常的女生,可以從媽媽身上學到一些特質,也許是會做菜,也許是性格上比較溫柔。」「而個性上跟愛麗思相似的是比較負面吧,很容易陷進自己的腦袋裏,也許是鑽牛角尖。有時候會覺得自己比較偏向負面思考,還有比較不容易跟自己妥協,我覺得我跟愛麗思一樣,不太會愛自己,或對自己太嚴苛。有時候事情並沒有那麼嚴重,卻也會放大來看待,不斷地跟自己對話,審視自己,這一點很像。」</span><span lang="EN-US" style="font-family: 新細明體, serif;"><o:p></o:p></span></div>
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<span lang="HI" style="font-family: 新細明體, serif;"> 在詮釋這個角色時最大的挑戰是什麼?「一直以來我都是比較外放的演員,情緒比較可以放得很滿,所以本來想要嘗試別的演戲手法,想試試看當個內斂的演員。而這次演的角色是一個精神病患者,很多時候可能情緒起伏較大,大叫大哭的,所以讓我思考我應不應該用以往的形式去處理,我想挑戰自己可以感覺更細膩的情感。但這次還是要求我要讓情緒到很滿,放很開去詮釋這個角色,所以會擔心自己會不會太</span><span lang="EN-US" style="font-family: 新細明體, serif;">over</span><span lang="HI" style="font-family: 新細明體, serif;">,要找到澎湃中的情感裏的細膩也許就是一個挑戰。」而在這次製作中最大的收穫是:「變瘦了!因為我們劇組要求我們排練前都要運動,所以瘦下來了。」</span><span lang="EN-US" style="font-family: 新細明體, serif;"><o:p></o:p></span></div>
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<span lang="HI" style="font-family: 新細明體, serif;">對於自己的期許:「我覺得大學這段日子是在跟自己對話,生活得很精彩也很混亂,有時候會跌到谷底,但有時候又會往上爬,一直來來回回,壓力會有,但希望自己也從中有所成長。我希望可以學會跟自己相處,讓自己這個人更穩定一點,不要太容易被人影響。將來要繼續成為一個演員一定會遇到很多挑戰,也一定會有很多挫折,但還是要學習讓自己知道這都是生活的一部分。在面對不同的混亂角色,還是要學習保持穩定的身體、精神面貌去應對。演戲不是在追求人生的刺激,而是從過程中得到自己平穩。」</span><span lang="EN-US" style="font-family: 新細明體, serif;"><o:p></o:p></span></div>
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國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0tag:blogger.com,1999:blog-5456903303318902789.post-39147588067364191232014-12-04T22:25:00.001-08:002014-12-04T22:26:18.453-08:00《死亡計畫》服裝設計/陳冠伶專訪<div align="center" class="MsoNormal" style="text-align: center;">
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<span style="font-family: 新細明體, serif;">撰文、採訪:楊燦鴻</span><span lang="EN-US"><o:p></o:p></span></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"> 在晨光之下,服裝設計由樓梯跑了上來,點了咖啡,坐了下來,討論他們是如何計畫,這次的《</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">死亡計畫》</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">。</span><span lang="EN-US"><o:p></o:p></span></div>
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<b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">步驟一:看劇本。</span><span lang="EN-US"><o:p></o:p></span></b></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"> 「我們這一群設計剛好大家都很按部就班,一接到馬上就開始討論兩個禮拜。關於這個劇本,其實剛接到的時候壓力是很大的,因為伍迪艾倫的名氣很大,觀眾大多都已經有一定的印象,怕弄不好。但另一方面,偶爾會幻想自己是幫他做服裝設計。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">步驟二:數幾個人。</span><span lang="EN-US"><o:p></o:p></span></b></div>
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<b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">步驟三:初步設計理念。</span><span lang="EN-US"><o:p></o:p></span></b></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"> 「對角色大致的設計,還有年代跟角色的性格分析。這個劇本大多數的角色都是男性,對我來說是個很大的挑戰,因為我對男性的服裝較不敏感,一開始,對我來說,那個年代的服裝看起來都一樣!後來對男裝有更多了解,男裝的設計較為細緻,在很多小地方有不同或改變,就會產生出不同的味道,這點老師幫助我很大。另外設定年代在</span><span lang="EN-US">1970</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">,因為劇本在那時候寫成,但</span><span lang="EN-US">1970</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">較難去定義,不像</span><span lang="EN-US">60</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">年代有明確的嬉皮風。所以我就從伍迪艾倫的電影開始看,看那個年代的服裝、那時候的路人,還有到總圖打他的名字,把他的書都借出來,有些是原文書到現在也還沒看完。後來發覺,這齣戲主角其實就是伍迪艾倫,從他的電影裡面看到關於愛、死亡還有公權力這些議題,也幫助我更了解角色。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">步驟四:細部調整。</span><span lang="EN-US"><o:p></o:p></span></b></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"> 「服裝設計其實和心理學是相關的!有時候會碰到,幫一個角色設計好服裝,但是演員本人性格卻和角色有段距離,這時候就要調整,幫助演員貼近角色。其實服裝設計是很貼近演員的,陪伴演員直到演出,不只要去定義一個角色,還要去了解演員的性格,再透過服裝和化妝幫助演員完成角色、讓角色更立體。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<b><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">然而,計畫總是跟不上變化。</span><span lang="EN-US"><o:p></o:p></span></b></div>
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<span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">「在這段工作的時間內,也碰到不少考驗,像是第一次接到幫這麼多角色做設計,有時候完成一個角色,回頭看跟之前的卻很不搭。有時候重視細節,整體就開始歪掉,重視整體,又難以顧到細節。還有在設計上的詮釋和演員詮釋的拿捏,放太多符號在服裝上,會使演員表現方式受限,如何適當的取捨,也是個功夫。另外和舞台燈光的配合,讓我發現服裝寫實的必要性,因為當服裝和舞台色調不能太過相似,另外這齣戲也有部分屬於寫實,它呈現的是許多社會上的小人物,所以有必要部分寫實,才不會使得整齣戲小丑化。而且,非寫實舞台和寫實的服裝,恰好可以產生一種對比的荒謬感。」</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US">Q</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">:最後,在整個計畫之外,有沒有更大的計畫呢?</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US">A</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">:<b>最好的計畫,就是沒有計畫吧!</b></span><b><span lang="EN-US"><o:p></o:p></span></b></div>
國立臺北藝術大學http://www.blogger.com/profile/11381136022878587104noreply@blogger.com0