tag:blogger.com,1999:blog-91342430426498493642024-03-13T18:15:19.353+08:00華麗的戰爭梁偉詩,香港。劇評人,流行歌詞分析員,文化評論人。
告別電台,漂流教室,皈依興趣。梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.comBlogger565125tag:blogger.com,1999:blog-9134243042649849364.post-31257296294209552452024-02-17T18:34:00.002+08:002024-02-17T18:34:42.273+08:00《敢觀舞台》── 絕處的花 遍地芳菲 ——回顧「新文本」運動十周年 (2024.02.17)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4sI-Wz02d2_1QLSrYdF5-IMvXfgQEBV-eiRgHrVsJ9DrvpBTTCne-RwHUrRfJZhdgy7YLun7cONKOFGyXSXh2UU_DhkRlGnUPTatjDQa2csSl4mUo817n1IGkpLYaBQ3QQDo8ZKOxRVortxghgSlecz_XyC3cWKW3eVpswRjWGNKOjupjNzQd8UMeEHI/s1800/Golden-Dragon_8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1800" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4sI-Wz02d2_1QLSrYdF5-IMvXfgQEBV-eiRgHrVsJ9DrvpBTTCne-RwHUrRfJZhdgy7YLun7cONKOFGyXSXh2UU_DhkRlGnUPTatjDQa2csSl4mUo817n1IGkpLYaBQ3QQDo8ZKOxRVortxghgSlecz_XyC3cWKW3eVpswRjWGNKOjupjNzQd8UMeEHI/s320/Golden-Dragon_8.jpg" width="320" /></a></div><br /><p><br /></p><div style="border: 0px; color: inherit; direction: ltr; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="background-color: white;"><span style="font-size: large;">前進進戲劇工作坊廿五周年誌慶,適逢「新文本」運動十周年,從2023年底到2024年年初,「前進進」舉辦一系列回顧活動,包括名為「前進廿五 在地迴盪」的三個讀劇節及劇場紀錄片放送。其中2023年12月便有《新文本Fermata》,以選段讀劇形式再現五個「新文本」運動本地原創作品(《耳搖搖》、《漂流》、《(而你們所知道的)中國式魔幻》、《石頭與金子》、《西夏旅館》),重新審視「本土轉化」步伐;並重讀「新文本」領軍劇作家莎拉•肯恩 (Sarah Kane)《驚爆》的爆炸戲劇張力,再一次體驗「前進進」引介「新文本」的頭炮震撼彈。</span></span></span></div><div style="border: 0px; color: inherit; direction: ltr; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;"><br /></span></span></div><div class="x_elementToProof" style="border: 0px; color: inherit; direction: ltr; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;">香港劇場的「新文本」運動,一切要從千禧年說起。當時陳炳釗與從英國學成歸來的馮程程,交流歐美學習經驗,馮程程引介發端自九十年代的歐陸「新文本」(New Writing),可說是為陳炳釗戲劇世界又打開了一扇窗。所謂「新文本」自是相對莎劇經典等「舊文本」而言,「新文本」關懷社會、省思(全球化、網絡化的)人類精神面貌,從宏觀政治到個人幽微曲折的欲望與悸動,都鞭辟入裡、不輟探詢。</span></span></div><div class="x_elementToProof" style="border: 0px; color: inherit; direction: ltr; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;"><br /></span></span></div><div class="x_elementToProof" style="border: 0px; color: inherit; direction: ltr; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;"><br aria-hidden="true" /></span></span></div><div class="x_elementToProof" style="border: 0px; direction: ltr; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;"><span style="border: 0px; color: inherit; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">爾後在陳炳釗身上,「新文本」的衝擊十分清楚。陳炳釗曾謂「新文本」之前的大師如Robert Wilson、Robert Lepage,香港劇場依然習慣以專業化和類型化來看待他們。及至「新文本」,則直截了當揭示社會冷漠的制度造成人的生存狀態、移民造成種族之間的隔閡;歐洲與非洲與現在的關係,可能不純粹是過去殖民地的</span><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">影響</span><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">,不管過了多久</span><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">不同的剝削模式</span><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">依然存在,也影響城市中的種族融和。「新文本」所講的全是當下問題,明顯的啟示就是歐洲一線創作人全在思考這些,關懷當下。千禧年後,香港創作人和觀眾也逐漸開始切身明白「新文本」的路和我們之間的關係,催生了許多回應本土社會的劇場作品。</span></span></div><div class="x_elementToProof" style="border: 0px; direction: ltr; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;"><br /></span></span></div><div class="x_elementToProof" style="border: 0px; color: inherit; direction: ltr; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;"><br aria-hidden="true" /></span></span></div><div class="x_elementToProof" style="border: 0px; color: inherit; direction: ltr; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;">「前進進」自2006年起不斷譯介多位歐陸劇作家的作品並實驗演出。2010年的先頭部隊「文本的魅力」,搬演晚近三個歐陸經典劇本——夏洛瓦(David Harrower)《母雞身上的刀子》、邱琪兒(Caryl Churchill)《遠方》和李希特(Falk Richter)《神級DJ》。兩載後的「新文本戲劇節2012」,發表Sarah Kane寫於1995年、李鎮洲導演的《驚爆》;還有改編自台灣駱以軍同名小說、甄拔濤編導的《西夏旅館》;馮程程自編自導的《誰殺了大象》。「新文本戲劇節2012」,彷彿開始慢慢從搬演「新文本」,走進同時引介「新文本」和實驗「本土轉化」的階段。</span></span></div><div class="x_elementToProof" style="border: 0px; color: inherit; direction: ltr; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAsRXlqJsH-7xtFh9X-6lOWaXuLAzq9a-TR5OntLH2vz1kQlhxLKvPIdkVRGj2hFiZD6l-vjXCX-8QG7hDIgS6o8lIZJE1wjDmXSDAG-yc7WKiqqnAElz6uyfN_ZVkMl2JBp2RwlVB4q8NKpmQUwM7tbAZagqMW2gbA2GjndIpgZyxgxCKmcLdhZuQoUU/s6144/Blasted.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4088" data-original-width="6144" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAsRXlqJsH-7xtFh9X-6lOWaXuLAzq9a-TR5OntLH2vz1kQlhxLKvPIdkVRGj2hFiZD6l-vjXCX-8QG7hDIgS6o8lIZJE1wjDmXSDAG-yc7WKiqqnAElz6uyfN_ZVkMl2JBp2RwlVB4q8NKpmQUwM7tbAZagqMW2gbA2GjndIpgZyxgxCKmcLdhZuQoUU/s320/Blasted.jpg" width="320" /></a></div><br /></span></div><div class="x_elementToProof" style="border: 0px; color: inherit; direction: ltr; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;">2012年,「新文本」計劃正式獲得資助,「新文本資料庫」隨之於同年5月啟動,成為香港首個以「新文本」為主題的表演藝術研究平台。資料庫作為「新文本運動2012-2014」的其中一個重點項目,每三個月發佈一次「劇作家檔案」,引介一位當代重要的歐陸新文本劇作家。2013年,進入第二年的「新文本運動」開始將焦點從英國稍稍轉移到德國,陳炳釗發表《金龍》,延伸探索德國當代劇場發展的特質和興味。</span></span></div><div class="x_elementToProof" style="border: 0px; color: inherit; direction: ltr; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;"><br /></span></span></div><div class="x_elementToProof" style="border: 0px; color: inherit; direction: ltr; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;"><br aria-hidden="true" /></span></span></div><div class="x_elementToProof" style="border: 0px; color: inherit; direction: ltr; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;">從「新文本」劇作家的介紹、讀劇、劇本翻譯、排演,「前進進」不但在藝術路線和發展方向具有前瞻性,扮演着香港劇場引介者和推動的先鋒角色,亦不忘轉向「本土轉化」,逐漸培養出適合發揮「新文本」的年輕編導和演員。「前進進」的「新文本運動」更是一個結合創作演出、劇本翻譯、表演研究、教育推廣的戲劇藝術計劃。2012年《西夏旅館》、《誰殺了大象》,到2013年《漂流》、《耳搖搖》,再由2015年《(而你們所知道的)中國式魔幻》壓軸,這五部「新文本」運動的「本土轉化」創作,雖說是五位「新文本工作室」成員小試牛刀,然而,受啟蒙後的「土法煉鋼」各具特色。只有先行者率先實驗「本土轉化」,香港「新文本」的誕生才能引人入信、引人入勝;這成果也標誌着香港版「本土轉化」在題材多樣性和創作上的精進,立此存照。</span></span></div><div class="x_elementToProof" style="border: 0px; color: inherit; direction: ltr; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;"><br /></span></span></div><div class="x_elementToProof" style="border: 0px; color: inherit; direction: ltr; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;"><br aria-hidden="true" /></span></span></div><div class="x_elementToProof" style="border: 0px; color: inherit; direction: ltr; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;">作為「本土轉化」的橋頭堡,這番「浪漫的挑釁」,縱然不可能都是完美的,然而在情志上奠定並示範香港「新文本」種種創作的可能,它們既有着歐陸劇場「新文本」的創作形式和特質,內容方面也緊扣香港「新文本」關注的切身課題。2012至2015年第一波「本土轉化」在牛棚劇場發表同時及緊接着的一段時間,第二波「本土轉化」亦在發生或醖釀中,較諸第一波的實驗性更寬廣,遍地開花。陳炳釗則分別於2014年及2016年改編也斯作品為《後殖民食神之歌》、《後殖民食物與愛情》和2022年《鐵行里》等。</span></span></div><div class="x_elementToProof" style="border: 0px; color: inherit; direction: ltr; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;"><br /></span></span></div><div class="x_elementToProof" style="border: 0px; color: inherit; direction: ltr; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;"><br aria-hidden="true" /></span></span></div><div style="border: 0px; color: inherit; direction: ltr; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;">以後的都是歷史了。「新文本」(New Writing)在「前進進」框架和脈絡下的引介、搬演、本土轉化,再在香港表演藝術氛圍、藝術教育層面的影響和內化,自不待言。以陳炳釗為主軸來探索「新文本」之路,亦是在為香港劇場世界的發展把脈。當香港劇場都不必特別要談「新文本」(是什麼、是否適合表述自我)的時候,「新文本」原來已深入香港劇場敘事和文化的骨髓和血肉。「新文本」運動十周年,功德圓滿。</span></span></div><div style="border: 0px; color: inherit; direction: ltr; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;"><br /></span></span></div><div style="border: 0px; color: inherit; direction: ltr; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;"><br aria-hidden="true" /></span></span></div><div class="x_elementToProof" style="border: 0px; color: inherit; direction: ltr; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;">註:本文內容源自作者的《「前進進」(陳炳釗) 劇場研究》,是項研究屬香港藝術發展局「藝評寫作計劃」資助項目之一。更多詳情請見: <a data-auth="NotApplicable" data-linkindex="0" href="https://culturalslasher.wixsite.com/hkpa-aesthetic-study" id="LPlnk" rel="noopener noreferrer" style="border: 0px; font-family: inherit; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" target="_blank">https://culturalslasher.wixsite.com/hkpa-aesthetic-study</a></span></span></div><div style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 12pt; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><br aria-hidden="true" style="background-color: white;" /></div><div style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 12pt; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><br /></div><div style="border: 0px; font-family: Calibri, Helvetica, sans-serif, serif, EmojiFont; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-size: 12pt; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-variation-settings: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="background-color: white; color: #555544; font-family: tahoma; font-size: large; text-indent: 32px;"><b>原載於</b></span><span face="tahoma, "Trebuchet MS", lucida, helvetica, sans-serif" style="background-color: white; color: #555544; font-family: tahoma, "Trebuchet MS", lucida, helvetica, sans-serif; font-size: large; font-weight: 700; text-indent: 32px;">《文匯報》文化版。</span></div>梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-17520030121619743962024-01-27T00:00:00.028+08:002024-01-27T00:00:00.134+08:00《敢觀舞台》──從希臘悲劇到奇幻水世界—— 劇場幻象大師Dimitris Papaioannou與《INK》 (2024.01.27)<p style="background: white; line-height: 24.1pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 24.1pt; margin: 24.1pt 0cm 0cm; text-indent: 24.1pt;"><span face="標楷體" lang="ZH-HK" style="font-size: 14pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimb7Cooaf2WPluA3WE-QQV66OnQwOwslMw7WBFf0I22RMy_L1maZKB1aHiVxukRt8vUrnoafsgG0Iy4oOwdR4SlSC172MwHgsOSqa40XIlulkKmGHw7MLoHnzaYnm2cbUMIvZELFcn_J1jcjV0xIqfpjIsAs9Mu7npUEsg57A_0G8Vtfylsg4d_ZWaOGU/s751/1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="385" data-original-width="751" height="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimb7Cooaf2WPluA3WE-QQV66OnQwOwslMw7WBFf0I22RMy_L1maZKB1aHiVxukRt8vUrnoafsgG0Iy4oOwdR4SlSC172MwHgsOSqa40XIlulkKmGHw7MLoHnzaYnm2cbUMIvZELFcn_J1jcjV0xIqfpjIsAs9Mu7npUEsg57A_0G8Vtfylsg4d_ZWaOGU/s320/1.jpg" width="320" /></a></div><p></p><p style="background: white; line-height: 24.1pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 24.1pt; margin: 24.1pt 0cm 0cm; text-indent: 24.1pt;"><span face="標楷體" lang="ZH-HK" style="font-size: 14pt; text-indent: 24.1pt;"> </span><span style="font-size: large;"><span lang="ZH-HK" style="font-family: 標楷體; text-indent: 24.1pt;">首次觀賞希臘劇場幻象大師</span><span lang="EN-US" style="font-family: 標楷體; text-indent: 24.1pt;">Dimitris Papaioannou</span><span lang="ZH-HK" style="font-family: 標楷體; text-indent: 24.1pt;">執導的演出,是在</span><span lang="EN-US" style="font-family: 標楷體; text-indent: 24.1pt;">2018</span><span lang="ZH-HK" style="font-family: 標楷體; text-indent: 24.1pt;">年年底台北兩廳院主辦的「舞蹈秋天」。當時差不多大部分香港表演藝術創作人、評論人、行政人和舞台管理人員,都慕名來朝聖</span><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; text-indent: 24.1pt;">《偉大馴服者》。</span><span lang="ZH-HK" style="font-family: 標楷體; text-indent: 24.1pt;">出生於雅典的希臘大師</span><span lang="EN-US" style="font-family: 標楷體; text-indent: 24.1pt;">Dimitris Papaioannou</span><span lang="ZH-HK" style="font-family: 標楷體; text-indent: 24.1pt;">,早年以畫家、漫畫家身份從事舞台表演藝術創作,</span><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; text-indent: 24.1pt;">兼任</span><span lang="ZH-HK" style="font-family: 標楷體; text-indent: 24.1pt;">導演、編舞家、表演者,以及佈景服裝與燈光設計師。<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">首個藝術創作週期</span></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: 標楷體; text-indent: 24.1pt;">(1986-2002)</span><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; text-indent: 24.1pt;">以自組</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: 標楷體; text-indent: 24.1pt;">Edafos Dance Theatre</span><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; text-indent: 24.1pt;">舞團為基礎,九十年代便已創作出驚</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; text-indent: 24.1pt;">艷之作</span><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; text-indent: 24.1pt;">《美迪亞》。</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: 標楷體; text-indent: 24.1pt;">2004</span><span lang="ZH-HK" style="font-family: 標楷體; text-indent: 24.1pt;">年及</span><span lang="EN-US" style="font-family: 標楷體; text-indent: 24.1pt;">2015</span><span style="font-family: 標楷體; text-indent: 24.1pt;">年</span><span lang="ZH-HK" style="font-family: 標楷體; text-indent: 24.1pt;">,</span><span lang="EN-US" style="font-family: 標楷體; text-indent: 24.1pt;">Dimitris Papaioannou</span><span lang="ZH-HK" style="font-family: 標楷體; text-indent: 24.1pt;">先後執導</span><span lang="ZH-HK" style="font-family: 標楷體; text-indent: 24.1pt;">雅典奧運、歐洲運動會開幕禮。儼如清明上河圖,</span><span lang="EN-US" style="font-family: 標楷體; text-indent: 24.1pt;">Dimitris Papaioannou</span><span lang="ZH-HK" style="font-family: 標楷體; text-indent: 24.1pt;">羅</span><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; text-indent: 24.1pt;">列希臘諸神的群像,一幕幕希臘文化圖像從畫作中瞬間立體顯現,指向廿一世紀的夢幻競技場。</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: 標楷體; text-indent: 24.1pt;">Dimitris Papaioannou</span><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; text-indent: 24.1pt;">的舞台展演方式和兩次運動會開幕禮表演,也成了最好說明古希臘文化的人文關懷和身體之美的佐證。</span></span></p><p style="background: white; line-height: 24.1pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 24.1pt; text-indent: 24.1pt;"><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: 標楷體;"><o:p></o:p></span></p><p style="background: white; line-height: 24.1pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 24.1pt; margin: 24.1pt 0cm 0cm; text-indent: 24.1pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5HteSYIrbbriWIVp7TIHpzrWSwRX8ve37FXYafxe9UlWq_Fwuldi6ho7-ZhAzgxHN6FXa8nELvoYWS-IZRYeWA7QMBwPvLU8ML4ZWnwmcMOdDNEDMwa8-_KzRmI1KbA10ab_gkos9LdmdZlhQ3bGdWFzj_5l_NUQLFxQp_fn5LwOptxURsHpePPf1M0E/s690/2.jpg" style="font-family: 標楷體; font-size: 14pt; margin-left: 1em; margin-right: 1em; text-align: center; text-indent: 24.1pt;"><img border="0" data-original-height="545" data-original-width="690" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5HteSYIrbbriWIVp7TIHpzrWSwRX8ve37FXYafxe9UlWq_Fwuldi6ho7-ZhAzgxHN6FXa8nELvoYWS-IZRYeWA7QMBwPvLU8ML4ZWnwmcMOdDNEDMwa8-_KzRmI1KbA10ab_gkos9LdmdZlhQ3bGdWFzj_5l_NUQLFxQp_fn5LwOptxURsHpePPf1M0E/s320/2.jpg" width="320" /></a></p><p style="background: white; line-height: 24.1pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 24.1pt; text-indent: 24.1pt;"><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: 標楷體; font-size: 14pt;">Dimitris Papaioannou</span><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">的</span><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">視藝背景着重圖像思維,使得作品往往從傳統戲劇偏重情節和人物的舞台,一轉而為以構圖、物料創作的巧思和隱喻,為故事帶來嶄新場面和詮釋。如九十年代初《美迪亞》,美迪亞殺兩子的場</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">面,女主將套在左右手上瓷娃娃互撼擊碎,任由娃娃體內紅色紙條噴灑四周。新版本</span><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">《美迪亞》強調美迪亞的動靜和造型如同蜥蝪,取其涼血動物的心狠。</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">爾後《<span lang="EN-US">NOWHERE</span>》則是<span lang="EN-US">2009</span>年在希臘國家戲劇院的創作,舞台上展示出舞者如何與燈光設備、吊桿結構共演,電腦編程設計讓<span lang="EN-US">26</span>位表演者移動在機</span><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">械設備之間,重新思考當代表演藝術中人類與機器的關係,甚至,人已是機器。</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: 標楷體; font-size: 14pt;"><o:p></o:p></span></p><p style="background: white; line-height: 24.1pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 24.1pt; margin: 24.1pt 0cm 0cm; text-indent: 24.1pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyxdc7-BSnDYYEtcQTHruasdEkgv_FmJH3qKO0yuoXH7mcgMk28Hd2iK5ABAcqAFgcGoXzg9B5OcpG5xAR-KL1qyTbcs0IrpcgsIVGhU_LC-5C5or4yzqHiW8W1whEzKhrSGGiA_J6Q6jzkJE_gpzeyJj4yPvn4jnlQRjSwgTgXlPsp1g_M8ahrOJINHs/s584/3.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center; text-indent: 24.1pt;"><img border="0" data-original-height="582" data-original-width="584" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyxdc7-BSnDYYEtcQTHruasdEkgv_FmJH3qKO0yuoXH7mcgMk28Hd2iK5ABAcqAFgcGoXzg9B5OcpG5xAR-KL1qyTbcs0IrpcgsIVGhU_LC-5C5or4yzqHiW8W1whEzKhrSGGiA_J6Q6jzkJE_gpzeyJj4yPvn4jnlQRjSwgTgXlPsp1g_M8ahrOJINHs/s320/3.jpg" width="320" /></a></p><p style="background: white; line-height: 24.1pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 24.1pt; margin: 24.1pt 0cm 0cm; text-indent: 24.1pt;"><span face="標楷體" lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-size: 14pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqG-qfWkM8VGwVSTvAv4sbmCaZEp8ZBoeMq5tUTb9gwt9TlyZ-yuU2LAkGq9YQao8jwpImCxf6KmJfNx44YWN10CaLGsTZip1YuqPJIHA82-XG3aNmutJBtaPZj3TUz5P0PKaIN8MEHm9NA_Qiek-vdeY7lDnCOM8S-WvVoLh2_mX09QUzqT7o80agfYE/s1280/DimitrisPapaioannou-NOWHERE-3-1280x640.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="1280" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqG-qfWkM8VGwVSTvAv4sbmCaZEp8ZBoeMq5tUTb9gwt9TlyZ-yuU2LAkGq9YQao8jwpImCxf6KmJfNx44YWN10CaLGsTZip1YuqPJIHA82-XG3aNmutJBtaPZj3TUz5P0PKaIN8MEHm9NA_Qiek-vdeY7lDnCOM8S-WvVoLh2_mX09QUzqT7o80agfYE/s320/DimitrisPapaioannou-NOWHERE-3-1280x640.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYhUAxzjXY3o7aIlUAoGbNfBfaHOOrH8oM1EzcH89H_WNGnzShIptgC9WJP3MoOgJoqpWnKFHnTXbvlVe2-iEEqrjAZNxVqTeM9CRNxY0BrKQ80i6V9kEBbX6dFzngEed85lHc8Npz_7oL1hP1rOEhSpKjD_XhKtTH0NU6DwN64gLCiozAqXI0OrJmpA0/s2048/4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1254" data-original-width="2048" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYhUAxzjXY3o7aIlUAoGbNfBfaHOOrH8oM1EzcH89H_WNGnzShIptgC9WJP3MoOgJoqpWnKFHnTXbvlVe2-iEEqrjAZNxVqTeM9CRNxY0BrKQ80i6V9kEBbX6dFzngEed85lHc8Npz_7oL1hP1rOEhSpKjD_XhKtTH0NU6DwN64gLCiozAqXI0OrJmpA0/s320/4.jpg" width="320" /></a></div><p></p><p style="background: white; line-height: 24.1pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 24.1pt; text-indent: 24.1pt;"><span style="font-size: large;"><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: 標楷體;">Dimitris
Papaioannou</span><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">經常被描述為劇場中的形象雕刻家,不斷從視覺藝術和希臘神話汲取創作靈感。</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: 標楷體;">2017</span><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">年《偉大馴服者》</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: 標楷體;">(The Great Tamer)</span><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">,為其「以畫家之眼創作劇場」的頂峰。《偉大馴服者》一名脫胎自《荷馬史詩》,指時間終將生命馴服。在「時間無敵」前提下,夾雜希臘文化的身體美學,重新模擬不少藝術名畫名場面,一幕幕歷史與人文藝術真人呈現,如林布蘭的《杜爾博士的解剖學課》、波提且利的《春》《維納斯的誕生》、米高安哲羅等的作品,將大眾耳熟能詳的畫作畫面恣意重現。《偉大馴服者》的身體</span><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">意象,已不盡然只展示</span><span lang="ZH-HK" style="font-family: 標楷體;">「健全的精神寓於健康的身體」的希臘身體觀;進一步將人類認為美的勻稱身體,「剪」得支離破碎</span><span lang="EN-US" style="font-family: 標楷體;">—</span><span lang="ZH-HK" style="font-family: 標楷體;">乾脆把女子上肢「鑲嵌」在兩條粗壯的男子大腿上,直接衝擊觀眾慣有的視覺美感。</span><span lang="EN-US" style="font-family: 標楷體;">(</span><span lang="ZH-HK" style="font-family: 標楷體;">其中多次重複的橋段如開場「白布蓋住赤裸身體不斷被吹走」的徒勞,更是向</span><span lang="EN-US" style="font-family: 標楷體;">Pina</span><span lang="ZH-HK" style="font-family: 標楷體;">致敬的小心思。</span><span lang="EN-US" style="font-family: 標楷體;">) </span><span lang="ZH-HK" style="font-family: 標楷體;">此外,發表於</span><span lang="EN-US" style="font-family: 標楷體;">2021</span><span style="font-family: 標楷體;">的</span><span lang="ZH-HK" style="font-family: 標楷體;">《</span><span lang="EN-US" style="font-family: 標楷體;">Transverse Orientation</span><span lang="ZH-HK" style="font-family: 標楷體;">》,</span><span lang="EN-US" style="font-family: 標楷體;">Dimitris
Papaioannou</span><span lang="ZH-HK" style="font-family: 標楷體;">延續舞台慣技和風格,帶來古希臘神話的牛頭人身怪物</span><span lang="EN-US" style="font-family: 標楷體;">Minotaur</span><span lang="ZH-HK" style="font-family: 標楷體;">,以強烈神話色彩的圖像,糅合奇幻肢體語言,塑造舞台奇觀。</span></span><span lang="EN-US" style="font-family: 標楷體; mso-fareast-language: ZH-HK;"><o:p></o:p></span></p><p style="background: white; line-height: 24.1pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 24.1pt; margin: 24.1pt 0cm 0cm; text-indent: 24.1pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3a7x2NZy1CBUUYbN3bjFM-O1lCwV_-Xg_O0Y7nClNneg_q5sTk-NwaON2HapML2NyqubL_ioMlGy1ixIUqYwT2kMIfEMyOfBK5Qp1-vu-9z0kHnKKYdKcUGFERUsDqwZ1TYRodoixTq5dpJppWnxathpc_UjfplJDryA4k7Y7hDM6PrSvA5qxP71tGnY/s701/Dimitris-Papaioannou-Transverse-Orientation-211021-1.jpg" style="font-family: 標楷體; font-size: 14pt; margin-left: 1em; margin-right: 1em; text-align: center; text-indent: 24.1pt;"><img border="0" data-original-height="467" data-original-width="701" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3a7x2NZy1CBUUYbN3bjFM-O1lCwV_-Xg_O0Y7nClNneg_q5sTk-NwaON2HapML2NyqubL_ioMlGy1ixIUqYwT2kMIfEMyOfBK5Qp1-vu-9z0kHnKKYdKcUGFERUsDqwZ1TYRodoixTq5dpJppWnxathpc_UjfplJDryA4k7Y7hDM6PrSvA5qxP71tGnY/s320/Dimitris-Papaioannou-Transverse-Orientation-211021-1.jpg" width="320" /></a></p><p style="background: white; line-height: 24.1pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 24.1pt; text-indent: 24.1pt;"><span style="font-size: large;"><span lang="ZH-HK" style="font-family: 標楷體;">「希臘</span><span lang="EN-US" style="font-family: 標楷體;">—</span><span lang="ZH-HK" style="font-family: 標楷體;">視藝</span><span lang="EN-US" style="font-family: 標楷體;">—</span><span lang="ZH-HK" style="font-family: 標楷體;">身體」固然是</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: 標楷體;">Dimitris
Papaioannou</span><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">的創作關鍵詞,及至創作於疫情期間的</span><span lang="ZH-HK" style="font-family: 標楷體;">《</span><span lang="EN-US" style="font-family: 標楷體;">INK</span><span lang="ZH-HK" style="font-family: 標楷體;">》,似乎嘗試把希臘元素拋開,專注研發小品。兩名男子,一說是主人公與他的鏡像,在「玩水」狀態中互相纏鬥、互相黏連、互相霸佔、互相征服。舞台上的</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: 標楷體;">Dimitris Papaioannou</span><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">一身黑衣,他的</span><span lang="ZH-HK" style="font-family: 標楷體;">「<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">另一半</span>」卻<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">是赤裸白人年輕軀幹形象。他們既是黑暗與光明,也是現在與未來。在「玩水」這件事上,</span>《</span><span lang="EN-US" style="font-family: 標楷體;">INK</span><span lang="ZH-HK" style="font-family: 標楷體;">》<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">借助水和海洋生物等特</span></span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">質,大玩情色隱喻。八爪魚不只噴水、跳脫</span><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">不可控,更多次「攀上」男體重要部位,充滿黑色幽默。</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: 標楷體;">Dimitris Papaioannou</span><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">坦言他的創作焦點是把人體當作一種工具、一種顏料、一種情欲能量,就像希臘雕塑。情欲更是感官與靈魂的交織,人體恰恰便是情欲最直白的表達。</span></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: 標楷體;"><o:p></o:p></span></p><p style="background: white; line-height: 24.1pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 24.1pt; margin: 24.1pt 0cm 0cm; text-indent: 24.1pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8klZF_MRuAi8X0bIigR6mU5YumSr3y3PDBBgrNzQhqcJO3wmz5HGunMnfH9q9psET2IEAJQUdZbRZ7oZbR60EbkTEErEfzb6M8O1Q5g4Y2SRB5IXcIYSJkAxMeFaIL6W_zRRgrAI7PTIUZKehqxSTa6IlmHzlPx-9-adrH2MxuctaIeszQENKGlduxlI/s1840/5.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1228" data-original-width="1840" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8klZF_MRuAi8X0bIigR6mU5YumSr3y3PDBBgrNzQhqcJO3wmz5HGunMnfH9q9psET2IEAJQUdZbRZ7oZbR60EbkTEErEfzb6M8O1Q5g4Y2SRB5IXcIYSJkAxMeFaIL6W_zRRgrAI7PTIUZKehqxSTa6IlmHzlPx-9-adrH2MxuctaIeszQENKGlduxlI/s320/5.jpeg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ6IhQkuJxfF4QAh4QRvpJLw54OuyEdGQlcVq6uZs5Xovoc5nEqvXn-2ItPoVjzwEVYWTv2HovPpyjqNuVNHflqqTLOF_DVHih-AwqmMensgwd2YFuuFSWQKt2Pwa5uIKLTdCHt6IAkEzhq1YozR4sWE2GhCJemkV-ZIqpLVoJXJtCoM4PMNqgoVxbBq8/s948/334010712_589724619417424_1512305266374373976_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="633" data-original-width="948" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ6IhQkuJxfF4QAh4QRvpJLw54OuyEdGQlcVq6uZs5Xovoc5nEqvXn-2ItPoVjzwEVYWTv2HovPpyjqNuVNHflqqTLOF_DVHih-AwqmMensgwd2YFuuFSWQKt2Pwa5uIKLTdCHt6IAkEzhq1YozR4sWE2GhCJemkV-ZIqpLVoJXJtCoM4PMNqgoVxbBq8/s320/334010712_589724619417424_1512305266374373976_n.jpg" width="320" /></a></div><p></p><p style="background: white; line-height: 24.1pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 24.1pt; text-indent: 24.1pt;"><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">與目不暇給、台上豐富多變的《偉大馴服者》相比,《</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: 標楷體; font-size: 14pt;">INK</span><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">》刻意簡約和粗糙。在垃圾袋般黑色尼龍布組成景深的「牆」之下,每每以半透明塑膠板「阻擋」觀眾對他的</span><span lang="ZH-HK" style="font-family: 標楷體; font-size: 14pt;">「<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">另一半</span>」<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">的凝視,再讓流水湧向兩人身體,濕透的二人一舉一動都掀動水花,視覺上如同置身水世界。《</span></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: 標楷體; font-size: 14pt;">INK</span><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">》談脆弱、談快感、談靈魂、談自我與自我的鬥爭,沒有打正旗號以希臘悲劇和悲臘神話為題材的《</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: 標楷體; font-size: 14pt;">INK</span><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">》,底蘊無疑相對個人化,放射出來的能量也傾向過癮好玩</span><span lang="ZH-HK" style="font-family: 標楷體; font-size: 14pt;">,多於創作經典<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">。想當然的是,當</span></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: 標楷體; font-size: 14pt;">Dimitris Papaioannou</span><span lang="ZH-HK" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">自娛自嘲到了極致,我們看到的不再是人體或水世界,而是冥冥中與孤獨的</span><span lang="ZH-HK" style="font-family: 標楷體; font-size: 14pt;">「<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">我</span>」再相逢。</span><span lang="EN-US" style="font-size: 14.0pt; mso-fareast-language: ZH-HK;"><o:p></o:p></span></p><p><br /></p><p><br /></p><p><br /></p><p><span style="background-color: white; color: #555544; font-family: tahoma; font-size: large; text-indent: 32px;"><b>原載於</b></span><span face="tahoma, "Trebuchet MS", lucida, helvetica, sans-serif" style="background-color: white; color: #555544; font-size: large; font-weight: 700; text-indent: 32px;">《文匯報》文化版。</span></p>梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-18663632686090732192023-02-18T21:09:00.000+08:002023-02-18T21:09:23.319+08:00《敢觀舞台》──劇場電影連環炮──ITA到底發生過什麼事 (2023.02.18) <p> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibA4IwAQ8Nu6x82Ts1ehfP39b87HB7NqDehOxM3ObIV-l6MusRcVgXWF-sfXpI5y5h45arv91pWI2vB5mZqiU_dlkbMRhUH8seVE_7R5oL0Rfq6ek1Ewjm1QrCA4FUr3HRV-IxHu8arhgmaHoRwSZ7MPILARs3UM5xfS7I0u-iQO_m4nXtLlm1qBe0/s500/rt1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="281" data-original-width="500" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibA4IwAQ8Nu6x82Ts1ehfP39b87HB7NqDehOxM3ObIV-l6MusRcVgXWF-sfXpI5y5h45arv91pWI2vB5mZqiU_dlkbMRhUH8seVE_7R5oL0Rfq6ek1Ewjm1QrCA4FUr3HRV-IxHu8arhgmaHoRwSZ7MPILARs3UM5xfS7I0u-iQO_m4nXtLlm1qBe0/s320/rt1.jpg" width="320" /></a><br /><br /><span style="background-color: white; font-family: 標楷體; font-size: x-large; text-indent: 24pt;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp8kDlDaHxy4nHHGtKDmc4oUqvWqKsl_6X0T2JYGQ-5-a3zNY_0MgNl0UNpmqX95RfXxmYsjQ0AOIcnUdNpLDudeRdvHwMs8B1KVZD-hiSLSpN4E9FAazVyM_4eAQmrvQVBWCLJFkUmE5Q2yFHM7LV6j4eHEOrl7WtCQqfXVRwN8exJjDhucixWl1v/s500/rt2.jpg" imageanchor="1" style="background-color: white; font-family: 標楷體; font-size: x-large; margin-left: 1em; margin-right: 1em; text-align: center; text-indent: 24pt;"><img border="0" data-original-height="333" data-original-width="500" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp8kDlDaHxy4nHHGtKDmc4oUqvWqKsl_6X0T2JYGQ-5-a3zNY_0MgNl0UNpmqX95RfXxmYsjQ0AOIcnUdNpLDudeRdvHwMs8B1KVZD-hiSLSpN4E9FAazVyM_4eAQmrvQVBWCLJFkUmE5Q2yFHM7LV6j4eHEOrl7WtCQqfXVRwN8exJjDhucixWl1v/s320/rt2.jpg" width="320" /></a></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-indent: 24.0pt;"><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: 標楷體;"></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-indent: 24.0pt;"><span style="font-size: large;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">本屆香港藝術節<span lang="EN-US">2023</span>,相當有膽識地,將於二月底連續四天放映一系列荷蘭阿姆斯特丹國際劇團的劇場電影(<span lang="EN-US">ITALIVE</span>),包括享負盛名的《羅馬悲劇》(</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: "Cambria Math", serif;">𝘙𝘰𝘮𝘢𝘯</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: 標楷體;"> </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: "Cambria Math", serif;">𝘛𝘳𝘢𝘨𝘦𝘥𝘪𝘦𝘴</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">)、《封塵舊事》(</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: "Cambria Math", serif;">𝘛𝘩𝘦</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: 標楷體;"> </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: "Cambria Math", serif;">𝘵𝘩𝘪𝘯𝘨𝘴</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: 標楷體;"> </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: "Cambria Math", serif;">𝘵𝘩𝘢𝘵</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: 標楷體;"> </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: "Cambria Math", serif;">𝘱𝘢𝘴𝘴</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">),還有加入全新創作力量的《伊迪帕斯》<span lang="EN-US">(</span></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: "Cambria Math", serif;">𝘖𝘦𝘥𝘪𝘱𝘶𝘴</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: 標楷體;">) </span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">和《易卜生之屋》(</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: "Cambria Math", serif;">𝘐𝘣𝘴𝘦𝘯</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: 標楷體;"> </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: "Cambria Math", serif;">𝘏𝘰𝘶𝘴𝘦</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">)。所謂「膽識」,並非對劇場粉絲而言,香港相信已有不少<span lang="EN-US">Ivo van Hove</span>或<span lang="EN-US">ITA</span>的集郵追星族;而是從片長<span lang="EN-US">(</span>兩小時到五個多小時不等<span lang="EN-US">) </span>到內容深廣度,這四部<span lang="EN-US">ITALIVE</span>與英國<span lang="EN-US">National Theatre Live</span>(<span lang="EN-US">NTLIVE</span>)異曲同工,都是歐陸劇場跨向世界的劇場電影形式,如何短時間內觀賞與消化,大概是<span lang="EN-US">ITA</span>鐵粉在這密集朝聖之旅中的幸福的煩惱吧。</span></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: 標楷體; font-size: 14pt;"><o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-indent: 24.0pt;"><span style="font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNf7Pladflf0xhwX_5FMLDlvV2D7BXYCHsVdxmTQaOytERU0bEOriRLVrV6CCXsp5mpurYGjgtei577MuZnGS_e60igDLhMG3iCvuxe9ColKtv1aSA58RvM1qZvjtmQZ-sptzTa07L6u5UPsfxW3Sh--63WQUAGigk6a57r_WjZvVdX_RKgW4-VQdC/s500/rt4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="281" data-original-width="500" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNf7Pladflf0xhwX_5FMLDlvV2D7BXYCHsVdxmTQaOytERU0bEOriRLVrV6CCXsp5mpurYGjgtei577MuZnGS_e60igDLhMG3iCvuxe9ColKtv1aSA58RvM1qZvjtmQZ-sptzTa07L6u5UPsfxW3Sh--63WQUAGigk6a57r_WjZvVdX_RKgW4-VQdC/s320/rt4.jpg" width="320" /></a></span></div><p></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-indent: 24.0pt;"><span style="font-size: large;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">過去追蹤<span lang="EN-US">Ivo van Hove</span>或<span lang="EN-US">ITA</span>的作品,談得最多的自然是「封箱之作」《羅馬悲劇》。<span lang="EN-US">2006</span>發表以來《羅馬悲劇》盛名不衰,被譽為當代劇場巔峰之作。《羅馬悲劇》談媒體與政治,<span lang="EN-US">Ivo van Hove</span>心靈手巧改編經典的科利奧蘭納斯、凱撒大帝、安東尼和埃及妖后為現代政客,在新聞發佈中心般的場景中,活現政治人物種種利益關係網、揭示王者安身立命的要領。脫胎自三部莎士比亞歷史劇的《羅馬悲劇》,不但將歷史人物的命運際遇「現代情境化」地分解再裝嵌,同時把舞台空間的可能性放大到極致,任由現場觀眾穿梭整個新聞工作室,近距離參與目擊所有大人物與宿命相遇和搏鬥。</span></span><span style="font-family: 標楷體; font-size: x-large; text-indent: 24pt;"> </span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-indent: 24.0pt;"><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: 標楷體;"><span style="font-size: large;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPJLdBz3owglPtWJXuWENn3U9IWPlUT7dVguzmCp9z8oHYHkPIu9vCe9usdgo7rcREgrSUrfDt4eACeK67hMax8Wy2gGeiLIpxIJovDVWTR_F7Ce8tn3XmVAivxuz8ehwF5O-1JL2F2RYSk71vwIdmjgprDOz02DXxStT7PFUoxkRzw_gtlAce_Fg5/s1080/o1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPJLdBz3owglPtWJXuWENn3U9IWPlUT7dVguzmCp9z8oHYHkPIu9vCe9usdgo7rcREgrSUrfDt4eACeK67hMax8Wy2gGeiLIpxIJovDVWTR_F7Ce8tn3XmVAivxuz8ehwF5O-1JL2F2RYSk71vwIdmjgprDOz02DXxStT7PFUoxkRzw_gtlAce_Fg5/s320/o1.jpg" width="320" /></a></span></div><span style="font-size: large;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoDCsNpMFQNo0UAKC8FDTA09MxEeVLl8OANN64k7xzCSnlquEqoVtJHyd9JvM_yoROHrdY5k637JmMTkPUTnSWbrZyEVT_hHMmJ1I3eThYBJsEZUqnkQEynO8ZNnHkfND9z80KUXzpzX3GlacXD3oSYZ_lnyRbKBPmYxHDWdmE_wBs57EWsFSJ5t0E/s1080/o2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoDCsNpMFQNo0UAKC8FDTA09MxEeVLl8OANN64k7xzCSnlquEqoVtJHyd9JvM_yoROHrdY5k637JmMTkPUTnSWbrZyEVT_hHMmJ1I3eThYBJsEZUqnkQEynO8ZNnHkfND9z80KUXzpzX3GlacXD3oSYZ_lnyRbKBPmYxHDWdmE_wBs57EWsFSJ5t0E/s320/o2.jpg" width="320" /></a></div><p></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-indent: 24.0pt;"><span style="font-size: large;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">同樣將經典人物「現代政治化」的有《伊迪帕斯》。<span lang="EN-US">2019</span>年英倫新晉導演<span lang="EN-US">Robert Icke</span>擔任<span lang="EN-US">ITA</span>駐團訪問藝術家,期間編和導了廿一世紀《伊迪帕斯》。《伊迪帕斯》大有<span lang="EN-US">ITA</span>簽名式,時裝版<span lang="EN-US">Oedipus</span>從政,是選舉候選人,舞台上的選舉辦公室與倒計時時鐘,預示着<span lang="EN-US">Oedipus</span>命運與投票走勢的相反走向。春風得意之際一切歸零、高峰墜落。植根於古希臘悲劇<span lang="EN-US">Oedipus</span>的《伊狄帕斯》,甚至讓女兒<span lang="EN-US">Antigone</span>充當助選團隊的攝影師,相親相愛的小家庭羨煞旁人。然而,選舉中老早答應重啟的一宗死亡調查,原來直接牽扯出伊狄帕斯殺父娶母身世之謎,政界明星霎時間焦頭爛額。同是探討罪與罰的題旨,《伊狄帕斯》更多的指向媒體與民意的關係,傳統伊狄帕斯悲劇自是命運的播弄,現代政治人物的「悲劇」、「命運」卻涉及更複雜操作。形象行銷、民意走向、政敵攻訐、道德審判、網絡輿情,乃至無形大手的政治操弄,無一不是足以燎原的星星之火。為山九仭,任何一件微小拼圖出錯,都會為「命運」帶來災難性結果。因此,《羅馬悲劇》與《伊迪帕斯》在「一景到底」的舞台設計原則中,分別選擇媒體新聞中心及選舉辦公室,作為表演的核心場景。全因為現代政治中,媒體論述是面子,媒體如何操作新聞是裡子;同理,競選活動是面子,競選策略、如何打好公關牌也是裡子。兩劇都把現代政治的「後台」直面觀眾,為新時代網絡世界,重新打開思考群己關係的空間。</span></span><span style="font-family: 標楷體; font-size: x-large; text-indent: 24pt;"> </span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-indent: 24.0pt;"><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: 標楷體;"><span style="font-size: large;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-pGGwCWuufS07g25_Fw3FEJAARFg3iNux8mnBv_v7H6CXe8f0MSKb4dUB0ih822EmhZop45257iK3epDODDp3rbw_8CYxA7x31p8EBa3bV1aEjpeHBtsY1buHUgYdda7urIiRznka7BC2RH71kubj_6TKLuVIPVNtEUVq6OdS6nl0Bm18mt8ESEPe/s1080/p1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-pGGwCWuufS07g25_Fw3FEJAARFg3iNux8mnBv_v7H6CXe8f0MSKb4dUB0ih822EmhZop45257iK3epDODDp3rbw_8CYxA7x31p8EBa3bV1aEjpeHBtsY1buHUgYdda7urIiRznka7BC2RH71kubj_6TKLuVIPVNtEUVq6OdS6nl0Bm18mt8ESEPe/s320/p1.jpg" width="320" /></a></span></div><span style="font-size: large;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgORr4KcA7Ao2rP-gIBcCrxRo9xZI0evRuTNPIeIy0JbQKiyzqHZgmrkbeDNvAGFtn1rEWuwG8UVOgCmHBFlqztPYfxPXAGB-VEn9XJDt2_lSIhrZWRmzudkvNE0hB9nl0KgY49MaTd05CDlTVVDCccrjAFkCrtKllXJ0C0q-XeC1nErxHdSXVS3uOU/s1080/p2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgORr4KcA7Ao2rP-gIBcCrxRo9xZI0evRuTNPIeIy0JbQKiyzqHZgmrkbeDNvAGFtn1rEWuwG8UVOgCmHBFlqztPYfxPXAGB-VEn9XJDt2_lSIhrZWRmzudkvNE0hB9nl0KgY49MaTd05CDlTVVDCccrjAFkCrtKllXJ0C0q-XeC1nErxHdSXVS3uOU/s320/p2.jpg" width="320" /></a></div><p></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-indent: 24.0pt;"><span style="font-size: large;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">另外兩齣<span lang="EN-US">ITALIVE</span>,《封塵舊事》、《易卜生之屋》則聚焦於家庭的淺深恩怨,暴露出原生家庭對每個人的深遠影響。《封塵舊事》改編自荷蘭文學著名心理小說,由開場的第三代小夫妻結合,無意牽扯一樁祖母時代發生的謀殺案。秘而不宣的家族傷口,負罪的人生直接催生兩個貌合神離的家庭。《封塵舊事》由<span lang="EN-US">Ivo van Hove</span>親自操刀,場景訂定在儼如排練室的玻璃鏡房,說話的劇中人都坐在面對觀眾的椅子上,像極台上演講或審訊中作供者。家族三代對家庭及往事都有不同的理解,說到激動處每每不禁在玻璃上留下痕跡,又隨即抹去。家族中人千絲萬縷互相拖欠又無可奈何,剝落的家族天花墜入塵埃,全劇就在一片大濃霧中作結。</span></span><span style="font-family: 標楷體; font-size: x-large; text-indent: 24pt;"> </span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-indent: 24.0pt;"><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: 標楷體;"><span style="font-size: large;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin5BmY_oaooCkr37xeuBCKR4WvNlMH1zEcaZNeEjcmP5LjHWYZxxiNlxonQDMi3ZMkwACf3ZZz_0pox1eWEDAKpYyzy3j2WSE2MyTlYZXGyVvcleMeNcQyvnTdGDDwkYZOpsHkF8uFx4hDr1FVUI4Kr8Ot8jeZny-v7pxDPJYVYTiu6kyxGTCqo_yI/s1080/ih1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin5BmY_oaooCkr37xeuBCKR4WvNlMH1zEcaZNeEjcmP5LjHWYZxxiNlxonQDMi3ZMkwACf3ZZz_0pox1eWEDAKpYyzy3j2WSE2MyTlYZXGyVvcleMeNcQyvnTdGDDwkYZOpsHkF8uFx4hDr1FVUI4Kr8Ot8jeZny-v7pxDPJYVYTiu6kyxGTCqo_yI/s320/ih1.jpg" width="320" /></a></span></div><p></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-indent: 24.0pt;"><span style="font-size: large;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">四部<span lang="EN-US">ITALIVE</span>中,《易卜生之屋》可謂是近年表演藝術界的話題之作。<span lang="EN-US">2019</span>年澳洲劇場及電影導演<span lang="EN-US">Simon Stone</span>,與<span lang="EN-US">ITA</span>合作發表技驚四座的《易卜生之屋》。《易卜生之屋》是<span lang="EN-US">Simon Stone</span>繼<span lang="EN-US">2018</span>年《史特林堡酒店》<span lang="EN-US">(Hotel Strindberg) </span>後,再次將戲劇的表演核心圓融在舞台設計上(按<span lang="EN-US">: </span>《史特林堡酒店》直接將整座酒店搬上舞台,觀眾從不同樓層落地玻璃望入各房間,逐一透視現代人故事),於《易卜生之屋》使用<span lang="EN-US">360</span>度旋轉舞台,讓一座玻璃度假屋,剝洋葱式浮現同一屋簷下一家三代極力遮掩的壓抑與創傷。<span lang="EN-US">Simon Stone</span>身兼編與導,《易卜生之屋》將挪威現代戲劇之父易卜生(<span lang="EN-US">Henrik Ibsen</span>,<span lang="EN-US">1828-1906</span>)好幾部重要作品,如《玩偶之家》(</span><i><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: "Cambria Math", serif;">A Doll's House </span></i><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">)、《群鬼》(</span><i><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: "Cambria Math", serif;">Ghosts</span></i><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">)、《海達.珈珼珞》(</span><i><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: "Cambria Math", serif;">Hedda Gabler</span></i><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">)的人物和主題因子共冶一爐,堆疊出家庭三代人物如何互相傷害,終致不可收拾的故事。當中控制狂男主人、無力擺脫命運的痛苦女主角、家庭(冷)暴力、金錢糾葛、亂倫絕症遺傳病、欲蓋彌彰的種種罪行,與外在世界的瞬息萬變緊扣緊纏,如英國脫歐、歐洲難民問題、某些國家資金不尋常湧入歐洲等,都是《易卜生之屋》映照出的時代倒影。</span></span><span style="font-family: 標楷體; font-size: x-large; text-indent: 24pt;"> </span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-indent: 24.0pt;"><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: 標楷體;"><span style="font-size: large;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXrR9mKyfU4c6kDXRfK5PFunl9FBs2TxO7GrTD0GLeqBLr7G-a9IAlv4SLbeD0fBz-K6ei5iwvZO4iq-EktoujGeJLr3LFop4REtEYWSimyvWED3ZZzno15CZUpxahxPU-yMM0YZLfDacZwl68w7CMu30Z2q1xx5Y9O6WhBI5Q_JVxHLFDTVh4beBA/s1080/ih2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXrR9mKyfU4c6kDXRfK5PFunl9FBs2TxO7GrTD0GLeqBLr7G-a9IAlv4SLbeD0fBz-K6ei5iwvZO4iq-EktoujGeJLr3LFop4REtEYWSimyvWED3ZZzno15CZUpxahxPU-yMM0YZLfDacZwl68w7CMu30Z2q1xx5Y9O6WhBI5Q_JVxHLFDTVh4beBA/s320/ih2.png" width="320" /></a></span></div><p></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-indent: 24.0pt;"><span style="font-size: large;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">《易卜生之屋》的 <span lang="EN-US">360</span>度旋轉舞台,既貫穿「一景到底」又變化多端的戲劇表演狀態,也使得觀眾產生偷窺心理,與《史特林堡酒店》的奇觀效果同出一轍。旋轉舞台在歐洲自是家常便飯,柏林列寧廣場劇院<span lang="EN-US"> (Schaub</span>ü<span lang="EN-US">hne Berlin) </span>的<span lang="EN-US">Thomas Ostermeier</span>《玩偶之家》,堪為劇場旋轉舞台的驚艷之作。旋轉舞台中冰冷透視的中產家居、高懸的偌大鏡子,如同被監視的實驗室,娜拉就是白老鼠。《易卜生之屋》玩更大野心更大,舞台上與真實房子呈一比一大小的度假屋,因應敘事中每段時間軸轉變旋轉一次,由開場的<span lang="EN-US">1974</span>、<span lang="EN-US">2004</span>、<span lang="EN-US">1969</span>、<span lang="EN-US">2000</span>、<span lang="EN-US">1964</span>、<span lang="EN-US">2014</span>、<span lang="EN-US">2015</span>、<span lang="EN-US">1964</span>直至後來的<span lang="EN-US">2017</span>,藉此捲入不同的人和事,打亂傳統說故事的程式。小屋從<span lang="EN-US">1964</span>年初建成,到<span lang="EN-US">2016</span>年付諸一炬,<span lang="EN-US">Simon Stone</span>以超現實的表現手法,加上非線性的時間邏輯,旋轉的三維空間造就電影閃回(<span lang="EN-US">flashback</span>)般的明快節奏,在穩定的空間中,不同年份的跳接情節輕鬆轉換。比照之下,《封塵舊事》相對靜態,涕淚縱橫後黑雪羽毛般落下大地一片黑。原來世人與劇中人並無二致,無論願意與否,都是大霧天走在荊棘叢中,帶着新傷舊恨夷然活下去。</span></span><span style="font-family: 標楷體; font-size: x-large; text-indent: 24pt;"> </span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-indent: 24.0pt;"><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: 標楷體;"><span style="font-size: large;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQwHD3nhxBXNFAynA_r23kYFVC52HsP_YWerJBRxCa1YOJnBsAvzkYEVk097oqMaQlw6eSwvTcrocpWTH0V78Ci09Kr2zXyRAfO4oOn2rhGM_XBellu4Z0YsNb88SYo1x96GosbTs_bxr9lbI69gi6umyghhA43i6Bw4axLxCpqIdVItM9gFbJHXrn/s1080/rt5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQwHD3nhxBXNFAynA_r23kYFVC52HsP_YWerJBRxCa1YOJnBsAvzkYEVk097oqMaQlw6eSwvTcrocpWTH0V78Ci09Kr2zXyRAfO4oOn2rhGM_XBellu4Z0YsNb88SYo1x96GosbTs_bxr9lbI69gi6umyghhA43i6Bw4axLxCpqIdVItM9gFbJHXrn/s320/rt5.jpg" width="320" /></a></span></div><p></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-indent: 24.0pt;"><span style="font-size: large;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">想當然的是,荷蘭阿姆斯特丹國際劇團(<span lang="EN-US">ITA</span>)作為歐陸劇場的領頭羊,是個非常有效和具影響力的藝術平台,在固有的藝術網絡下匯聚各路新知舊雨,<span lang="EN-US">Simon Stone, Robert Icke</span>就是特別出彩的兩號人物。而<span lang="EN-US">ITALIVE</span>的開發和推出市場,正好更全面地將<span lang="EN-US">ITA</span>的表演藝術<span lang="EN-US">/</span>文化領導力推向世界。雖說<span lang="EN-US">ITA </span>有系統推出<span lang="EN-US">ITALIVE</span>之前,<span lang="EN-US">Ivo
van Hove</span>為數不少的作品已由英國方面製作<span lang="EN-US">NTLIVE</span>放映,如《橋下禁色》(</span><i><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: "Cambria Math", serif;">A View from the Bridge</span></i><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">)、《沉淪》(</span><i><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: "Cambria Math", serif;">Obsession</span></i><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">)與《彗星美人》(</span><i><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: "Cambria Math", serif;">All About Eve</span></i><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">)等,但都只限於與英國劇團、劇院及藝術家的合作的劇目。如今<span lang="EN-US">ITALIVE</span>陸續面世,<span lang="EN-US">ITA</span>將更自主更有計劃地展示獨特的藝術成果和表演風格。<span lang="EN-US">ITALIVE</span>的字幕配置固然克服荷語劇場現場觀演的局限,<span lang="EN-US">ITA</span>作品的形式與內容,長遠亦是藝術教育的示範單位,突破傳統戲劇觀眾一貫對文本、改編和表演藝術的審美經驗,長出想像的翅膀。</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: 標楷體;"><o:p></o:p></span></span></p><p><span style="color: #555544; font-family: tahoma; font-size: large; text-indent: 32px;"><b><br /></b></span></p><p><span style="color: #555544; font-family: tahoma; font-size: large; text-indent: 32px;"><b><br /></b></span></p><p><span style="color: #555544; font-family: tahoma; font-size: large; text-indent: 32px;"><b>原載於</b></span><span face="tahoma, "Trebuchet MS", lucida, helvetica, sans-serif" style="color: #555544; font-family: tahoma, "Trebuchet MS", lucida, helvetica, sans-serif; font-size: large; font-weight: 700; text-indent: 32px;">《文匯報》文化版。</span></p>梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-14121790037139593562022-12-29T00:26:00.001+08:002022-12-29T00:26:45.945+08:00《敢觀舞台》──新瓶舊酒還是舊瓶新酒——Akram Khan《叢林奇譚》 (2022.12.27)<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZpLFagAjhS5_YMeiVFOj9p9dRm6IRRJkzKphxhfUYwDDAyG3b3lyrZiaTMDeRQWySAawFuVDDX6XW0gx1Lzi57AttvE9YItoDXektXJuNn7_GAcEOM4FdvJyXkgMJukoQM1e55vVJKMQjP9BDG_l7idJyLGvPZZFMK5wrlEo-25ShM3y_Yr2S7Hv6/s850/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="566" data-original-width="850" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZpLFagAjhS5_YMeiVFOj9p9dRm6IRRJkzKphxhfUYwDDAyG3b3lyrZiaTMDeRQWySAawFuVDDX6XW0gx1Lzi57AttvE9YItoDXektXJuNn7_GAcEOM4FdvJyXkgMJukoQM1e55vVJKMQjP9BDG_l7idJyLGvPZZFMK5wrlEo-25ShM3y_Yr2S7Hv6/s320/1.jpg" width="320" /></a></div><p></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-size: large;"><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: 標楷體;">Akram Khan Company</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">算是香港的表演藝術老朋友了。近十年的《輪》、《思想伊戈:百年春之祭》、《吉賽爾》和《異鄉人》,每每都是<span lang="EN-US">Akram Khan</span>舞蹈劇場的粉絲朝聖大會。本屆新視野藝術節的閉幕大戲,就是<span lang="EN-US">Akram
Khan</span>新作《叢林奇譚》(<span lang="EN-US">Akram Khan’s Jungle Book</span>)。《叢林奇譚》有個遙遠的血親,原是創作於<span lang="EN-US">1894</span>年的英國兒童文學《叢林奇譚》(<span lang="EN-US">The Jungle Book</span>,又稱《叢林之書》、《叢林故事》等)。<span lang="EN-US">The Jungle Book</span>由印裔英國作家<span lang="EN-US">Rudyard Kipling</span>虛構出饒有趣味的森林世界,先是寫出小故事《小泰山》,並於<span lang="EN-US">1893</span>、<span lang="EN-US">1894</span>年的雜誌上刊出,隨後出版為《<span lang="EN-US"><a href="https://zh.m.wikipedia.org/w/index.php?title=%E5%8F%A2%E6%9E%97%E5%A5%87%E8%AD%9A%E4%BA%8C%E9%83%A8%E6%9B%B2&action=edit&redlink=1" title="叢林奇譚二部曲(頁面不存在)"><span lang="EN-US" style="color: black; text-decoration-line: none;"><span lang="EN-US">叢林奇譚二部曲</span></span></a></span>》。當中最擅於運用擬人的動物,盛載滿滿的人類道德訓誡。</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: 標楷體;"><o:p></o:p></span></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體;"><span style="font-size: large;"> </span></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-size: large;"><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: 標楷體;">Akram Khan</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">舞蹈劇場《叢林奇譚》更進一步,將老牌童書<span lang="EN-US">The Jungle Book</span>的故事,導入廿一世紀人類的挑戰,直接觸碰大自然的反噬。氣候小難民莫格利在海平面上升、人類為生存慌忙尋覓高地之際,與家人失散。時代遍地磚瓦,動物聚在一起組成聯盟,佔據城市中的圖書館、超級市場、政府大樓、敬拜場所。莫格利就是狼群發現的孩子,並被留下撫養,見證野性與人性的大爆發。<span lang="EN-US">Akram Khan</span>在《叢林奇譚》的編舞調動大量<span lang="EN-US">art tech</span>舞台效果,如洪水氾濫時的滅頂之災,皆以觀眾與舞台之間的半透明投影紗幕,投射虛擬影像
<span lang="EN-US">(</span>呈現海水四處傾瀉流竄的總線條<span lang="EN-US">)</span>,再配以群舞驚慌逃亡場面。人類與動物之間的追逐,更加插虛擬的射箭狩獵等場景,光影與舞者的形體動作精準配合,觀眾如同置身迪士尼的科幻森林,不斷看着層層螢光線條在眼前掠過。</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: 標楷體;"><o:p></o:p></span></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體;"><span style="font-size: large;"> </span></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-size: large;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">《叢林奇譚》下半場,不論情節或表演方式都更迪士尼化。莫格利被實驗室猴子擄走後,被帶到實驗猴的巢穴。猴子因為多見人類,嘴裡不停吐出以前在籠裡聽到的廣告標語和政治豪言,甚至想成爲人類。猴子想要莫格利教牠們變成人類,關鍵就是火。舞台上於是出現大量火舌投影,舞群又出動救出莫格利。這時候巨型大象線條投影碩大無比,象徵着大象領袖哈帝,這都出於象群的古老傳說,回到盤古初開森林被創造之時。天地玄黃,創世故事永遠幽遠、雋永。</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: 標楷體;"><o:p></o:p></span></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體;"><span style="font-size: large;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr9S-eE3ZiOR_IRmn6y8_f6VXKLdBYuJi6hwGbQmM99gXpQujJkIPsI2H5ifyKRWQS1QkQ9OqXORUSV1D8ZQZJFd-UQOdjLVhrJFbC3m7IxP7lcFQzFAKDP-VduRW6tRqzPzeLfMfl-n5TSgWncebv56muqr6ZSJTX0xWDzsD6tkBc3BuCccymceVs/s850/2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="566" data-original-width="850" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr9S-eE3ZiOR_IRmn6y8_f6VXKLdBYuJi6hwGbQmM99gXpQujJkIPsI2H5ifyKRWQS1QkQ9OqXORUSV1D8ZQZJFd-UQOdjLVhrJFbC3m7IxP7lcFQzFAKDP-VduRW6tRqzPzeLfMfl-n5TSgWncebv56muqr6ZSJTX0xWDzsD6tkBc3BuCccymceVs/s320/2.jpg" width="320" /></a></span></div><span style="font-size: large;"><br /></span><p></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-size: large;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">相對於<span lang="EN-US">Akram Khan</span>前幾年的創作如<span lang="EN-US">XENOS (</span>或譯《異地人》、《異鄉人》<span lang="EN-US">) </span>和<span lang="EN-US">2019</span>年在法國阿維儂藝術節發表的<span lang="EN-US">Outwitting
the Devil (</span>或譯《愚弄魔鬼》、《與魔鬼共舞》<span lang="EN-US">)</span>,走合家歡路線的《叢林奇譚》自是老嫗皆懂的故事風格,同時又是<span lang="EN-US">art tech</span>舞蹈劇場的一次全新探索。<span lang="EN-US">Outwitting the Devil</span>的人魔大戰是典型的東方表演藝術題材,抗爭過程中赫然發現「人類就是魔鬼」。<span lang="EN-US">(</span>人類<span lang="EN-US">) </span>成魔之路,充滿創世神話的興味。《叢林奇譚》中猴子模仿人類的言行舉止,儼然就印巴本色舞蹈風格呈現,猴子手部足部的特殊運動狀態,瘋狂地將自己比作人類。末段升起的祭壇般的小高台佈置和布帛晃動造成江河洶湧,更是<span lang="EN-US">Akram Khan</span>的拿手好戲。<span lang="EN-US">Outwitting the Devil</span>的小祭壇讓東方跳神儀式等,紛紛派上用場;晃動綢緞靈動演繹水神的咆哮、大自然反噬的凶悍。這些都在《叢林奇譚》<span lang="EN-US">ending</span>中傾瀉而出。最後大象步過,萬物歸零,大有早前<span lang="EN-US">DESH (</span>《源》<span lang="EN-US">) </span>中剪紙大象的光影童趣。《叢林奇譚》以手挽式收音機作結,更意味着人類的智慧在天地發光,如同<span lang="EN-US">XENOS</span>末段畸零人携帶的行李箱,滿載先輩遍地流徙的辛酸。</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: 標楷體;"><o:p></o:p></span></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體;"><span style="font-size: large;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicVUZNzfMtw5VtyULNKs7PcxyPqTOF416AWno3TLMnKx5NIN0k8E_UafH1jS11nHxG9icOgp3xzbcNQvcWrdK9Fqubjq7NfOVOp-UMqfRe0lIXI1e3ef8JLiOXJimei9uuEsyOZJM-Y-i0rmNjvfBEpJhTMFT-OCPQvCyjZgxwbchNyBBR-HJu0JGV/s850/3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="566" data-original-width="850" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicVUZNzfMtw5VtyULNKs7PcxyPqTOF416AWno3TLMnKx5NIN0k8E_UafH1jS11nHxG9icOgp3xzbcNQvcWrdK9Fqubjq7NfOVOp-UMqfRe0lIXI1e3ef8JLiOXJimei9uuEsyOZJM-Y-i0rmNjvfBEpJhTMFT-OCPQvCyjZgxwbchNyBBR-HJu0JGV/s320/3.jpg" width="320" /></a></span></div><span style="font-size: large;"><br /></span><p></p><p>
</p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;"><span style="font-size: large;">因此之故,《叢林奇譚》可謂從兒童文學<span lang="EN-US">The Jungle Book</span>開始,夾雜迪士尼式青少年冒險故事,再輔以<span lang="EN-US">Akram Khan</span>擅長的若干場面調度,把<span lang="EN-US">The Jungle Book</span>講成<span lang="EN-US">art tech</span>版的《叢林奇譚》。除了飽含對人類損害大自然的批判,也實驗了皆大歡喜層面的<span lang="EN-US">art
tech</span>舞蹈劇場。想當然的是,很多<span lang="EN-US">Akram Khan</span>粉絲還是挺懷念從前由<span lang="EN-US">Akram Khan</span>親自演繹的<span lang="EN-US">Akram Khan</span>作品。<span lang="EN-US">DESH </span>和<span lang="EN-US">XENOS</span>夫子自道,將上世紀家族如何在第三世界和戰亂中追尋自由,流徙成了幾代人不可逆轉的命運。<span lang="EN-US">Outwitting the Devil</span>更是世界巡演之作,恣意鋪張揚厲東方美學與神秘性。身穿明黃衣裙的女主人公如何隻身遠赴與魔鬼鬥爭的艱險歷程,小小女子挑戰邪惡力量的主題因子與《叢林奇譚》,同出一轍。然而,不論新瓶舊酒還是舊瓶新酒,對老粉絲來說還是心有戚戚焉,期待<span lang="EN-US">Akram Khan</span>在<span lang="EN-US">art tech</span>舞蹈劇場與駕輕就熟的編舞邏輯中,拿定主意站穩腳跟。</span></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: 標楷體; font-size: 14pt;"><o:p></o:p></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><br /></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p> </o:p></span><span style="background-color: transparent; color: #555544; font-family: tahoma; font-size: large; text-align: left;"><b>原載於</b></span><span face="tahoma, "Trebuchet MS", lucida, helvetica, sans-serif" style="background-color: transparent; color: #555544; font-family: tahoma, "Trebuchet MS", lucida, helvetica, sans-serif; font-size: large; font-weight: 700; text-align: left;">《文匯報》文化版。</span></p>梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-30349270021805611292022-10-29T00:00:00.005+08:002022-10-29T00:00:00.209+08:00《敢觀舞台》──身體是劇場的家園——《被縛的普羅米修斯》 (2022.10.29)<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK65Mdp15Knbo_3kEFcv-RIoGsTtTDn4Lw9knvnuCPrgadXdacRtQeHlNVWiBY26AoH6XTKJFBM98ngYbmO3AIczZiAut47zT7pzgGpgQ5nkdfRThq0hES_gdV4isFMxyEGvVFNZLEOnhTMVoSRu2msCAB_jH-I6WX5e6k_Mctm7yrK_BKX2QLYXl3/s2048/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1449" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK65Mdp15Knbo_3kEFcv-RIoGsTtTDn4Lw9knvnuCPrgadXdacRtQeHlNVWiBY26AoH6XTKJFBM98ngYbmO3AIczZiAut47zT7pzgGpgQ5nkdfRThq0hES_gdV4isFMxyEGvVFNZLEOnhTMVoSRu2msCAB_jH-I6WX5e6k_Mctm7yrK_BKX2QLYXl3/s320/1.jpg" width="226" /></a></div><br /><p></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-size: large;"><span style="background: white; color: black; font-family: 標楷體;">談前進進《被縛的普羅米修斯》,大概要從<span lang="EN-US">2016</span>年「前進進表演探索計劃」說起。「表演探索計劃」作為前進進「新文本運動」最後一塊拼圖,廣邀專業演員一同挖掘當代劇場的高強度表演形式,以期演員的身心靈都能與「新文本」接軌。當時的學員<span lang="EN-US">(</span>包括今回出演《被縛的普羅米修斯》的陳籽沁、李頊珩、彭珮嵐<span lang="EN-US">)</span>,除了學習歐洲前沿的劇場形體訓練,還得共同研讀德國<span lang="EN-US">Kevin Rittberger</span>《卡桑德拉》的劇本,並在同年夏天的展演中編作出若干《卡桑德拉》及法國文本《西邊碼頭》的片段試排。工作坊完成後,前進進再從中物色合適的演員參與正式演出。</span><span lang="EN-US" style="background: white; font-family: 標楷體;"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="background: white; font-family: 標楷體;"><o:p><span style="font-size: large;"> </span></o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-size: large;"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">2017</span><span style="background: white; color: black; font-family: 標楷體;">年馮程程導演的《卡桑德拉》,講述歐洲難民課題及國際關係的種種。第一世界左翼如人道紀錄片導演,歐洲記者、作家、翻譯,面對重述與凝視他人之痛,展現出微妙的文化位置和語言藝術。同年,法國客導<span lang="EN-US">Franck Dimech</span>執導法國「新文本」《西邊碼頭》,極端的表演方式直接讓歐陸的導和本,與香港劇場演員擦出火花。《西邊碼頭》故事設定在廢棄倉庫,劇力不斷把演員推向歇斯底里的精神狀態,演繹社會邊緣人處境。導演和文本着力於演員的爆發力,輪流呈現瘋狂、精神崩潰等身體狀態。</span><span lang="EN-US" style="background: white; font-family: 標楷體;"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="background: white; font-family: 標楷體;"><o:p><span style="font-size: large;"> </span></o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-size: large;"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">2022</span><span style="background: white; color: black; font-family: 標楷體;">年<span lang="EN-US">9</span>月,法國客導<span lang="EN-US">Franck Dimech</span>崔護再來,前進進再次聯乘法國埃梅劇團 <span lang="EN-US">(Theatre de AJMER)</span>,搬演希臘劇作家埃斯庫羅斯<span lang="EN-US">(Aeschylus)</span>寫於公元前約<span lang="EN-US">480</span>年的悲劇經典《被縛的普羅米修斯》<span lang="EN-US">(Prometheus Bound)</span>。導演<span lang="EN-US">Franck Dimech</span>與六位香港演員,以暴烈的形體風格,重現普羅米修斯挑戰神權、「盜火」受罰的故事。</span></span><span style="font-family: 標楷體; font-size: x-large; text-indent: 24pt;"> </span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="background: white; font-family: 標楷體;"><o:p><span style="font-size: large;"></span></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbDZIor1_u807B-LQnA6PI1D98VTdXgjNBb8gT5atI1Z4_MF8pVJaXzABthhWFjoJ2V7MPyBjAzlMu1ob8gwhAJvDsTmMXWPgSqo9l0tW8Dj2TJ4oHDiwIl0hWLYuc0Ns6b9sc1Ku1c0o1y8CtWOqirzUOpLR7Mr6msd7D3pRIf7aROL4Q7VY_OtKk/s2048/2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1366" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbDZIor1_u807B-LQnA6PI1D98VTdXgjNBb8gT5atI1Z4_MF8pVJaXzABthhWFjoJ2V7MPyBjAzlMu1ob8gwhAJvDsTmMXWPgSqo9l0tW8Dj2TJ4oHDiwIl0hWLYuc0Ns6b9sc1Ku1c0o1y8CtWOqirzUOpLR7Mr6msd7D3pRIf7aROL4Q7VY_OtKk/s320/2.jpg" width="320" /></a></span></div><p></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-size: large;"><span style="background: white; color: black; font-family: 標楷體;">作為首次由香港劇團搬演的《被縛的普羅米修斯》,前進進版本從甫開始、進場之際,觀眾已近距離目擊普羅米修斯正在受苦。被鐵鏈纏繞的普羅米修斯,不斷被押解他的暴力神、威力神等粗暴對待,呼喝着往受刑路上走。普羅米修斯滿身血污,忍受着傷痛蹣跚前進,緊扣住他的鎖鏈正扣連在演區四角的檯鉗,不時拉扯着身體,痛苦不堪。這段序言般的「前戲」,讓法式劇場的形式訓練,如弓着背圍繞場內的長方形地界行走,不斷的重複展示,並把觀眾帶動進這個儼如地獄又神聖的古希臘時空。</span><span lang="EN-US" style="background: white; font-family: 標楷體;"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="background: white; font-family: 標楷體;"><o:p><span style="font-size: large;"> </span></o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-size: large;"><span style="background: white; color: black; font-family: 標楷體;">普羅米修斯與歌詠隊的互動,從傳統的第三者敘事或補充言說,進一步開展出與普羅米修斯的「對話」<span lang="EN-US">: </span>當人類還只是處於「會呼吸的肉」的狀態,好吃懶做、頭腦簡單、是非不分,喧鬧善忘。位列神祇的普羅米修斯,為何還要自我犧牲,為人類「盜火」<span lang="EN-US">? </span>普羅米修斯既有預知能力,自然明白要承擔的後果;普羅米修斯的回答卻毫不諱言這是對「眾神之神」的宙斯的挑戰,潛台詞也是另一種自我實現。首次起用女性演員出演普羅米修斯的《被縛的普羅米修斯》,演員陳秄沁的粗獷形體動作與特定調節的聲線,糅合女性的強悍執拗和男性挑戰世界的霸氣。「盜火」關乎對錯、造福人類、改變世界;亦不完全單純是對錯、造福人類、改變世界。表演不斷圍着長方形地界打轉,使得兩面台的觀眾都不會錯過普羅米修斯與歌詠隊,那個受苦受難的世界,近在咫尺、觸手可及。及至宙斯的「女朋友」伊俄出現,普羅米修斯「盜火」的行動意義,又再被推深一步。</span></span><span style="font-family: 標楷體; font-size: x-large; text-indent: 24pt;"> </span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="background: white; font-family: 標楷體;"><o:p><span style="font-size: large;"></span></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGBscCNv4DbyNjfJGDpFDzzf1X1es8z0cJZgL9bL3LcroMIYeecyLizlSzdcXHn8fqN--jc_OpMlsiVpGIG28oxBnwY1NF9uv3JxmKc4jQXAUhtXBxmLSsuP4zEKSsUBGz2Au1b5lgSmL5N5dnTAxV3Va_HVSBnonMSW6aFxe6KliYKj5xZ5gQicLb/s2048/3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1366" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGBscCNv4DbyNjfJGDpFDzzf1X1es8z0cJZgL9bL3LcroMIYeecyLizlSzdcXHn8fqN--jc_OpMlsiVpGIG28oxBnwY1NF9uv3JxmKc4jQXAUhtXBxmLSsuP4zEKSsUBGz2Au1b5lgSmL5N5dnTAxV3Va_HVSBnonMSW6aFxe6KliYKj5xZ5gQicLb/s320/3.jpg" width="320" /></a></span></div><p></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-size: large;"><span style="background: white; color: black; font-family: 標楷體;">伊俄本是古希臘著名美女,並且擔任赫拉神殿的祭司。宙斯妻子赫拉得知宙斯對伊俄有意後,宙斯把伊俄變成了一頭母牛。伊俄從此過上被百眼巨人盯梢和牛虻叮咬的漂流苦日子。伊俄在漂泊流徙之際遇上普羅米修斯,普羅米修斯預言她的十三世孫子,就是解救自己之人,將會在幾百年後為普羅米修斯鬆綁,就是後來的大力士海格力斯(<span lang="EN-US">Heracles</span>)。出演伊俄的彭珮嵐,<span lang="EN-US">2016</span>年同是「前進進表演探索計劃」的學員,伊俄的委屈和驚懼大都通過幾近瘋狂的肌肉抽搐、冒汗嚎哭狀態展演。身心靈推向極致邊緣的種種瞬間,既細緻又高強度地演繹出伊俄的窘境。</span><span lang="EN-US" style="background: white; font-family: 標楷體;"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="background: white; font-family: 標楷體;"><o:p><span style="font-size: large;"> </span></o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background: white; color: black; font-family: 標楷體;"><span style="font-size: large;">觀乎此,《被縛的普羅米修斯》從內容到形式,都近於「新文本」多於古希臘悲劇的傳統表演方式。它的「體」和「用」,完全展示了往後「新文本」化的劇場演出要求,演員的專業形體訓練與演出的身體表演是一體兩面。劇場導演就演員的訓練者。身體就是劇場的家園。</span></span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background: white; color: black; font-family: 標楷體;"><span style="font-size: large;"><br /></span></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background: white; color: black; font-family: 標楷體;"><span style="color: #555544; font-family: tahoma; font-size: large; text-align: left;"><b>原載於</b></span><span face="tahoma, "Trebuchet MS", lucida, helvetica, sans-serif" style="color: #555544; font-family: tahoma, "Trebuchet MS", lucida, helvetica, sans-serif; font-size: large; font-weight: 700; text-align: left;">《文匯報》文化版。</span></span></p>梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-40745876266802067302022-08-27T00:00:00.005+08:002022-08-27T00:00:00.201+08:00《敢觀舞台》──再遇舞蹈、劇場——《一個人的哪吒》《姊妹》與《CLAIRE 空海之迴》 (2022.08.27)<p> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXm-w0hOPUg0REB1c4Ddc-VsmdiV1EtV_nw5kFMcc9Ww6QCaEz1AuZlGN9RZqV52Eqkk7w7utFpCsd9lICOWm5Urqusd27iQwBXKvhjfqAYfh3M46NJfnRD5Ju1wbhrTAQdruGFT-39ZYiq6NBnatuWeNnwT5ryDDE4bMCggcvX5UszDzP-9mLWxmm/s2048/286079567_5407470092606711_6256041294647149946_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1365" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXm-w0hOPUg0REB1c4Ddc-VsmdiV1EtV_nw5kFMcc9Ww6QCaEz1AuZlGN9RZqV52Eqkk7w7utFpCsd9lICOWm5Urqusd27iQwBXKvhjfqAYfh3M46NJfnRD5Ju1wbhrTAQdruGFT-39ZYiq6NBnatuWeNnwT5ryDDE4bMCggcvX5UszDzP-9mLWxmm/s320/286079567_5407470092606711_6256041294647149946_n.jpg" width="320" /></a><br /><br /></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext;">四、五月演出場地重開後,各大藝團演出如春回大地般遍地開花,六月更是全盛時期,彷彿又回到昔日周末趕場的日子。最令人期待的自然是楊雲濤編舞的《一個人的哪吒》。<span lang="EN-US">2021</span>年<span lang="EN-US">11</span>月,香港舞蹈團的《九歌》在疫情夾縫中成功上演,叫好又叫座。《九歌》的舞蹈劇場實驗,配合屈原《九歌》的文本特質,傾向民俗信仰的鬼神面向,足以天馬行空,包攬當代舞蹈實驗上所有震慄、顫抖、虛脫、遊魂等非典型舞蹈元素</span><span style="color: black; font-family: 標楷體; font-size: 14.0pt; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Mangal; mso-color-alt: windowtext; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">。相對來說,</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext;">2022</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext;">年<span lang="EN-US">6</span>月的《一個人的哪吒》,似乎要顧及舞蹈教育及大眾化的處理,並糅合過去一段時間香港舞蹈團對「舞蹈」與「武術」的研究啟發<span lang="EN-US"> (</span>按<span lang="EN-US">: </span>香港舞蹈團於<span lang="EN-US">2018</span>年開展其首個跨界藝術研究項目<span lang="EN-US">—</span>「中國舞蹈與中國武術之交互研究與成果呈現」<span lang="EN-US">)</span>,誕生了新紀元的《一個人的哪吒》。</span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;"> </span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDpzohwUxOsMfbgbv0L_oFy4_suRDpvCYJb8xu8t5EOjKO9BergnzVtqUKl3hvmdkHTKrNaOdQzSSyK_YBOQbvo3Xzg88coXPcwv8Ebs3piP48wyk9M-lZ1nn0i3YBM25Z3XhlQe-ujYzN-FH21wiZo98TzCRdSIrglT0X6RZvxrg-YZDfN2X8iPDu/s2048/287305591_5412806902073030_6899466216948033736_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDpzohwUxOsMfbgbv0L_oFy4_suRDpvCYJb8xu8t5EOjKO9BergnzVtqUKl3hvmdkHTKrNaOdQzSSyK_YBOQbvo3Xzg88coXPcwv8Ebs3piP48wyk9M-lZ1nn0i3YBM25Z3XhlQe-ujYzN-FH21wiZo98TzCRdSIrglT0X6RZvxrg-YZDfN2X8iPDu/s320/287305591_5412806902073030_6899466216948033736_n.jpg" width="320" /></a></div><br /><p></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext;">《一個人的哪吒》開始已亮出楊氏對「哪吒」傳統故事的全新理解,舞台上恍如金剛圈的巨大指環,就是傳說中與哪吒伴隨而生之物 <span lang="EN-US">(</span>如同賈寶玉的通靈寶玉<span lang="EN-US">)</span>,生有此環究竟是幸還是不幸,註定受到束縛的哪吒又如何尋覓真正的自由。《一個人的哪吒》把指環放大到舞台上方,懸置的指環與舞台呈「天圓地方」之意。指環既是舞美上的重要裝置,也是哪吒宿命。首段蛹般的白色大繭如大石置於舞台中央,新生的哪吒匍匐半天破蛹而出,掙扎、費力、擺脫羈絆的舞蹈語言十分動人。大鬧海龍王宮一段尤其精采紛呈。海藍色的海兵武將從舞台深處一字排開衝到台前吆喝,盡顯武行本色。翻江倒海的海底大戰,亦由海兵晃動<span lang="EN-US">(</span>儼如戲曲<span lang="EN-US">)</span>戲服上旗幟,組構而成戰爭畫面和意象。東窗事發後,舞台巨環上出現李靖呵斥哪吒的模擬對白,卻頗為露骨和老套,與末段哪吒出走尋找自由的乾淨俐落,似乎格格不入。</span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;"> </span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHIjaP7uNcfjgvSoWeDAqW4yLs8Ee3g0vaYiVOMKD1HSLFtaFPTXzVabWbXCDyen0CruQ9npvB2o6Q6pDOG12pOg5-A82OjMjmJ5X7jhBwRlwCtgpm6pDC-TbQgNLoSzWFcW9GZFP4Uj5B60lUoIk-ulTAXbe1CKJQGF1a8tf8sSjkE5jlkeaoMody/s2048/286497659_5406810489339338_9020797442433002530_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHIjaP7uNcfjgvSoWeDAqW4yLs8Ee3g0vaYiVOMKD1HSLFtaFPTXzVabWbXCDyen0CruQ9npvB2o6Q6pDOG12pOg5-A82OjMjmJ5X7jhBwRlwCtgpm6pDC-TbQgNLoSzWFcW9GZFP4Uj5B60lUoIk-ulTAXbe1CKJQGF1a8tf8sSjkE5jlkeaoMody/s320/286497659_5406810489339338_9020797442433002530_n.jpg" width="320" /></a></div><br /><p></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext;">同期演出的香港話劇團《姊妹》,出自法國當紅劇場導演<span lang="EN-US">PASCAL RAMBERT</span>之手。<span lang="EN-US">PASCAL RAMBERT</span>的作品不但多次成為法國阿維儂藝術節的開幕大戲,其於<span lang="EN-US">2019</span>年阿維儂發表的《<span lang="EN-US">ARCHITECTURE</span>》,更邀得法國大明星<span lang="EN-US">Emmanuelle Béart</span>粉墨登場,未開演先哄動。<span lang="EN-US">PASCAL RAMBERT</span>作品素以長贅台詞和喋喋不休的語言厮殺著稱,尤其擅長聚焦於家族家庭的淺深恩怨,劇力往往倚賴綿密的語言推進,稍一走神便錯過得以抽絲剝繭、理解劇情的線索。因此,整體對導演、演員與觀眾都有極高的要求,屬於一種非常獨特的「高語言密度」歐陸劇場。</span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;"> </span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbgPI-JLGw2k1G6rcuMCTupjMSUZITz-IkH43UNhv6SInTLCjJFQfAgGajRDU2sOqR_kTypaVfob_MK7EABCXwXW8mmjSNGwi7q4Vur0zhWWJDlHZo4NwP-UjRLVW_DbvM4bc0UipQ-bW0kRRcs8h5BTY2EcZbxcvlp9MoNRZkqZxM1olaqh2al1VU/s1920/1.photo-Soeurs-Marina_Audrey-de-Pascal-Rambert-credit-Pauline-Roussille-BD.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1245" data-original-width="1920" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbgPI-JLGw2k1G6rcuMCTupjMSUZITz-IkH43UNhv6SInTLCjJFQfAgGajRDU2sOqR_kTypaVfob_MK7EABCXwXW8mmjSNGwi7q4Vur0zhWWJDlHZo4NwP-UjRLVW_DbvM4bc0UipQ-bW0kRRcs8h5BTY2EcZbxcvlp9MoNRZkqZxM1olaqh2al1VU/s320/1.photo-Soeurs-Marina_Audrey-de-Pascal-Rambert-credit-Pauline-Roussille-BD.jpg" width="320" /></a></div><br /><p></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext;">香港話劇團搬演的《姊妹》,不脫<span lang="EN-US">PASCAL RAMBERT</span>本色,從開始姐妹間討債尋仇般的潑婦謾罵,充滿積怨。互相針鋒相對的極快語速、鬧得面紅耳熱的場面,相信與傳統話劇觀眾的觀演習慣大相逕庭。《姊妹》講述即將為<span lang="EN-US">NGO</span>主持活動的姐姐,遇上為母親身故之事而來大興問罪的妹妹,一切言行刻薄粗鄙,身體語言更感染了觀眾彷彿即將要步入令人厭惡的家事法庭。及至姐妹談及分別為考古學家和作家的父母,對女兒期望甚殷,姐姐在中產家庭的低氣壓下,長大後毅然從事<span lang="EN-US">NGO</span>救濟難民工作,從此與家庭漸行漸遠。這部分看似閒筆,其實是歐陸劇場最擅長從小故事<span lang="EN-US">/</span>經典新編中,直接指向現實世界中種族、階級、性別等議題的慣技<span lang="EN-US"> (</span>如從《李察三世》探討全球右傾的走向<span lang="EN-US">)</span>。記者妹妹對老姐的心結來自不如老姐的焦慮,末段驟然和好雖略見突兀,畢竟一個多小時語言暴雨傾瀉而下,終究讓香港觀眾體驗了歐陸劇場的另一面向,與世界接軌。</span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;"> </span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCOswXvVXGSd0irvaByileEFh4-J9s-UxV_fXspe5A0k8Z8ppR6rnOZLOhOFbQ5MZbjbw_PclYiwJxHsidIVoTmb9AakKn1-UXTRa3Ln8xSs8OnpNaPuilK-CKLlmCPt5EpnbqNM45vBRHiHcURenEjnbiG4ObgmStBRlwvcCA7v-Dm5CHmMiAzkfU/s600/20220713_150029_OZLeRFVbvf_p_600_0.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCOswXvVXGSd0irvaByileEFh4-J9s-UxV_fXspe5A0k8Z8ppR6rnOZLOhOFbQ5MZbjbw_PclYiwJxHsidIVoTmb9AakKn1-UXTRa3Ln8xSs8OnpNaPuilK-CKLlmCPt5EpnbqNM45vBRHiHcURenEjnbiG4ObgmStBRlwvcCA7v-Dm5CHmMiAzkfU/s320/20220713_150029_OZLeRFVbvf_p_600_0.jpeg" width="320" /></a></div><br /><p></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext;">最後,不得不提進劇場的《<span lang="EN-US">CLAIRE </span>空海之迴》。《<span lang="EN-US">CLAIRE
</span>空海之迴》的創作源自瑞士劇作家迪倫馬特<span lang="EN-US">(Friedrich Dürrenmatt) </span>的經典作品《老婦還鄉》。雖是老掉了牙的故事,進劇場依然翻出新意,詩意般的錄像投影、現場的器樂伴奏,還有描述女主人公歷盡艱險渡海回鄉,進劇場讓一個注滿粉紅色液體的楕圓形水池橫在舞台上,上有小橋,女主人公趕着月色渡河,進劇場就這樣輕輕鬆鬆奏出劇場小品。</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext;">想當然的是,這幾年對以舞蹈、劇場為代表的表演事業固然是考驗重重,令藝術家不時有「排演了不知何時能演,快要演了又可能會被叫停」的憂慮。然而表演藝術的發展和進化,儼如逆水行舟不進則退,在過去一段日子,不論是外在的網上串流還是內在的沉潛鍛煉,最終都是等待復常的一天,回到劇場再見。</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext;"><br /></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext;"><br /></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext;"><span style="color: #555544; font-family: tahoma; font-size: large; text-align: left;"><b>原載於</b></span><span face="tahoma, "Trebuchet MS", lucida, helvetica, sans-serif" style="color: #555544; font-family: tahoma, "Trebuchet MS", lucida, helvetica, sans-serif; font-size: large; font-weight: 700; text-align: left;">《文匯報》文化版。</span></span></p>梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-41232988735444390102022-07-23T00:00:00.013+08:002022-07-23T00:06:23.901+08:00《敢觀舞台》──逼近與疏遠——前進進《鐵行里》 (2022.07.23)<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6pt; text-align: justify; text-indent: 24pt; text-justify: inter-ideograph; word-break: break-all;"><span face="標楷體" style="background: white; color: black; font-size: 16pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJYWeDKaVB12JuNFL8ldPyrrPFxtXzhIADB2wjEqH8hw7Ql3b8QUBQcnCcWPycrJkJH64lLqTlt9j2raRvzqMpdv6QgmQCA3SxgJOzxVMyezkI9XHfLKXvzHksntzWBW4giTUoHR16yA6Um6yEdjb09ZvLJJJ5zZMzDkB__N8Tan3ywF9a76EWjaSw/s1857/1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1143" data-original-width="1857" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJYWeDKaVB12JuNFL8ldPyrrPFxtXzhIADB2wjEqH8hw7Ql3b8QUBQcnCcWPycrJkJH64lLqTlt9j2raRvzqMpdv6QgmQCA3SxgJOzxVMyezkI9XHfLKXvzHksntzWBW4giTUoHR16yA6Um6yEdjb09ZvLJJJ5zZMzDkB__N8Tan3ywF9a76EWjaSw/s320/1.jpg" width="320" /></a></div><br /><p></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-size: large;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">《鐵行里》觀演完畢,我就在臉書上寫道<span lang="EN-US">──</span>「《鐵行里》是很典型陳炳釗簽名式劇場作品。對於香港、家族,以至城市如何記憶與魔幻未來,有逼近和疏遠,拿捏有致,意態從容。」所謂「典型陳炳釗簽名式」,往往是陳炳釗劇場在夫子自道之中,滲雜當代<span lang="EN-US">(</span>香港<span lang="EN-US">)</span>人的情神面貌和窘境,如何直面遽變的<span lang="EN-US">(</span>香港<span lang="EN-US">)</span>當下等等。作為一次探索城市如何記憶、我們如何守住記憶的劇場實驗,《鐵行里》中的「逼近<span lang="EN-US">─</span>疏遠」,甚至是陳炳釗最為重視的劇藝展演。陳炳釗曾在不同場合談及劇場中的「逼近」或「疏遠」。例如藝術上的「放大」將所有東西拉遠和慢慢要進入特殊具體的、近的狀態;劇場創作如何介入現實,盡量「</span><span style="font-family: 標楷體;">逼近</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">」,使得觀眾無法逃避現實,必須與創作人一起感受和拉得很近,共同面對某些問題。那麼,究竟什麼時候「逼近」和「疏遠</span><span style="font-family: 標楷體;">」</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: 標楷體;">?</span><span style="font-family: 標楷體;">用什麼方法「逼近」或「疏遠」</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: 標楷體;">? </span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">《鐵行里》呈現了</span><span style="font-family: 標楷體;">很多的探索空間。</span></span><span lang="EN-US" style="font-size: 12.0pt; mso-bidi-font-family: Mangal; mso-fareast-font-family: 標楷體;"><o:p></o:p></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6pt; text-align: justify; text-indent: 24pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="font-size: 16pt; mso-bidi-font-family: Mangal; mso-fareast-font-family: 標楷體;"><o:p></o:p></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6pt; text-align: justify; text-indent: 24pt; text-justify: inter-ideograph; word-break: break-all;"><span face="標楷體" lang="EN-US" style="background: white; font-size: 16pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmPr-1wZrVjT5to5mC6hCJ86sjqJ-4TfyhA4fjzcQL94JWjPajGDJ-6aHxXY6GN2VnXC16e0t75VnSa_gsXH8L-erVqC_SbqpVavtql9n_z4235nxVrOu3K-ZqMzBtGQNo2OcfmzkRLHBcTELR7Gjl17DDLsDntpPpz7HEgaRP0OCpiNGaLTpFh4k-/s2048/2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1366" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmPr-1wZrVjT5to5mC6hCJ86sjqJ-4TfyhA4fjzcQL94JWjPajGDJ-6aHxXY6GN2VnXC16e0t75VnSa_gsXH8L-erVqC_SbqpVavtql9n_z4235nxVrOu3K-ZqMzBtGQNo2OcfmzkRLHBcTELR7Gjl17DDLsDntpPpz7HEgaRP0OCpiNGaLTpFh4k-/s320/2.jpg" width="320" /></a></div><br /><p></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;"><span style="font-size: large;">《鐵行里》出現三位「陳炳釗」<span lang="EN-US">(</span>仿若「說書人」的陳炳釗真身、劇場導演「陳炳釗」和城市規劃師「陳炳釗」<span lang="EN-US">)</span>,還有陳的姨甥女在若干年後由外地回港尋根。最後是陳氏位於中環鐵行里的舊居,被納入市區重建計劃,業權持有人陳炳釗要為盛載着香港歷史和家族回憶的空間,作出抉擇。《鐵行里》的舞台設計更老早為整個劇場創作定調,充滿未來感的舞台有<span lang="EN-US">livefeed</span>的層層投影;也有<span lang="EN-US">catwalk</span>天橋般的延伸舞台,想像陳炳釗和姨甥女先後在中環尋找海濱時必經的天路歷程。台左堆疊着輕薄脆弱的鐵行里舊居,更是未來世界的<span lang="EN-US">airbnb</span>,訪港遊客不少選擇駐足於此,視之為探索香港的起點。</span></span><span style="font-size: 16pt; text-indent: 24pt;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeIQPpbyl_DrB6iSDXRQqroXOr5Gc0bpPkvF9uONDphlq_fn853Y7LFIKQktF32Sx3JoUto7YS2BH6ts0a1m_9aovofGHTzQWqdYFljUoOp8SDXv0y9mwRug6kseb0Vo2uqzgDzq8ibokW9cxPs-pjK0DXu9-e9dB06HhvmiekfwvPEOAl-smNHERB/s2048/3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1366" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeIQPpbyl_DrB6iSDXRQqroXOr5Gc0bpPkvF9uONDphlq_fn853Y7LFIKQktF32Sx3JoUto7YS2BH6ts0a1m_9aovofGHTzQWqdYFljUoOp8SDXv0y9mwRug6kseb0Vo2uqzgDzq8ibokW9cxPs-pjK0DXu9-e9dB06HhvmiekfwvPEOAl-smNHERB/s320/3.jpg" width="320" /></a></div><br /><p></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-size: large;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">《鐵行里》從陳氏的家族史說起,「說書人」陳炳釗童年時家中丟失<span lang="EN-US">/</span>遺棄了寵物狗<span lang="EN-US">Lucky/Caesar</span>,記憶中從鐵行里的家出發到中環海濱尋狗<span lang="EN-US">/</span>丟狗。劇中模擬了三名來自世界各地的<span lang="EN-US">Youtuber</span>,他們的<span lang="EN-US">Youtube Channel</span>交代鐵行里被命名的由來,原來這與香港在英殖時期被定性為海洋城市的一段航運史有關,鐵行里甚至是上世紀的跨國航運企業鐵行火輪公司<span lang="EN-US">(Peninsular and Oriental Steam Navigation Company</span>,簡稱<span lang="EN-US">P&O)</span>第一代香港總部舊址。</span><span style="font-family: 標楷體; text-indent: 24pt;"> </span></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體;"><span style="font-size: large;"> </span></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6pt; text-align: justify; text-indent: 24pt; text-justify: inter-ideograph; word-break: break-all;">
</p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;"><span style="font-size: large;">中環的卅間和鐵行里,在《鐵行里》被呈現為上一代香港的歷史空間。尚未異化為金融服務集中地的中環區,少年陳炳釗儼然是城市遊牧者,放狗、海邊蹓躂、穿梭於人來人往的鬧市<span lang="EN-US">/</span>街市,樂在其中。成年陳炳釗已然要跑到土耳其博爾普魯斯海峽遠遊。陳氏的下一代<span lang="EN-US">(</span>姨甥女<span lang="EN-US">) </span>卻以一個陌生者<span lang="EN-US">/</span>外來人的視角,重新尋找心目中的香港。未來世界的訪港遊客,被稱為潛行者,年青、愛冒險、熱愛體驗在地生活,擁抱普世價值又有開放的世界視野。縱然在旅客守則中需要被監控,他們的足跡依然充滿可能性,在海邊遇上疑似黎根的滑浪風帆弄潮兒,共同拋開由天眼認可的眼罩,逐浪闖蕩。這裡似乎遙遠的未來,實則近在眉睫。如何要在似乎不<span lang="EN-US">(</span>再<span lang="EN-US">)</span>屬於自己城市中尋找自我、如何尋覓真正的自由,不論是潛行者還是在地人,千山同一月。</span></span><span style="font-size: 16pt; text-indent: 24pt;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBNIP6vzbMAtkb46DGEAm6bRo6qRSK8Qh-E42iiWG2jlzO6X_8d9FXDtWg-HUC54yppcbw7amIaaw6Zf-RNNsh-mi4cPjBsKks6h13BFJh7Ax3ahjPM-2z7MukGLh25TArV1ULx80Rg1r7LS79KJ76U3i-OtRCzbjd5kie4UlthP4P-O9JtffQNCjN/s2048/4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1366" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBNIP6vzbMAtkb46DGEAm6bRo6qRSK8Qh-E42iiWG2jlzO6X_8d9FXDtWg-HUC54yppcbw7amIaaw6Zf-RNNsh-mi4cPjBsKks6h13BFJh7Ax3ahjPM-2z7MukGLh25TArV1ULx80Rg1r7LS79KJ76U3i-OtRCzbjd5kie4UlthP4P-O9JtffQNCjN/s320/4.jpg" width="320" /></a></div><br /><p></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-size: large;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">另一方面,《鐵行里》的舞台霎眼大有歐洲「新文本」的興味。「說書人」陳炳釗真身,最後在舊居二樓手寫海報召集潛行者,不禁令人想起德國劇場李希特<span lang="EN-US">(Falk Richter)</span>名作《信任》<span lang="EN-US">(Trust) </span>的收結。當世界秩序已崩潰,人與人之間失去了信任,《信任》最後把焦點放在一幢房子的二樓「生命之花」掛畫,意味着<span lang="EN-US">new age</span>世代可能的精神出路。因此,老住戶陳炳釗對「潛行者在此集合」的點燈召喚,同時是對新生代的支持和期許。不管世道如何,有燈就有人,未來就有希望。</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: 標楷體;"><o:p></o:p></span></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體;"><span style="font-size: large;"> </span></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6pt; text-align: justify; text-indent: 24pt; text-justify: inter-ideograph; word-break: break-all;">
</p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-size: large;"><span style="font-family: 標楷體;">經歷近年的《會客室》</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: 標楷體;">(2018)</span><span style="font-family: 標楷體;">、</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">《<span lang="EN-US">100%</span>香港》<span lang="EN-US">(2021) </span>的創作和協作後,《鐵行里》再次從自身<span lang="EN-US">(</span>家族<span lang="EN-US">) </span>歷史出發,拷問真實與虛構、記憶與辯解等等複雜的<span lang="EN-US">(</span>香港<span lang="EN-US">)</span>歷史課題。《鐵行里》並非建基於</span><span style="font-family: 標楷體;">《會客室》、</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">《<span lang="EN-US">100%</span>香港》般相對遠距離的</span><span style="font-family: 標楷體;">人口統計或數字推論,而是聚焦於個人或一個家族對一塊地方</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: 標楷體;">(</span><span style="font-family: 標楷體;">舊居</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: 標楷體;">/</span><span style="font-family: 標楷體;">城市</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: 標楷體;">)</span><span style="font-family: 標楷體;">的思想感情。當中有個體的情懷,也有集體的影子,</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">有「逼近」和「疏遠</span><span style="font-family: 標楷體;">」</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: 標楷體;">──</span><span style="font-family: 標楷體;">前者一如電影中的聚焦特寫</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: 標楷體;">(close-up)</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">和近景<span lang="EN-US">(medium close-up)</span>,後者想當然就是</span><span style="font-family: 標楷體;">遠景</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: 標楷體;">(long/wide
shot)</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">和全景<span lang="EN-US">(full shot)</span>了。</span></span><span lang="EN-US" style="font-size: 12.0pt; mso-bidi-font-family: Mangal; mso-fareast-font-family: 標楷體;"><o:p></o:p></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6pt; text-align: justify; text-indent: 24pt; text-justify: inter-ideograph; word-break: break-all;"><span face="標楷體" style="background: white; color: black; font-size: 16pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext;"><br /></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6pt; text-align: justify; text-indent: 24pt; text-justify: inter-ideograph; word-break: break-all;"><span face="標楷體" style="background: white; color: black; font-size: 16pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext;"><br /></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6pt; text-align: justify; text-indent: 24pt; text-justify: inter-ideograph; word-break: break-all;"><span face="標楷體" lang="EN-US" style="background: white; font-size: 16pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p> </o:p></span><span style="color: #555544; font-family: tahoma; font-size: large; text-align: left;"><b>原載於</b></span><span face="tahoma, "Trebuchet MS", lucida, helvetica, sans-serif" style="color: #555544; font-size: large; font-weight: 700; text-align: left;">《文匯報》文化版。</span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6pt; text-align: justify; text-indent: 24pt; text-justify: inter-ideograph; word-break: break-all;"><span face="標楷體" lang="EN-US" style="background: white; font-size: 16pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p> </o:p></span></p>梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-77845627380240246942021-12-25T00:00:00.053+08:002021-12-25T00:00:00.205+08:00《敢觀舞台》──審判榮念曾—— 「實驗實驗展:榮念曾創作50年」與《審判2021》 (2021.12.25)<p><span style="font-size: large;"> </span><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj0JfhlhV-diDr7d06ceUwQ_sHzbu2eyB_MIBvkYY6SawC1FyfZx_Bqlqs0nwAjqLVW7frurhG1uI3R1NnhtYAWvAJWKCqhHz_d27OiNbvAGswPG0VFrUUi0QJWc_13XeGhj8CNWFz2PF1hUGYLRJdkdA6eTY4BzUFsfvp9J0itsP9iBF09_SDUmoT4=s4240" imageanchor="1" style="font-size: x-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="2832" data-original-width="4240" height="214" src="https://blogger.googleusercontent.com/img/a/AVvXsEj0JfhlhV-diDr7d06ceUwQ_sHzbu2eyB_MIBvkYY6SawC1FyfZx_Bqlqs0nwAjqLVW7frurhG1uI3R1NnhtYAWvAJWKCqhHz_d27OiNbvAGswPG0VFrUUi0QJWc_13XeGhj8CNWFz2PF1hUGYLRJdkdA6eTY4BzUFsfvp9J0itsP9iBF09_SDUmoT4=s320" width="320" /></a></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">十一月中,「香港文化教父」榮念曾的創作回顧展「實驗實驗展:榮念曾創作<span lang="EN-US">50</span>年」,於沙田文化博物館隆重開幕。坐上榮念曾創作時光機,有「花牌秘密花園」的四字詞花牌列陣<span lang="EN-US">(</span>曾在華盛頓展出<span lang="EN-US">)</span>和巨型「天天」佇立迎賓的展覽廳展示不向面向創作<span lang="EN-US">——</span>漫畫中的平面「天天」、被塗鴉發揮創意的立體小「天天」、四字成語的電子卡片牆,到<span lang="EN-US">Video
Square</span>和儼如巨石陣的錄像圈<span lang="EN-US">(</span>曾在柏林展出<span lang="EN-US">)——</span>在在從劇場創作、藝術教育、文化政策倡議,到深厚文化網絡人物組成的創意圈子,具像概括榮念曾在各個文化面向、領域的藝術前瞻性與超前意識。<span lang="EN-US"><o:p></o:p></span></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: x-large; text-indent: 24pt;"> </span><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg3fZmav1rh3oi6XzH50W6FqiXU70UazuJXopLomHcQqB9_gmwaG8dCrEU0LSGfWaHcFPfe0RY3bMYkVBOblRb1pGh1iu7CkOUp6XnW96k0oCrn79EK9fZVHERJ5dDHipQ-f8eRckp6TwIH9g_OlWaqqITOrkB4MflEEA-fBX2ckyw-NWZxkJQTSQYY=s8640" imageanchor="1" style="font-family: 標楷體; font-size: x-large; margin-left: 1em; margin-right: 1em; text-align: center; text-indent: 24pt;"><img border="0" data-original-height="5760" data-original-width="8640" height="213" src="https://blogger.googleusercontent.com/img/a/AVvXsEg3fZmav1rh3oi6XzH50W6FqiXU70UazuJXopLomHcQqB9_gmwaG8dCrEU0LSGfWaHcFPfe0RY3bMYkVBOblRb1pGh1iu7CkOUp6XnW96k0oCrn79EK9fZVHERJ5dDHipQ-f8eRckp6TwIH9g_OlWaqqITOrkB4MflEEA-fBX2ckyw-NWZxkJQTSQYY=s320" width="320" /></a></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">展覽開幕後沒幾天,《審判</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">2021</span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">》就在文化中心劇場公演。《審判</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">2021</span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">》是《榮念曾進念實驗劇場文獻庫</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">——</span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">影像重構系列》的最新重構作品。「榮念曾進念實驗劇場文獻庫」編輯整理榮念曾自</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">1978</span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">年以來的實驗劇場,由許敖山、胡海瀚將榮氏</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">1994</span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">年的經典作品《審判卡夫卡之拍案驚奇》解構重組而成《審判</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">2021</span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">》,聲影中尋找、閱讀、回應、解構、論述,乃至審判。《審判</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">2021</span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">》在漫長時間軸中理順榮氏劇場脈絡,抽繹出其舞台展演形式和內容,包括流水賬呈現其文化評議的千字文、《挑滑車》般的</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">laptop</span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">型舞台。我們彷彿重臨《佛洛依德尋找中國情與事》、《西遊荒山淚》、《舞台姊妹》和《百年之孤寂</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">10.0-</span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">文化大革命》現場,最後許敖山唱南音,更點出榮念曾近年聚焦於中國表演藝術形式與香港本土在文化上的血肉相連。密集體驗榮氏「</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">Less is more</span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">」的藝術理念和實踐,縱然一切似是精華遊</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">/hightlight</span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">,好些說法與表演形式在過去的歲月裡早已耳熟能詳;然而,從</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">1982</span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">年進念創團到兆基創意書院藝術教育實踐,赫然令人從榮氏的「以簡馭繁」思維中,想起世紀初德國包浩斯美學和包浩斯主義(</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">Bauhaus style</span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">)。</span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;"> </span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold;"><o:p><span style="font-size: large;"> </span><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg84HgN5SB61TDGR731fgktnTLLLm2LGpk1dG6waXkFLrgjUrUvWziBgGHm6DYIjgcnFSShOdc6Hm3QUHa8EFwACdrBMscjCo6Hqu9-aaG4jLca9EyCa7zAJCKy6I3iG06e9XIFh01QvF95zFLjpwoXzqM21NvC6ZUDKwwGvv4eTF-MBz5VMEMD_zWb=s4000" imageanchor="1" style="font-size: x-large; margin-left: 1em; margin-right: 1em; text-align: center; text-indent: 24pt;"><img border="0" data-original-height="4000" data-original-width="2584" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEg84HgN5SB61TDGR731fgktnTLLLm2LGpk1dG6waXkFLrgjUrUvWziBgGHm6DYIjgcnFSShOdc6Hm3QUHa8EFwACdrBMscjCo6Hqu9-aaG4jLca9EyCa7zAJCKy6I3iG06e9XIFh01QvF95zFLjpwoXzqM21NvC6ZUDKwwGvv4eTF-MBz5VMEMD_zWb=s320" width="207" /></a><span style="font-size: large;"><br /></span><span style="font-size: x-large; text-indent: 24pt;"><span> </span></span></o:p></span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">第一次世界大戰後、工業革命之初,德國包浩斯美學針對工業革命後批量生產下、流水線上的工具化、碎片化生活,想要</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">(</span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">從藝術開始</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">)</span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">重新尋回一種完整性。包浩斯學校</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">(1919-1933)</span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">的出現,正正希望能培養出新人類,長遠有益於未來的新社會發展。它實驗着一種嶄新的、帶有民主精神色彩的教學方式,打破藝術、工匠傳統與科技的區隔,基礎課程中有「形式大師」。「形式大師」教導學生如何認知人類現實感官中,最基本審美形式和概念,從而訓練出一雙雙敏銳的眼睛,對世界有一套自己的觀察方式,然後才透過自己的藝術手段把它表達或創作出來。另一方面又有「工藝大師」。「工藝大師」多是經驗手工匠人,藝術上都有獨到的本領,如陶瓷、雕刻等。簡單來講,就是「形式大師」會講授視覺藝術中最本質的構成,如圓、方、三角、紅、黃、藍,令人知道基礎的線條組成和色彩元素,給受眾帶來什麼感官或心理衝擊。基本概念搞清楚,就有可能創造長足發展的藝術成果。包浩斯着重分析世界的構成,能夠在極其理性的基礎上創造出嶄新的審美觀念,透過抽像的結構把繁複的外在世界,用簡單的美表達出來。然後才是專研不同藝術形式的「工藝大師」工作坊,學生需要將「形式大師」所講的</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">WAYS OF SEEING</span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;">,把藝術理念放入具體的創作。由此路進,學生將具備藝術家的眼光、思維和創造力,還有手工匠人的技巧、對材質的敏感等等,真正結合藝術和工藝。這種崇尚理性和專業的審美眼光的展演,恰恰在榮念曾的文化藝術生命中不斷閃現。</span><span style="font-family: 標楷體; font-size: 14pt; text-indent: 24pt;"> </span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjqHR172BOh4ohsIlGSc6iiNni_tM1kYiSuZTx0OMJKai3oszLOIfq7cPS6gwXiXOyFoSPfOJ-2GzNfS9DSuog-VYaRHU8CV5PHzxW7qJxh6C7Re8cSUkxGGdzxsg12Fek6ILv_rGroLaZd9ooFFVfE23vqwAZNJu9f6RK7JPF-Mh_xsL2HtNbuCDlW=s4000" imageanchor="1" style="font-family: 標楷體; font-size: x-large; margin-left: 1em; margin-right: 1em; text-align: center; text-indent: 24pt;"><img border="0" data-original-height="2667" data-original-width="4000" height="213" src="https://blogger.googleusercontent.com/img/a/AVvXsEjqHR172BOh4ohsIlGSc6iiNni_tM1kYiSuZTx0OMJKai3oszLOIfq7cPS6gwXiXOyFoSPfOJ-2GzNfS9DSuog-VYaRHU8CV5PHzxW7qJxh6C7Re8cSUkxGGdzxsg12Fek6ILv_rGroLaZd9ooFFVfE23vqwAZNJu9f6RK7JPF-Mh_xsL2HtNbuCDlW=s320" width="320" /></a></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold;"><span style="font-size: large;"> 榮念曾一直以不同形式「表述」文化視野<span lang="EN-US">(</span>發起「亞洲藝術網絡」及「城市文化交流會議」等<span lang="EN-US">)</span>、美學革命和藝術成果。大至在八十年代伊始把「劇場」概念帶來香港,小至在「創意操場──榮念曾實驗劇場秘笈:青年劇場教育課程」中,講授「身體、聲音、空間、科技、符號、結構」的「六個劇場關鍵詞」<span lang="EN-US">(</span>身體性別可以跨越行當、聲音與科技涉及多媒體的參與、符號與文字語言的密切關係、結構直接影響整個表演設計的格式和基盤<span lang="EN-US">)…</span>。榮念曾回顧展和《審判<span lang="EN-US">2021</span>》中,完全可以體現這一切一切的藝術理想和人文願景。而這許多,最終指向的都是藝術家的素質、文化人的素質,甚至是人的素質。<span lang="EN-US"><o:p></o:p></span></span></span></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-bidi-font-size: 12.0pt;"><o:p><span style="font-size: large;"> </span><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj-cCM41BOFeLQH-eNzxe_vv197FUMFhAYqk-v-k7QLNPh6i66DEoLC1SQWkeXLOOhSCJD5qgMdy_mclIXZhZtZbV61cn8tXHmko8iFkZ0OoMcu9GzPgiYw52zIYw6mNZQpOqOcDRU4H71L1-Cx-ViVVcqZOWmEkDBzYi6VfUx0qOlLv5-JvybxkV4t=s4000" imageanchor="1" style="font-size: x-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="2667" data-original-width="4000" height="213" src="https://blogger.googleusercontent.com/img/a/AVvXsEj-cCM41BOFeLQH-eNzxe_vv197FUMFhAYqk-v-k7QLNPh6i66DEoLC1SQWkeXLOOhSCJD5qgMdy_mclIXZhZtZbV61cn8tXHmko8iFkZ0OoMcu9GzPgiYw52zIYw6mNZQpOqOcDRU4H71L1-Cx-ViVVcqZOWmEkDBzYi6VfUx0qOlLv5-JvybxkV4t=s320" width="320" /></a><span style="font-size: large;"><br /></span><span style="color: #555544; font-family: tahoma; font-size: large;"><b>原載於</b></span><span face="tahoma, "Trebuchet MS", lucida, helvetica, sans-serif" style="color: #555544; font-family: tahoma, "Trebuchet MS", lucida, helvetica, sans-serif; font-size: large; font-weight: 700;">《文匯報》文化版。</span></o:p></span></p>梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-23925098318986613142021-10-23T00:00:00.001+08:002021-10-23T00:00:00.217+08:00《敢觀舞台》──再遇紫玉——《紫玉成煙》的舊恨新愁 (2021.10.23)<p> <span style="background-color: white; font-family: 標楷體; font-size: 12pt; text-align: justify; text-indent: 24pt;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX0K3i3Q72VMFlw6Sx7TZerzeFi_eIZImDWde9zBjvjJEYeSZJh_ryzQ55oKpgxnXSw5bJyWViBC2XmZMdYm3mIjLVE3R_ppbN5LpI-eb5GVNE9oXuuwbFvoRd2pWw7oEDLRgIHuMCA-4/s2048/1.jpg" imageanchor="1" style="background-color: white; font-family: 標楷體; font-size: 12pt; margin-left: 1em; margin-right: 1em; text-align: center; text-indent: 24pt;"><img border="0" data-original-height="1365" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX0K3i3Q72VMFlw6Sx7TZerzeFi_eIZImDWde9zBjvjJEYeSZJh_ryzQ55oKpgxnXSw5bJyWViBC2XmZMdYm3mIjLVE3R_ppbN5LpI-eb5GVNE9oXuuwbFvoRd2pWw7oEDLRgIHuMCA-4/s320/1.jpg" width="320" /></a></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-size: large;"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">2018</span><span style="background: white; color: black; font-family: 標楷體;">年香港舞蹈團的《紫玉成煙》記憶猶新。還沒有必須保持觀賞距離的想當年,在魚骨形舞台天橋底,仰望小玉勇闖無物之陣,紅棍子都彷彿在我頭頂上呼嘯而過;紫綬袍橫空出世、伸手可及,不禁為高門女眷的「正名」行動心頭一震。魚骨狀天橋四通八達,坐在古色古香的方形小櫈子,近距離感受古代戲棚看戲和「生於天橋底」般的時裝精朝聖體驗。三年前的「舞蹈劇場<span lang="EN-US">X</span>簡約粤劇」《紫玉成煙》絕對是驚喜,家傳戶傳的粤劇唱辭與揉合中國傳統舞蹈與現代舞的表演形式,<span lang="EN-US">CATWALK</span>狀的天橋自是神來之筆,沿襲<span lang="EN-US">2016</span>年香港舞蹈團《紅樓·夢三闋》的空間設定,進一步創建觀賞《紫釵記》的另類時空</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">——</span><span style="background: white; color: black; font-family: 標楷體;">堂座儼如旁觀者置身戲劇所述故事之中,樓座則是局外人冷眼旁觀</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">——</span><span style="background: white; color: black; font-family: 標楷體;">距離,規範了觀賞《紫玉成煙》的高度和角度、主觀與客觀、投入與抽離,決定了旁觀者、局外人對《紫釵記》的全新感受。</span></span><span style="font-family: 標楷體; font-size: x-large; text-indent: 24pt;"> </span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;"><o:p><span style="font-size: large;"></span></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVlTxzACPB7fPUQpUqUEqlY3_NorWIzhWfaDXsGqrqktvpB00cbE5t65oCnCuNtNCljDaDoTy8rm3zxc3CQJe7kzMnMmA7K4OYp1eJ5SiTyk8ECMPtSv8RJncCMf4v4TYjSYA30TkOI1s/s2048/2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1365" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVlTxzACPB7fPUQpUqUEqlY3_NorWIzhWfaDXsGqrqktvpB00cbE5t65oCnCuNtNCljDaDoTy8rm3zxc3CQJe7kzMnMmA7K4OYp1eJ5SiTyk8ECMPtSv8RJncCMf4v4TYjSYA30TkOI1s/s320/2.jpg" width="213" /></a></span></div><p></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background: white; color: black; font-family: 標楷體;"><span style="font-size: large;">物換星移,<span lang="EN-US">2021</span>年再遇《紫玉成煙》已然轉換了座位和心境,魚骨形天橋變身十字架形天橋,八段觀眾群也聚合成四段。今回坐到樓座上,充當橋上人看風景。坐在天橋底就像置身瓦舍勾欄,樓座則是橋上方一日世上已千年,看盡人間浮華。《紫玉成煙》甫開場,「主演」小玉、李益的潘翎娟、李涵登場亮相,粵劇時空的小玉、李益即李沛妍、洪海,在天橋兩端閃現。小玉們的紅絲巾群舞象徵小玉十郎的拾帕相遇,紅絲巾往上空拋擲,小玉們臉龐迎上,可惜不斷努力不斷失敗。我彷彿看見《穆勒咖啡館》<span lang="EN-US">(Caf</span>é<span lang="EN-US"> M</span>ü<span lang="EN-US">ller) </span>不停被推跌的椅子,和《呼吸》<span lang="EN-US">(Nefes)</span>中舞蹈員身上一直掉落又塗上的泡沫。紅絲巾披面彷彿又是鳳冠霞帔的一部分,永恒的失落成了小玉們的宿命。《紫玉成煙》一開始已為似乎是大團圓的戲寶結局轉向定調,預示了姻緣難諧。</span></span><span style="font-family: 標楷體; font-size: x-large; text-indent: 24pt;"> </span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;"><o:p><span style="font-size: large;"></span></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3VvEF9ihkY-1EvM4QbzMCQfaglY0FfRd7dkVriVuYG6gVWEfILAFtzczEe_4YsveieZ0y17GnCgnIvr_acR7K4Eu6FfBomyBhyphenhyphenTGGfaMsW8uZZP2J8S4KInMsdy8gq4Oe6-Zl7GfMIzw/s2048/3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3VvEF9ihkY-1EvM4QbzMCQfaglY0FfRd7dkVriVuYG6gVWEfILAFtzczEe_4YsveieZ0y17GnCgnIvr_acR7K4Eu6FfBomyBhyphenhyphenTGGfaMsW8uZZP2J8S4KInMsdy8gq4Oe6-Zl7GfMIzw/s320/3.jpg" width="320" /></a></span></div><p></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background: white; color: black; font-family: 標楷體;"><span style="font-size: large;">《紫玉成煙》中式器樂演奏與粵劇行當、武術,精采紛呈。末段高潮一幕,紅棍子組構而成的高官大族、深鎖重門令人喘不過氣來,弱女子身段的小玉潘翎娟尋夫爭夫,筋竭力疲。橋底觀眾,情緒很自然被刀山火海、拼死掙扎的情志和棍棒亂飛的場景帶動,膽戰心驚之餘亦心懷悲憫。人在橋上看風景,浮想聯翩。這組「個體單挑制度」舞步中,驟眼看去似是粵劇舞台上最擅長的結結棍棍的「打戲」;天橋上向下看,卻大有鋼管舞(<span lang="EN-US">Pole dance</span>)的點滴影子,舞者與《紫玉成煙》中垂直或橫向的支柱,實現舞蹈和體操相結合的表演藝術。只是鋼管舞大都展示深具性感魅力的肢體語言,小玉潘翎娟這一段卻是柔弱身段與強橫外在制度的強烈對比,在「木架」上展示攀爬、旋轉、身體倒掛等舞姿。一如最經典的一段,四條紅棍子組構成井字形囚籠,將小玉困鎖其中。凡人誤墮塵網,再也回不了去。</span></span><span style="font-family: 標楷體; font-size: x-large; text-indent: 24pt;"> </span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsVF9SsKKXqp1cXKyk4o-eYq6mfsHBeYYLRB7pe1zCcFbQaVBVC7YTnwN-mcrLlIVOZPtykPn_MMLkBugyoDx96bE2SEEF4-sFUhqvlsNvQOmlKF7MqP5PUy9-d0noJP9lwOEgmGWtrkw/s1920/5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsVF9SsKKXqp1cXKyk4o-eYq6mfsHBeYYLRB7pe1zCcFbQaVBVC7YTnwN-mcrLlIVOZPtykPn_MMLkBugyoDx96bE2SEEF4-sFUhqvlsNvQOmlKF7MqP5PUy9-d0noJP9lwOEgmGWtrkw/s320/5.jpg" width="320" /></a></div><p></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background: white; color: black; font-family: 標楷體;"><span style="font-size: large;">粵劇花旦李沛妍末段身穿紫綬袍,吟唱小玉的情志。據悉在任白版本的《紫釵記》電影中,小玉就身穿紫綬袍。所謂綬,就是繫在印紐上的絲質帶子。紫綬金章,即身上佩帶繫著紫色絲帶的金印,比喻高官厚祿。紫綬袍既是小玉據理爭夫的特定符號服飾,也是「正名」自身為高門女眷之意。天橋上特別看得清楚,素臉小玉穿著紫綬袍步上天橋,在橋上一隅讓美妝師替她畫上粵劇女旦妝容。這是整裝待發,以服飾明志。看似戲劇化「戴上粵劇面譜」的堅強小玉,最後死在蒙面武士懷中。似是奸角的黑武士,竟然不是盧太尉,而是十郎李益的臉。傳統粵劇中逼婚的太尉與心志不堅的十郎,原是同謀共犯。在男權社會的世界裡,我們没有人是無辜的。</span></span><span style="font-family: 標楷體; font-size: x-large; text-indent: 24pt;"> </span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;"><o:p><span style="font-size: large;"></span></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrCGQbK1ohuv2TpwaF3lJ4G1b5FXrfW8fGj7-0X1ntkwI4sFFhjS9Nkb_3jyspkw9QsxAN-EKjPy06D9OuDErF_hVjECt39H9OFkqHiFs3CQ1LZxsVGxw-3tgesxyRJeP4fzBPhE8BokI/s750/6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrCGQbK1ohuv2TpwaF3lJ4G1b5FXrfW8fGj7-0X1ntkwI4sFFhjS9Nkb_3jyspkw9QsxAN-EKjPy06D9OuDErF_hVjECt39H9OFkqHiFs3CQ1LZxsVGxw-3tgesxyRJeP4fzBPhE8BokI/s320/6.jpg" width="213" /></a></span></div><p></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background: white; color: black; font-family: 標楷體;"><span style="font-size: large;">有細心的觀眾朋友特別指出,《紫玉成煙》的現場樂師皆身穿黃色衣裳。《紫玉成煙》沒有傳統粵劇中的「黃衫客」角色,路見不平、拔刀相助嬌弱的小玉,反而是一眾樂師以音樂推動小玉的情緒。樓座上的我,為要不斷調校觀賞角度,乾脆將上半身掛在從橋上垂下的竹簾頂端,恰恰看到一眾「黃衫客」的<span lang="EN-US">IPAD</span>電子曲譜,算是另類「間離效果」,亦是橋上客觀賞「清明上河圖」般人文風景的另類穿越。<span lang="EN-US">2021</span>年再遇《紫玉成煙》,是為記。</span></span><span lang="EN-US" style="font-size: 12.0pt;"><o:p></o:p></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background: white; color: black; font-family: 標楷體;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5pz7z6cmsxfOlVTY9xmoF9bG8h16gl-dh331cGy_nQn8EkYG58BIBA-10wR7iZW9D-4oNvtM4iifyJbMeksICx0aM0eF5EVVJcYrhyGUSgHf5PF6ga93NcCJ84aXp3mPqRSZhk0GLwZQ/s2048/7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5pz7z6cmsxfOlVTY9xmoF9bG8h16gl-dh331cGy_nQn8EkYG58BIBA-10wR7iZW9D-4oNvtM4iifyJbMeksICx0aM0eF5EVVJcYrhyGUSgHf5PF6ga93NcCJ84aXp3mPqRSZhk0GLwZQ/s320/7.jpg" width="320" /></a></div><span style="font-size: large;"><br /></span><p></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background: white; color: black; font-family: 標楷體;"><span style="color: #555544; font-family: tahoma; font-size: large; text-align: left; text-indent: 0px;"><b>原載於</b></span><span face="tahoma, "Trebuchet MS", lucida, helvetica, sans-serif" style="color: #555544; font-family: tahoma, "Trebuchet MS", lucida, helvetica, sans-serif; font-size: large; font-weight: 700; text-align: left; text-indent: 0px;">《文匯報》文化版。</span></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background: white; color: black; font-family: 標楷體;"><span style="font-size: large;"><br /></span></span></p>梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-89519473168441363012021-10-11T18:20:00.002+08:002021-10-11T18:20:59.261+08:00《林夕的人文風景》──跋 (2021.10)<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAq9f6Kd9miWMqiR2E8aT_dTBw1aHUVjbTFouVdGcU_rVC4q-MSzyyP9m2h4ZLf6UeNs9WzsNcSkS6O2k7Uw4tVIzZhXbqalNin8jbYeaYRQXHxh8c2_6g7q8bWXb2lVkkrPZpiwaS13Y/s2048/%25E8%25A9%259E%25E4%25BA%25BAlayout-%25E6%259E%2597%25E5%25A4%2595-cover2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1401" data-original-width="2048" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAq9f6Kd9miWMqiR2E8aT_dTBw1aHUVjbTFouVdGcU_rVC4q-MSzyyP9m2h4ZLf6UeNs9WzsNcSkS6O2k7Uw4tVIzZhXbqalNin8jbYeaYRQXHxh8c2_6g7q8bWXb2lVkkrPZpiwaS13Y/s320/%25E8%25A9%259E%25E4%25BA%25BAlayout-%25E6%259E%2597%25E5%25A4%2595-cover2.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="border-bottom: solid windowtext 1.0pt; border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-element: para-border-div; padding: 0cm 0cm 1.0pt 0cm;">
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-fareast-language: ZH-TW;">跋<span lang="EN-US"><o:p></o:p></span></span></p>
</div><p></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-family: 標楷體; font-size: 14pt;">這是一本遲到五年的小書。錯有錯着,不但可以相對完整地談論林夕寫詞的「三個十年」,包羅更多林系優秀作品,還碰上林夕重新整理出版少作的文字結集《別人的歌》<span lang="EN-US">(2018)</span>。《別人的歌》讓我們看到放膽談音樂、談流行曲、談詞、談詞評<span lang="EN-US">(</span>人<span lang="EN-US">)</span>的林夕。林夕談詞文章過癮好看、切中肯綮,正好串演雙重身份的「流行歌詞分析員」:</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: Mangal;"><o:p></o:p></span></p><div style="border-bottom: solid windowtext 1.0pt; border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-element: para-border-div; padding: 0cm 0cm 1.0pt 0cm;">
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: Mangal;"> </span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-family: 標楷體; font-size: 14pt;">寫詞人評詞,會懂得旋律媾合與搏鬥時種種不足為外人道之處,跟純粹評論者角度很不一樣。當時九流十家若有機會細說一遍,也算是行家講行家的史上唯一了。今日即使有緣下筆,所謂如得其情,哀矜勿喜。太了解備受不同限制的苦衷,會多了幾分體諒,少了年少氣盛時的銳利,當然,也包括對歌詞的要求。<a name="_Hlk48338270"></a></span><span lang="EN-US" style="font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: Mangal;"><o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: Mangal;"> </span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-family: 標楷體; font-size: 14pt;">近年在香港粵語流行歌詞研究範疇,出版不少由精通音律的前輩學人從音樂進行評議的嚴肅討論。洛楓談舞台「明星文本」到表演者在熒幕上的性別分析,在在為研究者提供更多研究進路的選擇。準備這本小書的時候,常常想起林夕把閱聽者<span lang="EN-US">(</span>對他<span lang="EN-US">)</span>的歌詞分析,概括為「矯枉過正」、「過份解讀」。作為一名「流行歌詞分析員」,實在不能同意更多。林若寧在《詞家有道》說過,寫詞是一件很個人的事。其實,從事香港粵語流行歌詞研究,又何嘗不是一件很個人的事<span lang="EN-US">? </span>所看到的彷彿都是我們的興趣、閱讀習慣、接受流行曲時的審美「細藝」,多於要為某種說法、某個詞人定於一尊,讓世人膜拜。</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: Mangal;"><o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: Mangal;"> </span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-family: 標楷體; font-size: 14pt;">紛紛擾擾的歲月裡,感激香港粵語流行歌曲和創作人,給予香港的能量。前路艱險,創作人要把香港故事說下去,我們就要把流行歌曲的故事說下去。共勉之。</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: Mangal;"><o:p></o:p></span></p>
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<p align="right" class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm; text-align: right;"><span style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-fareast-language: ZH-TW;">梁偉詩<span lang="EN-US"><o:p></o:p></span></span></p>
<p align="right" class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm; text-align: right;"><span style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-fareast-language: ZH-TW;">識於香港<span lang="EN-US"><o:p></o:p></span></span></p>
<p align="right" class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm; text-align: right;"><span lang="EN-US" style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-fareast-language: ZH-TW;">2020</span><span style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-fareast-language: ZH-TW;">年三月<span lang="EN-US"><o:p></o:p></span></span></p><p align="right" class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm; text-align: right;"><span style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-fareast-language: ZH-TW;"><br /></span></p><p align="right" class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm; text-align: right;"><span style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-fareast-language: ZH-TW;"></span></p><div style="border-bottom: solid windowtext 1.0pt; border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-element: para-border-div; padding: 0cm 0cm 1.0pt 0cm;">
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span lang="ZH-HK" style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal;"><br /></span></p><p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span lang="ZH-HK" style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal;"><br /></span></p><p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span lang="ZH-HK" style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal;"><span style="font-size: 14pt;">《林夕的人文風景》</span>內容</span><span style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-bidi-language: AR-SA; mso-fareast-language: ZH-TW;">簡介</span><span lang="ZH-HK" style="font-family: 標楷體; font-size: 14pt; line-height: 120%;">:</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-bidi-language: AR-SA; mso-fareast-language: ZH-TW;"><o:p></o:p></span></p>
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span lang="EN-US" style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-bidi-language: AR-SA; mso-fareast-language: ZH-TW;"> </span></p>
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-bidi-language: AR-SA; mso-fareast-language: ZH-TW;">本書以林夕的人文情趣、人文風骨,作為談林夕詞作的重要切入點,並以三個創作階段──「第一個十年</span><span lang="ZH-HK" style="font-family: 標楷體; font-size: 14pt; line-height: 120%;">:</span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">林夕詩說</span><span style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-bidi-language: AR-SA; mso-fareast-language: ZH-TW;">」、「第二個十年</span><span lang="ZH-HK" style="font-family: 標楷體; font-size: 14pt; line-height: 120%;">:</span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">找一個天堂,少一個方向</span><span style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-bidi-language: AR-SA; mso-fareast-language: ZH-TW;">」和「第三個十年</span><span lang="ZH-HK" style="font-family: 標楷體; font-size: 14pt; line-height: 120%;">:</span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">阿媽係女人</span><span style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-bidi-language: AR-SA; mso-fareast-language: ZH-TW;">」──略窺林夕在寫詞道路上的成長發展及文辭的奧妙,重塑「林夕的人文風景」,</span><span style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-fareast-language: ZH-TW;">把香港粵語流行歌曲的故事說下去。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span lang="EN-US" style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-fareast-language: ZH-TW;"> </span></p>
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span lang="EN-US" style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-fareast-language: ZH-TW;"> </span></p>
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-fareast-language: ZH-TW;"><span style="font-size: 14pt;">《林夕的人文風景》</span>全書目錄<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span lang="EN-US" style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-fareast-language: ZH-TW;"> </span></p>
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">序<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><o:p> </o:p></span></p>
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-bidi-language: AR-SA; mso-fareast-language: ZH-TW;">一、「第一個十年」</span><span lang="ZH-HK" style="font-family: 標楷體; font-size: 14pt; line-height: 120%;">:</span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">林夕詩說<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><o:p> </o:p></span></p>
<p class="MsoBodyText" style="border: none; margin-left: 18.0pt; mso-border-bottom-alt: solid windowtext .75pt; mso-list: l0 level1 lfo1; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm; text-indent: -18.0pt;"><!--[if !supportLists]--><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; line-height: 120%;">1.<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span></span><!--[endif]--><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">(</span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">只差<span lang="EN-US">) </span>半步成詩<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoBodyText" style="border: none; margin-left: 18.0pt; mso-border-bottom-alt: solid windowtext .75pt; mso-list: l0 level1 lfo1; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm; text-indent: -18.0pt;"><!--[if !supportLists]--><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; line-height: 120%;">2.<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span></span><!--[endif]--><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">林夕所痛愛的香港<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoBodyText" style="border: none; margin-left: 18.0pt; mso-border-bottom-alt: solid windowtext .75pt; mso-list: l0 level1 lfo1; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm; text-indent: -18.0pt;"><!--[if !supportLists]--><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; line-height: 120%;">3.<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span></span><!--[endif]--><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">千古文人俠客夢<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoBodyText" style="border: none; margin-left: 18.0pt; mso-border-bottom-alt: solid windowtext .75pt; mso-list: l0 level1 lfo1; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm; text-indent: -18.0pt;"><!--[if !supportLists]--><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; line-height: 120%;">4.<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span></span><!--[endif]--><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">他們都是天使<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><o:p> </o:p></span></p>
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">二、</span><span style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-bidi-language: AR-SA; mso-fareast-language: ZH-TW;">「第二個十年」</span><span lang="ZH-HK" style="font-family: 標楷體; font-size: 14pt; line-height: 120%;">:</span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">找一個天堂,少一個方向<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><o:p> </o:p></span></p>
<p class="MsoBodyText" style="border: none; margin-left: 18.0pt; mso-border-bottom-alt: solid windowtext .75pt; mso-list: l1 level1 lfo2; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm; text-indent: -18.0pt;"><!--[if !supportLists]--><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; line-height: 120%;">1.<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span></span><!--[endif]--><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">歌詞哲理化<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoBodyText" style="border: none; margin-left: 18.0pt; mso-border-bottom-alt: solid windowtext .75pt; mso-list: l1 level1 lfo2; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm; text-indent: -18.0pt;"><!--[if !supportLists]--><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; line-height: 120%;">2.<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span></span><!--[endif]--><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">概念專輯、概念歌手<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><o:p> </o:p></span></p>
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-bidi-language: AR-SA; mso-fareast-language: ZH-TW;">三、「第三個十年」</span><span lang="ZH-HK" style="font-family: 標楷體; font-size: 14pt; line-height: 120%;">:</span><span style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-bidi-language: AR-SA; mso-fareast-language: ZH-TW;">「</span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">阿媽係女人</span><span style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-bidi-language: AR-SA; mso-fareast-language: ZH-TW;">」<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span lang="EN-US" style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-bidi-language: AR-SA; mso-fareast-language: ZH-TW;"> </span></p>
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">1. </span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">後</span><span style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-bidi-language: AR-SA; mso-fareast-language: ZH-TW;">「哲理歌詞」<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span lang="EN-US" style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-bidi-language: AR-SA; mso-fareast-language: ZH-TW;">2. </span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">冷眼看世情<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">3. </span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">入世、問世<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><o:p> </o:p></span></p>
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">跋<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">詞人簡介</span><span lang="EN-US" style="color: #4472c4; font-size: 14.0pt; line-height: 120%;"><o:p></o:p></span></p>
<p class="MsoBodyText" style="border: none; mso-border-bottom-alt: solid windowtext .75pt; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm;"><span style="font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: Mangal; mso-fareast-language: ZH-TW;">引用書目</span></p></div></div></div>梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-41762808235255444332021-10-09T18:19:00.004+08:002021-10-09T18:19:52.321+08:00《香港舞蹈概述2019》──《香港當代編舞家作品研究1980-2010:香港當代舞蹈歷史、美學及身分探求》 (2021.10)<p><span style="background-color: white; font-family: 標楷體; font-size: 14pt; text-align: justify; text-indent: 24pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5JjZl9HyAhIwf8U6T_CIPx8xMkt0QHkMlM-Nh47M0Tqufx3iUCm_ptqxult8d_BA_VV9f2kr-8kLqAf5JEgNabAsuWhazc2BwtbgT2mSpDF7rJb440Uxny5GXe6gU43D6aSKqHV2k2js/s339/20191010_123014_XHFsp1vV7O_p_240_0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="339" data-original-width="240" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5JjZl9HyAhIwf8U6T_CIPx8xMkt0QHkMlM-Nh47M0Tqufx3iUCm_ptqxult8d_BA_VV9f2kr-8kLqAf5JEgNabAsuWhazc2BwtbgT2mSpDF7rJb440Uxny5GXe6gU43D6aSKqHV2k2js/s320/20191010_123014_XHFsp1vV7O_p_240_0.jpg" width="227" /></a></div><br /><br /><p></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span><span style="font-family: 標楷體; font-size: 14pt; text-align: left;">摘要:五、六十年代的香港由於經濟文化條件局限,並沒有甚麼「舞蹈」或「發展藝術」的概念。大概要到</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; text-align: left;">1967</span><span style="font-family: 標楷體; font-size: 14pt; text-align: left;">後,港英殖民地政府開始積極發展青年政策,才逐漸以「藝術」、「文化」的角度看待「舞蹈」,進而確立「舞蹈家」、「表演藝術」的文化角色。隨着香港社會發展,八、九十年代香港舞蹈發展開始從追求「舞蹈專業資格」,進一步開展出「舞蹈創作」;背後不但有着與西方藝術標準接軌的欲望,亦表現出香港作為一個面向國際的華人城市,必然又偶然地造就一批具有中西文化以至舞蹈背景的「舞蹈創作者」。從時代脈絡觀之,《香港當代編舞家作品研究</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; text-align: left;">1980-2010</span><span style="font-family: 標楷體; font-size: 14pt; text-align: left;">:香港當代舞蹈歷史、美學及身分探求》的研究時段正好是「香港表演藝術」的重要轉折點和新高點,儼如「重新發現」香港編舞家的考掘過程中,努力呈現錢秀蓮、黎海寧、梅卓燕、伍宇烈、潘少輝與楊春江這一波「香港舞蹈創作」拓荒者、先行者的藝術觀及美學傾向,描繪以舞蹈為代表的「香港表演藝術」的輪廓、特質及內涵,為當代香港文化思潮記下重要的一筆——他們就是「香港」,也是「香港城市品牌」(</span><span lang="EN-US" style="font-family: 標楷體; font-size: 14pt; text-align: left;">city branding</span><span style="font-family: 標楷體; font-size: 14pt; text-align: left;">),「在香港創作」並「在創作香港」。</span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-family: 標楷體; font-size: 14pt; text-align: left;"><br /></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-family: 標楷體; font-size: 18.6667px;">前言:表演藝術研究的海外及香港情況</span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-family: 標楷體; font-size: 18.6667px;"><br /></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">有關舞台表演藝術的研究,放眼世界,歐亞不同地域皆有具規模的表演藝術的研究/資料中心,包括法國國家科學研究中心(<span lang="EN-US">Centre national de la recherche scientifique</span>,下稱<span lang="EN-US">CNRS</span>)與中國社會科學院(下稱社科院)等。駐巴黎的<span lang="EN-US">CNRS</span>不輟地與不同大學的正式合作單位成立研究中心、出版關於舞台表演藝術的戲劇家研究專著,成為世界各地後來者和研究者的重要參考特藏;駐北京的社科院旗下亦有不同的研究所,就着所關注課題進行研究。如社科院的亞洲太平洋研究所便以民俗學(<span lang="EN-US">folklore / folkloristics</span>)、人類學的研究方法,為亞洲表演藝術留下重要的一筆。國家級規模以外,晚近較受到業界注目的,還有比利時的法蘭德斯表演藝術研究所(<span lang="EN-US">Vlaams Theater Instituut</span>)<span lang="EN-US">1</span>,其研究成果和出版物,大量提供有關其核心藝術家及藝團的信息和數據,研究所推許的戲劇和舞蹈實驗資料庫,帶領觀眾、讀者了解生機勃勃的法蘭德斯藝術景觀,和全球著名的「法蘭德斯藝術現象」。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">長久以來,歐洲表演藝術聞名遐邇,不少專業表演藝術研究所的資料中心,紀錄不同類型的劇團所製作的節目,還為特定的演出中心、藝術實驗室和藝術節的整體國際化進程,奠定強而有力的支撐研究框架。全因為當代表演藝術的國際化不僅是表演藝術產品輸出,同時是藝術成果引進和相互交流的過程。一切不單純關乎表演藝術規模和製作,所衍生的開發研究、館藏、教育及開拓,更關係到藝術家的定位和藝術史的整理。許多富有才華的藝術家,已然走出游牧式跨國表演實踐。他們的舞台表演藝術往往在不同的城市和國家之間遷徙、在不同規模的場所展示。換句話說,表演藝術的研究,恰恰積極參與藝術家與表演藝術品牌的發展。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">香港表演藝術活動的資料整理和研究,彷彿是相對晚近出現的新生事物。隨着香港表演藝術多元發展及國際化,業界逐漸發現香港表演藝術資料庫存和研究原是其中不可缺少的一環。七、八十年代以來,香港表演藝術發展蓬勃,專注於各種藝術形式探索的藝團、藝術家、表演者都各有成長、轉變、飛躍,可是業界在藝團、藝術家及作品的研究上,依然欠缺通盤的紀錄及有關美學的全面勾勒。縱然在有心人的大力推動之下,目前已有香港中文大學中國音樂資料館及其研究、《香港視覺藝術年鑑》的編纂<span lang="EN-US">[l1]</span>、國際演藝評論家協會(香港分會)(下稱<span lang="EN-US">IATC</span>)《香港戲劇年鑑》與《香港戲曲年鑑》系列<span lang="EN-US">2</span>等等。坊間也有若干專題書籍問世(如表演藝術研究書刊、劇本集;香港戲劇協會出版《劇壇點將錄》共五輯),卻大都傾向入門式簡史介紹和純粹的文本出版。偶有聚焦於個別香港藝術家的研究,亦只截取某個特定時期的藝術取向(如<span lang="EN-US">2004</span>年的《合成美學──鄧樹榮的劇場世界》)或圖文匯編(如<span lang="EN-US">2016</span>年的《陳友榮設計.本(<span lang="EN-US">Book of Ewing</span>)》)。單看表演藝術這一塊,歷史資料梳理如演出年表等固然重要,過往的研究者卻較難從既有的、相對零散的資料整理或專題文章,窺見香港表演藝術發展全豹。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">口述史作為研究方法<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">「口述史」乃是現今文化整理的有效模式,不同背景的藝文機構紛紛投放資源進行<span lang="EN-US">[l2]</span>「口述史」的紀錄和出版。如香港近年先後誕生<span lang="EN-US">IATC</span>推動的「香港戲劇資料庫暨口述歷史計劃」、「一攝無邊:香港劇場影像紀錄數碼資料庫暨教育計劃」等資料整存成果。發表於<span lang="EN-US">2018</span>年的城市當代舞蹈團「研究計劃–香港舞蹈口述歷史」,於<span lang="EN-US">2020</span>年獲頒香港舞蹈年獎「傑出舞蹈服務」,足見香港表演藝術活動的資料整理和研究,逐漸邁向新一頁,更得到業界的支持和認同,得以長足發展。「研究計劃–香港舞蹈口述歷史」的具體內容包括雙語出版物《拾舞話:香港舞蹈口述歷史(五十至七十年代)》(下稱《拾舞話》)及網站。此研究計劃以香港舞蹈「前專業化時代」為主要研究年代,由兩位研究員親身訪問十位在五十至七十年代活躍於香港舞蹈圈的前輩<span lang="EN-US">3</span>,從而提煉不同角度的觀點與視野,呈現口述歷史紀錄方式,建構香港舞蹈早期發展史料。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAgGkvsxCjGNBItwp_WKeRT1UNBfXhieOhWmQWvJy7BcJEGnbjSqtRUW95MZBZsWiEA7Acm8QmLxuN5zpxEY6sbzfBsUiYTCne03HE6zydvg8-klFWnFJXddIVWj9b4AxV-zSzwQCkMyg/s2016/78958486_2577038432364013_8742232100796628992_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1512" data-original-width="2016" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAgGkvsxCjGNBItwp_WKeRT1UNBfXhieOhWmQWvJy7BcJEGnbjSqtRUW95MZBZsWiEA7Acm8QmLxuN5zpxEY6sbzfBsUiYTCne03HE6zydvg8-klFWnFJXddIVWj9b4AxV-zSzwQCkMyg/s320/78958486_2577038432364013_8742232100796628992_n.jpg" width="320" /></a></div><br /><p></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">同年九月出版的《香港當代編舞家作品研究<span lang="EN-US">1980-2010</span>:香港當代舞蹈歷史、美學及身分探求》(下稱《香港當代編舞家作品研究<span lang="EN-US">1980-2010</span>》)踵事增華,由香港浸會大學文潔華教授主編、統籌及配對六對香港編舞家及藝評人的「一對一」研究組合,分別是「錢秀蓮與鍾冠怡」、「黎海寧與陳雅萍」、「梅卓燕與洛楓」、「伍宇烈與曲飛」、「潘少輝與劉天明」、「楊春江與聞一浩」。每對「組合」獨立成章,一點一滴梳理出個別編舞家的承傳牽繫、如何互相影響,甚至定格聚焦於某些創作現象,特定作品的鑽探。「一對一」研究狀態下,不但有被研究的編舞家在受訪部分以創作者第一身回顧和解說作品構思,分享對於表演藝術、香港文化願景的看法,更與研究者基於難能可貴的知音關係暢談藝術,藉此探討九七前後香港表演藝術與城市文化肌理種種千絲萬縷的關係,一筆一劃描繪出香港表演藝術在「後過渡期」、「千禧前後」的地形風貌,從而追溯香港表演藝術數十載發展洪流的來龍去脈,透視整整一代香港「舞蹈人」的心路歷程。換句話說,是項《香港當代編舞家作品研究<span lang="EN-US">1980-2010</span>》研究計劃,就着編舞家的藝術發展背景、心路歷程和舞台上具體舞蹈作品獨特的一次性、現場感、空間感的呈現,見樹又見林地為編舞家「寫史」、「留影」,立此存照。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">文潔華教授是位特別願意推動香港藝術文獻檔案整理(<span lang="EN-US">archive</span>)的學者專家,曾編著《與香港藝術對話:<span lang="EN-US">1980-2014</span>》(與黎明海合著,<span lang="EN-US">2015</span>)、《香港視覺藝術家<span lang="EN-US">1970-1980</span>——新水墨運動後的實驗與挪移》(<span lang="EN-US">2018</span>)。對於是項《香港當代編舞家作品研究<span lang="EN-US">1980-2010</span>》研究計劃,尤為強調要從舞蹈美學、身體理論及脈絡研究、舞蹈史、文化研究等跨學科面向,聚焦於<span lang="EN-US">1980</span>至<span lang="EN-US">2010</span>年間香港舞蹈的發展。香港專業藝團的誕生,由七十年代伊始、八九十年代小型專業紛紛成立,專研這三十年,亦即香港回歸前後共三十年的文化場域。由六位香港編舞家的藝術個案研究組成「點、線、面」,毋寧是重組香港舞蹈「從蒙昧到專業」(五十至七十年代)後的嶄新香港表演藝術盛世。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">六對「一對一」研究組合<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">〈繪出舞蹈錢秀蓮〉一文,鍾冠怡描述在錢秀蓮帶領下,香港原來早在八十年代已出現理念上與台灣「雲門舞集」眉目互通的「錢秀蓮舞蹈團」。錢氏不但喜與其他界別的藝術家跨界合作(<span lang="EN-US">crossover</span>),將書法、國畫的圖象思維和太極、武術等東方形體訓練引入舞蹈創作,使得「錢秀蓮舞蹈團」在藝術概念相對不那麼風格化或個人化的八、九十年代,獨樹一幟。<span lang="EN-US">4</span>〈潘少輝的環境舞蹈與現代性〉,劉天明讓讀者重新認識這位香港「環境舞蹈」的先鋒人物。編舞家潘少輝善於在具體歷史環境(如香港鐵路博物館、三棟屋博物館)排演舞蹈,又有着將舞台設計及裝置與表演視作創作有機體的表演藝術整體觀。潘氏亦是將舞蹈工作重心帶到內地的香港舞蹈先驅之一,其「廣東現代舞團」延續發展環境舞蹈之餘,更致力促進兩地表演藝術交流。<span lang="EN-US">5</span>〈從古典芭蕾到當代訓練:伍宇烈作品呈現的「香港性」〉,曲飛描繪出一名「跳芭蕾舞的男子」的成長歷程;伍氏在後來的當代舞創作中,破格地顛覆古典芭蕾講究的精準、對稱、延伸等審美標準,走出一片天地。<span lang="EN-US">6</span>其中「黎海寧」、「梅卓燕」、「楊春江」部分各擅勝場,堪為研究香港表演藝術的重要示範。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">〈香港作為方法:黎海寧舞作中的敘事、身體與主體探求〉的研究者為台灣舞蹈學者陳雅萍。陳雅萍長於研究台灣當代舞蹈史、現代性理論、身體文化研究及舞蹈分析與評論,近年專注於香港編舞家黎海寧作品的鑽探,可謂是大中華世界中書寫「黎海寧」的不二人選。陳雅萍從文化研究出發,探索後殖民城市所生出的「黎海寧」式香港舞蹈,細讀《革命京劇——九七封印》(<span lang="EN-US">1997</span>)、《雙城記——香港、上海、張愛玲》(<span lang="EN-US">2010</span>)與《女書》(<span lang="EN-US">2007</span>)的種種文化符號和意涵。《革命京劇》通過荒腔走板的京劇身體形象,展示香港的混雜文化身份。《雙城記》以張愛玲的故事為槓桿,連繫起香港上海傳說<span lang="EN-US">7</span>中的上海女子、甚至張愛玲本人,在香港「陷落」、「困坐」在沙發上。《女書》的「陰性書寫」,糅合香港女作家西西與黃碧雲的「玄牝」詩語言的文字特質;研究者的台灣背景,使得她敏感於舞台上粵語的運用,特別有所詮釋。全文在理論取材上以亞巴斯(<span lang="EN-US">Ackbar Abbas</span>)、克莉斯蒂娃(<span lang="EN-US">Julia Kristeva</span>)、羅蘭.巴特(<span lang="EN-US">Roland Barthes</span>)等文化理論穿梭剖析,不論是香港邊緣文化身份還是女性的異化,皆與黎氏所要表達的「香港性」一脈相承。<span lang="EN-US">8<o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">〈隨身起舞:楊春江的身體舞學〉的研究者是香港資深文化版編輯兼舞評人聞一浩,觀賞楊氏作品多年,可謂「楊春江藝術育成的目擊證人<span lang="EN-US">[l3]</span>」<span lang="EN-US">(</span>屬筆者概括,故刪去注釋<span lang="EN-US">)</span>。研究中翔實地交代楊氏藝術系出身,半途出家投身舞藝。楊氏非常重視舞蹈的戲劇元素,也受到梅卓燕「接觸即興」的啟發,不拘泥於舞蹈傳統形式和美學技巧,重視身體的主體位置。從《好反》(<span lang="EN-US">1995</span>)、《孿生戀》(<span lang="EN-US">1995</span>)、《灵灵性性天體樂園》(<span lang="EN-US">1999</span>)、《哥仔戲》(<span lang="EN-US">2002</span>)到《形亡極樂》(<span lang="EN-US">2004</span>)等,差不多全都有全裸演出。身體不僅是楊氏的表演工具,更是表演的舞台和畫布,盡情發揮身體的多樣性。聞一浩從而歸納出楊春江作品就是要「與自己的身體玩遊戲」,樂於在作品中呈現性別議題,結合空間運用和多媒體元素,推動觀眾對於性別與身份的種種反思。其時楊氏及其舞作亦被譽為「香港的<span lang="EN-US">DV8</span>」。<span lang="EN-US">9 10<o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">〈落花人獨立:梅卓燕的舞蹈美學〉的研究者洛楓,是香港著名文化評論人、藝評人,整個研究從梅卓燕習舞的成長歷程說起。中國舞出身的梅卓燕,千禧年後兩次訪美,受到「後現代舞」(<span lang="EN-US">postmodern dance</span>)的「接觸即興」(<span lang="EN-US">contact
improvisation</span>)理念和技巧啟發,直接影響後來兼擅東西方舞蹈風格的創作傾向和發展。洛楓是位近年<span lang="EN-US">(</span>已刪去有歧義部分<span lang="EN-US">)</span>才現場實時追蹤梅氏舞蹈的「後來者」,相對而言長於理論的闡釋,故此在論述上大力鋪陳有關理論細節和關鍵詞。如梅氏在現代舞的基礎上引入東方觀念,如禪佛儒思想、太極和合氣道的身體哲學等,又加入傳統不被認為屬於舞蹈的動作。洛楓隨即交代這些「接觸即興」的元素包括:一、力度轉移;二、跟物件產生連繫;三、通過身體建立溝通的方法。又如梅氏一直認為「詩近於舞」,洛楓就着梅氏作品剖析當中意象(<span lang="EN-US">image</span>)、象徵(<span lang="EN-US">symbol</span>)及比喻(<span lang="EN-US">metaphor</span>)的運用,將其「從概念到創作」的點點滴滴層層對應印證。至於最人津津樂道的梅氏與翩娜.包殊(<span lang="EN-US">Pina Bausch</span>)的跨文化、跨地域情誼,並受邀請到旗下的福克旺舞蹈團(<span lang="EN-US">Folkwang
Tanzstudio</span>)編舞,洛楓便補充了「舞蹈劇場」(<span lang="EN-US">dance theatre</span>)來自拉邦(<span lang="EN-US">Rudolf von Laban</span>)的濫觴和翩娜.包殊的確立,並對梅氏六個獨舞和編舞的作品:《遊園驚夢》(<span lang="EN-US">1986</span>)、《獨步》(<span lang="EN-US">1995</span>)、《再世.尋梅》(<span lang="EN-US">2008</span>)、《紫.釵.緣》(<span lang="EN-US">2010</span>)、《日記<span lang="EN-US">VI</span>:謝幕》(<span lang="EN-US">2015</span>)與《生死蕭紅》(<span lang="EN-US">2013</span>),加以細讀和論證。<span lang="EN-US">11<o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmkekljAVpRxoGuTuWa_2coKT6A6C6zqr2kgXfk1koqWIC50SbLK7CMqYU3fNp9XwsawkaqKLny-VTwM6kNAu3IQHz2eQPDufi4kn_G-wHNuC3sIOiRd5EK6fauxuc5ZnRhPf5IKVCvwg/s2016/78741854_2577038245697365_8115149519617785856_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1512" data-original-width="2016" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmkekljAVpRxoGuTuWa_2coKT6A6C6zqr2kgXfk1koqWIC50SbLK7CMqYU3fNp9XwsawkaqKLny-VTwM6kNAu3IQHz2eQPDufi4kn_G-wHNuC3sIOiRd5EK6fauxuc5ZnRhPf5IKVCvwg/s320/78741854_2577038245697365_8115149519617785856_n.jpg" width="320" /></a></div><br /><p></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">洛文題目〈落花人獨立:梅卓燕的舞蹈美學〉的「獨」,取自梅氏多以「獨舞」為創作基調的藝術取向。筆者就曾在另一媒介,歸納梅氏為「揚扇舞鏡的青鸞」。「青鸞舞鏡」的典故,原載於南朝宋詩人范泰《鸞鳥詩序》<span lang="EN-US">(</span>轉引自電影《刺客聶隱娘》<span lang="EN-US">)(</span>改用括號<span lang="EN-US">)
</span>:「瀱賓國王得一鸞,三年不鳴,夫人謂,鸞見類則鳴,何不懸鏡照之。鸞見影,終宵奮舞而絕。」所謂「揚扇舞鏡的青鸞」,褪去原文中身不由己的悲劇色彩,標榜梅氏選擇作為一位獨立舞者,擅於富有東方表演藝術色彩的獨舞。洛楓的研究抓住梅氏的藝術特點,圍繞女性編舞家又編又演、既細膩又開闊、無為又無所不為的特立獨行特質,發揮評議,令讀者對梅氏其人其舞,開展更深刻的認識和感知。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">實踐與藝術兼備的評論書寫<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">另一位香港舞評人李海燕,在書評文章〈《香港當代舞蹈歷史、美學及身分探求》的啟後〉中,提出對《香港當代編舞家作品研究<span lang="EN-US">1980-2010</span>》的深刻追問——「如果有後續研究的話」:「如果研究研究者,拆解他們的時間和空間概念,以及按何種歷史觀看待藝術形式的發展……」<span lang="EN-US">12</span>,發人深省。香港從事藝術評論寫作的人並不多,相對於劇(戲劇/劇場)評人,舞評人更是稀有動物。然而,由於是項「一對一」的舞蹈研究,所涉獵的舞蹈評論特別需要專業知識、長期觀察和研究能力,舞蹈家/編舞家與研究者之間儼如水漲船高的關係。潮水漲退之間不免有人急就章圖窮匕現,個別研究連「舞評寫作」四部曲<span lang="EN-US">13</span>亦左支右絀,結果只能不斷呢喃着重複講述一名「跳芭蕾舞的男子」的童年往事和成長歷程,白白浪費大好的研究對象和發表平台。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">文學批評的世界裡,批評家往往被嘲笑為「牛虻」,即在動物身上吸血的蛆蟲。那麼(表演)藝術評論,尤其是舞評到底又是什麼呢<span lang="EN-US">? </span>曾出版舞評文集《迷城舞影》、香港藝術發展獎藝術家年獎(藝術評論)(<span lang="EN-US">2016</span>)得主的洛楓,撰文討論過「甚麼是舞評」,指出「舞評(或一切文化評論)
分成兩個類別的層次:『實踐的書寫』<span lang="EN-US">(practical writing) </span>和『藝術的書寫』<span lang="EN-US">(artistic writing)</span>,前者建基於知識、學問和經驗的文化累積,為特定作品寫出獨具個人創見的論述,後者卻是書寫者個性的展現、生命的涉入和自我的燭照……前者為歷史留下材料,後者為藝術刻鑄人性、人情的痕跡……」<span lang="EN-US">14<o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;"> 進一步討論的話,筆者認為真正優秀且有價值的<span lang="EN-US">(</span>表演<span lang="EN-US">)</span>藝術評論,往往兼具「實踐的書寫」(<span lang="EN-US">practical writing</span>)和「藝術的書寫」(<span lang="EN-US">artistic writing</span>)兩種書寫之長。既有前者概括、敘述、紀錄和專業評議的功能性一面,同時也有後者充份突顯評論家「才性氣質」的風格化書寫。更重要的是,具體的(表演)藝術評論以至其系統化的建立,恰恰意味着該藝術形式或範疇的作品,不論在質量和發展方面,均已到達能夠經得起凝視、評論、研究的水平。也就是說,(表演)藝術評論得以立足,就是(表演)藝術專業化的標誌。所呈現的(表演)藝術質素、評論(文章及其體系)的質素、人(藝術家和評論人)的質素,在「評論活動」中鉅細無遺地顯/暴露於人前。有的學養深厚、眼光獨到、情辭並茂;少不免也有人生吞活剝、虛應故事、蒙混過關。誠然,評論人的評論文字,有否感染力人言人殊,可遇不可求,所飽含的審美能力和價值觀的展演,才是評論本身最大的「櫝中之玉」,也是人類最彌足珍貴、最大的財富。因此,文潔華教授主編的《香港當代編舞家作品研究<span lang="EN-US">1980-2010</span>》,原是搭建了六個平台,讓編舞家與藝評人近距離交流、砥礪切磋;同時建立起一個評論文字的大平原,讓藝評人與藝評人各展所長,盡情馳騁。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">這也讓筆者想起,《拾舞話》受訪者鍾金寶<span lang="EN-US">[l4]15</span>的一席話。談到芭蕾舞,一般人總以為是技藝的學習和展示,但在舞蹈教育家鍾金寶眼中,芭蕾舞訓練原是一整套審美價值觀的建立:「上芭蕾舞課,不一定要成為芭蕾舞者,而是學習社交、行坐儀態、舉止優雅、聆聽音樂。離開課室後踏上舞台與否並不重要。一踏在街上,自然就能優雅走下去。」<span lang="EN-US">16</span>隨着社會的富裕,審美的浸淫、對美的感受能力和追求,芭蕾舞所代表的美藝,自然是一名公民不可或缺的素質。同理,(表演)藝術評論,最終是令人成為更好的觀眾和讀者。輾轉通過書寫和閱讀,生命影響生命,令更多人成為更好的觀眾和讀者。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">小結:表演藝術研究與都市共享資源<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">當我們將是項研究《香港當代編舞家作品研究<span lang="EN-US">1980-2010</span>》和同年出版的《拾舞話》對讀,這些耗時經年、費心又費力甚至吃力不討好的工夫,究竟彼此呈現<span lang="EN-US">?</span>怎樣的一幅幅「人文風景」<span lang="EN-US">? </span>毫無疑問地,這些重要資料及研究自然是表演藝術文獻及資料的重要存檔,也是一種特別有價值的「都市共享資源」一環,連結社會特定群體的描繪、整理和人文關懷。根據美國著名批判地理學家大衞.哈維(<span lang="EN-US">David Harvey</span>)的解釋:「都市共享資源並不是作為一種特定事物、資產甚至特定的社會過程建立起來的,而是作為一種不穩定的和可以繼續發展的社會關係而建立起來的,這種社會關係存在於某一自我定義的社會群體,以及實際存在或有待創造的、對其生存與生活至關重要的社會與(或)實際環境的種種特點之間。」<span lang="EN-US">[l5]17</span>「都市共享資源」乃群眾經年累月透過社會互動與地方建設打造而成的,表演藝術文化就是其中的關鍵。城市生活複雜而多元,非靠單一規劃所能達致。城市就像一個有機生命體一樣,有其生長的節奏與速度。這些表演藝術研究計劃所要做的,便是為文化生長的節奏與速度紀錄、把脈,並有機地參與她的成長。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">拉闊一點看,這也與歐美近二三十年、亞洲地區近十年的主要城市(例如紐約、倫敦、東京、台北、香港、首爾、新加坡)的「文化創意轉向」有關。在這一輪的文化創意衝擊波中,各國政府除了將大量資源投放新興的文化及創意行業外(例如設計、動漫、電影、視覺藝術、表演藝術等等),為了在全球化年代讓其主要城市變得更吸引,他們都動用了大量的文化資源,重新包裝城市,打造大都會「城市品牌」(<span lang="EN-US">city branding</span>),而「重新發現藝術家」並開展研究正是其中最常見的文化策略。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體; font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體; font-size: 14pt;">五、六十年代的香港由於經濟文化條件局限,並沒有什麼「舞蹈」或「發展藝術」的概念。大概要到<span lang="EN-US">1967</span>後,港英殖民地政府開始積極發展青年政策,才逐漸以「藝術」、「文化」的角度看待「舞蹈」,進而確立「舞蹈家」、「表演藝術」的文化角色。隨着香港社會發展,八、九十年代香港舞蹈發展開始從追求「舞蹈專業資格」,進一步開展出「舞蹈創作」;背後不但有着與西方藝術標準接軌的欲望,亦表現出香港作為一個面向國際的華人城市,必然又偶然地造就一批具有中西文化以至舞蹈背景的「舞蹈創作者」。從時代脈絡觀之,《香港當代編舞家作品研究<span lang="EN-US">1980-2010</span>》的研究時段正好是「香港表演藝術」的重要轉折點和新高點,儼如「重新發現」香港編舞家的考掘過程中,努力呈現錢秀蓮、黎海寧、梅卓燕、伍宇烈、潘少輝與楊春江這一波「香港舞蹈創作」拓荒者、先行者的藝術觀及美學傾向,描繪以舞蹈為代表的「香港表演藝術」的輪廓、特質及內涵,為當代香港文化思潮記下重要的一筆——他們就是「香港」,也是「香港城市品牌」,「在香港創作」並「在創作香港」。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;"> <span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;"><o:p> </o:p></span><span style="background-color: white; color: #555544; font-family: tahoma; font-size: large;"><b>原載於</b></span><span face="tahoma, "Trebuchet MS", lucida, helvetica, sans-serif" style="background-color: white; color: #555544; font-family: tahoma, "Trebuchet MS", lucida, helvetica, sans-serif; font-size: large; font-weight: 700;">《香港舞蹈概述2019》,https://www.danceresearch.com.hk/publicationoverview</span></p>
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<p class="MsoNormal"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">1 </span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">編按:法蘭德斯表演藝術研究所(<span lang="EN-US">Vlaams Theater
Instituut</span>)於<span lang="EN-US">2015</span>年與另外兩個專研視覺藝術及音樂的研究所合併為法蘭德斯藝術研究所(<span lang="EN-US">Kunstenpunt</span>)。<span lang="EN-US">"Missie, visie &
historiek,</span>”<span lang="EN-US"> Kunstenpunt, accessed 10 April 2021,
https://www.kunsten.be/over-kunstenpunt/missie-visie-waarden. <o:p></o:p></span></span></p>
<p class="MsoNormal"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">2 </span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">編按:<span lang="EN-US">2015</span>至<span lang="EN-US">2016</span>年期間,《香港戲劇年鑑》與《香港戲曲年鑑》合併為《香港劇場年鑑》,包攬舞蹈、戲曲、戲劇;<span lang="EN-US">2017</span>年起再分拆為《香港戲劇概述》及《香港戲曲概述》。國際演藝評論家協會(香港分會),〈出版|出版刊物|年鑑〉。<span lang="EN-US"><http://www.iatc.com.hk/group/publication_iatc?cat_id=81></span>(檢索日期:<span lang="EN-US">2021</span>年<span lang="EN-US">4</span>月<span lang="EN-US">10</span>日)。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">3 </span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">《拾舞話》受訪者包括吳世勳、吳景麗、郭世毅、梁漱華、梁慕嫻、鄭偉容、楊偉舉、劉兆銘、劉素琴、鍾金寶。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">4 </span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">鍾冠怡,〈繪出舞蹈錢秀蓮〉,載文潔華編《香港當代編舞家作品研究(<span lang="EN-US">1980-2010</span>):香港當代舞蹈歷史、美學及身分探求》(香港:國際演藝評論家協會<span lang="EN-US">[</span>香港分會<span lang="EN-US">]</span>,<span lang="EN-US">2019</span>),頁<span lang="EN-US">30-70</span>。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">5 </span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">劉天明,〈潘少輝的環境舞蹈與現代性〉,載文潔華編《香港當代編舞家作品研究(<span lang="EN-US">1980-2010</span>):香港當代舞蹈歷史、美學及身分探求》,頁<span lang="EN-US">188-223</span>。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">6 </span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">曲飛,〈從古典芭蕾到當代訓練:伍宇烈作品呈現的「香港性」〉,載文潔華編《香港當代編舞家作品研究(<span lang="EN-US">1980-2010</span>):香港當代舞蹈歷史、美學及身分探求》,頁<span lang="EN-US">156-185</span>。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">7 </span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">《雙城記──香港、上海、張愛玲》以張愛玲的《傾城之戀》、《沉香屑 ─ 第一爐香》等經典著作為文本。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">8 </span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">陳雅萍,〈香港作為方法:黎海寧舞作中的敘事、身體與主體探求〉,載文潔華編《香港當代編舞家作品研究(<span lang="EN-US">1980-2010</span>):香港當代舞蹈歷史、美學及身分探求》,頁<span lang="EN-US">74-105</span>。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">9 DV8</span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">全名為<span lang="EN-US">DV8</span>形體劇場(<span lang="EN-US">DV8 Physical Theatre</span>),英國著名舞團,作品主要聚焦社會及政治議題,包括為同性戀者或少數族群發聲。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">10 </span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">聞一浩,〈隨身起舞:楊春江的身體舞學〉,載文潔華編《香港當代編舞家作品研究(<span lang="EN-US">1980-2010</span>):香港當代舞蹈歷史、美學及身分探求》,頁<span lang="EN-US">226-255</span>。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">11 </span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">洛楓,〈落花人獨立:梅卓燕的舞蹈美學〉,載文潔華編《香港當代編舞家作品研究(<span lang="EN-US">1980-2010</span>):香港當代舞蹈歷史、美學及身分探求》,頁<span lang="EN-US">108-153</span>。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">12 </span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">李海燕,〈《香港當代舞蹈歷史、美學及身分探求》的啟後〉,《舞蹈手扎》<span lang="EN-US">22-1</span>(<span lang="EN-US">2020</span>年<span lang="EN-US">2</span>至<span lang="EN-US">3</span>月):<span lang="EN-US">25-26</span>。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">13 </span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">即編舞或舞者的個人資料、演出的作品資料、直接觀看舞蹈演出、舞蹈理論及文化研究的跨界。洛楓,〈女媧煉石的舞姿:舞評寫作的理論與實踐(自序)〉,載《藝評香港:香港藝評人資料整存與藝評網上文庫計劃》。<span lang="EN-US"><http://www.artscritics.hk/?a=doc&id=357></span>(檢索日期:<span lang="EN-US">2021</span>年<span lang="EN-US">4</span>月<span lang="EN-US">14</span>日)。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">14 </span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">同註<span lang="EN-US">13</span>。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">15 </span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">鍾金寶(<span lang="EN-US">Joan Campbell</span>)七十年代末於香港芭蕾舞團教育部任教,開拓由舞團自行訓練舞者的藝術人才培訓之路。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">16 </span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">李海燕,〈舞出圓滿六十載〉,載羅妙妍編,《拾舞話:香港舞蹈口述歷史(五十至七十年代)》(香港:城市當代舞蹈團、國際演藝評論家協會<span lang="EN-US">[</span>香港分會<span lang="EN-US">]</span>,<span lang="EN-US">2018</span>),頁<span lang="EN-US">286</span>。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">17 </span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 107%;">參見大衞.哈維(<span lang="EN-US">David Harvey</span>)<span lang="EN-US">: </span>《資本的空間:批判地理學芻論》,台北:群學出版社,<span lang="EN-US">2010</span>。<span lang="EN-US"><o:p></o:p></span></span></p><div style="mso-element: comment-list;"><div style="mso-element: comment;"><div class="msocomtxt" id="_com_5" language="JavaScript">
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</div>梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-15117131620642972752021-10-02T00:00:00.012+08:002021-10-02T00:00:00.189+08:00《敢觀舞台》──劇場與科技——《仍…息在零地》與《給下一輪(虛擬)盛世的備忘錄》 (2021.10.02)<p></p><p align="right" class="MsoBodyText" style="text-align: right;"><span face="標楷體" lang="EN-US" style="background: white; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjM_IxKS9uaUQOuYsiQeLhkswMZ36fW0Dyo8_ETHeluv9WS6eWMInFkfDx7FfONwuu567QLdIS1t8Brsih-8xuHR6IXp17ey-gBCYWen2syQiTUA4LLB4EtLhL3B-WgkNmBAZBarQ-hYM/s1000/DSC_4826.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="667" data-original-width="1000" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjM_IxKS9uaUQOuYsiQeLhkswMZ36fW0Dyo8_ETHeluv9WS6eWMInFkfDx7FfONwuu567QLdIS1t8Brsih-8xuHR6IXp17ey-gBCYWen2syQiTUA4LLB4EtLhL3B-WgkNmBAZBarQ-hYM/s320/DSC_4826.jpg" width="320" /></a></div><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;"><span style="font-size: large;">劇場與科技,一直是藝術家、表演藝術業界熱衷探討的課題。談劇場與科技的時候,自然不僅僅關注傳統台燈聲或多媒體劇場的應用,而是聚焦於科技化的藝文表演,並透過應用科技及演出場地設備的配合,使得整個觀演經驗立體化、推進想像力。劇場與科技既是世界表演藝術的大勢所趨,<span lang="EN-US">Hologram</span>全息投影及<span lang="EN-US">3D Mapping</span>光雕投影等,愈來愈多見於舞台;無怪乎不久便與香港觀眾見面、位於九龍灣的東九文化中心,積極與世界接軌,定位為多媒體、科技化演出的創發基地。九月中旬於葵青劇院公演的梁基爵《仍<span lang="EN-US">…</span>息在零地》,甚至是東九文化中心的特邀項目,在同年<span lang="EN-US">APA</span>版《息在零地》的基礎上再發展,使得藝術家在更充裕的資源下,進一步迸發創意。<span lang="EN-US"><o:p></o:p></span></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><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: 標楷體;"><span style="font-size: large;"> </span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-size: large;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">記憶中從<span lang="EN-US">2011</span>《電紫兔/克》,梁基爵已在舞台通過複雜的電子合成器奏出不同音樂或聲響,與投影的不規則圖案變化,合成一齣齣「視覺化音樂演出」。多年後的今天,「梁基爵劇場」從早年相對簡單的「撫摸三角畫框便會發出輕柔音樂」,到</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">《仍<span lang="EN-US">…</span>息在零地》直接安排機械與人類的擁抱<span lang="EN-US">/</span>擁吻</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: 標楷體;">──</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">《仍<span lang="EN-US">…</span>息在零地》把場景背景安排在疑似</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">「</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">敵托邦</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">」</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">的窮山惡水,那是人類一切湮沒後的</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">「</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">零地</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">」</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">,冷冰的客觀環境與<span lang="EN-US">(</span>生命體<span lang="EN-US">)</span>渴望<span lang="EN-US">human touch</span>的極端氛圍。在沒有強勢的故事主導下,三台機械臂的互動便是舞台上敘事一部分。從開首的撕<span lang="EN-US">(</span>報<span lang="EN-US">)</span>紙聲,到後來在程式編寫中創發的刮砂紙聲、機械呼吸聲等等</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: 標楷體;">──</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">機械似乎比人類更人類,現實中的人類又比機械更機械。《仍<span lang="EN-US">…</span>息在零地》在連串</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">媒體藝術、裝置、電子音樂和影像,末段出現「環迴立體聲」般的「如來神掌<span lang="EN-US">vee </span>暈暈」聲效 <span lang="EN-US">(</span>按<span lang="EN-US">: </span>據悉為<span lang="EN-US">immersive sound system)</span>,生活化之餘,令人思考場地類似<span lang="EN-US">Soundscape</span>音響系統滲透力及燈光級水平的投影系統;</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">《仍<span lang="EN-US">…</span>息在零地》作為九東文化中心鼎力支持的示範作,在在展示了其中一些可能。</span></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: 標楷體;"><o:p></o:p></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6pt; text-align: justify; text-indent: 24pt; text-justify: inter-ideograph; word-break: break-all;"><span face="標楷體" lang="EN-US" style="background: white; color: black; mso-bidi-font-family: 標楷體; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold;"><o:p><span style="font-size: large;"></span></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYLwVCyQwK_0qsYqwd4M0uxbZGccDWjAb5tBp1gB-LxBWoKcVK7SjBsbvdhZRUzK6LkOWVFy7IuwjOpu0SAqeYzKsTBjv_Izu-UL5yrd7BuKPzri4Pql3M7Lu5bSTJWDMYy6sZqLTsQhE/s2015/241878161_10158288877483359_736180203094510469_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2015" data-original-width="1504" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYLwVCyQwK_0qsYqwd4M0uxbZGccDWjAb5tBp1gB-LxBWoKcVK7SjBsbvdhZRUzK6LkOWVFy7IuwjOpu0SAqeYzKsTBjv_Izu-UL5yrd7BuKPzri4Pql3M7Lu5bSTJWDMYy6sZqLTsQhE/s320/241878161_10158288877483359_736180203094510469_n.jpg" width="239" /></a></span></div><p></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;"><span style="font-size: large;">同是劇場與科技的結合,劇場媒體藝術家楊振業主理的<span lang="EN-US">Paprika Studio</span>以<span lang="EN-US">VR (Virtual Reality </span>虛擬實境<span lang="EN-US">) </span>劇場形式,在較早前發表《給下一輪(虛擬)盛世的備忘錄》,重新改編卡爾維諾名著《看不見的城市》,講出一個不一樣的馬可孛羅「東遊記」故事。<span lang="EN-US">2017</span>年的《禁式極樂園》,劇團明顯對於<span lang="EN-US">VR</span>劇場躍躍欲試,試行將<span lang="EN-US">VR</span>裝置放到前台,開場前讓觀眾「試玩」。相對來說,《給下一輪(虛擬)盛世的備忘錄》的<span lang="EN-US">VR</span>實驗更多,<span lang="EN-US">VR</span>的情節部分包括不花刺城商業大街、馬可孛羅樂園和克馬塞巴河的<span lang="EN-US">360</span>影像,影像不但色彩繽紛,還與觀眾有種種互動,如吉祥物與觀眾打招呼,有小貓在腳邊徘徊可供逗弄,甚至有機械武士被按掣操控等等。</span><span lang="EN-US"><o:p></o:p></span></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6pt; text-align: justify; text-indent: 24pt; text-justify: inter-ideograph; word-break: break-all;"><span face="標楷體" lang="EN-US" style="background: white; color: black; mso-bidi-font-family: 標楷體; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold;"><o:p><span style="font-size: large;"></span></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_MNqBCVmBTAu66eGXIWGyX2F0ngzI824F0DQiPebgpRK3AZ4iCtqA38oOAvS7-91TKQK1GzhNUZJ0Z1jxKDFwvCXbNYFH3tcmCpU7BQZMRbvu5w1p7cFnbMkr-LT8TcmsnsnIe9_m2zY/s1988/236536370_2943775749229767_7811330303868108982_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1326" data-original-width="1988" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_MNqBCVmBTAu66eGXIWGyX2F0ngzI824F0DQiPebgpRK3AZ4iCtqA38oOAvS7-91TKQK1GzhNUZJ0Z1jxKDFwvCXbNYFH3tcmCpU7BQZMRbvu5w1p7cFnbMkr-LT8TcmsnsnIe9_m2zY/s320/236536370_2943775749229767_7811330303868108982_n.jpg" width="320" /></a></span></div><p></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;"><span style="font-size: large;">有趣的是,《給下一輪(虛擬)盛世的備忘錄》的<span lang="EN-US">VR</span>部份必須要觀眾上眼罩觀演。<span lang="EN-US">VR</span>虛擬實境與真人演出的劇場部分,呈「單雙節形式」交替出現。即觀眾進場後,需得在昏暗的場內先看一段<span lang="EN-US">VR</span>置身「東遊記」,再卸下眼罩觀賞<span lang="EN-US">3D</span>蒙古包模型骨架下「馬可孛羅與忽必烈」的對手戲。前者的<span lang="EN-US">VR</span>讓大家以第一身感受馬可孛羅如何走入奇瑰的神秘世界,加上資深劇場導演<span lang="EN-US">/</span>演員陳麗珠聲音導航,令人在大觀園中感覺陌生又熟悉;後者則時刻提醒着<span lang="EN-US">(</span>眼罩中的<span lang="EN-US">)VR</span>世界始終是「戲中戲」,馬可孛羅和忽必烈各有文化背景和情志,互相好奇亦難免針鋒相對。因此,<span lang="EN-US">VR</span>與真人之間、戴上和卸下眼罩之間,既是遊走於虛擬世界與現實空間,也是「馬可孛羅與忽必烈」兩個世界的切換。最後陳麗珠的聲音導航溫馨提示觀眾完場後,走出表演場地<span lang="EN-US">(</span>沙田大會堂<span lang="EN-US">) </span>便是新城市廣場,催促觀眾回到現實世界,又是另一種「間離效果」。</span><span lang="EN-US"><o:p></o:p></span></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6pt; text-align: justify; text-indent: 24pt; text-justify: inter-ideograph; word-break: break-all;"><span face="標楷體" lang="EN-US" style="background: white; color: black; mso-bidi-font-family: 標楷體; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold;"><o:p><span style="font-size: large;"></span></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRgS0EaoVcq-2JO1bzxUjObxoZP-4OevgmZ3VUGiJMk-d6yhTvoVdfBIGo3jDmFY0fgdmPAP6aUvcUCLjj88qLUuZwk9WL8OTkZtiKUnbCZ49y4ZAmbP6vCbojnVoXlvwRdOcabmEQRkA/s1600/218294283_2931346300472712_1716168563613518958_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRgS0EaoVcq-2JO1bzxUjObxoZP-4OevgmZ3VUGiJMk-d6yhTvoVdfBIGo3jDmFY0fgdmPAP6aUvcUCLjj88qLUuZwk9WL8OTkZtiKUnbCZ49y4ZAmbP6vCbojnVoXlvwRdOcabmEQRkA/s320/218294283_2931346300472712_1716168563613518958_n.jpg" width="320" /></a></span></div><p></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="font-size: large;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">想當然的是,</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;">《仍<span lang="EN-US">…</span>息在零地》與《給下一輪(虛擬)盛世的備忘錄》分屬兩種不同走向的</span></span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: 標楷體;"><span style="font-size: large;">「劇場與科技」的摸索實驗,機械、音效、投影、虛擬影像與真人舞台演出互滲互動,真幻交纏。如同大家熟悉的<span lang="EN-US">Cyberpunk</span>,正是動畫、視覺藝術、電影、文學的不同元素混雜。這似乎已不單是表演藝術可行的實驗方向,藝文世界的<span lang="EN-US">combination of low-life and high tech</span>引起觀眾無窮想像,恰恰是最吸引人之處。</span><span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal"><span lang="EN-US" style="mso-bidi-font-size: 12.0pt;"><o:p><span style="font-size: large;"> </span></o:p></span></p><span style="background-color: white; color: #555544; font-family: tahoma; font-size: large;"><b>原載於</b></span><span face="tahoma, "Trebuchet MS", lucida, helvetica, sans-serif" style="background-color: white; color: #555544; font-size: large; font-weight: 700;">《文匯報》文化版。</span><p></p>梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-20483782110477214432021-07-12T02:41:00.000+08:002021-07-12T02:41:01.830+08:00《敢觀舞台》──近乎透明的存在感角力——進劇場《時光Old Times》 (2021.07.12)<p><span style="font-size: large;"><span lang="ZH-HK" style="background: white; font-family: 標楷體;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZt_2gZBkdifN2jTrthB4FCzzaXu9uj3-mHvXapvM5wcKMJO0IXS41ibjPSkpv14SndFHVIiQ6_Kz4d3GziFG3xcLvcLf813sCZmm6Aaj69vnBJl9HPaDMJib7PcztKDcIv4mqg_vSipE/s2000/184626057_10158402996043335_3385397792303307530_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1050" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZt_2gZBkdifN2jTrthB4FCzzaXu9uj3-mHvXapvM5wcKMJO0IXS41ibjPSkpv14SndFHVIiQ6_Kz4d3GziFG3xcLvcLf813sCZmm6Aaj69vnBJl9HPaDMJib7PcztKDcIv4mqg_vSipE/s320/184626057_10158402996043335_3385397792303307530_n.jpg" width="320" /></a></span></div><span style="font-size: large;">談進劇場<span style="background: white; font-family: 標楷體;">《時光<span lang="EN-US">Old Times</span>》,不少報章訪談及資料回顧,都從<span lang="EN-US">2017</span>香港話劇團的《回歸<span lang="EN-US">The Homecoming</span>》說起。《時光<span lang="EN-US">Old Times</span>》與《回歸<span lang="EN-US">The Homecoming</span>》,皆為諾貝爾文學獎得主英國戲劇大師哈洛.品特 <span lang="EN-US">(Harold
Pinter)</span>名作。《回歸<span lang="EN-US">The Homecoming</span>》由香港演藝學院前戲劇學院院長薛卓朗執導、潘惠森編劇,講述六十年代一個傳統西方家庭的暗湧。尤其是把劇中核心女性角色置身於一個以男性為主導的家庭,以她為主軸突顯家族語言中的權力遊戲、貶損、操控、恐嚇、謊言和暴力。男性角色都將女性物化,輕蔑和侮辱她,同時又害怕女性天生的權力和特質,言語尤其耐人尋味,劇力滿滿。</span></span><span style="background-color: white; font-family: 標楷體; font-size: x-large;"> </span><p></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;"><o:p><span style="font-size: large;"></span></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPhiPwTxtAOkRKoWhp6iMhsWH_8Xs_Q8XhavwKcV1_gVnSlG4Z5DPGur2LRZZwDT3R0YpNChGg00yQWjnFnIQcLA0L5DCCWf_4QdI_gTNcMcBQrUK3Rn9H4zTg50nqK3YhJTJ7BuNiaPU/s2048/193066207_10158440433993335_3101666541701468394_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1366" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPhiPwTxtAOkRKoWhp6iMhsWH_8Xs_Q8XhavwKcV1_gVnSlG4Z5DPGur2LRZZwDT3R0YpNChGg00yQWjnFnIQcLA0L5DCCWf_4QdI_gTNcMcBQrUK3Rn9H4zTg50nqK3YhJTJ7BuNiaPU/s320/193066207_10158440433993335_3101666541701468394_n.jpg" /></a></span></div><p></p><p class="MsoBodyText"><span style="font-size: large;"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext; mso-fareast-language: ZH-TW;">2017</span><span style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext; mso-fareast-language: ZH-TW;">年《回歸<span lang="EN-US">The Homecoming</span>》的宣傳已略有討論「<span lang="EN-US">Pinteresque</span>(品特式)」戲劇風格獨特,包括劇本中大量靜默與停頓,成功營造驚悚和威脅的場景氛圍等等。品特更稱這種黑色幽默為「威脅喜劇」<span lang="EN-US">(comedy of menace)</span>。<span lang="EN-US">2021</span>年</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">進劇場</span><span style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext; mso-fareast-language: ZH-TW;">《時光<span lang="EN-US">Old Times</span>》,更事先張揚和解說品特的戲劇風格和語言特色如何令戲劇人着迷,乾脆整理出「<span lang="EN-US">Pinteresque</span>(品特式)」五大特色,分別為記憶意識、停頓靜默、掩飾相反、模糊張力和鬥爭權力。使得《時光<span lang="EN-US">Old Times</span>》看似簡單的「二女一男」久別重逢的情節</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">——</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext; mso-fareast-language: ZH-TW;">Anna</span><span style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext; mso-fareast-language: ZH-TW;">探望<span lang="EN-US">Kate</span>這位老朋友與她的丈夫<span lang="EN-US">Deeley</span>,三人憶起過去的對話,在語言的模稜兩可與隱晦之下,存在着的深層故事,娓娓道出如夢般撲朔迷離的曖昧關係,回憶逐漸迷失於過去與現在的漩渦中</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">——</span><span style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext; mso-fareast-language: ZH-TW;">充滿明刀與暗箭、想像與謊言、記憶與遺忘。</span></span><span style="background-color: white; font-family: 標楷體; font-size: x-large;"> </span></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;"><o:p><span style="font-size: large;"></span></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFFVEt25o-q7KXQBz8NAag8-AD9OHYtDub-X7BQknoXquhrB9IuSy62cF7dGcCmTQOJdn8h7cLilRC4mZ3iHMUas0UjjbYjPvL0ttfippXVETxI2VfZo0Axt8V8siFU3Iba541K830uqY/s2048/189692365_10158442733708335_4806969072292831745_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1366" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFFVEt25o-q7KXQBz8NAag8-AD9OHYtDub-X7BQknoXquhrB9IuSy62cF7dGcCmTQOJdn8h7cLilRC4mZ3iHMUas0UjjbYjPvL0ttfippXVETxI2VfZo0Axt8V8siFU3Iba541K830uqY/s320/189692365_10158442733708335_4806969072292831745_n.jpg" width="320" /></a></span></div><p></p><p class="MsoBodyText"><span style="font-size: large;"><span style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext; mso-fareast-language: ZH-TW;">《時光<span lang="EN-US">Old Times</span>》由香港演藝學院現任戲劇學院院長潘惠森翻譯與導演,參與《回歸<span lang="EN-US">The Homecoming</span>》使他對「<span lang="EN-US">Pinteresque</span>(品特式)」戲劇特別有深刻體會。《時光<span lang="EN-US">Old Times</span>》中丈夫<span lang="EN-US">Deeley</span>與女性閨密<span lang="EN-US">Anna</span>在短短的家庭小聚中,不斷互相爭奪彼此在太太<span lang="EN-US">Kate</span>生命中、情感上的份量和位置,但礙於禮節、面子與尊嚴,又不能明明白白的展開廝殺。於是就有種種猶豫客套、試探較量的語言碎片,散落一地。<span lang="EN-US">Anna</span>強調少年時與<span lang="EN-US">Kate</span>曾經放浪貪杯,甚至互穿對方的衣服、經歷過年少輕狂戀愛史;<span lang="EN-US">Deeley</span>大曬與<span lang="EN-US">Kate</span>的恩愛,與<span lang="EN-US">Anna</span>侃侃而談過去相比,<span lang="EN-US">Deeley</span>講更多的現在的婚姻。最後近乎壓軸的<span lang="EN-US">Kate</span>,說出更荒誕的回憶,甚至說<span lang="EN-US">Anna</span>已死。他們仨無一不誠懇道出友誼<span lang="EN-US">/</span>生活的拼圖,又無一不在睜眼胡謅,確證過去,立足當下。因為只有這樣,才能抓緊存在感,大有「羅生門」意味。</span></span><span style="background-color: white; font-family: 標楷體; font-size: x-large;"> </span></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;"><o:p><span style="font-size: large;"></span></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho2iZXzeiyOOBO3Kg9Wdyt6HO2Mxuc7_AZm0xu0GR6lPYkMde8BtSNHfVRt7rC5j1J6q2tST2C0GN1zMl5yc9NHKgA8JGjK_-NYSrx4zdnJ-3e0o1THsCEaegHnKcqeDwRwTIFHUfGCJg/s1875/198764756_10158469577833335_1028003260004693841_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1875" data-original-width="1250" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho2iZXzeiyOOBO3Kg9Wdyt6HO2Mxuc7_AZm0xu0GR6lPYkMde8BtSNHfVRt7rC5j1J6q2tST2C0GN1zMl5yc9NHKgA8JGjK_-NYSrx4zdnJ-3e0o1THsCEaegHnKcqeDwRwTIFHUfGCJg/s320/198764756_10158469577833335_1028003260004693841_n.jpg" /></a></span></div><p></p><p class="MsoBodyText"><span style="font-size: large;"><span style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext; mso-fareast-language: ZH-TW;">相對《回歸<span lang="EN-US">The Homecoming</span>》的冷嘲熱諷、互揭底牌,《時光<span lang="EN-US">Old Times</span>》傾向由角色口述大量回憶去互相較量。回憶所以有趣,就是可以就着每個人的「需要」隨意修改。<span lang="EN-US">Deeley</span>曾經在夜店中偷窺的女性,究竟是<span lang="EN-US">Kate</span>還是<span lang="EN-US">Anna ? </span>真相可能完全不重要,更重要的是<span lang="EN-US">Deeley</span>窺伺時掌握主動權,剎那為王。「記憶意識」中往往有意無意記錯人物細節,正如進劇場點出品特展現日常生活中潛意識的運作,他的人物與觀眾都經歷到精神短暫地脫離現實原則,徘徊在過往經歷、退化(<span lang="EN-US">regression</span>)和潛意識間的狀態。在這種狀態中,自我滿足原則和心理防衛機制投入運作,保護自我及避免矛盾和焦慮產生。如<span lang="EN-US">Anna</span>似是永遠開朗飛揚,說話理直氣壯,就差沒有把<span lang="EN-US">why not</span>變成口頭禪。但在<span lang="EN-US">Kate</span>近乎夢囈的憶述中,<span lang="EN-US">Anna</span>脫口而出閨密重逢的既親且遠,默默流瀉出齷齪的少年隱秘。</span><span lang="EN-US" style="background: white; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;"><o:p></o:p></span></span></p>
<p class="MsoBodyText"><span lang="EN-US" style="background: white; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;"><o:p><span style="font-size: large;"> </span></o:p></span></p>
<p class="MsoBodyText"><span style="font-size: large;"><span style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext; mso-fareast-language: ZH-TW;">這時候,「停頓靜默」特別能產生效果。有課堂教學經驗的朋友一定試過,如講課中突然「停頓靜默」,聽眾就會更加專注抬頭看着講者,用眼睛追問還有什麼要往下說。戲劇中「停頓靜默」,除了產生懸疑之外,就像在失語症的狀態一樣,他們有很多說話要講。這些停頓不僅是延宕或思考,更反映痛苦、甚至死亡,引導觀眾感知角色入另一種精神狀態。《時光<span lang="EN-US">Old Times</span>》中就有不少停頓場面,除了倒茶喝茶等靜默,借機讓人物沉吟不語;也有近乎故意的「不接話」,讓人物的語言在半空中懸浮,觀眾感受的不是尷尬,而是當中的猜忌、威脅、影射、矛盾等種種可能性。</span><span lang="EN-US" style="background: white; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;"><o:p></o:p></span></span></p>
<p class="MsoBodyText"><span lang="EN-US" style="background: white; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;"><o:p><span style="font-size: large;"> </span></o:p></span></p>
<p class="MsoBodyText"><span style="font-size: large;"><span style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-color-alt: windowtext; mso-fareast-language: ZH-TW;">誠如進劇場所語,《時光<span lang="EN-US">Old Times</span>》中「多年後的重聚,一場現在與過去的對話,是暴力的角力場。」我卻把當中的喋喋不休、暗黑舞台、灼人秘密的指向,都閱讀為「近乎透明的存在感」。他們在爭奪、我們在目擊,但一切卻是透明的。</span><span lang="EN-US" style="background: white; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;"><o:p></o:p></span></span></p>
<p class="MsoBodyText"><span lang="EN-US" style="background: white; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;"><o:p><span style="font-size: large;"> </span></o:p></span></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;"><o:p><span style="color: #555544; font-family: tahoma; font-size: large;"><b>原載於</b></span><span face="tahoma, "Trebuchet MS", lucida, helvetica, sans-serif" style="color: #555544; font-family: tahoma, "Trebuchet MS", lucida, helvetica, sans-serif; font-size: large; font-weight: 700;">《文匯報》文化版。</span></o:p></span></p>梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-61811983381963830672021-06-12T00:00:00.050+08:002021-06-12T00:00:00.235+08:00《敢觀舞台》──台港線上藝術節2021 (2021.06.12)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ29c6H9J9Z1ptD_QqyODqxqVLkuD1disCIR3Nv_JAwQDYs3t1DqNyIxB39hPTkFWpB7MbD01n381p1aeloeb_EkUePXwOH9u7PlT43qX2me-Icu_SIt1mrVygKWvxwY1Y3z2pinxYtVY/s1642/2021-03-15-%25E4%25B8%258B%25E5%258D%258810.41.06.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="966" data-original-width="1642" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ29c6H9J9Z1ptD_QqyODqxqVLkuD1disCIR3Nv_JAwQDYs3t1DqNyIxB39hPTkFWpB7MbD01n381p1aeloeb_EkUePXwOH9u7PlT43qX2me-Icu_SIt1mrVygKWvxwY1Y3z2pinxYtVY/s320/2021-03-15-%25E4%25B8%258B%25E5%258D%258810.41.06.png" width="320" /></a></div><p class="MsoBodyText"><span style="font-size: large;"><span lang="EN-US" style="background: white; font-family: 標楷體;">2020</span><span style="background: white; font-family: 標楷體;">年,疫症把全球表演藝術界殺個措手不及。世界各地的藝術節紛紛叫停,愈國際化就得面對愈大的難題。華文地區來講,台灣國際藝術節</span><span lang="EN-US" style="background: white; font-family: 標楷體;">(TIFA)</span><span style="background: white; font-family: 標楷體;">和香港藝術節</span><span lang="EN-US" style="background: white; font-family: 標楷體;">(HKAF)</span><span style="background: white; font-family: 標楷體;">從去年種種不確定性中汲取教訓,危機意識讓<span lang="EN-US">2021</span>年上半年舉辦的藝術節,在營運上全都變身機動應變部隊。除了依時實地現場演出的舞蹈、音樂、戲劇,同時扭盡六壬,安排若干表演藝術紀錄片、表演藝術電影、過往同一藝術節中</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">「最具標誌性」(</span><span lang="EN-US" style="background: white; font-family: 標楷體;">Remarkable</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">)的演出重溫</span><span style="background: white; font-family: 標楷體;">和線上錄播全新排演的劇場等等,務求克服疫情反覆中隨時腰斬、節目表</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">「開天窗」</span><span style="background: white; font-family: 標楷體;">的困難。</span></span><span lang="EN-US" style="background: white; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;"><o:p></o:p></span></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;"><o:p><span style="font-size: large;"></span></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgT5xNg3_IMhadeyEyXhUw88PdnHK9_PsgIr48ysuzzrCBEgo9ecd74QhgDvQktEwvCA9tDwRWiJsnF9fBWhw5J8nBEzjidPh8hayKvOSQhI_QYqn74o3wqJn9PBI84igiTglwJ_4P4T0/s1200/ThePlague-1200x675-artist-new.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgT5xNg3_IMhadeyEyXhUw88PdnHK9_PsgIr48ysuzzrCBEgo9ecd74QhgDvQktEwvCA9tDwRWiJsnF9fBWhw5J8nBEzjidPh8hayKvOSQhI_QYqn74o3wqJn9PBI84igiTglwJ_4P4T0/s320/ThePlague-1200x675-artist-new.png" width="320" /></a></span></div><p></p><p class="MsoBodyText"><span style="font-size: large;"><span style="background: white; font-family: 標楷體;">香港藝術節<span lang="EN-US">2021</span>按照傳統,二月底便為為期一個多月的藝術節掀起序幕。首先線上免費播放著名作品,如馬修‧伯恩<span lang="EN-US">Matthew Bourne</span>芭蕾舞經典《天鵝湖》、《仙履奇緣》和捷克布爾諾國家歌劇院的《耶奴法》、《失蹤者》、《小狐狸》,觀眾先選定觀賞日子,再從主辦單位發來的鏈接按時觀賞最佳錄影版本。原訂於<span lang="EN-US">2021</span>年<span lang="EN-US">2</span></span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">月公演、卻因場地未能如期面世的《鼠疫》,更是應景之作。錄播的劇場版《鼠疫》故事出自諾貝爾文學獎得主卡繆之手,講述一場鼠疫悄然降臨一座忙碌都市,多人染病喪生,城裡人如何工作、相愛、死亡。鼠疫過後,五名證人出席聽證會重述疫情,對「真相」各有立場,對如何恢復「正常」各有看法。英語版導演王翀</span><span style="background: white; font-family: 標楷體;">邀請來自不同洲份的六位演員擔綱,包括歐洲和南美,</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">切入比鼠疫更可怕的「死症」核心</span><span lang="EN-US" style="background: white; font-family: 標楷體;">──</span><span style="background: white; font-family: 標楷體;">以期不同地域的抗疫經驗和生死感悟帶動演出和劇力。粵語版</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">導演陳泰然,以五位香港舞台劇女演員張雅麗、黃呈欣、溫玉茹、陳秄沁、陸嘉琪飾演當中男性角色</span><span style="background: white; font-family: 標楷體;">(</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">記者、醫生等</span><span style="background: white; font-family: 標楷體;">),探討人</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">性中的脆弱、虛妄、冷漠,乃至互相傷害。</span></span><span style="background-color: white; font-family: 標楷體; font-size: x-large;"> </span></p><p class="MsoNormal"><span lang="EN-US" style="background: white; font-family: 標楷體; line-height: 107%;"><o:p><span style="font-size: large;"></span></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJGVY1PhnS7F9sNzDmtB-hOUKPwmHI_65kvWb67NGcZ_u4VEprg6ltVp61eZs9xzpQ2JLtqwabnWee_cZlCwtxDtwWMVDW5B2F9i2WaXxHfek9ddvNK69I3ORar8bKKFJvuYo7yb9J-Ro/s1200/ThePlague_1200x675-new.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJGVY1PhnS7F9sNzDmtB-hOUKPwmHI_65kvWb67NGcZ_u4VEprg6ltVp61eZs9xzpQ2JLtqwabnWee_cZlCwtxDtwWMVDW5B2F9i2WaXxHfek9ddvNK69I3ORar8bKKFJvuYo7yb9J-Ro/s320/ThePlague_1200x675-new.png" width="320" /></a></span></div><p></p><p class="MsoBodyText"><span style="font-size: large;"><span style="background: white; font-family: 標楷體;">香港藝術節<span lang="EN-US">2021</span>亦發表委約作品《心靈旅程》(<i><span lang="EN-US">The Journey</span></i>)。《心靈旅程》是蘇格蘭藝術家蕭凡(<span lang="EN-US">Scott
Silven</span>)針對疫情的最新創作,實時互動網上劇場旨在突破時空限制,以科技聯繫表演者與觀眾。每場只容納三十位觀眾,只需在家中以電子裝置,便可走進蕭凡家鄉,跟隨他一步步走進記憶與情感交錯的迷陣。既是讀心師,又是劇場製作人的蕭凡設計多項與觀眾互動的遊戲,抽撲克牌、唸數字、自選特別有紀念價值的物品等,在他的帶領下觀眾回顧昔日成長歷程、感受異域<span lang="EN-US">(</span>蘇格蘭<span lang="EN-US">)</span>風光。觀眾名字顯示在屏幕之內,稍有走神或離場即被所有參與者發現。蕭凡的說故事方法、魔法般的展示方式,造就表演者與觀眾之間的緊密互動。</span></span><span style="background-color: white; font-family: 標楷體; font-size: x-large;"> </span></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;"><o:p><span style="font-size: large;"></span></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdoZN9t7XiKJMJxWfVgG0POb0-vYp8TVNqXtBbdeYyBmUmJmJ-uI_DBSJ9-qCbhBwbxeJh6bu1AJSbvy-dRogmFMqd65-3pgTktG0kFqk8PU2ZNVOCoUs1axY-8UPfDp0ITHRVXpSRkAI/s775/ScottSilven_Mobile_Images_748x775_Image1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="775" data-original-width="748" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdoZN9t7XiKJMJxWfVgG0POb0-vYp8TVNqXtBbdeYyBmUmJmJ-uI_DBSJ9-qCbhBwbxeJh6bu1AJSbvy-dRogmFMqd65-3pgTktG0kFqk8PU2ZNVOCoUs1axY-8UPfDp0ITHRVXpSRkAI/s320/ScottSilven_Mobile_Images_748x775_Image1.png" /></a></span></div><p></p><p class="MsoBodyText"><span style="font-size: large;"><span style="background: white; font-family: 標楷體;">一岸之隔的台灣國際藝術節<span lang="EN-US">2021</span>,在五月疫情大爆發之前,不少公開活動及展演已幾近恢復常態,大部分台灣本土表演藝術都成功演出。如生祥樂隊的《我庄三部曲》演唱會、表演工作坊《江/雲・之/間》等。較需酌情處理的主要是歐美劇團赴台部分。在飛行和隔離成本高昂的狀態下,提亞戈.羅提吉斯</span><span style="background: white; font-family: "MS Gothic";">✕</span><span style="background: white; font-family: 標楷體;">里斯本國立劇院</span><span lang="EN-US" style="background: white; font-family: 標楷體;">(</span><span lang="EN-US" style="background: white; font-family: 標楷體;">Tiago
Rodrigues & Teatro Nacional D.Maria II</span><span lang="EN-US" style="background: white; font-family: 標楷體;">)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">的</span><span style="background: white; font-family: 標楷體;">《銘記在心》最後不得不取消,《最後的提詞人》則改為劇院特映。<span lang="EN-US">TIFA</span>常客阿姆斯特丹劇團的</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">《美蒂亞》,別開生面在荷蘭演出、於台北兩廳院大劇院同步實時直播;購票觀眾須得親身入場,看電影般從大屏幕與希臘復仇女神千里相會。這種處理自然是折衷,也為台灣觀眾帶來比</span><span lang="EN-US" style="background: white; font-family: 標楷體;">NTLIVE</span><span style="background: white; font-family: 標楷體;">更新穎的觀演經驗。</span></span><span style="background-color: white; font-family: 標楷體; font-size: x-large;"> </span></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p><span style="font-size: large;"></span></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid0SnRbuoArNb5GJXe9CZZ3To1CtZLZ8rYmTGBSnDIrAWOc1NZtS9-ANExO9_pXfvFrWArmd8aHZLvzEdt4UNstnt_HzVupvr87gZM7L2rsQidyLKQbAZumQQQPEPvmhwhV4mc2uZc8go/s336/MEDEA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="150" data-original-width="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid0SnRbuoArNb5GJXe9CZZ3To1CtZLZ8rYmTGBSnDIrAWOc1NZtS9-ANExO9_pXfvFrWArmd8aHZLvzEdt4UNstnt_HzVupvr87gZM7L2rsQidyLKQbAZumQQQPEPvmhwhV4mc2uZc8go/s320/MEDEA.jpg" width="320" /></a></span></div><p></p><p class="MsoBodyText"><span style="font-size: large;"><span style="background: white; font-family: 標楷體;">阿姆斯特丹劇團粉絲遍地開花</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">,</span><span lang="EN-US" style="background: white; font-family: 標楷體;">TIFA
2021</span><span style="background: white; font-family: 標楷體;">為饗戲癮,安排播放於</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">「</span><span lang="EN-US" style="background: white; font-family: 標楷體;">2018</span><span style="background: white; font-family: 標楷體;">國際劇場藝術節</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">」(同為</span><span style="background: white; font-family: 標楷體;">台灣兩廳院主辦</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">)</span><span style="background: white; font-family: 標楷體;">叫好叫座的戲寶</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">《戰爭之王》(</span><span lang="EN-US" style="background: white; font-family: 標楷體;">Kings of
War</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">)。對於曾經在香港演藝學院看過錄影播放(英文字幕版)、亦於</span><span lang="EN-US" style="background: white; font-family: 標楷體;">2018</span><span style="background: white; font-family: 標楷體;">年<span lang="EN-US">12</span>月置身台北現場的我,<span lang="EN-US">TIFA 2021</span>讓我再次得到充當</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">《戰爭之王》(中文字幕版)</span><span style="background: white; font-family: 標楷體;">家庭觀眾的機會,對於整體演出又有全新的看法。</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">《戰爭之王》全劇四小時,現場觀眾在滔滔歷史長河中,目擊一浪接一浪的政權更迭、波譎雲詭。家庭觀眾卻可切割漫長四小時,隨時叫停;遇上心愛的場面,更可</span><span lang="EN-US" style="background: white; font-family: 標楷體;">replay</span><span style="background: white; font-family: 標楷體;">再生。想當然的是,長達四小時的史詩,只有十二小時的限時觀賞毋寧是對觀眾的大挑戰,也未許不是鼓勵速戰速決的誘因。</span><span lang="EN-US" style="background: white; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;"><o:p></o:p></span></span></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;"><o:p><span style="font-size: large;"> </span></o:p></span></p><p class="MsoBodyText"><span style="font-size: large;"><span style="background: white; font-family: 標楷體;">非常時期非常處理。作為表演藝術觀眾,縱然無法假裝一切如常,疫後很多人和事大概已回不去了。惟願這是最後一次,我們需要如此左顧右盼。</span></span><span style="background-color: white; font-family: 標楷體; font-size: x-large;"> </span></p><p class="MsoBodyText">
</p><p class="MsoBodyText"><span lang="EN-US" style="background: white; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p> </o:p></span></p>
<p class="MsoBodyText"><span face="標楷體" lang="EN-US" style="background: white; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p> </o:p></span><span face="tahoma, "Trebuchet MS", lucida, helvetica, sans-serif" lang="EN-US" style="background: white; font-size: 14pt;"><o:p> </o:p></span><span style="background-color: white; color: #555544; font-family: tahoma; font-size: large;"><b>原載於</b></span><span face="tahoma, "Trebuchet MS", lucida, helvetica, sans-serif" style="background-color: white; color: #555544; font-size: large; font-weight: 700;">《文匯報》文化版。</span></p>
<p class="MsoBodyText"><span face="標楷體" lang="EN-US" style="background: white; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p> </o:p></span></p>梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-15086828175136847052021-03-20T00:00:00.018+08:002021-03-20T00:00:05.857+08:00《敢觀舞台》──前進進《午睡》2021 (2021.03.20)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhULys0-OUrmargqEMlBn8G4u26ZSUuvvl8Fe_bMNdJqMTb2e1QnwHwA66fClTffkq9K5KyO2I4tc7_YO9qJRP7P1TCqJvfuEBRx0MlYVg1ysOEHyfZ2_9d5maLQE1gnL2gh75f4r5bBsU/s2048/137361109_1627967830719952_1020204308034608690_o.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1152" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhULys0-OUrmargqEMlBn8G4u26ZSUuvvl8Fe_bMNdJqMTb2e1QnwHwA66fClTffkq9K5KyO2I4tc7_YO9qJRP7P1TCqJvfuEBRx0MlYVg1ysOEHyfZ2_9d5maLQE1gnL2gh75f4r5bBsU/s320/137361109_1627967830719952_1020204308034608690_o.jpg" width="320" /></a></div><p class="MsoBodyText"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">2020</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">年疫情反覆,前進進《午睡》演期一改再改,甚至十二月中的香港文化中心場次亦不能倖免,隨着政府宣佈封閉表演場館措施被逼取消。命運造就前進進在</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">2021</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">年一月上旬,直接在西九轄下的自由空間,以不設現場觀眾的直播</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">(live stream)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">方式,一連三晚通過網絡實時放送西九版《午睡》。然而,西九版《午睡》最值得討論之處,原不在於它如何在驚濤駭浪堅持演出</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">LIVE</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">和不斷變通,更在於《午睡》示範了劇場現場直播,遠比堅離地者輕描淡寫的說「不設觀眾入場咪搵部機拍咗播囉」複雜得多。</span></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYNgwkD3GvHFAzvLSQVN4uGTbqriQByMgeI7HYlGfAujpCoNYVAMYdIJMzjk2MfUNTIhAASjbPyellQXvgQ8QGN6kTQT_D_vEc9Qq-pPv-Onq0Dx09HMoMgDwgAgZ1h1CVWNo1-h8refM/s1674/135820306_1627967967386605_8977917044883675647_o.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1116" data-original-width="1674" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYNgwkD3GvHFAzvLSQVN4uGTbqriQByMgeI7HYlGfAujpCoNYVAMYdIJMzjk2MfUNTIhAASjbPyellQXvgQ8QGN6kTQT_D_vEc9Qq-pPv-Onq0Dx09HMoMgDwgAgZ1h1CVWNo1-h8refM/s320/135820306_1627967967386605_8977917044883675647_o.jpg" width="320" /></a></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi709o3fpYTnnLLjLdFBvG9x-MpQZV-BzD6TFvHQHsbAxaLuxbYxhJVcRAtmcrAbdDb7j9slOCquHtOx9f1ZxIG0gz0qUtNklM6rRqnkHDEdV7wHFxCpmPKEcPlzHT2go8F9coJYLGWRgI/s2048/135252407_1626620960854639_5942287909108739058_o.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi709o3fpYTnnLLjLdFBvG9x-MpQZV-BzD6TFvHQHsbAxaLuxbYxhJVcRAtmcrAbdDb7j9slOCquHtOx9f1ZxIG0gz0qUtNklM6rRqnkHDEdV7wHFxCpmPKEcPlzHT2go8F9coJYLGWRgI/s320/135252407_1626620960854639_5942287909108739058_o.jpg" width="320" /></a></div><p></p><p class="MsoBodyText"><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">首先正如《午睡》團隊在演後談所言,由於直播的緣故,演出需要有兩位導演,一位劇場導演陳炳釗(導演</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">/</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">文本),一位錄像導演黃漢樑(直播導演及技術統籌)。由於家庭觀眾受到鏡頭的局限,錄像導演便擔負鏡頭運用、導引觀眾觀賞角度的任務。例如阿花發現弟弟赤腳一場,直播鏡頭先定格近離拍攝弟弟的披口長牛仔褲管下赤着一雙腳,再轉向阿花的大頭,捕捉她的驚訝神色。西九版《午睡》的錄像導演黃漢樑,同時是</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">2016</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">年《午睡》初版飾演「蕾與揚」</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">(</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">按</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">: </span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">西九版易名「祖與占」</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">中阿揚的演員,熟悉整個故事的來龍去脈和劇情重點,故此特別懂得選取上佳的錄像攝錄角度,攝製的流暢度亦與現場觀演的一氣呵成無異。站在影像製作與保存的質素考慮,一連三天的</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">live</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">後,演出還未完結,需要補拍若干更理想或過渡的鏡頭,使得《午睡》的導演剪輯版本盡善盡美。</span><span style="background-color: white; font-family: 標楷體; font-size: 14pt;"> </span></p><p class="MsoBodyText"><span style="background-color: white; font-family: 標楷體; font-size: 14pt;"><br /></span></p><p class="MsoBodyText">
</p><p class="MsoBodyText"><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">另一方面,三小時的實時直播,對家庭觀眾無疑又是另一項挑戰。西九版《午睡》銳意精簡部份場面,如弟弟與兄長合作撰寫關於祖母徐燕香的劇本,初版中象徵着「老香港」的徐燕香,在劇中一直以眾說紛紜的形象示人,有說她多才多藝,與洋人日本人打過交道,又說她會功夫,又說她曾在天水圍出現。徐燕香意味着的那個時空穿越、歷史斑駁的身影,便以想像性極強的雪白旗袍裝現身。西九版《午睡》加強整體戲劇節奏和理順情節的推進,只描述當弟弟曦努力追憶祖母的時候,惟有睡午覺做夢來遇上祖母。弟弟的「午睡」最終成了舞台上「集體午睡」的影像構圖。觀眾被他們的集體情緒牽動,無暇關心樓上的</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">MV</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">拍攝,只有在理想失落與現實的泥沼中進退維谷。祖母徐燕香永遠成為那既遠且近,無法確證的</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">(</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">文化</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">血緣因子。</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrzsbqBfmXk_NAIt5NhONRCLeUEPqRyjTjVdJzgEF_hCa4vd4YZ0tTfpzT79tcLdU2MiCCAmSotzqBcUlgZ8NXfR6sKR5kaicXeBjB5v0vnwSlM4MO4UOVfQB4ItOgNpGI5q3bHdzeXnw/s1674/135820301_1627967884053280_8705713063018456699_o.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1116" data-original-width="1674" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrzsbqBfmXk_NAIt5NhONRCLeUEPqRyjTjVdJzgEF_hCa4vd4YZ0tTfpzT79tcLdU2MiCCAmSotzqBcUlgZ8NXfR6sKR5kaicXeBjB5v0vnwSlM4MO4UOVfQB4ItOgNpGI5q3bHdzeXnw/s320/135820301_1627967884053280_8705713063018456699_o.jpg" width="320" /></a></div><p class="MsoBodyText"><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">從技術上來講,中英文字幕的準備及網絡觀眾群的開拓,亦是西九版《午睡》要額外花上時間心血經營的部分。世事禍福難料,在西九版《午睡》的演後談便提到,每場都有數百名來自世界各地的觀眾欣賞,近至前進進的香港粉絲,遠至土耳其波蘭觀眾,都通過屏幕見證《午睡》的歷史時刻。西九版《午睡》第一場發生的意外低頻干擾</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">(</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">按</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">: </span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">首場觀眾獲安排重新觀賞第二、三場</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">,自然也是一次奇異而難忘的實時直播。即使是網絡放送,每場演出始終都是獨特的、可一不可再的觀演體驗。不得不佩服前進進每場演</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">live</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">的堅持,所考慮的是演員整體的心理狀態和每場演出後的空間經驗累積,現場直播似乎是最能接近現場觀演的折中形式。即使錄播永遠省時省力得多。</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><o:p></o:p></span></p>
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<p class="MsoBodyText"><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">我常常半開玩笑的說,陳炳釗可謂是「香港劇場史式的人物」。即謂在香港劇場甚至每個香港表演藝術的關鍵時劇都率先參與了。於第一屆</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">APA</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">戲劇學院畢業、在九大藝團全職工作過、實驗劇場發展時有沙磚上、</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">ID</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">兒女;及至前進進時期經歷多年自我探索後,表演藝術文化產業化,通過「消費時代三部曲」回應文化消費時代的來臨;當然不能不提近十多年全力發展「新文本」及其本土轉化等等。如今在疫情中,連在</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">NTLIVE</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">映照下、討論多時</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">HONG KONG THRATRE
LIVE</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">,也在橫越三十多年</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">(</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">按</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">:</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">《午睡》原為寫於三十年多前的戲劇習作,原稿長約五十分鐘。</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">2016</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">年,陳炳釗再將之修訂為三小時的正劇版本</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">的《午睡》中實現實時直播。爾後還有網絡套票包涵的限時觀賞《午睡》導演剪輯版及《午睡》台前幕後應變</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">紀錄特輯</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">的發放等等,好戲在後頭。</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><o:p></o:p></span></p><p></p>
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<p class="MsoNormal"><span face="標楷體" lang="EN-US" style="background: white; color: black; font-size: 14pt;"><o:p> </o:p></span><span style="color: #555544; font-family: tahoma; font-size: large;"><b>原載於</b></span><span face="tahoma, "Trebuchet MS", lucida, helvetica, sans-serif" style="color: #555544; font-size: large; font-weight: 700;">《文匯報》文化版。</span></p><br /><p></p>梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-24837373445957135242021-01-23T00:00:00.031+08:002021-01-23T00:00:06.596+08:00《敢觀舞台》──劇場與電影拍拖——林奕華的四堂電影課 (2021.01.23)<p> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwDqNNmikeTVSsQ7xxHiQpN6ism2458XDSCRg7kELDMWsd9y_Y71edp7cSScbBLzYTum-kovmlP_xxkxzYuQbKFbuk7JCYOnV6DXT8-Y25trZtRgu-eR97YO393rlR7oRRFxx9cSkLmjY/s1142/Pain+And+Glory.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="763" data-original-width="1142" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwDqNNmikeTVSsQ7xxHiQpN6ism2458XDSCRg7kELDMWsd9y_Y71edp7cSScbBLzYTum-kovmlP_xxkxzYuQbKFbuk7JCYOnV6DXT8-Y25trZtRgu-eR97YO393rlR7oRRFxx9cSkLmjY/s320/Pain+And+Glory.png" width="320" /></a><br /><br /></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">Now
TV MOViE MOViE</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">自選頻道,於</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">2020</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">年十二月開始推出「和電影拍拖」全新電影課堂系列,由香港劇場導演林奕華擔任主持,導賞四齣高水平歐亞電影。四集分別以不同主題因子,撮合不同年代、不同導演、不同風格的電影,每次串連兩部電影「拍拖」。第一輯以「永別與重逢」為題,先後配對西班牙著名導演艾慕杜華</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">(Pedro Almodóvar)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">半自傳作品、安東尼奧班達拉斯</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">(Antonio Banderas)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">首奪康城影帝之《萬千痛愛在一身》</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">(<i>PAIN AND GLORY</i>)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">、日本國民母親樹木希林溫暖遺作《日日是好日》</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">(<i>EVERY DAY A GOOD DAY</i>)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">、夏綠蒂藍萍</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">(Charlotte Rampling)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">與湯葛特連</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">(Tom Courtenay)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">齊奪柏林影展影帝影后寶座的《緣來他不夠愛我》</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">(<i>45 YEARS</i>)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">,以及法國新浪潮大師伊力盧馬</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">(Eric Rohmer)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">「人間四季」之《冬天的故事》</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">(<i>A WINTER'S TALE</i>)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">。這四部電影皆共同探索家庭和自我</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">---</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">《萬千痛愛在一身》談母子關係、電影</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">(</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">男</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">導演面對年華漸老和創作力衰退的窘境;《緣來他不夠愛我》揭露四十五載婚姻中妻子長坐</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">(</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">愛的</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">後備座的殘酷真相;《日日是好日》描繪年輕女性面對前路的困惑、結婚生子作為人生選擇的弔詭;《冬天的故事》更是心口有個勇字、為愛尋覓半生的愛情童話。</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;"><o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">看似俗套的情節,四部電影年代地域各異,講故事的技法精采紛呈。穿梭其中,第一和第四集尤其韻味深長,都有艾慕杜華。艾慕杜華明顯是林奕華那杯茶,《萬千痛愛在一身》有着典型艾氏簽名式,色彩繽紛目眩神迷,然而,半自傳作品少了奇情多了溫柔諒解,</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">fancy</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">背後與眾生一樣面對生老病死,與家庭、與舊愛的淺深恩怨,最終都釋懷,笑一笑已蒼老。林奕華在第一集抽繹了</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">《萬千痛愛在一身》和《緣來他不夠愛我》</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">一段關係的所謂</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">「夠好」</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">(</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">與否</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">。原來「夠好」</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">(</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">與否</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">與他人認同密切相關,「我」是否對他人有意義,往往是佇足天地之間的立足點。演好「我」的角色毋寧是創作的一種,能夠成為他人的繆思更是人生彩蛋。</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">第四集抓住</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">《萬千痛愛在一身》和《冬天的故事》的「戲中戲」這個傳統戲劇技法</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;"> </span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">(</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">按<span lang="EN-US">:</span>如莎劇</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">《王子復仇記》</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">)</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">,所帶來</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">「時間裡的時間」</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">讓電影主人公從中開竅,揭示人類需要藝術的距離照見自身</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">。</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;"><o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">所以將第一和第四集歸為一類,兩者都在談他人或藝術作為</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">(</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">自我<span lang="EN-US">)</span></span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">鏡像,第二和第三集卻是接受平凡人生後顯現的智慧。第二集剖析的《冬天的故事》和《日日是好日》,視點從女性角色出發,片中客觀時間更迭,審視兩名妙齡女子的決定和等待。找工作、等愛人最終都是眾裡尋覓心靈港灣,一朝如願以償是否就從此無愁無憂</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">? </span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">第三集的《日日是好日》和《緣來他不夠愛我》聊生活裡的「</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">繭</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">」。在漫長歲月裡,即使沒有戲劇化地愛上幾個人渣,人生若只如初見依然是永恒悲鳴。大部分朝夕相對的關係中</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">(</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">包括人與工作</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">,不一定增添生命的深厚度,更多時候身心默默爬滿「</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">繭</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">」,厚厚的、麻痺的、揮之不去又偶有痛感的一種血肉相連的醜陋疙瘩。</span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyEJltGCYmdErEDvdg8zkgMWeIaIKPbmJvhs9-U3EE4qvCBQdngynMtlU6aRgZrS1ud96ZxfUxOlHwGg0Ky-Wge6n_tK1NTjwc3AeQFnnaXD11sqOGwppn7iR7oJS3BbRKFEmvO6uv00o/s1920/%25E6%259E%2597%25E5%25A5%2595%25E8%258F%25AF%25E3%2580%258C%25E5%2592%258C%25E9%259B%25BB%25E5%25BD%25B1%25E6%258B%258D%25E6%258B%2596%25E3%2580%258D%25E9%259B%25BB%25E5%25BD%25B1%25E8%25AA%25B2%25E5%25A0%2582%25EF%25BC%2588%25E9%259B%25BB%25E8%25A6%2596%25E7%2589%2588%25EF%25BC%2589_screencap+%25283%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyEJltGCYmdErEDvdg8zkgMWeIaIKPbmJvhs9-U3EE4qvCBQdngynMtlU6aRgZrS1ud96ZxfUxOlHwGg0Ky-Wge6n_tK1NTjwc3AeQFnnaXD11sqOGwppn7iR7oJS3BbRKFEmvO6uv00o/s320/%25E6%259E%2597%25E5%25A5%2595%25E8%258F%25AF%25E3%2580%258C%25E5%2592%258C%25E9%259B%25BB%25E5%25BD%25B1%25E6%258B%258D%25E6%258B%2596%25E3%2580%258D%25E9%259B%25BB%25E5%25BD%25B1%25E8%25AA%25B2%25E5%25A0%2582%25EF%25BC%2588%25E9%259B%25BB%25E8%25A6%2596%25E7%2589%2588%25EF%25BC%2589_screencap+%25283%2529.jpg" width="320" /></a></div><br /><p></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">林奕華與電影淵源深厚,九十年代已是第</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">一代</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">「香港同志電影節」的策展人。於劇場發展多年亦不時迸發電影閃光</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">,楊德昌</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">《</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">一一</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">》</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">便</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">是正在孕</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">育的</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">劇場嬰兒。「和電影拍拖」第一輯,林奕華曾歸納系列大約有六個面向:(一)置身電影圖書館、(二)入「讀」比較電影系、(三)當「電影騎師」、(四)在「時光隧道」與電影捉迷藏、(五)幫電影「做媒人」、(六)和電影拍拖。「和電影拍拖」的</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">Double bill</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">原是</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">林奕華慣用的</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">way of seeing</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">,如他所迷醉的<span lang="EN-US">Netflix</span>重頭劇</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">《</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">THE CROWN</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">》</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">VS</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">國產宮鬥片《</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">如懿傳</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">》,還有在「非常林奕華」劇場裡被無數次再現的《</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">紅樓夢</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">》</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">VS</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">張愛玲其人其書等等。<span lang="EN-US"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">為什麼<span lang="EN-US">Double bill</span>那麼有趣好玩<span lang="EN-US">? </span>大概是審美、<span lang="EN-US">ART SENSE</span>到了一定水平是相通的,不拘於單一作品或某種特定藝術形式。當具備對</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">「美」、「藝術」的敏感,就能穿透很多人和事,煉成「眼睛很毒」</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">(</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">按<span lang="EN-US">:</span>宮鬥片常用語<span lang="EN-US">)</span></span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">的「專業讀者」。無怪乎,「和電影拍拖」第一集戴定頭盔</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">---</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-language: ZH-HK; mso-font-kerning: .5pt;">影評人是什麼人便會看到怎樣的電影,影評就是影評人的自畫像。換句話說,「和電影拍拖」同樣是林奕華的自畫像,脫不掉「成長」和「自我探索」等林系劇場老命題</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">---you are what you eat, you are what you think, you
are what you love</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;">。<span lang="EN-US"><o:p></o:p></span></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;"><br /></span></p><p class="MsoNormal" style="background: white; line-height: 21.6pt; margin-bottom: 6.0pt; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph; word-break: break-all;"><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-font-kerning: .5pt;"><span style="color: #555544; font-family: tahoma; font-size: large; text-align: left; text-indent: 0px;"><b>原載於</b></span><span face="tahoma, "trebuchet ms", lucida, helvetica, sans-serif" style="color: #555544; font-family: tahoma, "Trebuchet MS", lucida, helvetica, sans-serif; font-size: large; font-weight: 700; text-align: left; text-indent: 0px;">《文匯報》文化版。</span></span></p>梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-51918853572823225712020-12-26T00:00:00.037+08:002020-12-26T00:00:01.824+08:00《敢觀舞台》──關於香港粵語流行曲的省思,從《假音人回到浪漫音樂會》說起 (2020.12. 26)<p></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpaB_uEJEJnB6EMRlMv97cgHDxD3YEvApuImmuAbLDRLAkkiPjbN1Z9Kfs9e6hW8T6MoDbzjT8NxuN4dG7xetrwq6WnG-cgUBCNZcVqZwYyuhaBBZKaT4X69pu1LPkn83A4rokp0Vcufk/s1024/GettyImages-1124794093.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="683" data-original-width="1024" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpaB_uEJEJnB6EMRlMv97cgHDxD3YEvApuImmuAbLDRLAkkiPjbN1Z9Kfs9e6hW8T6MoDbzjT8NxuN4dG7xetrwq6WnG-cgUBCNZcVqZwYyuhaBBZKaT4X69pu1LPkn83A4rokp0Vcufk/s320/GettyImages-1124794093.jpg" width="320" /></a></div><br />2020<span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">年,</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">全球被疫情陰影籠罩,現場舞台觀演成奢侈。</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">漫長</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">時間裡</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">,</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">我們留家抗疫</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">: </span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">聽<span lang="EN-US">(</span>老<span lang="EN-US">)</span>歌、煲劇、流連網絡,連工作也不得不倚賴<span lang="EN-US">zoom meeting, zoom
teaching</span>。剛結束的學期,在學院講授香港流行文化,</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">密集</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">地重溫六、七十年代至今香港粵語流行曲的發展歷程、高低起跌,亦於香港獨立音樂創作人周博賢一次分享會中,進一步重新審視廣東歌與香港文化身份之間千絲萬縷的關係。十一月下旬的</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">《假音人回到浪漫音樂會》專注地「回到浪漫」,傾聽「假音人」選唱呼應「浪漫」標題的陳百強歌曲,瞬即將沉溺多時的思考,幻化為跨越兩世紀的對話。</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span><p></p>
<p class="MsoBodyText"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZLXlA-GLL9U_C1Z-Zd4tVfKUu9TWZRzUpq_HyHdfRxxzTVKLQ40UD9J4bIvpE57-pK-YqwoLxI-at8_9ui1fs0jcavQVH6budmKUWWzOCxHC8EPhqUFr7iM8E08zFwD_u7grBbUsxzGg/s2048/ZUNI_GYY_Poster_A1_594x841mm_201201017.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1446" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZLXlA-GLL9U_C1Z-Zd4tVfKUu9TWZRzUpq_HyHdfRxxzTVKLQ40UD9J4bIvpE57-pK-YqwoLxI-at8_9ui1fs0jcavQVH6budmKUWWzOCxHC8EPhqUFr7iM8E08zFwD_u7grBbUsxzGg/s320/ZUNI_GYY_Poster_A1_594x841mm_201201017.jpg" /></a></div><br /><p></p>
<p class="MsoBodyText"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">從〈佐敦〉開始認識「假音人」,在</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">MLA</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">、<span lang="EN-US">SERRINI</span>之前香港老早就有玩味十足的</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">〈什麼是青春〉、〈我愛上了你的男朋友〉、〈寂寞的</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"> TB</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">〉、〈女飛賊〉、〈造世界〉等「假音人」非典型廣東歌。《假音人回到浪漫音樂會》出於進念《香港歌書》系列的音樂企畫,重新「玩」陳百強的〈幾分鐘的約會〉、〈一生何求〉等廿一世紀版本</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">---</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">從</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">John Williams</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">的電影配樂〈第三類接觸〉開始,重新進入八十年代陳百強音樂世界</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">: </span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">耳熟</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">能詳的</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">〈戀愛預告〉、〈漣漪〉、〈</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">First Love</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">〉、〈凝望〉、〈夢境〉、〈夢囈〉、〈我的故事〉,原來都出自陳百強的旋律創作;〈粉紅色的一生〉改編自陳百強鍾愛的法語歌曲〈</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">La Vie En Rose</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">〉;〈今宵多珍重〉更是陳百強主催的「舊瓶新酒」,將老歌注入</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">八十年代的青春氣息。</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">《假音人回到浪漫音樂會》從全新角度重臨二十世紀香港廣東歌盛世盛況,光是隨着歌詞回到香港曾經浪漫過的那些年,彷彿遠遠不夠。當時音樂的多樣性,從國語老歌、歐美流行曲、電影配樂,全都是「陳百強」俊美形象後的音樂內涵;就是陳系情</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">歌代表作</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">〈幾分鐘的約會〉,也與香港地鐵通車後城市節奏徹底改變密切相關。</span><span style="background-color: white; font-family: 標楷體; font-size: 14pt;"> </span></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjsptsfItiqE2bi1EftYpOYzoywN_uDj7mmlKUjc0HTjL7bU25ltR1S0WXhO7LiXci48hXm0kGLY1N_DkthLhRs_uyIVUEaxHDJfVdBeSTL-b1KTXDR0_bvKjCWO96T8vYJCSjpSAFisk/s512/unnamed-12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="511" data-original-width="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjsptsfItiqE2bi1EftYpOYzoywN_uDj7mmlKUjc0HTjL7bU25ltR1S0WXhO7LiXci48hXm0kGLY1N_DkthLhRs_uyIVUEaxHDJfVdBeSTL-b1KTXDR0_bvKjCWO96T8vYJCSjpSAFisk/s320/unnamed-12.jpg" width="320" /></a></div><br /><p></p>
<p class="MsoBodyText"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">日常講述</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">香港粵語流行曲發展史,探討主流與獨立音樂的相伴相生、情歌與非情歌的血肉相連,思考廣東歌與香港文化身份之間的建構<span lang="EN-US">…</span>作為香港流行文化研究者,一直處於廣東歌的洪流,亦從不否認批評者指出我們埋首於香港粵語流行歌詞研究,多半源於對音律一竅不通。然而,關鍵的是從事廣東歌的漫長追蹤,更欠缺的是時間的距離。恰如</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">「假音人」在舞台上「復活」陳百強的歌曲,周博賢在分享會上談</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">香港粵語流行曲</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">究竟有沒有音樂上</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">的</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">「</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">香港性</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">」</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">,令人重新體會香港粵語流行曲、香港流行音樂工業這個<span lang="EN-US">salad bowl</span>,</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">說穿了就是「港式茶餐廳」。恰如周博賢所寫的〈我愛茶餐廳〉</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">:</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">「星洲炒米古法蒸青斑,西冷扒叉雞飯,齋啡檸水鮮奶滾水蛋,款式相當廣泛,令我驚嘆,實太璀璨</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">,</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">若怕分散,亦有套餐。</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">…</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">港式餐廳流傳成為文化,陪同人群見證繁榮和低窪,豪情瀟洒氣慨似少年劉華,外貌帶點草根卻高雅</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">…</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">」</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></p>
<p class="MsoBodyText"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p> </o:p></span></p>
<p class="MsoBodyText"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">又或許,思考香港粵語流行曲究竟有沒有音樂上的「香港性」,就如追問香港有沒有「香港菜」一樣。香港餐廳食肆菜式中西合璧,中西日</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">Fusion</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">琳琅滿目。</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">Fusion</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">一詞尚未普及,香港已是融合中西</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">(</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">飲食<span lang="EN-US">) </span></span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">文化的城市,「香港菜」本身就是</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">Fusion</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">,集各地精髓再加以改良、研發及本土化。正如香港粵語流行曲自然有汲取廣東小調的「中國風」基調;八、九十年代香港流行音樂工業市場迅速膨脹,使得創作人大量尋覓歐美日台的音樂改編為廣東歌,英倫電子、吶喊搖滾、藍調怨曲,甚至雷鬼節奏亦紛紛浮出水面。相比歐美音樂文化內層建築</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">(infra</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">-</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">structure)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">的成熟,亞洲</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">(</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">流行<span lang="EN-US">)</span></span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">音樂狀態多是摸石過河、見步行步。亞洲城市可能地理上彼此靠近,卻因不同文化氛圍、政治場域、經濟結構、宗教背景等等,發展出種種與別不同的生存策略和音樂面貌。</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></p>
<p class="MsoBodyText"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p> </o:p></span></p>
<p class="MsoBodyText"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">因此,我常常有種感覺,倘若要歸納八十年代流行音樂盛世的成功因子,再刻意嘗試回到過去,原是個自囿於</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">good old days</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">、</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">「愁看殘紅亂舞」</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">的偽命題,</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">與悵惜水裡被吹縐的影子無異。真正值得思考的是在資訊爆炸的世代,聽眾愈來愈容易接觸來自世界各地的音樂成果,香港流行音樂在曲詞編唱乃至舞台表演上,如何通過視聽的美藝、情</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">感,</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">與閱聽者共鳴共震,彼此成為共享香港</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">(</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">流行<span lang="EN-US">)</span></span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">文化的「想像的共同體」。</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></p><br /><p></p>梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-90004195464523937662020-11-21T00:00:00.006+08:002020-11-22T00:20:16.506+08:00《敢觀舞台》──歐洲直送的《紙偶影畫馬克白》 (2020.11.21)<p><span face="標楷體" lang="ZH-HK" style="background: white; font-size: 14pt; line-height: 120%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6JIpKTisV2OW-ut8RwTeTW3iUPjVbn98dA3OEhU5ZVpOlJykB9xbNASWvfg_jqpGd1BQ427_p05shbExrjxeJxdZjvV0XgoupHr4sNYW3vxaKyzp-I7ZJ09yK6cSD3-O6scykbN8uTPc/s1080/124166717_3514292785272968_6096293673927440658_o.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6JIpKTisV2OW-ut8RwTeTW3iUPjVbn98dA3OEhU5ZVpOlJykB9xbNASWvfg_jqpGd1BQ427_p05shbExrjxeJxdZjvV0XgoupHr4sNYW3vxaKyzp-I7ZJ09yK6cSD3-O6scykbN8uTPc/s320/124166717_3514292785272968_6096293673927440658_o.jpg" /></a></div><p></p><p class="MsoBodyText"><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">疫情尚未完全明朗,生活還是要繼續。近月各大表演場地逐漸重開後,劇場也熱鬧起來。其中強調動畫、音樂、聲效、戲劇配合的英國</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">THE PAPER CINEMA</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">,就遙距發表了《紙偶影畫馬克白》。</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">THE PAPER CINEMA</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">於英國創立,</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">2004</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">年以來藝團善於糅合即場動畫和音樂的獨特演出,至今仍在英國及世界各國巡迴或直播,更曾於</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">2015</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">年來港為香港藝術節,演出荷馬的希臘史詩《紙偶影畫奧德賽漂流記》。</span></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><o:p> </o:p></span></p><p class="MsoBodyText"><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">今回的《紙偶影畫馬克白》自是</span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">脫胎自</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">莎劇經典中的經典《馬克白》。</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">THE PAPER CINEMA</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">將莎士比亞筆下的《馬克白》演繹成一個警世寓言,帶着富有童趣的紙偶形象,建構出穿越蘇格蘭崎嶇國度,沿途遇上風暴、謀殺和陰謀背叛的故事。線條簡單的手繪戲偶,現場配上各式音效、原創音樂和玩味十足的手作投影,如鄧肯王被殺一場,聲音藝術家拿刀子狂捅椰菜,視覺藝術家把茄汁倒進透明飲料中變成血染後廷的大特寫,創造出似是「低科技」的經典戲劇場面,把莎士比亞悲劇用最平而近人的手法活現眼前。</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><o:p></o:p></span></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><o:p> </o:p></span></p><p class="MsoBodyText"><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">香港藝術節</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">2015</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">上演的《紙偶影畫奧德賽漂流記》,則以詩人荷馬史詩名著為藍本,並投影即場的繪畫場景和手繪紙偶,加上現場樂隊伴奏,呈現前所未有的「故事新編」。類近於西方皮影戲的《紙偶影畫奧德賽漂流記》,講述特洛伊戰爭結束後,男主人公奧德賽還未歸家,王位懸空,一眾求婚者覬覦奧德賽的王位和妻子。荷馬史詩的原文中,奧德賽在漂流歸來對妻子多番試探,和「神」作為崇高客體所起的作用,在「紙偶影畫」的版本完全被淡化,演出着力探索家庭與愛情關係,成就童趣十足的成年人童話。</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><o:p></o:p></span></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><o:p> </o:p></span></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">THE PAPER CINEMA</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">的《紙偶影畫馬克白》與《紙偶影畫奧德賽漂流記》在結構上同是以書本揭頁的方式,投影在後牆上。然而,《紙偶影畫馬克白》比前作更簡約流暢,摒棄《奧德賽漂流記》在觀眾面前即席用炭筆在紙面勾勒主角的卡通模樣,再剪出形狀來投影。未許</span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">不是</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">《馬克白》的故事相對複雜,《紙偶影畫馬克白》未能如《紙偶影畫奧德賽漂流記》般將故事中所有場景如樹林、大海漂流、滿天星空等都即場手繪。《紙偶影畫馬克白》將創作重點置於「劇場電影」的成品,精力放在預先設計好馬克白及夫人、女巫等的紙偶形象,整個演出貫穿原創音樂,音樂及聲效代替旁白。這樣的處理,《紙偶影畫馬克白》的現場感自然大減,但從「紙偶影畫」角度看來卻更加流暢,把《馬克白》的故事精緻化和童話化。用最單純的黑白灰色調、光影更迭,交代女巫預言、弒君奪位、屠殺婦孺等情節變化。《紙偶影畫馬克白》最吸引眼球之處,在於它完全暴露創作的不同聲效和製造影像效果的物料,包括黃豆掉落製造的雨聲,磨擦毛衣得出的拭血之音等等。把莎士比亞《馬克白》的人性、慾望、陰謀、背叛和神秘寓言,用非常日常生活、居家的物料呈現出來,既活潑有趣,又將遙遠的帝王將相故事,注入全新觀演的創意體驗。</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><o:p></o:p></span></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><o:p> </o:p></span></p><p class="MsoBodyText"><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">相對於真人即場演出的《紙偶影畫奧德賽漂流記》,《紙偶影畫馬克白》赫然是半個真人都沒有的「紙偶影畫」、「劇場電影」。《紙偶影畫馬克白》的拍攝甚至完全沒有現場觀眾,附贈劇終播出完整的幕後製作花絮</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">(making of) </span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">和「演後談」。如同觀賞</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">NTLIVE</span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">,將演出剪輯出優秀的</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">「電影版本」。短短八十分鐘的「紙偶影畫」,拍攝過程由多個鏡頭在一天內攝製,剪接過程長達兩周。值得思考的是,在全球疫情陰影下,這種由</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">live</span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">發展出來的</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">「紙偶影畫」,卻成功跨越地域、文化及語言界限。這也許亦是</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">21</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">世紀「後疫症時代」的全球趨勢。觀眾觀演後,觀影體驗包含即時飽覽當中微妙的製作過程,如同演唱會或電影</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">DVD</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">收錄的幕後製作花絮。另一方面,在千里之外的香港大會堂觀演的我們,同時經歷最初在電影院看</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">NTLIVE</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">的心路歷程,究竟要不要鼓掌,創作人和表演者終究是無法現場聽到。</span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">只是歐洲直送的</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">《紙偶影畫馬克白》實在太精采,大家都沒有猶豫,熱烈地鼓掌足足兩遍。但願滿場掌聲也能直送歐洲。</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><o:p></o:p></span></p><p class="MsoBodyText"><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><br /></span></p><p class="MsoBodyText"><span style="background-color: white; color: #555544; font-family: tahoma; font-size: large;"><b>原載於</b></span><span face="tahoma, "trebuchet ms", lucida, helvetica, sans-serif" style="background-color: white; color: #555544; font-size: large; font-weight: 700;">《文匯報》文化版。</span><span style="background-color: white; font-size: 14pt;"> </span></p>
<p class="MsoBodyText"><span face="標楷體" lang="EN-US" style="background: white; color: black; font-size: 14pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p> </o:p></span></p>梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-52127889745400344112020-10-31T00:00:00.007+08:002020-10-31T00:00:06.583+08:00《敢觀舞台》──如幻似真的魔法——鋼琴與說書的《魅》 (2020.10.31)<p></p><p class="MsoNormal"><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZwOZKSgNqUGNXwW2YQfB2x6qM2cAFZSPSWl-9jHvRqqcWPvHbsY7_UPYFy6aguZ42BK3CqNCaZRQkmMakSXu9iDwGa1lrBn7hSjCH6I-3Pwza_JpB0KgjV8yjuBBkmL0GD6IoVEssr7w/s1334/122194425_3526894027366826_1887739010727194244_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="890" data-original-width="1334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZwOZKSgNqUGNXwW2YQfB2x6qM2cAFZSPSWl-9jHvRqqcWPvHbsY7_UPYFy6aguZ42BK3CqNCaZRQkmMakSXu9iDwGa1lrBn7hSjCH6I-3Pwza_JpB0KgjV8yjuBBkmL0GD6IoVEssr7w/s320/122194425_3526894027366826_1887739010727194244_o.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-size: 14pt; line-height: 107%;">闊別現場觀演長達十個月,再次置身香港文化中心大劇院接觸劇場演出,赫然是「台灣月<span lang="EN-US">X</span>進念」的《魅》。</span>香港版《魅》,原型來自去年於台中歌劇院「</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">2019 NTT </span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">遇見巨人系列」首演的《曖魅》。《曖魅》揭開張艾嘉讀劇、鋼琴演奏家嚴俊傑演奏的合作序幕,張艾嘉串演鋼琴旁曖魅說書的精靈,嚴俊傑以音符講述曼妙動人的鬼故事,再結合文字、多媒體,別開生面帶動觀眾走進哀怨又跳脫的「戀人絮語」式情感狀態。</span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">說書<span lang="EN-US">/</span>讀劇配上鋼琴的如泣如訴、雙主軸的單雙節表演形式,<span lang="EN-US">2020</span>年</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">回到進念主場,香港版《魅》因應疫情進一步將劇場創作設置在即時串流的光纖技術上,實驗台港兩地的實時朗誦與演奏、說書與詩篇、聲響與多媒體視覺效果的交鋒</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">---</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">嚴俊傑在台北台新金控大樓元廳隔空演奏,張艾嘉坐鎮香港舞台</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">---</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">通過光纖網絡科技,集中展演五段愛與精靈的吉光片羽。</span><span style="background-color: white; font-family: 標楷體; font-size: 14pt;"> </span><p></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimRIUcQpwYKBJNopFcFFpsf1kC8GFYc-pPq6K-p_w77RVVbWWLWu-8OiBbUYAWSqv18fuQ1VeDKLKeBiFMzezYm2LOCdC40iURzvMP4SckQXUZCcmSGluLnrJS38ocWlnVMQzp91jn0EQ/s1600/122401264_3526893934033502_3572250207525977036_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimRIUcQpwYKBJNopFcFFpsf1kC8GFYc-pPq6K-p_w77RVVbWWLWu-8OiBbUYAWSqv18fuQ1VeDKLKeBiFMzezYm2LOCdC40iURzvMP4SckQXUZCcmSGluLnrJS38ocWlnVMQzp91jn0EQ/s320/122401264_3526893934033502_3572250207525977036_o.jpg" /></a></div><p></p><p class="MsoBodyText"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">《魅》的舞台設定明顯是胡恩威的風格。紙鎮般的枯樹在台左與觀眾隔空相望,舞台正中有着詭異的時鐘,為虛擬的時間空間定調。帷幕相應的位置由透明薄紗充作投影板,隔空演奏的嚴俊傑與鋼琴在薄紗中若隱若現,鬼魅般隨着演奏的每個音符,彼此一同經歷高低跌宕。《魅》的五段演奏曲目分別為孟德爾頌/拉赫曼尼諾夫的〈詼諧曲〉</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">(</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">選自《仲夏夜之夢》</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">、拉威爾的《夜之加斯巴》、聖桑/李斯特/荷洛維茲的《骷髏之舞》、李斯特的三首佩脫拉克十四行詩</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;"> </span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">(</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">選自《巡禮之年第二年:意大利》</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">,還有李斯特的《蕾諾兒》。張艾嘉一人分飾十三角,時而配合音樂現場朗誦作品,時而模仿情節中角色的小兒女情態,時而讀劇般朗讀文字對白。多媒體文字之林傾瀉而下,如同文字的瀑布,散落劇場四周。</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></p>
<p class="MsoBodyText"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhquWL3Om0aJqXUEbrumCCtYmlSe8x7SQO6gJ-h1KgeZALMLT1L0UX1MeQqK4Co14392ES94CILMae4WxOz-dQpYs_cxItBDi37Lxyb7RZ0ElbcvUsmimT1IcwFfiGYwdbeN-S5S8Sob5o/s1600/122701439_3526894020700160_8132325829106875519_o.jpg" imageanchor="1" style="font-size: 14pt; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1600" data-original-width="1066" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhquWL3Om0aJqXUEbrumCCtYmlSe8x7SQO6gJ-h1KgeZALMLT1L0UX1MeQqK4Co14392ES94CILMae4WxOz-dQpYs_cxItBDi37Lxyb7RZ0ElbcvUsmimT1IcwFfiGYwdbeN-S5S8Sob5o/s320/122701439_3526894020700160_8132325829106875519_o.jpg" /></a><br /><span style="font-size: 14pt;">另一方面,《魅》嚴選聖桑、李斯特等鋼琴樂曲,當中拉威爾的《夜之加斯巴》更名列技巧最艱難的鋼琴作品之一。現場朗誦的詩歌作品均由台灣著名樂評家焦元溥翻譯。這一部分,投影在張艾嘉身側如碉堡及鏤空雕花大宅門,張艾嘉站在舞台正中央夜鶯般沉醉於文字的孤寂,配上暗暗閃亮的華貴服飾,既是漆黑中的精靈,也是每個人心底幽遠的角落。多媒體的瞬息萬變造就深邃幽魅的異度空間,為觀眾帶來異域故事的視聽盛宴。除文學與音樂的碰撞外,《魅》最大的啟示還在於在疫情沒完沒了的情況下,如何開拓劇場展演的全新可能。</span></o:p></span><span style="background-color: white; font-family: 標楷體; font-size: 14pt;"> </span></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsnyOnAhRqoFj9KetVZWnvDZfI-NxvV7wwka_y8ntmcLJ8VVXywlYMKmWTH4p75le2oTI0Irl5au8lAlrvtf6wqASGtX8x0Tozv6dQ7LWOtO_HTfNtT2acEHtIT9FbMQGPsUbNlfjeWIY/s1600/122393077_3526893924033503_2123050169217586145_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsnyOnAhRqoFj9KetVZWnvDZfI-NxvV7wwka_y8ntmcLJ8VVXywlYMKmWTH4p75le2oTI0Irl5au8lAlrvtf6wqASGtX8x0Tozv6dQ7LWOtO_HTfNtT2acEHtIT9FbMQGPsUbNlfjeWIY/s320/122393077_3526893924033503_2123050169217586145_o.jpg" /></a></div><p></p><p class="MsoBodyText"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">全球疫情陰霾密佈,在瘋狂觀看網絡版劇場經典的上半年後,德國柏林人劇院</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">(Berliner Ensemble)
</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">在五月正式開展梅花間竹式「防疫座位表」,拆掉近四分三座位。奧地利薩爾斯堡藝術節</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">2020</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">,更大刀闊斧將原來十四個演出場地減到七個。為了減低社交接觸,情願調整曲目也絕對要演出無中場休息。而台灣香港合作的《魅》只開放半數座位,情商黎達達榮設計了</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">300</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">隻手繪紙牌動物精靈於座位上,區隔觀眾距離。然而,在演出上《魅》卻創出新猷,</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">2020</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">年</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">我們逐漸習慣的</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">ZOOM</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">MEETING</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">、</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">ZOOM</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"> </span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">TEACHING</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">外,實行劇場的實時兩地串流。縱然鋼琴家十指飛舞時,投影依然免不了萬中有一的「起格」;但在如此艱難條件下,圓融兩地藝術家製作出一個完整演出</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">,自是不易。</span><span style="background-color: white; font-family: 標楷體; font-size: 14pt;"> </span></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf_XPP2rG73QPKHmSgRymRPzXj5vX5h1gIOnZkgFH0s_Pw1iZExUNMGSkfI-L5SjeZNdcyennqN6SQr3qxjRrQpUDBb6uCeZhlyUuy21ofWgQ_eZXt_vbqdPYPEwWIH7h1hu8nRS_JylM/s1600/122521405_3534491403273755_3323238858462376339_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf_XPP2rG73QPKHmSgRymRPzXj5vX5h1gIOnZkgFH0s_Pw1iZExUNMGSkfI-L5SjeZNdcyennqN6SQr3qxjRrQpUDBb6uCeZhlyUuy21ofWgQ_eZXt_vbqdPYPEwWIH7h1hu8nRS_JylM/s320/122521405_3534491403273755_3323238858462376339_o.jpg" width="320" /></a></div><p></p><p class="MsoBodyText"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">想當然的是,劇場的「即時」一直受到重視。劇場的現場感和抽離的異質空間,多少讓劇場的綜合性特別迷人,在眾多藝術形式中散發着獨有的吸引力。《魅》這個實例不僅僅是一個權宜的舞台操作,甚至重新帶領觀眾思考什麼是「即時」…。兩地同時表演再放在屏幕、卻沒有真人是「即時」演出嗎</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">? </span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">有一半的真人才算得上是「即時」嗎</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">?</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"> </span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">隨着舞台科技的尖端發展、人與人之間緊密的溝通合作,「即時」的科技化表演,如</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">Hologram</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">全息投影及</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">3D Mapping</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">(光雕投影)又是否「即時」</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">? </span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">說穿了,</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">不論科技化實體演出或虛擬演出,需要的都是場地</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">、器材和人才。</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">基本如劇場的音響、燈光及器材整合成系統操作,透過科技化表演,可以開啟創作者與觀眾對「即時」的全新創作方向和觀賞體驗。「即時」既是觀眾置身場景內的感覺,自然是劇場科技如幻似真的魔法。</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></p><p class="MsoBodyText"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><br /></span></p><span style="background-color: white; color: #555544; font-family: tahoma; font-size: large;"><b>原載於</b></span><span face="" style="background-color: white; color: #555544; font-family: tahoma, "trebuchet ms", lucida, helvetica, sans-serif; font-size: large; font-weight: 700;">《文匯報》文化版。</span><p></p>梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-45256037643601051152020-09-12T00:00:00.009+08:002020-09-12T00:00:02.333+08:00《敢觀舞台》──被時代病魔深深侵蝕——蜷川幸雄劇團《凱撒大帝》 (2020.09.12)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu_1PRsEcNa_FE1IHjbwKrmKV7yyVkmSr2d2UwlAeWAwbs87wKrOdVwHGiJsHTD8s0uJ0tQtsN0rtASaP1YDH7U561DdNodiM6lR-u3Tj-4hK6y-J-Nh3sKtgXBDD9Yx8-Q57vpm1ptqY/s334/movie_1588757968.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="334" data-original-width="238" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu_1PRsEcNa_FE1IHjbwKrmKV7yyVkmSr2d2UwlAeWAwbs87wKrOdVwHGiJsHTD8s0uJ0tQtsN0rtASaP1YDH7U561DdNodiM6lR-u3Tj-4hK6y-J-Nh3sKtgXBDD9Yx8-Q57vpm1ptqY/s320/movie_1588757968.jpg" /></a></div><p class="MsoBodyText"><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">《凱撒大帝》是日本國寶級劇場導演蜷川幸雄的「莎劇系列」第</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">28</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">部作品,</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">2014</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">年</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">10</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">月發表於埼玉縣彩之國藝術劇場。原屬莎士比亞創作早期的歷史劇《凱撒大帝》</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">(1599)</span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">,雖以</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">凱撒命名,劇本最主要角色卻是布魯圖斯</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">(</span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">阿部寬飾<span lang="EN-US">)</span>、卡西烏斯<span lang="EN-US">(</span>吉田鋼太郎飾<span lang="EN-US">)</span>和安東尼<span lang="EN-US">(</span>藤原龍也飾<span lang="EN-US">)</span>,</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">凱撒大帝</span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">只出現三次。被刺早逝的凱撒大帝,既是群雄並起的歷史</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">B</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">ACK DROP</span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">,也是野心家亟欲取而代之的象徵秩序。</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">《凱撒大帝》</span><span style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">全劇以</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">布魯圖斯的心路歷程、內心掙扎為主軸,描繪男主人公在情誼、國家、權位之間的抉擇。《凱撒大帝》從公元前</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">44</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">年凱撒大帝推翻羅馬帝國自立為王說起,幾乎匯聚貫串莎翁歷史劇所有主題因子,預言家、書信、妻子的勸說、同夥的慫恿、謀反叛變後的不安、叛徒的出賣、閃現的幽靈等等,通通浮出水面。</span><span style="background-color: white; font-family: 標楷體; font-size: 14pt;"> </span></p><p class="MsoBodyText"><span style="background-color: white; font-family: 標楷體; font-size: 14pt;"><br /></span></p>
<p class="MsoBodyText"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">作為蜷川「莎劇系列」的作品,《凱撒大帝》未許</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">不是受到蜷川的病患影響,</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">相對於早期積極圓融日本文化元素</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">(</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">如歌舞伎、能劇、櫻花、佛堂等</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">的《美狄亞》和《蜷川馬克白》,《凱撒大帝》的搬演採取簡約階梯作為權位象徵的舞台佈置,加上</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">centre the centre</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">的母狼乳嬰巨型雕像,地標式豎立古羅馬象徵物,意味着羅馬誕生於一場兄弟<span lang="EN-US">(</span>按<span lang="EN-US">: </span>羅慕露斯與雷琴斯<span lang="EN-US">)</span>自相殘殺的結果,側面印證亙古以來的政治鬥爭和流血衝突。</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">天地不仁、野心欲望永劫回歸,你方唱罷我登場。</span><span style="background-color: white; font-family: 標楷體; font-size: 14pt;"> </span></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcjJr_Tted-joP32h7J9dzH8757XvYBXwIog7o96NGlYT0gyPGBY_wpVe-1izMVC_XxE8K0PhCUIhAZz7MUrl2JRhGR4AjZWxDTZv6lp2JF5Q-RqDb-I9USwzp40iNmAARX0wufDUDLX0/s1920/56380dc45c64f3f95c2446216167e21e788b1a18.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcjJr_Tted-joP32h7J9dzH8757XvYBXwIog7o96NGlYT0gyPGBY_wpVe-1izMVC_XxE8K0PhCUIhAZz7MUrl2JRhGR4AjZWxDTZv6lp2JF5Q-RqDb-I9USwzp40iNmAARX0wufDUDLX0/s320/56380dc45c64f3f95c2446216167e21e788b1a18.jpg" width="320" /></a></div><p></p><p class="MsoBodyText"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">至於蜷川劇場美學信奉的「開場三分鐘決勝負」,即在狼嬰巨像下的出場人物中實現。就着莎翁為後世詬病的「讓《凱撒大帝》出現伊莉莎白時代所沒有的帽子、緊身衣、厚重大衣等現代服」,蜷川在開場的一瞬,安排演員都穿上這些「飽受批評」的現代服踏上台板,然後一秒卸下,展示出既調侃莎劇「謬誤」,亦預示《凱撒大帝》故事的超越時空特質。蜷川「開場三分鐘」狠狠為《凱撒大帝》定調。當然,蜷川「莎劇系列」改編大多相當「話劇」,特別冗長的台詞、七情上面的放大表演,更不會漏掉蜷川簽名式「夕陽武士」</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">ending: </span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">主人公從高峰墜下,</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">「夕陽」從血紅歸零黑白。《凱撒大帝》的凱撒、卡西烏斯、布魯圖斯皆命絕於階梯上,登高跌重,歷來帝王將相莫不如是。登臨的勝利者安東尼,</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">在另一齣莎劇亦難逃一劫。</span><span style="background-color: white; font-family: 標楷體; font-size: 14pt;"> </span></p><p class="MsoBodyText"><span style="background-color: white; font-family: 標楷體; font-size: 14pt;"><br /></span></p>
<p class="MsoBodyText"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">比照蜷川揚名立萬的櫻花版《蜷川馬克白》,甚至後來以日本前現代貧民窟為背景的《哈姆雷特》,《凱撒大帝》並沒有搖身一變為江戶時代劇,扎根於當代劇場表演形式,善用彩之國藝術劇場八百座位的中型劇場空間優勢,恣意將舞台界線伸展到台下。如卡西烏斯抓着女觀眾細訴衷腸,戰爭場面直接從觀眾席殺上舞台等等,既是蜷川慣技也是歷史劇與觀眾拉近距離的一種方式。</span><span style="background-color: white; font-family: 標楷體; font-size: 14pt;"> </span></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZZcQR-N6DSJMlbp-lr7jrxPEuff6z-ygFSOOIRvWjxxKjKWcB3Wcufi4tmXXKKA6l1bzCDt8GsHT-hXA_uxEi9MMsgNtgW80A10QrsNLma9Kyp4B85_Sqx24S1l5IGt7tR8t8pbNG0xI/s496/0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="280" data-original-width="496" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZZcQR-N6DSJMlbp-lr7jrxPEuff6z-ygFSOOIRvWjxxKjKWcB3Wcufi4tmXXKKA6l1bzCDt8GsHT-hXA_uxEi9MMsgNtgW80A10QrsNLma9Kyp4B85_Sqx24S1l5IGt7tR8t8pbNG0xI/s320/0.jpg" width="320" /></a></div><p></p><p class="MsoBodyText"><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">蜷川</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">「莎劇系列」自有原劇本的局限,沒有蜷川社區劇場《烏鴉,我們上彈吧》和改編自村上春樹小說《海邊的卡夫卡》般靈活跳脫、隨心所欲。莎翁歷史劇卻與日本武士傳統</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">故事</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">靈犀暗通。不論是卡西烏斯、布魯圖斯,均飽含英雄末路的悲壯感。最後安東尼發表體面優雅的哀悼之辭</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">——</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">第一句</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">"Friends,
Romans, countrymen, lend me your ears"</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">(按</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">:</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">「各位朋友,各位羅馬人,各位同胞,請你們聽我說</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">…</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">」)</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">——</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">成功操弄群眾情緒,將刺殺歸罪於叛徒,藉此攀上權力高峰。觀眾都暗暗看透終局,意氣風發的剎那,等待着他們只有寫在牆上的宿命。正如蜷川幸雄在《千刄千眼》的嘆喟</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">:</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">「我們都是被時代病魔深深侵蝕的患者。現在我已經上了年紀,當導演也過了二十二年,但還是繼續地被戲劇這種病魔侵蝕。而這種病惡化的速度漸漸加快,一路奔馳倒數,直到終點。」</span><span style="background-color: white; font-family: 標楷體; font-size: 14pt;"> </span></p><p class="MsoBodyText"><span style="background-color: white; font-family: 標楷體; font-size: 14pt;"><br /></span></p>
<p class="MsoBodyText"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">蜷川幸雄於</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">2016</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">年五月病逝。始於</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">1998</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">年的「莎劇系列」,據說還遺下幾部未完成作品,包括當時排演過的《一報還一報》,另一部則是《亨利八世》。蜷川幸雄劇團於</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">2017</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">年</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">12</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">月起由吉田鋼太郎接力擔任導演,致力完成全數</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">37</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">套「莎劇系列」。《亨利八世》由《凱撒大帝》原班人馬</span><span style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">阿部寬飾演</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">英國歷代君王「最不道德」的亨利八世,吉田鋼太郎演繹重臣沃爾西樞機,是為蜷川「莎劇系列」倒數第</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">3</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">套,即第</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">35</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">部。</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></p><p class="MsoBodyText"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; font-size: 14.0pt; line-height: 120%; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><br /></span></p><span style="background-color: white; color: #555544; font-family: tahoma; font-size: large;"><b>原載於</b></span><span face="" style="background-color: white; color: #555544; font-family: tahoma, "trebuchet ms", lucida, helvetica, sans-serif; font-size: large; font-weight: 700;">《文匯報》文化版。</span><p></p>梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-79309967882782533192020-08-08T14:34:00.006+08:002020-08-09T02:41:28.369+08:00《敢觀舞台》──從蒙昧到專業——《拾舞話:香港舞蹈口述歷史(五十至七十年代)》 (2020.08.08)<p class="MsoNormal"></p><p class="MsoNormal"><span face="" lang="" style="background: white; font-family: 標楷體; font-size: x-large;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5bgLYht_AbC9fwaq2ihP2CDoOwQQ_5Ju2VwWT9U2dxRhLLnYUUCY9f4TTKwdcE_jlSuTHhOMmsKbSejj7XxI7BnK0z15JmIpENuYBctF0TjTYf2LeUYkZ-4Gq12hU4OroybD9DyH1ag0/s598/9789881359919z.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="598" data-original-width="446" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5bgLYht_AbC9fwaq2ihP2CDoOwQQ_5Ju2VwWT9U2dxRhLLnYUUCY9f4TTKwdcE_jlSuTHhOMmsKbSejj7XxI7BnK0z15JmIpENuYBctF0TjTYf2LeUYkZ-4Gq12hU4OroybD9DyH1ag0/s0/9789881359919z.jpg" /></a></div><p></p><p class="MsoBodyText"><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">剛於上月公佈的「香港舞蹈年獎</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">2020</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">」,將「傑出舞蹈服務」獎頒發予城市當代舞蹈團發表的研究計劃「香港舞蹈口述歷史(五十至七十年代)」,具體內容包括中文出版物《拾舞話:香港舞蹈口述歷史(五十至七十年代)》及英文版、網絡版本。《拾舞話》以香港舞蹈「前專業化時代」為主要研究年代,由兩位研究員親身訪問十位在五十至七十年代活躍於香港舞蹈圈的前輩,包括吳世勳、吳景麗、郭世毅、梁漱華、梁慕嫻、鄭偉容、楊偉舉、劉兆銘、劉素琴、鍾金寶;再從各位前輩的記憶中提煉不同角度的觀點與視野,呈現口述歷史紀錄方式,建構香港舞蹈早期發展史料。</span><span style="background-color: white; font-family: 標楷體; font-size: 14pt;"> </span></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><o:p> </o:p></span></p><p class="MsoBodyText"><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">從《拾舞話》開首數個章節的訪問文字,五、六十年代的香港由於經濟文化條件局限,其時並沒有什麼「舞蹈」或「發展藝術」的概念。大部份「舞蹈工作者」都只把跳舞視為謀生技藝或業餘興趣,更遑論進入「古典舞」、「現代舞」的討論。大概要到六七暴動後,港英殖民地政府開始積極發展青年政策,投放資源在「文娛康樂」項目,才逐漸有多以「藝術」、「文化」的角度看待「舞蹈」,進而再確立「舞蹈家」、「表演藝術」的文化角色。早在五、六十年代投身舞蹈事業的前輩,大多與影視行業有密切關係。由於電影電視工業</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">(</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">乃至粵劇</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">對舞蹈元素有一定需求,第一批「舞蹈工作者」吳世勳、吳景麗,順理成章在教明星跳舞、為情節編舞的層面上,發揮一己所長,為銀色表演事業增色。影視工業加持後,進入殖民地政府講求管治的六十至八十年代,舞蹈作為一項可以吸引青少年參與的群體活動,甚至成為港英殖民地政府與愛國團體爭奪人心的角力場。</span><span style="background-color: white; font-family: 標楷體; font-size: 14pt;"> </span></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><o:p> </o:p></span></p><p class="MsoBodyText"><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">這一邊廂,殖民地政府以優越的文化姿態,提供西方藝術文化為青年政策的內涵,舞蹈等「文娛康樂」成了青少年精力和時間的出口。以芭蕾舞為代表的上流社會藝術教育,逐漸進入普羅大眾的視野。另一邊廂,香港愛國力量通過若干學生組織,如梁慕嫻提及的「學友社舞蹈組」,培養並動員學子心懷祖國的愛國情懷和組織紀律。百花齊放下,舞蹈專業化迅速進入藝術教育的領域。當然,專業化本身同樣是政治,尤其與西方藝術世界要求掛鈎的「舞蹈專業資格」普遍被追求。背後不但有着與西方藝術標準接軌的欲望,隱伏了歐洲中心主義的無遠弗屆。至於香港作為一個面向國際的華人城市,中國人流徙的一面,造就具中西舞蹈背景的「舞蹈工作者」如梁潄華等,在美加創辦華人舞蹈學校,發揮香港人在文化上的幅射能力。</span><span style="background-color: white; font-family: 標楷體; font-size: 14pt;"> </span></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><o:p> </o:p></span></p><p class="MsoBodyText"><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">郭世毅、楊偉舉、鄭偉容、劉兆銘、劉素琴就是這一波專業化過程的拓荒者、先行者,在「前專業化時代」將舞蹈藝術發揚光大,其中更有前輩與來自蘇格蘭的鍾金寶創立「香港芭蕾舞學會」。鍾金寶</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">(Joan Campbell)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">曾經在七十年代末於「香港芭蕾舞團」教育部任教,開拓由舞團自行訓練舞者的可由之路。藝術機構「自備」舞者,不但解決舞團在招募舞者時水準不均的問題,舞者藉着在藝團專業培訓和持續演出,晉身為以跳舞為職業的「專業舞蹈表演者」。所謂「專業化」,就是指向這一批在香港舞蹈生態中,不同崗位的舞蹈從業員的誕生,包括編舞、全職舞蹈員,舞蹈教師。而舞蹈發生的「地點」如街頭、天台,專業化地搖身一變為舞蹈教室、表演廳等「場所」。</span><span style="background-color: white; font-family: 標楷體; font-size: 14pt;"> </span></p><p class="MsoBodyText"><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><o:p> </o:p></span></p><p class="MsoNormal">
</p><p class="MsoBodyText"><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">芸芸受訪者中,鍾金寶一席話可能最概括五十至七十年代舞蹈作為西方文化、藝術教育先鋒的價值。植根香港的芭蕾舞,是所有中產階級都想女兒們接受的藝術訓練。鍾金寶強調,芭蕾舞訓練原是一整套審美價值觀的建立</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">:</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">「上芭蕾舞課,不一定要成為芭蕾舞者,而是學習社交、行坐儀態、舉止優雅、聆聽音樂。離開課室後踏上舞台與否並不重要。一踏在街上,自然就能優雅走下去。」修習芭蕾舞蔚然成風,慢慢脫離只有高等華人、上流社會才能沾染的貴族氣息;隨着社會的富裕,審美的浸淫、對美的感受能力和追求,芭蕾舞所代表的美藝,也是一名公民不可或缺的素質。鍾金寶的話,解開了筆者自四歲學習芭蕾舞、不旋踵到七歲便草草放棄的心結</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">---</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;">舞藝修習有時,真善美長存我心。</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: 14pt; line-height: 120%;"><o:p></o:p></span></p><p class="MsoBodyText">
</p><p class="MsoNormal"><span face="" lang="" style="background: white; font-family: 標楷體;"><o:p> </o:p></span></p><span style="background-color: white; color: #555544; font-family: tahoma; font-size: large;"><b>原載於</b></span><span face="" style="background-color: white; color: #555544; font-family: tahoma, "trebuchet ms", lucida, helvetica, sans-serif; font-size: large; font-weight: 700;">《文匯報》文化版。</span><p></p>梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-56394077131131155782020-07-25T00:00:00.000+08:002020-07-25T00:00:05.287+08:00《敢觀舞台》──光影、詩意、童趣——《十浪進劇場(首回)之光浪》 (2020.07.25)<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: white; font-family: 標楷體; font-size: large;">當我們說喜歡進劇場,其實我們喜歡的是什麼</span><span lang="EN-US" style="background-color: white; font-family: 標楷體; font-size: large;">? </span><span style="background-color: white; font-family: 標楷體; font-size: large;">當我們說進劇場的作品充滿詩意和童趣,這種美學印象究竟來自舞台上哪些物質條件</span><span lang="EN-US" style="background-color: white; font-family: 標楷體; font-size: large;">? </span><span style="background-color: white; font-family: 標楷體; font-size: large;">進劇場在疫症稍緩的五六月,舉辦一系列「回顧</span><span lang="EN-US" style="background-color: white; font-family: 標楷體; font-size: large;">+</span><span style="background-color: white; font-family: 標楷體; font-size: large;">展望」的活動,以參與式</span><span lang="EN-US" style="background-color: white; font-family: 標楷體; font-size: large;">workshop</span><span style="background-color: white; font-family: 標楷體; font-size: large;">進行的《十浪進劇場(首回)之光浪》為第一炮,讓原本由一月開始、卻被疫情打亂的《十浪進劇場》 ,慢慢追回進度。</span></div>
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<span style="background: white; color: black; font-family: 標楷體; mso-bidi-font-size: 12.0pt;"><span style="font-size: large;">《十浪進劇場》為年前進劇場《演員運動》星期一聚會的延續篇,由進劇場聯合藝術總監陳麗珠<span lang="EN-US">Bonni</span>,邀請多位與進劇場合作多年的朋友,分享各自在美藝上的愛好和偏執。《十浪進劇場(首回)之光浪》邀得長期緊密合作的燈光及立體紙藝設計師「神父」劉銘鏗,從一粒星說起。「神父」酷愛自製燈光及紙藝裝置,近年在進劇場的《演員運動》及《島物詩游<span lang="EN-US">——</span>也斯進劇場》,亦與<span lang="EN-US">Bonni</span>作出不同的光影實驗。<span lang="EN-US">Bonni</span>形容他為「高興時會打前空翻的燈光設計師,他將對世界的感受轉化成立體書的靈魂。」《十浪進劇場(首回)之光浪》就是一次親近光、摺摺紙、聽聽劇場光影背後二三事的聚會,讓一張白紙打開無窮故事。</span></span><span style="background-color: white; font-family: 標楷體; font-size: large;"> </span></div>
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<span style="background: white; color: black; font-family: 標楷體; mso-bidi-font-size: 12.0pt;"><span style="font-size: large;">「光浪」雖云是探尋光於劇場的<span lang="EN-US">(</span>使用<span lang="EN-US">)</span>奧妙,但<span lang="EN-US">workshop</span>卻類近於藝術治療的互動。首先是摺紙,進劇場的演出一直有不少與紙有關,如《樓城》的紙櫈,聯繫到堅實又脆弱的香港生活。「神父」從引導大家摺出相對複雜的立體<span lang="EN-US">Omega Star</span>開始,熟悉紙的觸感後,每人又再得到一張<span lang="EN-US">A4</span>白紙,可以隨意改變它的形狀。有的把它捲成貝殼狀,有把它摺成一條隧道,這時候「神父」的小電筒光線穿梭其中,造就光影中的神秘語言,彷彿讓我們回到進劇場的創團之作《魚戰役溫柔》、後來的《白屋》,乃至近作《島物詩游<span lang="EN-US">——</span>也斯進劇場》所營造的「小寶島」長洲之美。光影擔負着真幻之間最原始的「手作」式劇場元素。當光影也化身小電筒在大家掌握之中,「神父」再讓大家在漆黑中如螢火蟲般行走,然後合力在布幔中組成圖案,最後配合音樂變成「光浪」。</span></span><span style="background-color: white; font-family: 標楷體; font-size: large;"> </span></div>
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<span style="background: white; color: black; font-family: 標楷體; mso-bidi-font-size: 12.0pt;"><span style="font-size: large;">作為進劇場老觀眾老粉絲,剎那間還是挺感動的。二十多年過去,原來一直感受美、感覺到童真、童趣的,從來就不是高科技投影或設計繁複的形體動作,一切都來自赤子之心和最簡單的「手作」美藝。劇場藝術讓我們同呼吸共命運,齊齊回到最原始的瞬間,童年的玩意和簡單得不能再簡單的趣味。聚會中稍稍輕鬆的段落是<span lang="EN-US">Bonni</span>與「神父」細說喜歡的劇場空間,如台北兩廳院的實驗劇場。我卻默默地想起進劇場<span lang="EN-US">2010</span>年在藝穗會演出的《<span lang="EN-US">Marcovaldo——</span>乙城的四季》。改編自卡爾維諾《馬可瓦多》的《<span lang="EN-US">Marcovaldo——</span>乙城的四季》,把輕軟純真的馬可瓦多故事與喧鬧紛繁的香港渾成一體,觀眾似乎都很難重述出一個具體的故事,反倒令人念念不忘的是舞台一隅的「開放式房間」,完場後我還跟隨着紀文舜扮演的兔子,從舞台中打開着的台左閘門離開劇場,直接站到馬路旁。藝穗會場外車如流水馬如龍,依然人間煙火式紛紛擾擾。<span lang="EN-US"><o:p></o:p></span></span></span></div>
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<span style="background: white; color: black; font-family: 標楷體; mso-bidi-font-size: 12.0pt;"><span style="font-size: large;">言歸正傳,疫情期間幽閉的隔離生活不免沮喪。劇場人甚至悲嘆說,懷疑劇場可能需要關掉一年半載或以上。然而,這恰恰是最好的自我梳理時機。進劇場以外,前進進在五、六月時就曾一連六星期推出七個網上節目,包括一夜限定的演員牛棚暢聚和四個讀劇及演後討論,也有廣播劇式的讀劇跨平台放送,主力回顧舊作舊事。進劇場反其道而行,《十浪進劇場》則是陳麗珠與劇場朋友以「生活與藝術」為主題,分享啟發靈感和創作生活經驗的聚會,以不同養份啟發探索、靈感和實踐,為業界及觀眾帶來豐富的交流、凝聚繼續前進的力量。這同時是進劇場開展新兩年計劃《<span lang="EN-US">SEED </span>楔子<span lang="EN-US">2020</span>》的第一章。承接自《<span lang="EN-US">CAT •</span>拾肆》及其中《演員運動》的花火,自然要繼續探尋劇場的不同的可能性。又將有一系列向外探尋的活動,像「演員運動」的後續、國際戲劇大師班及《愛在<span lang="EN-US">...</span>》演出計劃。《愛在<span lang="EN-US">...</span>》將延續《國際演員運動》的實驗成果,以馬奎斯《愛在瘟疫蔓延時》為藍本,總結對文本、肢體和空間的實驗和想像<span lang="EN-US">——</span>懸宕的表演藝術,在懸置的時空中歇歇腳,來日再上路,飛得更高更遠。<span lang="EN-US"><o:p></o:p></span></span></span></div>
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<span style="font-size: large;"><span style="background-color: white; color: #555544; font-family: tahoma;"><b>原載於</b></span><span style="background-color: white; color: #555544; font-family: tahoma, "trebuchet ms", lucida, helvetica, sans-serif; font-weight: 700;">《文匯報》文化版。</span></span></div>
梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-44982432419261061892020-06-27T00:00:00.000+08:002020-06-27T00:00:09.022+08:00《敢觀舞台》──重/創歐洲(Re:Creating Europe)——國際劇場中的歐洲現實觀照 (2020.06.27)<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: large;"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">打從四五月以來,國際表演藝術粉絲分身不暇到「趕場」的地步。不但因應時差晨昏顛倒,同一晚上限時轉換網絡觀賞幾個節目更是家常便飯。在歐美劇場</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">WATCH FORM HOME</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">沒頂浪潮中,密集觀演赫然令人發現劇場中的歐洲現實觀照,原是這樣動魄驚心。</span><span style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">近年</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">歐洲右翼抬頭,「什麼是歐洲」,「什麼是歐洲人」,怎樣的政治領袖掌握權力、主宰世界等等,通通都成了無法迴避的課題。</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><span style="background: white; color: black; font-family: 標楷體;">藝術家自然是最敏感的。這一邊廂,</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">多個歐洲表演藝術品牌的「經典新編」,爭先恐後改編莎士比</span><span style="background: white; color: black; font-family: 標楷體;">亞《理察三世》。法國皮寇拉家族劇團<span lang="EN-US">(La Picc</span></span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">ola Familia)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">導演兼演員</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">THOMAS JOLLY</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">,把</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">RICHARD III</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">演繹為一位渴望群眾認同的舞台明星;德國柏林列寧廣場劇院</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;"> </span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">(</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">Schaubühne</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">《理察三世》的男主角卻是心靈扭曲、與世界為敵的邊緣人;阿姆斯特丹劇團</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">(Internationaal Theater
Amsterdam)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">《戰爭之王》的</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">RICHARD III</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">是個自卑又自大的野心家,世上除他以外沒有別人,陰謀詭計強辭奪理才是他看家本領。那一邊廂,實驗劇場如柏林戲劇節</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">2019</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">就有《清唱團》</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">(Oratorium (Oratorio)) </span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">探討社會中多元多種族混雜的可能,阿維儂藝術節</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">2019</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">也有《</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">Under Different Skies</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">》、《</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">We, Europe, Feast of The People</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">》,以不同方式提出對「歐洲」的種種疑慮。</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">今回柏林列寧廣場劇院率先網上播映的是,德國中生代劇作家李希特</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">(</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">Falk Richter</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">的實驗舞蹈劇場《</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">Trust</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">》。貫徹李希特一直對全球化的鞭撻和省思,寫於</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">2009</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">的《信任》積極描繪國際金融環球信貸、</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">NON-PLACE</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">現代人的微妙關係。《信任》折射全球化下人類精神的粗糙、乾枯、冷冰、暗黑,生活窮得只有股票、匯率、名牌、電子產品。《信任》女演員講及</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">Escada</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">時,穿上一襲真正的</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">Escada</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">鮮黃色裙子,突顯女主人公高收入職業女性的簡潔、老練、精明的城市形象。惟有舞台右上方的小休息室,裡面的掛牆畫是一朵曼陀羅花。曼陀羅花是生命之花,是</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;"> NEW AGE</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">學說中的核心意象,記載着宇宙真理,亦曲折印證了全球化單一疏離的精神困境。</span></span><span style="font-family: 標楷體; font-size: large; text-indent: 24pt;"> </span></div>
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<span style="font-size: large;"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">至於德國國際政治謀殺學院(</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">International Institute of
Political Murder</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">)的《</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">Hate Radio</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">》,更是講述自</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">1994</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">年開始,遙控自逃亡法國的非洲富豪卡布加(</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">F</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">é</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">licien Kabuga</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">)、發生於非洲盧旺達的種族屠殺歷史。事件有近一百萬盧旺達圖西族人被滅絕。來自瑞士的劇場與電影導演</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">Milo Rau</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">,以獨特的紀錄文獻形式,配合模擬電台廣播手法,創作呈現歷史與社會衝突的政治劇場。《</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">Hate Radio</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">》聚焦於</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">1993</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">年</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">7</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">月到</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">1994</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">年</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">7</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">月期間營運的</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">Radio-Télévision Libre des Mille Collines</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">電台,通過不斷散播種族仇恨言論,挑起廣泛敵視少數族裔的社會情緒。罪魁禍首卡布加一開始憑鉅富身份逃亡瑞士,瑞士政府要到聯合國成立盧旺達問題國際刑事法庭(</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">International Criminal Tribunal
for Rwanda,</span><span lang="EN-US" style="color: black; font-family: 標楷體;">ICTR</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">)後,才將卡布加驅逐出境。卡布加原是歐洲養大的怪獸,在歐洲庇蔭下遺禍人間。</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">最發人深省便要數到阿姆斯特丹劇團發表的《重</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">/</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">創歐州》</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">(Re:Creating Europe)</span><span style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">。</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">《重</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">/</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">創歐州》創作於英國公投脫歐的</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">2016</span><span style="background: white; color: black; font-family: 標楷體;">,</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">由荷蘭傳媒工作者</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">Yoeri Albrecht </span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">發起,歐洲當紅劇場導演</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">Ivo Van Hove</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">主理,並先後在巴黎</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">Odeon Theatre</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">和英國曼徹斯特國際藝術節</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">2019</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">演出。《重</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">/</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">創歐州》是一場有關歐洲「宣言之再現」的集大成讀劇演出,夾雜許多歐洲重要歷史或新聞片段</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">(</span><span style="background: white; color: black; font-family: 標楷體;">如希特拉的納粹現場<span lang="EN-US">)</span></span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">,全劇不加任何主觀判斷,重新拼圖般讓觀眾自行判斷究竟「什麼是歐洲」。雨果、歌德、莎士比亞、戴卓爾夫人、丘吉爾、約翰遜、馬克龍、蘇珊宋坦、列根、默克爾、奧巴馬等等對「歐洲」或國家的論述和想像的文字,都由原語言唸出,演員不斷從英語跳到德語再到法語。其中前德國總理</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">Helmut Schmidt</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">最切中肯綮</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">---</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">歐洲是個</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">PROJECT</span><span style="background: white; color: black; font-family: 標楷體;">,</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">是一門生意,是大家共同經營的共同體。她總不是天然的、純然一體的國度</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">---</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">反諷地,劇終卻由不同膚色髮色的演員群,集體唸出歐盟的聯合宣言和樂章作結</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">:</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;"> </span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">Europe</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;"> </span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">is</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;"> </span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;">the grand design of the 21<sup>st</sup> century.<o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體;">想當然的是,當大眾認為藝術都是輕飄飄、搔不着癢處之時,藝術家面對極右的現實世界,作品或調侃或嘲諷或寄寓,就是最有距離的啟蒙或評議,又是最有力的回應。舞台上所提煉過的,原是外在社會情緒蹦開了的舞台言說空間。藝術不是現實,但它卻是陌生化了、扭曲了、長得不大像現實的清晰倒影。</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體;"><o:p></o:p></span></span></div>
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<span style="background-color: white; color: #555544; font-family: tahoma; font-size: 13px;"><b>原載於</b></span><span style="background-color: white; color: #555544; font-family: tahoma, "trebuchet ms", lucida, helvetica, sans-serif; font-size: 13px; font-weight: 700;">《文匯報》文化版。</span></div>
梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-89738325370036904322020-06-06T00:00:00.000+08:002020-06-06T00:00:11.021+08:00《敢觀舞台》──柏林零距離——線上「柏林戲劇節2020」(2020.06.06)<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: large;">每年五月於德國柏林舉行的柏林戲劇節</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: large;">(Berliner Festspiele)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: large;">,與法國阿維儂戲劇節</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: large;">(Le Festival d'Avignon)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: large;">、蘇格蘭愛丁堡藝術節</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: large;">(Edinburgh International Festival)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: large;">,並稱世界三大藝術節。可惜歐洲疫症肆虐下,三大藝術節都無奈先後宣佈擱置。其中柏林戲劇節因為有着獨特的操作機制,本已設定為「德語劇場精華遊」,劇目由現成「最具標誌性」(</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: large;">Remarkable</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: large;">)劇作組成,與鼓勵原創性質的藝術節</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: large;">(</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: large;">如阿維儂戲劇節</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: large;">)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: large;">不大一樣。於是在</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: large;">2020</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: large;">年乾脆實驗柏林與世界觀眾零距離,開展</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: large;">57</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: large;">年以第一次的線上柏林戲劇節,就是虛擬化的「柏林戲劇節」</span><span lang="EN-US" style="background: white; font-family: 標楷體; font-size: large;">(Theatertreffen virtuell)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體; font-size: large;">。</span></div>
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<span style="font-size: large;"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">參照英國劇院主要分為接收劇院(</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">receiving theatre</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">)與製作劇院(</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">producing theatre</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">)兩種。前者以主辦方或場主身份招徠業界享負盛名的出色製作,於特定場地搬演;後者每每由被委約藝團或製作單位,由零開始將一齣劇場創作好,再由同一委約藝術機構發表。借用英國表演藝術的概念,柏林戲劇節便大有「接收劇院」(</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">receiving theatre</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">)的意思,阿維儂戲劇節則傾向於「製作劇院」(</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">producing theatre</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">)的營運方式。因此在「德語劇場精選十大」的前提下,柏林戲劇節便特別可行地,把具名參與的劇場精品逐一展演,再輔以劇評人演後談、線上討論平台,巧妙地佈置出一個無遠弗屆的「柏林戲劇節</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">2020</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">」,繼續扮演帶領觀眾探索歐洲先鋒劇場的</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">(</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">線上</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">先驅角色。</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">線上「柏林戲劇節</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">2020</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">」發放共六部的「十部最值得關注劇目</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">2020</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">」</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">(</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">按</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">: </span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">「年度十大」很大程度上是「十部優秀作品」的概念,事實上每年均有一些劇作因故未能來到柏林,如去屆「年度十大」的多蒙特劇院《寄宿學校》缺席,只有九部參與</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold; mso-fareast-language: ZH-TW;">2019</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">展演</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">,就在</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">5</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">月</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">1</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">日至</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">9</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">日的「柏林戲劇節平台」</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">(Berliner Festspiele on demand)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">平台上,每部免費播放</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">24</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">小時。縱然國際論壇、劇作市集等活動從略,重頭戲之外,還有三場劇評人與藝術總監等的「劇場數碼化」主題研討會、多場演後座談以及</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">5</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">月</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">9</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">日評審團遴選決議討論會,深化戲劇節線上放映的思考和藝術傳播上的意義。</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">「柏林戲劇節</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">2020</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">」公開放映的六部作品,分別為《哈姆雷特》(</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">Hamlet</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">,</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">Johan Simons</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">導演)、《自殺剖析》(</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">Anatomie eines Suizids</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">,</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">Katie Mitchell</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">導演)、《人類的屈辱》(</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">Kränkungen der Menschheit</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">,</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">Anta Helena Recke</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">導演)、《我的青春小鳥一去不回來》(</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">S</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">ü</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">ßer Vogel Jugend</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">,</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">Claudia Bauer</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">導演)、《黃鼠屁眼》(</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">Chinchilla Arschloch, waswas</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">,</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">Helgard Haug</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">導演)、《吸塵器》(</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">The Vacuum Cleaner</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">,岡田利規導演)。值得一提的是,「柏林戲劇節</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">2020</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">」首次包涵由藝術總監</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">Yvonne B</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">ü</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">denhölzer</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">主催的「女性計劃」選拔標準,意指「年度十大」需有至少五部為女導演作品,最終入圍達六部之多,更有五部出自首次入圍的新導演之手。</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi658bPucqQA4SAoRcTcnLEll4Rnj87zqSeiuKiMpSxpCAx5kJTEsy9NnQHr5ntcHrp3d4C-ZRIQm8VNCnG1BxgDvR3j34oXKpKZIqMIyl3ucw17SkAYT14YBsHISVtV1tfxdVUykFvY-o/s1600/tt20_the_vacuum_cleaner_on_demand_582w.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="327" data-original-width="582" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi658bPucqQA4SAoRcTcnLEll4Rnj87zqSeiuKiMpSxpCAx5kJTEsy9NnQHr5ntcHrp3d4C-ZRIQm8VNCnG1BxgDvR3j34oXKpKZIqMIyl3ucw17SkAYT14YBsHISVtV1tfxdVUykFvY-o/s320/tt20_the_vacuum_cleaner_on_demand_582w.jpg" width="320" /></a></div>
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<span style="font-size: large;"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">其中</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">Johan Simons</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">導演的《哈姆雷特》,是直白有力的多種族現代版本。</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">Katie Mitchell</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">導演的《自殺剖析》講述三代皆為抑鬱症女患者的三祖孫,在三個特定年代的經歷和生活。</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">Katie Mitchell</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">通過三道寫上不同年份的門,逐一剖析她們的挫敗、哀傷與自毁。在同一空間展示不同的時間流,三祖孫命運世襲又掙扎,展現出導演非常老練的劇場技巧。《人類的屈辱》以藝術館</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">(</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">被</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">導賞的兩個藝術品,探討人類的審美本質和藝術化過程中的虛偽虛浮。《黃鼠屁眼》類近於</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">lecture theatre</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">,邀請多位遺傳性神經疾病妥瑞症</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">(Tourette Syndrome)</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">患者串演台上台下的演員和觀眾,病患為他們帶來身體抽搐的奇異節奏,在音樂中異常和諧優美。劇終任由演員踩上在天空飛行單車,讓觀眾重新思考世上的奇與常。日本岡田利規的《吸塵器》則是日式和室設置,橫切面的樓房剖示令人想起去年</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">Simon Stone</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">的《史特林堡酒店》,不過空間議題和所引起的城市窒息感,大概在亞洲將會更加貼地和有所共鳴。</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">湊巧的是,柏林戲劇節《哈姆雷特》播放的晚上,正是</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">Robert Wilson</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">演繹</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">Heiner Muller</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">《</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">Hamletmachine</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">》的「限時播映」時刻。多少奧菲莉亞們疲於奔命,一晚之內看遍兩個哈姆雷特。看來數碼化、網絡化縱然是本屆「柏林戲劇節</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">2020</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">」的折中,作為劇場老觀眾,真正點進「柏林戲劇節平台」</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">(Berliner Festspiele on demand) </span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">觀劇時,也不禁疑惑這種</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">on demand</span><span lang="ZH-HK" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">的常態化。戲劇節、藝術節的意義自然不光停留在觀演,可是「表演藝術」的手段和內涵都免不了日日新。大家,都準備好了嗎</span><span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;">?<o:p></o:p></span></span></div>
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<span lang="EN-US" style="background: white; color: black; font-family: 標楷體; mso-bidi-font-family: 標楷體; mso-bidi-font-weight: bold;"><o:p><span style="color: #555544; font-family: tahoma;"><b>原載於</b></span><span style="color: #555544; font-family: tahoma, "trebuchet ms", lucida, helvetica, sans-serif; font-weight: 700;">《文匯報》文化版。</span></o:p></span></div>
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梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0tag:blogger.com,1999:blog-9134243042649849364.post-79066335823338434852020-05-30T04:07:00.000+08:002020-05-30T04:07:27.792+08:00國際表演藝術的懸宕與哀愁 (2020.05.30)<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJkRbvLH6SPHSWY-I2V4XVqbGkAZzWqxFe-OPqfwf-ox8IK0ZkZMZ_6U6awo0Y05ef7XLzPuN8beDp69aXJ4rBx8U7P6cuJ0Zw90XzzSqqa7A2JY0yx0DuKZqXk6MIBB3WY9Uh9VFtNdI/s1600/100367190_2624867457724734_1312017564380954624_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJkRbvLH6SPHSWY-I2V4XVqbGkAZzWqxFe-OPqfwf-ox8IK0ZkZMZ_6U6awo0Y05ef7XLzPuN8beDp69aXJ4rBx8U7P6cuJ0Zw90XzzSqqa7A2JY0yx0DuKZqXk6MIBB3WY9Uh9VFtNdI/s320/100367190_2624867457724734_1312017564380954624_o.jpg" width="320" /></a></div>
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<span style="font-size: large;"><span lang="ZH-HK" style="background: white; font-family: 標楷體;">原題: 看在瘟疫蔓延時——國際表演藝術的懸宕與哀愁</span><span lang="EN-US" style="background: white; font-family: 標楷體;"> </span><span lang="EN-US" style="background: white; font-family: 標楷體;"><br />
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<span style="background-color: white; font-family: 標楷體; font-size: large;">武肺以來,歐美多國封城,所有聚眾場地社交活動被明令禁止,首當其衝除了萬人空巷的體育賽事,講求即時性、現場感的不同形式歐陸藝文盛會,都不得不偃旗息鼓。靜待來日的售票寒冬也沒閒着,打從四月開始,歐美各大表演藝術品牌的戰場,由場館售票轉換跑道至網絡點擊,紛紛擠出壓箱寶爭妍鬥麗,好好分一杯羹。</span></div>
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<span style="font-size: large;"><span lang="ZH-HK" style="background: white; font-family: 標楷體;">能夠瞬間讓全球表演藝術觀眾跨越地球,實行劇場零公里的,自是硬件軟件超班的藝壇鉅擘。她們素已積極投放資源拍攝作品保存,包括高清攝影、配上字幕、加插製作花絮、演後評論等,一如紐約大都會劇院、林肯藝術中心、百老匯與外百老匯、紐約愛樂、巴黎歌劇院、英國皇家歌劇院,倫敦交響樂團、英國國家劇院、</span><span lang="EN-US" style="background: white; font-family: 標楷體;">Akram Khan</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">舞團、</span><span lang="EN-US" style="background: white; font-family: 標楷體;">Trisha Brown</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">舞團、</span><span lang="EN-US" style="background: white; font-family: 標楷體;">Merce Cunningham</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">舞團、德國柏林列寧廣場劇院、柏林愛樂、阿姆斯特丹劇團。有的將過往要付費觀賞的節目,轉而為免費網上放送;有的直接將最優秀、最受歡迎的劇目公開放映,觀眾自行決定捐款與否。即使不能在「零票房」下,賺取正常營運資金額度,長遠來說,也是穩據市場佔有率,進行藝術教育、培養潛在觀眾的可由之路。</span><span lang="EN-US" style="background: white; font-family: 標楷體;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="ZH-HK" style="background: white; font-family: 標楷體;">非常時期中的點滴捐獻毋寧是杯水車薪。著名《戰馬》旗手、英國國家劇院前藝術總監</span><span lang="EN-US" style="background: white; font-family: 標楷體;">Nicholas Hytner</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">,在《我在英國國家劇院的日子》</span><span lang="EN-US" style="background: white; font-family: 標楷體;">(<i>Balancing Acts</i>)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">詳述表演藝術如何平衡藝術與商業的心路歷程。經營劇院為本位的藝術品牌,不但要承傳戲劇作為英國國粹的文化傳統,在入場數字、營運、國際巡演層面上追求商業上的成功。表演藝術的即時性與儀式感與自</span><span lang="EN-US" style="background: white; font-family: 標楷體;">2009</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">年推出全世界的</span><span lang="EN-US" style="background: white; font-family: 標楷體;">NT Live (National Theatre Live)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">,可謂兩條腿走路。</span></span></div>
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<span style="font-size: large;"><span lang="ZH-HK" style="background: white; font-family: 標楷體;">相對而言,同在倫敦南岸</span><span lang="EN-US" style="background: white; font-family: 標楷體;">(South Bank) </span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">的莎士比亞環球劇場(</span><span lang="EN-US" style="background: white; font-family: 標楷體;">Shakespeare's Globe Theatre</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">),縱然偶有如</span><span lang="EN-US" style="background: white; font-family: 標楷體;">'GLOBE ON SCREEN'</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">系列的莎劇《第十二夜》發表,可是過份倚重演出門票銷售、導覽參觀團、教學工作坊、紀念品書籍零售以及餐飲,帶來劇院的</span><span lang="EN-US" style="background: white; font-family: 標楷體;">95%</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">收入,於是由</span><span lang="EN-US" style="background: white; font-family: 標楷體;">3</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">月</span><span lang="EN-US" style="background: white; font-family: 標楷體;">20</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">日便一直掉入長時間關閉、沒有從英格蘭藝術委員會(</span><span lang="EN-US" style="background: white; font-family: 標楷體;">Arts Council England</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">)獲得每年資助和緊急援助資金的困境。這座自</span><span lang="EN-US" style="background: white; font-family: 標楷體;">1599</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">年便由莎士比亞本尊一手建造經營的劇院,很有可能在不久的將來直接破產倒閉。</span><span lang="EN-US" style="background: white; font-family: 標楷體;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="ZH-HK" style="background: white; font-family: 標楷體;">英國議會已開始調查疫情對英國文化部門的影響、個別藝術品牌拼死掙扎的同時,歐洲三大藝術節更淪為武肺陰影中,國際文化藝術產業的第一波受害者。德國柏林戲劇節</span><span lang="EN-US" style="background: white; font-family: 標楷體;">(Berliner Festspiele</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">,每年五月</span><span lang="EN-US" style="background: white; font-family: 標楷體;">)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">,與法國阿維儂戲劇節</span><span lang="EN-US" style="background: white; font-family: 標楷體;">(Le Festival
d'Avignon</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">,每年七月</span><span lang="EN-US" style="background: white; font-family: 標楷體;">)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">、蘇格蘭愛丁堡藝術節</span><span lang="EN-US" style="background: white; font-family: 標楷體;">(Edinburgh International Festival</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">,每年八月</span><span lang="EN-US" style="background: white; font-family: 標楷體;">)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">,並稱歐洲三大藝術節,先後都被逼宣佈擱置。</span></span></div>
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<span style="font-size: large;"><span lang="ZH-HK" style="background: white; font-family: 標楷體;">「柏林戲劇節</span><span lang="EN-US" style="background: white; font-family: 標楷體;">2020</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">」由於得到聯邦文化基金及贊助商支持,直接繞過國際論壇、劇作市集等實體活動,以「德語劇場精華遊」的獨特操作機制</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;"> </span><span lang="EN-US" style="background: white; font-family: 標楷體;">(</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">按</span><span lang="EN-US" style="background: white; font-family: 標楷體;">: </span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">每屆以德語區劇場作品為出發點,選出「十大劇作」在翌年柏林展演</span><span lang="EN-US" style="background: white; font-family: 標楷體;">)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">,開展</span><span lang="EN-US" style="background: white; font-family: 標楷體;">57</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">年以來第一次的線上柏林戲劇節 </span><span lang="EN-US" style="background: white; font-family: 標楷體;">(Theatertreffen virtuell)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">。如果說柏林戲劇節着力於年度德語劇場的整理,阿維儂藝術節就擔當着法國表演藝術新生力量的助產士角色,發表作品</span><span lang="EN-US" style="background: white; font-family: 標楷體;">70% </span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">為當地原創首發。沒有藝術節就沒有展演作品,叫停阿維儂藝術節,簡直就是叫藝術總監</span><span lang="EN-US" style="background: white; font-family: 標楷體;">Olivier Py</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">和阿維儂停止呼吸。</span><span lang="EN-US" style="background: white; font-family: 標楷體;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="ZH-HK" style="background: white; font-family: 標楷體;">阿維儂藝術節藝術總監</span><span lang="EN-US" style="background: white; font-family: 標楷體;">Olivier Py</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">是劇場導演、表演者、評論人和作家,從官方數字和城市效益來說,無疑更是成功的策展人和生意人。用法國薪酬標準,人均每月淨收入在</span><span lang="EN-US" style="background: white; font-family: 標楷體;">1008</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">歐元以下者列為貧窮,阿維儂可說是法國最窮的城市之一,高達三分之一的居民生活在貧窮線下。以</span><span lang="EN-US" style="background: white; font-family: 標楷體;">2018</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">年為例,阿維儂藝術節的預算為</span><span lang="EN-US" style="background: white; font-family: 標楷體;">1300</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">萬歐元</span><span lang="EN-US" style="background: white; font-family: 標楷體;">(57%</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">來自公家補貼</span><span lang="EN-US" style="background: white; font-family: 標楷體;">)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">,文化活動、技術設施、場地運營各佔三分一,最終為整個城市帶來</span><span lang="EN-US" style="background: white; font-family: 標楷體;">70</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">萬遊客、</span><span lang="EN-US" style="background: white; font-family: 標楷體;">2300</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">萬至</span><span lang="EN-US" style="background: white; font-family: 標楷體;">2500</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">萬歐元之間的回報,經濟效益不可小覷。</span></span></div>
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<span style="font-size: large;"><span lang="ZH-HK" style="background: white; font-family: 標楷體;">阿維儂藝術節既是法國以舉國之力推動的國家文化重要品牌,法國各大主要報章,每天均刊出節目評論文章、列表打分數;電視台加入戰圈,直播部份節目、捕捉現場觀眾作演後談。而</span><span lang="EN-US" style="background: white; font-family: 標楷體;">2020</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">年的第</span><span lang="EN-US" style="background: white; font-family: 標楷體;">74</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">屆亞維儂藝術節原訂以「慾望和死亡」為主題,網羅</span><span lang="EN-US" style="background: white; font-family: 標楷體;">45</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">部作品,其中有</span><span lang="EN-US" style="background: white; font-family: 標楷體;">30</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">齣是全新創作,並委約希臘編舞家</span><span lang="EN-US" style="background: white; font-family: 標楷體;">Dimitris Papaioannou</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">創作開幕演出。後來因應防疫,調整教皇宮</span><span lang="EN-US" style="background: white; font-family: 標楷體;">(Palais des Papes)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">裝台作業期限、藝術家抵法隔離檢驗處理、安排每場逾千觀眾人流。直至法國總理馬克龍拍板取消,最熱絡的劇場市集終於要在今夏平靜起來,數以年計的籌備心血亦付諸東流。</span><span lang="EN-US" style="background: white; font-family: 標楷體;"><o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="ZH-HK" style="background: white; font-family: 標楷體;">因此之故,「人與藝術」打造出來的</span><span lang="EN-US" style="background: white; font-family: 標楷體;">(</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">中產</span><span lang="EN-US" style="background: white; font-family: 標楷體;">)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">文化消費空間,糅合藝術、旅遊、娛樂、消閒、購物、飲食、景觀元素於一身。表演藝術面對的種種挫敗乃至危機,恰恰是窒礙國際文化產業鏈中人流物流資金流的結果。傳統表演藝術的文化消費模式,所衍生以英法為代表的歐洲舞台表演事業的困境,未許不為未來的表演藝術帶來更多跨越時空的嘗試和產生營收的可能。為文之日,德國柏林人劇院</span><span lang="EN-US" style="background: white; font-family: 標楷體;">(Berliner Ensemble)</span><span lang="ZH-HK" style="background: white; font-family: 標楷體;">正在實驗梅花間竹式「防疫座位表」,拆掉近四分三座位。朋友笑言屆時觀眾在嚴控下大概只得由幾百變幾十,我卻心中嘀咕,觀眾們,還是想進場嗎</span></span><span lang="EN-US" style="background: white; font-family: 標楷體;"><span style="font-size: large;">?</span><o:p></o:p></span></div>
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<span style="font-size: large;"><span style="color: #555544; font-family: "tahoma"; font-variant-east-asian: normal; font-variant-numeric: normal;"><b>原載於</b></span><span style="color: #555544; font-family: "tahoma" , "trebuchet ms" , "lucida" , "helvetica" , sans-serif; font-weight: 700;">《信報》國際版。</span><span style="background-color: white; font-family: 標楷體;"> </span></span></div>
梁偉詩, jasshttp://www.blogger.com/profile/10355287367228557005noreply@blogger.com0