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| 2011/08/13 22:15:40瀏覽321｜回應0｜推薦0 | |
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自願留在《沙發上的女孩》── “The girl on the sofa “ by Jon Fosse   2004.3.29 或許因為期待過高，我必須承認，看完被法國報紙Le Monde先生譽為21世紀貝克特（Samuel Beckett） 的瑞典”易卜生獎”得主"Jon Fosse "2002這部新劇作，對於他認知的女性世界、甚或人性世界竟如此膚淺，感到異常失望！ 從資料上看來，藝大學生的公演方式，包括舞台設計與表演形態，應與它在2002 Edinburgh International Festival首演相去不多，不過該劇導演使用的放大聲音與現 實聲音交錯的手法，學生們則挪用在下一齣《曹操與楊修》的曹操”腦袋迴響”中！ 從戲劇導演與舞台元素而言，該劇的豐富性不言可喻，記憶中孩提自己與其他人物，不斷同時出現於現時失意女畫家與她男友或已中年的姐姐的互動之間，靈活運用同一空間來讓時間的更迭、呈現其間女畫家不變的迷惘，人物各說各話，指陳現代人溝通上的困難。許多時刻，”過去的女孩”與”現在的女人”，以”同一段話”描述不同時代相同的情感，或以”同一姿勢”今昨互相呼應，死去的父親不時間歇出現於陰暗的角落，加入她與活人的對話，過往母親獨手空閨與大叔紅杏出牆、對跑船父親信件近況的冷淡、對女孩需求母愛的無動於衷、青春期姐姐誘導她對於性的一知半解、父親返家發現老婆與哥哥在床上的旁觀記憶──交錯出現。據說當時由蘇格蘭David Harrower翻譯的英文版、 舞台製作Rufus Didwiszus、德國導演Thomas Ostermeier of the Berlin Schaubuhne、演員 都是一時之選。 從小因為被忽略而想從繪畫得到滿足的這個女孩，長大到約莫30歲，懷疑自己是否有繪畫天份？她拒絕與男友溝通，陷入無止境對母親的怨與對父親的同情──全 劇內容差不多就是如此啦！也就是說，一個經過也許20年的中年女性，在1959年生的劇作家眼中，除了蜷在沙發上與過往悲嘆之外，什麼都沒有進步。她所謂的創傷，在今日社會屢見不鮮，但如果要把現在的缺乏成就一股腦兒往過去推，實在是作家的"不負責任"──沒有任何反省深思的不負責任！ 至於將本劇歸為「低限（極簡）主義」之作，我也是滿腹狐疑──雖然以前的作品的確有此意圖──對白不能說少、概念式佈景或音樂也不是很”簡”，即便是意識流，劇本表達的意旨也相當明確，我實在無法由藝術或小說的定義，看出為什麼 本劇也屬於「低限主義」？當然，這可能是學生版的演出刻意忽略Fosse一向要求的”少動作”，以迎合觀眾口味罷！？使得”a master of silence”於此完全失去個人風貌，加以翻譯實在忽然意譯十足口語中文，忽又直譯得生硬，原文的文字之美只有自己想像。 "I am trying to write in a simple and concrete way, and at the same time, I'm hoping to touch on the large questions of life. "Jon Fosse In Le Nom, as in all his plays, Fosse maintains an extreme minimalism - the "movements" of the characters are almost erased. Fosse is above all a master of silence, but without didacticism. Le Nom does not speak of the sociological problem of the inability to communicate, but rather the incommunicability of the human essence. It is a silent tragedy in which language is no longer used to express thoughts or to make a request. On the contrary, the word becomes a sort of consolation for the pointlessness of living, acting and understanding. What matters to Fosse is "the perfect form". He seeks a language that is both simple and artistic, but he also sets out to compose a particular rhythm of word and silence. All his plays have something diabolical, dark and mysterious, but (like with Beckett or Bernhard), they also have moments of comedy and marks of irony. The thing is to highlight these paradoxical elements. The staging will not move in the direction of a kind of naturalism, but towards poetic realism, towards a description of life that is largely authentic, treating the themes of the text with sensitivity - the unexpressed desires of the girl, the profound anxiety of the boy, the terrible pain of the mother, the insomnia of the father, the melancholy of Bjarne, but also the comic aspects of the family and of life in general. It is in the interpretation of these topics that we are going to be able to explore the underside of this theatre of silence. 貝克特在等待果佗中，”"兩個主角不斷說著無意義的話，但全劇的意義卻潛藏在戲劇行動之後"，這樣的意涵, 並未見於"沙發"劇中，無怪乎不同的劇評，對劇本本身出現 下列相似的評論──” the whole show desperately needs to be cranked up just one more gear – in volume, energy, theatrically – to make itself fully felt in the notoriously hard-to-impress Lyceum. Fosse’s text is a little gem of a modern tragedy, with not a word wasted; which makes it doubly frustrating to hear some of those words being mumbled into oblivion, instead of delivered to the audience with all the concentrated energy they deserve.”；” It's visually impressive and scrupulously staged, but there's an essential diffidence to it all. Fosse says in the programme notes that often he begins writing without any direction or any given end in sight, waiting for a play to reveal its shape to him. That's exactly how this feels. It says some nice things; it says them, in Harrower's translation and Ostermeier's production, quite nicely. But, unlike our memories and our relation to them, there's nothing that compels the play to exist. “(Written for the Financial Times ) ！ 劇本的深刻度不足，再花俏的舞台演技也難以挽救，這自願留在沙發上永不進步反省的女孩，恐怕只適合說服年紀尚輕的藝大學生，卻印證了我一向相信的，劇本本身是決定戲劇重要性的概念。再好的導演，也難以實現戲劇的深度呀！
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