第二次看導演BABOO的戲(上一次是"最美的時刻")了，也是第二次看徐堰鈴(上一次是少年金釵男孟母)。很高興可以在劇場再度遇見她們。這也是我第一次走進北藝大。

星期四下午，剛剛結束段考的我，興奮的衝出校園，到清大對面的客運站，本來想說是不是要搭乘高鐵，但是客運司機一再保證沒有塞車，我便決定還是省著點，我再17:30到達台北，50分到北車，18:30到達關渡捷運站，然後我步行前往北藝大，雖然學姊一值警告我會走到生氣，我硬是要慢慢欣賞這美麗的關渡夜景。已經決定要從戲瘋子前進，更進一步成為戲精的我，北藝無疑是志願之一，很感動，看到戲劇學院的時候真的有很想成為他的一份子。

其實今年六月，在牯嶺街小劇場有個(劇場的)博物館展覽，我有去看，也拍了照片，閱讀了哈姆雷特機器的中文版，雖然不是很懂...至少，從此海納穆勒對我來說不是陌生人。而這次莎妹帶來的四重奏讓我對於這位偉大的劇作家有了更深層的了解。我喜歡他用零碎的，還是說片狀的的文字色塊拼湊一個大環境的真實狀態，是嗎?我是說，我好像可以閱讀出他用文字築起的那道高牆，後面的...屍塊還是廢墟。好吧，我是沒有真正看過他所有的作品，不要再自欺欺人了，我是真的不懂。

愛呀，跑題了，我絕得這一齣戲很神奇，可能是因為我偷渡過關，未滿十八歲，真心虛。先po她的介紹文。

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拒絕痛苦，就無法愛
我們既是共犯，亦是對手；我們曾經渴望過彼此

如果情慾是一種罪，那你我將是最無可赦免的罪人
愛情懷疑論者最尖銳戲謔的諷嘲和質疑

這是一把刀，狠狠地劃開愛情殘酷與暴力的本質
在絕望中，我們終將深刻理解，愛何以存在……

http://quartett2010.blogspot.com/



【演出導介】
延續《給普拉斯》對舞台詩化語言、意象化場面調度，與以及演員表演技藝的深度探索，導演BABOO與劇場演員徐堰鈴再度合作，選擇德國劇作家海納‧穆勒以法國小說《危險關係》Les Liaisons dangereuses為藍本，所重新寫就的劇作《四重奏》Quartett，展現殘酷的情色暴力美學。

海納‧穆勒的劇本向來以風格化的語言、拼貼碎裂、跳躍不連續的情節著稱，在《四重奏》中，大量長段獨白交織錯縱，語言強悍而富詩意，意義急遽跳躍卻罕有舞台指示。徐堰鈴、陳恭銘兩位演員串演四個角色，「扮演」與「遊戲」將是貫穿全劇兩個主要戲劇動作，藉由大量描述色情、交媾和性愛等沾染了「魔鬼元素」的行徑，有意識地把主流價值中被認為「傷風敗俗」的行為，大膽挑釁成為一種快感的體驗，肆無忌憚地逾越道德的界線，展現從角色、性別到情慾的曖昧流動。

《四重奏》如一把犀利的解剖刀，赤裸揭露愛情中精神與肉體的競技角力，理性與本能的撕裂拉扯，展示一個由激情的慾望所沾染的病態特徵，以及引發潛藏的精神疾病；演員藉由性別互換所呈現的多組關係，彷彿在舞台上實踐男女交媾的多種姿勢體位，不停地擺蕩在高潮快感與性交後憂鬱的相互折磨之間。全劇充滿性愛與死亡的氣味，演員全然將自己置身於一種極端的狀態中，透過壓抑與冷冽的表演方式，宛如影像表演的低限內斂風格，讓觀眾感受一種性的張力，以及心理的暗潮洶湧與恐懼氛圍，冷靜而犀利地完成表演上的美學策略。本製作也邀請來自德國柏林的鋼琴家Andreas Kern合作，現場寂靜中砰然巨響的鋼琴敲擊聲，直逼情慾與肉體的荒蕪廢墟。

To reject pain is to avoid love.
We are accomplices and opponents; we once desired each other

Should lust be crime, you and I are no doubt the most sinful……
The most intensive bantering mockery and query of a skeptic of love

his is a scalpel that cuts this thing named Love wide open
To reveal the most ferocious and brutal of all essences
Then, in this despair of all despairs
We come to realize the very reason for Love

Director Baboo composes the piece based on German dramatist Heiner Mϋller’s Quartett, an adaptation of the French novel Les Liaisons Dangereusesan, as an extension of his previous work, Hsu Yen-ling X Sylvia Plath. It is meant to discuss the transformation of theatrical poetry and change of scenes, and the exploration of acting talents to represent the cruel erotica and violence in aesthetics.

Heiner Mϋller’s script is known for its stylistic language, fragmentary and disconnected plots. Quartett is interwoven with long monologues that are fierce but poetic, and accompanied by disconnected meanings without clear indication. A cast of four characters will be played solely by one actor and one actress. “Play” and “game” are the two main actions throughout the play, and they simultaneously represent the ambiguity of characters, sexuality, and desire.


Quarett abounds in pornography, fornication and sex, which are all reminiscent of the devil’s doings. It also tries to convert what’s been considered amoral into physical pleasure, and further to subvert the order of human civilization. In so doing, the animal desire will manifest itself through sex—passion of sex is the only means for human beings to avoid objectification.


Quarett, too, is an arena of love where the body/sense and the soul/reason fight their tug of war. It displays a symptom of sickness only to be seen in passion and desire. Thru the four roles played by the two actors and their engagement in sex, we verge on the confusions generated in between multi-orgasms and post-sex blues. The two characters on the stage are coconspirators, lovers, enemies and individualists who depend closely on one another. Also they symbolize the aesthetics of a lone island existing in the compressed space of a relationship. A rope ties the two tight together, with such diverse senses as suspicion, rapture, madness, pleasure and sadness afloat around. Torture and possessiveness also find their roots deep in the relationship of the two. We then come to realize, after experiencing the pangs, the existential conditions of LOVE.


Nevertheless, the plays and characterizations of the two roles coldly, meta-analytically remind the viewers of the reality hidden behind the back of all passions. In the end, the demises of the two signify the eternal aloofness experienced in one single shortened sexual orgasm, a redemption never to be redeemed.

【演出人員】
劇 作：海納穆勒Heiner Müller
演 員：徐堰鈴、陳恭銘
法文人聲演員：馬照琪、Valentin Lechat
現場鋼琴：Andreas Kern
導 演：BABOO

製作人：陳汗青
舞台設計：梁若珊
燈光設計：黃諾行
音樂設計：林芳宜
服裝設計：李育昇
動作設計：周書毅
影像創作：周東彥
導演助理：許哲彬

平面美術：聶永真
攝影：編號223、林建文
場景：姚國禎
梳化：謝夢遷
協力：吳仲倫

【演出場次】
10／14-16（Thu-Sat）19：30
10／16-17（Sat-Sun）14：30
國立台北藝術大學戲劇廳(北投區學園路1號)
票價：600、900元
10／29-31（Fri-Sun）19：30
10／30-31（Sat-Sun）14：30
台南誠品B2藝文空間（台南市長榮路一段181號B1）
票價：500元