2010年7月7日 星期三

何慧婷 饰 包山(原著角色为“爱斯特拉冈”)


林子策 饰 包海(原著角色为“弗拉基米尔”)

李佳洵 饰 幸运儿(原著角色同样为“幸运儿”)


    包章洋 饰 不记得自己名字的人(原著角色为“波佐”)


     林佩璇 饰 马来小孩(原著角色为“神秘传话小孩”)


邓绣金 饰 英文字幕执行者

2010年5月26日 星期三

贝克特专访导演

采访者:贝克特 (贝)
受访者:导演 (导)
日期:2010年5月26日
时间:7.41pm
地点:新纪元学院彩虹走廊的电脑前面

贝:废话少说,你凭什么导我的戏?而且还是我的代表作?

导:为什么您要跟其他人一般见识?难道大师的经典作品学生就没有资格导吗?
      我就是要证明给他们看他们是错的。

贝:好大的口气~那好,那为什么你这一次要用小丑来诠释呢?
      你不怕会弄得我的作品很庸俗吗?

导:首先我觉得小丑在某程度上和剧本里的两位流浪汉有共同点,
      那就是他们都是属于外表看起来很满足,很会自娱娱人,但其实他们自己最清楚,
      他们内在是很寂寞的,他们需要其他人(观众)的注意和认同
      少了这些元素,他们什么都不是。当然我必须认同不是所有的小丑都是如此,
     一些以小丑为职业的人还是会对他的这份职业感到满足。

贝:嗯...算你说的有些道理。那另一个问题,你导《等待果陀》,你不怕观众看不明白吗?
      要知道这是一部含义深奥,不是每一个人都看得明白的文学剧作。

导:这问题问得好。一直以来,很多人对于舞台剧这一门艺术都抱着
      “深奥,看不明白”的客观想法,我觉得这是不应该的。
        《罗密欧&朱丽叶》,《白蛇传》深奥吗?难明白吗?
        要知道,不是每一个艺术作品都是这样的,很多艺术作品可以很简单很朴实。
        一件衣,一碗饭,都可以是艺术品,甚至有人曾经把排泄物当作是艺术品,
        还得到很高的评价呢!重点是在于创作者怎么去给于它定义。

        所以,这一次我会以“小丑”这类较为滑稽幽默的手法去诠释这一部严肃的作品,
        保证大家看得明白,而且《等待果陀》探讨的东西是和大家的生活息息相关的,
        相信大家在欢笑的同时也能有所思考。

贝:嗯嗯...那好,最后一次问你,你确定要选这个剧本?

导:放心!我绝不会丢你的脸!:)

2010年5月3日 星期一

另类《等待果陀》设计~ another kind of design of

这张照片是由我们在戏里饰演“波卓”的佳升所设计的~~是不是很特别呢~ ^^
This picture is designed by  "Pozzo",one of the characters in plays who act by Jia Sheng,nice?^^

2010年4月27日 星期二

故事大纲 Synopsis

话说一班以表演为职业,但‘不专业’小丑,在一次演出《等待果陀》的时候,‘突然’对自己的工作感到厌倦?!
这还好,他们还遇到种种“不专业的问题,导致他们企图放弃。但演出正在进行中,观众买了票进来,眼睁睁的看着他们,他们没有选择,唯有咬紧牙根演下去,不断在现实与虚幻徘徊。有趣的是,他们所遇到的问题恰好和剧本里的剧情不吻而和,导致他们渐渐分不清到底是在演戏还是现实...

Once there was a group of “unprofessional” clowns who perform as their job, when performing 《Waiting for Godot》, ‘suddenly’ get tired of their own work?!


This is bad, they faced a lot of “unprofessional” problems, results their intention to give up. But the performance is ongoing; the audiences bought their ticket, staring at them. They have no choice, but to keep performing, wandering between illusion and reality. What interesting is, that the problem they faced just rightly coincide with the scene in the script, eventually caused them enable to differs if it’s acting or reality…

呈现手法 Presenting Method


没错!这次会以一班“小丑演员” 来重新诠释《等待果陀》,不仅如此,这次也会大胆的使用和一般所看到的舞台演出不一样的手法!这次会玩味的以一班“专业”的演员去演绎一班“不专业”的小丑演员!

(傻的~为什么我要花15块20块去看一班不专业的演员演戏?!)

或许你心里会这样想,但先别急,话还没说完。
以往,大家所看到的舞台演出,都想必有一定的水准。(即使没有很专业,至少也看得下去~:p)

“不专业”这句话,想必是剧场人最禁忌的,也没有人会想看不专业的演出,所以大家会想尽办法去撇弃它。

但!我们这一次偏偏就是要打破这个保守的观念!而且不仅如此,许多的剧场道德,演员道德,甚至是观众道德,这一次都会被毫无保留的完全给打破,并赤裸裸的呈现在观众的面前!

重点是!就像前面提到的,我们会以专业的演员去演绎不专业的小丑演员。所以,除了有趣的“戏中戏”的双层视觉享受之外,这也将会是有史以来“最专业和最好看的不专业”演出!!吹咩?

所以,谁说不能花15块20块去看一场不专业的演出?

此外,其他剧场元素如灯光,音响,布景,造型等,也会撇弃一般的使用手法,而会去探索更多的可能性,势必震撼观众的视觉和听觉,并打造一个艺术与创意并存的空间。



That’s right! Now there will be a group of ‘clown performers’ reinterpret 《Waiting for Godot》, not only that, there will be a usage of an extraordinary method, which is unique from typical stage performances! This time, a group of ‘professional’ actors performing as a group of ‘unprofessional’ clown actors!

(Foolish…why the hell should I spend RM15 or RM20 to watch a group of unprofessional actors perform?)



This might be what you think, but don’t hesitate yet.

In the past, the stage performance which all of you watched probably has certain standard. (Even though not professional, at least you have to finish watching it~)



“Unprofessional” is probably the most taboo word in the stage, as nobody wish to watch unprofessional performances, thus they try to abandon it.



But! We want to break this conservative concept! Not only that, most of the stage, actors, even audiences’ moral will be completely destroyed, which it will be nakedly performed before the audiences.



The main point, which mentioned before, is using professional actors to interpret unprofessional clown actors. That is why besides being the double vision of “movie within a movie”, it will be the historical most professional, best unprofessional performance!! So what?

So, who say can’t spend RM15 or RM20 to watch an unprofessional performance?



In addition to that, every lighting, sound effect, scenery, model will cast away typical performing method, discover more possibilities, bound to rock the visual and listening of the audiences, forming a space where arts coexist.

导演理念 Director’s Concept


从古至今,从树上到大厦,从赤脚行走到四轮驱动,从树叶兽皮到皮革丝绸,人类不断地在进步与革新,其伟绩与贡献已不能用在一般的形容词来表扬。以前,为了进步,大家不断地在努力,奋斗;现在,大家依然还在努力与奋斗,但是为了在资本主义的社会里求助,为了迎合种种的欲望和物质。

为了得到这些,不知从什么时候,大家每天盲目重复过着一样的日子,从出生到离开这世界,几乎从无例外,也没人对这个生活循环觉得有问题。

即使不愿意,也得愿意。

但真的是如此吗?没其他选择吗?还是有,只是大家不敢去面对?

通过《等待果陀》这个永垂不朽的经典剧本,希望能引起观众重新思考自身的生存价值,并勇敢地面对自己最初的选择。

此外,这次的《两个小丑等...运到》不但是本地有史以来第一次以‘小丑’来重新诠释《等待果陀》这个经典荒诞剧本,也是新纪元学院戏剧与影像系成立以来第一次以小丑为角的舞台演出!!导演不知死活的公然大胆挑战世界荒谬大师贝克特,以滑稽夸张的手法重新诠释经典文学巨作《等待果陀》,但他竟自信地说:绝不会丢贝克特的脸!!


p/s:小八卦:导演本身自恋的认为,他活了21年,所体验的甜酸苦辣,虽然不能说得上是历尽沧桑,但他深知,‘梦想’这东西并不容易,不是说想要就有,所以他觉得是时候做些事情了!希望通过这个演出,能让大家勇敢地面对自己最初想要的!



Since the time began, from trees to buildings, from bare-legged to four-wheel, from leaves and hides to leather and silk, human keeps improving and innovating; their great contribution is not praised with common adjectives. In the past, everyone works hard and strives for improvement; now, everyone is still the same, but to beg help from a capitalistic world, to fawn up every desire and matters.

To achieve these, since the time unknown, everyone blindly repeating the same day, since born to this word until they depart, there are no exception, and nobody think that such cycle is a problem.



                                                                   Though unwilling, they have to.



Is it so, without other choices? Or, is it everyone dares not to face it?


Through the immortal classic Waiting for Godot, hopefully could lead the audience to rethink their value of existence and bravely facing their original wishes.


 Also, The Waiting of Two Clowns is not only the local reinterpretation of classic Absurdism script Waiting for Godot using clowns; it is also the first performances using clowns in New Era College Drama and Visuals Department!! The director is so bold enough daring to challenge the master of Absurdism Beckett, reinterpret the great classic Waiting for Godot using humorous hyperbole. He is even confident enough to say: “This won’t bring shame to Beckett!!”






PS: The director thinks that he has been living for 21 years, experienced the ups and downs in life. Even not every of them, but he truly knows that “dream” is not easily achieved when one wished. So he felt that it’s time to do something! Hopefully everyone will dare to face their original wishes bravely through this performance!

导演简介 Director’s Introduction

包章洋
(阿哲。福临门)
(这张照片有点骗吃...)

 
身高184,“远看很迷人,近看吓死人”,永远是他很懊恼但却很适合形容的代号。
哲学,文学,心理学,音乐,舞蹈,运动
这些他都不是很会,但他依然老土的秉持着“天下无难事,只怕有心人”向前冲。
自小热爱戏剧,总是喜欢在众人面前展现自己,观众的掌声和笑声是他最好的回报。对表演抱着很大的抱负,希望有一天能登上大舞台展现自己。擅长于搞怪幽默与嘲讽社会的表演,也时常会有让人人意想不到的创意点子,其创造能力被受同学与老师的肯定。来到戏剧系的第一次喜剧演出--《卓别林的早晨》,深获好评,也为大家带来了不少的欢乐。

目前除了戏剧之外,极力在客观和自我之间寻找平衡,也是他无时无刻在努力的事情,希望这次透过《等待果陀》能找到想要的答案。



184 tall, “charming at distance, scary when near”, is forever the annoying but suitable nickname to describe him



Philosophy, Literature, Psychology, Music, Dance, Sports

These are the things he does not know much, but still uphold the old saying “There is nothing hard in the universe, except for those who is mindful” and strive forward. Passionate in Drama since young, often likes to show himself before everyone; the best repay for him are the audiences’ applause and laughter. Ambitious in performing, he hopes to present himself on a great stage. Skilled in humorous and society-taunting performance, he will have creativity which is unexpected. His creativity skill is approved by students and teachers. Performed the first comedy Chaplin’s Morning since coming to the department, he received good comments and brought happiness for everyone



Currently besides drama, he is also effortful in searching the balance between objectivity and oneself, hoping to find the answer he seeks through Waiting for Godot.



舞台经验:

2008年:
担任《思凡》舞台剧舞台监督兼演员
担任《2008年全国中学生戏剧观摩赛》助理舞监
担任《108国产英雄传》舞台剧助理舞监
担任《搁浅的玫瑰旁边有一只燕尾蝶》舞台剧前台
担任《加影艺术嘉年华》助教

2009年:
担任《游戏时间》舞台剧宣传与演员
担任《绿色尖兵superman》舞台剧前台
担任《老妇还乡》舞台剧演员
担任《斗法—新世神话白蛇》舞台剧制作人兼演员
担任《周杰伦与皮卡丘》(原著 Eugene Ionesco<秃头女高音>》)
舞台剧导演,布景,灯光,音效&造型设计
担任《她有三分钟》舞台剧导演,布景,灯光,音效&造型设计
受邀前往云顶担任《2009国际华裔小姐竞赛》表演嘉宾

荣誉:
2009年担任《斗法—新世神话白蛇》制作人。
此剧同时入围第八届戏炬奖,最佳戏剧,最佳导演,最佳原创配乐&最佳舞台设计。
Honors
Producer of Battle of the Draconians in 2009
This script has nominee in the best script, director, original music and best stage design in the 8th ADA Drama Award

原著剧本简介

在一个不知名的空间,不知名的年代,两个流浪汉无所事事的在等着一个名为“果陀”的神秘人物来“打救”他们。
时间依旧尽责的过着,但这位神秘人物却迟迟不出现,让他们深感无奈。
在这个等待的过程中,为了证明他们的存在,他们不断重复的进行着他们认为很有趣和意义的活动。他们口口声声说“多么美好的人生啊~”。
但在这看似满足的话语的背后,却充满着心虚和矛盾...

1In an unknown space, unknown era, two wanderers are idly waiting for a mysterious person “Godot” to “save them”.


Time goes by as usual, but this mysterious person does not appear, which made them feel very helpless. In this waiting progress, to prove their existence, they keep repeating doing what they think is an interesting and meaningful activity. They said “Oh, what a beautiful life~”

But behind this seemingly satisfied speech, is filled with guilt and contradiction…

原著作者简介


猜猜他是谁 ?


他就是 ~
塞谬尔•贝克特(Samuel Beckett

塞谬尔•贝克特(Samuel Beckett,1906年4月13日—1989年11月10日),20世纪爱尔兰ˎ法国作家,创作的领域包括戏剧ˎ小说和诗歌,尤以戏剧成就最高。他是荒谬派戏剧的重要代表人物。1969年,他因“以一种新的小说与戏剧的形式,以崇高的艺术表现人类的苦恼”而获得诺贝尔文学奖

其中成名作《等待果陀》1953年在巴黎演出时引起轰动,连演了三百多场,成为战后法国舞台上最叫座的一出戏。贝克特为此名噪一时,成为法国文坛上的风云人物。由于“他那具有奇特形式的小说和戏剧作品,使现代人从精神困乏中得到振奋”。

虽然他的作品主张无意义和绝望的人生,但在《等待果陀》里,从一些小细节里去发现,其实贝克特对人生还是存有些乐观


He is ~
Samuel Beckett

Samuel Beckett (13/4/1906 — 10/11/198920th Irish author in France, creation includes novels and poetry; his plays are his best achievement. He is the important represents of Drama of Absurdism. In 1969, he won the Nobel Prize for Literature with “a new novel with the form of drama”.

In 1953, his famous work Waiting for Godot caused a great sensation in Paris during its performance, continuously performed for 300 times, and thus became the most popular drama in France after the way. Beckett thus became famous and the man of the moment in the literature circle in France. As his “novels and plays with strange form”, it inspires contemporary men who are mentally tired.

Although his works advocates meaningless and despair life, it can be found from some small details in Waiting for Godot, which Beckett are still optimistic towards life.

2010年4月26日 星期一

制作单位

戏剧与影像系

新纪元学院于2004年开设戏剧与影像系专业文聘课程。本课程学制为两年半,以实践为主,理论为辅,涵盖剧场演出台前幕后的艺术创作及影视多媒体制作。学习分两个阶段:

第一阶段,学生必须同时学习戏剧与影像的基础美学知识;第二阶段则分设戏剧表演及影像创作两个组别,学生可以按着各自兴趣的领域做更深入的学习及研究。在学习的过程中,不同组别的学生有机会共同创作,相互给予支持,一起学习,共同成长。学生除了接受专业课程的培训,也必须到校外参与业界实习,在最后阶段,学生必须制作一个对外的剧场演出或电影播放会,作为毕业汇报。毕业后,有意继续深造的毕业生可衔接国外本院姐妹校的学士课程。

戏剧与影像系成立至今,已经走入第五个年头。坚持着培育优秀的剧场和影视人才的宗旨,致力于结合社区的艺术资源,藉由影像艺术和剧场表演,丰富社会各阶层的生活品质。在短短的五年内,戏剧与影像系藉着对外的公演,包括《聊斋新志之妖狐道》ˎ《马克白欲望江湖版》ˎ《看见记忆》ˎ《108国产英雄传》ˎ《八魅千娇》ˎ《游戏时间》ˎ《思凡》等,频密地与社区各界人士及表演艺术圈解除,极力落实了学院“源自社会,回馈社会”的办学理念,带来很大的回响;2009年《轻松唱游,绿色加影》校园环保艺术嘉年华再次丰富了社区居民的艺术生活;2010年的《斗法—新世神话白蛇》更一度引起社会的关注。

除了院内的正规训练,戏剧与影像系也主办各类型的重大活动,以便跟社区有更好的互动关系,并且扮演着社区戏剧美学教育传播者的角色。在影视方面,新纪元学院戏剧与影像系积极开拓和本地电影创作者的联系,并和国外的影像学者与创作者频密接触。本地著名独立电影创作者如陈翠梅ˎJames Lee与Yasmin Ahmad等人,国际知名导演蔡明亮以及来自台湾的吴俊辉都曾和戏剧与影像系的学生进入深入的面对面交流。而2007年8月,美国著名艺术学院,旧金山艺术学院(San Franciso Art Institute)的电影主任Janis Crystal Lipzin和日本的跨越创作者Koji Tambata,莅临新纪元学院和学生以及公众人士分享创作的经验,2008年的影像组毕业影展《大马制作》更巡回了大半个马来西亚半岛,为推广本地的影像给予的一份力。

英文翻译 English translation