假如我可許個願─臺德跨國製作《金龍》排練日誌0621
If I Would Make A Wish-- Rehearsal Diary of the Der Goldene Drache (06/21)
日期｜二零一二年六月二十一日
地點｜台南人劇團排練教室
紀錄｜吳政翰
Tilmann與黃怡琳和陳彥彬工作第二景，在這景中，年輕男人扮演爺爺，年逾六十的女人則扮演孫女。他們讀劇過後，發現劇中有些台詞有些不順，所幸文本翻譯佾均在場。演員和導演與佾均討論過後，決定把台詞稍作更改，讓台灣觀眾更容易了解。Tilmann也和這兩位演員共同尋找爺爺和孫女間不同的互動關係，挖掘文本字裡行間可能有的「潛台詞」，使得角色的心理更為複雜、更像一個完整的人。排練這景時，導演並未要求演員揣摩與自己相去甚遠的角色年齡。這樣的表演策略使演員不用刻意扮演，可以更自在地投射情緒。
Tilmann不經意地想起了一首德文歌，歌名叫作「如果我可以許個願望」，由德國女伶瑪蓮娜．迪特里茜所演唱。這首歌呈現了人對身分的質疑與存在的矛盾，導演認為這首歌是作為《金龍》這個劇本的最好註腳。歌詞的譯文如下：
沒有人問過我們
在我們尚無面容之際
我們想活下來
還是不想
而今我獨自一人
穿過大城市
無從知曉
這個城市是否愛我
我看著客廳
穿過門窗
聽著，等著
等著什麼（但究竟在等待什麼）
如果我可以許個願望
我會不知所措
我該求什麼
求好還是求壞
如果我可以許個願望
我要一些快樂
因為一旦我太快樂了
我又會懷念哀傷
人啊
你為何認為
你的傷痛
巨大無比
什麼願望也別許
愚蠢的人啊
願望只有在
無法實現時才美
（翻譯｜陳佾均）
在下午排練的過程中，Tilmann持續探索並發展「遊戲」這個概念，這樣的遊戲關係存在於角色間、演員間、以及演員與其扮演的角色間。上述的第三種關係乃源自於德國劇作家布萊希特的戲劇理論，他的理論中所探討的史詩劇場及疏離表演，對當代劇場美學的形成有深遠的影響。就表演方面而言，布萊希特提出了一套特別的技法，他稱作Gestus，包含了演員的姿態和態度。布萊希特的演員在演出角色時，除了肢體上的扮演外，也展現自身的態度和立場，並對該戲劇情境作出批判，因此，演員和角色間存在著一種辯證關係。換句話說，角色和演員之間持續著一種永久的張力。從施梅芬尼的劇本到Tilmann的導演手法，都可見布萊希特的理念對於德國劇場的影響。Tilmann告訴演員，「你們不只是演員而已，你們是扮演某角色的演員，跟這個角色有很親密的關係」。誠如導演所說，演員和其扮演的角色之間的關係是無可分割的，缺了其中一個，另一個即失去了意義。但Tilmann最後卻提到，「演員的態度和其扮演的角色態度不一定要一致」。
Date: 06/21/12
Place: Tainaner Rehearsal Room
Rehearsal
Tilmann works with Yilin and Yenbin on the second scene, in which Young Man plays Grandfather, and Woman Over Her Sixty plays Granddaughter. After reading the text, they find that some lines sound awkward. After the actors and the director consult the translator, Betty, who is also present in the same room, they decide to change a few lines and make the text more accessible to audience. Tilmann also tries to explore with the actors various interactions between Grandfather and Granddaughter and probe possible subtexts in between the lines, making the characters’ psychology more complex and more human. In this scene, the director does not ask the actors to imitate characters’ ages extremely different from theirs. Without assuming stereotyped patterns of behavior and posture, the actors can feel freer and more comfortable projecting their emotions.
At one point, it struck Tilmann of a song, “If I Would Make A Wish” (“Wenn Ich Mir Was Wünschen Dürfte”), sung by the German diva Marlene Dietrich. The song represents a person’s existential crisis, exemplifying the spirit of Schimmelpfennig’s play. The lyrics are as follows:
Man hat uns nicht gefragt
They did not ask us
als wir noch kein gesicht,
When we as yet had no faces
ob wir leben wollten oder lieber nicht.
Whether we wanted to live, or (would it have been) better not
Jetzt gehe ich allein
Now I go alone
durch eine grosse Stadt
Through a large city
und ich weiß nicht,
And I do not know
ob sie mich lieb hat.
If she (the city) likes me
Ich schaue in die stuben,
I look into the rooms
durch Tür- und Fensterglas
Through door and window glass
und ich warte,
And I wait
und ich warte auf etwas.
I wait for something
Wenn ich mir was wünschen dürfte,
If I would make a wish
käme ich in Verlegenheit,
I wouldn’t know what to do
was ich mir den wünschen sollte,
What should I wish for
eine schlimme oder gute Zeit.
A bad or good time
Wenn ich mir was wünschen dürfte,
If I would make a wish
möcht ich etwas glücklich sein,
I would like to be a little bit happy
denn wenn ich gar zu glücklich wäre,
Because if I were too happy
hätte ich Heimweh nach dem Traurigsein.
I would yearn for my sadness.
Menschenskind,
Human beings
warum glaubst du bloß,
Why do you just think
gerade dein Leid, dein Schmerz,
that your pain and
währen riesengroß,
Your sorrow were tremendous?
Wünsch dir nichts!
Don’t make a wish
Dummes Menschenkind,
Stupid human beings
Wünsche sind nur schön,
Dreams are only beautiful
solang sie unerfüllbar sind.
When they can’t be fulfilled
Over the course of the rehearsal, Tilmann keeps exploring and developing the idea of play/game among actors, among characters, and between actor and character. The third relationship above is inherited from the theory of Bertolt Brecht (1898-1956), an important German dramatist whose non-illusionistic Epic Theatre and alienated acting have pervasively influenced the aesthetics of modern theatre. In terms of acting, Brecht developed a special technique, Gestus, a combination of an actor’s physical gestures and attitudes. Brechtian actors show their own attitudes and comment on the dramatic situations while acting out their characters. Thus, there’s a dialectical relationship between actor and character. In other words, there’s a continuous tension between the two. It’s perceivable that Schimmelpfennig’s play and Tilmann’s direction are greatly influenced by Brecht’s dramatic tradition. As Tilmann tells the actors, “You are not just an actor but one that plays a character and has a close connection to the character.” Indeed, the connection between an actor and the character s/he plays is inseparable; if one disappears, the other also loses its significance. Yet, Tilmann goes on to explain, “An actor’s attitude isn’t necessarily aligned to his or her character’s.”
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