假如我可許個願─臺德跨國製作《金龍》排練日誌0625
If I Would Make A Wish-- Rehearsal Diary of the Der Goldene Drache (06/25)
日期｜二零一二年六月二十五日
地點｜台南人劇團排練教室
紀錄｜吳政翰
排練進入第二週。排練一週過後，演員們發現有些台詞讀起來不順，劇本翻譯佾均於是對照《金龍》原劇本和其刊載在德國雜誌 《今日劇場》上的文本，發現兩者台詞略有出入。她所提供的勘誤表如下（修正部分以粗體字標出）：
第13景 (第37頁)
（年逾六十的女人被燙到）
年逾六十的女人：13 號：沙嗲烤肉串，雞肉配上沙嗲醬。
（年輕女人痛苦地呻吟）
第35景 (第59頁)
條紋襯衫的男人說：我還沒有去過你住的地方。
年逾六十的女人： 雜貨店老闆說：你還沒有來過我住的地方？
年輕女人： 沒有 ─
年逾六十的女人： 真的沒有？
年輕女人： 沒有！當然沒有！
（年逾六十的女人停了一下）
年逾六十的女人：進來，進來 ─
年輕女人： 這實在 ─
第36景 (第60頁)
年逾六十的男人： 於是他們在一起之後，葉琺跟他說：現在你是芭比
fucker，現在你是芭比 fucker。
（年輕女人笑）
年輕女人：對，我現在是芭比 fucker。
（略微停頓）
年輕女人：這趟飛得怎麼樣？
年逾六十的男人： 這趟飛得怎麼樣，...
Tilmann和演員們討論上週排練後的感想，並特別提到了這部劇本的一個主題：「如果我是別人的話」。這個主題，在演員和角色上皆可見一斑。每個演員都在扮演與自己截然不同角色，而這些角色在劇中也不停地渴望成為其他人。從上個星期的排練中，我發現，導演有時要求演員們去揣摩特屬於每個角色的肢體和聲音，有時卻沒有，這點讓演員們相當困擾。朱宏章表示了他的不確定感，不知何時該扮演自己、何時該扮演角色，其他演員也有同樣的感覺，演起來也覺得有點不太踏實。關於這個問題，Tilmann則認為，這個劇本並不需要一個統一的邏輯，他會試著避免對此劇套用單一規則，他主要所關照的是，如何讓每一景產生最大的戲劇能量。整齣戲唯一不變的邏輯是：五位演員在說故事。林子恆同意導演的看法，並說道：「過多刻意的角色扮演可能會讓觀眾太過於去注意我們如何演出角色、如何變成其他人，但我們永遠不可能真正成為這些角色。如果我們太著眼於模仿這個點上，表演就會逐漸尷尬、呆板、了無新意，最後，觀眾也會覺得很無趣。於此，Tilmann和子恆似乎皆有所感：劇場裡「說故事」不只是表演上的模仿，產生寫實效果、使觀眾相信眼前所見的事物；劇場的樂趣，不是在於想辦法隱藏演員和角色間永遠無法彌蓋的裂縫，而是在於如何擴大並且重新發現這樣的裂縫。
※《金龍》排練日誌不定期刊載，歡迎隨時追蹤。更多關於《金龍》，也歡迎閱讀台南人劇團部落格http://tainaner25.pixnet.net/blog
Date: 06/25/12
Place: Tainaner Rehearsal Studio
Rehearsal
Rehearsal enters second week. Over the past week, the actors have found a few lines awkward. After comparing the original text and the one published in Theaterheute, our translator, Betty, found that there are some lines inconsistent in these two references. The corrigendum she provides is as follows (Corrections are in bold):
SCENE 13 (pg 37)
[…]
(Woman Over Sixty gets burned.)
Woman Over Sixty: Number 13: Satay kebab. Chicken with satay sauce.
(Young Woman groans in pain)
SCENE 35 (pg 59)
[…]
Woman Over Sixty: The grocery store owner says, “You haven’t been to my place?”
Young Woman: No——
Woman Over Sixty: Really?
Young Woman: No! Of course not!
(Woman Over Sixty pauses for a bit.)
Woman Over Sixty: Come on in——
Young Woman: This is really——
SCENE 36 (pg 60)
[…]
Man Over Sixty: ……Now you are a Barbie fucker.
(Young Woman laughs)
Young Woman: Yes, I’m now a Barbie fucker.
(Pause)
Young Woman: How’s your flight?
Man Over Sixty: “How’s your flight?” asks Barbie fucker……
Tilmann discusses with the actors their feelings about last week’s rehearsal and brings to their attention one of the play’s main themes: if I were someone else. This theme can be seen in both actors and characters. While each actor plays characters drastically different from themselves, these characters yearn to be others. During last week’s rehearsal, I’ve found that Tilmann sometimes asks the actors to imitate each character’s voice and body which reflect his or her sex and age, while sometimes not. This actually confounds the actors. Hongzhang expresses his uncertainty about when to play himself or when to impersonate characters. Other actors all agree with him and feel ungrounded. In response to their question, Tilmann thinks, a consistent logic is not necessary in this play. He tries to avoid applying one single principle to the entire play and making every scene predictable. Rather, his main concern is to find a way to produce the biggest dramatic momentum for each scene. Throughout the whole play, the only consistent logic is the fact that there are five actors telling a story. Ziheng Lin seconds the director’s idea and says, “Too much impersonation may make the audience pay too much attention to how we act out the roles, how we pretend to be other people. Yet we will never really be able to become them. If we focus heavily on imitation, the performance will gradually get awkward, mechanical, and banal. Ultimately, the audience will get bored.” Here, Tilmann and Ziheng both appear to insinuate that storytelling in the theater is more than mimetic acting, which aims to produce make-believe effects, and that the pleasure of the theater is not to hide the rift between actor and character that never disappears but to widens or rediscovers it.
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