2013臺北藝術節

假如我可許個願─臺德跨國製作《金龍》排練日誌0627

If I Would Make A Wish-- Rehearsal Diary of the Der Goldene Drache (06/27)

照片版權© 台南人劇團

日期｜二零一二年六月二十七日
地點｜台南人劇團排練教室四零四
紀錄｜吳政翰

排練開始換到另一個較大的教室進行，是前幾天的兩倍大之多。在這新的排練地點，中央擺放了一個巨大的長型平台，模擬正式演出的舞台。Tilmann終於可以在空間概念上進行更多的實驗，包含了平台及平台後方的偌大空間。但另一方面來說，這也意味著演員們要重新適應這個新的表演空間。

導演和林子恆工作第十四景的獨白。他解釋道，角色的長段落通常都有起承轉合，於是請子恆從這段獨白中，找出此景獨白分段的轉折處。在排第八景時，子恆和劭婕持續發展他們的傀儡遊戲，兩演員之間的默契也越來越好了。為了加強他們所扮演的情侶之間的張力，Tilmann極力地在各層面拉出兩人之間的對比，包括在節奏、步調、手勢、體態等方面。他在第十一景也用了類似的加強對比的方式，呈現兩人之間的對立。在該景，宏章和宜琳對他們即將出生的孩子的反應天差地別。在即興中，他們用了一個真的音樂盒在場上，甜美悠揚的旋律自音樂盒中流瀉出來，然而兩人之間卻有一種強烈的張力隱隱沸騰，衝突隨時可能爆發。不僅演員處理角色互動的方式變得細膩，演員們之間的遊戲也從未停止，使得觀眾很可能在某些時刻很難分辨出演員何時是自己、何時是角色，抑或兩者同時並存。從Tilmann的笑聲聽來，我可以感覺到他很滿意演員們目前所發展的狀態。

明天是當代德國劇作選《個人之夢》的新書發表會，這本書包含了五齣德國當代劇本中譯，梅希芬尼的《金龍》即是裡面其中一齣。在發表會上，也將有一場讀劇表演，導演選擇的段落是第一、三及十三景。演員們從容地順讀這些景，似乎已經漸漸找到適當的節奏，比第一週的表現要好得多。光是聽他們讀，都可以感覺到已經抓到劇本強烈的音樂性，演員和角色之間的火花也越來越有意思。即使如此，Tilmann仍希望演員們能持續激盪新的想法，在排練場上作新的嘗試；就算是那些已經決定使用的想法、情緒和動作，他仍希望演員們能保持彈性，以不同的程度來持續地重新檢視、塑形。

導演接著排練第七景。當他和演員一同發掘該景的潛文本時，他發現「群體和個人」的這個主題在劇本中不斷地重複出現，這主題第七景格外明顯。為了彰顯該景蟋蟀和螞蟻們之間不平等的權力關係，Tilmann 讓螞蟻(黃怡琳飾) 對蟋蟀 (陳彥斌飾) 進行語言暴力。當 螞蟻/怡琳 和她的小僂儸們對 蟋蟀/彥斌 連珠炮般地揶揄、輕蔑，蟋蟀/彥斌忽略他們的攻擊，沉浸在自己的原住民吟唱中，這似乎隱喻了原住民或其他少數團體在台灣長年來所受到其他多數人的壓迫。

Date: 06/27/12
Place: Rehearsal Studio 404
Rehearsal

The rehearsal moves to a bigger room, almost twice as big as the one we used over the past few days. A long, big temporary platform is placed in the middle of the rehearsal room. On the one hand, Tilmann can finally experiment with new ideas in space, including the platform and the vast empty space behind it. On the other, this also means the actors have to readjust themselves to this new performing space.

The director works with Ziheng on his monologue in Scene 14. He explains that a long speech usually consists of escalation, reversal, and climax, and asks Ziheng to find beats embedded in this scene. In Scene 8, Ziheng and Shaojie continue the puppet games they’ve been developing, and they have established a good rapport with each other. Also in the scene, in order to accentuate the couple’s crumbling relationship, Tilmann draws a stark contrast between them in various aspects, including rhythm, gait, gesture, pose, and so on. A similar approach to highlighting contrast is also used in Scene 11, in which the couple played by Hongzhang and Yilin react differently to their upcoming child. In their improvisation, a music box is used, exuding a sweet, peaceful melody, while the tension between the couple brews and threats to explode. Not only does the way the actors deal with the characters’ interactions become subtler, but also the game between actors never stops, to the extent that audience would be unable to identify whether they are actors or characters or both. From Tilmann’s continuous laughter, I can tell he is pretty satisfied with what the actors have developed so far.

Tomorrow, there will be a reading in the book launch conference for Der Traum vom Individuum (The Dream of The Individual), a collection of Chinese translations of five contemporary German plays, Schimmelpfennig’s The Golden Dragon included. For the reading, Tilmann selects Scene 1, 3, and 13. The actors read through these scenes and have gradually found the pace they feel most comfortable with, which is much better than what they did in the first week. When simply hearing the text read aloud, I can still feel its strong musicality, and the chemistry among actors and characters gets increasingly interesting. Even so, Tilmann always wants the actors to brainstorm new ideas and try different things in rehearsal. Even for those ideas, emotions, and movements he has decided to put onstage, he still wants the actors to stay flexible, reexamining and reshaping them at different levels.

Tilmann then rehearses Scene 7. As he excavates subtext from the scene with the actors, he discovers that the motif of individuality versus collectivity recurs throughout the whole play. Scene 7 provides a salient example. In the scene, the Cricket begs the Ant for food but gets rejected. In order to intensify the unbalanced power structure between the two, Tilmann makes the Ant, played by Yilin, verbally abuse the Cricket, played by Yenbin. In Tilmann’s direction, when bombarded with an onslaught of mockery and contempt by Yilin and her sidekicks, Yenbin starts to ignore their noises by absorbing himself in an aboriginal melody, a sorrowful moment that appears to suggest major ethnic groups’ longstanding oppressions of the aborigines, or other minorities, in Taiwan.