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0630

 If I Would Make A Wish-- Rehearsal Diary of the Der Goldene Drache (06/30)

照片版權© 台南人劇團

日期｜二零一二年六月三十日
地點｜排練教室四零四
紀錄｜吳政翰

演員讀本，自第十一景至第二十景。Tilmann 在對演員們分享完他對剛才讀本的想法之後，持續工作第十二景，從螞蟻和蟋蟀互動關係中，找尋更多可能性。在導演的指示下，螞蟻們不停地在蟋蟀面前吃各種餅乾，演員們討論在正式演出中該選哪種餅乾，也思索該如何將餅乾在舞台上運用得更有效果些。例如，在某個時間點，螞蟻們將餅乾的包裝紙全部倒在蟋蟀身上，並極盡嘲諷。宏章建議不要使用糖果之類的甜食，因為甜食很容易將聲音鎖住，但在這次的排練中，大家並未作出最後決定。Tilmann也同時開始細修演員們的動作，整個戲的發展過程於是慢了下來。

服裝設計李育昇和助理來到排練場看排，而台南人劇團藝術總監呂柏伸原先也預定來看排，卻因病未能出席。雖然他稍早就已決定不干涉這次製作的排練過程，也還未能有機會來看排，但他仍十分關切目前戲的發展過程。事實上，呂柏伸與Tilmann的工作方式迥然不同：呂柏伸導演時對演員十分要求，很注重戲每個環節的準確度，以求排練達到最高的效率，然而卻也難免犧牲了一些討論空間；Tilmann 在和演員發展、討論上花了相當多的時間，有時卻不免疏於掌握排練進度。我相信，黃怡琳和李劭婕兩位台南人劇團駐團演員，肯定對於兩位導演迥異的風格有相當深的體會。

演員們順走第一景至第五景、第八景至第十一景。由於演員們仍在背台詞和走位、適應舞台空間以及試圖彌合劇本景和景之間的斷裂之處，因此這次的順走顯得有些雜亂。雖然今天順走的目的，是要讓服裝設計對這些演員在舞台上如何移動有些概念，以及對目前戲的發展有個大概的方向，但演員們仍對今天的表現感到挫折。不過，我卻發現，他們在舞台上遇見問題的焦慮感以及想要解決問題的渴望，驅使他們不顧一切以即興的方式，讓戲能繼續進行。因此，對我來說，演員們這段不熟練、充滿失誤的演出，反而很巧妙地使他們在舞台上的反應更加新鮮靈活。

Date: 06/30/12
Place: Rehearsal Studio 404
Rehearsal

The actors read through Scene 11 to 20. After sharing with everyone his feeling about the reading, Tilmann continues to work on Scene 12, exploring more patterns of interaction between the Cricket and the Ants. In Tilmann’s direction, the Ants keep eating many kinds of cookies in front of the Cricket. The actors discuss what kind of cookies or snacks they should really eat during the performance and think about how to use the cookies in a theatrically effective way. For instance, at one point, the Ants dump all the cookie wrappers on the Cricket and sneer at him. Hongzhang suggests not to eat sweets, which would close their voices down. The decision hasn’t been made in the rehearsal. Meanwhile, Tilmann also starts to finesses the actors’ movements, and thus, the developmental process has slowed down.

The Costume Designer, Yu-Shen Li, and his assistant come to the rehearsal. Poshen Lu, the Artistic Director of Tainaner Ensemble, was supposed to show up today but is absent due to his illness. Although he has decided not to intervene in rehearsal and hasn’t had a chance to come to rehearsal yet, he has been asking me a lot beforehand about how the rehearsal has gone so far. In fact, the ways Poshen and Tilmann work with actors are very different. Poshen tends to be strict with actors and demand the precision of every part of the performance in order to maximize rehearsal efficiency, sometimes unavoidably leaving little room for discussion, whereas Tilmann spends a lot of time developing and discussing ideas with actors at the expense of rehearsal progression. I think Yilin and Shaojie, the two Resident Actors of Tainaner Ensemble, can feel the distinction between these two directors’ working methods most clearly.

The actors stumble through Scene 1-5 and from Scene 8-11. Because they are still memorizing lines and blockings, adapting themselves to the set and trying to bridge the disjuncture between scenes, the stumble through is a bit rough. Despite that the purpose of today’s stumble through is to give the costume designer a rough idea about how they move onstage and how the play progresses now, the actors still feel frustrated with their performance today. However, I kind of feel that their anxiety to solve the problems onstage during the stumble through urges them to move forward with improvisation. So, to me, their inept performance full of glitches interestingly makes their reactions fresher onstage.