假如我可許個願─臺德跨國製作《金龍》排練日誌0629
If I Would Make A Wish-- Rehearsal Diary of the Der Goldene Drache (06/29)
照片版權© 台南人劇團
日期｜二零一二年六月二十九日
地點｜台南人劇團排練教室四零四
紀錄｜吳政翰
演員讀劇，第十五景至第二十景。Tilmann持續實驗之前利用部分身體和平台作互動的想法。他認為，人的皮膚和平台金屬表面所呈現的對比相當有趣。與昨天的練習活動不同的是，今天的分隔出來的身體部位都是可移動的。「把你的頭從身體獨立出來。只有頭，沒有肩膀！想像一下你的頭被砍掉，現在漂浮在水面上。」演員們的頭於是浮出「水面」又下沉，帶著扭曲的臉孔或異常嚴肅的表情。大家也用了其他身體部位，像是腳、胳臂、手指、甚至屁股。這個活動是以非語言的方式、不同的高度和速度進行。演員們就好像在演出默劇一般，散發出一種小丑表演般的喜感能量，將整個排練場的氣氛都活絡了起來。
Tilmann 把活動空間擴展到整個舞台，以及平台後面的整個空間，將「疏離感」的概念具象化。他發現，當兩位演員逐漸遠離對方，其相對位置形成一條對角線時，角色之間的張力變得格外強烈。有趣的是，當演員相互擦身而過卻毫無交談或肢體接觸時，可以感覺到另一種戲劇張力，演員之間的距離很近，但疏離感卻很鮮明、強烈。此外，在一般劇場表演中，演員若「背台」(意即背對觀眾) 通常會被認為是很尷尬的情況、不專業的表演，但Tilmann認為，當一演員背台，而其他演員面對觀眾時，畫面的張力也會變得很強烈。幾天的排練下來，我漸漸發現，導演在畫面上的調度，十分著重速度、節奏、距離和對比。
我也發現到Tilmann對周遭環境的感知十分敏銳，他總是可以很輕易地在排練場裡，找到幫助演員們建立角色的物件。此外，他也很擅於將演員們所帶來的靈感，轉化成他自己複雜又充滿能量的視覺語言。在作即興練習的某個時刻，所有演員拼命地用腳踢彥斌，從這個靈感出發，Tilmann於是要演員們把腳都放到彥斌的頭和臉上，這個動作同時使得彥斌扮演的蟋蟀及代表的原住民形象，所受到的壓迫和屈辱更為強烈。
由於明天服裝設計會來看排，導演請演員先順走第十景至第十三景，這是演員們第一次不間斷地走完這些景。我感覺到，他們的能量越來越豐沛，在舞台上的存在感也越來越強烈，不過，景和景之間的轉折尚未發展完整。
※《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: 06/29/12
Place: Rehearsal Studio 404
Rehearsal
The actors read through Scene 15-20. Tilmann continues to experiment with different ways to place actors’ isolated body parts against the platform edge. He observes that the contrast between human skin and metal surface is interesting. What’s different from the exercise the actors did yesterday is that body parts are movable today. “Isolate your head from your body. Only heads, no shoulders! Imagine your head is chopped off and now floating on the water.” Their heads keeps emerging out of and submerging into the “water” with their distorted faces or overly serious looks. The actors also use other body parts, such as feet, elbows, fingers, and even ass. This exercise involves no verbal language, and each movement progresses in different heights and speeds. The actors’ pantomime sends forth a clownish energy that lightens the atmosphere of the whole rehearsal room.
Tilmann expands the exercise space into the entire stage and the whole empty space behind the platform, embodying the idea of strangeness. He discovers that when two actors stand distant from each other in a diagonal line, the tension between them gets extremely fierce. Interestingly enough, another dramatically intense moment occurs when the five actors pass by each other without making any conversation or physical contact. The distance between actors is short, but the sense of strangeness is clear and strong. Besides, although it is often considered awkward and unprofessional in the theater when actors turn their back on the audience, Tilmann explains the image gets intense when one actor sits with his back to audience, and others face it. Over the past few days of rehearsal, I have gradually found that the director’s composition focuses heavily on pace, rhythm, distance, and contrast.
Another thing I discover is that Tilmann has a keen sensitivity to his surroundings. He always can easily find objects in the rehearsal room that can be used to help actors build up their characters. Besides, he is good at shaping the ideas conceived by the actors into his own complex, dynamic visual language. Inspired by an image in which all the actors kick Yenbin when they are doing improvisation, Tilmann asks them to place their feet on Yenbin’s head and face, an action intensifying the oppression and humiliation that Yenbin experiences as the Cricket and as an aboriginal descendant in Taiwan.
Because the costume designer will come to the rehearsal tomorrow, the director asks the actors to stumble through Scene 10-13. This is the first time that the actors have run these scenes continuously. I feel that their energy becomes more vigorous and their presence stronger, but the transitions between the scenes haven’t been fully developed yet.
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