更新时间:2019-01-26
Glinka🌙 • 莎乐美:When Pontius Pilate came, looking for answers
2017ntlive Salome
和王尔德的剧本几乎没什么关系哈哈哈，有近一个小时的长度（一共也只有100分钟）都是发生在王尔德的莎乐美里之前的“故事”，采用了奇妙的我也不知道这个命名是什么但总之叙述和独白方式以一种异时间的端点出发最终交织在整个舞台里，其实我想给3.5星的，感觉稍微有点心有余而力不足，不足在哪里呢是演员处理台词的方式还是剧本节奏还是整体编排呢？这我就不晓得了反正靠的是直觉，整体不是那么精彩绝伦
心有余在哪里：很能感觉到在讽刺HIStory，以及一些很显然的feminism提出的问题，可以说是关于“女性拥有自我了吗”，最有代表的一句独白和一段对话：
I am the coming together and falling apart, I am the enduring and disintegration. The judgement and the acquittal. I am peace, and war has come because of me.
-
-They made me the keeper of the vineyards but my own vineyard I never kept.
-Daughter of Jerusalem, you do not know yourself. Valleys, slopes, fields of plenty, yet owned, used, occupied. Never you own.
但是这样会不会显得有些刻意呢？或者说，在用较长的篇幅来点出这个问题之后，有必要在剧中就给出回答吗？如果给出了回答，要如何才能让这个剧满意呢？我个人感觉结尾和回答的方式是很仓促的，这就让主题显得有些说教性，而这一种说教性还欠缺了很多别的东西，人物的塑造模糊了，人与人之间的联系也显得只存在一个框架
其实本来可以仅仅停留在叙述一个故事上的，结尾的那段“写作者视角”（？）与莎乐美的问答，单看是很不错，但接在结尾看实在是有点乏力，不恰当的比喻就是有点强行洗白，为什么要接受nameless的身份呢！联系前面难道是和约翰有关...？那就更显得奇怪了
-It is quite now in my exile, but you haunt my nights. I wake at down to see you in the shadows. I think of you fading alone there in the dark in your final hours. Did you weep? Did you cry out, tongue torn from your mouth? Or did you smile? I call out at dawn. Who are you? The True Insurrection, Mother of the Revolution, Nameless one.
-You don’t remember me. You will never know my name. I have no tongue to cool you, no eyes to burn new truths, no fingers to count the numbers, stars, days. No thighs to move the earth. I have ash in my hair. I have nails in my palms and blood on the soles of my feet. No number, no code, no plan, no road. No secret tunnel back to you. I am chaos, Grace of Fire, the song that makes the dead. Alpha and Omega, the first and the last, the end and the beginning. I am disappeared but among you. In the cleft of the rock, in the secret places of the stairs. The one without name, I am.
不过也有可能是因为我对宗教感实在不强烈连意识到这里可能产生共鸣都感觉不到吧
当然还是有很多打动人心的片段和台词啦，我觉得舞美非常不错，还有一些微妙的台词处理，譬如颠倒角色，比如，我觉得一个非常有意思的地方就是约翰开口赞颂了莎乐美，而他所用的譬喻都非常刚硬，与战争、钢铁味道有关（没有钢铁味道，是我觉得那些词很钢铁味道），用我不喜欢的sterotype口吻讲就是，用的是很阳刚很男性化的赞美用词
最后放些除了以上的我还挺喜欢的片段
I am the silence that is incomprehensible and the idea whose remembrance is frequent.
There is no language for what I did that night. No scripture for the nameless one.
-You have no God. -Oh I have many. But they are all dead.
-Crucifixion is a strategic business.
-What to do with a man willing to die?
-Force him to live. Deny him the burning light he would make of himself.
-He had declared he will not to eat.
-Feed him. Day after day. By violence or submission.
If you be a wall, we will build upon you a battlement of silver. If you be a door, we will enclose you with boards of cedar.
我更喜欢看到的对于“女性”这一身份或者位置的处理态度，摘个海纳米勒的访谈
Q：在你许多剧本中你处理的主题在这个国家将会被归类于“女权主义者”；在你的作品中女性角色也常常处于中心地位。你能否解释一下你认为当代舞台上应该怎样表现妇女？
A：作为一个剧作者我不与“主义”打交道而与真实打交道。你能否告诉我一个真正的女性角色是什么？
和王尔德的剧本几乎没什么关系哈哈哈，有近一个小时的长度（一共也只有100分钟）都是发生在王尔德的莎乐美里之前的“故事”，采用了奇妙的我也不知道这个命名是什么但总之叙述和独白方式以一种异时间的端点出发最终交织在整个舞台里，其实我想给3.5星的，感觉稍微有点心有余而力不足，不足在哪里呢是演员处理台词的方式还是剧本节奏还是整体编排呢？这我就不晓得了反正靠的是直觉，整体不是那么精彩绝伦
心有余在哪里：很能感觉到在讽刺HIStory，以及一些很显然的feminism提出的问题，可以说是关于“女性拥有自我了吗”，最有代表的一句独白和一段对话：
I am the coming together and falling apart, I am the enduring and disintegration. The judgement and the acquittal. I am peace, and war has come because of me.
-
-They made me the keeper of the vineyards but my own vineyard I never kept.
-Daughter of Jerusalem, you do not know yourself. Valleys, slopes, fields of plenty, yet owned, used, occupied. Never you own.
但是这样会不会显得有些刻意呢？或者说，在用较长的篇幅来点出这个问题之后，有必要在剧中就给出回答吗？如果给出了回答，要如何才能让这个剧满意呢？我个人感觉结尾和回答的方式是很仓促的，这就让主题显得有些说教性，而这一种说教性还欠缺了很多别的东西，人物的塑造模糊了，人与人之间的联系也显得只存在一个框架
其实本来可以仅仅停留在叙述一个故事上的，结尾的那段“写作者视角”（？）与莎乐美的问答，单看是很不错，但接在结尾看实在是有点乏力，不恰当的比喻就是有点强行洗白，为什么要接受nameless的身份呢！联系前面难道是和约翰有关...？那就更显得奇怪了
-It is quite now in my exile, but you haunt my nights. I wake at down to see you in the shadows. I think of you fading alone there in the dark in your final hours. Did you weep? Did you cry out, tongue torn from your mouth? Or did you smile? I call out at dawn. Who are you? The True Insurrection, Mother of the Revolution, Nameless one.
-You don’t remember me. You will never know my name. I have no tongue to cool you, no eyes to burn new truths, no fingers to count the numbers, stars, days. No thighs to move the earth. I have ash in my hair. I have nails in my palms and blood on the soles of my feet. No number, no code, no plan, no road. No secret tunnel back to you. I am chaos, Grace of Fire, the song that makes the dead. Alpha and Omega, the first and the last, the end and the beginning. I am disappeared but among you. In the cleft of the rock, in the secret places of the stairs. The one without name, I am.
不过也有可能是因为我对宗教感实在不强烈连意识到这里可能产生共鸣都感觉不到吧
当然还是有很多打动人心的片段和台词啦，我觉得舞美非常不错，还有一些微妙的台词处理，譬如颠倒角色，比如，我觉得一个非常有意思的地方就是约翰开口赞颂了莎乐美，而他所用的譬喻都非常刚硬，与战争、钢铁味道有关（没有钢铁味道，是我觉得那些词很钢铁味道），用我不喜欢的sterotype口吻讲就是，用的是很阳刚很男性化的赞美用词
最后放些除了以上的我还挺喜欢的片段
I am the silence that is incomprehensible and the idea whose remembrance is frequent.
There is no language for what I did that night. No scripture for the nameless one.
-You have no God. -Oh I have many. But they are all dead.
-Crucifixion is a strategic business.
-What to do with a man willing to die?
-Force him to live. Deny him the burning light he would make of himself.
-He had declared he will not to eat.
-Feed him. Day after day. By violence or submission.
If you be a wall, we will build upon you a battlement of silver. If you be a door, we will enclose you with boards of cedar.
我更喜欢看到的对于“女性”这一身份或者位置的处理态度，摘个海纳米勒的访谈
Q：在你许多剧本中你处理的主题在这个国家将会被归类于“女权主义者”；在你的作品中女性角色也常常处于中心地位。你能否解释一下你认为当代舞台上应该怎样表现妇女？
A：作为一个剧作者我不与“主义”打交道而与真实打交道。你能否告诉我一个真正的女性角色是什么？
