作者： bancesun

一个巨大的喇叭形状的舞台面向着观众，在巨大的斜坡上人们混淆了梦境与现实，打乱了连续的时间，也反思了阶级的矛盾。

奥德兰伯爵（Graf Öderland） 讲述的是一个银行雇员用斧头杀死了一个看守人，这似乎是无缘无故的谋杀。只有检察官对犯罪行为表示同情，并受其启发，突破了常规生活。从此，他遵循厄德兰伯爵的传说，手持斧头在乡间游荡，杀死了所有反对他的自由主张的人。追随者们在厄德兰伯爵的领导下团结起来，检察官的个人行为发展成为一场普遍的起义。最后，叛乱导致了一场政治动荡，但检察官渴望的自由却没有实现。

原著是由12个章节组成的，每个章节之间在时间线上是同一方向的，但之间却并不完全连贯，是蒙太奇式的转场效果。在Bachmann搬上舞台的这一版中，蒙太奇被保留，但时间顺序被做了调整，在不影响叙事的前提下时不时穿插着倒叙的手法，整个12章的结构像是十二根手指互相交错在一起一样，融合的十分好。

这部戏最重要的主题之一就是梦想与现实，检察官从在森林小屋中杀死第一个人开始就进入了梦境，但在最后梦醒之后，却发现梦中发生的一切竟然是真实的。无论是作为读者或是观众再见到这种梦想与现实的转换时都会陷入和主人公同样的困惑。整部戏最精彩的部分在与它并没有将梦想和现实视为对立面，而是让幻想成为现实，现实仍然是幻想。这其实是也是戏剧的本质。正常看完觉得导演完美的贯彻了原著作者Max Frisch对舞台的描述：“恐怖，但不现实”

导演Stefan Bachmann是作为歌剧导演出身，在这版“奥德兰伯爵”中也能看到很多歌剧的影子。开场前最先上场的是由钢琴，小提琴，单簧管和贝斯组成的小型乐团，整场演出乐团都在配合着提供音效。而演出中也被插入了演唱的片段，最为精彩的还是当奥德兰的叛乱分子将斧头敲入舞台地板时，现场乐队开始演奏Rammstein的风格的摇滚。舞台上各种音乐的形式对于看惯了德国戏剧的人并不陌生，但利用音乐的方式又比别人更加娴熟与信手拈来。 现在在科隆剧院担任院长的Bachmann也是之后非常值得关注的一位导演。

Olaf Altmann设计的舞台当然也是整个演出的重中之重，喇叭形状的巨型舞台和斜度巨大的地板一方面展现了梦境中物体的扭曲，另一方面也能让站在不同位置的角色因为透视而产生身材大小的畸变。

Max Fischer的这部作品一共写了三版，没个版本都不被人喜欢，第二版甚至还因为被人认为影射纳粹上台而被迫修改，而终于在七十多年后，在导演的妙手生花下，这部作品荣登了2021年柏林戏剧节的十佳。

9/10

It feels like a family reunion every time a play from the Lilienthal era comes back to the Kammerspiele, which was a complete disappointment in 2021.

The play is based on Schiller’s play “The Robbers”, and it has now become a commonplace in the theatre to add the word “female” to former classics, even if it feels a little clichéd. The director Leonie Böhm has also produced well-received plays such as Young Faust at the Kammerspiele a few years ago, and Medea at the Schauspielhaus Zurich in 2020 which was selected as one of the top ten productions at the Theater Treffen.

The director has removed almost all of Schiller’s original plot, retaining only the four main characters, distilling the spiritual core and the intricate relationships between them, and then re-presenting them on stage in a very German way, which give the audience the ideal of “I’m the only one who understands what you’re saying”.

However, the fine line of audience-pleasing is difficult to grasp, and there are plenty of scenes where the play interacts with the audience, with the female audience cheering and whistling at the end when all five actresses are stripped naked and frolicking on stage. I don’t want to compare who’s better or worse, but it feel that this audience would have been happier watching Magic Mike. The stripping itself was appropriate in this context, however as a director it was impossible not to anticipate the audience’s possible reactions, and to provoke the audience so much from start to finish revealed a sense of cheap sycophancy, and the whole show feels like a group of people capable of performing good work who had fallen over themselves to produce rubbish. Leonie Böhm could have done much better.

6/10

在2021年彻底让人失望的Kammerspiele，每次有Lilienthal时代的戏重新回来演出都会有重新见到娘家人的亲切感。

这部戏是根据席勒的剧本《强盗》改编，如今把以前的经典剧目前面加个“女”字已经成了现在戏剧届的惯用手法，甚至让人觉得有些俗套。导演Leonie Böhm几年前在Kammerspiele也排了像《年轻浮士德》等口碑不错的剧，2020年在苏黎世剧院排的《美狄亚》也入选了柏林是戏剧节的十佳，整体来看导演的功力是完全在线的。

说回这部《女强盗》，导演几乎删掉了席勒原著中的所有情节，只保留了四个主要人物，提炼出了精神内核以及人物之间错综的关系，然后以一种非常德国的形式在舞台中重新展现出来，对于阅读过原著的观众这种手法十分讨喜，会让人产生一种“只有我能看懂你这句话是在说什么”的感觉。

但讨好观众这件事的尺度十分难以把握，这部戏中有 大量的桥段是在和观众互动，到了最后当五位女演员都脱得精光在台上嬉闹时，台下的女观众喝彩口哨不断。不想比较谁高谁低，但我感觉这些观众还是去看《Magic Mike》会更开心。脱衣服这件事本身在这个情景下是和时宜的，但作为导演不可能不预设观众可能出现的反应，而如此从头到尾挑拨观众透露着一股廉价的谄媚感，整场演出都透露着一群有能力排出，演出好作品的人自甘堕落生产垃圾，Leonie Böhm本来可以做的更好。

6/10

舞台正中间近乎相同的两个房间从中间分开，一个年轻人与一个老人正在有条不紊地整理杂物，叙述者慢慢走上台来，开始将两个房间，以及现在和未来这两个时代的画卷慢慢展开。

整个故事是关于一个年轻人拍摄了一部关于布宜诺斯艾利斯贫困区的小男孩的纪录片。这成功地为他的职业生涯提供了一个起点，他在30年后重新从德国回到了阿根廷，重访了当时的地点和人物，并试图重新激活与朋友和家人的关系。

导演马里亚诺-彭索蒂(Mariano Pensotti) 在舞台上通过从中间分离布景的方式，做到了在同一个时空同时展现了主角时隔三十年的两段人生，而故事的叙述者也通过在两个场景之间的穿梭切换着“主角妻子”与“主角女儿”的身份。两个场景，一个装着满怀希望，一心为了梦想不顾一切拍摄纪录片的年轻人；一个装着30年后反乡，只能靠回忆和提及过去才能找回一点存在感的老人；一边是对即将诞生的女儿毫不关心，一边是急切地想要与30年未见的女儿重新连结。

两条时间线分别是疫情之前的2020年和2050年，在30年后的世界人们开始觉得蔬菜是有毒的所以只吃肉，荷兰被海水淹没后国民也成了不受待见的难民。这种对未来的投射一方面透露着幽默，一方面又透露着一股忧伤。整部戏的后半段都是围绕着那部贫困区男孩的纪录片发展的，年轻的主角从偶然发现男孩，到接近能力帮助男孩，到最后还是被拒之门外一步步让人理解他对改变现状的决心，而年老的主角却想通过找人冒充男孩来延续自己曾经的高光时刻。

改版后的慕尼黑市内剧院还没有排过让我觉得好看的戏，演员从Nils Karwand这种德国最佳演员换到现在的阵容感觉很难不flop。而这次从导演到演员是全阿根廷阵容，哪怕是纯西班牙语的演出也能明显感觉到质量提升，但看过之后的激情过去却觉得这部戏的内核并不明确，好像在试图讲一个道理但又不知道如何开口。 这是在继《Diamante》之后又一次看阿根廷戏剧，两部都没有让我失望，感觉日后也是一个可以被持续关注的领域。

9/10

Two rooms, almost identical, are separated in the middle of the stage. A young man and an old man are methodically sorting out the clutter as the narrator slowly comes on stage and begins to unfold the two  the story of the two timelines, the present and the future.

The whole story is about a young man who made a documentary about a young boy in a poor district of Buenos Aires. This succeeds in providing a starting point for his career, and he returns to Argentina from Germany after 30 years, revisiting the places and people of the time and trying to rebuild his relationships with friends and family.

By separating the set from the middle, director Mariano Pensotti has managed to present the protagonist’s two lives in the same space and time, thirty years apart, while the narrator switches between the two scenes and the two identities of the “protagonist’s wife” and the “protagonist’s daughter”. In the scenes, a young man, full of hope and determined to make a documentary for his dream, and an old man, who, after 30 years, returns to his hometown and can only regain a sense of existence by reminiscing and referring to the past. On one side, a young man unconcerned about the upcoming birth of his daughter, and on the other, an old an desperate to reconnect with the daughter he has not seen for 30 years.

In the two timelines, 2020, just before the epidemic; and 2050 when people in a world 30 years from now start to think that vegetables are poisonous and therefore only eat meat, and the Dutch people become unpopular refugees after being flooded by the sea. This projection of the future reveals humour on the one hand and a sense of sadness on the other. The entire second half of the play revolves around the documentary about the boy from the poorer neighbourhoods, as the young protagonist moves from stumbling upon the boy, approaching to help him, to finally being rejected nonetheless. While the older protagonist tries to continue his former pinnacle moments by finding someone to impersonate the boy for the shooting a sequel of the documentary.

However, in this pure Spanish performance  “Los Años”, the core of the play is not clear, as if it is trying to make a point but not knowing how to make it.

9/10

剧场逐渐安静，舞台上灯光微弱，十几位舞者的剪影开始慢慢活动起来，起初舞者只是机械地转动头部，挥舞手臂，随着灯光渐亮，整个舞台也随之被注入了能量。

舞蹈名字《In C》是来自特里·赖利（Terry Rileys）在1964年创造的同名极简音乐，极简音乐最大特色在于重复使用同主题的乐段、缓慢地或不加以改变来呈现和谐的整体，各个小节会不断重复，加以难以捉摸、缓慢的改变、长时间极少或没有改变的旋律。在《In C》 的音乐中赖利创造了53个小节（phrase）。这也给了Sasha Waltz灵感，她在音乐的基础上创造了53个动作，在舞台上的舞者可以根据这53个既定动作自己决定如何跳，整场演出既有设定好的齐舞段落，又有舞者的即兴表演。

整个舞台布景简单，仅仅背后有一块幕布而已，但演员鲜艳的服装颜色配合后面不断变换的渐变色背景，使得环境和灵动的音乐与即兴的舞蹈融合地非常和谐。

这是第一次看Sasha Waltz的舞蹈，以前在柏林看芭蕾时并没有觉得多惊艳，虽然不是她的作品但总会让我对她这个团长有些怨言，这次看完之后才发现原来名气真的是靠实力换来的。作为一个当代舞蹈的即兴作品，完全摒弃了故事性，这也是我之前觉得当代舞难以入门的原因之一，但这部作品像是一个在博物馆展出的当代艺术品，只是加入了动作与时间的维度，像是一个流动的雕塑。凑巧的是这部作品在上个月柏林新国家美术馆开业的时候有在门口演出过，让我觉得和其中Constantin Brancusi的 《Bird in Space》遥相呼应。

除了半固定半即兴这种新奇的编舞形式外，从传统的维度看这部作品质量也非常高，略显机械的舞蹈动作毫不违和，在机械中又透着绸缎一样丝滑的质感，视角放大到整个舞台，舞者走位表面上看起来是随机的，但却能带着观众的视线不断变换焦点，一个小时中完全不会觉得无聊。芭蕾看多了哪怕坐在前排都会举着望远镜只看首席，而这部《In C》却是全程展现了15个没有阶级，没有高下之分的舞者如何呈现出完美的和谐。

作为一个一直不爱看当代舞的观众，这次完全是冲着Sasha Waltz的IP去的，完全没有失望。就像美食一样，总要吃一次高级的才能在心里建立起一套标准，作为一个北方八百线城市长大的孩子，是在法国第一次知道了原来味道是会有层次的，原来烹调得当的一颗豌豆是真的会在嘴里绽放出整个春天的。而这部极具春天感的《In C》也让我知道了日后在欣赏类似作品时要以一个怎样的标准去评判，而不是单出的 “没看懂，睡着了，不好看”。

Sasha Waltz舞团在新美术馆表演的视频可以在这里 https://www.youtube.com/watch?v=0eRpn5C0Nns 观看

Terry Rileys的 音乐《In C》可以在这里 https://www.youtube.com/watch?v=DpYBhX0UH04 收听

8/10

As the theatre falls silent and the stage lights fade, the silhouettes of a dozen dancers slowly begin to move, at first mechanically turning their heads and waving their arms, but then as the lights come on, the stage is infused with energy.

The name of the dance ‘In C’ comes from the minimalist music of the same name created by Terry Rileys in 1964. Minimalist music is characterised by the repetition of sections of the same theme, slow or unchanged to create a harmonious whole, with bars repeated over and over again, with elusive, slow changes and long periods of little or no melody change. In the music of ‘In C’ Reilly creates 53 phrases. This inspired Sasha Waltz to create 53 movements based on the music, and the dancers on stage could decide for themselves how to dance according to these 53 established movements, with both set phrases and improvisations by the dancers throughout the show.

The set is simple, with only a curtain behind it, but the vibrant colours of the costumes and the changing gradient of the backdrop make the setting and the soulful music blend harmoniously with the improvised dance.

This was the first time I had seen Sasha Waltz’s dance. But after seeing it this time I realised that fame really does come with strength. As a contemporary dance improvisation, it completely eschews storytelling, which is one of the reasons why I previously found contemporary dance difficult to get started with, but this work is like a contemporary artwork on display in a museum, only with the added dimension of movement and time, like a flowing sculpture. Coincidentally this work was performed at the entrance of the New National Gallery in Berlin when it opened last month, and I felt it echoed Constantin Brancusi’s Bird in Space from the museum.

Apart from the novelty of the half-fixed, half-improvised choreography, the work is also of very high quality from a traditional perspective, with slightly mechanical movements that are unobtrusive and satin-like in their mechanics, and a perspective that zooms in on the whole stage, with dancers moving in seemingly random ways, but taking the audience’s eyes with them as they change focus, without getting bored for an hour. Whereas ballet is often seen with binoculars in the front row, this production of In C shows how 15 dancers, without class or hierarchy, can present perfect harmony throughout.

As an audience who has never been a fan of contemporary dance, I went to this one entirely for Sasha Waltz’s fame and was not disappointed at all. This very spring-like piece showed me what kind of criteria to judge when enjoying similar works in the future, rather than the single-out “didn’t get it, fell asleep, not good”.

A video of Sasha Waltz Dance Company’s performance at the New Art Gallery can be viewed here https://www.youtube.com/watch?v=0eRpn5C0Nns

Terry Rileys’ music ‘In C’ can be listened to here https://www.youtube.com/watch?v=DpYBhX0UH04

8/10