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「月不落看戏」 一个由横跨三大洲五个时区的戏剧实践者 共同制作的文化艺术类播客
本期嘉宾
「TheatreManiac」孙斌
「肆体不勤」三疯
「@ph学姐」ph学姐
「Archipel群岛」光圈
收听指引
01’30” 三姐妹的故事梗概
03’40” 《三姐妹》真的无聊吗？
08’25” 静态戏剧和散文化戏剧
17’20” 契科夫觉得这是部喜剧？
24’30” 慕尼黑室内剧院Susanna Kennedy后人类版《三姐妹》
35’05” 林兆华版本的《三姐妹-等待戈多》
图文索引
慕尼黑室内剧院《三姐妹》Trailer
剧照
《三姐妹-等待戈多》剧照
其他推荐
三姐妹作为一部几乎年年都要上演好多场的剧目，在网上有不少渠道能够观看，除了这期节目中介绍的两个版本外，英国National Theater中 Inua Ellams版本的三姐妹十分值得一看，这部戏可以在最近NT刚刚推出的流媒体服务NT at Home中观看
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is an adaptation of a play by French writer Jean-Luc Lagarce. An artist who hasn’t been home for 12 years, on the verge of a serious illness, tries to reconnect with his family, telling them that he is dying. When he returns home with a video camera, he discovers that his family is very different from what he remembers: his mother, his sister, his brother, everyone is distant from him.
In 2018, director Xavier Dolan made a film of the same name, starring some of France’s top stars, but it was met with mixed reviews, with French audiences giving it high marks, while international audiences, who could only read the subtitles, said they couldn’t understand the actors’ performances because they couldn’t feel the emotions in the dialogue. I wonder if director Rüping with a first-rate cast of German-language theater actors will change my impression of the film.
As one of the few theaters in Europe with its doors still open, the epidemic has limited it to an audience of 50. Sitting in a converted shipyard theater, in front of a huge stage yet it is so close to the audience. The main actor, Benjamin Lillie, begins by breaking the 4th wall between himself and the audience: “My name is Benjamin Lillie, I’m 35 years old and I haven’t been home for 12 years”. Step by step, Lillie brings the audience into his own life, making one wonder how much of the character is scripted and how much is his own life experience. Brecht’s estrangement effect not only allows the audience to jump out of the play, but in turn allows those outside of the play to quickly enter the world the director has created.
“Who hasn’t been home for 12 years? He (I) hasn’t been home for 12 years.” Singing, drumming, and interacting with the audience, Lillie showed his super energy in the first few minutes with this one line. His previous performance in <It Can’t Happen Here> (click to read) was stunning, and he didn’t disappoint the audience this time either. Tall, with a hint of femininity in his face, he is so radiant in both dancing and singing that he might just beat Nils (also in this play, playing the older brother) as my favourite actor in the German-speaking theater world.
In the past, scenic designer Jonathan Mertz’s sets for Rüping’s plays were so simple that they could be described as crude. This time however, he created an incredibly detailed set, bringing all the objects of a family of four to the stage, from the fruits and pickles in the refrigerator to the souvenirs that Mom brought back from her travels.
When we recreate our own home image in our memories, we think not only of “bed here, table there,” but also of all sorts of odd little objects, like the old photos in the third drawer of the table in the lower right corner, or the keychains hanging on the wall beside the entrance.
The CD player on the table, the marijuana in the drawer, and the piles of male and female porn magazines under the bed give us a sense of the anguish and struggle the man faced as a gay child in a small town.
The first half of the show ended after only half an hour with a high drumbeat, and a dozen or so stage workers came on stage to pile the hard-designed set into the corner, leaving only an empty space.
The home in the man’s memory vanished the moment he entered it, leaving only a sense of strangeness. The man and his brother were standing on the diagonal line on the stage, separated by several dozen meters, and the two brothers, who were once very close to each other, were so distant after 12 years.
The second half is the less common “regular storytelling” style in Rüping’s plays, in which the three siblings are played by Benjamin, Nils Kahnwald, and Wiebke Mollenhauer, each of whom I’ve seen in many other Rüping’s plays. It’s amazing to see them, who normally act in a totally different way this time do another style just as well, and Nils totally deserves to win Theater of the Year in Munich last year.
Whenever I watch Rüping’s plays, I look forward to the music, which can bring the audience to a climax as soon as the lights hit the music. The best part is that the seemingly cheesy approach is slightly different each time, and you never get tired of it. Actor/ musician Matze Pröllochs, who has appeared several times in Rüping’s plays, still took the lead in creating the atmosphere this time. No lines, just the passionate playing behind the drums and the kiss with Lillie through the plastic wrap, but it was the best finishing touch in the production.
The backdrop glows bright red, the actors are transformed into black silhouettes, the drums burst, the four blowers, the black dust in the sky, and the play comes to an abrupt end in this Grand Finale. The absence of the “father” character leaves more room for the intertwined relationships of the characters to operate, and the intricacies and intertwining of the relationships between the family members can be much more appreciated. The rivalry between the two brothers also makes the audience sigh, as the 12 years of suppressed emotions explode into a total lack of resolution, leaving them with nothing but helplessness.
The obvious theme of <Just the End of the World> is “family”, and Rüping, who has just moved to Zurich as director-in-residence, intends this to be the first of his “Family Trilogy”, with the final chapter by British writer Max Porter’s “Grief is the Thing with Feathers”, the second part of which is still undecided, is destined to become a classic of German-speaking theatre when the trilogy is finished in a few years.
★★★★☆
In normal times, I might have given it a 5 star, but for someone who hasn’t watched much theater plays in half a year and expects to end the year with a Rüping’s play, I feel this time that the excitement weren’t dense enough, and the lack of excitement in the most part of the second half didn’t completely alleviate the withdrawal symptoms of no theatre.
The play has a busy December schedule at the Schauspielhaus Zurich theater, and the surrounding countries do not need to be quarantined except for some French and Austrian visitors. (The theater is closed until Jan.22 2021) Those who can’t see it in theater have the option of watching it live on December 17 at 19:00 Central European Time for a minimum ticket price of five euros. IP restrictions may apply, so please be prepared.
这部《只是世界尽头》是改编自法国作家Jean-Luc Lagarce的剧本。一个12年没有回过家的艺术家，在重病临终之际想要重新和家人建立起联系，告诉大家自己命不久矣。拿着摄像机回到家中后，却发现家人和记忆中的样子大不一样，妈妈，妹妹，哥哥，每个人和自己都无比疏远。
著名导演Xavier Dolan在2018年时拍了同名电影，主演都是法国一线的明星然而评价却毁誉参半，法国观众纷纷给出了高分而只能看字幕观影的的国际观众却因为体会不到对白中的感情而表示不能理解演员的演出。这次Rüping导演带着德语戏剧届的一线阵容不知道能不能让我对它的印象有改观。
作为欧洲极少数几个头还铁着开门的剧院，也疫情限制只有50个观众。坐在造船厂改造的剧场中，舞台无比硕大但又离观众那么近，主角Benjamin Lillie开始就先打破了和观众之间的那面墙：“我叫Benjamin Lillie，今年35岁，已经12年没有回过家了”。进而一步步地把观众带入到他自己的生活中，让人不知道在这个角色中有多少是剧本中的情节，又有多少是Benjamin自己的本色演出。布莱希特的间离法不单是能让观众跳脱出剧情，反过来也能让在戏外的观众迅速进入到导演创造出的世界中。
“谁12年没有回过家了？他（我）十二年没有回过家了。”唱歌，打鼓，和观众互动，Benjamin在开头的几分钟用这一句台词展现了自己超级强大的实力。之前在 <It Can’t Happen Here> 中的演出就让人惊艳，这次也丝毫没令我失望。身材高挑，脸上有一丝丝的女性化但又不像韩星那么娘炮，不管跳舞还是唱歌都能光芒四射，怕是再看一部他的戏就能打败Nils（也在这部戏中，出演哥哥）成为在德语区我最喜欢的演员了。
以往布景师Jonathan Mertz给Rüping的戏布景都很简单，甚至可以用简陋来形容，随便搭几个木头架子表达出意境就好。而这次却造出了一个无比细致的布景，把一个四口之家生活中的所有物件，从冰箱里的果蔬腌菜，到妈妈旅游时带回来的各种纪念品都搬上了舞台。
当我们在记忆中还原自己家的样子时，想到的不单单是“床在这里，桌子在那里”，更多的是各种奇奇怪怪的小物件，像是桌子右下角第三个抽屉里的老照片，或是玄关墙上挂满了的钥匙扣。
上半场有整整二十五分钟都是男主拿着摄像机拍自己童年时房子中的各种边边角角，开始略显无聊，但等拍到自己房间时便能看出导演的深意，桌子上的CD机，抽屉里的大麻，还有床下交错堆起的裸女和猛男色情杂志，让人感受到了童年男主作为一个小镇中同性恋所面对的苦恼和纠结。
在高昂的鼓点声中，仅半个小时就结束了上半场，十几个场工上台把辛苦设计好的布景都堆到了墙角，只剩下了一片空地。
下半场是Rüping戏中比较不常见的“规规矩矩讲故事”，兄妹三人的饰演者Benjamin，Nils Kahnwald和Wiebke Mollenahuer都是Rüping的御用演员，每个人我都分别在别的戏中见过好多次，这次三人凑到一起，从表情到肢体动作，再到三人之间的化学反应，甚至比英国那些只演“正经戏”的戏骨们都要完美，平常走意识流的演员基本功这么好真是让人叹为观止，Nils去年在慕尼黑拿了年度最佳演员也是实至名归。
男主记忆中的家在他进入家门的一刹那便烟消云散，剩下的只有陌生感。男主和哥哥站在舞台的对角线上，中间隔了几十米，以前无比亲近的兄弟俩在12年后也疏远到如此地步，反而是站在对角线中间的妹妹对这个没什么印象了的哥哥更加亲近。
每次看Rüping的戏最期待的就是音乐部分，灯光一打音乐一起瞬间就能让观众达到高潮。最厉害的是，看似cheesy的手法每次都略有不同，不管怎样都不会觉得腻。在Rüping戏里出现多次的演员/乐师 Matze Pröllochs这次仍旧挑起了营造气氛的大梁。没有台词，只有在架子鼓后激情的演奏和隔着保鲜膜和Benjamin的热吻，然而却是这部戏中最精彩的点睛之笔。
背景墙发出鲜红的灯光，演员变成了一个个漆黑的剪影，爆裂的鼓点声，四台鼓风机，漫天的黑色尘埃，整部戏在这样的Grand Finale中戛然而止。摆脱了法语电影的语言障碍，看这部戏着实发现了剧本的好，少了“父亲”这个角色反而给交织的人物关系留下了更多的操作空间，更能体会到其他人关系的错综复杂和互相交织。兄弟俩的对手戏也是让观众不住感叹，12年来被压抑的感情爆发起来完全无解，留下的只有无奈。
这部《只在世界尽头》的主题显而易见是“家庭”，刚搬来苏黎世做驻场导演的Rüping打算以这部当作自己在苏黎世“家庭三部曲”的第一部，最终章是英国作家Max Porter的《Grief is the Thing with Feathers》，而第二部还没有决定好，以他的水平几年后三部曲拍完注定是德语区戏剧的经典。
★★★★☆
放到平时可能会给到五星，但半年没怎么看戏就指望年终拿Rüping收尾的我，总觉得爽点不密集，计量不够没能完全缓解没戏看的戒断症状。
这部戏在苏黎世剧院12月有很多排期，而且周边国家除了部分法国和奥地利外来瑞士并不需要隔离。而无法看现场的观众可以选择在中欧时间12月17日晚上19点收看直播，票价为最低五欧元。强！烈！推！荐！可能限制 ip，请大家提前做好准备。
Gala晚会往往都是每个芭蕾舞团整个舞季的高潮。以往看过的Gala中有多一半都是纪念或者庆祝活动，像是担任了几十年的团长卸任，或者首席舞者邀请朋友共同献艺等等。在Gala中不光很多舞蹈名作、稀有剧目或全新的作品会被呈现，来跳的人也多是世界最顶尖的首席，动不动就在台上炫技，精彩异常。
柏林的舞台已经关闭了五个半月，在Corona之外还有年初闹得沸沸扬扬的两位团长Sasha Waltz和Johannes ÖhmanÖhman提前离团，在这么混乱的时期还好舞者在家没闲着，疫情开始没多久就收到了团里快递的练功地板，让他们Home Office也不得安生（狗头）
作为这个舞季的开场演出，1800多个座位的剧院只开放了400多个座位，本以为憋了半年的柏林人会抢票抢破头结果发现来的人远没有那么多，看来爱看芭蕾的老头老太太还是比年轻人更怕病毒。
开场的《Pas de Quatre（四人舞）》是芭蕾大师Jules Perrot的经典舞蹈，在1845年的首映就引起了英国极大的反响，当时的观众从没见过有哪场芭蕾能让四个最顶尖舞者同台献艺的。这次的版本是由Anton Dolin基于原版改编，台上的四位舞者同样是柏林团的四位首席Iana Salenko, Yolanda Correa, Elisa Carrillo Cabrera和Ksenia Ovsyanick
来柏林最大的目的还是看Polina Semionova，女神跳的是由Mauro Bigonzettis编舞的《Cinque（五）》，在维瓦尔第歌剧《Stabat Mater dolorosa》的伴奏下Polina总是在试图掩盖自己极度悲伤的情绪，试图寻找出一个出路，在现在这种艰难的环境下看来更多了一番意义。
下半场的一部是舞蹈家王亚彬给ENB（英国国家芭蕾）排的《M-Dao》选段，在旁边大提琴的伴奏下首席Ksenia Ovsyanick一袭长裙，把身体的美展现到了极致。
最后压轴的则是男版的《Variations for Four（四人变奏）》，两个首席Daniil Simkin和Dinu Tamazlacaru搭两个群舞Corps，四个人在台上穿起披风有如一个堂吉诃德时代的男团。压轴曲目一般都会有炫技，然而这里虽然有技却没炫出来，Tamazlacaru的Barrel Roll（酒桶大跳）有高度但是身体有些僵硬，而Simkin跳同样的动作甚至让人以为是刚刚进团的舞者，每次看到他都要继续把对他的期望再往下降一大截。
柏林团想把From Berlin with Love打造成一个疫情之下的系列。第一场的节目单中大部分都是现代舞和当代芭蕾，而第二场则满足了热爱古典芭蕾观众的期待。这次同样是《Pas de Quatre》开场，只是改成了Jules Perrot的原版，四个人中一个首席，两个solo舞者和一个demi-solo，每个人的表现都可圈可点，只是来自日本的Aya Okumura动作略微有些拖沓，显得不够干净，但整体上用这个开场也展现了柏林团强大的实力。这部浪漫主义的作品十分考验舞者的基本功，古典芭蕾体系中的每个脚步动作在这里都有呈现，从舒缓的Adagio，到轻快的Petite Allegro，和考验舞者跳跃能力的Grand Allegro。整部舞除了开头和结尾的合舞之外最重要的还是每个人都有大段跳独舞的机会，能充分展现到自身的特点和强项，这里面最亮眼的是solo dancer Evelina Godunova，身高腿长而且动作的完成度完美，感觉是个能快速晋升的好苗子。
第二场是《Corsaire（海盗）》中的双人舞选段，上场的是柏林团的两位台柱Iana Salenko和Daniil Simkin，台柱的意思是每次来柏林如果不是专程来看女神Polina基本一定会看到这两位，然而这么多次不管是看两人分别跳还是pas de deux，始终觉得感情不到位。两个人作为首席动作技巧自然不必多说，但随之而来的高要求却总觉得他们在跳舞的时候情感就是出不来，作为观众很难入戏，Daniil身形太小，长相也给人一种很阴柔的感觉始终觉得他跳不出阳刚之气，而Iana作为当家女首席却跳不出“王者之气”，与其说是首席更像是一个技巧极好的Corp
在《Giselle（吉赛尔）》中跳的是第二幕中鬼魂群舞的片段，这是除了《La Bayadère （舞姬）》中幽灵王国选段外我最喜欢的大群舞了，其中既有Giselle独舞炫技，又有几十名群舞同时跳的大场景，过瘾的同时也能暴露出舞团的缺点，毕竟如此多人同时上台基本上是正常舞团全员出动了，在整个德国看芭蕾也就只有柏林能把corps的标准拔的如此之高（其中不乏人多的原因，柏林团目前算上客座的Polina共有53个女舞者。。。相比之下慕尼黑已经算多了有37人，汉堡团只有区区28个女舞者）
在下半场安排了《天鹅湖》的几个选段，我作为《鹅》的极度拥趸兴奋异常，古人云：”世上没有难看的《鹅》，只有太过于picky的观众”。手臂不够柔？那就看腿好了。感情不到位？但就别看脸呗。虽然对于上一场From Berlin with Love I中第三唱突然换人导致我没看上女神的《鹅》依旧耿耿于怀，但看这场Iana的版本仍旧觉得那些恰到好处的动作展现了芭蕾最纯粹的美。不光是台上，《鹅》台下的配置也高过其他一筹，疫情之下芭蕾舞团的配乐都改成了放录音，低音传到观众席里十分浑浊，只有这场动用了乐队，虽然只有四个人在乐池演奏但效果也好出一大截。
看完这两场觉得柏林团这个专题还是有点临时拼凑出来的感觉，以往的Gala都是众星云集高难度动作满天飞，而现在更像是有谁用谁，并且因为上座率太低还要考虑成本。期待疫情结束能回柏林看场全剧。这几天柏林又新加入了一场《From Berlin with Love III》和《IV》，有《Corsaire》《鹅》《仲夏夜之梦》，还有《Jewels》和几场当代芭蕾，能满足各种爱好者的口味，演出时间分别是17&18.10和29&30&31.12。《II》可能是由于观众呼声过高也要在18.12加演一场，大家记得提前买票。
“认识自己 “是德尔斐神谕 [1] 门槛上的铭文,这可能也是古代世界最重要的格言。神谕给出的指示往往既不明确，也无法反驳。它只是给那些前来寻求建议的人提出了一个个悖论迫使他们从另一个维度来思考。由Susanne Kennedy和Markus Selg创作的 《神谕 Oracle》 “在一个沉浸的环境中，探索了一个人类与人工智能共同生存的可能性，在这个世界中，人类作为身份不再是中心，而只是这个世界上与其他生物和智能机械共生的一部分。
在去年看《三姐妹》对导演Susanne Kennedy一见倾心后就一直盼望着今年这部新戏，但在排练开始后不久，整个剧目就因为新冠而停止了。几个星期以来，导演和演员团队都是通过Zoom来推进排练的进程，这样也得以让这部戏的试演版在六月让想念戏剧的观众重归剧场。
进入内场之后，先由三名戴着面具和变声器的演员引领你走向一尊石柱，并自我介绍说他们是神的使者，演员的眼神就让人心生一股莫名的恐惧，在行进过程中他们还会悄无声息的钻到你的背后轻声说话，整个肢体动作和语言又透着对“你”这个人类的好奇，这也是整部戏我认为最好的部分，整个过程激动和恐惧交织在一起，在极短的时间内就能让观众从一个“观演者”转换到神庙“朝拜者”的角色。演员的声音通过变声器变化成机械的声音之后，让熟悉导演的观众一下回到《三姐妹》的场景中。
但在第一部分过后，之后的30分钟就开始让人觉得有些敷衍了事，躺在毯子上听录音，进小黑屋看爆闪，或是在房间里和演员在对角线上无言对视，虽然能理解导演的创作意图，但总觉得在执行方面像是临时拼凑起来的，整个场景使用了大量的幕布而不是整整的建筑材料来营造神庙的感觉，走着走着就开始让人从第一部分的入戏慢慢又回到了“观演者”的角色。
到了最后的神庙中心，会有三个向“神”发问的机会，但不知道是样本不足还是怎样，面前的“神”对于我这个唯物主义者来说总像个“人工弱智”。走出剧场脑中还残存第一部分带来的激动，但并没有像是走了一段心灵之旅的感觉。
作为一部沉浸式戏剧形式上和其他的大同小异，但相比于《Sleep No More》这部戏少了自己去探索的可能性，而是由里面演员引领者走之前设计好的路线。演出每隔6分钟允许一名观众进场，走完一圈大概36分钟，这样一场两小时的演出可能最多也只有20名观众，不知道这样的形式怎样才能盈利。
作为慕尼黑的首部（?）沉浸式戏剧还是值得一去的，希望正式版能有所改观。
7/10
[1]德尔斐箴言据说乃为源自德尔斐阿波罗神庙中的阿波罗神谕之神圣格言，起源于西元前六世纪，为前苏格拉底时代的希腊民族之一系列道德上的指导方针，它包含许多古希腊的智慧与品格教导；最著名的箴言是镌刻于阿波罗神庙大门上的“认识你自己”。德尔斐箴言忠告人们要虔诚的生活，是古希腊阿波罗赐给人们的教诲。
1. characterization: people have already established different impressions of various kinds of music before they enter the theatre, for example, “cheerful” and “tragic” in terms of rhythm, “patriotic songs” in terms of theme. Once the audience enters the theatre with this impression, the director can make full use of this connection between music and emotion to portray the character. In the Tony Award-winning play “Ferryman” about the hunger strike in Northern Ireland, the famous Irish rebellion song “A Row in the Town” and the Northern Irish punk song “Teenage Kicks” were used when the IRA (Irish Republican Army) appeared.
2. Shift in time and space: Compared to opera, the spatial structure of a play is rarely “in and out”, but rather immerses the audience in the story, which gives contemporary German theatre an opportunity to take advantage of it. This is similar to the effect of the chorus in ancient Greek theatre, where the dialogue and actions of the characters are judged and reflected upon without missing a beat. In Meng Jinghui’s new version of “The Teahouse”, live Rap is used between scenes for scene transition.
3. Render the atmosphere: Traditionally, the main role of music in the arts of film and theater is to render the atmosphere. Although the artistic effect of film relies heavily on visuals and language, without the accompaniment of music, the film’s effect would be greatly reduced. As an example, director, Chritopher Rüping of Munich Kammerspiel, always slowly draws the audience to a high point and then followed by some epic music, which make people’s emotions burst and climax.
In the process of creating theatre music, unlike in the past, when musicians were approached only a week before the premiere, musicians are now increasingly involved in the entire creative process from the first day of rehearsals, providing musical suggestions on the one hand, and working with the director and actors to promote the improvement of a play on the other. In subsequent productions, many directors have chosen to have musicians play live on stage, where the “playing” even includes conversing with other actors. But even though the identity of theatre musicians is becoming more and more diverse, they rarely limit themselves to the theatre, but want to explore more musical possibilities.
In the process of putting together a play, the new generation of directors is increasingly able to understand the concepts provided by the musicians, for example, they can trust that when a musician is needed to provide “satirical European nationalism”, the final product will be roughly in line with the theme, unlike the older generation of directors who had to hear the finished music. This may also be one of the reasons why American director Robert Wilson used a wide range of pop songs in his plays.
The form of music in theatre is always innovative. While opera, concert, ballet – each art form corresponds to a model that includes staging, audience etiquette, audience interaction, etc. – theatre is constantly trying to break down the barriers between these models on stage, such as the opening scene of the British National Theatre’s “Julius Caesar”, which has the audience gathered around a small stage to hear the actors rock and roll. In German theatres, there are even more radical experiments with musical possibilities, such as using deafening noise to make the audience feel uncomfortable, and let them focus on the “hearing” itself.
Since the creation of MIDI and microphones in the 1990s, musicians have also had more room to play on stage, where they can record and edit various sound effects in real time. The biggest advantage of microphones over ordinary instruments is that they can be combined with vocals in an infinite variety of ways. Rüping’s <It Can’t Happen here”> uses harmonizers to make the human voice mechanical, and making people feel detached from the character. Or in the case of a solo performances, by repeatedly recording one’s own voice overlaid on top of each other to create a harmonic effect.
In the past, music often complemented the play, such as Beethoven’s music for Goethe’s “Egmont”, Mendelssohn’s music for Shakespeare’s “A Midsummer Night’s Dream”, and so on. Today, however, theatre music is often composed for a play alone, moving away from being a separate part to a supporting role, and because music and text are so closely integrated in modern theatre that the music itself, stripped from the play, cannot be called a separate “work” like an opera. But it is precisely because of this symbiotic relationship, and the constant innovation of theatre music forms over the decades, that music has become increasingly important to modern theatre.
本文首发于《国家大剧院杂志》2020年5月刊
责编：曹真真
在现代剧场中，音乐常常是被忽略的一环，观众的期待、剧评人的点评、甚至是在很多台本中，音乐都很少摆在聚光灯下被人评判，也难怪有人将剧场音乐称作“剧院魅影” （Phantom of the Theatre）。虽然在电影艺术音乐常常追求的正是被人忽视，比如“最好的电影音乐是没有被观众注意到的音乐”，但难道音乐只能默默无闻的躲在幕后吗？谁又决定了剧场的主体是文本、对白，而不是音乐呢？
1. 刻画人物：人们在进入剧场之前已经对各种音乐建立了不同印象，例如在节奏上有“欢快”和“悲惨”，在主题上有“爱国红歌”或是“靡靡之音”。当观众带着这种印象进入剧场之后，导演就可以充分利用这种音乐与感情的连结来刻画人物的性格。在描写北爱尔兰绝食事件的托尼奖话剧《Ferryman》 中，当IRA(爱尔兰共和军)出现时就用到了爱尔兰著名的反抗歌曲《A Row in the Town》以及对于英国观众耳熟能详的北爱尔兰朋克歌曲《Teenage Kicks》
2. 转换时空：与歌剧相比，一般话剧的的空间结构很少出现出现“入戏—出戏”的转换，而是让观众完全沉浸在故事当中，但这恰恰让当代的德国戏剧有了“可乘之机”，巧妙地用音乐制造间离效果（V-Effect）使观众出戏，这和古希腊戏剧中不失时机地对场上人物的对白和动作进行评判和反思的歌队效果如出一辙。在孟京辉新版的《茶馆》中，幕间就用了大段的现场Rap起到了起承转合的作用。
3. 渲染气氛：传统意义上，音乐在电影、戏剧这些艺术门类中的主要作用即是渲染气氛。尽管电影的艺术效果主要依靠视觉和语言，但如果没有音乐的陪衬，电影的效果还是会大大折扣。例如我最喜爱的慕尼黑室内剧院的吕平导演，每每都是在当剧情把观众引到高点时，突然史诗般的背景音乐响起，让人的情绪迸发，颅内高潮。
在剧场音乐的创作过程中，和以往在首演前一周才找音乐人配乐不同，现在音乐人越来越多的从排练第一天就参与到了整个创作过程，他们在现场一方面提供音乐方面的建议，另一方面也和导演、演员共同促进一部戏的改进。在之后的演出里也有许多导演选择让音乐家在舞台上现场演奏，这里的“演奏” 甚至包括了说台词或是与演员对话，某种意义上成为了“剧情”的一部分，他们有时身兼了音乐家、演员、某个虚拟形象等等数职。但即使剧场音乐人的身份越来越多元化，他们其实也很少把自己局限于剧场，而是想要开拓更多音乐的可能性，在德国真正只做戏剧音乐的驻场音乐人只有区区两人。
在编排一部戏的过程中，新一代的导演也越来越多得能理解音乐人所提供的概念，例如他们完全可以信任当需要音乐人提供“讽刺欧洲民族主义”的音乐时，最后的成品一定会和主题大致契合，而不像老一辈导演那样必须听到成品的音乐才能感受到是否与自己的预想一致，这可能也是为什么美国导演罗伯特·威尔逊（Robert Wilson）在戏中广泛采用人们耳熟能详的流行歌曲原因之一。
话剧剧场中的音乐形式其实一直都在创新。歌剧、音乐会、芭蕾，每种艺术形式都对应了一种模式，这个模式包括舞台布置、观众礼仪、观众互动等等，而话剧却在舞台上不断尝试打破这些模式之间的隔阂，例如英国国家剧院的《凯撒大帝》开场就是让观众围在小小的舞台周围听演员唱摇滚。在德国的剧场中甚至会更为激进地试验音乐的另一种可能性，比如用震耳欲聋的噪音让观众产生不适感，试图音乐让观众关注到“听觉”本身。
自从九十年代MIDI和声器出现以来，音乐人也在舞台上也有了更大的施展空间，他们可以在舞台上实时录制、编辑各种音效。和声器相比普通乐器最大的优势就是可以和人声做出无限种组合。吕平导演的《不能在这儿发生（It Can’t Happen here）》就是用和声器让人的声音变得机械化，使人对角色产生疏离感。亦或是在独角戏的表演中，通过反复录制自己的声音叠加在一起，产生和音的效果。
过去音乐往往和剧本相辅相成，比如贝多芬的音乐对应歌德的《艾格蒙特》，门德尔松的音乐对应莎士比亚的《仲夏夜之梦》等等。但如今剧场音乐经常是单独为了一部戏而创作，从分庭抗礼转为了支持角色，而且由于现代剧场中音乐与剧本结合的过于紧密，以至于剥离出戏剧的音乐本身无法像歌剧或音乐剧一样被单独称为“作品”。但也正是因为这种共生关系，加上剧场音乐形式在这几十年来的不断创新，音乐对于现代剧场才越显重要。
This article was first published in the April 2020 issue of <NCPA Magazine>
Editor: Zhenzhen Cao
“The whole damn thing was a farce, and now these people are trying to turn it into a tragedy.” That’s what atomic physicist Oppenheimer said afterward his interrogation in 1954.
Oppenheimer is known as the father of the atomic bomb and was largely responsible for the Hiroshima atomic bomb program. In the 1940s and 1950s, the United States was losing in China and Korea, and there was a lot of domestic espionage, especially in 1953 when the Soviet Union became the first country to successfully detonate a hydrogen bomb, which brought McCarthyism to its peak. Oppenheimer, who had been lobbying Congress to control nuclear power and prevent the outbreak of nuclear war, became a natural target of suspicion throughout the country. Ten years after the bomb was dropped, he was tried by the Atomic Energy Commission in the United States, and his loyalty to the United States was questioned by everyone.
The main stage of the Deutsche Theater in Berlin was enormous, with only four actors sitting around a small table against a bleak white backdrop illuminated by cold light. Every question asked by the judge, as well as by the prosecution’s lawyers, was relayed down from above through speakers, and the audience could hear both the speakers and the actors’ delayed retelling.
This type of interrogation was partly in line with the American regulations of the time, and partly a gimmick of the director to use Brecht’s “distancing effect” to make people think that the actors on stage were not the characters they were playing, but simply actors. The faces of all the actors during the interrogation are projected by a camera placed in the center of a square table on a huge curtain hanging overhead, so that the audience can still see the subtle facial expressions of the actors from the back. On the other hand, the angles were different for each camera, and sometimes the actors, similar to the ones in House of Cards, suddenly spoke off-camera, indicating that “the truth is only a matter of perspective”.
As the interrogation progresses, the people who are connected to Oppenheimer’s life are also being involved, from his wife who committed suicide because she couldn’t stand the pressure, to his successor, Edward Teller, the “father of the hydrogen bomb”, who believes that scientists should not think too much about this problem. Although the whole play is unpredictable, for example, each actor has to appear in a very grotesque dance to electronic music, but the plot is maintained in the original Docudrama format.
In the second half, the set is changed from bleak white background to a living room full of books. The issues being discussed also become more complex. The content of the interrogations soon begins to slowly touch today’s society, and the content of this interrogation by playwright Heinar Kipphardt’s is in fact a prime example of the moral dilemma caused by technological advances.
The digitisation of society, genetic research and the development of AI now create new possibilities and destructions of human races, yet the most frightening thing is that once it has begun, this process is irreversible. Especially with the precedent already set in recent years for genetically modified embryos and the rapid development of AI, let one wonders how much impact this will have on future generations.
In order to show the contemporary and futuristic nature of the story, the director adapted the original Oppenheimer’s confession of “spiritual treason” to a more modern and abstract approach at the end of the film. Everyone sat in their chairs with sunglasses on, and the electronic music in the background (produced with artificial intelligence by composer Christoph Hart) counted down louder and louder until a bright light came out from one corner of the stage.
At the end of this “explosion test”, everything returned to silence and darkness. Then, from a small door, lighted robots slowly emerged, one, two, three, until they were the only one left on stage, walking around erratically, creating a cyberpunk feeling, pulling the timeline from 1950 to 2050. In the new timeline, Oppenheimer’s back is draped with feathers in Indian attire, and mankind’s centuries-old civilization returns to a barbaric society after being destroyed by the atomic bomb. Felix Goeser, who plays Oppenheimer, looks back as he exits the stage, his eyes full of disappointment for humanity.
Brecht said, “Everything new is better than everything old”. Director Lupin, who is very fond of new technology, this time offers an unanswerable critique of the fast-moving technology, that the rigorous scientist has become a thing of the past and that “everything in the future needs to be redesigned! When these words were shouted, the stage reverted to silence, and Oppenheimer’s head was hit by a holographic projection in the spewing smoke.
★★★★☆
柏林戏剧节倒数第二部被放出来了，因为之前就看过了最后一部《吸尘器》，那可以很确定的说这次的《Chinchilla Arschloch, waswas》成为了我本届柏林戏剧节最喜欢的一部。
里米尼报告（Rimini Protokoll）是德国非常有名的应用戏剧团体，三个创始人都是德国吉森大学应用戏剧系的学生，自2000年创立里米尼之后便获奖不断，今年也是他们第三次入选柏林戏剧节十佳。里米尼在德国因为疫情关闭剧院的一开始，他们就把很多之前的录像放到了网上（官网链接可免费观看，需要挂梯子），这部戏也是本次柏林戏剧节唯一一部超过24小时放映时间还能继续观看的。
里米尼被誉为是“纪录片戏剧”的创始人，具体来说就是戏中的演员多数都非专业演员，而是被称为“日常生活专家”，剧场中讲述的也多是演员自己的故事，试图要把现实生活撕开，而用一种非同寻常的角度呈现它的全貌。那到底什么是“纪录片戏剧“？什么又是”应用戏剧“？在文章最后可以收听我和在纽约的戏剧博士一起聊“应用戏剧”！
剧名《Chinchilla Arschloch, waswas》翻译成“龙猫屁眼，什么什么？”，如此无厘头的名字其实是抽动症患者在控制不住自己身体时说出的脏话。他们会不受自主控制地发出清喉咙的声音或耸肩、摇头晃脑，还会伴随强迫症与不可约束的说脏话。
抽动症患者本身并非故意或习惯性做出这些动作，其症状是因为脑内多巴胺不平衡。这种不受控制的动作被叫做“tic”，这种“tic”本来就和德国剧场的格调非常搭，正常演员的表演其实也有很多这种行为模式，因此在这些抽动症患者的表演中，甚至感觉他们是受过了非常专业训练的德国戏剧演员，整场都非常自然。
演员Christian Hempel因为不想要记台词，所以开场就告诉观众自己来参演的条件之一就是不背台词，后面的大段独白也确实是照着剧本阅读，但这种跳脱出原本剧场规范的事情也正是为什么德国剧场这么让人喜欢的原因之一。
“在剧场中的一切都是提前设计好的，包括意外“
但是完全不可控制的”tic“给剧场增加了一层新的维度。剧场中有抽烟的，裸体的，但还没谁胆大到台上抽大麻；在德国有过打纳粹擦边球的戏，可真正敢举手说”元首万岁“这也是头一遭。看到演员们不光打破了剧场的限制，甚至是”倚病卖病”做一些日常生活中晚却不被接受的事情时又为这部戏增添了一抹喜剧元素。
在《神秘谷》中，里米尼设计了一个让高位截瘫患者坐轮椅走迷宫的游戏，同样在这部戏中，也有让两个抽动症患者比赛谁先“tic”的环节。两部戏的游戏环节无比自然，看到台上放肆的欢笑，会让观众一直在思考他们和我们有什么不同。我们都知道盯着残障人士看是不礼貌的，但里米尼似乎把“礼貌”这件事又推进了一步，如果我们彻底将残障人士看成适合我们不太一样的正常人，那盯着看又有什么不礼貌可言呢？
最后一首完全没有出现“tic”的歌曲觉得简直是把所有剧场的美好都融入进去了，然而音乐刚停，Hempel就念起了一封他邻居写的信：“如果您再在院子里说脏话我们就法庭上见”。本来进剧场之前应该会支持邻居做法的我们，在两个小时后也许都会或多或少对抽动症患者多一分理解与包容，说到应用剧场的作用，这不就是吗？
本期内容索引
0’55” Rimini Protokoll 介绍
3’24” 应用戏剧到底是什么
10’58” 应用戏剧的适用场景
12’18” 戏剧是什么
15’21” 学姐喜欢的“监狱戏剧”
17’27” 应用戏剧为什么不够好看
20’08” 应用戏剧和我有什么关系
21’26” 博士学姐最想做“家政女工”
30’00” 中戏比德国戏剧戏“差”在哪儿？