8/1起，大家可以在下面這20個小地方拿到四重奏的精裝版限量DM。
每個小地方都只有50-100份不等，所以為了不要讓別人撲空，
每人一次限拿一份就好，頂多再幫朋友拿一份，好不好，答應。
路上撿到一隻貓
台北市溫州街49巷2號1F
Mo!relax Cafe多鬆咖啡
台北市中正區泰順街60巷20號
學校咖啡
台北市大安區青田街1巷6號
海邊的卡夫卡
台北市羅斯福路三段244巷2號2F
mei's tea bar
台北市永康街37巷16號
ppaper cafe
台北市中山北路二段20巷1之1號2.3樓
牯嶺街小劇場
台北市中正區牯嶺街5巷2號
皇冠小劇場
台北市敦化北路120巷50號
zabu
台北市浦城街9-4號1F
鹹花生
台北市大安區泰順街60巷23號
4am
台北市大安區光復南路308巷38號
台北光點
台北市中山北路二段18號
台北國際藝術村
台北市中正區北平東路7號
誠品台大店
台北市新生南路三段98號
誠品敦南店
台北市大安區敦化南路一段245號
誠品信義店
台北市信義區松高路11號
誠品劇院生活店
台北市中山南路21-1號國家劇院地面層
誠品天母忠誠店
台北市忠誠路二段188號3F
誠品台南店
台南市東區長榮路一段181號
成功大學藝術中心
台南市大學路1號
如果很熟很熟的話也歡迎來這兩個小地方串門子
莎妹劇團
台北市中華路二段491巷
永真急制工作室
台北市安和路二段
8/20前，購票可以到國家劇院票口或者演出現場兌換這張海報。
2010年7月29日 星期四
2010年7月20日 星期二
海納穆勒‧四重奏-贈送版Poster
(贈送版Poster-folded)
(贈送版Poster-A side)
(贈送版Poster-B side)
Graphic Design-聶永真Aaron Nieh
Photographer-NO.223、林建文
8/20前購票可憑票至國家劇院票口（8/1起）或演出現場兌換。購票連結：兩廳院售票系統
海納穆勒‧四重奏--DM
莎士比亞的妹妹們的劇團
愛與死的完美交媾‧情色與暴力的極致美學
《海納穆勒‧四重奏》
Quartett von Heiner Müller
(DM-folded)
拒絕痛苦，就無法愛
我們既是共犯，亦是對手；我們曾經渴望過彼此
如果情慾是一種罪，那你我將是最無可赦免的罪人
愛情懷疑論者最尖銳戲謔的諷嘲和質疑
這是一把刀，狠狠地劃開愛情殘酷與暴力的本質
在絕望中，我們終將深刻理解，愛何以存在……
(DM-A side)
【演出導介】
延續《給普拉斯》對舞台詩化語言、意象化場面調度，與以及演員表演技藝的深度探索，導演BABOO與劇場演員徐堰鈴再度合作，選擇德國劇作家海納‧穆勒以法國小說《危險關係》Les Liaisons dangereuses為藍本，所重新寫就的劇作《四重奏》Quartett，展現殘酷的情色暴力美學。
海納‧穆勒的劇本向來以風格化的語言、拼貼碎裂、跳躍不連續的情節著稱，在《四重奏》中，大量長段獨白交織錯縱，語言強悍而富詩意，意義急遽跳躍卻罕有舞台指示。徐堰鈴、陳恭銘兩位演員串演四個角色，「扮演」與「遊戲」將是貫穿全劇兩個主要戲劇動作，藉由大量描述色情、交媾和性愛等沾染了「魔鬼元素」的行徑，有意識地把主流價值中被認為「傷風敗俗」的行為，大膽挑釁成為一種快感的體驗，肆無忌憚地逾越道德的界線，展現從角色、性別到情慾的曖昧流動。
《四重奏》如一把犀利的解剖刀，赤裸揭露愛情中精神與肉體的競技角力，理性與本能的撕裂拉扯，展示一個由激情的慾望所沾染的病態特徵，以及引發潛藏的精神疾病；演員藉由性別互換所呈現的多組關係，彷彿在舞台上實踐男女交媾的多種姿勢體位，不停地擺蕩在高潮快感與性交後憂鬱的相互折磨之間。全劇充滿性愛與死亡的氣味，演員全然將自己置身於一種極端的狀態中，透過壓抑與冷冽的表演方式，宛如影像表演的低限內斂風格，讓觀眾感受一種性的張力，以及心理的暗潮洶湧與恐懼氛圍，冷靜而犀利地完成表演上的美學策略。本製作也邀請來自德國柏林的鋼琴家Andreas Kern合作，現場寂靜中砰然巨響的鋼琴敲擊聲，直逼情慾與肉體的荒蕪廢墟。
(DM-B side)
To reject pain is to avoid love.
We are accomplices and opponents; we once desired each other
Should lust be crime, you and I are no doubt the most sinful……
The most intensive bantering mockery and query of a skeptic of love
This is a scalpel that cuts this thing named Love wide open
To reveal the most ferocious and brutal of all essences
Then, in this despair of all despairs
We come to realize the very reason for Love
Director Baboo composes the piece based on German dramatist Heiner Mϋller’s Quartett, an adaptation of the French novel Les Liaisons Dangereusesan, as an extension of his previous work, Hsu Yen-ling X Sylvia Plath. It is meant to discuss the transformation of theatrical poetry and change of scenes, and the exploration of acting talents to represent the cruel erotica and violence in aesthetics.
Heiner Mϋller’s script is known for its stylistic language, fragmentary and disconnected plots. Quartett is interwoven with long monologues that are fierce but poetic, and accompanied by disconnected meanings without clear indication. A cast of four characters will be played solely by one actor and one actress. “Play” and “game” are the two main actions throughout the play, and they simultaneously represent the ambiguity of characters, sexuality, and desire.
Quarett abounds in pornography, fornication and sex, which are all reminiscent of the devil’s doings. It also tries to convert what’s been considered amoral into physical pleasure, and further to subvert the order of human civilization. In so doing, the animal desire will manifest itself through sex—passion of sex is the only means for human beings to avoid objectification.
Quarett, too, is an arena of love where the body/sense and the soul/reason fight their tug of war. It displays a symptom of sickness only to be seen in passion and desire. Thru the four roles played by the two actors and their engagement in sex, we verge on the confusions generated in between multi-orgasms and post-sex blues. The two characters on the stage are coconspirators, lovers, enemies and individualists who depend closely on one another. Also they symbolize the aesthetics of a lone island existing in the compressed space of a relationship. A rope ties the two tight together, with such diverse senses as suspicion, rapture, madness, pleasure and sadness afloat around. Torture and possessiveness also find their roots deep in the relationship of the two. We then come to realize, after experiencing the pangs, the existential conditions of LOVE.
Nevertheless, the plays and characterizations of the two roles coldly, meta-analytically remind the viewers of the reality hidden behind the back of all passions. In the end, the demises of the two signify the eternal aloofness experienced in one single shortened sexual orgasm, a redemption never to be redeemed.
【演出人員】
劇 作：海納穆勒│Playwright: Heiner Müller
演 員：徐堰鈴、陳恭銘│Cast: Yen-ling Hsu & Alejandro Chen
法文人聲演員：馬照琪、Valentin Lechat│Voice in French: Chao-chi Ma & Valentin Lechat
現場鋼琴：Andreas Kern│Pianist: Andreas Kern
導 演：BABOO│Director: Baboo
劇本翻譯：楊夢茹│Script Translator: Meng-ru Yang
劇本改寫：柯燕珠│Script Adaptation: Yen-zu Ke
製作人：陳汗青│Producer: Yukio Nitta
舞台設計：梁若珊│Stage Designer: Ruo-shan Liang
燈光設計：黃諾行│Lighting Designer: Nuo-hsing Huang
音樂設計：林芳宜│Composer：Fang-yi Lin
服裝設計：李育昇 │Costume Designer: Yu-shen Li
動作設計：周書毅│Movement Director: Shu-yi Chou
影像創作：周東彥│Multi-media Designer: Tung-yen Chou
導演助理：許哲彬│Direction Assistant: Tora Hsu
平面美術：聶永真│Graphic & Art Designer: Aaron Nieh
攝影：編號223、林建文│Photographer: Zhi-peng Lin (No. 223), Chien-wen Lin
場景：姚國禎│Scene Designer: Kuo-chen Yao
梳化：謝夢遷│Stylist：Meng-Chian Hsieh
協力：藍祺聖、吳仲倫│Associate: Chih-shang Lan, Chun-lun Wu
英文翻譯：葉炫伽Translator: Hsuang-chieh Yeh
【演出場次】
10／14-16（Thu-Sat）19：30
10／16-17（Sat-Sun）14：30
國立台北藝術大學戲劇廳(北投區學園路1號)
票價：600、900元
10／29-31（Fri-Sun）19：30
10／30-31（Sat-Sun）14：30
台南誠品B2藝文空間（台南市長榮路一段181號B1）
票價：500元
【購票資訊】
1. 網路購票：兩廳院售票系統http://www.artsticket.com.tw/
2.售票端點：請洽全省誠品書店、7-11 ibon、萊爾富等兩廳院端點購票
3.購票優惠：
-學生9折優惠（入場需出示有效證件）
-團購10張以上85折，20張以上8折
-8/20前購票，可於國家戲劇院票口（8/1起）或演出現場兌換聶永真設計限量版海報一張。
-購買台北場次900元票券，加贈聶永真設計，攝影師編號223的寫真概念書一本。
4.洽詢電話：兩廳院售票02-33939888，莎妹劇團02-2301-0950
愛與死的完美交媾‧情色與暴力的極致美學
《海納穆勒‧四重奏》
Quartett von Heiner Müller
(DM-folded)
拒絕痛苦，就無法愛
我們既是共犯，亦是對手；我們曾經渴望過彼此
如果情慾是一種罪，那你我將是最無可赦免的罪人
愛情懷疑論者最尖銳戲謔的諷嘲和質疑
這是一把刀，狠狠地劃開愛情殘酷與暴力的本質
在絕望中，我們終將深刻理解，愛何以存在……
(DM-A side)
【演出導介】
延續《給普拉斯》對舞台詩化語言、意象化場面調度，與以及演員表演技藝的深度探索，導演BABOO與劇場演員徐堰鈴再度合作，選擇德國劇作家海納‧穆勒以法國小說《危險關係》Les Liaisons dangereuses為藍本，所重新寫就的劇作《四重奏》Quartett，展現殘酷的情色暴力美學。
海納‧穆勒的劇本向來以風格化的語言、拼貼碎裂、跳躍不連續的情節著稱，在《四重奏》中，大量長段獨白交織錯縱，語言強悍而富詩意，意義急遽跳躍卻罕有舞台指示。徐堰鈴、陳恭銘兩位演員串演四個角色，「扮演」與「遊戲」將是貫穿全劇兩個主要戲劇動作，藉由大量描述色情、交媾和性愛等沾染了「魔鬼元素」的行徑，有意識地把主流價值中被認為「傷風敗俗」的行為，大膽挑釁成為一種快感的體驗，肆無忌憚地逾越道德的界線，展現從角色、性別到情慾的曖昧流動。
《四重奏》如一把犀利的解剖刀，赤裸揭露愛情中精神與肉體的競技角力，理性與本能的撕裂拉扯，展示一個由激情的慾望所沾染的病態特徵，以及引發潛藏的精神疾病；演員藉由性別互換所呈現的多組關係，彷彿在舞台上實踐男女交媾的多種姿勢體位，不停地擺蕩在高潮快感與性交後憂鬱的相互折磨之間。全劇充滿性愛與死亡的氣味，演員全然將自己置身於一種極端的狀態中，透過壓抑與冷冽的表演方式，宛如影像表演的低限內斂風格，讓觀眾感受一種性的張力，以及心理的暗潮洶湧與恐懼氛圍，冷靜而犀利地完成表演上的美學策略。本製作也邀請來自德國柏林的鋼琴家Andreas Kern合作，現場寂靜中砰然巨響的鋼琴敲擊聲，直逼情慾與肉體的荒蕪廢墟。
(DM-B side)
To reject pain is to avoid love.
We are accomplices and opponents; we once desired each other
Should lust be crime, you and I are no doubt the most sinful……
The most intensive bantering mockery and query of a skeptic of love
This is a scalpel that cuts this thing named Love wide open
To reveal the most ferocious and brutal of all essences
Then, in this despair of all despairs
We come to realize the very reason for Love
Director Baboo composes the piece based on German dramatist Heiner Mϋller’s Quartett, an adaptation of the French novel Les Liaisons Dangereusesan, as an extension of his previous work, Hsu Yen-ling X Sylvia Plath. It is meant to discuss the transformation of theatrical poetry and change of scenes, and the exploration of acting talents to represent the cruel erotica and violence in aesthetics.
Heiner Mϋller’s script is known for its stylistic language, fragmentary and disconnected plots. Quartett is interwoven with long monologues that are fierce but poetic, and accompanied by disconnected meanings without clear indication. A cast of four characters will be played solely by one actor and one actress. “Play” and “game” are the two main actions throughout the play, and they simultaneously represent the ambiguity of characters, sexuality, and desire.
Quarett abounds in pornography, fornication and sex, which are all reminiscent of the devil’s doings. It also tries to convert what’s been considered amoral into physical pleasure, and further to subvert the order of human civilization. In so doing, the animal desire will manifest itself through sex—passion of sex is the only means for human beings to avoid objectification.
Quarett, too, is an arena of love where the body/sense and the soul/reason fight their tug of war. It displays a symptom of sickness only to be seen in passion and desire. Thru the four roles played by the two actors and their engagement in sex, we verge on the confusions generated in between multi-orgasms and post-sex blues. The two characters on the stage are coconspirators, lovers, enemies and individualists who depend closely on one another. Also they symbolize the aesthetics of a lone island existing in the compressed space of a relationship. A rope ties the two tight together, with such diverse senses as suspicion, rapture, madness, pleasure and sadness afloat around. Torture and possessiveness also find their roots deep in the relationship of the two. We then come to realize, after experiencing the pangs, the existential conditions of LOVE.
Nevertheless, the plays and characterizations of the two roles coldly, meta-analytically remind the viewers of the reality hidden behind the back of all passions. In the end, the demises of the two signify the eternal aloofness experienced in one single shortened sexual orgasm, a redemption never to be redeemed.
【演出人員】
劇 作：海納穆勒│Playwright: Heiner Müller
演 員：徐堰鈴、陳恭銘│Cast: Yen-ling Hsu & Alejandro Chen
法文人聲演員：馬照琪、Valentin Lechat│Voice in French: Chao-chi Ma & Valentin Lechat
現場鋼琴：Andreas Kern│Pianist: Andreas Kern
導 演：BABOO│Director: Baboo
劇本翻譯：楊夢茹│Script Translator: Meng-ru Yang
劇本改寫：柯燕珠│Script Adaptation: Yen-zu Ke
製作人：陳汗青│Producer: Yukio Nitta
舞台設計：梁若珊│Stage Designer: Ruo-shan Liang
燈光設計：黃諾行│Lighting Designer: Nuo-hsing Huang
音樂設計：林芳宜│Composer：Fang-yi Lin
服裝設計：李育昇 │Costume Designer: Yu-shen Li
動作設計：周書毅│Movement Director: Shu-yi Chou
影像創作：周東彥│Multi-media Designer: Tung-yen Chou
導演助理：許哲彬│Direction Assistant: Tora Hsu
平面美術：聶永真│Graphic & Art Designer: Aaron Nieh
攝影：編號223、林建文│Photographer: Zhi-peng Lin (No. 223), Chien-wen Lin
場景：姚國禎│Scene Designer: Kuo-chen Yao
梳化：謝夢遷│Stylist：Meng-Chian Hsieh
協力：藍祺聖、吳仲倫│Associate: Chih-shang Lan, Chun-lun Wu
英文翻譯：葉炫伽Translator: Hsuang-chieh Yeh
【演出場次】
10／14-16（Thu-Sat）19：30
10／16-17（Sat-Sun）14：30
國立台北藝術大學戲劇廳(北投區學園路1號)
票價：600、900元
10／29-31（Fri-Sun）19：30
10／30-31（Sat-Sun）14：30
台南誠品B2藝文空間（台南市長榮路一段181號B1）
票價：500元
【購票資訊】
1. 網路購票：兩廳院售票系統http://www.artsticket.com.tw/
2.售票端點：請洽全省誠品書店、7-11 ibon、萊爾富等兩廳院端點購票
3.購票優惠：
-學生9折優惠（入場需出示有效證件）
-團購10張以上85折，20張以上8折
-8/20前購票，可於國家戲劇院票口（8/1起）或演出現場兌換聶永真設計限量版海報一張。
-購買台北場次900元票券，加贈聶永真設計，攝影師編號223的寫真概念書一本。
4.洽詢電話：兩廳院售票02-33939888，莎妹劇團02-2301-0950
訂閱：
文章 (Atom)