Sammy夏夜觀夢 ( 夏夜一夢by 旅行者劇團　韓國 )

韓國‧旅行者劇團 Yohangza Company夏夜一夢 A Midsummer Night’s Dream


這4位主角，在舞台上看起來好嬌小，想不到我跟他們一站，男主角們應該在178~183公分，女主角們都在165以上，看來我如果去演戲，也會比較小隻一點唄 。對了，我這愛搞怪的，絕不可能乖乖拍張普通照，我請他們一起跟我pose‵黃飛鴻的佛山無影腳‵，結果他們竟不知黃飛鴻是誰，這...///，只好我先擺一次，他們就懂了，效果還不錯吧。也感謝這4位俊男美女主角們的大力配合，感恩哪。

這2位扮演精靈的丑角，like two sparkling stars, lighted up the show along the way，尤其在中場與觀眾的interaction太棒了，默劇式的演出，丟送螢光圈圈，把整個氣氛烘抬到最高點！戲後，他們應我的要求，讓我享受劇中女主角被雙男主角追求的特權，您看看他們的表情，真是誠意十足，演作俱佳！最讓我佩服的是，很多觀眾搶著跟他們拍照，他們一直非常親切，完全沒有拒絕。當我和他們合照時，摸到他們的後背，整個汗濕，心裡不禁生出敬佩之意。

夏夜一夢中爆笑的＂擦尿跳跳唱＂一幕（惟此非2007.10.28在台北的演出版本，節奏和張力都不台北場次來的精采）
之前一直想把看這場戲的想法寫下來，但是...一言難盡。
不過，想想，還是得把這篇觀戲心得寫下，才對得起請我看戲的Tina。
這是第2次看韓國的劇團表演(第1次是一個節奏打擊表演團)，我必須說，韓國的旅行者劇團所演出的這場＂夏夜一夢＂非常令人驚豔。

我想從以下幾點：劇本、舞台設計和道具、演員表演和音樂、舞稻、interaction還有閉幕來談。(可以引用，但嚴禁學生或任何人抄襲，主耶穌在看你喔 ）

＊劇本：大學時的畢業公演，我所編導的就是同一齣戲，只是我將戲改名叫‵A Midsummer Night`s Mare‵《仲夏夜之魘》，改寫莎士比亞劇本，加入大量現代元素：西洋流行音樂、歌舞劇、夜店、同性戀、卡通南方公園、（本來還要用‵吸大麻‵代替精靈迷藥，不過顧忌甚多就作罷）等等。至於劇情，我在改寫劇本時，加入2個 twists：使兩個男主角Lysander and Demetrius吸進迷藥後，因時間誤差而愛上彼此﹔另外，Bottom我設計讓他變成像南方公園裡面那個一直嗚嗚說話的那個橘色外套小男孩，但不同的是，他變成一隻Mare（母馬），所以仙后Titania跟這隻母馬是同性戀又是，well，人獸戀（原來的演員竟然因此拒演，在班上還引起一陣軒然大波）。

戲後，我有機會跟這齣戲的製片朴知善(Park, Ji Sun)先生交談，得知這齣戲的導演梁正雄(Yang, Jung Ung)先生，剛好也身兼編劇。他的改編方式是：

一、將仙王(Oberon)和仙后角色對換，是仙王被迷昏，愛上一個變成豬的貪食的鄉下老太婆（即Bottom)，仙王則是一個怕老婆的臭屁王。又將原作主要精靈Puck，多加一個，改成兩個長相動作都的一模一樣的丑角精靈(Duduri)，只是這兩個丑角幾乎沒有台詞，只用表情、動作、聲音和舞蹈為劇情穿針引線，但他們絕佳的默契和表演製造不少笑果。

二、另外，他將場景設在韓國古代，連主角名字都跟韓國星象學有關，我想，梁導演大概很愛看星空，所以戲裡面有很多男女主角對星空的讚唱和獨白。但基本上，多數都唱的太長也太沉悶，我覺得，除非演員歌聲夠好，曲調吸引人，或有精心橋段設計，否則只是牽強附會。所以，這點是我個人覺得這齣戲兩個缺點之一。

三、為了這場台北演出，戲雖是韓文發音，演員們都學了幾句簡單中文，並且加入台灣元素，穿插用在劇中，引起觀眾會心一笑，如：你愛我嗎？我不是矮子、我要吃臭豆腐、大腸麵線、蚵仔煎等等。我認為，劇本能因地制宜隨時作改編，非常聰明並值得稱許。

＊舞台設計和道具：我的畢業公演因為經費有限（只有五萬元），舞台設計採極簡風，要求演員演出張力，以充滿舞台。梁導演也是走簡單路線，但舞台設計又更見巧妙，原本我不理解左右兩邊的長條形stage用意為何，但後來隨著劇情發展，我發現這樣的設計，除了：

一、有劇中劇效果（仙后和精靈在其上，跟所有觀眾一樣，觀戲）。

二、驚奇效果（演員可以從條形舞台底的兩個門進出，門並能隨歌舞開關，製造出人意料的驚奇感）。

三、場聚效果（舞台呈現一個三合院，只有向著觀眾這一面是open的，觀眾的focus就集中在這個square，在這個代表森林的方塊中，沒有任何多餘道具，完全用燈光、音樂和演員自己製造情境，我覺得這非常能抓住觀眾注意力）。
另外，舞台中間上方的花結，很像日本傳統古屋中的裝飾，但我後來想，這很像西方的mistletoe，有愛情的神奇魔力，使人在其下方相吻就會相戀。
接下來說道具使用，其中我覺得的第2個缺點（就只有兩個缺點，基本上這場戲我打A)，煙霧的使用，非常沒效果，不是只有一點點讓人看不出來，就是太偏向右邊，沒有平均散佈在整個舞台上，根本營造不出森林夜晚的霧藹效果。希望這只是後台人員的失誤，不是導演的設計。

我超喜歡那兩根迷藥花棒，加上極為精彩的音樂配合，真是神來一筆．大加分！

＊演員表演和音樂：好累喔，我中打實在需要好好練練，為了這篇心得，我目前已經花了６個小時。哎，下面只好用英文打．

When i discovered that the cast was rotating themselves in the music
group at the rear of the stage, i was truly amazed. What a
fantastic design!

The twelve actors played the music when off the scene, but still on
the stage and seen by the audience. Since it was live, the music
could match the tempo and the action at the precise moment
simultaneously. Remarkable, i must say. The fusion of all the
actors and the play made the play a perfect work. I regard that
this twain together truly burst the immense energy.

As to the six main actors, Lysander, Demetrius, Hermia, Helena, and
the two goblins, their spontaneous vocal variety (esp. the pig old
lady), gorgeous dancing skills (esp. the interplay of the twin
goblins was a highlight), splendid physical movement, hilarious
facial expressions, surely stand out in a company of talented
comedian and professional performers.

I’d like to comment on the elaboration of the ”human forest”人肉森
林, or, say, ”Gini Forest” 精靈森林. The cast excellently
cooperated with each other to develop a moving and captivating
forest. i was mesmerized by the concept and was deeply into this
Gini Forest. Marvelous!

I also appreciated Director Yang insisting using the traditional
Korean set of the scene and music (i love the instrument making o-in-
un-n sound the most ), that not only innovated but also promoted the Korean culture to the international arena.

＊舞蹈：Even though Director Yang kept the show mostly in Korean,
yet the dance combined the Chinese Peikin Opera 平劇 , Chinese Gunfu
中國功夫 and Ballet 芭蕾舞.

The slips (滑步): that skillfully demonstrated by Demetrius and
Hermia presented a funny slow-motion effect. But honestly, i did
not and still don’t understand the voice they made when Hermia was
chasing Demetrius. (maybe i was late for the show and missed the
clue, i guess)

Ballet and Gunfu: when the four human actors were fighting and
chasing each other, the ladies jumped like the swans and the
gentlemen caught them like the princes. Among the variety dances,
some Gunfu skills were mixed. Also, in the combat the two gentlemen
definitely applied the Gunfu techniques (or maybe Thai boxing).

Group dancing: was a stunning “harmony” that successfully stirred
up the atmosphere among the audience! The climax was the group
dancing after the old lady transformed into a pig. My feet were
shaking and tipping with the rhythm.


＊interaction：i knew the actors would have many interactions with
the audience; pity i was late and had to sit in the upper floor. (my
original seat was in row six, and 施振榮 sat just in the front, the
fifth row)

結果，為了看他們如何互動，我竟然因此從第2層椅子上摔下來到地板上，碰的
好大一聲，連包包裡面東西都掉出來，i really made a big scene. 還好當
天穿牛仔褲，只有膝蓋擦傷，雖丟臉，沒受大傷，感謝主．

The actors emerged from the audience mostly in the middle of the
show, creating surprises frm time to time and meanwhile connecting
the audience to the play and the actors. (i couldn’t see see how
they did it, but i could tell it must be great from the cheers.)

The intermission was replaced by a game: ”Throwing Fluorescent
Circles.” Two goblins led the show by throwing the circles to the
audience (both the 1st and also the 2nd floor) which aroused great
excitment. The lighting of the fluorrescent circles built up the
air; the two crowds, including me la, were yelling and pleading for
the circles. When the circles were gone, a goblin took out the
biggest one, from his underpant, and made a face, the audience
bursted big laughs and asked for the giant circle. One of the
female audience then was invited to the stage and crowned with the
circle and kissed the goblin. The audience was totally intoxicated!


＊閉幕：in my graduation performance, i crafted a fabulous closing
for the show that combined the ’70 pop music ”We Are Family” and the group dance. i was very proud of this design which won a great
standing ovation at its debut!

Director Yang, likewise, proposed the same setting for the closing:
music and group dance. i’d like to mention Yang’s using of the
costume (four colors: yellow, red, green, and blue) and square
position:

M1 M2 　 M2 F1
F1 F2 M1 F2

Very pleasant and creative arrangement!
以上是Sammy的觀夢心得！

相關資料連結: 2007第九屆台北藝術節
夏夜一夢 A Midsummer Night’s Dream

《愛丁堡藝穗節評論週刊》五顆星最高評價韓國時報：「近年來最好看的韓國劇場演出」韓國第一個登上英國倫敦巴比肯中心的莎劇製作
莎劇韓流喜劇經典《夏夜一夢》。十二名演員，以歌，以舞，以身體，以現場音樂，以十八般韓國武藝，以無窮想像力，將莎翁喜劇《仲夏夜之夢》的背景轉化到古代韓國，同時加入韓國舞蹈、音樂，並注入傳統韓國劇場的特質，持續巡演德國、波蘭和英國的莎士比亞戲劇節……這股莎劇韓流的魅力，也將為「東方前衛，走向世界」提供屬於亞洲的思考座標。




韓國‧旅行者劇團 Yohangza Company夏夜一夢 A Midsummer Night’s Dream


2003年開羅國際實驗劇場節（Cairo International Festival for Experimental Theatre）最佳製作1997年甫成立的南韓「旅行者劇團」，已經藉著好幾個知名獎項享譽國內外。例如／編劇梁正雄獲得的「韓國年度最佳青年編劇獎」。作品呈現出深耕於韓國獨特氛圍中，傳統與現代的衝擊與驚喜。以韓國文化為基底，利用實驗性的觸碰，探索當代社會中不同的生命情懷。「旅行者劇團」將故事透過誇張的舞蹈、面具、化妝、打擊，呈現出亦假似真的虛空之美，讓觀眾品味韓國民俗傳說、神話與歷史層層建立的細緻夢境。這個將韓國傳統文化立基發揚的現代劇團，值得您在這個秋夜中，用眼睛、用耳朵，用心靈來聽故事。

Yohangza Company interprets familiar stories through exaggerated
dance movements, makeup and masks, reflecting the folktales,
mythology and history of Korea . Their internationally acclaimed
production, “A Midsummer Night’s Dream” is a retelling of William
Shakespeare’s classic play, set in ancient Korea , including the distinctive dance and music styles of Korean theater.

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Sammy 是我們系第一屆學姊，比 Free, O2, Belinda, Ben, Captain, Little Three (a.k.a. Little Monkey 高一屆！ p.s. Little Monkey 是榮譽系友！)