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十足的科技音樂劇場之展演。

一進劇場，如上次看莎士比亞的哈姆雷特時那樣興奮。設備架設好、剩下就是得靠人為完美的現場電腦操控。赤裸的鋼琴身影是吸引我觀賞的主因，然而它並非是主角，小小的IC及IC面版才是掌控全劇的幕後大功臣，呵。

能有機會看到如此專業劇場的創作設計，蠻開心 ~ 。

座談會之前，觀眾被允許走近細看那些已不知被運用幾百回的設備。每項拆開來看，似乎一點也不起眼，但在導演的創作之下卻能全新賦與它們新的面貌 ~

在彌漫舊塵頹廢氛圍的啤酒場內作這樣的演出，的確是適得其所 ~ 呵。

¢ 以下摘自相關網站

◇  2010-8-12~15臺北藝術節《史迪夫特的事物》
2010Taipei Arts Festival " Stifters Dinge "

沒有演員的劇場 《史迪夫特的事物》 無人鋼琴獨腳戲

德國現代作曲家郭貝爾的聲音裝置代表作《史迪夫特的事物》昨天進駐台北啤酒工場，將展現一場八十分鐘卻沒有演員的劇場遊戲，鋼琴在無人演奏的狀況下自動彈起巴赫樂曲，現場還聽見法國人類學家李維史陀和南島原住民聲音。

沒有演員，沒有具體的故事文本，觀眾面對的是個龐大的機械裝置，三個水池、五台鋼琴、幾根枯枝，它們透過電腦控制移動與發聲。原本平靜的水，在機械控制下出現雨滴點點的效果，下一秒鐘又猶如溫泉噴出。

郭貝爾的這件作品靈感來自奧地利作家史迪夫特作品《冰的傳說》中一段描述大自然的情景。這段文字在台灣的演出中，將由五月天團員石頭中文讀白錄製播出。劇中播放李維史陀的一段談話，談到他對人類的不信任，以及人類不斷破壞自然。

郭貝爾弟子、助理導演墨爾（Matthias Mohr）說，現代人速度太快，無法放慢腳步觀察周邊事物，當舞台沒有演員時，觀眾只能注意台上所有機關的轉動，體會「慢」的衝擊。他也表示，史迪夫特和李維史陀都有一種獨特的敘事方式，他們習以慢速去刻畫細節，在他們的語言中，觀眾可以聽到平時所忽略的細微點滴。

**《史迪夫特的事物》作品即日起至十五日在台北啤酒工場347成品倉庫演出。

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創作概念、作曲與導演│ (音樂劇場大師)海恩納‧郭貝爾　
舞台、燈光、影像設計│克勞茲‧古倫貝格　
音樂、節目協力│宇貝爾‧馬克尼可　
音效設計│威利‧巴伯　
導演助理│馬蒂亞斯‧墨爾　
製　　作│瑞士‧洛桑劇院　
共同製作│柏林劇院　盧森堡立市大劇院　法蘭克福劇院
日內瓦T&M劇院　瑞士米克羅斯文化中心　
共同委託│倫敦藝術天使機構
劇照攝影│Mario Del Curto
巡演贊助│With the support of Pro Helvetia for the tour

1)      海恩納‧郭貝爾1952年生於德國，曾於法蘭克福研讀社會學和音樂，是當今歐陸現代作曲與劇場界的重要作曲家。他的曲風以多元混合而聞名，舉凡古典音樂、爵士、搖滾等風格迥異的樂式，都可以是創作的素材，且不斷嘗試各種創作形式，曾為戲劇、電影、芭蕾作曲。

郭貝爾受到東德詩人及作家穆勒(Heiner Müller)影響，創作劇場形式的演出和一些純演奏的音樂作品，甚至發展出令人咋舌的全新表演形式，2003年來台演出且造成騷動的Schwarz auf Weiss，以及Die Wiederholung，都是成功的作品。無論音樂或是劇場的創作，都受到國際間極高的評價。2004年他以Eislermaterial獲得第46屆葛萊美獎小型室內樂表演獎。

2)      關於│阿道伯．史迪夫特
阿道伯．史迪夫特( Adalbert Stifter, 1805 – 1868)生於奧地利，為19世紀初的浪漫作家、詩人、畫家、教師。他總是以最犀利的眼睛觀察事物，詳實的記載和描述大自然的一切，清楚標記自然的時間，安排故事的情節，反映事物的真實樣貌；他對事物不分大小的尊重，也迫使讀者必須慢下來仔細地閱讀，知悉每個細節。在這次演出，從故意放慢及儀式性的重複中，我們認識了史迪夫特作品獨具的時代感和激進的特質，這也是現代讀者對他應有的認識。

3)      關於│瑞士．洛桑劇院
這座由蘇黎士著名建築師馬克思‧比爾(Max Bill)設計。當初是為了1964年瑞士國家博覽會建造的臨時建物(僅6個月)。在經過大力修繕加持後，成為今日化短暫為永恆的有形典範，也正映照了劇場活用藝術的特色。

每一季節目都集結了特殊人物、語言及風格混合而成的獨特性

4)      在龐大史詩作品演出之後有著近距離的交流；舞台永遠敞開歡迎新生代及已受肯定藝術家，從戲劇藝術，共同發掘新方向的默劇、舞蹈、音樂、偶戲與馬戲表演。洛桑劇院每年20-25部原創作品、500-600場次的演出，吸引約8萬-12萬人次的觀眾，紛紛前來這裡。

劇院的硬體設施相當完善，無論是佈景工廠、國家級的音響與燈光設備、服裝製作工廠，都是洛桑劇院製作優秀作品的強大後援。在25位劇場專業人員的投入之下，洛桑劇院是少數無需依靠政府資助的獨立劇院。

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It is not that the experience of “Stifters Dinge” will be spoiled for audiences by hearing it described in advance, as I am about to do. But Heiner Goebbels, the German composer and creator of unconventional music-theater pieces, who conceived, composed and directed the work, does not want people to arrive with some fixed idea of what they are going to experience.

On Wednesday the house doors were closed until right before the performance started, lest the audience become acclimated to the eerie environmental space that Mr. Goebbels has devised within the cavernous armory, or overexamine the elaborate set by Klaus Grünberg, dominated by a series of movable walls on which five pianos are affixed in space.

“Stifters Dinge” (“Stifter’s Things”), first presented in 2007 at the Théâtre Vidy-Lausanne in Switzerland, is teasingly described in the program as a composition for five pianos with no pianists, a play with no actors, a performance without performers, “one might say a no-man show.” Although all of this is true, the 80-minute piece does have specific sources and recorded texts, and even a sort of story.

The work was inspired by Adalbert Stifter, an early-19th-century writer, poet and painter, best known for his intricately detailed and mystical descriptions of nature. A recording of a long excerpt from a Stifter piece, “The Ice Tale,” provides a central episode of “Stifters Dinge.”

In the text Stifter describes a wintry village in which the townspeople have spread sand and earth atop swaths of ice that cover the paths to their houses. Traveling from the town into the forest with a friend in a horse-drawn sledge, Stifter hears a strange distant sound, “as though thousands, if not millions, of glass shards were rustling and clinking against each other.” It turns out to be the rattling from frozen tree branches falling on ice.

This scene, with its atmosphere and specific sounds, are all evoked before we hear the text read. “Stifters Dinge” begins with delicate sounds from the five pianos, operated through computerized player-piano mechanisms, producing gentle patterns of steady beats, scraping noises, melodic bits and hints of cosmic harmonies. Mixed in we hear the sounds, recorded in 1905, of songs and spoken stories of natives from New Guinea.

Visually, at first, the walls with the pianos are seen in the distance, behind a series of what look to be three huge sandboxes on the stage floor. The only people in the piece are two silent stagehands who spread salt atop an elongated sifter, which they shake over the boxes, as if spreading sand over ice. Then, from tubes attached to three clunky tanks, the boxes fill with water, making beautiful inky patterns.

At times the walls slide on automatic rails and move closer to the seating area (for only 165), as if the piano were in attack mode. The most astonishing musical episode comes when the looming pianos play a dizzying barrage of chromatic scales up and down the lengths of the keyboards, creating a dense din of steely glissandos.

From my perspective “Stifters Dinge” comes across mostly as a musical piece in a theatrical framework. All of the musical elements are produced live, though the sounds are amplified and electronically processed. The only recorded elements are the spoken texts. During one episode, after the long extract from the Stifter story, one of the pianos plays the pensive slow movement from Bach’s “Italian” Concerto. Halfway through the Bach, in a burst of French that rattles the mood, we hear the voice of the philosopher Claude Lévi-Strauss in a radio interview from 1988. (Subtitles are projected on one of the screens that descend on the set now and then.)

On one level Stifter’s writings are an invitation, a plea even, for people to see the evidence of pervasive natural forces in the matter of everyday life. When Lévi-Strauss is heard saying that he really does not see any reason to have much faith in humanity, it is hard not to think of the contentious World Climate Conference taking place right now in Copenhagen.

Reading the list of recorded voices that Mr. Goebbels incorporates into this work, including William S. Burroughs and Malcolm X, may make “Stifters Dinge” sound like some heavy-handed rant. But the texts are used as much for their expressive and musical elements as for their content. And Mr. Goebbels has a keen feeling for how to structure and layer an 80-minute piece of music drama.

You do not have to know that the final section includes the recorded sounds of a traditional Greek song, a lament sung by a woman offering good luck to fishermen, to be affected by the earthy beauty of the music and its rightness for the moment. As we hear the singing, pellets of dry ice are dropped into the three pools, creating gurgling ripples and clouds of steam. The pianos glide back into place, playing bare intervals, some of which behave and resolve into tonal harmonies, others of which hover, unmoored and inconclusive.

Afterward the audience is invited to wander through the complex installation, which only makes its intricacy seem more magical.

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