Centre 42 » M1 Chinese Theatre Festival https://centre42.sg Thu, 16 Dec 2021 10:08:35 +0000 en-US hourly 1 https://wordpress.org/?v=4.2.30 FOCUS – fleet from the Text 剧焦点 – 《水是枯竭》的追本溯源 https://centre42.sg/focus-fleet-from-the-text/ https://centre42.sg/focus-fleet-from-the-text/#comments Fri, 20 Apr 2018 07:38:00 +0000 http://centre42.sg/?p=9419

“fleet” is a monologue about life and death performed by Melissa Leung Hiu Tuen. In “FOCUS: fleet from the Text”, Liu Xiaoyi and Janice Sze Wan Poon – “fleet” director and playwright respectively – share their experience in creating this devised work, particularly how a written text is deconstructed for the stage performance.
Synopsis
CTF_2016_Web_800x800px_Fleet
One of the performances in this year’s M1 Chinese Theatre Festival is fleet, a monologue about life and death performed by Melissa Leung Hiu Tuen. FOCUS: fleet from the Text is a talk that is held in partnership with Centre 42’s Living Room programme, where Liu Xiaoyi and Janice Sze Wan Poon – fleet’s director and playwright respectively – will share their experience in creating this devised work, particularly how a written text is deconstructed for the stage performance.

M1_Chinese_Theatre_Festival 2016 LogoA programme presented by the M1 Chinese Theatre Festival 2016, in collaboration with Centre 42 as part of our Living Room programme.

EVENT DETAILS

Saturday, 23 July 2016
11am @ Centre 42 Black Box
Admission is free by registration

LR Event Logo

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The Living Room is a programme by Centre 42 that welcomes chat and conversation. Through focused but casual dialogues and face-to-face exchanges, this programme encourages participants to re-examine trends, happenings, people (on & off-stage) and phenomena in Singapore theatre.

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INTERACT – In the Living Room《“客厅”里的小剧会》 https://centre42.sg/interact-in-the-living-room/ https://centre42.sg/interact-in-the-living-room/#comments Thu, 19 Apr 2018 07:04:25 +0000 http://centre42.sg/?p=9381
Kok Heng Leun (Artistic Director of Drama Box, Singapore), director of “Chronology on Death” Koh Choon Eiow (Co-Artistic Director of Approaching Theatre, Taiwan) and director of “The Struggle: Years Later” Liu Xiaoyi (Director of The Theatre Practice’s The Practice Lab, Singapore) explore the relationship between censorship and theatre-making in a two-hour open and casual dialogue. The 115-minute talk was in Mandarin and has been repackaged into a 2-part video recording with English subtitles.
SynopsisVideos
Is censorship necessary? How does it affect theatre making? Is it possible to find a balance between restrictions and creativity?

In partnership with Centre 42’s Living Room programme, this year’s INTERACT invites you to a dialogue between Kok Heng Leun (Artistic Director of Drama Box), director of Chronology on Death Koh Choon Eiow (Co-Artistic Director of approaching theatre) and director of The Struggle: Years Later Liu Xiaoyi (Director of The Theatre Practice’s The Practice Lab). They will explore the relationship between censorship and theatre-making, using their respective creative journeys and personal experience as a lens, to critically discuss and evaluate through casual and open dialogues.

logo-high-res-CTF-2015A programme presented by the M1 Chinese Theatre Festival 2015, in collaboration with Centre 42 as part of our Living Room programme.

EVENT DETAILS

Saturday, 11 July 2015
10am @ Centre 42 Black Box

Part 1: Interact 

The three directors each give their take on censorship and theatre-making based on past experiences in their personal and professional lives.

Part 2: Interact 

The three directors respond to questions and comments from the audience.

LR Event Logo

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The Living Room is a programme by Centre 42 that welcomes chat and conversation. Through focused but casual dialogues and face-to-face exchanges, this programme encourages participants to re-examine trends, happenings, people (on & off-stage) and phenomena in Singapore theatre.

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The Wee Question Mark and the Nameless by The Theatre Practice https://centre42.sg/the-wee-question-mark-and-the-nameless-by-the-theatre-practice/ https://centre42.sg/the-wee-question-mark-and-the-nameless-by-the-theatre-practice/#comments Thu, 31 Aug 2017 09:22:07 +0000 http://centre42.sg/?p=7513

“Hitting All The Right Notes

Reviewer: Cordelia Lee
Performance: 4 August 2017

In the first five minutes, The Theatre Practice’s Mandarin family musical, The wee Question Mark and the Nameless, channels the vibe of a typical cringe-worthy mall performance for children. The stage is an explosion of colours – bright lights, silk drapes, streamers, and 2D cut-outs. With amplified voices and bodies pulsating with adrenaline, the three-member cast break the fourth wall, eagerly beckoning their largely underaged audience to join them in singing a fictional national anthem.

As shrill screams emerge from children competing to be heard, I wrestle with the urge to get up and leave.

But as they quieten down and the musical proceeds, a certain flair in execution emerges.

This is not your average children’s act.

The cast sustains its tireless energy for the full hour, flashing exuberant smiles and offering comedic quick-fire dialogues. This is unsurprising considering their target audience is known to have a short attention span. What’s exceptional however, is the precision in which lines are delivered. Though animated, the cast is careful not to lose themselves in their vivacity, or let it consume the intention behind their words. Questions are posed simply and genuinely to the audience as though unscripted.

In one instance, the cast falls into a disagreement regarding what an elephant looks like. Exasperated, the actors consult their young audience. Speaking sincerely to them instead speaking at them – as some adults tend to do – they consistently treat their young audience as respected equals. Such authentic audience interactions leave the children feeling valued as a vital part of the performance.

What’s more, Huang Suhuai’s script goes beyond entertainment. If you’re expecting a simplistic plotline with a neat moral of the story delivered to you at the end – well think again.

The musical is used as a tool to expose children to “unanswerable questions” that consume the minds of adults. As the cast attempt to name a nameless old man they’ve each met before, questions on identity and individuality arise. In a parallel narrative, the blindfolded actors depend on their sense of touch to visualise an elephant before failing to come to a consensus. Dependence on errant partial knowledge to define things and draw conclusions become problematic. Who’s right?

At key moments, the flow of the plot is temporarily arrested, and the cast delves into song while physically executing a precise choreography. The lyrical content closely follows the theme of the musical, reinforcing the probe on identity as well as the importance of openness to differing perspectives when seeking answers. Despite being a short family musical, immense care is invested into planning each song and ensuring that the musical score forms the “backbone” of the script’s content. They are well integrated into the story, giving the audience insight into the narrative while aiding in plot progression.

As the catchy melody, thoughtful lyrics, and apt choreography all meld together, an intricately detailed performance score is conceived on stage. My inner child is thoroughly entertained, while my adult reviewer self is impressed by the level of skill and dedication present. It can be safely said that this humble family musical is easily one of the better local musicals staged this year.

Do not dismiss children’s acts, for the youngest audiences are often the hardest to entertain. Moreover, if unimpressed, they won’t hesitate to show their disdain. But as the child audience enthusiastically cheer the cast on at the end, it becomes clear that they’ve been won over by the performance.

And despite being an adult outlier among them, so have I.

Do you have an opinion or comment about this post? Email us at info@centre42.sg.

ABOUT THE PRODUCTION

The Wee Question Mark and the Nameless by The Theatre Practice
3 – 13 August 2017
Practice Space

ABOUT THE REVIEWER

Cordelia is a second-year Theatre Studies and English Linguistics double major. She views the theatre as a liminal space providing far more than simply entertainment, and she especially appreciates avant-garde performances.

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DAY I MET THE PRINCE by The Theatre Practice https://centre42.sg/day-i-met-the-prince-by-the-theatre-practice/ https://centre42.sg/day-i-met-the-prince-by-the-theatre-practice/#comments Wed, 07 Dec 2016 11:33:28 +0000 http://centre42.sg/?p=6235

“让孩子们’天’马行空、创作出自己的’天’上人间”

Reviewer: Lim Wei Bin | 林维彬
Performance: 21 July 2016

多少人在成人的世界里,得以实现童年的梦想?

童年的梦想是甜蜜的,还是压抑在心里,等待午夜梦回?

童年的“创意”或“荒谬之作”,又是何时被家长、老师或外界环境打压?

这棵创意的种子,在你们心里面驻扎,茁壮地成长,还是胎死腹中?

《我要上天的那一晚》提供给大家一个平台去思考以上的几个问题,也是我从这部戏里带走的疑问。大家是忠于自己,朝着自己的方向奋斗,还是被外来的环境给潜移默化?我自己也被戏里面的几句话给牵动,如:“一个点,一条线,一个圈圈,随你怎么看”、“我要走到一个没有人的地方”、 “每个人都有自身心爱之物”、“河流没有鱼虾多么寂寞”、“你自己去打水就知道是什么味道了”以及“每个人都有星星

只有你的星星和别人不一样”,这些对白至今仍萦绕在我耳边。

“一个点,一条线,一个圈圈,随你怎么看”是一句很有个性的话、也是一句富有创意的话,任你自圆其说。这句插曲其实给了观众思考的空间,似乎在说明“一加一不等于二”的思考与看待方式。这句话说明的是,凡事从不同的角度去看,都会有不同的答案,不符合自己的答案,不代表错。父母不认同孩子的天分与创意不代表孩子是错的,这句话体现的是,每当我们接触一样东西,应该从不同的角度去看或观察,我们方可看到事物的另一面,或从另一角度去了解孩子的想法。

一开始演员教每一个人如何折一朵玫瑰花, 给人一种焕然一新的感觉,因为这种做法在剧场里非常新颖,让我想象一下他们会怎么善用这朵花。结果发现这朵花其实有两大作用,一、为之后小王子寻找玫瑰的故事而做铺垫,二、让大家折花,理解每一朵花都长得不一样,从中意会到,每个人折到的,看到的都是玫瑰,但是折出来的,看到的却是不一样的。

当女孩说“我要走到一个没有人的地方”,因为周边的环境,没有人理解她,小王子为了保护花儿到处大费周章,这些部分都体现了他们忠于自我,努力奋斗与执着,不与外界的眼光妥协。这是孩子们应该有的个性与忠贞的表现,不要认为别人不认同便是不对的,相反应该活出自我。

“河流没有鱼虾多么寂寞”,如果一个人没有了自己喜欢的东西或才华,或伴侣,该是多么的寂寞。女孩没有了画以及小王子没有了玫瑰花,他们便像无鱼虾的河流般过活,生不如死,逐渐心爱之物在他们二人心中的重要性。这个情节,告诉了我们不应该一味地去做别人或父母希望我们做的事,或成为的人。我们应该要有自己喜欢的东西或理想,否则人生被别人安排或摆布,对自己而言是不开心的。

小王子与女孩二合为一,化身一起飞时,小王子让公众想象他人不在。

重点是“想象”二字,当小王子告诉大家看戏是需要想象的,这段让我觉得我们做事情总是太绝对,应注入更多的创意与想象,很多时候,我们看到的真实,并不是事实,真实的事物并无完美,若能注入一些想象,结果会大有不同。“想象”这两个字是在我们当今这个标准答案的社会里缺乏的。我们每个人都需要想象和创意,否则我们的生活便会像一台被指挥的机器,缺少个性。

有个年轻人发明了长期解渴丸,老人家却每天辛苦地到井里提水,还说“你自己去打水就知道是什么味道了”,不仅仅是忠于自己想要做的事,试图鼓励别人跟着做,还让别人了解到用自己的辛劳换回来的,才是最可贵的。老人家也于此鼓励他人坚持自我,只要是自己想做的,便不该受他人影响。

小王子感到惊讶发现其实玫瑰很普遍,狐狸让小王子知道玫瑰花每一朵都不同,同时它们也不需要别人保护,玫瑰花有刺可以保护自己。如以玫瑰花作为人的隐喻?玫瑰花上的刺为人的才华?这里说明了两个情况:一、花和人一样,每个人都不同,长得不一样,有自己的个性。二、每个人都有自己的长处,只要发挥作用,必有生存和发展的空间。因此我们需发挥与坚持自我,不该被别人牵着或左右。

回到现实,进行反思。这部戏在小剧场上演有什么作用呢?在这个新加坡的大语境又产生了什么样的荷尔蒙?试着回想,在我们周遭或自身的生长环境底下,我们的父母、朋友是否鼓励我们去追求梦想?赞扬我们的才华?每天是否听到这些话,如:艺术和音乐在新加坡是没有前途的,用功努力读书比较重要?多少梦想因为这一纸文凭和所谓的“前途”而妥协?我们每天都在追逐着一纸文凭,步伐频密,到底是为谁而忙碌?是我们要追求的吗?

这部戏选择在小剧场上演是否在告诉儿童们去追求创意、才华、相信自己的信仰和追求自己喜欢的东西?这部戏是不是也从中告诉家长们,让他们鼓励自己的孩子,不要抹杀他们的天真、创意、作品,甚至是爱好与专长呢?

Do you have an opinion or comment about this post? Email us at info@centre42.sg.

ABOUT THE PRODUCTION

DAY I MET THE PRINCE by The Theatre Practice
21 – 31 July 2016
Practice Space

ABOUT THE REVIEWER

林维彬对于写作与舞台剧这两方面一直怀抱着浓厚的热忱。他深信笔补造化,万物皆在自己笔下,更希望自己能用文字感动大家。

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MAMMA LUNA by Theatre des Enfant Terribles https://centre42.sg/mamma-luna-by-theatre-des-enfant-terribles/ https://centre42.sg/mamma-luna-by-theatre-des-enfant-terribles/#comments Wed, 05 Oct 2016 08:49:08 +0000 http://centre42.sg/?p=5941

“说不出,就用身体表达吧”

Reviewer: Neo Hai Bin | 梁海彬
Performance: 11 August 2016

这出戏有三个空间的交集:

luna-mamma

2016的台湾和新加坡同样面对着高龄社会的现象,而我们却鲜少去探讨老人课题。《月》以“无声”展示我们对老人课题的沉默和不去面对。剧里的“无声”是很重要的意象。那听不懂的言语、长时间的沉默、无声的呐喊,让我们看到这个社会对衰老和死亡的难以启齿。我忽然想到,老人们在这个社会没有太多的话语权,我们听不到他们的故事,他们自个儿静静地衰老,静静地死去。

要怎么开始讨论这个课题呢?《月》展示了一种可能性:沉重的话题,幽默呈现;现实的课题,寓言式的演绎。剧场为观众拉开一个空间,观众和课题之间有一个距离后,观众也得以在一个安全的空间里去思考这个课题。

小女孩的房间同时包含了台湾和新加坡的社会现状。这里面还有多一个空间—— C42的剧场空间。我看戏时坐在最后一排,小女孩的房间后面高高挂着剧场门口的“EXIT”牌子,在整出戏里发出绿色的光。那样的“布景设计”应该不是创作者的本意吧,但是却意外地让这部戏有了多一层的解读空间,仿佛在阐述:生的本质就是死亡(EXIT)。这也是《月》要说的—— 衰老是自然现象,排斥只会让我们害怕;接受它,就能安心地与它共处。所以我们看到剧中人物千方百计阻止月亮妈妈(衰老)的到来,以致惶惶不可终日。但最后她接受了自己衰老衰弱的肉体,优雅地推出舞台,谁说衰老一定就是可怕的?

Do you have an opinion or comment about this post? Email us at info@centre42.sg.

ABOUT THE PRODUCTION

MAMMA LUNA by Theatre des Enfant Terribles
11 – 14 August 2016
Centre 42

ABOUT THE REVIEWER

梁海彬目前是「九年剧场演员组合计划」的创建及核心组员。他写的文字亦收入在:thethoughtspavilion.wordpress.com。

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TO BE CONTINUED by Full Show Lane Studio https://centre42.sg/to-be-continued-by-full-show-lane-studio-2/ https://centre42.sg/to-be-continued-by-full-show-lane-studio-2/#comments Wed, 05 Oct 2016 07:25:24 +0000 http://centre42.sg/?p=5929

“满足”

Reviewer: Lim Wei Bin | 林维彬
Performance: 4 August 2016

死神说:“你明天就要死了,在你死之前你要决定带走一样东西,如果找不到这样东西的话,你就要重复的过这一天。”

女主人公茉莉在整部剧里都在寻找这一样东西,翻山越岭,去体会种种不同的经验并尝试突破,最后才发现快乐与亲情才是心中真正的满足,这些都是我们生活中常常忽略的。

茉莉前后寻找了“同事Merryn”、“研究生”、“玲子”、“教练”与“小倩”。大家都有自己的执着,都有自己放不下的事。“同事Merryn”放不下升迁与名利。“研究生”一直读书,放不下书本。“玲子”放不下购物。“教练”放不下健康和跑步机,之后还死在跑步机下。“小倩”想跳楼因放不下龙哥,和自己整容失败,却不敢跳,放不下自己的生命。可见大家都有自己放不下的东西。每个人的人生仿佛一样,都拼了命去追求奢侈或甚至不属于自我的东西,心灵上何曾有过一点满足?试着想想我们的一生是否拥有过真正的快乐,还是盲目地追寻,最后不得要领?

茉莉跟平常人一样做平常的事,规规矩矩地活了18年, 决定突破追求当时的红星“山水”,结果有女生带刀,山水却让茉莉去挡那一刀,重演25次,下场雷同,这其实显示了,命中无时莫强求的道理,不论一个人再怎么突破或执着,只要这样东西不属于你,终究得不到,试再多次下场也一样,给予我们的警示便是满足于现状与命运的安排,知足便可。

接着,茉莉想找适合的人结婚,舞台播出一曲《小白船》,《小白船》歌曲的寓意是一种探求的愿望,这也是人心中最单纯的渴望,是一种本该对于人生的憧憬。人生不就是在寻找简简单单的幸福吗?

最后一场进行了一段大颠覆,茉莉过回正常生活,不过这次大胆放纵,随心所欲,她不但打领导Merryn,甚至放弃升迁与工作,还把工作让给同学强子,之后还给教练一份关于“健康”的事情做,便是到屋顶拯救小倩。她自己则回家陪家人,了了心事,完成心中的遗憾,怜惜眼前人。之前走不了,因为她不知道自己需要什么,太多牵挂包袱,但是在这最后的大颠覆中,她体现了我们人类应追求自我,把想做的事情都尽全力放胆去做,最重要是心中的满足。

生长在一个繁华的都市里,我们每天追求名牌,买奢侈品,这种行为真的会让我们得到快乐吗?这一切是陷阱或无底洞吗?我们可曾停下脚步,体会周遭,理解什么是简简单单的幸福?我们在忙碌中,时常忽略自己至亲至爱的人,可曾多花时间慰问并关怀?这是我从这部剧里带走的感悟。

Do you have an opinion or comment about this post? Email us at info@centre42.sg.

ABOUT THE PRODUCTION

TO BE CONTINUED by Full Show Lane Studio
4 – 8 August 2016
Practice Space

ABOUT THE REVIEWER

林维彬对于写作与舞台剧这两方面一直怀抱着浓厚的热忱。他深信笔补造化,万物皆在自己笔下,更希望自己能用文字感动大家。

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FLEET by The Theatre Practice https://centre42.sg/fleet-by-the-theatre-practice-3/ https://centre42.sg/fleet-by-the-theatre-practice-3/#comments Mon, 05 Sep 2016 02:40:26 +0000 http://centre42.sg/?p=5790

“水孕育生命”

Reviewer: Neo Hai Bin | 梁海彬
Performance: 28 July 2016

剧名不是水会枯竭。而是水是枯竭。一字之差,全剧精髓。

水的本质,是枯竭。生的本质是死亡。

水+容器:埏埴以为器,当其无,有器之用。

剧场内只有一件挂着的白衬衫,一杯水,一张白色的“床”。这些东西,旨在突显“空”。“空”很重要。我们看一杯水,常常关注水,但忽略了杯子这个空的容器。我们却忘了:杯子没有空间,怎么装水?

同样的,我们看舞台剧都在注意演员、布景、道具…… 刘晓义的剧场,要我们看演员、布景、道具,也要我们看到空间。我们不习惯看空间,以为空的,没什么可看。但这出戏的“空间”是很重要的表演元素。一个女人进来了一个空间,这个空间能够任她自溺、自省、审视、反思。于是,观众也才能够通过女子去看自己、检视自己、了解自己,处理自己。

长时间的沉默,长时间的静止,迫使观众静下心来。心理空间慢慢打开了,观众也慢慢能够注意细节,也开始能够看见表面的平静之下,那汹涌的暗流。

水+容纳:上善若水,水利万物而不争

看《水》,必须把剧场的每一个元素都看作是表演符号。演员、道具、衬衫、水、白布、窗口、旁述、空间、时间—— 连观众都是表演符号。而这些符号缺一不可,都很重要。这些符号在戏的不同时刻,都会有表演的机会,所以每一刻都绝对有戏可看。

有时候我们在看空间表演(空间在时间的流逝下表演细微变化);有时轮到衬衫表演(挂着的衬衫在空调的吹动下飞舞,像灵魂,像精灵);有时是白布表演(白布从床上一点一点地拉下来,像生命一层一层剥落,最后成为舞台上长长的一条生命河流);有时是声音在表演,有时轮到演员表演…… 像交响曲。很静的交响曲。

也像水之不争,所以一切平等—— 观众于是可以依据自己的生命体验,去尽情阅读这场戏。你能够看到多少,就能得到多少。

女子把整杯水喝干,然后空的杯子留在地上(我看的那晚有技术问题,水没有慢慢从天而降滴进空杯子里,但是却为戏提供了另一种解读),我反而看见空杯子的可能性。女子把水喝干,让自己的身体承载着水,让自己的生命得以延续。空杯子看似空了,看似什么都没有了(死亡),却也因此有了盛满其他东西的可能性。

贾宝玉说女人是水做的。我看女演员(梁晓端),在昏暗的灯光下,感受到她顽强而旺盛的生命能量。“天下莫柔弱于水,而攻坚强者莫之能胜”。《水是枯竭》虽然谈的是死亡,实则是在颂扬生命的力量。

Do you have an opinion or comment about this post? Email us at info@centre42.sg.

ABOUT THE PRODUCTION

FLEET by The Theatre Practice
21 – 31 July 2016
Centre 42

ABOUT THE REVIEWER

梁海彬目前是「九年剧场演员组合计划」的创建及核心组员。他写的文字亦收入在:thethoughtspavilion.wordpress.com。

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FLEET by The Theatre Practice https://centre42.sg/fleet-by-the-theatre-practice-2/ https://centre42.sg/fleet-by-the-theatre-practice-2/#comments Thu, 18 Aug 2016 08:49:46 +0000 http://centre42.sg/?p=5748

“用枯竭的水换来一次对生死的激荡”

Reviewer: Zekson Tan | 陈迦笙
Performance: 26 July 2016

表面上,《水是枯竭》这部剧的构成很简单。演员只有一位,道具就只是一杯水、一匹白布、一件衬衫和一个柜子,再加上灯光和音效以及事先录好的独白。但这部戏却用极度庞大的思考和想像空间,霸道而又暧昧的让观众在戏的推进当中不知不觉的成为了一个参与者。因为如果不在思维空间里把“第四面墙”给打破并且投射进戏里的角色,无限延展的抽象和想像空间很容易让观众无所适从,也就无法继续沉浸在戏里头。

但就如汽水一样。有的人喜欢喝,有的人却对它敬而远之。

《水是枯竭》这部戏亦然。

过于抽象和留白的演绎和编排,会让有的观众觉得“看不懂”或“太深奥”。但也会有一部分的观众像我一样,觉得经历了一场对于生与死的思考激荡。而且这当中的发掘和领悟却又会视乎个人的历练和想法而有所不同。

另外,这部戏也巧妙的让观众在现实和思考空间当中,一直周旋于面临死亡的病人以及其陪伴者的角色之间。从不停重复着“给我一杯水”的独白开始,到后来演员从轻抚到穿起那悬挂着的白衬衫。配合着不同阶段的独白,看见与思考的,往往会从病人的心情和感受,不知不觉间切换成了陪伴者的心路历程。尤其当演员在挣扎着肢体时被灯光所投射出来的影子,看似是病人面临病痛和死亡的挣扎,却又像是陪伴在侧的亲人那无比煎熬的心情。而那时而模糊时而清晰的水滴声,也以不同的速度滴下让观众揣摩着病人的心跳声。再加上演员在诠释不同角度时的深度和张力,观众其实很容易就会陷进这部戏所要引起的思考当中,以不同的角度,去思索“生与死”和体会“面临死亡”和“旁观死亡”这两种不同的心境。

水是枯竭》算是比较小众的作品。戏里头很多时候都是以空白的空间和沉寂的情景来和观众对话。这样的戏往往会被归类为“艰深难懂”。然而我总觉得只要想象力不枯竭,愿意在看戏的时候投射多点思考,还是能够在过程中发掘些什么,也就不会画地自限的觉得看不懂,浪费了一部好戏所要带来的意义了。

Do you have an opinion or comment about this post? Email us at info@centre42.sg.

ABOUT THE PRODUCTION

FLEET by The Theatre Practice
21 – 31 July 2016
Centre 42

ABOUT THE REVIEWER

陈迦笙是一位正在修读由新加坡南洋艺术学院的创意产业管理荣誉学士学位的学生。除了热衷于出席音乐会,他对舞台剧、歌剧、音乐剧和舞蹈等不同类型的演出都抱着极大的热忱和兴趣。

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TO BE CONTINUED by Full Show Lane Studio https://centre42.sg/to-be-continued-by-full-show-lane-studio/ https://centre42.sg/to-be-continued-by-full-show-lane-studio/#comments Mon, 15 Aug 2016 04:24:12 +0000 http://centre42.sg/?p=5732

“从生命的最后一天看见活着的意义”

Reviewer: Zekson Tan | 陈迦笙
Performance: 5 August 2016

“你想知道你什么时候会死吗?”

“如果你在死之前能够许三个愿望,你会想要实现什么?”

类似这样关于生死的问题不管在表演、影像还是文学中都屡见不鲜。也有不少的作品以此为引申,企图引起人们去思考对于生死还有生命的意义。

《未完待续》的故事也以类似的语句作为起始,由戏里的死神让女主角莫莉在死之前去寻找一件最重要的东西带走,否则她将永远重复受困在生命中的最后一天。然而看似严肃的主题,《未完待续》却以妙趣横生的喜剧方式,让观众跟着莫莉去经历由4位死神以不同方式编排和重复循环的“最后一天 ”。

除了演员精湛的演出,《未完待续》有意思的地方就在于这部戏由始至终除了莫莉以外,就只有另外4位扮演死神的演员在人物和非人物类角色之间来回转换,用简单的道具和服装巧妙的构筑起了“剧中剧”的世界,并且在一旁操控着莫莉生命中的“最后一天”。随着莫莉以不同的情景重复着她的“最后一天”,观众在看戏的过程却从思考生命中最重要的东西,逐步的转变为去探索活着的意义,而不是执着于生命中的某个人或者某样东西。

而让人出乎意料的是随着剧情的推进,操控着莫莉处境的4位死神却被不同的事情,像是来自上司的压力和婚姻观念的分歧逐渐的“凡人化”,到后来莫莉的反客为主更是跨越了“剧中剧”隐形的墙壁。这样的剧情转折除了让整部戏的剧情更加的丰富,也似乎隐喻着在面对着命运巨墙时不该轻易妥协的态度。

《未完待续》以喜剧的表演手法,让观众以轻松的节奏,随着戏的进展同步的去改变看戏时的思考维度和深度。再加上巧妙和饱满的剧情、丰富的娱乐性以及演员们精彩的演出,这部戏能够在中国创下辉煌的场次和票房纪录的确是实至名归。

《未完待续》这部戏也算得上是优良小剧场作品的成功范例。好看的戏不一定需要庞大的制作还有复杂惊艳的舞台设计。只要在剧本还有故事上放足心思,再配以演员们用心的演绎,无论场地大小观众多寡,热烈的掌声还有喝彩声还是能够在演出结束之后充斥着整个剧场

Do you have an opinion or comment about this post? Email us at info@centre42.sg.

ABOUT THE PRODUCTION

TO BE CONTINUED by Full Show Lane Studio
4 – 8 August 2016
Practice Space

ABOUT THE REVIEWER

陈迦笙是一位正在修读由新加坡南洋艺术学院的创意产业管理荣誉学士学位的学生。除了热衷于出席音乐会,他对舞台剧、歌剧、音乐剧和舞蹈等不同类型的演出都抱着极大的热忱和兴趣。

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FLEET by The Theatre Practice https://centre42.sg/fleet-by-the-theatre-practice/ https://centre42.sg/fleet-by-the-theatre-practice/#comments Thu, 04 Aug 2016 08:51:14 +0000 http://centre42.sg/?p=5650

“Fleetingly Haunting”

Reviewer: Lee Min Jie
Performance: 21 July 2016

A painfully slow, but purposefully so, play about death that sets you thinking.

A lonesome light goes on and off.

I am intrigued and attempt to take in the space in between the flickering. A cup of water sits on a long rectangular box and a white shirt hangs loosely from a noose.

The orange light continues to flicker.

I am bored and twiddle with my thumbs. I cross my legs, I uncross them. 15, 16, 17… I lose track of how many times that light has flickered.

That flickering shows no sign of stopping.

I am frustrated by the lack of action. Quietly disquieting. It is unsettling to hear only the sounds of your breathing and swallowing. Someone behind me clears his throat to break the silence.

Melissa Leung Hiu Tuen enters, collapses and exits. Leung does this three times.

Repetition at a plodding pace seems to be the modus operandus. I still myself and let the quiet wash over me. I wonder if this is the play’s attempt to take me through the different stages of grief. The journey of recovery from the loss of a loved one is long and arduous.

Leung delivers a strong and sincere performance evidenced by the way she commands our attention.  Without uttering a single word, she manoeuvres slowly but skilfully. The only words you hear come from a recording. Like an audio journal, that voice states date, time, and event. The voice is monotonous and passionless. That voice asks for help but does not express helplessness. This is enough to stir my sympathies for those who are unable to carry out the minutest of daily tasks by themselves.

A gripe about the position of the subtitles. It is located perpendicularly to the stage and heads have to be turned at an awkward angle to be able to read it. It also flashes at the space where the stage cue operators are, illuminating them unintentionally.

Lighting is another aspect of the play that has made its presence keenly felt. The stark juxtaposition between the harsh orange light and the soft white ones are disconcerting. It is eerie to catch a play about death and see the shadow of a lady with long hair in a dress.

The final scene is poignant; well-positioned light outside the window comes to rest on the lonesome shirt. Perhaps each glass of water that we drink in the days ahead of us will not only give us life but also the strength to accept the things that we cannot change and the courage to change the things that we still can.

Do you have an opinion or comment about this post? Email us at info@centre42.sg.

ABOUT THE PRODUCTION

FLEET by The Theatre Practice
21 – 31 July 2016
Centre 42 

ABOUT THE REVIEWER

Lee Min Jie is a third-year Theatre Studies major at the National University of Singapore who is drawn to Theatre’s ability to immerse one in a world carefully conjured up by artists.

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