Centre 42 » fleet https://centre42.sg Thu, 16 Dec 2021 10:08:35 +0000 en-US hourly 1 https://wordpress.org/?v=4.2.30 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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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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