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英文戏剧《血色婚礼》 [已结束]

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英文戏剧《血色婚礼》
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基本信息

2011.12.22 - 2011.12.25

蓬蒿剧场

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演出详情

(英文演出,中文字幕)

  联合出品:北京大学外国戏剧与电影研究所/大邦时代文化传播有限公司

  编 剧:加西亚·洛尔迦(西班牙)

  导 演:伊丽莎白·奥康纳(新西兰)

  艺术总监:约瑟夫·格雷夫斯(美国)

  制 作 人: 徐思伊

  剧情简介:

  本剧取材于西班牙剧作家费德里科加西亚洛尔卡的悲剧。一个富裕的家庭有一块很大的葡萄园,家族中的小儿子即将结婚。新娘曾经和一个叫Leonardo的小伙子交往7年,但二人最终没能在一起。而Leonardo也先行结婚,并有了两个孩子。既然这对新人即将成婚,人们对新娘和Leonardo的往事不愿再提。然而Leonardo和新娘旧情未断,两人最终在婚礼的夜里私奔。黑夜的掩护与光亮出现所带来的不安,伴随着三个家庭的情感纠葛,贯穿本剧始终。

  导演阐述:

  从1898年到1936年,这位西班牙剧作家的散文、戏剧和诗歌在世界范围广为著名,他在一生中对国际艺术界都有着非常深远的影响。洛尔卡于西班牙内战中被法西斯分子杀害。尽管他在生前享有很大的成就,但直到他死后的二十余年,他的作品都没有被上演。不同的是,现在他已被西班牙民众所尊崇,而他的作品也已经被翻译为英文广为流传。

  洛尔卡的诗意和充满激情的写作为安达卢西亚省带来力量,同时也为这个小村庄普及了希腊古典戏剧,这也成为了北京大学外国戏剧与电影研究所的学生们选择《血色婚礼》进行演出的原因之一。

  爱情、激情、信仰和复仇的主题在一个非常具体的世界借助于它们原有的语言体系得到了阐释。而现在属于不同文化的演员和观者也能很好的触碰和领会到这些情感。

  洛尔卡的母亲是一个受过良好训练的钢琴家,而他本人也继承了这一特点。在洛尔卡成为一名作家之前,他甚至把自己看作是一名音乐家。血色的婚礼的首演很轰动,因为它为当时的剧院带来了不同于以往莎氏风格的一种诗歌、音乐和戏剧动作相结合舞台表演方式。

  在本剧配乐上,我选用由伟大的加泰罗尼亚歌手和歌曲作家Lluis Llach的加泰罗尼亚民族民间音乐。尽管加泰罗尼亚与安达卢西亚处在西班牙的两端,相距较远,但它们拥有着相似的的历史和艺术家,这使得本剧的音乐和剧本很是契合。我相信原作者洛尔卡会认可我们的选择的。

  非常感谢约瑟夫格雷夫斯博士和北京大学外国戏剧与电影研究所,谢谢你们给了我这个机会去导演这部戏。同时,也向在这个过程中所有帮助过我们的人致以由衷的感谢。

  伊丽莎白·奥康纳

  主创人员简介:

  导演:伊丽莎白·奥康纳

  伊丽莎白长期从事剧院的相关工作,30多年来,她曾担任过导演、剧作家、戏剧编剧和演员。她是在新西兰基督城宫廷剧院的文学经理。该剧院是新西兰最大的一所剧院,虽然在2010年和2011年的地震遭受破坏,但该公司已经建立了一个新的剧院,不久后即将开放。

  伊丽莎白还曾与智障演员、青年作家一起工作。她很享受她工作和教学生活的多样性,并已有幸导演了很多她非常喜欢的戏剧,其中包括《暴风雨》、《第十二夜》、《Fen》、《特洛伊女人》和《血色婚礼》。她曾在新西兰的电视连续剧中担任演员,也曾为儿童和成人创作过舞台和广播剧。

  艺术总监:约瑟夫·格雷夫斯

  约瑟夫・格里斯,现为北京大学外国戏剧与电影研究所艺术总监,在中国的近八年时间里,他制作、导演了50多部戏剧,包括许多在中国最据影响的西方戏剧。他表演、导演、编剧的作品在世界各地上演。他主演过100多部舞台作品,涵盖了话剧、戏剧和音乐剧。

  制作人:徐思伊

  现为北京大学信息管理系09级本科生。从2009年开始跟随北京大学外国戏剧与电影研究所排演多个剧目,曾赴美国、中国西安等地演出,担任过音乐剧《窈窕淑女》、英文话剧《孙悟空三打白骨精》、《人类最好的朋友》(曾译《狗,还是老婆,这是个问题》)、《一个人的莎士比亚》等剧的舞台监督。

  BLOOD WEDDING

  Peking University Institute of World Theatre and Film

  (performed in English, Chinese subtitle)

  Co-Present: Peking University Institute of World Theatre and Film

  Playwright: Federico Garcia Lorca

  Director: Elizabeth O’Connor

  Art Director: Joseph Graves

  Producer: Xu Siyi

  Introduction to the Play:

  This play is based on the personal tragedy of the Spanish playwright Federico Garcia Lorca. A new land owner, the youngest son of a rich family, is about to marry. However, his bride has had a heart-felt, seven-year-long relationship with another young man named Leonardo, who now is married and has two children. The town’s people decide to be silent about this past affair, but can the two lovers? On the wedding night, covered by night and carried by light, three families come to the conclusion of their love complication.

  Director’s Note:

  This Spanish writer played a significant part in the international arts community during his life, from 1898 to 1936, and now is famous throughout the world for his prose, plays and poems. He was killed by the Fascists in the Spanish Civil War, and despite his great success while he was alive, his works were not performed in Spain for over 20 years after his death. However, they were translated into English and performed eventually in theatres everywhere. Now he is honored and loved in Spain as well.

  Lorca’s poetic and passionate writing, which brings the rural province of Andalucia to life with the power and universality of classical Greek drama, makes his play a great choice for the students and actors of Peking University Institute of World Theatre and Film.

  Themes of love, passion, faith and revenge are explored in a very specific world, yet with characters who are archetypal and accessible to actors and audiences of many cultures.

  Lorca’s mother was a trained pianist, and so was he. Lorca thought of himself as a musician before ever he became a writer. Blood Wedding was a sensation when first staged, not least because it brought poetry, music and dramatic action together in a way that had not really been seen in the theatre since Shakespeare’s time.

  For this production, I have used melodies based on Catalan folk music, recorded by the great Catalan singer and song-writer Lluis Llach. Though Cataluna is at the corner of Spain opposite Andalusia, their histories and artists have much in common, and I feel sure that Lorca would approve.

  My warmest thanks go to Dr Joseph Graves, and the Peking University Institute of World Theatre and Film, for giving me an opportunity to direct and present this play, and to all the students and others who have helped in performing and realising its production.

  Elizabeth O’Connor

  Director

  Staff Introduction:

  Director: Elizabeth O’Connor

  Elizabeth has worked in theatre for over thirty years, as a director, playwright, actor and dramaturg. She is the Literary Manager of The Court Theatre in Christchurch, New Zealand. The Court Theatre, the largest theatre company in New Zealand, suffered destruction during the earthquakes of 2010 and 2011 but the company has built a new theatre, opening shortly.

  Elizabeth also works with actors with intellectual disabilities, and with young writers (ages 8 to 18). She enjoys the variety of her working and teaching life, and has been lucky enough to direct many of the plays she most loves, including The Tempest and Twelfth Night (by Shakespeare), Fen by Caryl Churchill, The Trojan Women by Euripides and Blood Wedding by Lorca. She has appeared as an actor in New Zealand television series, and has written stage and radio plays for children and adults.

  Art Director: Joseph Graves

  Joseph Graves, the artistic director of Peking University’s Institute of World Theatre and Film. In his last 8 years in China Joseph has produced and/or directed more than directed 50 plays, including many Chinese premieres of Western pieces. His acting, directing and writing work have been seen in numerous countries, including: the US, Great Britain, France, Italy, Russia, New Zealand, and throughout the Middle East and China. He has performed over 100 leading roles on stage, including contemporary dramas and comedies, and much musical theatre.

  Producer: Siyi Xu

  Junior student from the Department of Information Management, Peking University. She has been the stage manager of plays such as: My Fair Lady, Monkey King, Man’s Best Friend, and Revel’s World of Shakespeare; and has traveled with Peking University’s Institute of World Theatre and Film to Xi’an and the United States.

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