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★第四届北京南锣鼓巷戏剧节—多媒体独角戏《朱丽小姐》(瑞典) [已结束]

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★第四届北京南锣鼓巷戏剧节—多媒体独角戏《朱丽小姐》(瑞典)
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基本信息

2013.07.18 - 2013.07.20

蓬蒿剧场

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a) 演出详情仅供参考,具体信息以现场为准;
b)1.2米以下儿童谢绝入场,1.2米以上儿童需持票入场。

演出详情

瑞典语演出,中英文字幕

改编/导演/主演:安娜·皮特森


作品介绍:

该剧是斯德哥尔摩戏剧学院的艺术发展项目。话剧表演形式特别,安娜·皮特森(AnnaPettersson)试图探寻:如何将移动画面与演员的肢体表达在舞台表演中相互渗透。

安娜·皮特森运用自己的理解,阐释朱丽小姐这个角色,同时导演整个剧目,还表演所有的角色。舞台上还有一个摄像师,他记录演员表演,同时将影像投射到舞台背景,作为话剧唯一的配景。

这个剧目2012年春季在斯德哥尔摩的斯特林堡Intima剧院上演并大获全胜,随后安娜·皮特森在瑞典其他几个剧院也表演了她的《朱丽小姐》。

安娜·皮特森表演的《朱丽小姐》还在四大洲巡演,遍及保加利亚,马其顿,南非,美国和韩国。除了表演,安娜·皮特森还在韩国首尔的国家剧院,南非约翰内斯堡的集市剧院,加州大学伯克利分校,西雅图华盛顿大学等发表演讲并开设工作坊。


导演简介:

安娜·皮特森(Anna Pettersson),演员,导演,戏剧老师。她曾在斯德哥尔摩城市剧院上演的《海达·高布乐》中担任剧名角色,《天使在美国》中饰演天使;参演瑞典皇家剧院上演的《波士顿婚姻》;同时还与瑞典知名的戏剧家Lars Norén和Kristina Lugn合作。她还为自己及他人撰写剧本,同时在20多部电视剧及电影中参与表演,还导演多部剧目(Tjechov(契诃夫)的《海鸥》,莫里哀的《恨世者》等)。1999年安娜荣获Thaila大奖,还两次被瑞典学院授予奖学金。

《朱丽小姐》的表演为她赢得了瑞典日报《今日消息》(Dagens Nyheter)文化奖,TCO(台北华乐团)文化奖及瑞典分区国际戏剧评论家协会戏剧奖。2013年7月她还将在马其顿普雷斯帕领取年度演员奖。


导演阐述:

《朱丽小姐》是个很有意思的剧目,它是斯特林堡被搬上舞台最频繁的剧目,大多数瑞典人都或多或少地能与这部剧产生共鸣。《朱丽小姐》已经成为一种符号,超越了戏剧本身。人们可以很容易想象让脚蹬黑色马靴双腿叉开的站姿,朱丽暗含色欲的诱惑或是克里斯蒂娜纯朴的样子。但是这些角色真正想说的是什么呢?

我从丰富的复杂的文本开始,试图抽丝出这个剧目中所有角色身上共有的存在条件。我们习惯于从心理及自然主义角度来理解朱丽小姐这个角色,但是在斯特林堡逝世一个世纪之后,如果我们还用同样的方式来诠释,会造成什么样的后果呢?当所有的角色都糅合成一个,并由一人来完成表演,这时候权利,阶级,性别架构被赋予了新的维度。我希望观众能够有机会听到,感受到,或是发现一个全新的朱丽。


Multi Media Monologue: Miss Julie

Adaptor/Director/Performer:Anna Pettersson

Synopsis:

The play was developed as an Artistic Development Project at the Stockholm Academy of Dramatic Arts. Anna Pettersson attempts to explore the interaction of the moving image with the actor’s physical expression in a theatrical performance.

Anna Pettersson makes a self-willed interpretation of ‘Miss Julie’, directing and playing all parts herself. The stage includes a cameraman filming the actress, projecting imagery onto the backdrop which is the only scenography.

After a sold-out run at Strindbergs Intima Theater in Stockholm in spring 2012, Anna Pettersson has performed her ‘Miss Julie’ in several theatres around Sweden.

The performance has also toured four continents, visiting Bulgaria, Macedonia, South Africa, USA and South Korea. In addition to the performances, she has also given lectures and workshops at the National Theatre of Korea in Seoul, Market Theatre in Johannesburg, the University of California in Berkley and the University of Washington in Seattle.

Director:

Anna Pettersson is an actress, director and drama teacher. She played the lead role in “Hedda Gabler”, the angel in “Angels In America” at the Stockholm City Theatre, “Boston Marriage” at the Royal Dramatic Theatre and has been working with Sweden’s leading dramatists Lars Norén and Kristina Lugn. She has written plays for herself and others, performed in about 20 TV and movie productions, and has also directed several plays (“The Seagull” by Tjechov and “The Misanthrope” by Moliére, amongst others). In 1999, she received the prestigious Thalia Award, and has also received two scholarships from The Swedish Academy.

For her performance “Miss Julie” by August Strindberg she was awarded the Dagens Nyheters Culture Award, TCO’s Culture Award and the Swedish Section of the International Association of Theatre Critics Theatre Award. In July 2013 she will receive the award for Actor of the Year in Prespa, Macedonia.

Director’s note:

Miss Julie is interesting because it is Strindberg’s most frequently staged work and most Swedes have some relation the play. Miss Julie the cliché has become more potent than the drama itself. It is easy to envisage Jean’s broad-legged stance in the black riding boots and just as easy to see Julie’s manipulative and coquettish seductive moves or Kristin’s wholesome and rustic appearance. But what are they actually saying?

I started out with the text; expanded, looped and tried to peel away that which shadows the existential conditions shared by the characters in the play. We are used to interpreting Miss Julie in a psychological or naturalistic tradition, but what are the consequences of staging the drama in this way 100 years after Strindberg’s death? When all roles play out within one and the same person, power, class and gender structure gain a new dimension. It is my hope that the audience will get a chance to hear, sense and discover a new Miss Julie.

When all roles play out within one and the same person, power, class and gender structure gain a new dimension. It is my hope that the audience will get a chance to hear, sense and discover a new Miss Julie.


2013多媒体独角戏《朱丽小姐》敬请期待!

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★第四届北京南锣鼓巷戏剧节—多媒体独角戏《朱丽小姐》(瑞典)
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