日期:二零一二年六月二十日

地點:台南人劇團排練室

 

 

        排練開始之前,導演Tilmann先用中文跟大家問好:「你好!」。他的中式招呼開啟了今天的文化交流旅程。他問大家中文裡跟廚房有關的諺語,因為他認為諺語直接地反映了一個國家的文化和思維。的確,飲食在中華文化裡是很重要的一環。演員們於是想出了許多關於廚房的諺語,以下是諺語的中德文對照,例如:

 

1. 中:雞蛋裡挑骨頭。德:湯裡找頭髮。

2. 中:一粒老鼠屎,壞了一鍋粥。

3. 德:太多廚師會毀了一鍋湯。中:三個和尚沒水喝。

4. 中:吃快弄破碗。德:小心會燙手!

(當導演仍不解這什麼意思時,黃怡琳突發奇想出一個絕妙的例子:「剛交往就想全壘打……」)

5. 中:打破砂鍋問到底。德:這會把鍋子都打破,意指「實在有夠扯」。

6.  中:刀子口,豆腐心。(導演最喜歡的一句!)

7.  德:其他人要把湯喝完。中:現在不關我的事了!

 

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        Tilmann 又問道,中文裡是否有用來稱呼「外國人」的不雅用語。演員們此起彼落地說:「當然有!」例如:阿兜仔、紅毛、金毛、番仔等等。

 

        討論過後,演員開始正式排練,終於可以動起來了。在Tilmann的指示下,演員們開始把玩鋁鍋和鋁盤,製造各種聲響效果。吶喊、啜泣、吼叫、笑鬧等人聲也加入其中,與鍋盤的金屬聲交織成一片豐富且充滿動量的聲景。有時,一個聲音可能同時帶有兩種不同意涵或功能,例如,「噓」這個聲音可以表示鍋子炒菜的聲音,以及叫人閉嘴的聲音。

 

        對於角色和演員兩者間個關係,Tilmann提出了一個相當有趣的觀察,他將演員比喻為律師。律師們替客戶辯護,代客戶發言,但這並不表示律師和客戶的內心的看法及價值觀就一定一致。律師的想法可能與客戶的大相逕庭,並且在心裡對客戶作出批判。演員和角色的關係就如同這層律師和客戶的關係。演員扮演角色、為角色發聲,但演員內心的想法可能和角色的截然不同,也對角色作出批判。這兩者間的衝突即是戲劇張力所在之處。

 

        午餐過後,Tilmann展開一連串的情境練習,他讓演員們用自己的話而非劇中台詞來表演,整段即興仍保有劇本主要的故事線。即興一陣子之後,Tilmann停止讓演員們使用語言的表達方式來溝通,轉而讓演員們使用非語言的表達方式,例如歌唱、吹口哨、發出其他聲響等。在這段無語言的即興練習中,演員們的互動更活潑、更具張力,整段即興持續了約四十分鐘,整個排練場都笑得人仰馬翻。然而,演員們表示,即使他們的互動充滿了戲劇性,整個環境的營造對他們來說還是有點困難,因為他們幾乎都沒有真正在餐廳廚房裡工作的經驗。

        Tilmann強調一個重點,他希望演員們盡量少用道具,即使用了也不要過度定義該道具。他鼓勵演員們打開想像,避免使道具落入單一意義的窠臼。基於這個充滿彈性的遊戲規則,鍋子就不再只是鍋子,盤子也不再只是盤子,每個物品都可能轉變成其他物件或者人物,並可能被賦予多重意義,而這些不同意義也可能同時存在。導演一再強調,在這個製作裡,沒有任何單一規則是可以套用在角色和物件等所有事物,這將會是一個充滿彈性、多重性、以及即時性的製作。

 

Date: 06/20/12

Place: Tainaner Rehearsal Studio

Rehearsal

 

        Before rehearsal, Tilmann greets everyone in Mandarin, “Ni Hao!” (Hello!). His Chinese greeting unfolds today’s cultural exchange. He asks us if there’s any Chinese idiom related to kitchen, because he thinks idioms reflect directly a nation’s culture and mindset. Indeed, food plays an important part in Chinese cultures. Therefore, the actors come up with a lot of idioms related to kitchen. For instance,

 

1. CH: Look for a bone in an egg

    EN: A fly in the ointment; find quarrel in a straw; find fault with

    GE: Hair in the soup

2. CH: One rat’s dropping spoils the entire pot of porridge.

    EN: One rotten apple spoils the whole barrel.

3. DE: Too many cooks spoil the broth.

    CH: Three monks have no water to drink.

    EN: Everybody’s business is nobody’s business.

4. CH: Those who eat too fast break the bowls. 

    GE: Watch out! Your hands will get burnt.

    EN: Haste makes waste.

5. CH: Breaking an earthenware pot/cracking down to the bottom

    EN: Getting to the bottom of the matter

    GE: Breaking the bottom of the pot. The idiom is used to describe something

    preposterous or incredible.

6. CH: A mouth as sharp as a dagger but a heart as soft as tofu.

    (Tilmann’s favorite one!)

    EN: Cold hands, warm heart.

7. GE: Others have to finish the soup.

    EN: It’s none of my business.

 

Tilmann also asks us if there’s any derogatory expression in the Chinese language used to describe foreigners. Of course we do! It includes: “Someone with a protruding nose,” “Red hair,” “Blondie,” “Barbarian,” etc.

        After the discussion, the actors start to get on their feet. Tilmann directs them to use pots and plates to produce a variety of sounds. Human voices, including scream, sob, yell, and laughter, are interwoven with the metal sounds into a diverse and dynamic soundscape. Sometimes, one sound may have two different functions simultaneously. For instance, the sound of “Shü” could be the sound of frying or shushing someone.

        As for the relationship between actor and character, Tilmann brings up a fascinating observation. He compares actors to lawyers. Lawyers speak for their clients in the court, but it doesn’t mean that the former’s personal values and attitudes are aligned with the latter’s. In their minds, lawyers may comment on their clients or even hold opinions diagonally different from their clients. The relationship between actors and characters resembles that between lawyers and clients. Actors impersonate characters and voice for them, yet actors may have different opinions from their characters and comment on their behaviors and values. The incongruity between the two thus forms a tension.

        After lunch break, Tilmann starts the rehearsal with a series of environmental exercises. They tell the story in their own words instead of addressing the lines of the play. Over the course of the improvisation, the play’s main storyline is kept. After the improvisation progresses for a while, Tilmann stops the actors from using verbal language to communicate with each other or express themselves. Instead, they sing, whistle, and utter nonverbal sounds. The actors’ interactions become more lively and more intense. The whole improvisation lasts for forty minutes and brings the house down. However, the actors still find it difficult to build up the environment because very few of them had the experience of working in the kitchen of a restaurant in reality. 

         One point Tilmann emphasizes is that the actors should use as few props as possible. He also suggests the actors not to over-define props. Rather, he encourages the actors to open up their imagination and free props from the constraint of one single meaning. Based on this flexible game rule, pots are not just pots, and plates are not just plates. Every object could transform into other objects or even figures and have multiple meanings which may also appear simultaneously. In this production, not a single rule can be used to decipher everything, including characters or inanimate objects. It is a production full of fluidity, multiplicity, and immediacy.

 

 

 

 

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