日期：二零一二年七月三日
地點：排練室四零四
一般排練
Tilmann 與子恆和邵婕工作第二十一景。導演認為，演員在這景應該要像在下棋一樣，專注在當下的時刻，使自己動作和彼此互動能更自然流暢地發生。Tilmann將角色之間的情愛糾葛和被背叛的苦痛，轉化成一場沒有終點的馬拉松比賽。劭婕所扮演的穿條紋襯衫的男子和子恆所扮演的穿紅色洋裝的女子，以情侶的姿態肩並肩地走著。漸漸地，他們開始奔跑，但由於兩者追逐在不同的跑道上，所以女子始終無法觸及男子，他們就好像兩條永遠不會交集的平行線，不管距離有多近。當子恆停止行動，靜靜站在原處，劭婕持續漫無目的地跑著，動作逐漸變得機械無生氣，最後竭盡所有力氣，癱倒在平台上。在這景中，台詞「我…」重複了三次。Tilmann告訴劭婕，「我」之後的點點點處是表示，該角色試著向對方要求救，渴望更多身體和情感上的互動。他進一步解釋，這之中的潛台詞應該不只是「那我呢？」，其中一次應該是「我愛你」。
Tilmann 接著排練第十七景至第二十景。每景轉換時，角色間的權力關係也跟著改變，受害者從 彥斌/蟋蟀 變成 劭婕/年輕男子，再變成 彥斌/蟋蟀，最後又回到 劭婕/年輕男子。導演也提醒演員，這些景間的轉換要清楚分明。在第二十景中，年輕男子的蛀牙從口中飛出，導演希望蛀牙的飛行路徑不要一致，而是不斷地改變方向和速度，甚至可以在空中來個急轉彎，就好像牙齒中邪了一樣，呈現出一種超現實的景象，同時展現本劇夢幻兼具毀滅的特質。
演員讀本，自第二十景至第二十五景。Tilmann 特別提到，第二十二和二十四景會比較困難，因為這兩景有強烈的音樂性且內容充滿敘事和對他人的評論。到了下午，演員們在開始活動之前，又念過一次第二十二景，以熟悉字裡行間所跳躍出來的獨特節奏。當子恆提到文本中所示的菜餚名以及國家名，Tilmann要他把彥斌的身體當作一塊地形圖，在上面點出他所提到的每道菜和每個國家。於此，遊戲的場域不僅限於舞台，而是延展到演員的身體上。在第二十三景，當演員們的語言愈益挑釁、行動愈益暴力，他們之間的樂趣也變得殘酷且張力不斷，漸漸地發展成一連串地野蠻遊戲，在這戲局裡，折磨他人被視作一種歡愉的體驗。該景如此詭譎的張力和令人不安的幽默，讓我想到了國際知名電影導演麥可．漢內克的作品《大快人心》。我發現，從排練過程的一開始，Tilmann就不停地在探索身體不同的功能和意義。如傅柯所說，「身體是政治的場域。」身體表徵了受難者的意象（如第二十三景所示），也作為壓迫和屈辱的載體，更用來當作展現美麗和體魄等權力支配的工具。因此，在Tilmann的導演意圖裡，身體的意涵不僅限於肉體層次，而是變得開放且幻化不定。
Date: 07/03/12
Place: Rehearsal Studio 404
Rehearsal
Tilmann works with Ziheng and Shaojie on Scene 21. The director thinks that the actors should act as if they were playing chess, concentrating on the present moment and making their movements and interactions happen spontaneously. Tilmann transforms the characters’ love struggle and agony of betrayal into an endless marathon. At first, Shaojie as the Man in A Striped Shirt and Ziheng as the Woman in A Red Dress walk side by side as lovers. Gradually, they start to run, but she can never reach him because they run on different tracks, as if they were two parallel lines which will never meet, no matter how close they are. While Ziheng stops his action and stands still, Shaojie keeps running aimlessly, her movements gradually becoming mechanical, until her energy drains away her energy, and she slumps on the platform. In this scene, there’s a line in which “I…” repeats three times. Tilmann tells Shaojie that the triple-dot empty space after “I” expresses that the character is trying to ask for help from the other, desiring more physical and emotional interactions. He adds that the subtext is not just “What about me?” but rather one of the three times should be “I love you.”
Tilmann then rehearses Scene 17-20. As each of these scenes shifts, the power relationship among actors also reshuffles, the victim varying from Yenpin (Cricket), through Shaojie (Young Man), to Yenpin (Cricket), and back to Shaojie (Young Man). Tilmann reminds the actors that the transitions should be clear. In Scene 20, in which the Young Man’s “decayed tooth” flies out of his mouth, Tilmann wants the tooth’s trajectory to be inconsistent. The tooth continues to change its direction and velocity and can even swerve in the air, as if it were enchanted, a hyper-realistic image that simultaneously manifests the play’s dreamlike and destructive qualities.
The actors read through Scene 20-25. Tilmann emphasizes that Scene 22 and 24 would be difficult because these two scenes are rich in musicality and full of narrations and comments on others. In the afternoon, before getting on their feet, the actors read through Scene 22 again to familiarize themselves with the unique rhythms in between the lines. As Ziheng refers to the dishes and countries in the text, Tilmann wants him to use Yenpin’s body as a topographic map to point out every dish or country he mentions. Here, the terrain of game not merely lies in the stage but also extends into actors’ bodies. In Scene 23, as the actors’ language gets more and more provocative and their actions violent, the fun among them also becomes increasingly intense and brutal, gradually developing into a series of dangerous games, in which torturing people is regarded as a joyful experience. The grotesque intensity and disturbing humor of the scene reminds me of the internationally renowned director Michael Haneke’s film, Funny Games. I discern that since the beginning of the rehearsal process, Tilmann has been exploring different functions and meanings of body.
As Michel Foucault says, “the body is directly involved in a political field.” The body signifies victimhood, as manifested in Scene 23; represents a carrier of oppression and humiliation; is used as a tool to display one’s power, such as beauty and strength. Thus, in Tilmann’s direction, the significance of the body is not limited to a corporeal sense, but rather becomes open and indefinite.
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