日期：二零一二年七月十一日
地點：排練室四零四
一般排練
演員們和導演討論關於在表演場地聲音使用的問題。Tilmann 說，他仍在掙扎是否要使用麥克風，麥克風的好處想當然可以是使演員的聲音變大，但同時也可能使聲音喪失了原本的層次。（導演認為，麥克風的系統在台灣應該是比德國的好，理由其實很諷刺，因為德國的演員幾乎是沒有在用麥克風的。）有趣的是，大部分的演員其實傾向不用麥克風。對子恆來說，雖然在這麼大的場地表演，對他們的聲音投射很不利，但他卻躍躍欲試，期待可以克服場地的限制，駕馭整個空間。他覺得，演出中飆高的腎上腺素絕對會幫他達成目標的。
導演與子恆工作第三十四景。Tilmann 指出，這是劇中唯一有人試圖想去了解陌生人的一景。對其他角色來說，這個牙齒就僅僅只是顆牙齒，然而對英嘉來說，這顆牙齒象徵著某樣承載它主人靈魂和生命經驗的東西。雖然該景的許多篇幅在是以敘事的方式呈現，Tilmann 仍叫子恆以角色來說台詞。也就是說，子恆在這景既是敘事者又是角色。這樣的一個雙重遊戲讓子恆感到困惑而且挫折，因為他無法確定何時要以演員的立場敘說，又何時要以角色的身分演出。
子恆、宏章和劭婕接著讀第三十六景。由於這景談到了芭比娃娃和金髮女郎，Tilmann便和演員們討論關於這兩者的刻板印象。他說道，在德國，大家對於「金髮」的刻板印象通常很負面，特別是女性，常被視為是膚淺又愚蠢的。因此，把金髮與芭比這兩個概念結合在一起所呈現出來的形象，表達了金髮女郎在社會上是如何被刻板化、物化。在台灣，大部分染金髮的人都被覺得很俗氣。此外，在這景，有句台詞是「我從來沒在湯裡面看過牙齒耶！」，Tilmann 建議子恆念這句台詞的態度，要是肯定多於懷疑的。
下午，Tilmann工作第三十二、三十三及三十四景，繼續細修演員們昨天所發想的創意。在這之前，演員們除了子恆自己以外，並不知道子恆會把宏章吐到地上的甘貝熊吃掉，翻譯佾均告訴其他演員，他們一陣譁然，也覺得很噁心。Tilmann 開玩笑地怪佾均，居然把這個秘密洩漏出去。宏章今天對待小甘貝熊的方式，比昨天更猥褻且殘暴。第三十四景中，Tilmann 並不想要子恆去扮女人，因為他覺得子恆在這景的女性形象可能會讓觀眾搞混他所扮演的另一位角色，穿紅色洋裝的女人。
Date: 07/11/12
Place: Rehearsal Studio 404
Rehearsal
The actors discuss with Tilmann the issue about voice control in the Multi-Showcase Hall at the Songshan Cultural and Creative Park. Tilmann says that he is still struggling whether or not he should use microphones, for the use of microphone surely assists in amplifying actors’ speeches, but in the meantime, it may also flatten out the multilayered emotionality of voices. (The director thinks the microphone system in Taiwan must be better. The reason is ironic; it’s because actors in Germany seldom use microphone.) Interestingly enough, most of the actors are inclined not to use microphones. As far as Ziheng is concerned, although it is unfavorable for them to project voice in such a big space, he feels excited to conquer all the adverse conditions and handle the space, and he thinks his soaring adrenaline in performance will definitely help him achieve this goal.
The director works with Ziheng on Scene 34. Tilmann points out that this is the only scene in which someone attempts to understand a total stranger, trying to find a connection to him. To other characters, the tooth is nothing more than a tooth, whereas to Inga, the tooth symbolizes something that carries its owner’s soul and history. Although the whole long speech in the scene is based on narration, Tilmann asks Ziheng to deliver the lines as the character. That is, Ziheng in this scene is both a narrator and character. This doubling game confounds and frustrates Ziheng, because he feels uncertain about when to appear as an actor, and when as a character.
Ziheng, Hongzhang, and Shaojie then read through Scene 36. Because this scene touches upon Barbie and blonde women, Tilmann discusses with the actors stereotypes about these two images. He says, in Germany, there’s a derogatory stereotype associated with blonde hair, that is, people with blonde hair, especially women, are viewed as shallow and simpleminded. The combination of Barbie and blonde thus represents a strong image concerning how a blonde woman is stereotyped and objectified in society. In Taiwan, a majority of people dyeing their hair blonde would be criticized tacky. Besides, in the scene, there’s a line that says “I’ve never seen a tooth in a soup,” which Tilmann suggests the actor to read in a manner that is affirmative more than dubious.
In the afternoon, Tilmann works on Scene 32, 33 and 34, continuing to polish the ideas the actors conceived of yesterday. Beforehand, the actors, except Ziheng himself, didn’t know that Ziheng would eat the gummy bear that Hongzhang spits on the ground. After Betty tells them, they all feel shocked and disgusted. Tilmann jokingly blames Betty for leaking the secret. The way Hongzhang treats the gummy bear is even more obscene and brutal than yesterday. In Scene 34, Tilmann doesn’t want Ziheng to act like a female, for the director is afraid that his womanly image in the scene might make the audience mix up with another female character he plays, the Woman in a Red Dress.
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