日期：二零一二年七月七日
地點：排練室四零四
一般排練
在原文第二十七景的第一句台詞中，第一個字本來的意指「拔完牙的缺口」， 而劇本翻譯為了保持語句的通順和中文語境的連貫，原將台詞稍作更動，但 Tilmann 則希望能維持德文原文。他說：「這段描述是從男子牙齒缺口的特寫開始，鏡頭往外拉到金龍廚房裡大家看著那個男子嘴裡牙齒的畫面。在年輕亞洲男子血流不止的時候，由於現場並沒有準備假血，Tilmann 搜遍了整個排練場，想要找到可以用來呈現「血」的東西。他忽然想到，第二十八景用的皮包裡有一個口紅。於是，他要演員用這個口紅在劭婕的臉和下巴上亂塗，就好像她血流個不停，從嘴巴一直流到手臂和腳踝。演員接著順走第十四到三十一景。雖然順走過程未盡完美，但已經比上一次好很多，演員也漸漸熟悉整個舞台空間了。
Tilmann 再次強調並說明，這個劇本是充滿刻板印象的。劇中的角色對於他人的認知，一切都是基於刻板印象和誤解，一直到了空姐其中一人把年輕亞洲男子的牙齒放入自己嘴裡感受這主人的「味道」，這劇中積習以久的冷漠和疏離才得以冰釋。這讓他想起，他的朋友寄信給他的時候問說「韓國好玩嗎？」和「在泰國過得還好吧？」在某些西方人眼裡，大部分的亞洲國家是混成一談的，或者視為一個共同體：亞洲。我在美國念書的時候，許多美國人是把我貼上「亞洲學生」的標籤，而非「台灣學生」，但他們卻從來不會把自己跟加拿大人或墨西哥人搞混。因此，以「亞洲人」或「亞洲的」這樣的字，來概括解釋各個位於亞洲的不同國家，這樣的作法變得十分爭議。然而，把人以各種刻板印象來進行這樣籠統的分類，不止發生在西方國家，在東方國家亦然，當然也包括了台灣。Tilmann 談到他被誤認為美國人的經驗，台灣人因為他是白人就順理成章地以為他英文一定很好。如同劇中的角色，Tilmann或者我們每個人的身分認同，被他人以種族、膚色、外貌來貿然地斷定。這些看似「客觀」的條件卻來自於「主觀」的誤解，剝奪了我們每個個人迥異的主體性。導演繼續說道，「環境決定了人的身分，人的身分則決定了其權力。」
在休息時間中，導演好奇地問，同志在台灣是如何被看待。我問他：「這也是你想要透過劇本表達的嗎？」他答道：「不是，但人的性傾向也決定了其身分，也是與生俱來的，是很自然的，但仍有許多國家對於同志是相當歧視的。這不像社經地位，是只要你努力工作或者夠幸運就可以改變的。」他繼續問道：「那台灣人如何看變裝癖的人呢？」導演樂此不疲地問了一連串關於身分認同及刻板印象的問題，希望能幫助演員們更了解劇本、他們所扮演的諸多角色、以及這形形色色的世界。
Date: 07/07/12
Place: Rehearsal Studio 404
Rehearsal
In the first line of Scene 27, the first word in the original text actually refers to the “empty tooth socket after removal of the tooth,” but the translator has slightly changed the line in order to retain the coherence and clarity of language. Tilmann, however, suggests to change it back. He says, “This scene begins with a close-up image of the Young Man’s empty tooth socket, zooming out to everyone scrutinizing his mouth in the kitchen. In the moment the Young Asian Man is bleeding, because there’s no fake blood at hand, Tilmann rummages through the whole rehearsal room for things that can be used to represent blood. It occurs to him that there’s a lipstick in the purse which will be used in Scene 28. He asks the actors to use it to scribble around Shaojie’s face and jaw, as if blood is trickling down her mouth all the way to her arms, legs and ankles. The actors then stumble through Scene 14-31. Despite a few minor mishaps, the stumble through is much better than last one, and the actors have gradually familiarized themselves with the entire space.
Tilmann reasserts the idea he has previously mentioned that the play is full of stereotypes. The way the characters in the play sees each other is based on stereotype and misunderstanding. Not until one of the stewardesses puts the Young Asian Man’s tooth into her mouth and “taste” it do the coldness and strangeness ingrained in the play start to melt. It struck Tilmann that his friends sent him emails that say, “How’s Korea treating you?” and “How’s your life in Thailand?” In some Westerners’ eyes, most Asian countries are still mixed up or viewed as an entity: Asia. When I studied in the US, many American people would usually label me as an Asian student rather than a Taiwanese one, whereas they would never mix themselves up with Canadians or Mexicans. The way to use the word, “Asian,” to generalize all different countries in Asia thus becomes problematic. However, such categorization based on various stereotypes is commonly used to “understand” people in not only the West but also the East, including Taiwan. Tilmann talks about his experience of being mistaken for an American, and Taiwanese people assume that he can speak perfect English simply because he is white. As with the characters in the play, Tilmann’s identity, or that of any of us, is clearly defined by race, skin color, and appearance. These seemingly “objective” conditions based on “subjective” misunderstanding, however, deprive all of us of our disparate individualities. The director goes on to say, “One’s environment defines his identity, which defines his power.
During a break, Tilmann also asks about how gay people are treated in Taiwan. I question, “Is this something you wanna discuss through the play?” “No, but sexual orientation also defines one’s identity. It’s also something you were born with. It is natural, but gay people are still discriminated in many countries. It’s not like social status, something you can change if you are lucky or work hard.” He continues to ask, “Then how do people look upon transvestites in Taiwan?” The director asks a series of questions regarding identity and stereotype, hoping to help the actors understand better the play, the many characters they play, and the world full of all sorts of people.
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