TNT莎翁经典中国行《麦克白》-北大百年纪念讲堂

2010-04-23 19:00 - 2010-04-25 22:00

TNT莎翁经典中国行《麦克白》          
       
演出时间:2010年4月23日、24日、25日,晚19:00
演出场馆:北京大学百周年纪念讲堂

麦克白

 《麦克白》-莎翁戏剧心理描写的杰作
《麦克白》和《哈姆雷特》、《奥塞罗》、《李尔王》并称为为莎士比亚四大悲剧。柔婉如淙淙流水,激荡如将涛拍岸,令人回味无穷……

“想象力是戏剧的原动力,全剧跌宕起伏,激情奔涌,紧紧抓住莎士比亚思想核心,直至达到莎翁悲剧令人战栗的最高潮……如此优秀的剧团赢得了观众最热烈的掌声。” —— 德国《南德意志报》

"麦克白是莎士比亚笔下一个具有典型意义的悲剧形象,他的价值在于使我们能够从他的身上反观我们自己的心性,贪婪、骄奢、虚伪、甚至凶恶都会吞噬仁慈与宽容。命运其实是掌握在我们自己手中的,没有任何所谓的预言可以真正地为我们安排人生。” – 观众评语

苏格兰国王邓肯的表弟麦克白将军,为国王平叛和抵御入侵立功归来,路遇三个女巫。女巫说他将进爵为王,但他并无子嗣能继承王位,反而是同僚班柯将军的后代要做王。野心勃勃的麦克白在夫人的怂恿下谋杀邓肯,做了国王。为掩人耳目和防止他人夺位,他一步步害死了邓肯的侍卫,害死了班柯,害死了贵族麦克德夫的妻子和小孩。恐惧和猜疑使麦克白心里越来越有鬼,也越来越冷酷。最后麦克白夫人因神经失常而自杀,而众叛亲离的麦克白面对邓肯之子和他请来的英格兰援军的围攻落得枭首的下场。

TNT版《麦克白》保留了原作阴鸷可怕的气氛:大幕拉开,幽绿的灯光下,舞台上的圆柱营造了一派原始丛林景象。三个身披皮毛的女巫扮作乌鸦登场,长时间的静默中,三人通过舞蹈表现了神秘的黑暗力量……变幻莫测的灯光将舞台变化出多重色彩,演员们就在其中创造着极富历史感的城堡和森林,现场歌声的融入更增添了一种凄厉感。

作为莎士比亚戏剧中心理描写的佳作,全剧保留了《麦克白》原作中阴鸷可怕的气氛,而现场歌声的融入更增添了一种凄厉感。和莎翁时代一样,TNT的《麦克白》中也出现了男女演员的性别反串。莎翁原作必须有音乐,这一点往往为后人忽视,而TNT《麦克白》优美的手风琴和萨克斯风现场演奏使观众如同在观看一部费里尼的电影。导演保罗•斯特宾说:“音乐融入剧情,象对白和画面一样传达出人物的情感和营造环境。演出时,我们加入了现场音效和无伴奏合唱,这样的做法在电影中已司空见惯,但用于剧场表演仍属罕见。”

 

专访《麦克白》导演保罗•斯特宾:
问:你导演的《麦克白》和其他版本相比有什么不同?
答:这个戏的舞美很独特,因为它就在观众面前变换着形式,并且是由演员来控制的。我们用圆柱来表现城堡和森林,观众会惊奇于形式与图像的骤变。这台戏的景是活的——比如女巫可以创造出一片活的森林。绝大多数的现代版本都惧怕表现《麦克白》中的超自然现象,几乎从不提及。但我们却在剧中加入了女巫这一角色——用以表现超自然现象。同时,与莎士比亚一样,我们也通过舞蹈演员来表现无性别差异的神秘的黑暗力量。

问:可否介绍一下《麦克白》中的音乐和舞蹈?
答:在这部戏剧中,音乐占据着很重要的位置。它与对白、图像一样可以传达出人物的情绪、表现整个环境。在排练时,我们同时对已有的电子乐乐谱进行了修改;在演出时,我们也加入了现场音效和一些歌声。这样的做法在电影中已经司空见惯了,但在剧场表现中仍属罕见,因为它从声音、图像和对白三个角度给观众带来了非常立体的感受。舞蹈是《麦克白》中的一部分,其原因就是它是激动人心的,也是极能激发想象力的。我喜欢将戏剧做成一种可视的图像,而舞蹈恰恰是我安排场景时考虑的一个重要因素。例如我让3个女巫跳舞,因为这样感觉像在飞!当然舞蹈是要和音乐结合在一起的。

问:为什么你对于角色的性别不太在意?
答:莎士比亚也不在意。并且我们还拓展了这种做法——马尔科姆王子是由一个女演员扮演的——这是合理的,因为马尔科姆应该是很年轻的,否则为什么他没有参与战斗?女巫被描绘成长着胡须的,我们试图使观众能理解原作。

问:你对中国观众有什么期望?
答:我相信这一定是个惊喜,我想让更多的观众看到我们的演出。我相信他们会喜欢我们的作品——即便他们不会说一句英语。给我们一次机会,我坚信你会爱上我们的《麦克白》。


英国TNT剧院《麦克白》演职人员介绍
马丁•克里斯托弗 (Martin Christopher)
马丁生于英国诺丁汉,受训于吉福德表演学校,为TNT剧院出演的作品有《麦克白》、《哈姆雷特》、《罗密欧与朱丽叶》、《勇敢新大陆》。曾巡演至欧洲及亚州的20多个国家,并凭《哈姆雷特》中的哈姆雷特一角获得了伊朗第22届国际艺术节的一等奖。其他剧场作品包括《认真的重要性》、《三姐妹》、《威尼斯商人》、《圣诞颂歌》、《第十二夜》等。马丁还是英国国家青年剧院的一名演员。

盖尔•塞克史密斯 (Gail Sixsmith)
盖尔毕业于布莱顿大学并获表演艺术学学位,之后她担任了麦特•梅恩剧场原创剧目的出品及导演工作。盖尔的专业训练经历非常丰富,擅长形体表演,她曾召集众多的作家、导演、编舞共同创作新概念的演出作品。作为演员,盖尔曾与皇家莎士比亚公司、曼切斯特皇家交易中心进行过合作,出演的角色有《麦克白》中的麦克白夫人、《罗密欧与朱丽叶》中的奶妈等。

马克•普林斯 (Mark Prince)
马克受训于加拿大安大略省的温莎大学,曾在斯坦佛表演公司学习,期间获得了蒂龙•格斯里奖并因此得到赴国外表演的机会。马克曾与加拿大当代发展剧场合作向英国观众介绍加拿大的艺术。2001年开始与TNT剧院合作并为其出演了《月亮城堡》、《仲夏夜之梦》、《哈姆雷特》及《严酷的考验》等作品。

瑞贝卡•奈勒 (Rebecca Naylor)
瑞贝卡受训与埃克塞特大学及伦敦戏剧工作坊,剧场作品包括《动物农场》、《第十二夜》、《战利品》、《仲夏夜之梦》、《圣诞颂歌》、《杰克和仙豆》、《波西米亚人》、《君子与淑女》、《爱德华二世》及《白雪公主》等。作为乐手,瑞贝卡还曾在英国皇家节日厅及皇家埃尔伯特宫演奏单簧管,并随英国国家青年合唱团进行过世界巡演。

艾伦•米瑞恩 (Allan Mirren)
艾伦曾参演过爱丁堡艺术节《泰特斯•安特洛尼克斯》中的卢修斯,演出的其他莎翁剧目包括《无事生非》、《理查德二世》、《麦克白》等。为剑桥莎士比亚剧团出演了《仲夏夜之梦》、《第十二夜》、《皆大欢喜》、《驯悍记》和《哈姆雷特》中的角色。艾伦的现代剧作品包括《蒸汽》中扮演的马特和2002年爱丁堡艺术节上《头等游戏》中的艾迪等。

罗格•克拉克 (Roger Clark)
罗格生于美国新泽西州,12岁随父母移居爱尔兰,19岁进入威尔士格拉摩根大学学习戏剧、传媒及表演专业。在校期间就已经开始了与Ugly Theatre company的合作,并担任演员、创作、导演等职,出演的作品有《可笑的安妮》、《坎特伯雷故事集》、《胜利者》、《恶灵》、《朱诺与孔雀》、《麦克白》、《第十二夜》等。此次是罗格与TNT剧院的第三次合作,之前曾为剧院出演过《推销员之死》、《弗兰肯斯坦》。罗格还与电台及电视台有着广泛的合作并出演过众多节目。

保罗•斯宾特(Paul Stebbings)
英国TNT剧院艺术总监/导演
保罗•斯特宾生于英国诺丁汉,早年在英国布里斯托尔大学学习戏剧。他为TNT剧院执导了《雾都孤儿》、《麦克白》、《跃过布谷鸟巢》、《魔力爵士乐》、《勇敢新大陆》、《飞越疯人院》、《欲望号街车》、《英式茶会》、《炼狱》、《白鲸记》、《谋杀福尔摩斯》等一系列作品,曾率英国TNT剧院赴世界20余个国家巡演,获得德国慕尼黑双年艺术节,英国爱丁堡戏剧节,伊朗德黑兰艺术节大奖和新加坡政府奖。此次演出是自2005年以来保罗第七次中国之行。

 

主办:北京云汉文化交流有限公司
票价:VIP、150、120、100、80、60元
订票热线:+86 010 65516930 / 65516906

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Macbeth by TNT Theatre Britain          
       

Shakespeare’s MACBETH by TNT Theatre Britain
The China Tour of TNT Theatre is presented by Milky Way Arts & Communications Co., Ltd

Time: 7:00pm 23/24/25 April, 2010
Venue: Peking University Hall, Beijing
Price: RMB 200, 150, 120, 100, 80, 60
Ticket hotline:+86 010 65516930 / 65516906

A devastating performance…The witches were spellbinding using every sinew of their bodies as they flayed Macbeth with their tongues. Paul Flush’s evocative music is pitched perfectly…a memorable production. - The OBSERVER  Britain

The imagery is as striking as the raw power of theatre. The pace surges forward until its final thrilling climax…The outstanding ensemble received tremendous applause. - SUDDEUTSCHE ZEITUNG  Germany

From the moment the curtains open the audience is gripped …the production slowly builds into a crescendo of terror…. With its strong visual and aural images, this "Macbeth" is a haunting reminder of how accessible Shakespeare can still be to modern audiences anywhere. -  JAPAN TIMES

A brilliant staging of this tragedy, at once demonic and terrifying…The first class interpretation managed to transport the audience to medieval Scotland. - FRANKFURTER RUNDSCHAU  Germany

TNT is reviving their highly acclaimed version of Shakespeare's darkest and most exciting tragedy. The production has toured to over twenty countries on three continents, in venues as diverse as a ruined plantation house in Atlanta to Windsor Castle, from major theatres in Tokyo and Berlin to palaces in Verona and Stockholm. Over two thousand people attended performances in Kuwait. MACBETH was director Paul Stebbing’s first major Shakespeare production. Its success generated a cycle of productions by TNT of England’s greatest playwright that have met with international acclaim and several awards. From Oxford to Oslo TNT's vibrant and dynamic approach to Shakespeare has generated enthusiasm from audiences and critics alike.

TNT & MACBETH

This is a full blooded production that is not afraid to unleash the power of Shakespeare's dark masterpiece. The witches are identified as the source of the dramatic energy of the play. They are shamans, wild forest spirits and they are neither man nor woman. They inhabit the entire world of the play. Macbeth himself is a warrior, not a thinker, a man of courage who's bravery is corrupted by unthinking ambition. His wife is also a type of witch; this is a Lady Macbeth who calls down the spirits to “unsex her here” but is possessed and destroyed the demons she thought to command. In contrast the porter scene is a comic and acrobatic dance that is (unusually) genuinely funny. The set by noted designers Kurn and Gross is an extraordinary luminous series of walls that become trees. These move around the stage on wheels creating striking visual imagery. The production is also music theatre includes a atmospheric and dense musical score by composer Paul Flush, powerful choreography from Eric Tessier and striking visual imagery. The production is directed by Paul Stebbings, founder of TNT theatre and multi-award winner.

A brief synopsis of the TNT production:

Macbeth and Banquo are two Thanes (Leading nobles) of the aged King of Scotland, Duncan. They are also his generals. They defeat a Norwegian invasion of Scotland and on their return from t he battlefield meet three witches who predict that Macbeth will become King and that Banquo will found a dynasty of Kings. They also predict that Macbeth will be made Thane of Cawdor, which happens almost as soon as they vanish. Macbeth starts to believe their prophesy and tells it in a letter to his wife. Lady Macbeth is actually more ambitious and tough than her husband and when she receives the letter starts o hatch a plot to murder the old King when he stays with them soon after the victory. Banquo is troubled by these events but keeps silent. Macbeth wonders if he should do the terrible deed of killing his guest and King. Prompted by his wife he does kill the King, almost has a breakdown and is saved from discovery by his cooler wife.

As the witches foretold Macbeth is declared King in preference to Duncan's son, Malcolm, who fearing for his life flees to England. It is assumed the young Malcolm is guilty of his father's death. Both Banquo and another noble, MacDuff are worried at the turn of events. Macbeth once in power becomes convinced that Banquo will betray him and is also worried by the witches’ prophecy that Banquo's family line will one day become King. Macbeth is hardening and without his wife's knowledge arranges the murder of his “friend” Banquo and Banquo's son (Fleance) but although Banquo is killed Fleance escapes.

Macbeth holds a banquet to celebrate his coronation, but Banquo's ghost appears and disrupts the banquet. Only Macbeth can see the ghost, the nobles are worried that their new king is mad. Lady Macbeth, now Queen, tries to hold the banquet together and cover up for her husband but the effort almost destroys her and we never see her energetic or rational again.

Macbeth decides to return to the witches for advice, he receives three riddling predictions that seem to prove he can never be defeated, including the statement that “no man of woman born can ever harm him” and that he will fall only when a forest marches on his castle. When Macbeth presses them they repeat the prediction that Banquo's descendants will rule Scotland for hundreds of years. This drives Macbeth to new fury and he decides to be bloody and murderous. He is angered that MacDuff has gone to England to meet with Prince Malcolm and so has his whole family murdered including the children. The scene shifts too England where MacDuff is trying to persuade a cautious Malcolm to return to Scotland and lead a revolt against Macbeth. News comes that all MacDuff's family are murdered and Malcolm, moved, is persuaded to lead an English army into Scotland with MacDuff.

Back in Scotland, Lady Macbeth goes mad, driven to distraction by her guilt. She eventually commits suicide and Macbeth sinks into dark despair. The English army arrive and Macbeth trusts to the witches’ prophecies. But these are soon revealed as omens of his destruction as the English army camouflages itself with branches so the forest appears to march on Macbeth's castle. Finally, as Macbeth's disloyal army melts away, MacDuff corners the tyrant King. Macbeth still trusts the witches but MacDuff reveals he was born by Caesarian operation and so not truly born from a woman’s womb. Macbeth sees he is doomed but chooses to fight to the end. MacDuff kills him and cuts off his head. Malcolm is restored as King of Scotland. The witches are still in the background – the play’s themes are repeated and reinforced – all seems well but humanity will soon corrupt and destroy itself again in its endless pursuit of power.

About The Touring of TNT
28 countries  on four continents, 236 cities since 2001
Britain, Germany, Austria, Switzerland, Liechtenstein, Holland, Belgium, Luxembourg, Denmark, Sweden, Norway, Finland, Czech republic, Latvia, Lithuania, Estonia, Italy, France, China, Thailand, Australia, Singapore, Dubai, Abu Dahbi, Bahrain , Guatemala, Costa Rica, El Salvador and the USA (including London, Atlanta, Tokyo, Kyoto, Osaka, Brisbane, Singapore, Shanghai, Berlin, Munich, Oslo, Stockholm, Paris, Florence,  San Jose Guatemala City, Bangkok, Marseilles Riga, Copenhagen, Verona, Geneva, Salzburg, Luxembourg, Bath, Salvador City and Helsinki)

Probably the most widely toured production of Shakespeare by any company in  the world in the last ten years - almost 1000 performances given.

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