悟•空來也

透過偶戲和京劇程式化的舞台美術及表演風格,串連人、偶同台的虛實動靜
『悟•空來也』以豐富的神話色彩為基石,將京劇中臉譜與各種元素符號,結合現代偶劇形式,藉由杖頭偶、懸絲偶等帶領觀眾進入一個全新的現代神話國度。編劇將京劇逗趣的說白帶入合味的身段和把式;導演巧妙調度全場,掌握各類造型偶及角色的獨特性;戲偶設計的概念則以豐富的戲偶形式來突顯角色個性,使其更鮮明立體。觀眾除可仔細欣賞臉譜和服裝色彩、圖案呼應的效果外,取擷自東西方不同時空產物的音樂,結合現場鑼鼓點,更是創造了本劇獨特空間氛圍。舞台則展現四大皆空意象的舞台空間與燈光設計,虛實動靜間,值得細細品味!

觀眾對象:5+
表演形式:杖頭偶、懸絲偶與真人共同演出
首演:2005年1月14日 台北國家戲劇院實驗劇場

製作人/繪本原著│卓淑敏
編劇│李筆美
導演│鄭嘉音
服裝設計│林璟如
音樂設計│陳 揚
舞台設計│黃怡儒
燈光設計│王天宏
戲偶設計│卓淑敏
動作指導│李佳麒、喻 行
舞台監督│魏芳韻
戲偶製作│鄭嘉音、卓淑敏、曾麗真、陳映靜
劇照攝影│陳成紀、徐采廷、李銘訓
演員│薛美華、曾麗真、陳映靜、柯世華、柯世宏
現場打擊│葉俊銘

 

 

Monkey King Goes Bananas

A new territory of myth and fantasy, introducing a wonderful and pleasant experience of modern puppetry.

“Monkey King Goes Bananas” takes shape in the rich mythological air of a classical and classic Chinese fiction. It also borrows enormous symbols and elements from Beijing opera and combines them with rod puppets, string puppets, and table-top puppets. To create an extraordinary performance on stage, the playwright introduces the humorous style of dialogue of Beijing opera and blends it with the particular motions of the puppets. The incredible management of the director makes the magic happen on and off the stage. The design of the puppets, on the other hand, is meant to highlight the personality of the characters by abundant types of puppets so as the make the characters more alive. Above all, the audience could appreciate every visual detail on stage: the delicacy of the puppets, their colorful costumes, and the corresponding images. Also, the music that draws inspirations from both the East and the West creates a unique atmosphere for this play. The stage thus becomes a space of light and shadow, reality and virtuality, philosophical contemplation and playful motion. This is a play that invites your sensitive attentions.

 

Premiere: Jan. 14, 2005 / Experimental Theater, Taipei
Original Story: Shu-Ming CHO
Playwright: Bee-may LI
Director: Chia-yin CHENG