“偶”開啓通往內心神祕深處的門,碰觸夢境與回憶的世界
全劇由十個段落組成,各片段之間看似獨立,實則各有關連,藉由角色人物的交叉出現,傳達人生非一成不變,總有突來的驚奇、意外、相遇、別離交錯其間。本劇以執頭偶的形式呈現,偶的操演由二~三人同時執偶以展現出細膩的肢體語言,演出以音樂代替對白,時而沉重神秘,時而華麗詭譎,和戲偶們時而同步呼吸,時而交錯呼應,營造出失落而迷惘的氛圍。戲偶設計則跳脫出「仿真」的階段,以造型本身將抽象概念具體地呈現,凝化虛幻與現實,表現出角色的特性也預言了角色的命運。全劇意象流轉,無一對白,邀請觀眾成為再創作者,出入多層次的舞台意象,在各有殘缺的角色中自由編寫故事。
觀眾對象:12+
表演形式:執頭偶
首演:2002年12月13日 台北皇冠藝文中心小劇場
獲獎記錄:第一屆台新藝術獎『年度十大表演藝術』
製作人│李筆美
編導│鄭嘉音
音樂設計│陳 揚
戲偶美術設計│卓淑敏
戲偶結構設計│鄭嘉音
服裝設計│羅安琍
燈光設計│鄧嘉力
舞台美術│吳明憲
排練助理│陳惠晴
戲偶製作│鄭嘉音、卓淑敏、曾麗真
演員│曾麗真、薛美華、柯世宏、柯世華
攝影│李銘訓、鄭嘉音
Puppets open a door to the realm of memory and dream
The entire play is composed of ten parts. Each part looks as if it is independent from the next, but all parts are connected in one way or another. The interactions between the characters reflect the arbitrary nature of life, to convey the perception that life always has space for surprises, accidents, unexpected encounters and departures. The table-up puppets are performed by two or even three puppeteers at the same time to show the most delicate details of the puppet’s body languages. The music delivers a wide range of moods: intense, mysterious, gorgeous, and ominous. On the other hand, the design of the puppets is intended to transcend them beyond the simple attempt of physical simulation. The shapes of the puppets themselves are meant to present concretely the idea of abstraction. They synthesize the individuality of a character, and they also signify their own fates. With all the visual images afloat on stage without dialogue, “I Am Another Yourself” invites the audience to participate as the creative artists by writing their own stories freely into the blanks of any given character.
“10 Best Performances”/ 2002 Taishin Arts Award
Premiere: Dec.13, 2002/Crown Theater, Taipei
Playwright/ Director: Chia-yin CHENG