首先，不得不说这个故事非常流畅，让人想要也可以很快地读完。大家都知道石黑一雄的作品风格蛮多元的，可以写很英式传统的，也可以写神话科幻类的，而这本书整个的氛围和《Never Let Me Go》的太像了。前者讲的也是类似科幻设定，一批小朋友的成长，长大才发现其实他们是被当作器官仓库而培养起来的克隆人，然后他们心中一直有一个传说一样的地方要去许愿。这个故事里的Klara，为了小朋友的健康，要到太阳下山的地方对着太阳许愿，简直没什么两样啊。
最后一天选了一部莎士比亚的喜剧《无事生非》，轻松开心一下。这是2019年Free Shakespeare in the Park在纽约中央公园表演，卡司全部黑人的版本。最大的感受是，黑人的口音配合莎士比亚的这个故事更好笑了，特别是女主全程大姐大的风范很搞笑。另外就是音乐、舞蹈、唱歌都超赞的。还有一个地方印象特别深刻，就是原故事里面最无聊的那一对，那个男的道听途说就相信别人然后羞辱自己的爱人，最后爱人还假装死了装亲戚来和他结婚，我就觉得就算是真爱吧这个女的也有点怨，拿到现在来还真的有可能原谅他？这个版本里，是我印象中第一次看到，这个女的和这个男的结婚（剧情莎士比亚写死了改不了），但是抽了他一记大耳光，感觉很符合这个版本的氛围呢。
It would be superfluous to examine these three incidents individually. For me the matter is quite clear: in our days there is a war against a hostile form of acting and thinking. It is a war over mankind, in all its diversity. We believe, I personally believe as a believer that mankind descends from God. That he didn’t evolve from a ciliate, an amoeba or an animal and then to a modern human. That is why I ask you to consider when reaching your verdict, not just to judge the acts of any individuals over abstract political and historical events. No, your verdict is a statement about the threat to our country. Moreover, if we want to remain a free nation and take charge of our destiny, if we are capable of agreeing amongst ourselves, whether religious or not, otherwise we will have to live by Western laws. You are deciding if marriage in Russia will be between a man and a woman or between partner A and partner B like in the West. Be aware that your verdict will decide all of this. Thank you.
War and religion are not compatible. People who describe themselves as orthodox believers at the same time preach the opposite values. They proclaim they were deeply offended by these exhibitions that trampled all over their feelings. I doubt that, as it is impossible to describe these people as believers, and especially as orthodox Christians. They might want to believe in something but obviously not in Jesus Christ. Otherwise they wouldn’t have acted in this way. They wouldn’t have destroyed their holy objects while pretending to defend them.
I don’t know you personally but I have the impression when I see you sitting in front of me, that you have great respect for art. Because all Russians have this respect. We are all convinced that art is capable of much. Sadly that is not true. Art is capable of very little. It can draw attention to a problem but cannot change the fate of our country. It cannot practice justice. But ladies and gentlemen, today you can. It is in your hands that our country does not become a theocracy. We are in great danger of being defeated by orthodox fundamentalism, a fundamentalism like the world had never seen before. It doesn’t bode well, not for us, not for our children or grandchildren. The denial of the European idea will bring us no luck, it will destroy us. Today it is not about the artists, but our collective fate. And so I ask you to decide “not guilty”. Thank you.
之前在浏览ITA的网站的时候，看到有一则Ivo van Hove导演的改编自Édouard Louis的同名小说的话剧《谁杀了我父亲》在上演很激动，再仔细一看并没有转播。但是再往后面翻一翻，竟然有一部虽然不是那位名导演的作品但是同样是改编自Édouard Louis的同名小说《艾迪的告别》的作品有在线直播。这本书几年前去巴黎的时候我还买了呢，一直在积灰没有读，正好看看话剧的版本。
I’m now telling you everything, but this is not meant as a catharsis, or as an unlikely coming of age story. I’m telling you all this because I want to show what we don’t see. Picture the following scene: Unexpected massive loss of jobs threatening many employees. No warning and no convincing social safety net neither. The manager bringing the news is wearing a nice watch and will suffer little from these layoffs. During his speech he shows little understanding or empathy. If, out of despair, a spontaneous anger arises from the crowd and while crowding around the manager, his jacket is ripped. Who has committed an act of violence this afternoon? That multitude? The manager? Or is there such a thing as a violent system? When people depend on institutions and they collapse, or people are stripped of their jobs, their public services, their pensions and the social security of their children. In the end, their only source of pride can be their body. Does it then come as a surprise thy these people fight? That they resist, with violence? That they want to be fighters? Or that they have to be fighters in order to fit the norm? The irony is: we violently impose this norm upon ourselves, it can’t be lived up to by anyone. The norm is so unforgiving that not only do I fail to comply but everyone does. Everyone is falling short and ashamed of it: we internalize a heartless norm fed to us by an unjust system. That failure; that shame; that despair, that’s the true violence. And then this: don’t mistake this for a pedestal for the fighters. You don’t have to love people to fight for their right to exist.
整部剧到底算是话剧还是音乐剧搞不清楚，说是话剧的话感觉再多一些魔幻和舞台上的多姿多彩，说是音乐剧的话其实里面的歌有点难听的，除了最后结尾的时候那首《Girls Just Want to Have Fun》还蛮点睛的。整体来看这是一个叙事很宏大的故事，横跨了好几代，但又全部集中在这么一个演艺世家的家庭之中。标题的wise的定义，是一种超越血脉的亲情的关系，真正美好的“not a family of blood but a family of choice”。当然其中也不乏Angela Carter式的精灵古怪和重口的情节，乱伦、复仇、亲情、爱情的交织等等。
Should a politician tell the masses what they want to hear?
Are the masses susceptible to reason?
Is a politician allowed to be irrational?
Is it possible to have politics without a desire for power?
When do principles become unreasonable?
Is it honorable to fight to the death for a cause?
The letter or spirit of the law?
Is the state responsible for all of its citizens?
How far should one go out of love for one’s country?
How far should one go out of love for democracy?
Is democracy more important than the life of a single individual?
How far should one go out of love for one’s value?
Based on how politicians have organized the world, do you know how to act?
Does a politician have a right to a private life?
Is everything communication?
Are the media driven by a desire for power?
Are the media feeding the mistrust that citizens have of politicians?
Is the person who determines the agenda always the winner of the debate?
Is a anti-political humility a paradox?
Can a politician have friends?
Can a politician use the word ‘failure’?
Are there circumstance under which a politician is allowed to be weak?
Are politicians allowed to be unreasonable?
When are politicians allowed to be unreasonable?
Is honesty a political virtue?
What is the importance of political ritual?
Is politics war?
Are wars won with weapons or with words?
Is war an outlet for risk-hungry politician?
Is there an ideal time for war?
Is it possible to calculate the chances of victory in war?
Is political charisma a virtue?
Is mediocrity the political norm?
Is representative democracy the mother of confusion?
Are politicians actors?
Tag: ITA Live, Ivo van Hove, William Shakespeare,
Re:Creating Europe 2021.2.22 年十一
有点搞不清楚这个剧的形式，有很多演员各个国家的说着不同的语言，然后一个个像是演讲一样说一些历史上的各种政治家、作家的话，有的时候旁边还有手语，然后大家都穿着自己的衣服，手上拿着剧本照着文本在读。所讲的内容有古有今，主旨是在回顾united states of Europe的这个存在，涉及nationslism，brexit，难民，宗教，人权，民主，自由，环保。
看下来让人感觉有一点热血沸腾，当然也有一些反面的声音，但是总体感觉是很美好很热血的政治理想。至少让人觉得很可贵的是，这些一个欧洲的观点的出发点其实都是最原本的人。现在的政治那么落后和不堪一击，感觉几百年来都没什么进步呢，太让人觉得气馁了。另，为什么把欧洲抬的那么高，为什么不说united states of Earth呢？
我看的是Manchester International Festival的版本，还有9的出演。
Tag: MIF, Ivo van Hove, Yoeri Albrecht, Adjoa Andoh, Christopher Eccleston, Lemn Sissay, Juliet Stevenson, Michael Morpurgo,
Kings of War Part 1 2021.2.23 年十二 Part 2 2021.2.24 年十三
这个版本的重点，导演Ivo van Hove在开始前说的，正如这部剧的标题所说的是关于战争中的国王的。相比电视剧，这个版本里更多注重的不是战争的部分，同样的剧本，但是更强调一些非战争的东西，比如亨利五世和士兵的对话、死伤的统计、亨利五世本人的情绪变化、婚约等等。感觉亨利五世更多的是在为了名义上的法国的政权归属，而亨利六世也更多是被动地被裹挟在红白玫瑰的战争之中。
这部音乐剧是David Bowie的遗作，音乐的词曲都是用的David Bowie的歌，故事是基于1963年的一部小说由Enda Walsh改编的，主演是Michael C. Hall。这神仙般的组合，没想到竟然一点也不好看。
故事是接着David Bowie自己主演的片子后面讲，男主是一个外星人，整天沉浸在失去爱人和无法回到母星的痛苦之中。此时，他的脑海中出现了一个少女，主动来帮助她回到母星；而他的一个女帮手疯狂地爱上了他；另一个男粉丝也破除万难来找这个外星人。这个情节有点奇葩，外星人男主以为自己疯了，其实女帮手和男粉丝疯的更厉害，后面的反转男主脑海中的少女竟然是残留人间的鬼魂，是需要男主送她上路。那么干的情节之下，表演也很感干。Michael C. Hall好像在故意学Frankenstein一样讲话反应，外星人和人造人很像嘛。全程又都是现代舞，总之就是很尬。
最让我失望的是，歌难听啊。除了《Change》和《Life on Mars》，其他的我都接受不能啊，难道是因为我和David Bowie还是有代沟？1.5倍速播放之下，竟然稍微好听点，至少感觉节奏感出来了明快一些。
Tag: Ivo van Hove, Walter Tevis, David Bowie, Enda Walsh, Michael C. Hall,
Électre / Oreste 2021.2.26 年十五
Oresteia的故事，古希腊三大剧作家都写过，托宾也写过，每个人写的版本都有一些不一样，写的时间轴上的部分也都不一样。这个版本是Ivo van Hove和法国喜剧院合作，改编的是欧里庇得斯的版本。
