藝術與戲劇 - art and theater · 張敬軒 Hins Cheung

Bringing “Equus” to Hong Kong/ 《Equus馬》勇闖香江

原文連結:http://blogs.wsj.com/scene/2014/05/09/bringing-equus-to-hong-kong/

Bringing “Equus" to Hong Kong

Equus馬》勇闖香江

(Wall Street Journal – Scene Asia)

《華爾街日報─亞洲風情》

Actor Anthony Wong launches theater company with Cantonese-language adaptation.

演員黃秋生自組劇場推出粵語版本《Equus馬》

2014/05/09

By DEAN NAPOLITANO and JOYU WANG

Hong Kong is famous for business, tourism, food and action movies. But theater? Hardly.

香港向來以商業、旅遊、美食和動作片聞名於世。然而在舞台劇方面,卻還未達到舉世皆聞的地步

Anthony Wong is trying to change that.

演員黃秋生試圖改變這種窘境。

The veteran film actor is bringing Peter Shaffer’s “Equus”—which was first produced on stage in London in 1973 and later moved to Broadway—to Hong Kong for a 3½-week run starting Friday.

這位資深電影演員將彼得‧謝弗的舞台劇《Equus馬》搬上香港舞台,從本周五起展開為期三周半的公演。這齣舞台劇作於1973年在倫敦進行首演,之後移師百老匯演出。

The play is the first production for a theater company formed last year by Mr. Wong and Olivia Yan, who is directing this version. But they first had to translate the script for the Cantonese-language performances, and that wasn’t an easy task.

Equus馬》也是黃秋生與甄詠蓓在去年成立的「神戲劇場」的首次出擊,甄詠蓓也同時擔任這齣舞台劇的導演。然而他們的首要的工作,就是將劇本翻譯以適合粵語演出。這並不是一件簡單的任務。

The story about child psychologist Martin Dysart (Mr. Wong) and his patient, a 17-year-old stable boy who has blinded six horses, explores the conflict between sex and religion and is sprinkled with references to Greek philosophy and mythology. (The play was famously revived in London and New York a few years ago with Richard Griffiths and Daniel Radcliffe.)

Equus馬》是描述一位兒童心理學家馬丁‧戴薩特(黃秋生飾)和他的病人之間的故事。這位十七歲的馬廄少年戳瞎了六匹馬的雙眼。《Equus馬》探討了性與宗教間的衝突,大量運用希臘哲學及神話的典故。(幾年前這部舞台劇曾在倫敦和紐約重新上演,由李察葛瑞菲斯和丹尼爾雷德克里夫演出,大獲好評。)

Translating the play to make it accessible for local audiences proved challenging.

要將劇本台詞翻譯到能讓本地觀眾接受,是一項不小的挑戰。

“It’s very difficult,” said Mr. Wong, who studied and trained in Western drama at the Hong Kong Academy for Performing Arts, where, coincidentally, “Equus” will be performed. “You want to explain to the Hong Kong audience [about the themes] and let them understand what they are.” Theater-goers in the city usually gravitate toward “something entertaining, some comedy—easy to digest,” Mr. Wong said.

黃秋生表示,「這項翻譯工作十分困難。」他曾在香港演藝學院研讀西方戲劇、接受訓練,這回《Equus馬》剛好也在香港演藝學院公演。「我們得向香港觀眾把主題解釋清楚,讓他們能跟得上。這裡的舞台劇觀眾大多偏好娛樂性豐富、喜劇成份較多、容易理解的劇情。」黃秋生說。

“Is Hong Kong a theater city? No … but it’s getting better and better,” he said. “People are starting to think. The atmosphere—the environment’s changing, everything’s changing. When the citizens start to think, they need theater.”

「香港是舞台劇之城嗎?並不是,不過情況已經越來越好。大家思考的時候變多了,整體氣氛、環境都在變,一切都在變。只要大家開始思考,就會需要舞台劇。」

Ms. Yan said that while the translation is true to the original play, some condensing was necessary. “It’s easier for Western audiences to understand ancient Greek mythology,” she said, “but we could not drill into it too deep.” For example, they had to simplify the background of Dionysus, the god of wine and ecstasy. (The collaborative duo named their company Dionysus Contemporary Theatre.)

導演甄詠蓓表示劇本翻譯除了忠於原著之外,也必須作些精簡。「西方觀眾比較容易理解希臘神話典故,但是我們不能在這方面鑽研太深。」例如,他們必須把劇中指涉到希臘酒神戴歐尼修斯的部分加以簡化。(「神戲劇場」的英文名稱 Dionysus Contemporary Theatre 就是以這位象徵美酒與狂歡的希臘神祇為本。)

For Mr. Wong’s co-star, too, “Equus” required a crash course in Western drama.

和黃秋生一同演出的張敬軒,也認為《Equus馬》這部舞台劇需要演員多方涉獵西方戲劇,才能夠掌握好它的內容。

“Before this play, my knowledge of drama was shallow,” said Hins Cheung, who plays the stableboy. “I spent a lot of time asking [Mr. Wong] … about Greek tragedy,” he said. “We did a lot of research, including an analysis of the script and background,” he said. “We had many workshops, like horse riding, watching videos.”

「在演出《Equus馬》之前,我對戲劇的認識很淺薄。我花很多時間詢問阿sir(黃秋生)希臘悲劇的知識。」張敬軒說。「我們作了很多研究,包括分析劇本和故事背景。我們參加了不少工作坊,例如騎馬、觀看影片。

The strongest element the Hong Kong production has going for it is the presence of its two established stars.

「神戲劇場」的首作最具話題的地方就是這兩位知名藝人的參與。

In a 30-year career, Mr. Wong has become one of the most familiar faces in Hong Kong movies, appearing in such films as the “Infernal Affairs” trilogy and last year’s “Ip Man: The Final Fight.”

With Mr. Cheung, the play has a popular Cantopop singer-songwriter, a lure that could attract the interest of younger audiences who haven’t previously been exposed to much theater. And the fact that Mr. Cheung’s character appears nude has been the subject of much media attention, which he shrugged off as tabloid fodder, saying that he hopes the audience concentrates on the play.

從影三十年,黃秋生是香港電影的熟面孔,參與過《無間道》系列三部曲,去年還演出《葉問:終極一戰》。有了張敬軒的加入,這位廣受歡迎的粵語創作歌手成為舞台劇的另一個賣點,能吸引對於舞台劇接觸不多的年輕觀眾前來觀賞。張敬軒的角色將有全裸演出,成為媒體關注的焦點,他則表示這是媒體炒作,希望觀眾將焦點放在劇作本身。

But just why did Mr. Wong decide on such a complex and demanding play for his new theater company’s first production?

然而為何黃秋生會選擇這齣內容複雜又吃力不討好的劇碼,作為他自組劇場的首部作品?

“Because of him,” he said, pointing to Mr. Cheung. “One night we headed out to a pub. After a few drinks he asked me to teach him how to act. I was thinking he’s just trying to be nice.…I said, “Yeah, OK, well maybe, let me think about that.” A few minutes later, “Equus,” which he had read years earlier, “popped in my mind.”

「都是因為他囉,」他指著張敬軒說。「有一天晚上我們去pub喝酒,喝了幾杯之後,他要我教他演戲。我以為他只是客氣,所以我就說『好,我想想。』過了幾分鐘,以前讀過的劇本Equus馬》,突然間浮現在腦海中

It was a curious choice, but Mr. Wong wanted the challenge.

這樣的選擇有些奇特,然而黃秋生躍躍欲試。

With “Equus,” he said, “my dream comes true … [to] do something real, do something good, do something fascinating.”

「因為《Equus馬》,」他說:「我的夢想成真了。我可以做一些真實的、有益的、有趣的事情。」

 

(Caption) With ‘Equus,’ says Anthony Wong, ‘my dream comes true.’ Joyu Wang/The Wall Street Journal
(圖片文字)黃秋生說:「《Equus馬》令我夢想成真。」

(Caption)Cantopop singer-songwriter Hins Cheung plays the stableboy in ‘Equus.’ Joyu Wang/The Wall Street Journal

(圖片文字)粵語創作歌手張敬軒飾演《Equus馬》當中的馬廄少年。

 

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