AnniversaryRiot in A Room of One’s Own
Playwright: Heiner Mϋller │ Performer: Hsu, Yen-Ling │ Pianist: Andreas Kern │ Director: BABOO
To reject pain is to avoid love.
We are accomplices and opponents; we once desired each other.
Should lust be crime, you and I are no doubt the most sinful……
The most intensive bantering mockery and query of a skeptic of love
Director Baboo, composes the piece based on, Heiner Mϋller, the German dramatist’s recreation, Quartett, of the French novel Les Liaisons dangereusesan, as an extension of Hsu Yen-ling×Sylvia Plath to discuss the transformation of theatrical poetry and change of scenes, and the exploration of acting talents to represent the cruel erotica and violence in aesthetics. Heiner Mϋller’s script is known for stylistic language, fragmentary and disconnected plots. Quartett is interwoven with long monologues that are fierce but poetic, and accompanied by disconnected meanings without clear indication. Two actor and actress will act as four different characters. “Play” and “game” are the two main actions throughout the play, and simultaneously represent the ambiguity of characters, sexuality, and desire.
《海納穆勒‧四重奏》
愛與死的完美交媾，情色與暴力美學的極致高潮
劇作：海納‧穆勒│演員：徐堰鈴│現場鋼琴演出：Andreas Kern │導演：BABOO
拒絕痛苦，就無法愛
我們既是共犯，亦是對手；我們曾經渴望過彼此
如果情慾是一種罪，那你我將是最無可赦免的罪人……
愛情懷疑論者最尖銳戲謔的諷嘲和質疑
延續《給普拉斯》對舞台詩化語言、意象化場面調度，與以及演員表演技藝的深度探索，導演BABOO選擇德國劇作家海納‧穆勒以法國小說《危險關係》Les Liaisons dangereuses為藍本，所重新寫就的劇作《四重奏》Quartett，展現殘酷的情色暴力美學。海納‧穆勒的劇本向來以風格化的語言、拼貼碎裂、跳躍不連續的情節著稱，在《四重奏》中，大量長段獨白交織錯縱，語言強悍而富詩意，意義急遽跳躍卻罕有舞台指示。兩位演員串演四個角色，「扮演」與「遊戲」將是貫穿全劇兩個主要戲劇動作，藉由大量描述色情、交媾和性愛等沾染了「魔鬼元素」的行徑，有意識地把主流價值中被認為「傷風敗俗」的行為，大膽挑釁成為一種快感的體驗，肆無忌憚地逾越道德的界線，展現從角色、性別到情慾的曖昧流動。
《四重奏》如一把犀利的解剖刀，赤裸揭露愛情中精神與肉體的競技角力，理性與本能的撕裂拉扯，展示一個由激情的慾望所沾染的病態特徵，以及引發潛藏的精神疾病；演員藉由性別互換所呈現的多組關係，彷彿在舞台上實踐男女交媾的多種姿勢體位，不停地擺蕩在高潮快感與性交後憂鬱的相互折磨之間。全劇充滿性愛與死亡的氣味，演員全然將自己置身於一種極端的狀態中，透過壓抑與冷冽的表演方式，宛如影像表演的低限內斂風格，讓觀眾感受一種性的張力，以及心理的暗潮洶湧與恐懼氛圍，冷靜而犀利地完成表演上的美學策略。一如電影導演麥克‧漢內克的影像風格，往往以井然有序的鏡頭，處理暴力的沉思與對痛苦的凝視。本製作也邀請來自德國柏林的鋼琴家Andreas Kern合作，現場寂靜中砰然巨響的鋼琴敲擊聲，直逼情慾與肉體的荒蕪廢墟。