南鵲書廬

文：彭鏡禧

在這齣戲以「喜劇」落幕之前，有過驚心動魄的場面，卻是素來受到忽略的。

且讓我們再回到法庭現場。就在波黠兩度宣布判決，容許夏洛動刀，而夏洛也準備就緒，正待下手之際，她又拋出這麼一句：

且慢，還有別的話要說。

她要說的「別的話」，就是本文開始時引用過的「割肉不得見血」的法律條文。但是回到前面提出的問題：波黠究竟是在什麼時候決定祭出這個祕密武器？

【…】

其實，法庭裡的波黠，這時候很可能正陷於一個兩難的困局：要救安東尼還是不要？安東尼是她丈夫的摯友，理當相救──更何況這是法律所許可。然而安東尼也是她潛藏的情敵，理當翦除──而法庭裡只有她自己知道如何替安東尼解套！

詳見聯合報：法庭見聞錄

原始圖片出處：（1）

觀看影片請點選連結：YouTuBe

南飛烏鵲曰：

近來網上流傳一部布袋戲短片，改拍自霍元甲故事。製片者據說是對岸業餘戲迷，水準直逼本地的霹靂布袋戲。

前年，廖瓊枝歡喜慶祝70大壽後，舞台演出已漸漸減少，大部分時間都放在薪傳教學上，今年，廖瓊枝又將重返舞台，除了本周應日本石川縣白山市教育委員會之邀，25日在白山市舉行兩場演出；今年九月，「2006華人歌仔戲創作藝術節」在台舉行，廖瓊枝也將與唐美雲搭檔演出古戲新詮釋的大戲「金水橋畔」。

此次赴日交流，廖瓊枝將與小生唐美雲、台灣戲專歌仔戲科第一屆畢業生、秀朗國小歌仔戲團四代同堂聯演；其中，廖瓊枝、唐美雲排出的戲碼是「陳三五娘」一折「磨鏡」。

詳見聯合報：七旬廖瓊枝 受邀赴日演出（2006.6.21）

相關網站：財團法人廖瓊枝歌仔戲文教基金會

《馬偕在台灣》由長老教會長老林俊育編寫劇本，他本人亦曾於旅居地美國波士頓以布袋戲演出馬偕故事，因為型式有趣，有了製成DVD推廣發行構想，返台找上亦宛然，以專業手法製作演出。

亦宛然主演黃僑偉昨說，馬偕生命題材豐富，但編寫為布袋戲版時，添加了適合表演的情節。比如安排馬偕行醫至艋舺，碰到廟會，出現扛轎、耍盤、迎神等熱鬧畫面；再如宣教，希望台灣人不要祭神拜偶像，結果慘遭民眾修理，拳打腳踢，也適合布袋戲表現武打動作。整體而言，除了介紹馬偕醫療貢獻，也展現台灣風俗趣味，即使非教友也可看得津津有味。

台灣基督長老教會去年亦曾發行歌仔戲版馬偕故事《百里名醫》DVD。昨天發行的《馬偕在台灣》攝影、後製由霹靂國際多媒體協助，也將在霹靂有線頻道播映。

詳見聯合報：馬偕在台灣 布偶說給你聽（2006.5.07）

今年是曹禺逝世10周年，大陸當局正準備修復位於天津市區內的曹禺故居，並附設「曹禺小劇場」，以紀念這位23歲即寫出中國第一部話劇《雷雨》，隨後以榮膺北京人民藝術劇院創院院長、全國劇協主席、中央戲劇學院院長的知名劇作家。

【…】

曹禺（1910~1996）18歲之前都住在此地。本名萬家寶，父親萬德尊曾任黎元洪元帥秘書，家況優渥，曹禺在此「目睹了帝國主義暴行，看到高級流氓、高級惡棍及苦力的勞動」，對他一生思想產生重要影響。曹禺專家、中國藝術院話劇研究所所長田本相說，《雷雨》不能跟曹禺自傳、半自傳畫上等號，但就在這棟舊居，找得到《雷雨》場景，「走進屋子，一下子好像就嗅到了《雷雨》那低沈的氣壓」，《雷雨》的創作靈感，跟天津故居密切相關。

曹禺就讀南開中學，1922年入學，1925年參加著名的「南開新劇團」，開啟一生戲劇淵源。南開大學政治系讀了一年，才轉至清華大學西洋文學系，大三即寫出了自己生平第一部、也是中國成熟劇作代表作《雷雨》，天津、北京兩地是曹禺一生重要行跡地。大陸當局決重修故居，作為紀念館，同時在民主道19-21號、民生路26-30號拆遷地上，新建曹禺小劇場，與故居毗鄰，經常上演曹禺作品，預計可容50位觀眾，希望年底全部整建完成。

詳見聯合報：曹禺天津故居找得到《雷雨》場景（2006.4.29）

曹禺生前認為最滿意的作品《北京人》，今晚起，在北京人民藝術劇院首都劇場推出，由新一代導演李六乙執導。李六乙表示，將「回歸曹禺精神的寫實主義」；然而全劇瀰漫高度象徵性，傾斜15度的舞台、幕啟與幕末的鴿子、半頹的屋宇及景深深邃的燈光，製造了曖昧與迷離。

詳見民生報：曹禺最滿意作品北京人 北京登場（2006.4.29）

Modesty is not a virtue often associated with King Lear, one of Shakespeare's most grand and grandiloquent characters, or, for that matter, with actors who undertake the role and its vaunted challenges. Lear is considered a great mountain to be scaled, the ultimate actorly feat, a career peak calling for the customary accolades. Come, mortals, and worship at the shrine of the actor's art!

Alvin Epstein, the esteemed actor and founding member of the Yale Repertory Theater and the American Repertory Theater, is having none of that big-shot business. In interviews discussing his undertaking of the role, he has expressed a wary attitude toward this much-revered play by the most revered of playwrights, comparing it, with a friendly irreverence, to a fairy tale in its extreme depictions of good and evil.

Some of his circumspection may derive from an ill-starred earlier encounter. Mr. Epstein played the Fool in an infamous 1956 production directed by and starring Orson Welles at City Center in Manhattan. An injury forced Welles to perform in a wheelchair. Perhaps Mr. Epstein's ungrandiose and unmajestic Lear derives from a desire to get as far away as possible from Wellesian bloat. Whatever the cause, it has resulted in an interpretation striking in its determination not to be striking.

In Mr. Epstein's hands, in a suitably modest production of "King Lear" at the La MaMa Annex, first seen in Boston and directed by Patrick Swanson, Lear is not an embodiment of majesty brought low, a figure of tragic glory or glorious tragedy. He is a selfish and rather foolish old man who has been insulated for too long from the small storms of the world that shake the less fortunate on a daily basis: the minor betrayals and indignities, the illnesses and inconveniences.

詳見紐約時報：Alvin Epstein Gets Up Close and Cranky as a Low-Key King Lear

If there were a Shakespearean household where it might actually be fun to live, Olivia's in "Twelfth Night" would be the place. Olivia, a countess, has only glamorous problems: a sexy young duke wants her for his bride, but she's not interested. Her relatives and staff seem to spend their time happily drinking, sometimes until the wee hours, and devising elaborate practical jokes.

This also makes it fun to watch, even when the cast's skills range from seasoned and sure to valiantly, endearingly amateurish (only 5 actors in the 15-person cast are members of Actors' Equity), as they do in this production by the Kings County Shakespeare Company.

詳見紐約時報：Shakespeare's Comedy Club, Open All Night

By Ginia Bellafante

"The Devil Wears Prada," which is set to open June 30, is based on the best-selling novel of the same name, written by Lauren Weisberger, who worked as an assistant at Vogue and mined the experience to depict fashion magazines as cauldrons of Peronist management style and self-enchantment. Andy (played by Anne Hathaway) was once an earnest young woman who might have invoked the word "crisis" to describe wars and car accidents. But she is so ensorcelled by Miranda, Runway's harridan editor (Meryl Streep), that she now uses it when harm befalls a set of accessories. In all of this her father finds great cause for lament.

【…】

"The Devil Wears Prada" also gets that fashion people are ambitious, but their ambition is a kind no one outside their world would recognize. Andy — who was attracted to journalism as a way to right social wrongs — finds her colleagues baffling. Among them is Emily (Emily Blunt), another one of Miranda's assistants, who works to the point of mental collapse all in the service of her goal to one day accompany Miranda to the couture shows in Paris. Emily forfeits her personal life completely for a job she sees as no less demanding or significant than any at the Department of Homeland Security.

原始圖片出處：（1）

詳見紐約時報：In 'The Devil Wears Prada,' It's Not Couture, It's Business (With Accessories)

 
蔡瑞月舞蹈社開放參觀終於有譜！台北市文化局與蔡瑞月文化基金會簽訂經營蔡瑞月舞蹈社的合約自5月29日生效，這天也是舞蹈先驅蔡瑞月逝世周年紀念日。基金會延伸蔡瑞月舞作《牢獄與玫瑰》精神，將舞蹈社定位在「玫瑰古蹟」，希望阿月老師玫瑰般的熱情常駐，今天下午2時起將舉辦「531‧阮想伊‧讓我相約在玫瑰古蹟」逝世周年活動。

【…】

《牢獄與玫瑰》是蔡瑞月著名舞作，也象徵她執著的愛情。舞蹈中化身西班牙的女郎的舞者手持響板舞動，與牢獄裡的男舞者見不到面，卻互相以響板對話，象徵蔡瑞月先生雷石榆被捕入獄，女舞者只能將玫瑰投入監牢的小窗，寄予蔡瑞月對先生的想念；後面一段男舞者接下女舞者拋下的玫瑰而撞牆的舞蹈動作，也取自蔡瑞月在船上拒絕追求者求婚導致追求者撞牆的故事。

「玫瑰」是熱情，也是以愛盼望未來。蕭渥廷說，玫瑰是蔡瑞月最好的象徵，更是她熱情精神表彰，今天的紀念活動將在蔡瑞月舞蹈社構築一面「玫瑰牆」，象徵舞蹈社將走出過去的禁錮、悲情，轉換為年輕人樂於在此創作、休閒、喝杯咖啡的文化空間，渴望「玫瑰古蹟」能走向年輕化。

詳見聯合報：懷念蔡瑞月 相約在玫瑰古蹟 

As the summer Hollywood blockbusters, with their frantic action, begin their relentless parade across American screens, there is no better time to take refuge in the still, slow cinema of the Japanese master Yasujiro Ozu. The Criterion Collection, already home to several Ozu masterpieces, today releases his 1949 "Late Spring."

【…】

Though it's likely to strike those viewers new to this great filmmaker's work as languorous and anecdotal to a fault, its plot is actually quite eventful by Ozu standards, and the emotions it taps are unusually raw. Noriko (Setsuko Hara) is a modern Japanese woman of the postwar era. (In an unusual political aside, Ozu gives her a lingering illness, a result of the deprivations she suffered during the war.) Yet she is content to sacrifice her personal life to continue living with and caring for her father, Shukichi (Chishu Ryu), a widowed professor approaching retirement.

【…】

Much has been made of Ozu's visual devices: the camera pitched to the eye level of an ideal spectator watching from the comfort of a tatami mat; the compositions that emphasize the geometric qualities of the Japanese interior, with its clean lines, right angles and frames within frames; the "pillow shots," as Ozu called them, of wind-rustled trees, passing trains, empty side streets, that provide buffers of silence and reflection between dramatic scenes. These compositional effects invite the viewer to adopt a slightly distanced, relaxed, contemplative attitude, one that many Western critics have been quick to identify with Zen, though Ozu manifests no other evident interest in manners religious or spiritual.

Instead, these devices, along with the narrative techniques that accompany them, are Ozu's way of manipulating his audience. Ozu's pillow shots are meant to decelerate the viewer's metabolism. Narratively, their place is taken in "Late Spring" by the extended (by Western norms) scenes that depict taking the train into Tokyo, attending a Noh play and touring a Zen garden in an ancient Kyoto castle. Instead of frantically searching the frame for narrative information, viewers are invited to rise above (or sink below) the chatter of consciousness, to interrupt their continual quest to know "what comes next" (predictable enough in Ozu's work in any case) and suspend themselves in the moment.

【…】

The problem facing Ozu's little family unit is to balance the desire for stability with the need to change: the family must grow, or it will die.

The same is true of Ozu's storytelling: the eternal and the momentary, the unchanging physical world and the volatile inner world of human feelings, exist in constant counterpoint, ultimately irreconcilable. And thus arises the gentle sadness that permeates this great artist's work and that culminates in "Late Spring" in an image of the professor peeling an apple. It is perhaps the first self-reliant act he has performed in years, and also, as the peel drops away, a symbol of ineffable loss.

詳見紐約時報：New Dvd’s ：Late Spring （2006.5.16）

南飛烏鵲曰：
忘了是碩一寒假還是暑假，自己跑到圖書館的視聽中心，看些不容易租到的老電影。記得看了勞倫斯‧奧立佛的「理察三世」、「亨利五世」，奧森‧威爾斯的「大國民」。以及，小津安二郎的「秋刀魚之味」。

後來在誠品買了本紀念小津安二郎的《尋找小津》，書的內容相當豐富，除了介紹小津的作品，還收錄各家觀感、評論。裡頭收了篇侯孝賢的文章，很能跟這今天的選文相互發明：早年我常遇到人問，有沒有受到小津電影的影響，最顯而易見的當然是指，小津不移動的固定鏡頭，因此還被人戲稱為「不動明王」…唐納瑞奇（Donald Richie）說，這是一種靜觀的境界，一種傾聽和注視的態度，這和一個人在觀賞能樂，在做茶道或花道的時候，所採取的姿態是相同的。（ “重新再看小津安二郎”，iii）

又，之前讀石黑一雄的 An Artist of the Floating World，主角的兩名女兒就叫做Noriko 、Setsuko，真巧。