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引用:http://www.tap.org.tw/eletter/mag045/meditation.html

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Samuel Beckett’s Krapp’s Last Tape is written as a monolog with two voices on stage and dealt with the protagonist Krapp’s self-recording behaviour in two phases in his lifetime. The play takes up the theme of repetition by his circular actions-playing the recorded tape. At the beginning of the play, a wearish old man with white face, purple nose and disordered grey hair, living in the darkness of his “den,” provides the readers a vivid image of the protagonist’s shabbiness, clown-like figure and deepening isolation from the crowd. He was in his sixties and he tried to retrospect his thirty-nine recorded tape. He embedded his old memories into the tape and then he suddenly found himself stupid and ridiculous. This mechanically fixed memory turned out to be his self-mockery; to make things worse, the memories in his sixties are decaying and never coming back. The recursion is such an irony that his mother’s death, his love affair, and the break of his self-recording faith. During the retrospect, he came to realize that his whole life was such a repeated waste without any meaning for him.

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引用:http://www.enotes.com/drama-criticism/oleanna-david-mamet

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首先說明我的身分來意。我是一個從小被大眾文化教育而成,是個不折不扣的俗濫擁抱者。卻漸漸接觸了所謂精緻藝術思考培養和前衛表演的衝擊,很有可能死在半路卻努力掙扎,霧裡看花之餘,似懂非懂,只能靠著想像和抽離,得到有如是我們這種人生尚未經過洗鍊的果凍世代獨有的解讀。我正是以這種狀況最尷尬的腳色看戲,既不能以最直截了當的直觀,給出個「噢!我快笑死了!真他媽的好笑!」這種評論,也不能期待自己給出什麼了不起的筆記。我在瘋狂年代中,從樊光耀這種感覺一副高風亮節的人口中說出流利順口的髒話,從這些憂國憂民的知識份子最後卻反向綜藝取經,從對劇場的信仰轉變成向生活取材,看清楚台灣社會才是最有力道的劇場,這是如此大的反差,可能是賣點,也可能是劇作家又再一次的以精緻藝術人自居,極其諷刺的本能,把整個台灣社會嘲弄了一遍,但不得不承認,把主流文化帶入劇場,或者不要將他定義為「主流」,將他定義為一些「看的懂的共同語言」,user-friendly的東西搬上舞台,大家看的開心,笑聲遠大於那些以靈魂的賣點,隱喻了大半天卻乏人問津的精緻藝術。

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