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四把椅子劇團×簡莉穎《叛徒馬密可能的回憶錄》


The Possible Memoirs of a Traitor

演出時間:2019-03-01
購票
疾病王國子民的日常合聲 後雞尾酒療法時代的群像
簡莉穎╳許哲彬話題之作 兩廳院重磅再現


「為那個距今並沒有很遙遠的年代,為那些還不那麼被理解,卻與我們很靠近的人們留下身影。」── 簡莉穎



故事起始於一場關於「馬密」的紀錄片發表會。女子均凡靠著馬密留下的一本日記,追訪了他身邊的親友,探究曾經收留許多HIV感染者的「甘馬之家」解散的真正原因。日記文字和受訪者敘述交疊,真相究竟為何?馬密的說法是答案,還是一種可能的回憶錄?當病患不只是文學悲劇的隱喻,回歸「人」之後,又是什麼樣子?


《叛徒馬密可能的回憶錄》2017TIFA在實驗劇場首演,預購第一天即秒殺完售,水源劇場加演五場一票難求,演出引起各界矚目與廣大迴響,成為當年度台灣劇場界的指標性作品之一。劇作家簡莉穎與導演許哲彬將帶著此作重返,從實驗劇場登上國家戲劇院舞台,再現疾病王國眾生的模樣,只在2019TIFA。


劇作家 簡莉穎

2015 年兩廳院駐館藝術家。劇場圈最炙手可熱的新生代編劇,作品質量兼具,聚焦性別議題及台灣當代文化,致力於書寫屬於台灣的原創文本。


導演 許哲彬

四把椅子劇團藝術總監。英國皇家中央演講戲劇學院劇場創作碩士。近期導演作品:《遙遠的東方有一群鬼》、《服妖之鑑》。


製作團隊

劇作家│ 簡莉穎

導演│ 許哲彬

製作人 │ 蘇志鵬

構作顧問 │ 李銘宸

助理導演|陳煜典

舞台設計 │ 李柏霖

影像設計 │ 王正源

燈光設計 │ 徐子涵

服裝設計 │ 李育昇

音樂設計 │ 柯智豪

聲響設計 │ 洪伊俊

演員 │ 王世緯、王安琪、王肇陽、余佩真、竺定誼、林子恆、林家麒、高若珊、曾歆雁、楊迦恩、廖威迪、廖原慶、鄧名佑……等。

舞台監督 | 張仲平

導演助理|潘品丰

執行製作 | 吳可雲

攝影|秦大悲

注意事項

  • 節目全長約 150 分鐘,無中場休息。
  • 為避免影響演出品質,遲到及中途離席觀眾將不再開放進場。
  • 3/1(Fri.)、3/2(Sat.) 中文演出,英文字幕;3/3(Sun.) 提供聽力障礙輔助字幕。
  • 演出部分含抽菸及煙霧等特殊效果,請留意並斟酌入場。
  • 建議 12 歲以上觀眾觀賞。
  • 演後座談:3/3(Sun.) 午場演後於國家戲劇院,並提供聽力障礙輔助字幕。
  • 錄影場次:3/2(Sat.) 晚場、3/3 (Sun.)。
A day-to-day chorus of people in the kingdom of diseases
The collage of images in the era of post-cocktail therapy
The most talked-about work by CHIEN Li-ying and Tora HSU returns to National Theater!


The story begins with the launch of a documentary film about Ma Mi. Based on Ma Mi’s diary, the filmmaker tries to explore the reasons behind the closure of “Ma Mi’s Home,” a shelter which has taken in so many AIDS patients and volunteer workers, by interviewing his relatives and friends. The Ma Mi’s diary and the interviewees’ narratives sometimes overlap with yet sometimes diverge from each other. Which one is true? Is Ma Mi’s diary the answer to the question or simply possible memoirs? When the disease ceases to be a death threat and patients are no longer a tragic metaphor in literature but return to “the beings,” how they will be presented?


The Possible Memoirs of a Traitor made its premiere at the Experimental Theater in the 2017 TIFA and all tickets were sold out on the first day in the advance sale. Additional five performances at the Wellspring Theater were also completely sold out. With loads of positive responses, the play became sensational and one of the signature productions that year. Playwright CHIEN Li-ying and director Tora HSU join hands again in the revolution of the play and take it from the Experimental Theater to the National Theater to represent various faces of the people in the kingdom of diseases.


Playwright CHIEN Li-Ying

CHIEN Li-Ying, the 2015 NTCH Artist in Residence, is one of the most sought-after playwrights in the younger generation. With works focusing on the gender issue and Taiwan contemporary culture, she is dedicated to writing original texts that belong to Taiwan.


Director TORA HSU

Tora HSU, artistic director of 4 CHAIRS THEATRE, obtained MA in Advanced Theatre Practice from the Royal Central School of Speech and Drama, UK. His recent works include We are Ghosts and Dress in Code.


Production Team

Playwright │ CHIEN Li-ying

Director │ TORA Hsu

Producer │ SU Chih-peng

Dramaturgy │ LEE Ming-chen

Set Design │ LEE Po-ling

Video Design │ WANG Cheng-yuan

Light Design │ HSU Tzu-han

Costume Design │ LEE Yu-sheng

Music Design │ KO Chih-hao

Sound Design │ HONG Yi-jun

Cast │ WANG Shi-wei, WANG An-chi, WANG Chao-yang, YU Pei-chen, CHU Ding-yi, LIN Tzu-heng, LIN Chia-chi, KAO Ro-shan, TSENG

Hsin-yen, YANG Chia-en, LIAO Wei-di, LIAO Yuan-ching, DENG Mingyou,

etc.

  • Duration: approx. 150 minutes without intermission.
  • To avoid disturbing the performers and audiences. Latecomers and those who leaves the middle of the performance will NOT be admitted again.
  • 3/1 (Fri.), 3/2 (Sat.): Performed in Mandarin with English subtitles;3/3 (Sun.): Subtitles for the hearing-impaired audiences are provided.
  • This production contains scenes of smoking and special effect of smoke. Audience discretion is advised.
  • The age guidance for this production is 12+.
  • Post-talk: 3/3(Sun.) at the National Theater after matinee; subtitles for the hearing-impaired audiences are provided.
  • Recording Date: Evening show on 3/2 (Sat.).