:::

德國慕尼黑室內劇院《夜半鼓聲》


Drums in the Night

演出時間:2019-03-08
購票
要革命還是愛情?
如果要為這難題加上一個期限,我希望是一百年。

1922年,戲劇大師布萊希特24歲,尚未成名的他劇作《夜半鼓聲》在慕尼黑室內劇院首演,這是個關於選擇的故事,與現實無異,每個選擇背後都有故事。

安娜,選擇相信愛人克拉格已戰死,遵從父母意見,嫁給沒打仗但從戰爭中獲取暴利的商人;克拉格卻並未戰死,回到柏林的他一無所有,在絕望與盛怒中投身革命,成為領導人物。一場重要的起義行動前夕,面對回心轉意的安娜,克拉格的選擇竟是……背棄革命,投奔愛情。

有趣的是布萊希特自己為結局掙扎數年,甚至傳言他相當後悔,近百年後,33歲新生代導演克里斯多福˙魯賓選在此作首演劇院演出,以兩種結局重新詮釋本劇。布萊希特《夜半鼓聲》丟出一個難題,克里斯多福˙魯賓則是大膽地為難題加上了期限,百年後,當時代與舞台都經歷革命,面對原作備受非議的結局,你我會有不同的見解嗎?

導演 克里斯多福•魯賓

德國最炙手可熱的新世代導演,2010年畢業後,隨即受到德國多位藝術總監青睞,劇院邀演不斷。每齣作品風格多變,評論者稱其叛逆不羈,但也因其創作的高度藝術性與話題性,總能引起評論與觀眾注目與喜愛。作品曾兩度入選柏林戲劇盛會十大節目,包含這次來台的《夜半鼓聲》。

導演/ 克里斯多福‧ 魯賓

演出者/ Hannes Hellmann, Nils Kahnwald, Christian Löber, Wiebke Mollenhauer, Wiebke Puls, Damian Rebgetz

舞台設計/Jonathan Mertz

服裝設計/Lene Schwind

音樂設計/ Paul Hankinson, Christoph Hart, Damian Rebgetz

燈光設計/ Christian Schweig

戲劇構作/Katinka Deecke

注意事項

  • 3/8(五)為「布萊希特結局版」、3/9(六)為「導演魯賓結局版」、3/10(日)為「關眾票選結局版」。
  • 節目全長約120 分鐘,無中場休息。
  • 德語發音,中文字幕。
  • 演出部分含性愛動作、強光、煙霧等特殊效果,請留意並斟酌入場。
  • 建議12 歲以上欣賞。
  • 演前導聆:每場演出前30 分鐘於國家戲劇院大廳,3/10(Sun.) 提供聽力障礙輔助字幕。
  • 演後座談:周日午場演後於國家戲劇院大廳,並提供聽力障礙輔助字幕。
  • 3/10 演出結局將由觀眾票選演出布萊希特版或是魯賓版,將於2019/1/10 公布,請密切注意TIFA 官網。
Which will you choose? Revolution or love?
Should a deadline be imposed on the dilemma, I hope it is 100 years.

Drums in the Night was premiered at Münchner Kammerspiele in 1922 when Bertolt Brecht was only 24 years of age and had not yet achieved his fame as a theater master. It’s a story about choices. As in the real life, each choice has its own story.

Anna is convinced that her lover Kragler has been dead in the war and therefore agrees to her parents’ arrangement for her to marry a manufacturer who has never fought the war but instead gained profit from the war. However, Kragler is not dead and returns to Berlin only to find out that he has nothing. In disappointment and anger, he devotes himself to the cause of revolution and becomes a leader in the movement. On the eve of an important uprising, Anna comes back to him. Faced with the choice between his lover and the uprising, he hesitates briefly before making a decision: he chooses to desert the insurgency and go home with his lover.

Interestingly, even while Bertolt Brecht was writing this play, he struggled with the ending and was said to regret it throughout his life from then on. Nearly 100 years later, 33-year-old Director Christopher Rüping from the new generation chooses to reproduce the play at the theater where it was premiered and to interpret it with two different endings. Brecht proposed a dilemma in Drums in the Night, while Rüping bravely imposes a deadline for the dilemma. After nearly one century, when both the time and the stage have gone through revolution, will we have different opinions toward the controversial ending in the original play?

Director / Christopher Rüping

One of the most sought-after theater directors in the new generation, Christopher Rüping has been invited by artistic directors of many theaters in Germany to showcase his works since his graduation in 2010. With a variety of styles, his works have been described by critics as rebellious, but have always successfully drawn the attention and praise from both critics and audiences with their artistry and hot topics. Two of his works have been selected as top ten programs in the Berlin Theatertreffen, including Drums in the Night.

Theatre Director/ Christopher Rüping

Performers/Hannes Hellmann, Nils Kahnwald, Christian Löber, Wiebke Mollenhauer, Wiebke Puls, Damian Rebgetz

Stage Design /Jonathan Mertz

Costume / Lene Schwind

Music/Paul Hankinson, Christoph Hart, Damian Rebgetz

Lighting / Christian Schweig

Dramaturgy / Katinka Deecke

  • Duration: approx. 120 minutes without intermission.
  • Performed in German with Chinese subtitles.
  • This production contains adult subject matter and such special effects as strong lighting and smoke. Audience discretion is advised.
  • The age guidance for this production is 12+.
  • Pre-talk: 30 minutes before every performance at the lobby of National Theater; 3/10(Sun.)Subtitles for the hearing-impaired audiences are provided.
  • Post-talk: 3/10(Sun.) at the lobby of National Theater; subtitles for the hearing-impaired audiences are provided.
  • The performance on 3/10 will present the version with either Bertolt Brecht’s or Christopher Rüping’s ending based on the result of audiences’ votes. The result will be announced at the official website of TIFA on 2019/1/10.