笈田ヨシ《禪問》

2012Taiwan International Festival of Arts-Interrogations: Words of the Zen Master by Yoshi Oida

基本資料

英國合拍劇團《春琴》中飾演老年佐助，也是與劇場大師彼得．布魯克多次於《暴風雨》、《生命之火》、《伊克人》、《眾鳥會議》、《摩訶婆羅達》及《那個男人》等作品合作的演員，在盧貝松執導的法國電影「極速追殺令」也可看到他演出，笈田ヨシ這次將帶著他自導自演的獨角戲作品《禪問》來台。《禪問》自1979年於亞維儂藝術節首演後，即受到世界各地觀眾的歡迎。紐約時報曾說：「《禪問》結合戲劇、音樂、肢體及宗教哲思，可謂是真正的大師級作品！」。《禪問》中，禪學大師以一系列的禪語問答，測驗他的學生，例如：「已經達到巔峰的人，如何能夠再上一層樓？」唯有真正成熟明智的學生，才能完成修業。笈田ヨシ自己則說：「這些問題並不需要有所謂的正確答案。」這席話充滿禪意的話，替本劇下了最好註解。一個東方表演者勇闖歐美劇場，獲得極高成就與崇高聲譽，這齣充滿幽默的喜劇《禪問》，是您絕對不可錯過的笈田ヨシ代表作！

笈田ヨシ

跟隨劇場大師彼得．布魯克長達四十二年，在歐美劇場界享有崇高的聲譽，甚至可以當成是實踐布魯克劇場精神的最佳演員代表。笈田ヨツ曾演出彼得‧布魯克多部代表作。亦曾執導劇場與舞蹈作品，包括《西藏生死書》、《但丁神曲》、《茉莉．史威尼》、《末日遊戲》、《女僕》與《誤會一場》；執導多齣歌劇，如《納布果》、《唐．喬望尼》、《依多美尼歐》、《魂斷威尼斯》、《杓鷸河》、《大地之歌》與《冬之旅》等。演出彼得．格林納威《枕邊書》電影，亦曾著書《一個演員的漂泊》、《看不見的演員》與《演員的技巧》等。笈田ヨシ於1992年獲頒法國藝術與文學騎士勳章，以及2007年獲頒榮譽文藝勳章。

The Koan is a collection of “Words” written by Zen Maesters and conserved in Chinese monasteries between then 11th and 13th centuries. We can find such “Words” in the writings of Wou-Wen-Kouan, Lin-Tsi-Lou, and Pi-Yen-Lou. In Japan today, Zen Buddhism continues, manifesting in the traditions of two major sects; Soto and Rinzai. In both sects, spiritual training involves the practice of meditation, but in the Rinzai sect, such meditation may also utilise the Koan. In this case, the Master will ask questions based on the “Words” of Koan, and the student will hold these in his mind during the meditation. The “Words” themselves aren’t logical, and there is no clear and coherent answer to the questions they pose. The student must look beneath the surface of the phrase. To find a response to a question may take several years, may be even a lifetime… During the early 1960s, I travelled the world with Peter Brook’s experimental company, encountering audiences of every type and culture, in Iran, Africa, and the USA, as well as in Europe. Always asking key questions: “What it theatre?”, “What is an actor?”, “What is the relationship between the actor and the public?” Over the years the company attempted to construct a theatre that was vibrant and direct, a theatre that united the performers and the audience. As Peter Brook stated, “an empty space”, where every element- objects, gesture, sound- stimulated the imagination and allowed the audience its own role in the creative process. With Interrogations, I am returning to the spirit of those years of travelling, encountering, and creating, using the texts of the Koan as a starting point.

《禪問》

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