檔案1
三國
What is Success?
基本資料
2012-12-28
2012/12/28-2012/12/31
繼2006年的「水許傳」和2007年的「西遊記」之後，國立中正文化中心再度推出林奕華導演的四大名著系列之三－「三國」。
擅於從傳統經典取材演繹、新創的導演林奕華，這次從三國演義取材原著裡的「桃園結義」、「煮酒論英雄」、「借東風」等家喻戶曉的十二章回，以現代眼光重新解讀；透過歷史感，觸碰現代人面對自我價值的重視與脆弱，變奏出巾幗無雙版「三國」。
「三國」演員是由林奕華的另一部舞台劇「賈寶玉」中的十二金釵化身巾幗英雄，從女性的形象切入男性世界的生存與滅亡之爭，讓觀眾進入思考與美感並重的另一場劇場經驗。
Director's Note A Play about the Three Kingdoms Created in the Age of Zhen Huan – By Edward Lam “Why are all the student at the School of History in the play female?” One actress asked when the rehearsal started. The media have the same question: “Why is the background changed from an all-male world into an all-male world into an all-female one?”The answer is “because it is an age dominated by Zhen Huans.”What is ‘an age of Zhen Huans’? Even though female in our time possesses all sorts of freedom and discursive power, at this side of the Earth, a power struggle has arisen. Or should we say ‘continued’ instead of ‘arisen’? As is has not faded since the days of the imperial court thousands of years ago. Chinese people have enjoyed this kind of struggle, ‘conflicts in the inner court’, for so long that they would not give it up.What are ‘conflicts in the inner court’? They were conflicts that happened implicitly in the harem between concubines. Conflicts happened as those took part see themselves ‘nobodies’. This kind of power struggle expands today even when the feudal courts no long exist. Offices, classrooms, and lives become battlegrounds for these sorts of conflicts. Is it all down to our society which produces people with low sense of self-worth, as if we are in the days of the concubines, when survival is their only concern, and torturing each other is the biggest means in achieving it?
三國
典藏單位：國家兩廳院，實體文物請至兩廳院表演藝術圖書館申請觀看。
媒體類型：紙本
評分
電話：02-3393-9798 ︳傳真：02-3393-9798 ︳地址：100011 臺北市中山南路 21-1 號
Copyright ©國家表演藝術中心數位典藏系統 版權所有 All rights reserved.
