版主大大好 我们是Tellus剧团,第一次在此PO文,是想要推一下我们最近要出的戏《海鸥》 如果不喜欢类似的广告,恳请寄信通知,我们便不会再版上发此类的广告了! 谢谢~请不吝指教! ================================以下广告============================= 各位亲朋好友， 粉久没看小剧团的戏了吧? 小弟参加一个英语剧团。经过三个月的排练，即将表演啦 故事内容: 讲一个在俄罗斯、眼睛长在头上的女明星和他的男友剧作家回到家?所发生的点滴， 里面有点恋母情结、怀才不遇的儿子，想要高攀的少女、悲情的女孩，不得志的教 员，爱讲冷笑话的老头，吃醋的老女人，道貌岸然的医生，像施明德一样快活的舅 舅......这部经典剧本在我们的冰岛导演改造下，以不同於台湾一般演出的方式来呈 现、来现场体验吧。我相信会挺有趣的! 票价: 300元，因为是小剧团，场租颇贵，所以还要各位support。 可直接找我买票! =========================以下为详细的官方资讯========================== Tellus Theatre创团第一钜献，塔莉剧团导演Daniel IngiPetursson担任导演，大胆 挑战俄国名剧作家契诃夫的幽默神经。 -导演: 丹尼尔: Daniel Ingi Petursson,在台湾把他在国际知名的戏剧学苑, 巴黎的 贾克乐寇(Ecole Jacques Lecoq)戏剧学苑的训练经验带来与台湾人分享体验 -演出时间： 9/16 (六) 2:30 PM 、7:30 PM 9/17 (日) 2:30 PM 9/23 (六) 2:30 PM、7:30 PM 9/24 (日) 2:30 PM -Blog 网站 http://www.wretch.cc/blog/tellus (进来一起感受我们的排戏过程吧，还有更多的故事起源) -演出地点: Nook角落咖啡剧场 (台北市松江路123巷7-1号B1，TEL：02-25019552，近南京松江路口) -两厅院系统售票: 每张350元 www.artsticket.com.tw 可直接点此进入购票，如联结有问题，请由两厅院系统售票进入输入seagull即可找到 -节目介绍: 「性格决定命运。」俄罗斯剧作家契诃夫以四幕喜剧，编排The Seagull《海鸥》里的 荒谬人物。他们苦恼着：他爱她，她不爱他，他居然爱他。他们挣扎在追求新形式的写作 理念，和图名利的戏剧梦想中。他们看不清这一竿子的痛苦漩涡，全是由自己荒谬 悲哀的性格所搅和而成，还认真的自喻为追求自由飞翔的海鸥。殊不知海鸥离了水面，就 是只忘了自己有翅膀能飞的笨鸟。 当这些荒谬人物越往自己的梦想之土靠近，他们贯常紧咬的焦虑恐惧，如海鸥上了陆地， 益发憋脚可笑。最後，一个荒唐自尽、一个退缩自保，另一个反到记起自己是只有翅膀的 鸟，了解飞翔只在享受飞翔本身。 *优惠方案*: 在以下这些地方，您可以取得300元的优惠价格 -Nook cafe 角落咖啡剧场 松江路123巷7-1号B1, Tel:02-2501-9552 近南京松江路口。 Room b1, No.7-1, Lane 123, Songjiang Rd. -Cafe Odeon 新生南路三段86巷11号，Tel:02-2362-1358 No11, Lane 86, Sec. 3, Sinsheng S. Rd., Da-an District, Taipei City 提供好喝的比利时啤酒 餐点相当不错! -米仓咖啡酒馆 台北市泰顺街44巷25号1楼，Tel:02-33652285 1F, No.25, Lane 44, Taishun St., Da-an District, Taipei City 一个喝下午茶的好地方 -炉锅咖啡 北市大度路三段296巷39号，Tel 28915990 (关渡站一号出口，右边有个坐月子中心的巷子走进去，右手边的一家 小咖啡厅) 咖啡一流!! -Cafe Bastillie 师大店: 泰顺街40巷23号，Tel:02-2369-9728 台大店: 温州街91号，Tel:02-3365-2775。 提供好喝的比利时啤酒 Introduction: Anton Chekhov's Chayka or The Seagull (variously translated in English as The Sea Gull and The Sea-Gull) is the first play in the author's second period of writing for the theater—that of the last few years of his life—in which he penned his widely acknowledged dramatic masterpieces. With it, after a hiatus of seven years, Chekhov again returned to writing plays, and he revealed his mastery of techniques that he would exploit in his other great plays of that final period: Uncle Vanya, Three Sisters, and The Cherry Orchard. In all of them, Chekhov employs a method of ‘indirect action,’ one in which characters confront changes that result from offstage occurrences, often in a period of the characters ' lives that elapses between acts. The plays also share the unique Chekhovian mood, a pervasive melancholic tone that arises from the haplessness of the characters that seem destined either to wallow in self-pity or indifference or consume themselves in frustrated passion. It is in these plays, with his special brand of ‘‘slice of life’’ realism, that Chekhov journeys to the outer limits of comedy, to a point in which its distinctness from quasitragic drame is blurred and at some points all but lost. In The Seagull, a work that the author himself claimed contained ‘five tons of love,’’ is a play about a very human tendency to reject love that is freely given and seek it where it is withheld. Many of its characters are caught in a destructive, triangular relationship that evokes both pathos and humor. What the characters cannot successfully parry is the destructive force of time, the passage of which robs some, like Madame Arkadina, of beauty, and others, like her son Konstantine, of hope. When the play was first staged, in St. Petersburg in 1896, it was very badly received. The audience was unwilling to applaud or even abide a work that in technique and style countered the traditional kind of play built on comfortable conventions. Audiences were simply not ready to accept a work that seemed to violate almost all dramatic conventions, a play that, for example, had no clear protagonist or an easily identified moral conflict or characters who rigorously kept to points relevant to that conflict in their dialogue. For Chekhov, the response was devastating. There seemed to be no audience prepared to welcome the‘new forms’ ‘championed by one of the play's characters, the young writer Konstantine Treplyov. Had Chekhov's friend, Nemirovich-Danchenko, not taken an interest in the work despite its initial stage failure, the dramatist might well have given up writing for the theater. Nemirovich-Danchenko and his more famous codirector of the famous Moscow Art Theatre, Konstantin Stanislavsky, brought The Seagull to the stage again in 1898 and turned it into a remarkable success, the first Chekhov play that they produced in what soon became one of the most fortuitous associations in the history of modern drama. It was their staging of The Seagull and the other later plays of Chekhov that brought the writer his lasting acclaim as a dramatist. --

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