版主大大好 我們是Tellus劇團,第一次在此PO文,是想要推一下我們最近要出的戲《海鷗》 如果不喜歡類似的廣告,懇請寄信通知,我們便不會再版上發此類的廣告了! 謝謝~請不吝指教! ================================以下廣告============================= 各位親朋好友， 粉久沒看小劇團的戲了吧? 小弟參加一個英語劇團。經過三個月的排練，即將表演啦 故事內容: 講一個在俄羅斯、眼睛長在頭上的女明星和他的男友劇作家回到家?所發生的點滴， 裡面有點戀母情結、懷才不遇的兒子，想要高攀的少女、悲情的女孩，不得志的教 員，愛講冷笑話的老頭，吃醋的老女人，道貌岸然的醫生，像施明德一樣快活的舅 舅......這部經典劇本在我們的冰島導演改造下，以不同於台灣一般演出的方式來呈 現、來現場體驗吧。我相信會挺有趣的! 票價: 300元，因為是小劇團，場租頗貴，所以還要各位support。 可直接找我買票! =========================以下為詳細的官方資訊========================== Tellus Theatre創團第一鉅獻，塔莉劇團導演Daniel IngiPetursson擔任導演，大膽 挑戰俄國名劇作家契訶夫的幽默神經。 -導演: 丹尼爾: Daniel Ingi Petursson,在台灣把他在國際知名的戲劇學苑, 巴黎的 賈克樂寇(Ecole Jacques Lecoq)戲劇學苑的訓練經驗帶來與台灣人分享體驗 -演出時間： 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 網站 http://www.wretch.cc/blog/tellus (進來一起感受我們的排戲過程吧，還有更多的故事起源) -演出地點: Nook角落咖啡劇場 (台北市松江路123巷7-1號B1，TEL：02-25019552，近南京松江路口) -兩廳院系統售票: 每張350元 www.artsticket.com.tw 可直接點此進入購票，如聯結有問題，請由兩廳院系統售票進入輸入seagull即可找到 -節目介紹: 「性格決定命運。」俄羅斯劇作家契訶夫以四幕喜劇，編排The Seagull《海鷗》裡的 荒謬人物。他們苦惱著：他愛她，她不愛他，他居然愛他。他們掙扎在追求新形式的寫作 理念，和圖名利的戲劇夢想中。他們看不清這一竿子的痛苦漩渦，全是由自己荒謬 悲哀的性格所攪和而成，還認真的自喻為追求自由飛翔的海鷗。殊不知海鷗離了水面，就 是隻忘了自己有翅膀能飛的笨鳥。 當這些荒謬人物越往自己的夢想之土靠近，他們貫常緊咬的焦慮恐懼，如海鷗上了陸地， 益發憋腳可笑。最後，一個荒唐自盡、一個退縮自保，另一個反到記起自己是隻有翅膀的 鳥，了解飛翔只在享受飛翔本身。 *優惠方案*: 在以下這些地方，您可以取得300元的優惠價格 -Nook cafe 角落咖啡劇場 松江路123巷7-1號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號，Tel:02-2362-1358 No11, Lane 86, Sec. 3, Sinsheng S. Rd., Da-an District, Taipei City 提供好喝的比利時啤酒 餐點相當不錯! -米倉咖啡酒館 台北市泰順街44巷25號1樓，Tel:02-33652285 1F, No.25, Lane 44, Taishun St., Da-an District, Taipei City 一個喝下午茶的好地方 -爐鍋咖啡 北市大度路三段296巷39號，Tel 28915990 (關渡站一號出口，右邊有個坐月子中心的巷子走進去，右手邊的一家 小咖啡廳) 咖啡一流!! -Cafe Bastillie 師大店: 泰順街40巷23號，Tel:02-2369-9728 台大店: 溫州街91號，Tel:02-3365-2775。 提供好喝的比利時啤酒 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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