陸帕那一把打開創(chuàng)作迷宮的鑰匙

文張向陽

圖段超

克里斯蒂安·陸帕與格洛托夫斯基、康托并稱20世紀(jì)波蘭戲劇的三大巨人，曾獲奧地利十字功勛獎?wù)?、法國文化部藝術(shù)及文學(xué)騎士勛章、歐洲劇場大獎等榮譽(yù)，陸帕的《伐木》和《英雄廣場》曾作為林兆華戲劇邀請展重磅劇目在天津和北京上演，創(chuàng)造了觀眾“刷夜”看戲的新紀(jì)錄。隨著天津林兆華戲劇邀請展的結(jié)束，陸帕執(zhí)導(dǎo)的《酗酒者莫非》漸成口耳相傳的“神跡”。多虧北京演出公司第二屆老舍戲劇節(jié)的邀約，為北京補(bǔ)償了這一遺珠之憾。《酗酒者莫非》的真容顯露毫無懸念地引發(fā)了“高知層”的鐘情“二刷”。

驅(qū)動文化傳媒出品的話劇《酗酒者莫非》改編自史鐵生作品《關(guān)于一部以電影作舞臺背景的戲劇之設(shè)想》，偶發(fā)天成地契合了波蘭導(dǎo)演陸帕的美學(xué)思想、創(chuàng)作理念以及和中國舞臺精神的融合，創(chuàng)造出了影像和心理時空的奇妙結(jié)合，體現(xiàn)了當(dāng)代劇場對戲劇文學(xué)本體的尊崇和回歸?；厮?017年他在天津大劇院時光雕刻般的排練歷程，一次次令人嘆服這位文化精英在心理學(xué)領(lǐng)域的卓越功力。

令靈魂得到猛烈錘擊的排練

陸帕帶來的是歐洲導(dǎo)演的排戲方式：沒有劇本，看了4萬多字小說原著和作家生平紀(jì)錄片，他還要求翻譯把史鐵生的《宿命》《合歡樹》都翻譯成波文閱讀；沒有精確排練進(jìn)度表，每天通過翻譯和演員面對面討論角色，要拿出自己的人生感悟填充角色；演出迫在眉睫了，但陸帕淡定地引領(lǐng)著演員們在哲學(xué)、心理學(xué)、藝術(shù)史論里穿行……“把酗酒者、楊花、母親這些角色的所有設(shè)想都放進(jìn)行李箱里，然后就去旅行吧?！标懪琳f。

排練陸帕的戲很難，他的意念很強(qiáng)大很固執(zhí)，演員會消耗很多精力，這也正是演員們放棄了片酬優(yōu)厚的影視機(jī)會想要的與眾不同?！缎锞普吣恰钒肽甓嗟呐啪氈芷冢龊跻饬系芈L，場上安靜得如同手術(shù)室。全體演職人員都從這種嚴(yán)格到苛刻的紀(jì)律約束中感覺到創(chuàng)作的神圣，也感覺到陸帕對演員的極大尊重和信任。他從來不催促、不打斷演員，而是給演員們近乎奢侈的時間和自由，而演員們能夠忘我地沉浸于深度意識的追尋探訪，絲毫不必?fù)?dān)心導(dǎo)演的強(qiáng)權(quán)干涉，反而能感知到一種心靈力量的呼應(yīng)交融和光亮啟迪。

第一次被允許進(jìn)入排練場，我看到的場景是莫非的扮演者王學(xué)兵從屋外疑惑地進(jìn)到屋里倒在床上，從異形的控制中掙脫蛻化出來，豐富的感知層層剝繭，稀釋著時間的綿延流動，渾然失去了現(xiàn)實(shí)的時間感。沉睡的楊花坐起來安慰喝醉了的莫非，莫非渾身大汗，終于回到現(xiàn)實(shí)中。后來王學(xué)兵總結(jié)說：“我在演戲的時候只是演了最關(guān)鍵的事件——光是起床這件事——聽上去很有詩意，但實(shí)際上非常準(zhǔn)確。作為一個戲的開場，讓觀眾慢慢進(jìn)入到莫非的生活中去。這一場戲其實(shí)只有一句話，所有的東西都是在幫助我表演。實(shí)際上一個不停說話行動的人，一直在逃避內(nèi)心最重要的那件事，越重要越逃避掩蓋，一直到什么都說完了，情緒才會堆積到一個極限點(diǎn)突然崩潰了?！?/p>

有一次陸帕和演員聊天，問人喝醉了是什么樣的，王學(xué)兵說那時的腦子里是錯亂的，當(dāng)喝酒喝到一定程度，他自己就變成了神，不知道自己說了什么，說話是結(jié)巴的，這是因為酒鬼想表達(dá)的東西瞬間潮涌奔襲，思想處于爆炸的狀態(tài)，形成了說話語無倫次的狀態(tài)。陸帕認(rèn)為如果能把酒鬼的心理過程想清楚，那么這就是一個非常好的創(chuàng)作起點(diǎn)。

陸帕與演員討論劇本中Lupa and performers were in discussion of script

《酗酒者莫非》全劇一共13幕，第一幕大概15分鐘左右，王學(xué)兵最初拿到劇本的時候覺得自己三分鐘就能演完，沒有什么內(nèi)容，大致就是一個酒鬼在早上醒來，和一只耗子說話，又突然想起來離婚的老婆楊花。一共沒有幾句話，那么多出來的十分鐘是什么？是還原了最真實(shí)的時間。

陸帕問過王學(xué)兵，莫非為什么開始喝酒？王學(xué)兵認(rèn)為莫非喝酒是為了找到愛，只有愛能救他，如果他能找到愛就不會死了。喝酒對于莫非來說就是回到童年的方法，酒是一把鑰匙，好像童話里的有魔法的鞋子，有了酒他就能控制一切?？赡苁疯F生也是在尋找這樣一把打開命運(yùn)秘密的鑰匙，想要回到原來，想要控制局面，想要脫離宿命。

有些場景酒鬼是在輪椅上，而有些是沒有輪椅的，這其中的邏輯甚為詭異。后來王學(xué)兵揭秘說：“喝酒讓‘我’曾經(jīng)回到了過去，和孩子進(jìn)行了對話，這是‘我’自己的幻覺，這么想的時候基本不需要輪椅，身體存在于大腦的想象，‘我’越醉就越不需要這個輪椅，而清醒的時候只能在輪椅上?！?/p>

陸帕給中國演員們最深的印象是才華橫溢。陸帕說他經(jīng)常會把自己想象的獨(dú)白寫下來，這是他思考的方式。他也希望演員們能在即興發(fā)揮之前把這些想法寫下來。

演員們進(jìn)組以后有一段長時間的沉悶講述，每個人都徜徉在自我記憶的深處梳理心結(jié)，深埋在內(nèi)心永遠(yuǎn)不愿去觸碰的東西被重新挖掘出來。陸帕的那些講述和提問給了演員深沉的觸動，無時無刻不被他挖掘出來的那些回憶折磨占據(jù)，甚至想得難過失眠……但是時間長了，演員們?yōu)檫@種找不到北的方法消沉迷惘情緒低落。陸帕有一天突然拿出了他寫的《昆蟲腹部》這段戲，一下子就找到了《變形記》里人物和外在世界壓抑束縛的關(guān)系，找到了這部戲的哲學(xué)根基。演員們豁然開朗驚喜交集，完全被這種想象力的豐富內(nèi)涵折服了。過去的記憶被點(diǎn)燃發(fā)光了，輪回重生寓意讓演員們體會到陸帕悲憫厚重的內(nèi)涵。

歐洲式孤獨(dú)的遙遠(yuǎn)應(yīng)和

剛到中國排演場工作時，陸帕覺得很難突破文化差異的障礙，但是經(jīng)歷過一個個即興創(chuàng)作之后他和演員們都哭了，這都是非常激烈的情感碰撞和深刻體驗。對于中國大多數(shù)演員而言，這種排練是從某些嚴(yán)謹(jǐn)和韁繩中釋放出來的。與此同時，中國演員的嚴(yán)謹(jǐn)和紀(jì)律，在這種情況下造成了非常有利的混合。對于他和演員來說，通過這個合作完成了一次意外的挑戰(zhàn)和旅行，并結(jié)成非常好的朋友。

早在2016年《伐木》于天津演出后的采訪中，陸帕就提出過他的舞臺是一個精神實(shí)驗室的說法：一群瘋狂的人，將他們自己的生活作為實(shí)驗的方式，為了了解他們生活的極限，冒著一切風(fēng)險進(jìn)入他人的認(rèn)知行為。演員是比精神科醫(yī)生更能成為認(rèn)知工具的——演員可以反復(fù)經(jīng)歷特定事件，演員可以挑釁和觀察發(fā)生在自己身上的事情 ，仿佛身處自己的另一邊。也就是說，表演的即興創(chuàng)作是對某些認(rèn)知行為的相互挑釁。演員著迷的內(nèi)心獨(dú)白是思想和想象力在身體之間的流動，以及我們試圖表達(dá)的這種流動的情感。產(chǎn)生真正的內(nèi)心獨(dú)白可以成為一個演員通往特定事件道路的發(fā)電機(jī)。

在陸帕的世界各地大師班里，他以建構(gòu)內(nèi)心獨(dú)白為方法，讓演員在自己身上建立角色的秘密。文學(xué)作品只是給定角色本身所包含的一部分，這個角色遠(yuǎn)遠(yuǎn)超出了參加戲劇活動的范圍，這是一個戲劇長度內(nèi)不包含的，演員必須先要經(jīng)歷漫長的心靈歷程才能找到人物。完成好的內(nèi)心獨(dú)白就像是即興創(chuàng)作的奇跡，使人變得越來越像一個夢想家。每一次這樣的行為都是一條夢幻般的道路，一個內(nèi)心獨(dú)白飽滿的演員就像一個裝滿了未知元素的炸彈，隨時可能出現(xiàn)火山爆發(fā)。作為演繹角色的準(zhǔn)備，作為扮演角色的演員的路徑，這是內(nèi)部獨(dú)白的第一個平臺。

內(nèi)心獨(dú)白的第二個平臺，是在扮演角色時使用內(nèi)部獨(dú)白作為肉體和心理、精神的過程。意思是不依賴于所教的內(nèi)容，演員嘗試自己調(diào)動某個指令——我現(xiàn)在起床、我打開窗戶等，嘗試每次為每場表演打開一個內(nèi)部獨(dú)白。能夠使用非常私人的想法，去試圖打開非常不私人的想法和感情。當(dāng)某一次內(nèi)心體驗出現(xiàn)在舞臺上時，演員本人覺醒了，是表演過程中操作即興演出的最佳方式。它就像角色內(nèi)在獨(dú)白的第二個不同空間，是一個非凡的表演工具。

學(xué)者王音潔在采訪陸帕?xí)r，得到陸帕這樣的表述：“人需要一個張開的空間。我們收集的快樂有點(diǎn)像蜜蜂從花中收集蜂蜜——蜜蜂對每朵花必須單獨(dú)處理，從花粉收集花蜜不只是假裝收集，如果我們不使用發(fā)生在我們身上的時間秘密、發(fā)生在我們身上的細(xì)節(jié)，我們覺得浪費(fèi)時間。如果演員‘播放’得太快，則觀眾會跳過并且不會注意到細(xì)節(jié)，10分鐘后，對于觀眾而言，事情變得枯燥乏味，因為觀眾不知道實(shí)際發(fā)生了什么。”

“劇場必須比生命更真實(shí)，它不僅意味著幻覺，由于劇場，我們可以看到生活中沒有看到的，因為生命消失了。生活發(fā)生在我們身上一次，在我們了解它之前，那一刻消失了?！标懪琳f。

史鐵生和陸帕在《關(guān)于一部以電影為舞臺背景的戲劇之設(shè)想》中相遇、碰撞，二位雖不在同一領(lǐng)域，卻具有一種遙遠(yuǎn)的相似性。史鐵生對實(shí)現(xiàn)演出不抱任何希望。然而他沒有料到，11年以后，一個波蘭導(dǎo)演沿著他的輪椅車轍走進(jìn)了他心中的地壇，并且對上帝不容忍實(shí)現(xiàn)的事交出了完美的作業(yè)。陸帕徜徉在地壇里，兩個孤獨(dú)的靈魂共同發(fā)現(xiàn)了殿宇斜暉、樹影風(fēng)語，以及只和地壇獨(dú)享的秘密絮語。

陸帕示范第二幕最后一場戲——《昆蟲腹部》中莫非的出場Lupa's demostratio of the last scene of the second act - his appearance at Insect Abdomen

Krystian Lupa, together with Grotowski and Kantor, is considered one of the three giants of Polish drama in the 20thcentury. He has won the Austrian Cross Merit Medal, the Ordre des Artset etdes Lettres of the French Ministry of Culture, the European Theatre Prize and other honors. Lupa's

Logging WoodandHeroes Squarewere staged in Tianjin and Beijing as the greatest drama of LIN Zhaohua's Theatre Art Festival, creating a new record for the audiences to "spend the whole night" to watch the opera. With the end of the Tianjin LIN Zhaohua Theatre Art Festival, Lupa'sMOFEIhas gradually become a "miracle" amongst audiences. Thanks to the invitation of the Beijing Artists management Corporation's Second Laoshe Theatre Festival, it was re-staged, which compensated this regret for Beijing people. The reveal of the genuine content ofMOFEI,without any suspense, has created the "2ndheat" amongst higheducated groups.

The dramaMOFEI, presented by Propel Media, was adapted from SHI Tiesheng's work "The Imagination of a Drama with a Film as Stage Background". It coincides with the aesthetic thoughts, creative ideas of the Polish director Lupa and Chinese stage spirit, creating a wonderful combination of imagery and psychological time and space, reflecting the respect and return of contemporary theater to the ontology of drama literature.Back in 2017, he rehearsed at the Tianjin Grand Theatre, and once again people are stunned by the great master's outstanding skills in the field of psychology.

Stunning Rehearsal

Lupa has brought the European director's arrangement for drama: no script, he read more than 40,000-word novels and writers' documentaries. He also asked to translate SHI Tiesheng'sFateandAcaciainto Polish; there was no precise rehearsal schedule, and the role was discussed face-to-face with translators and actors on a daily basis, and actors were asked to come up with their own life feelings to fill the role. Though the performance was imminent, Lupa calmly led the actors to walk through philosophy, psychology and art history... "Put all the ideas of the characters of alcoholic, YANG Hua, and mother into the suitcaese, then go for traveling." Lupa said.

It is very difficult to rehearse Lupa's drama because of his strong and stubborn thoughts. The actors have to consume a lot of energy, which is exactly why the actors give up high revenuedrama for this uniqueness. The rehearsal cycle ofMOFEIwas more than half a year, and it was unexpectedly long, and the stage was most quiet like an operating room. All the cast members not only felt the sacredness of creation from this strictness to harsh discipline, but also Lupa's great respect and trust for the actors. He never urged or interrupted them, but gave them almost extravagant time and freedom, and the actors can immerse themselves in deep-conscious pursuits, without fear

of the director's interference. Instead, they could perceive a type of mind power echoing and shining enlightenment.

For the first time, I was allowed to enter the rehearsal field.The scene I saw was the actor who played role of Mofei, WANG Xuebing went into the house from the outside and fell into the bed, as he broke away from the control of the alien shape, and the rich layers of sentiment were stripped and diluted with time flow, causing people to lose the sense of time in reality. The sleeping YANG Hua sat up to comfort the drunken Mofei, but he was sweating and finally returned to reality. Later, WANG Xuebing concluded and said, "I only played the most crucial event when I was acting - just getting up. It sounds poetic, but it is actually very accurate. As the starting of a play, it let the audiences slowly enter into the life of Mofei. This scene actually only has one line, all other objects were helping me to perform.In fact, a person who keeps talking has been escaping the most important thing in the heart, the more important, the more you want escape and avoid, until everything is finished, the emotions will accumulate to a limit and suddenly collapse".

Upon chatting with actors once, Lupa asked what the drunken state was like. WANG Xuebing said that his mind was confused at the time. When drinking to a certain extent, he became a god himself, and didn't know what he had said and become stuttering. It is because the things that the drunkards wanted to express rushed out totally, and the thought was in an explosive state, forming a state of incoherence. Lupa believed that if you can think about the psychological process of the drunkard, then it is a very good starting point for creation.

MOFEIpossesses a total of 13 acts. The duration of the first act is about 15 minutes. When first acquiring the script, WANG Xuebing felt that he could finish it in three minutes as there is no substantial content, which is roughly about an alcoholic who wakes up in the morning, and only talks with a rat and suddenly remembers his divorced wife YANG Hua. There are not a few words in total, so what are the additional ten minutes that come out? It just restores the real time.

Lupa once asked WANG Xuebing about why Mofei started drinking. WANG Xuebing believed that to drink is to find love,only love can save him. If he could find love, he would not die.Drinking is a way to return to childhood for him. It is a key, like a magical shoe in a fairy tale, he can control everything with wine in hands. Perhaps SHI Tiesheng was also looking for such a key to open the secret of destiny, want to go back to the past days,control the situation and hook off the fate.

In some scenes, the drunkard was in the wheelchair, while in others, he was not. The inside logic is very strange. Later, WANG Xuebing revealed that "Drinking makes 'Me' return to the past and allow 'Me' to have a dialogue with the child. This is 'My'own illusion. When thinking about it, I basically didn't need a wheelchair as the body existed in the imagination of the brain.The more drunk you are, the less 'I' need the wheelchair, and the more you can only be in a wheelchair when you are awake."

The deepest impression Lupa left on Chinese actors is his superb talent. Lupa said that he often wrote down his own monologues,which is his way of thinking. He also hoped that the actors could write down these ideas before improvisation.

After the actors entered the group, there was a long and boring story as everyone was squatting in the depths of self-memory,and the things that were deeply buried in the heart and never touched were re-excavated. The narration and questioning from Lupa have touched the deep heart of the performers,who were occupied by the memories he had dug out all the time, even thinking of insomnia... But after a long time, they were depressed for this way of finding the path with a low and confused mood. One day, Lupa took out his own playInsect Abdomenout of nowhere, and found the relationship between the characters in theTransformationand the external world,the philosophical foundation of the play. The performers were so delighted and completely impressed by the rich connotation of this imagination. The memory of the past was ignited and illuminated, and the implied meaning of the reincarnation allowed the performers to experience the sorrowful and heavy connotation of Lupa.

European-style Distant Loneliness

When he first came to work in the Chinese rehearsal field,Lupa felt that it was difficult to break through the barriers of cultural differences. However, after experiencing the creation of timprovised works one after another, he and the performers all cried, which were very intense emotional collisions and profound experiences. For most performers in China, this rehearsal was released from certain rigor and reins. Meanwhile, the rigor and discipline of Chinese performers have formed a very favorable combination in this situation. For him and the performers, they,through this cooperation, have completed an unexpected challenge and travel, and finally he became a very good friend of all the performers.

As early as in the interview ofLogging Woodin Tianjin in 2016,Lupa proposed that his stage was a spiritual laboratory: a group of crazy people, taking their own life as an experimental way, take all risks to enter other people's cognitive behavior in order to understand the limitation of their lives. Performers are more favorable playing the role of more cognitive tools than psychiatrists—they can experience specific events over and over again, provoke and observe what happens to them, as if they are on the other side of themselves. In other words, the improvisation of performance is a mutual provocation against certain cognitive behaviors.

The inner monologue fascinated by the performers is the flow of thought and imagination between the bodies, and it is also the flowing emotions we are trying to express. Producing a true inner monologue can be a performer's generators to a specific event path.

陸帕親臨視頻拍攝現(xiàn)場，這片場地距離劇組駐地超過50公里，攝制組需要凌晨3點(diǎn)出發(fā)，至8點(diǎn)半就因基本不再具備拍攝條件而收工，返回劇院后，10點(diǎn)將會開始新一天的排練Lupa visited the shooting site. The venue is more than 50 kilometers away from the crew, which requires them to start at 3 am. By 8:30, the film was closed because it was basically no longer available.After returning to the theater, it shall start the rehearsal at 10:00.

《酗酒者莫非》第二幕最后一場戲前換景，陸帕親自示范。他強(qiáng)調(diào)，搬動這張床要像輪船航行在大海上一般平穩(wěn)緩慢Background change of final scene of the second act of the MOFEI, Lupa demonstrated by himself.He stressed that moving the bed should be smooth and slow like a ship sailing on the sea.

In the master classes of Lupa around the world, he built the inner monologue as a way to let the performers establish the secret of the role in themselves. Literary works are only part of the given character itself. But this role goes far beyond the scope of participation in theatrical activities. This is a character, excluded in the length of the play, which requires the performers to discover after going through a long spiritual journey. Completing a great inner monologue is like a miracle of improvisation, making them more and more resemble a dreamer. Every such act is like a fantastic road. A full-fledged performer with comprehensive inner monologue is like a bomb filled with unknown elements, which may cause volcanic eruption. As a preparation for the deductive role and the path of the performers playing the role, this is the first platform for internal monologues.The second platform of inner monologue is the process of utilizing internal monologue as a physical,psychological and spiritual role in playing a character, meaning that without trelying on the content being taught, they try to mobilize an instruction themselves - I am getting up now, I open the window, endeavoring to open an internal monologue for each performance every time and using very personal ideas to open impersonal ideas and feelings. When a certain inner experience appears on the stage, the performer himself awakens, which is the best way to present improvised performances during the whole process. It is like a second different space in the character's inner monologue, an extraordinary performance tool.

In interviewing Lupa, scholar WANG Yinjie acquired such expression from Lupa: "People need an open space. The happiness we collect is a bit like bees collecting honey from flowers. The bees of each flower must be treated separately. To collect nectar from pollen is not just a pretended action. If we don't use the secrets of the time that happened to us, the details that happened to us, we think it is a waste of time. If the performers play too fast, the audience will skip and not notice the details. After 10 minutes, things become so boring for the audience, because they don't know what actually happened." Lupa said.

"The theater must be more real than life, as it not only means illusion, but we also see in the theatre what we didn't see in life because life has disappeared. Life happens to us once, and it disappears at that moment before we knew it."

SHI Tiesheng and Lupa met inThe Imagination of a Drama with a Film as Stage Background.Although the two figures are not in the same field, they share a distant similarity. SHI Tiesheng had no hope of achieving the performance. However, he did not expect that, 11 years later, a Polish director walked into the altar of this wheelchaired chinese writer and made a perfect assignment even though God did not tolerate. Lupa wandered along the altar, the two lonely souls jointly discovered temples in the sunset with shadow of trees and whispers of wind, and made their secret dialogue that was exclusive to the altar.