Vesturport and Lyric Hammersmith ProductionVesturport and Lyric Hammersmith Production

冰島西港劇團及英國倫敦利瑞克漢默史密斯劇院製作Vesturport and Lyric Hammersmith Production

冰島西港劇團及英國倫敦利瑞克漢默史密斯劇院製作Vesturport and Lyric Hammersmith Production

19-22.2.2009 香港演藝學院歌劇院

Lyric Theatre Hong Kong Academy for

Performing Arts

為了讓大家對這次演出留下美好的印象，請切記在節目開始前關掉手錶、無綫電話及傳呼機的響鬧裝置。會場內請勿擅自攝影、錄音或錄影，亦不可飲食和吸煙，多謝合作。To make this performance a pleasant experience for the artists and other members of the audience, PLEASE switch off your alarm watches, MOBILE PHONES and pagers. Eating and drinking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your co-operation.

演出長約１小時20分鐘，不設中場休息Running time: approximately one hour and 20 minutes with no interval 06 創作及演出 Credits

07 故事大綱 Synopsis

10 聯合導演的話 Co-director’s Notes

14 特稿 Feature

19 劇團介紹 Theatre Profiles

25 卡夫卡簡歷 Kafka’s Biography

26 演員簡歷 Cast Biographies

29 創作人員簡歷 Creative Team Biographies封面照片 Cover Image © Eggert Johnsson

19-22.2.2009 香港演藝學院歌劇院

Lyric Theatre Hong Kong Academy for

Performing Arts

為了讓大家對這次演出留下美好的印象，請切記在節目開始前關掉手錶、無綫電話及傳呼機的響鬧裝置。會場內請勿擅自攝影、錄音或錄影，亦不可飲食和吸煙，多謝合作。To make this performance a pleasant experience for the artists and other members of the audience, PLEASE switch off your alarm watches, MOBILE PHONES and pagers. Eating and drinking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your co-operation.

演出長約１小時20分鐘，不設中場休息Running time: approximately one hour and 20 minutes with no interval 06 創作及演出 Credits

07 故事大綱 Synopsis

10 聯合導演的話 Co-director’s Notes

14 特稿 Feature

19 劇團介紹 Theatre Profiles

25 卡夫卡簡歷 Kafka’s Biography

26 演員簡歷 Cast Biographies

29 創作人員簡歷 Creative Team Biographies封面照片 Cover Image © Eggert Johnsson

冰島西港劇團及英國倫敦利瑞克漢默史密斯劇院製作Vesturport and Lyric Hammersmith Production

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創作及演出 Credits

改編及導演 大衛．法爾及吉斯利．奧恩．嘉德森 Adapted and Directed by David Farr and Gísli Örn Gardarsson

音樂 尼克．凱夫及華倫．艾利斯 Music Nick Cave and Warren Ellis

舞台設計 波古爾．莊遜 Set Design Borkur Jonsson

燈光設計 比約恩．赫爾加辛 Lighting Design Björn Helgason

音響 尼克．曼寧 Sound Nick Manning

服裝 白蘭達．梅菲 Costumes Brenda Murphy

監製 柯荻．麥蓋勒夫（「燃料」製作公司）及戴爾利．約翰遜 Producer Kate McGrath of Fuel and Dyri Jonsson

格利哥．桑薩 吉斯利．奧恩．嘉德森 Gregor Samsa Gísli Örn Gardarsson

父親 恩瓦爾．司古爾德森 Father Ingvar E. Sigurdsson

母親 珂莉．亨特爾 Mother Kelly Hunter

史堤度先生／費徹先生 約拿芬．麥肯納斯 Herr Stiethl and Herr Fischer Jonathan McGuiness

葛蕾特 娜拉．史薇斯度堤爾 Grete Lára Sveinsdóttir

中文字幕 昌明 Chinese Surtitles Cheong Ming中文字幕操作 葉詠欣 Chinese Surtitles Operation Eunice Ip

創作人員Creative Team

演員Cast

Vesturport would like to thank the Ambassador of Iceland in China, Gunnar Snorri Gunnarsson, for his great support.

加料節目 FESTivAL PLuS 20.2.2009 (五) 演後藝人談歡迎觀眾演出後留步，與《變形記》台前幕後成員會面。

詳情請參閱藝術節加料節目指南，或瀏覽藝術節 網站：www.hk.artsfestival.org

20.2.2009 (Fri) Meet-the-Artist (Post-Performance)If you would like to meet members of Metamorphosis, please remain in the auditorium after the performance.

For details please refer to the Festival Plus Booklet or go to the Festival website: www.hk.artsfestival.org

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Synopsis 故事大綱

格利哥．桑薩一覺醒來，發現自己變成了一只大爬蟲。他擔心極了，因為他是家裏的經濟支柱，這樣子怎去上班？他知道再耽誤便要遲到了，得掙扎起床才成！這時候，門鈴響起，他的僱主竟已找上門來。格利哥拒絕出來，只說 馬 上 便 會 返 辦 公室；可惜連他的嗓音都 已 變 了 ， 門 外 無人聽得懂他的話，最後無奈只得開門。他的僱主和母親見到他那模樣，嚇得往後猛退，臉上現出嫌惡的神情；父親則揮舞棒子，把他趕回房裏。弄得他遍體鱗傷。

格利哥被困房中，感到 孤 獨 極 了 。 他 的妹 妹 本 來 有 給 他 送食物，但漸漸也對他冷淡了。由於大家以為格利哥已經失去理解能力，因此沒有人想到跟他說話。他靠在門上偷聽外面的動靜，得知父親還有些積蓄，而其他家人亦各自找到工作。

後來，家裏新添了三個房客。房客們橫行霸道，格利哥的父母卻對他們必恭必敬，還着妹妹拉小提琴給他們遣悶。格利哥聽得入神，不禁慢慢爬了出來。房客們見到他，連房租也不肯付便立即搬走。

發生這事後，妹妹跟爸媽說：我們得除去它。格利哥聽在耳裏，黯然爬回房中，靜靜等待死亡降臨。他死後，家人都覺得如釋重負。

Gregor Samsa wakes up to find that he has been transformed into a giant insect. He begins worrying about his job as he is the sole breadwinner. Realising he is late for work, Gregor attempts to get out of bed. Suddenly the doorbell rings; it is his employer. Gregor refuses to come out of his room and insists that he will soon return to work. Because of the changes in his voice, no one outside can understand. Finally, Gregor opens the door. Seeing Gregor, his employer and Gregor’s mother back away in revulsion. His father grabs a stick to drive Gregor back into his room, injuring him in the process.

Forced to remain in his room, he is starved for

company. His sister initially brings some food but over time, Gregor is neglected. Assuming that Gregor can't understand anything, no one talks to him. Listening through doors, he learns that his father has money saved and that the other family members are also able to get jobs.

Three lodgers move into the apartment. The lodgers, domineering and given too much respect from Gregor's parents, ask Grete to play the violin. Gregor is drawn to the music and crawls out of his room to hear. The lodgers notice him and leave immediately, refusing to pay for any rent.

After this, Grete tells her parents that they must get rid of Gregor. Gregor hears and returns to his room to die after which Gregor's family feels relieved.

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聯合導演的話 Co-director’s Notes

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荒誕不經，妙想天開Weird and Wonderful

文：大衛．法爾弗蘭茲．卡夫卡是上世紀最有影響力的作家之一，被譽為廿世紀疏離主義掌門人。《變形記》這個極其滑稽可笑的短篇故事，講述一個表面上普通不過的家庭，在大家不知不覺間發生了可怕的事情。我一直以來都想把 《變形記》搬到舞台上，我覺得這是卡夫卡最有舞台感的作品，題材也絕不過時。我很高興能跟西港劇團的吉斯利．奧恩．嘉德森合作。我們的工作方式有異但能互補互厲：我集中打造意念和台詞，吉斯利則負責構想出怪異而懾人的舞台影像。我們一起研究怎樣融合戲劇文本與騰空特技，把格利哥在舞台上變成一只大爬蟲。

《上街》雜誌讚賞西港劇團的演出風格「影像凌厲，構思大膽」；今次西港劇團跟利瑞克漢默史密斯劇院合作將卡夫卡名著搬上舞台，便採用了一個扭曲視覺邏輯的錯體空間作舞台設計藍圖。之前西港演出《胡錫傳》時攜手炮製音樂的尼克．凱夫及華倫．艾利斯，為《變形記》創作了教人動容的配樂，映照出故事可悲的題旨；加上來自英國和冰島的出色演員，我們試圖呈現卡夫卡那令人震慄不安、荒誕可笑的世界。

Text: David FarrOne of the most influential writers of the last century, Franz Kafka has been billed as the poster boy for 20th-century alienation. Metamorphosis is his painfully funny story about a seemingly ordinary family, where horrible things happen without anyone noticing. I’ve wanted to create a stage version of Metamorphosis for a long time, as for me, it is the most overtly theatrical of Kafka’s works, and is very relevant to modern day issues.

I’m excited to be collaborating with Gísli Örn Gardarsson. We have different, but complementary ways of working; I concentrate more on ideas and words, while Gísli dreams up the weird and wonderful visual images we create on stage. Together we explore how we transform Gregor into a giant insect, fuse text-based theatre and add thrilling aerial acrobatics.

Praised by Time Out for their trademark “visually vibrant and conceptually daring” performance style, Vesturport’s collaboration with the Lyric brings Kafka’s story to life on a perspective bending split-level set. Following their collaboration with Vesturport on Woyzeck, Nick Cave and Warren Ellis have created an evocative musical score that reflects the melancholy of the story. With a cast of British and Icelandic actors, we’ve tried to capture a sense of Kafka’s oddly disturbing but absurdly funny world.

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文：吉斯利．奧恩．嘉德森西港劇團是一個聯合創作的團體，成立以來，一直抱著誠懇開放的態度打造每一台戲。每次我們都會訂下規矩，但避免因循作業。我們着重感應每個戲劇作品對我們內心的呼喚，根據這些靈感去說故事，並且要演的過癮、看的過癮。《變形記》是一個教人驚慄不安的故事，異想天開而令人毛骨悚然，荒謬可笑卻其實十分悲哀。它探討的是人的本質、人與人之間的關係，和人面臨極端境況時的反應。 《變形記》看後令你久久不能釋懷，也令你很想進一步了解它的內蘊。我們聽到一把聲音向我們呼喚；在世界每一個角落，這把聲音以不同的方式呼喚着，亙古已然。今次跟大衛．法爾和利瑞克漢默史密斯劇院合作，是一個精采的經驗。我們雖身處異地，卻可以很自在地工作；同時深深感受到，戲劇是一個沒有疆界的世界，只有一種語言。

Text: Gísli Örn GardarssonFrom the birth of its creative collective, Vesturport has approached its projects with a sincere and honest attitude. We create rules for each project, but avoid any general rules. The aim is to find each project’s own voice, to be inspired to tell the story and to make it exciting both to perform and to watch.

Metamorphosis is a disturbing story. It is fantastic and horrific; surprisingly funny and very sad. It is about human nature, relationships between people and reactions to extreme circumstances. It is a haunting story and a story worth exploring. We found a voice within the story. A voice which has sadly been heard all over the world in many forms – from the birth of human nature it seems.

It has been fantastic collaborating with David Farr and everyone at the Lyric Hammersmith. We feel at home and it is a reminder of how the theatre is a world without boundaries where there is only one language.

良知的呼喚A Voice Within the Story

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特稿 Feature

法爾 大衛．法爾嘉德森 吉斯利．奧恩．嘉德森

問 卡夫卡和《變形記》有什麼地方吸引你倆？

法爾 我一直以來都想重新探討《變形記》這個作品，也認為卡夫卡直到現在仍然是現代文壇的偉人。他描繪現代存在的問題、人的疏離和孤寂，也潛意識地論述政治，以及我們為了一己的生存，怎樣排斥某些群體或個人。他抨擊人類一個基本的原則：有時為了生存，一個社會或群體會不惜摧毀本屬於它的一份子。這是多麼可怕的一回事，但卡夫卡卻有本事將之變得有趣味和富戲劇性。

嘉德森 我10年前第一次讀《變形記》，從此念念不忘把它搬上舞台。我鍾情形體劇場，格利哥．桑薩的故事正是上好的材料。之前我一直忙着別的事情，直到遇上大衛．法爾，大家討論合作演出，他提議卡夫卡的《變形記》，於是一拍即合。

問 有否覺得當中有些《推銷員之死》的影子？

嘉德森 卡夫卡是《推銷員之死》重要的靈感來源，這點相信阿瑟．米勒不會否認。身為猶太裔的主角引起我的興趣，因為我本身來自德國的猶太裔家庭。即使在納粹黨還未興起的年代，猶太人已經處於不利的境況。卡夫卡寫《變形記》時，布拉格仍屬奧匈帝國的一部份，因此卡夫卡是以德文寫作，而非捷克文；亦因此在我們劇中，我特別強調奧匈帝國這背景元素。你會察覺有點兒俗套 —— 整體上有點偽裝的華麗堂皇，但迅即崩潰瓦解。第一次世界大戰時，奧匈帝國的確瓦解了，而捷克共和國誕生了。然而，我覺得最重要的，始終是這個普遍性的主題 —— 社會、工作、家庭可以怎樣影響你的人生；家庭處於社會當中又是怎樣運作的 —— 這也是十分當下的 論題。

問 你今次同時擔任聯合編劇和聯合導演，怎樣兩面兼顧呢？

法爾 我主要負責創作理念和劇本的範疇，吉斯利則主理形體演出的部份。吉斯利是一個了不起的形體導演及演員，我可不能浪費了這個不可多得的舞台恩物！我希望構想出完全形體化的舞台語言，我們花了一個星期去鑽研這個問題，再研讀《變形記》原著，繪畫故事流程畫板，修改又修改。吉斯利透過導演的過程，在腦中想像不同的影像和畫面，再創作新動作；我則多從文字入手。今次的合作十分有趣，我們着意嘗新，我也非常享受其中。我們今次的合作方式也是利瑞克漢默史密斯劇院一個持續進行的實驗，探索怎樣融合文本與演出、場景與意念，怎樣創作出影像懾人的形體劇場而不用犧牲故事內容和當中的意義。

訪談大衛．法爾 與吉斯利．奧恩．嘉德森

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嘉德森 像我跟大衛這樣合作其實有危險，但我們都有相同的意念，對作品的闡釋理念也一致，這卻很難得。我倆能合作無間，相信是由於我們都能慷慨相待。我們常交換意見，斟酌推敲，不贊成對方的觀點時也不怕坦白地說「不成，這可是爛透的主 意！」對方聽了亦不會介懷。

問 為何要對原著作出改動？

嘉德森 把一本著作搬上舞台其實有很多實際的問題要處理。譬如書中說到父親痛打格利哥，之後突然跳到三個月後，一家人圍着飯桌吃晚飯。有時或出現空間轉移，某個角色剛剛還在這兒，一瞬間卻已出現在另一個房間裏。然而，在舞台上不可能讓觀眾眼睜睜看到這些突變。當你再三捧讀《變形記》，再加深了解，便會發現更多值得轉化成戲劇的元素；這時候便應抓牢這些靈感，利用它們去表達你的意念。

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An Interview with David Farr and Gísli Örn Gardarsson

DF: David FarrGOG: Gísli Örn Gardarsson

Q: What attracted you to Kafka and Metamorphosis?

DF: I had wanted to re-investigate Metamorphosis for quite a long time. I think Kafka remains a highly significant modern writer. He writes about modern existential problems and conditions of alienation and loneliness. He also writes, quite subconsciously, about politics and about how we marginalize certain groups and individuals in order to survive. He attacks a fundamental principle of human beings: sometimes in order to survive, a society or group of people destroys an element within itself. It’s a very frightening idea, but he makes it also very funny and very theatrical.

GOG: I read the story for the first time 10 years ago, and have been interested since in doing it as a theatre play. I like to work in a physical way and the story of Gregor Samsa is ideal for that. I was busy doing other things until I met with David Farr to talk about doing some work together; he suggested Kafka’s Metamorphosis. I instantly thought the idea really exciting.

Q: There are a few echoes of Death of a Salesman here aren’t there?

DF: Death of a Salesman owes an enormous amount to Kafka, and Arthur Miller would completely admit that. The Jewish hero interests me because I have a Jewish family from Germany, a fragile position that the Jewish population had in that period of time, even before the rise of the Nazis. At the time Kafka wrote Metamorphosis, Prague was part of the Austrian-Hungarian empire; that is why Kafka wrote in German, and not in Czech. That’s why in our version, I chose to have a really strong emphasis on the empire. There is a feeling of formality — a slightly fake grandeur about the whole place, which is soon to collapse. In the First World War it was destroyed and the Czech Republic gained its own identity. But I think the most important thing is the universal theme: it is very contemporary — what society and work and family can do to you and how families work in society.

Q: You are co-writing and co-directing the production – how does that work?

DF: I contribute very much to the intellectual ideas and to the writing and Gísli is very much about the physical. Gísli is a hugely exciting physical director and performer and I really wanted to push what we could do with this creature on stage. I wanted to find a whole physical language. We had a week of research and development where we looked at the story, explored it, story-boarded it and made changes. Gísli creates through direction and through making images and pictures in his head. And I work more through words. It’s an interesting collaboration and I’m really enjoying it — it’s a deliberate attempt to do something different. The way we are working together is part of the Lyric’s ongoing experiment in how to marry text and performance, spectacle and idea and how to create thrilling, visual and physical theatre that continues to have meaning and story.

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GOG: It is always a risk when you work with somebody in the way David and I are now because it’s not a given thing that you have the same ideas and that you want to get the same things out of the story. We seem to get along really well and I think it is because we are both quite generous. We pick up on each other’s ideas so I will say something and he will add to it. Or we can even say “no — I think that’s a crap idea”. It never becomes an ego thing.

Q: Why did you choose to make changes from Kafka’s story in your production?

GOG: It has a lot to do with the practicality of bringing a book onto a stage. In a book there are time lapses: in the book the father beats Gregor and then you jump three months ahead and they are having dinner. Or there are sudden changes such as all of a sudden a character is in a different room. But you can’t do that on stage because you see it all in front of you. When you read Metamorphosis again and again and again you dig deeper and you encounter things that you feel could be stronger in a dramatic way. You should always use the material as an inspiration for what you want to say.

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Theatre Profiles 劇團介紹

Vesturport began as an independent theatre group in Reykjavik, Iceland in 2001 and has quickly established itself as one of Iceland’s most inventive award-winning theatre and film companies. Known for innovative productions that challenge traditional performance text, the Reykjavik-based ensemble has been called “one of Europe’s most exciting theatre ensembles” by The Guardian (UK). In just seven years, the company has produced three full length feature films and 11 theatre productions. Vesturport has received wide audience and critical acclaim and won numerous awards for its work both at home and abroad.

According to BBC news, their shows have not only been critical successes, they have done what is almost impossible in today’s multimedia society: attracted a new fashionable young audience to the theatre. And, with their continued following of fans, Vesturport, it seems, have helped bring flamboyant physical theatre one step nearer to becoming mainstream entertainment.

冰島西港劇團

西港劇團於2001年在冰島首都雷克雅未克創立，這獨立劇團在短短數年間獲獎無數，亦涉獵電影製作，被譽為冰島最有創意的劇團和電影公司之一。西港劇團以挑戰傳統戲劇文本、大膽創新的舞台製作而聲名大噪。英國《衛報》讚譽其為「歐洲最精采的劇團之一」。短短七年內，劇團共製作了三齣電影和11齣舞台劇，無論國內國外均屢獲殊榮，好評如潮 。

英國廣播公司新聞評述，西港劇團深受好評，也在現今這多媒體社會創造了奇蹟：它成功地吸引了一群年輕時髦的新觀眾入劇院。不單如此，西港更已建立了一班忠心的支持者，令絢麗炫目的形體劇場有望成為主流娛樂的明日新星。

The Lyric Hammersmith has a national reputation for creating work that takes theatre in new and bold directions. Over the past ten years the Lyric has worked with some of theatre’s most ground-breaking artists, including Improbable Theatre, Kneehigh, Frantic Assembly and Vesturport. Collaboration is central to everything it does, as the theatre invites the most exciting and audacious artists to work together to tell stories that resonate with a modern audience.

Also integral to their work on stage is their commitment to providing opportunities for young people. The Creative Learning Department of the Lyric delivers a comprehensive programme of activities, linked to their productions, which help schools to deliver the National Curriculum. The Lyric also runs a wide-range of activities for young West Londoners, helping them to learn new skills, make new friends, gain qualifications and work experience.

At the heart of the Lyric's work is a focus on the creative development of the individual, from artists to audiences, with the passionate belief that theatre can change people’s lives.

在英國聲名赫赫的利瑞克漢默史密斯劇院以大膽創新的製作而大受注目。過去十年，劇院曾與多個開創先河的劇團合作，包括未必然劇團、高及膝劇團、狂亂組合劇團以及西港劇團。利瑞克漢默史密斯劇院十分着重與其他劇團合作，而合作的都是敢於大膽嘗新的藝人或藝團，創作的都是能贏得新時代觀眾共鳴的作品。

利瑞克漢默史密斯劇院另一宗旨，就是盡力給年輕一代發揮的機會。劇院的創意學習部就着劇院的劇目，向學校提供一個綜合活動計劃，以配合學校教授國家指定課程。劇院亦為倫敦西城區的年輕居民提供包羅萬有的活動，協助他們學習新技能、結識新朋友、獲取學歷或工作經驗。劇院最着重的，是鼓勵個人發展創作力，不論是藝人或觀眾皆然；因為劇院同儕深信，戲劇可以改變人的生命。

英國利瑞克漢默史密斯劇院Lyric Hammersmith Theatre

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Biography 簡歷

弗蘭茲．卡夫卡Franz Kafka (1883-1924)

Franz Kafka was born in 1883 in the Jewish ghetto of Prague. Kafka's ambivalent take on authority seems to come mainly from his relationship with his father. His father never hesitated to point out to his son that he thought him a disappointment. As a result, Kafka never managed to escape his self-hatred; his self-loathing was compounded by the clinical depression and social anxiety from which most would agree he suffered. Kafka also faced his father's disapproval of his writing which led to him taking a law degree and becoming a clerk.

In 1912, at the home of his lifelong friend Max Brod, Kafka met Felice Bauer. Over the next five years they corresponded a great deal and twice were engaged to be married. Their relationship finally ended in 1917, the same year in which Kafka began to suffer from tuberculosis. In 1923, he briefly moved to Berlin in the hope of distancing himself from his family's influence to concentrate on his writing. There, he lived with a woman from an orthodox Jewish family who influenced Kafka's interest in the Talmud.

Never famous in his own lifetime, Kafka did have an audience of admirers within a small circle of German-reading intellectuals. His three novels, Amerika, The Trial and The Castle, all unfinished, were left in disarray, with chapters out of order and titles missing; their rough unfinished quality adding to the nervous confusion of his style. Never believing that his writing amounted to anything, Kafka famously asked his long-time friend, Max Brod, to burn most of his manuscripts after his death. Brod, equally famously, ignored the request and set out to edit the collection. Today, Kafka is considered by some people to be among the most influential in Western literature.

弗蘭茲．卡夫卡生於捷克布拉格一個猶太區家庭。卡夫卡與父親的關係，大概造成了他對權威的矛盾觀點：其父常恣意批評他，辱罵他一無是處，令卡夫卡陷入自我憎惡當中。普遍認為卡夫卡患抑鬱症和社交焦慮症，因而更加重了他自我厭惡的鬱結。其父反對他寫作，他惟有拿個法律學位，畢業後當個文員。

1912年，卡夫卡在摯友馬克司．布洛德家中認識了菲莉斯．鮑威爾。隨後五年，他倆經常互通書信，並且兩度訂婚。他們終於在1917年分手，卡夫卡亦於同年患上肺結核。1923年，卡夫卡暫移居柏林，以求遠離家人，專心寫作。他在那兒與一個正統猶太家庭出身的女孩共賦同居，令他對猶太教法典產生興趣。

卡夫卡在生時雖未有聲名大噪，但受到一小撮閱讀德國文學的知識分子的賞識。他三篇未完成的小說《美國》、 《審判》和《城堡》只留下雜亂無章的遺稿，章節錯亂，標題散失 —— 遺稿粗疏不全的狀態卻令他慌亂不安的風格更形突出。眾所周知，卡夫卡生前以為他的作品終不會成大器，於是請求摯友馬克司．布洛德在他死後，燒毀其大部份手稿。本身也是著名作家的布洛德，違背了卡夫卡的遺願，反為好友整理出版了全集。到了今天，卡夫卡已成為影響西方文壇最深遠的文學家之一。

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演員簡歷 Cast Biographies

吉斯利．奧恩．嘉德森 Gísli Örn Gardarsson

恩瓦爾．司古爾德森 Ingvar E Sigurdsson

導演／改編／演員（格利哥）Director, adaptor and actor (Gregor)

演員（父親）Actor (Father)

西港劇團2001年成立，吉斯利．奧恩．嘉德森乃聯合創辦人之一。舞台演出：嘉德森於冰島國家劇院及雷克雅未克城市劇院參演多個演出。在英國，則有《生死攸關》（高及膝劇團／英國國家劇院），安琪拉．卡達斯的《馬戲班之夜》（利瑞克漢默史密斯劇院），現正參演《現代唐璜》（皇家莎士比亞劇團／高及膝劇團）。電影及電視演出：為西港劇團監製及演出《孩子》及《父母》，也參演了其他電視及電影製作。他將演出西港劇團與色德電影公司合作的《海浪》(2009)，以及2010年5月開畫的廸士尼電影《波斯王子》，擔演鉛哈薩尼。導演／編劇／改編作品：首部導演作品《羅密歐與茱麗葉》(新域劇場／戲劇劇院／雷克雅未克城市劇院)，兼演羅密歐。《胡錫傳》(改編／導演，西港劇團、倫敦巴比肯中心國際戲劇匯演、阿姆斯特丹克斯音樂劇場、紐約布魯克林音樂學院及世界巡演)；《愛》音樂劇(合編／導演，利瑞克漢默史密斯劇院／雷克雅未克城市劇院／南韓)；《在一起》舞台版（冰島／墨西哥）嘉德森作品獲獎無數，他本人則獲2007年歐洲電影推廣網絡推選為「最佳新晉演員」。Gísli Örn Gardarsson co-founded the Vesturport Theatre in 2001.

Acting: Gardarsson has performed various characters at the National Theatre and the Reykjavik City Theatre in Iceland. In England, Gardarsson performed for The National Theatre and Knee High Theatre in A Matter of Life and Death and in Angela Carters’s Nights at the Circus at Lyric Hammersmith. He is currently performing Don John with the Royal Shakespeare Company and Knee High Theatre.

He has produced and performed in Vesturport's feature films, Children and Parents as well as performing in various other films and television series. He will appear in a new feature produced by Vesturport and Zik Zak Films called Brim (Surf) and he plays the Lead Hassanein in the Disney film, Prince of Persia, produced by Jerry Bruckheimer which will open in May 2010.

Directing/Writing/Adapting: His directorial debut was Romeo and Juliet (where he also played Romeo) (Reykjavik City Theatre, the Young Vic Theatre and world tour). He directed and adapted Woyzeck for the Barbican Theatre in London (Vesturport, the Reykjavik City Theatre, Amsterdam Het Muziektheatre, world tour and BAM, New York). He co-wrote and directed Love — the Musical (Reykjavik City Theatre, Lyric Hammersmith and South Korea) and he directed and adapted a stage version of the film Together (Iceland and Mexico).

Gardarsson was the Icelandic Shooting Star at the Berlin Film Festival in 2007 and his work have won numerous awards.

西港劇團：《羅密歐與茱麗葉》（西港劇團／新域劇場／戲劇劇院／雷克雅未克城市劇院），《海浪》，《胡錫傳》其他劇團：《培爾．金特》，《親愛的艾琳娜》，《羅密歐與茱麗葉》，《血婚》，《誘 心人》，《素娥怨》，《唐璜》，《獨立的人》，《三姊妹》，《皆大歡喜》，《道路》 （冰島國家劇院），《灰闌記》（冰島國家劇院／共謀劇團），《舞廳》（雷克雅未克城市劇院）For vesturport: Romeo and Juliet (Vesturport, Young Vic, Playhouse and Reykjavik City Theatre); Surf and Woyzeck.

Other theatre includes: Peer Gynt, Dear Elena, Romeo and Juliet, Blood Wedding, Closer, Mourning Becomes Electra, Don Juan, Independent People, Three Sisters, As You Like It, Road (The National Theatre of Iceland); The Chalk Circle (The National Theatre of Iceland, Complicite); Cabaret (Reykjavik City Theatre).

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珂莉．亨特爾 Kelly Hunter 演員（母親）Actor (Mother)

舞台演出：《約翰王》，《請君入甕》（皇家莎士比亞劇團）；《皆大歡喜》（憑羅瑟琳一角奪1996年英國舞台管理協會最佳女主角）；《藍天使》（皇家莎士比亞劇團／倫敦西區，憑羅拉一角獲提名1993年羅蘭士．奧利花大獎之最佳音樂劇女演員）；《舞廳》（倫敦西區海濱劇院）；《三個我》，《齊聲說反對》，《她屈服而戰勝》，《珍．茜寶》（英國國家劇院）；《貝隆夫人》（愛德華王子劇院）Theatre highlights: King John, Measure for Measure (Royal Shakespeare Company); As You Like It (TMA Best Actress Award in 1996 for Rosalind); The Blue Angel (Royal Shakespeare Company and West End, Olivier Award Nomination for Best Actress in a Musical in 1993); Cabaret (Strand, West End); Me, Myself and I, A Chorus of Disapproval, She Stoops to Conquer, Jean Seberg (National Theatre); Evita (Prince Edward).

約拿芬．麥肯納斯 Jonathan McGuiness演員（史堤度先生／費徹先生）Actor (Herr Stietl/Herr Fischer)

舞台演出：《一生難求》，《玩火》，《聯合國督察》（英國國家劇院）；《庇里牛斯山》（犁酒館劇團）；《傑夫．昆斯》（演員巡迴劇團）；《仲夏夜之夢》（愛德華．賀爾之莎膽男劇團製作，水磨坊劇院／倫敦西區／紐約）；《玫瑰之狂怒》（倫敦西區乾草市場劇院／水磨坊劇院）；《第十二夜》，《亨利五世》，《錯中錯》（世界巡迴演出）；《伴君兩周》（萊斯特乾草市場劇院）；《贓物》（樂治玫爾劇院）；《問題學生》，《搗蛋鬼》（皇廷劇院）Theatre: Once in a Lifetime, Playing With Fire, The UN Inspector (National Theatre); Pyrenees (Paines Plough); Jeff Koons (Actor’s Touring Company); A Midsummer Night’s Dream for Edward Hall’s Propeller Theatre Company (The Watermill, West End and New York); Rose Rage (Haymarket, West End and The Watermill); Twelfth Night, Henry V, The Comedy of Errors (world tour); Two Weeks With the Queen (Leicester Haymarket); Loot (Latchmere Theatre); The Corner Boys, The Knocky (Royal Court).

娜拉．史薇斯度堤爾 Lára Sveinsdóttir 演員（葛蕾特）Actor (Grete)

戲劇訓練：冰島藝術學院（2001）舞台演出：《萬世巨星》及《格雷提爾》（城市劇院）；於兩齣兒童音樂劇中分別飾演瑪麗．士多啤梨及迪迪．曼池德；於拉比洛克劇院兩個製作中分別飾演蒙娜麗莎及思蓋。Trained at: Icelandic Academy of the Arts in 2001.

Theatre: Jesus Christ Superstar and Grettir (The City Theatre); Mary Strawberrie and Didi Manchild in two different musicals for children; Mona Lisa and Sigga in separate productions at Lab Loki theatre.

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Creative Team Biographies 創作人員簡歷

大衛．法爾 David Farr導演／改編Director and Adaptor

尼克．凱夫 Nick Cave作曲Composer

尼克．凱夫的招牌低沉男中音，散文體歌詞和濃濃的文學味道，造就了「壞種子」樂隊不拘一格，甚而實驗性地混合怨曲、靈歌、搖滾、藝術和後崩克的風格。「壞種子」樂隊推出了第四張大碟《你的喪禮⋯⋯我的審判》後，凱夫小休了兩年，才再回到錄音室，灌錄了好評如潮的《脆弱的獵物》。1994年，凱夫與「壞種子」樂隊參加了頂呱呱美國音樂節的巡迴演出，宣傳他們的唱片《愛吧》。1996年初，推出《謀殺民謠》，成為樂隊最熱賣的唱片之一。2001年，凱夫與「壞種子」樂隊重聚，灌錄以鋼琴為基調的《不再分離》。由凱夫撰寫劇本的電影《關鍵協議》，2005年首演時全球好評不絕，而該片的配樂由凱夫與華倫．艾利斯合力創作。凱夫與艾利斯於2006年再度攜手，為冰島西港劇團的《胡錫傳》和《變形記》創作音樂。Nick Cave’s deep baritone, prose-style lyrics and literary influences are the main force behind the Bad Seeds eclectic and often experimental blend of blues, gospel, rock, art and post-punk.

Following the release of their fourth album, Your Funeral … My Trial, Cave took a two-year hiatus before returning to the recording studio for the critically acclaimed album, Tender Prey. In 1994, Cave and the band performed at the 1994 Lollapalooza Tour to promote the album Let Love In. Early in 1996, they released

皇家莎士比亞劇團聯合總監，利瑞克漢默史密斯劇院藝術總監（2005-09），布里斯托老域劇院聯合藝術總監（2003-05），柵欄劇場藝術總監（1995-98）。編劇／導演：《羅摩傳》，《變形記》，《奧德賽》，《魔氈》及《凱撒大帝》（皇家莎士比亞劇團／利瑞克漢默史密斯劇院）；《帖木兒大帝》（布里斯托老域劇院／巴比肯中心國際戲劇匯演）；《聯合國督察》（英國國家劇院）；《降世錄》（新域劇場）；《達爾斯頓的罪與罰》（阿科拉劇院）；《靈魂之夜》（皇家莎士比亞劇團）導演作品：《科利奥蘭納斯》（皇家莎士比亞劇團／老域劇院），《仲夏夜之夢》（2003年英國舞台管理協會大獎—最佳導演），《侯夫》（英國國家劇院），《冬天的故事》（薩格勒布蓋汶拉劇院），《馴悍記》（諾定咸戲劇劇院）編劇：《艾頓．莊的眼鏡》（屈福特劇院，倫敦西區，巡迴演出；1999年編劇公會大獎—最佳地方戲劇）；《女皇必須死》，《花園騷動》（英國國家劇院），《孤星血淚》（布里斯托老域劇院）歌劇：《為她臉上撲粉》，《諸神的掠奪》（艾爾美達劇院）Associate Director of the Royal Shakespeare Company. Artistic Director of the Lyric Hammersmith Theatre, 2005-09. Joint Artistic Director of Bristol Old Vic, 2003-05. Artistic Director of Gate Theatre, 1995-98.

Writer/Director credits include: Ramayana, Metamorphosis, The Odyssey, The Magic Carpet and Julius Caesar (Royal Shakespeare Company and Lyric Hammersmith); Tamburlaine (Bristol Old Vic, Barbican and BITE); The UN Inspector (National Theatre); The Nativity (Young Vic); Crime and Punishment in Dalston (Arcola); Night of the Soul (Royal Shakespeare Company).

Director credits include: Coriolanus (Royal Shakespeare Company and Old Vic); A Midsummer Night’s Dream (winner Best Director TMA Awards 2003); Hove (National Theatre); The Winter’s Tale (Gavella Theatre, Zagreb); and The Taming of the Shrew (Nottingham Playhouse).

Writer credits include: Elton John’s Glasses (Watford Palace, West End and tour) (winner Best Regional Play, 1999 Writer’s Guild awards); The Queen Must Die and Ruckus in the Garden (National Theatre); and Great Expectations (Bristol Old Vic).

Opera: Powder Her Face and Snatched by the Gods (Almeida).

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華倫．艾利斯 Warren Ellis

波古爾．莊遜 Börkur Jónsson

作曲Composer

舞台設計Set Designer

九十年代初，華倫．艾利斯創立了澳洲器樂組合「骯髒三人組」，至今灌錄了七張大碟，並為約翰．卡蘭的電影《生命中最痛》配樂。他也是「研磨者」樂團的創團人之一，樂團的處女作成為2007年樂壇的熱門話題。1995年，艾利斯獲邀與尼克．凱夫及「壞種子」樂隊合作，一拍即合下，「壞種子」過去的六張唱片，均由他們合作灌錄。另外，他也跟凱夫合力創作了《關鍵協議》的電影配樂，以及西港劇團《胡錫傳》和《變形記》的音樂。艾利斯現繼續與「壞種子」樂隊、「研磨者」樂團及「骯髒三人組」創作及巡迴演出。他表演多種樂器，但以小提琴為主。艾利斯現與妻子及兩子女居於巴黎。In the early 1990s Warren Ellis formed the Australian instrumental group, The Dirty Three. They have since recorded seven albums and a soundtrack for the John Curran film Praise. In addition, he was a founding member of the band Grinderman, whose debut album was one of the most talked about records of 2007.

In 1995 Ellis was invited to record with Nick Cave and the Bad Seeds and has contributed to the Bad Seeds’ last six albums. Additionally, he has collaborated with Cave on soundtracks for The Proposition, and Vesturport Theatre’s Woyzeck and Metamorphosis.

Ellis continues to work and tour with the Bad Seeds, Grinderman and The Dirty Three playing a variety of instruments, predominantly violin. He lives in Paris with his wife and two children.

西港劇團：《羅密歐與茱麗葉》（新域劇場／戲劇劇院／雷克雅未克城市劇院），《胡錫傳》（新域劇場／巴比肯中心國際戲劇匯演 — 2006年冰島MASK戲劇大獎），《海浪》，《愛》音樂劇。《變形記》（2008）及《胡錫傳》（2006）獲冰島GRIMA戲劇大獎之最佳舞台設計獎。其他劇團：《血婚》（冰島戲劇學院，雷克雅未克城市劇院），《恐怖主義》及《慶典》（冰島國家劇院），《卡尼，卡尼》（雷克雅未克城市劇院）。另為雷克雅未克藝術節擔任舞台設計。For vesturport: Romeo and Juliet (Young Vic, Playhouse and Reykjavik City Theatre); Woyzeck (Young Vic, Barbican and BITE — winner of Mask Award 2006); Surf; Love — the Musical. Icelandic Theatre Award Grima for Best Stage Design for both Metamorphosis (2008) and Woyzeck (2006).

Other theatre: Blood Wedding (Icelandic Drama Academy, City Theatre Reykjavík); Terrorism, Celebration (National Theatre of Iceland); Canin Canin (Reykjavik City Theatre); stage design for the Reykjavik Arts Festival.

Murder Ballads, one of their most commercially successful albums. In 2001, Cave re-grouped with The Bad Seeds for the piano-driven No More Shall We Part.

The film The Proposition, for which Cave wrote the screenplay and, together with Warren Ellis, composed and recorded the soundtrack, premiered worldwide to critical acclaim in 2005. Cave and Ellis teamed up again in 2006 to compose scores for two productions by Icelandic theatre company Vesturport Theatre: Woyzeck and Metamorphosis.

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比約恩．赫爾加辛 Björn Helgason

尼克．曼寧 Nick Manning

燈光設計Lighting Designer

音響設計Sound Designer

比約恩．赫爾加辛乃冰島電影攝影師及燈光設計師，也是西港劇團創辦人之一。1995-99年間任冰島洛夫卡史太連劇團燈光設計，亦曾隨西港劇團巡迴演出《羅密歐與茱麗葉》、《在一起》、《變形記》。2000-07年，他於冰島電視第一頻道任職攝影師。Björn Helgason is a working cinematographer and lighting designer in Iceland and is one of the founders of Vesturport theater. As a lighting designer he worked for Loftkastalinn Theater, Iceland from 1995-99 and has traveled with Vesturport to several festivals to show Romeo and Juliet, Together and Metamorphosis. From 2000-07, he worked as a cinematographer for Channel 1, Iceland TV (RÚV).

尼克．曼寧乃利瑞克漢默史密斯劇院音響總監。劇場：利瑞克漢默史密斯劇院：《無心的英雄》，《初生之犢》，《羅摩傳》，《變形記》，《太近家》， 《奥德賽》，《有些女孩較年長》，《煙花匠的女兒》，《唐璜》，《孤雛淚》，《佩力克爾斯》，《卡蜜兒》，《聖誕頌歌》，《漢堡王子》，《阿拉丁》，《僕人》，《木偶奇遇記》，《白魔鬼》其他：《愛之小玩意》，《藉口》，《理智之外》（演員巡迴劇團）；《乖戾老太婆》（英國巡迴演出／澳洲巡迴演出／倫敦西區／阿瓦隆劇院）；《馬里布的達爾文》（漢普斯特劇院）；《大師與瑪格麗特》（國家青年劇團）；《安迪．沃霍爾症候群》（2004愛丁堡藝穗節）；《暈機浪》（灌木叢劇院）；《兔子》（狂亂組合劇團）；《孤星血淚》（布里斯托老域劇院）Nick Manning is Head of Sound at the Lyric Hammersmith Theatre.

Theatre: Accidental Heroes, Absolute Beginners, Ramayana, Metamorphosis, Too Close to Home, The Odyssey, Some Girls Are Bigger Than Others, The Firework — Maker’s Daughter, Don Juan, Oliver Twist, Pericles, Camille, A Christmas Carol, The Prince of Homburg, Aladdin, The Servant, Pinocchio, The White Devil (The Lyric Hammersmith Theatre); Gizmo Love, Excuses and Out of Our Heads (Actor’s Touring Company); Grumpy Old Women (UK tour, Australian tour, West End and Avalon); Darwin in Malibu (Hampstead Theatre); The Master and Margarita (National Youth Theatre); The Andy Warhol Syndrome (Edinburgh Fringe 2004); Airsick (Bush Theatre); Rabbit (Frantic Assembly); Great Expectations (Bristol Old Vic).

場刊中譯：林笑桃