¸sÅ]¼ÈµL¼@·Ó
¸sÅ]
Damonen

ªkÄõ§J¡E¥d´µ¦«¤Ò Frank Castorf Frank Castorf ¡W Germany ¡W 2000 ¡W Color ¡W German ¡W Video ¡W 176 min

¡·¥x¥_ 8/11 ¡]¤­ ¡^21:40¡@ 8/15 ¡]¤G¡^11:30 ¡@8/19 ¡]¤»¡^14:00¡@ 8/22 ¡]¤G¡^ 19:20

¼@±¡Â²¤¶¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@ ¦^¼v¤ù­¶­±

¡@1951¦~¥Í©ó¬fªL¡A¨Ó¦ÛªF¼wªºFrank Castorf¡A±q¤p¦b¬ü°êªº¤Ï¤å¤Æ·nºu¼Ö¡B°ª¹F»PµØ¥ì¹Fµ¥¤Hªº¹q¼vÂȳ³¤Uªø¤j¡C¤j¾Ç®É¬ãŪ¤å¤Æ¥v¡B­õ¾Ç»PÀ¸¼@¡AÀH«á§ë¨­¼@³õ¾Éºt¡C¦ý¬O¥L­è¶}©lªº´XÄÕÀ¸³Q·í§½»{¬°¬O¡u¤£¥¿½Tªº¡v¡A¦]¦¹³Q­¢¤¤³~°±ºt¡CÁöµM¦b¤@¦¸»P»â¾É¶¥¼hªº¶D³^¤¤Àò³Ó¡A«o¤]¦]¦¹³Qµo¬£¨ìªF¼wÃä¹ÒAnklam¡C©ó¬O¶}©l°õ¾É¥¬µÜ§Æ¯S¡B¨È³³¡B¿p°Ç
¡]Heiner Muller¡^µ¥¤Hªº¼@¥»¡A1985¦~¦A«×¦]¬°«ä·QÀˬd¾D¨ìºM¾¡C¦¹®É¥Lªº§@«~¤w¤Þ°_¦è¼w¼@³õ¬Éªºª`·N¡A²×©ó¦bªF¦è¼w¦X¨Ö¤§«á¡A´x²ëÁ|¥@»D¦Wªº¡u¬fªL¤H¥Á¼@³õ¡v(Volksbuhne Berlin)¡C¦p¦P³o­Ó¼@³õ®y¥k»Ê¡G¡u¤T¦~¤º­Y¤£¥X¦W¡A¤£¦p¦º¥h¡v¡C¥L»y¤£Åå¤H¦º¤£¥ðªº§@­·¡Aªñ¤G¤Q¦~¨ÓFrank Castorf¤wµM¦¨¬°¥Nªí¼w°ê¦Û¥Ñ«ä·Qªº¼Ðªº©Ê¤Hª«¡A¸g±`µoªí¨¥½×©áÀ»¬Fªv¤Hª«´A«UÀ¶®zªº¥ß³õ¡A¹ï©ó©õ¤é¦P¾«¬°¤F²¼©Ð¦Ó±Ä¨úªº§´¨ó«ººA§ó¬O¶á¤§¥H»ó¡C¥L¦b¡u¬fªL¤H¥Á¼@³õ¡vªº¦æ¬F¨Æ°È»P©Ò¾Éªº§@«~¤¤¡A¤@¦A¬D¾Ô¨â¼wªº¬É½u¡AªF¼Ú°ê®a»P¸ê¥»¥D¸qªº¬É½u¡C¹ï¥L¨Ó»¡¡A¦³¤@¹DµL§ÎªºÀð¡A²`´Ó¦b©Ò¦³¤Hªº¤ß¤¤¡A¨º¬O·¾³qªº»Ùê»P±Æ°£²§¤vªºªZ¾¹¡C¾Õªø³B²z·¥«×²V¶Ã¡B¼É¤O»P³¥ÆZªº¥@¬É¥½¤é³õ´º¡C

¡@¥»¼@¡m¸sÅ]¡n¬OFrank Castorf®Ú¾Ú¤p»¡®a¥dÁ[§ï½s¦Û§ù´µ§´¤]¤Ò´µ°ò¦P¦W¤p»¡ªº¼@¥»¦Ó¦¨¡A¥u¤£¹L¦bµÛ¦Wªº§G´º»P»R¥x³]­p®vBert Neumannªº¥©¤â¤U¡A±N­ì¥»ªº³õ´º±q«X°ê©¹«á©µ¦ù¤@¦Ê¦~¡A¦¨¬°60¦~¥Nªì´Áªº¼w°ê¡C±q³oÄÕÀ¸¶}©l¡AFrank Castorf ±N§ù´µ§´¤]¤Ò´µ°òªº¤p»¡¤@³¡³¡·h¤W»R¥x¡A§â­ìµÛ¤¤«X°ê¦¡ªºµêµL¥D¸qÂà¤Æ¬°´Ý¼Éªº·N¹³»P·NÃÑ«¬ºAªº¥Ë¸Ñ¡A¤j®v³z¹L¤µ©õ¹ï·Óªº¤âªk¡A¤£¤î·N¹Ï­É¥j¿Ø¤µ¡A¨ä¹ê§ó¬O¬ï¶V®ÉªÅ¡A­åªR©Ò¥H¡u­²©R¡vªº¥»½è¡C¦b¤@­Ó¸Ë¦³¬Á¼þªº¶m¶¡¤j¦v°|¸Ì¡AÂǥѱÛÂà¸Ë¸m¡A§Ú­Ì´X¥G¥i¥H¬Ý¹M©Ð¤lªº¨C¤@­Ó¨¤¸¨¡A©Ò¦³ªº¨Æ¥ó¦¹°_©¼¸¨¡A¦P®É¦b©Ð¤l¸Ì¥~µo¥Í¡A¬ðµo¡BºòÁ^¡B¯«¸g½è¡B·Æ½]ªºªÏÅé±N©Ò¦³ªº¨Æª«Åܱo¯}¸H¡A¾ãÄÕÀ¸¹F¨ì¤F¼@³õ¤WÂA¤Ö¹F¦¨ªº²V¶Ã»PÆF¬¡¡C¾Éºt¥HÄA­Ë¥@¬Éªºµ¦²¤¡AµL½×¬O¦b®æ§½»P®ð¶Õ¤W³£µ¹¤H¤@ºØ´Ý¼É»P¼QµoªºµøÅ¥±i¤O¡C

¡@The Berlin director Frank Castorf is a self-described "quarrelsome" individual. After studies in theatre arts, he worked in the provinces for twelve years before being named director of the Volksbuhne in Berlin in 1992. Castorf and his ensemble have developed a powerful way of working the seam between subjective experience and convention-bound behavior that is particularly effective in presenting fragmented characters. Known for his acts of provocation and daring, Castorf has not hesitated to adapt novels for the stage: ex. Dostoyevsky's The Insulted and Injured, The Idiot and The Demons. The productions of Frank Castorf contain a dimension that is at once political and decadent, which provokes, defies and mocks the audience. Frank Castorf's adaptation of Dostoyevsky's Damonen, is based in part on Camus's version, The Possessed. Castorf concentrated the novel's sprawling action into one evening and one location--a kind of prefabricated 1960s bungalow, complete with pool, which revolved from time to time during the four-hour performance.

¬ÛÃöºô¯¸:
http://www.volksbuehne-berlin.de/ftflash/index.html

 
 

µ¹º¿ÄR³ø«H
The Annunciation of Marie

¨ÈÄõ¡E©~¥§ Alain Cuny

Alain Cuny ¡W France-Canada ¡W 1991 ¡W Color ¡W French ¡W 35mm ¡W 91min

¡·¥x¥_ 8/13 ¡]¤é¡^ 20:00 ¡@¡@¡@¡@8/17 ¡]¥|¡^ 17:40
¡@¡@¡@8/19 ¡]¤»¡^ 22:30¡@¡@¡@¡@ 8/24 ¡]¥|¡^ 11:30

¼@±¡Â²¤¶¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@ ¦^¼v¤ù­¶­±

¡· 1992¦~¬fªL¼v®iEcumenical Jury¼ú

¡@¼@§@®a«Où§J³Ò©§¡]Paul Claudel¡^¦bªk»y¥@¬É¤§¥~ªºª¾¦W«×¡A©Î³\¤£¤Î¥LªºÃÀ³N®a©j©j¥d»e¨à§J³Ò©§¡AµM¦Ó¥L¬Oªk°ê­«­nªº¶H¼x¥D¸q¼@§@®a¤§¤@¡A¤]¬O¤@¦ì¸Ö¤H¡B°OªÌ»P¥~¥æ©x¡C¥»¤ù¾ÉºtAlain Cuny¬Oªk°êµÛ¦Wªº¼@³õ©M¹q¼vºt­û¡]¥L´N¬O¶O¨½¥§¡m¥Í¬¡ªº²¢»e¡n¤¤ªº±Ð±Â¡^¡A»P¼@§@®a«Où§J³Ò©§¬O¦h¦~¦n¤Í¡AÁÙ´¿¸g°Ñ»Pºt¥X¹q¼v¡mù¤¦»P¥d»e¨à¡n¡C«Où§J³Ò©§¦b1955¦~¹L¥@«e´¿ÁܽÐCuny±N¥Lªº¼@¥»¡mµ¹º¿ÄR³ø«H¡n©çÄᦨ¹q¼v¡A«_µÛ¥i¯à¨ü¼@³õ§Î¦¡«]­­ªº¦MÀI¡ACuny¤´µM¬O½aºÉ²¦¥Íºë¤O¡A±N¼v¤ù©ç¦¨¡CCuny©ó1994¦~¹L¥@¡A²¦¥Í¥u©ç¹L³o³¡¼v¤ù¡A¦ý¬O¼v¤ù¤¤¥H²¼äªº¤¸¯À¶Ç»¼¥X¤@ºØ«e©Ò¥¼¦³ªº©_¯S¬ü·P¡AÅý¦U¤è¼vµûÅå¼Û¤£¤w¡Aª½©I¬O¤@³¡¨ü¨ì¤W«Ò®¦½çªº¼v¤ù¡C

¡@­I´º³]©w©ó¤Q¦r­xªF©ºªº¼Ú¬w¤¤¥@¬ö¶m¶¡¡A³oÄÕ¼@¶D»¡Ãö©ó·R±¡»P´d¶Ëªº¬G¨Æ¡A¥æ´µÛ¿@«p¯«¯µ¥D¸qªºª^³ò¡C¨k¥D¨¤³Ç§J»P·Å¬X¾y¤Oªº¤k¤lÁ¨Äõ­q¦³±B¬ù¡A«o¦]¤k¤lµo²{±w¦³·òºÆ¯f¦Ó¸Ñ°£±B¬ù¡A¨Ã§ï¨úÁ¨Äõªº©j©j¬°©d¡F¤k¤l±q¦¹¹LµÛÂ÷¸s¯Á©~¡B¸Û¤ß¬èë©^¥Dªº©t¿W¥Í¬¡¡C³o³¡¥Rº¡¦pµe¸Ö·Nªº¬üÄR¼v¤ù¡A¥E¬Ý¤£¸TÅý¤H¸£®ü¤¤¯B²{«X°ê¸Ö¤H¾Éºt¶ð¥i¤Ò´µ°ò©M©¬©ÔÃÙ¿Õ¤Ò¥Rº¡Å]¤Oªº¼v¹³¸Ö½g¡A¥H¤ÎªL¥¬Äõµe¤¤¬Õº¡¯«¯¦¥ú½uªº©Ð¶¡¡C³oÄÕ¼@¥Hºë½Tªº¼g¹ê¥D¸q¬°°ò¦¡A¦AÂà´«¦¨¶W¦ÛµMªº¶H¼x¥D¸qªí²{¡C¸Ö¤HÆg¹|ªº¥Ð¶é¬ü´º¤¤¡A¯Â¯u¦p«Äµ£ªº¨k¤k­±¹ïµÛ±¡·RªÈÄñ»P¥@«UÀ£¤Oªº·Î¼õ¡A®É¦Ó¬ï´¡®ÖÃz¡B©Û°]¿ßµ¥¤G¤Q¥@¬ö´ºª«ªº¬ð¤aÃèÀY¡A¨ººØ±N¸Uª«ªº¯«¯¦¬ü¦n»PµyÁa§Y·Àªº¦ÛµMªk«h¨Ã¸mªºÀ¸¼@±i¤O¡A´Ý»Å¤¤³º±a¦³©_²§ªº¬ü·P¡CÅå¤Hªºµøı©M´J·N²`»·ªº¸Ö·N¬°³o³¡¤ùűo¤@­P¦nµû»P¼ú¶µªÖ©w¡C

¡@¨ü¨ìµØ®æ¯Ç»{¬°¼@³õÀ³¡u¨I®û¦b­µ¼ÖÅ]¬u¤§¤¤¡vªº²z·Q¤ÆÀ¸¼@²z©Àªº±Òµo¡A¶H¼x¥D¸qªº§@«~µÛ­«¶Ç¹F§ó°ª¯u²zªºª½Ä±¡A¾Õ¥Î¶H¼xÁô³ë¡A´£ª@Æ[²³ªººë¯«·P¨ü¡C¶H¼x¥D¸q¥Nªí¸Ö¤H¤§¤@¡A«Où§J³Ò©§¹ï©v±Ð¦³¬Û·í¼ö±¡ªº«H¥õ»P±Mª`¡A¨Ã±`¥H³o­Ó¥DÃD³Ð§@¡C¥L¤]­n¨DŪªÌ¥H©ÊÆFªº¥þµM§ë¤J»P±Mª`¨Ó¾\Ū¥Lªº¸Ö§@¡C¡mµ¹º¿ÄR³ø«H¡n¸g¹L´X¦¸ªº§ï¼g¤~µo®i¦¨«á¨Ó¥»¤ùªºª©¥»¡A¤ù¤¤±N±aµÛ·òºÆ¯fªº¶A©G¡A°@¸Û¨ü­WªºÁ¨©Ô¡A³vº¥Ãþ¤ñ¦¨³B¤k¥Í¤lªº¸t¥Àº¿§Q¨Èªº§Î¶H¡A³Q§ø¥Á»{¬°¥i¥H¬°¥¼¥¥ªº°ü¤k±a¨Ó¯¬ºÖ¡C«Où§J³Ò©§Â²¼ä¦a¤@¥y¸Ü¹D¥X³o³¡§@«~ªººëÅè¡G¡u³o¬O¤HÃþ¿E±¡ºòºòªþµÛ©ó¤Ñ¥D±Ð´J·Nªº¦A²{¡v¡C

¡@¦Û1912¦~©óù¯B®c¼@°|­ººt¤§«á¡A³oÄÕÀ¸¤w¥Ñ¦h¦ì­«­n¾Éºt»P¼@³õºt¥X¹L¡A¨Ã´¿¥Hºq¼@§Î¦¡ºt¥X¡C³o³¡¹q¼v³Ç§@¡A¤£¶È«O¯d­ì§@¯S¦³ªº©v±Ð¯«¯¦¥D¸qª^³ò¡A§óÃø¯à¥i¶Qªº¥H¯Â²b¥Bªñ¥G¸t¼äªº¼v¹³©MºqÁn¡A±N³o­Ó´d¶Ëªº¬G¨Æ¤Æ¦¨°Ê¤HµL¤ñªº¸Ö½g¡A¦bÆ[ªÌ¤ß¤¤¯d¤U§C°j¤£¤wªºÅ¸°Ê»P·PIJ¡C

¡@Set at the time of the Crusades, it tells the story of love and tragedy, intermingled with mysticism. Jacques is betrothed to marry Violane, a beautiful and gentle woman. When she discovers that she has leprosy, however, the marriage is off, and she retires to a life of prayer at an isolated hermitage. Instead, Jacques marries her sister Mara. When Jacques and Mara's child dies shortly after birth, Mara implores her saintly sister to come out of isolation to bring her child back to life. In 1991, this critically esteemed and poetic film won the Prix Georges Sadoul.

¬ÛÃöºô¯¸¡Ghttp://www.paul-claudel.net/

 
ª±°¸¤§®a
Nora Helmer

µØ¯Ç¡E -³¯Ç¡Eªk´µ»«¹F Rainer Werner Fassbinder
Rainer Werner Fassbinder ¡W Germany ¡W 1973 ¡W Color ¡W German ¡W 16mm |101 min

¡·¥x¥_ 8/14 ¡]¤@¡^16:00 ¡@8/16 ¡]¤T¡^19:50 ¡@¡@8/20¡]¤é¡^11:30¡@¡@ 8/24¡]¥|¡^21:00

¡·®ç¶é 9/17 ¡]¤é¡^14:00 ¡@·s¦Ë 9/14 ¡]¥|¡^19:00
¼@±¡Â²¤¶¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@ ¦^¼v¤ù­¶­±

¡@¥»¤ù¬O¼w°ê·s¹q¼v©Ç³Çªk´µ»«¹F¦­´Áªº§@«~¡A§ï½s¼g¹ê¥D¸q¼@§@®a©ö¤R¥Í¸g¨å¼@§@¡mª±°¸¤§®a¡n¦Ó¦¨ªº¹qµø¹q¼v¡C¥L¥H¿E¶i¦ý©¾©ó­ìµÛªº¤âªk¸àÄÀ¼@¥»¡A½á¤©¤k¥D¨¤¢w©ö¤R¥Íµ§¤Uªº­^»Û¿Õ©Ô¡A¬Û·íªº¦Ûı»P¦Û«H¡A¨Ï¦o¥i¥H­±¹ï¥~¦b¥@¬Éªº¹D¼w±`³WÀ£¤O¡A¼ÝµM¨MµM©ß±ó¡uª±°¸¤§®a¡v¥Nªíªº¦w¥þµÎ¾Aªº®a®x»ù­È¡A±Ã²æ¶Ç²Î¤k©Ê¨¤¦âªº§ô¿£¡A«i´±°l´M¦Û§Ú¡C¼v¤ù¾ãÅ骺»s§@¤]¨ü¨ì¥»¼@«i®ð»P°õµÛªº¹ª»R¡A¦Ó¥Rº¡Ãø±oªºÂרK¯à¶q¡C©ö¤R¥ÍÀ¸¼@ªº¯S¦â»P¤O¶q¡Aªí²{¦b¦p­Ë¼v¯ëªº·N¹³¥H¤Î¨¤¦â¿W¥Õ®Éªº°Å¼v¡Fªk´µ»«¹F¥H¬X©M®M¦âªº¼v¹³¤âªk¸Õ¹Ï§e²{©ö¤R¥Íªº¼@³õ¬ü¾Ç¡C¼v¤ù¥H·í®É¤´ÄÝ·s¿o§Þ³Nªº¿ý¼v¾÷¦Ó«DºD¥Îªº½¦±²¼v¤ù©çÄá¡A¬Ý¦ü³h½C¦Ó²ÊÁWªº¼v¹³½è·P¡A¤Ï¦Óµ¹¥»¤ù±a¨Ó¤@ºØ¥O¤HÅåÆAªºªº¯S®í¾y¤O¡Aºò±K§áµ±¥X©Ò¦³ºt­û¹ï¸Üªº³Ì·L§®¤§³B¡C

¡@¡mª±°¸¤§®a¡n»Pªk´µ»«¹F¦P´Á¨ä¥L§@«~¡mº¿²ï¡n»P¡m±I¹æªÚ¤ß¡n¦³·¥¤jÃöÁp©Ê¡A³£¥H¤k©Ê­±¹ï¤£©¯ºÖªº±B«ÃÃö«Y¬°¥DÃD¡A¤T³¡¤ù¤§¤¤ªº¨k©Ê³£¥H±Ð¨|¦Ó«D·R±¡¹ï«Ý©d¤l¡A¦Ó³o¨Ç¤k©Ê³£¸Õ¹Ï¤ÏÀ»³o¼Ëªº¤£¤½³B¹Ò¡A«o¥u¦³¿Õ©ÔÀò±o¦¨¥\¡A§Y¨Ï¬O¥I¥X·¥¤j¥N»ù¤~´«¨Ó¡C¿Õ©Ô³o­Ó¨¤¦â±q¼g¹êªº³]©wµo®i¡A¦Ó¦b¦o¨M·N°l´M¹ï¦Û§Ú¨­¤À»{¦Pªº¹Lµ{¡A³vº¥ª@µØ¦Ü¯«¯µ¯«¸tªº©v±Ð±ÏÅ«¹Ò¦a¡C

¡@¥þ¤~«¬ªºªk´µ»«¼w¨­­Ý¾Éºt¡B½s¼@¡Bºt­û¡B»s¤ù¡B¼@³õ¸g²z¡B½s¦±¡B³]­p¡B°Å±µ©MÄá¼vµ¥¦h¾¡C¥L¹ï·s¼w°ê¹q¼vªº­«­n©Ê¡A¦³¤H¤ñ³ë¬°¤ß²z¾Ç¤Wªº¦ò¬¥¨Ì¼w¡B»R»O¤Wªº²ï¤h¤ñ¨È¡C¥Lªº³Ð§@¤OÅå¤H¡AÃD§÷¤jÁx¡A¥H¡uÃa«Ä¤l¡v¤§¦WÁa¾î¼vµø¼@¬É¡A»È¹õ¤W©M»R¥x¤U¦P¼Ëºë±m¡A¥L®¡·N´§ÀN¥Í©Rªº¤@¤Á¡A¦º©ó¥ÎÃĹL¶q¡A¦~¶È37·³¡C¥L¦b14¦~ªº©ç¤ù¥Í²PÁ`¦@°õ¾É¹L41³¡¹q¼v¡Aµû»ù¤£¤@¡A«o¦³¤£©ë¤@®æªº¯S¦â¡AÃD§÷µLµø±¡¼¤¸T§Ò¡A¤jÁx´¦¶}¤H¥Í¨õ·Lªº¤@­±¡AIJ¤ÎµL°ê¬É©Ê§Oªº·R±¡Æ[¡C´¿¦³¶Ç°O§@ªÌ¹ïªk´µ»«¹F´£¥X°wÅPªºµû½×:¡u°ß¦³¦s¦b©óÃÀ³N®a»GÃa¯«¸g¨t²Î¤¤ªº¼««ã»P§N»ÅµL±¡ªº¨g³ß¡A¤~¬OÃÀ³N³Ð§@¯u¥¿ªºÆF·P¬u·½¡C¡v¤]¦³¤H¥Î¡u®öº©ªºµL¬F©²¥D¸qªÌ¡v§Î®e¥L±Ó·P¤S´Ý¼Éªº½ÆÂø©Ê®æ¡C¥Lªº§@«~¹ï¤k©Ê¨¤¦â¤ß²zªº²`¨è¨è¹º¬O¹q¼v¦P¾«¤¤¨u¨£ªº¡A¥L¨Ã±N¦Û¤v©Ê§O»{¦P¤¤¤k©Ê¯S½èªºÀu¯ÊÂIµL«O¯d¦a§ë®g¦b¼v¤ù¤¤¡C¥Lªº§@«~ÁöµMÄAÂаò¦¹q¼v»y¨¥¡A³z¹L³q«U¼@ªº§Î¦¡¡A«o²`²`§l¤ÞÆ[²³»Pµû½×ªÌ¡C¥L¥H¦h³¡¹q¼v°µ¬°¤H¥Í¼g·Ó¡A¬O¤@­Ó«i©ó©Z©Ó¦Û§Úªº¾Éºt¡A³o¤]¬O¥Lªº¶Ç©_¤§³B¡C1969¦~¥H²Ä¤@³¡¼@±¡¤ù¡m·R¤ñ¦º§ó§N¡n¦b¬fªL¼v®i¤@»ïÅå¤H¡A1973¦~¥H¡m®£Äߧ]¾½¤ßÆF¡n©ó§¢«°Àò¼ú¡C¥Lªº¸g¨å§@«~¥]¬A¡m·R¤ñ¦º§ó§N¡n¡B¡m²ú²ú¡Eº¿½¬¡n¡B¡mº¿ÄR¡E¥¬®Ôªº±B«Ã¡n
¡q1979¬fªL¼v®i»Èºµ¼ú¡r¡B¡m¨È¾ú¤s¤j¼s³õ¡n¡Kµ¥µ¥¡C¥Lªº§@«~¨ü¤H±À±Rªº¦a¤è¡A¦b©ó¥L«ùÄò¤£¾Ó¦a«i´±§å§PªÀ·|¹ï®z¶Õ±Ú¸s¡]¥]¬A¦P§Ó±Ú¸s¡^ªºÀ£­¢©M¤£¤½¥­¹ï«Ý¡A¥[¤W¥L¹ï¹q¼vÃÀ³Nªººëªö´x´¤¡A¨Ï¥L¦¨¬°¼w°ê¹q¼v¥v¤W³Ì¥O¤Hª§Ä³¤SÃø§Ñªº¨­¼v¡C

¡@Fassbinder adapted and directed this version of Ibsen's A Dolls House for television. Radical and yet intensely faithful to the text, Fassbinder gives Nora (Castensen), Ibsen's heroine, self-awareness and confidence right from the word go, which in turn gives the whole production a fierce energy. Spare and brutally harsh, the use of video camera is utterly brilliant, wringing every last nuance from the actors' words.

¬ÛÃöºô¯¸¡G
http://www.fassbinderfoundation.de/

 
®L¤é³X«È
Summer Folk

©¼±o¡D¥v©Z Peter Stein
Peter Stein ¡W Germany ¡W 1975 ¡W Color ¡W German ¡W 35mm ¡W 115 min¡· 1977 ³Ì¨Î-µ¼ÖÀ¸¼@¼@µû¤H¼ú ¨©º¸®æµÜ¼w BITEF ³Ì¨Î¤j¼ú

¡·¥x¥_ 8/12 ¡]¤»¡^18:30¡@ 8/16¡]¤T¡^11:30¡@ 8/19¡]¤»¡^20:20¡@ 8/23¡]¤T¡^13:00

¼@±¡Â²¤¶¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@ ¦^¼v¤ù­¶­±

¡@¥»¤ù¬O¥Ñ¼w°ê·í¥N­º­n¼@§@®aBotho Strauss§ï½s«X°ê§@®a°ªº¸°ò1903¦~ªº¤å¾Ç§@«~¡mSummerfolk¡n¡A¥Ñ¼w°ê¼@³õ¤j®vPeter Stein§ï½s¦Ó¦¨ªº¹q¼v¡C¼v¤ù§¹¦¨«á¡A¦]¬°¥ªÁlªº¥DÃD¦b·í®É¤£¨ü«C·ý¦Ó¥¼¨ü¨ì¸Ó¦³ªº­«µø¡A«o³Q«á¨Óªº¼vµû¤H»{¬°¬O²@¤£»¹¦â©ó·í®É¨ä¥L¼w°ê·s®ö¼é¾Éºtªº¨Î§@¡C

¡@¦b¤ù¤¤¡A·í®L¤éªº³X«È¬Û¬ù»E·|¦b¶m¶¡§O¹Ö¡A­ì¥»©M¿Óªº¥æÅT¦±³vº¥ÂàÅܦ¨¥ÑÁy¤Õ¡B«º¶Õ¡B¹ï¸Ü©Òºc¦¨¡A¥Rº¡¤£½Õ©M»P§Æ±æ¡B¼~¶Ë»P·Å¬X¡B¯}Ãa»P§ïÅܪº¤£©M¿ÓÂø­µ¡C¬Û»Eªº³X«È¦U¦³¦Uªº°ÝÃD»P¬G¨Æ¡A¦³¤H¦]¬°¹ïªÀ·|§ï­²ªº¥¢±æ¦Ó­l¥Í¹P¥@¤§·N¡F¦³¤H¦]¬°¤£¥¥¦Ó·t¦Û¶Ë¯«¡F¦³¤H°k¹P¨ìøµe»P¼uµ^ªºÃÀ³N¥@¬É¤¤¡FÁÙ¦³§x¦b¤£©¯±B«Ã¤¤ªº¤k¤l­Ì...¡C

¡@¥»¤ù¥t¤@¶µ¯S¦â¬O¥Ñ¾Éºt¬ìªi©Ô·fÀɪºÄá¼v®vMichael Ballhaus ¾á¥ôÄá¼v¡A§e²{¥Xªº¼v¹³²Ó¿°¦ÓÂ×´I¡A·L§®¦aŨ¦«¥X¬Ý¦ü¥­ÀRªº¤Hª«¤ß¤¤¡A¦U¦ÛªÈµ²¡B°_¥ñªº¤º¤ß­·´º¡C¼v¤ù©Óŧ­ì¼@¹ï¤@­Ó·¥ªñµL½ìªºªÀ·|¤£¥Ñ¦Û¥Dªº±YÃa»P¥¢±±¡A¥H¤â³N¤M¯ëªº§NÀR­åªR¡A¦bªñ¥GÀq¤ù¦¡ªºª^³ò¤¤¡A«o·P¨ü¤£¥i«äijªºÀ¸¼@±i¤O¦VÆ[²³®u±²¦Ó¨Ó¡C³o¬O¡u¬fªL¼@°|¡vºt­ûªºÅq®p®É¨è³ÌÀu²§ªººt¥X¡A¨Ï¥»¤ù¦¨¬°¤Ö¼Æ§¹¬ü¦a±N¼@³õ·hºt¦Ü¹q¼vªº§@«~¤§¤@¡C

¡@³Q¤ñ³ë¬°¡u¤Ï«qªÌ»â³S¡vªº¼w°êÀ¸¼@¤j®vPeter Stein¡A¥H¾Õªø¦UºØ¤åÃþ»P§Î¦¡ªº³Ð·s©ùµM³»¥ß©ó·í¥NÀ¸¼@¬É¡C¤£½×¬Oºq¼@©Î³ß¼@¡AStein³£¯à¥Hºë¥©ªº¤âªk§e²{¥O¤H¦Õ¥Ø¤@·sªº¼@³õ´º¶H¡CSteinªº¤Ï«q©l¦Û¹ï®a®x­I´ºªº´¬±ó¡A¥Lªº¥ø·~®a¤÷¿Ë³Q«ü±±¬°¨ó§U¯Çºé¡A¥L¥H¥[¤J¥ªÁl°}Àç©M°õ¾É¿E¶iªº¬Fªv¼@ªí¹F¥L¤Ï¹ï¥k¬£·¥Åvªº¥ß³õ¡C1967¦~¡A¥L°õ¾Éªº­ºÄÕÀ¸¼@¡m¬@±Ï¡n¡qSaved¡r§Y¤@»ïÅå¤H¡A³QºÙ¬°¥¬µÜ§Æ¯Sªº±µ¯Z¤H¡C1970¨ì1986¦~¶¡¡A¥L©ó¡u¬fªL¼@°|¡v¾á¥ôÁ`ºÊ¡A±a»â¼@¹Îµo®i¥X¤@ºØ¶°Åé¦Û§ÚºÞ²zªº§Î¦¡¡Aµ²¦X¦h¼Ë¤Æªº¸`¥Ø©M¥]¬ABruno Ganzµ¥¼w°ê³ÌÀu¨qªººt­û°}®e¡A¨Ï¡u¬fªL¼@°|¡v¦¨¬°¼Ú¬w³Ì³Ð·s©M¦¨¥\ªº¼@³õ¤§¤@¡C

¡@Peter Stein¥H¥L¹ï¼@³õ¼eÁ諸»·¨£¡B¬ã¨sªºÄYÂÔ¡B»R¥x³]­p§Þ¥©ªº³Ð·s¡A¥H¤Î¦bÃÀ³N«ä¦Òºë¯q¨Dºëµ¥¯S¦â¡A¨ü¨ì´¶¹Mªº´L·q»P¥õ¼}¡C¥L¹ï²Ó¸`ªºÄY®æ­n¨D¨Ï¥Lªº§@«~¤@ª½«O¦³¹G¯uªº¯S½è¡A±Æºt»P¸ÔºÉªº¦Ò¾Ú¹ï¥LªºÀ¸¼@¤@¼Ë­«­n¡C¥L²ßºD»Pºt­û¦@¦P¦X§@¼@¥»¤ÀªR¡A¥i»¡¬O¤@ºØ¶°Åé³Ð§@ªº¼@³õ¹ÎÅé¡C

¡@Peter Steinªº­«­n¹q¼v§@«~ÁÙ¦³¡m¶¥¯Å¼Ä¤H¡n(1983)¡A±N«C¤Ö¦~­±¹ï¦Û¤vªº·Ð´o¡B«è«ë¡B®£Äß©M´÷±æªº½ÆÂø±¡ºü»PªÀ·|¨î¬ùªº½Ä¬ð¹ï¥ß¡A°µ¤FÂA©ú¦Ó¦³¤OªºÅGµý¡C2000¦~¡APeter Stein±À¥Xªø¹F¤Q¤­¤p®Éªº¥¨§@¡m¯B¤h¼w¡n¡A¥ÑBruno Ganz¹¢ºt¯B¤h¼w¡A¥H¦h¤H¹¢ºtÅ]°­±öµá´µ¯S¡C2006¥L±N¥H·s§@¡m¯S¬¥¥ì´µ©M§JùاƹF¡n°Ñ¥[©ó¤K¤ëÁ|¦æªº·R¤B³ù°ê»ÚÃÀ³N¸`¡C

¡@The Symphony turns to be a "cacophony" consisting of faces, gestures and conversation, full of dissonance and hope, grief and tenderness, destruction and fundamental change when "Datschniki", summer guests, meet on a "Datscha" in the Summer of 1904 (Gorki). The impulse for leaving the society in which active social engagement cannot be realized is given by a widow-doctor, she is joined by a wife - suffering from her unfullfilled life of being childless - of an unsrupolous lawyer..

 
¬Ó¦Zªº«è¨¥
The Complaint of an Empress

ºÑ®R¡EÀj³\ Pina Bausch
Pina Bausch ¡W Germany ¡W 1989 ¡W Color ¡W Video ¡W 103min¡@Die Klage der Kaiserin
A Film by Pina Bausch

¡·¥x¥_ 8/13¡]¤é¡^18:10 ¡@8/14¡]¤@¡^11:30 ¡@8/18¡]¤­¡^14:00¡@ 8/21¡]¤@¡^15:30

¡·®ç¶é 9/27¡]¤T¡^19:00 ¡@·s¦Ë 9/17¡]¤é¡^ 19:00 ¡@¡·°ª¶¯9/7¡]¥|¡^19:00
¼@±¡Â²¤¶¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@ ¦^¼v¤ù­¶­±

c 1989 L'Arche Editeur

¡@¤T¦~«e¦]SARS¸v­h¦Ó¨ú®ø¨Ó¥xºt¥X¡AÅý­ì¥»ºÆ¨g´Á«Ýªº¥xÆW»R°g­Ì¥¢±æ¦Ü·¥ªº¼w°ê²{¥N»RÁФj®vºÑ®R¡EÀj³\¡]Pina Bausch¡^¡A¬O·í¤µ³Ì°¶¤jªºÃÀ³N®a¤§¤@¡C¦o®v©Ó¼w°êªí²{¥D¸q½s»R®aKurt Jooss¡A´¿­u¬ü¶i­×²{¥N­µ¼Ö»P»RÁСA¦b70¦~¥N±a»â¥@¬Éª¾¦Wªº®J´Ë»R¹Î¡A®i¶}¥þ·sªº³Ð§@¾úµ{¡C¦o¥H«e½Ãªº²z©À»Pªí²{¤âªk¡A¹ý©³§ïÅܼw°ê»RÁЭ±»ª¡A¨ü¨ì»RÁЬɬ۷í¤jªº½èºÃ»P§ðÀ»¡C¦o¤£ÅU¤@¤Áªº°í«ù»P²z©À¡A±N¡u»RÁм@³õ¡v±j½Õ§@«~À¸¼@±i¤O»P¤Hª«¨è¹º¡Aºî¦X»RÁлPÀ¸¼@¤¸¯Àªº·§©À©M«¬¦¡µo®i¦¨¿W¯SªºÃÀ³N¡A¶}©Ý»RÁлP¼@³õªº·sµø³¥¡CPina Bauschªº»RÁм@³õ¦b¤µ¤é¤w©M¬ü°ê«á²{¥N»R¤Î¤é¥»»R½ñ¨Ã¦C¬°·í¥N¤T¤j·s»RÁЬy¬£¡C

¡@Pina Bauschªº¦W¨¥¬O¡u§Ú¦b¥Gªº¬O¤H¬°¤°»ò°Ê¡A¦Ó¤£¬O¦p¦ó°Ê¡v¡C¦oªº­ì³Ð©Ê¦b©ó¿Ä¦X»RÁлP¼@°|¡BºëÀJ²ÓµZ»P¹B¥Î»RªÌªº¤âªk¡Aª`­«­Ó¤H¯S½è½s³Ð»R§@¡A¬ð¯}¤F¶Ç²Î»RÁЧΦ¡©Î»y·J¡C¦o¥H¦p¸ÖºqªºÂ²¬ù¤âªk¶Ç­z¤£¥i¨¥»¡ªº±¡·P¡A½s»R¥Rº¡±¡ºü»PÀ¸¼@±i¤O¡A±j¯P¦ÒÅç»RªÌªºªí¹F¡C¡u¯Q©¬¶ð»RÁм@³õ¡v¦¨¤F¦oªº¹êÅç»RÁм@³õ¡A¦o¥H¶°Åé§Y¿³³Ð§@ªº¤è¦¡¶i¦æ±Æºt¡AÅý»RªÌ±q­Ó¤Hªº¸gÅç©Î·Qªkµo·Q¡C­«½Æªº±¡´º¡B«÷¶Kªº·N¦V¡B­µ¼Ö»X¤Ó©_ªº¤âªk¡A¦b»R¥x¤W²£¥Í¥¨¤jªº¯«¯µª^³ò¡AÅý¨C¦ìÆ[²³±qÀY¨ì§À¤£°±·²ªºÅå©_»Pµo°Ý¡A¦Ó¦³¤F¦U¦Û¹ï»R¼@¿W¯Sªº¸àÄÀ»PÆ[¬Ý¸gÅç¡C

¡@¦b³o³¡Pina Bausch°õ¾Éªº²Ä¤@³¡¹q¼v¤¤¡A¨S¦³¥ô¦ó²M·¡ªº¬G¨Æ½u¡A¦o¥H©M¡u¯Q©¬¶ð»RÁм@³õ¡v¦@¦Pµo®i¥Xªº¤âªk¢w¥H©u¸`Âà´«ªº§G´º§@¬°¼v¹³ªººc¹Ï¡A¥H«÷¶K³õ´ºªº¤âªk¤Ï¬M¯S©w±¡ºü¡A¨Ã¤Þµo¤£¦PªºÃöÁp©Ê¡CPina Bauschªº§@«~¦V¨Ó¨¥­z¼¤±æ»P¥H¦UºØ­±»ª¥X²{ªº²{¹ê¤§¶¡ªº¼e¼s²`²W¡A¨ä¤¤¤S¥H½ÆÂøªÈÄñªº¨k¤kÃö«Y¬°¥DÃD¡C¹ï·R»P§¹¬üªº´÷±æÅý§Ú­Ì¨V¨V©ó°l¨D¡A«o©¹©¹¤£¥i±o¡A©Ò¥H§Ú­ÌÂà¦Ó¥H·Q¹³Àç³y¤ß¤¤ªº·R±¡¼@³õ¡CPina Bausch´­±ó¦nµÜ¶õ¦¡ªº·R±¡¤½¦¡¡A¦Ó¥H¤£§¹º¡¡B¯}¸H¡B²V¶Ã¡B¤zÂZªºµ²ºc§@¬°§e²{»P²`¤JÀ˵ø·R±¡ªº¤è¦¡¡C

¡@Ãö©óPina Bausch»P»R¹Îªíºtªº¬ö¿ý¼v¤ù«Ü¦h¡A¦p¡u¿p°Ç©@°ØÀ]¡v¡B¡uºÑ®RÀj³\²{¥N»R¡vµ¥µ¥¥ÑºÑ®RÀj³\¿Ë¦Û¾Éºtªº¼v¤ù«o¬OÃø±o¿Ë²´©Ò¨£¡C¨âÆU°|¥¿¤OÁܺѮRÀj³\»P¯Q©¬¶ð»R¹Î©ú¦~¬K¤Ñ¦A¦¸³X¥x¡A»R°g¦b¤ÞÀV´Á¬ß¤§¾l¡A¤d¸U¤£¥i¿ù¹L¥»¦¸¼v®i¯S§O¤OÁܪº¤j®v¿Ë¾É¤§§@¡V¤@ÄÕ¥u¬°¹q¼v½¦±²¦Ó¦s¦bªº»R½X¡A­È±o²`¨è¯O¦L©ó¸£®ü¤¤¡C

¡@This is Bausch's first film, produced between October 1987 and April 1989. The general framework is set by the changing seasons and illustrates the method Bausch has worked to develop with the Tanztheater Wuppertal, in which the work tells no story but is made up of scenes put together like a collage, reflecting certain moods and invoking different associations.

¡@Ms. Bausch's works have always addressed the abyss between desire and reality in one form or another, most often in the crucible of male-female relationships. We long for love or autonomy or perfection. We rarely, if ever, get it, but we'll die trying. And in the meantime, we'll make theater out of its shadows. But instead of smoothing over that desperate chasm, Hollywood-style, Ms. Bausch adapts its structure - incompletion, fragmentation, disruption and interruption - as a way to inhabit and inspect it more fully.

¬ÛÃöºô¯¸¡Ghttp://www.pina-bausch.de/

 
¦A¨£½c¦à
Farewell to the Ark

¦x¤s -­×¥q Shuji Terayama

Shuji Terayama ¡W Japon ¡W 1984 ¡W Color ¡W Japanese ¡W 35mm ¡W 127 min

¡·¥x¥_ 8/13 ¡]¤é¡^ 13:40¡@¡@¡@ 8/17 ¡]¥|¡^ 19:30

8/22 ¡]¤G¡^ 17:00 ¡@¡@¡@¡@¡@¡@8/24 ¡]¥|¡^ 18:40
¼@±¡Â²¤¶¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@ ¦^¼v¤ù­¶­±

¡@³o³¡¤é¥»©Ç¤~¾Éºt¦x¤s­×¥qªº³Ì«á³Ç§@³QÅA¬°¥L³Ì¦nªº¼v¤ù¤§¤@¡AÁ¿­z¤@­Óµo¥Í¦b¦]³à¥¢®É¶¡¦Ó¦¨¤F°g³~¤è¦à§ø¸¨ªºÅ]¤Û¬G¨Æ¡C§øùتº¤H¦º«á¡A»î¾z¤´¯d³s¤£¥h¡A¦p­Å¤k«Õ»î¯ë¿s¬Ý¡BÄÌÂZµÛ§ø¥Áªº¥Í¬¡¡Cµ²¤F±Bªºªñ¿Ëªí¥S©f¦b¼¤±æ»P¸T§Ò¨î¬ùªº©Ô§è¤§¤¤µh­W¤£¤w¡A¹LµÛ¦³·RµL©Êªº¥Í¬¡¡C³Ì«á¡A®É¶¡¦^¨ì¤F§øùØ¡A§ø¥Á­Ì¾E±p¥L¶m¡A§ø¸¨¤]±q¾ú¥v¤¤®ø¥¢¡A®{¯dµê¤Û©Î¯u¹êÃø¿ëªº°O¾Ð©ó®a±Ú¦X·Ó¤¤...¡C

¡@³o¬O¦x¤s­×¥q°²­É¡m¦Ê¦~©t±I¡nªº¬G¨Æ¤å¥»¹ï¤é¥»®Ú·½¾ú¥vªº¦A³y©M¦^¾Ð¡A¥H²{¥Nªº¤âªk´yø¤é¥»ªº¶Ç²Î¤å¤Æ¡C§ø¥ÁµS¦p³´¤J±J©Rªº°g®c¡A¥Ã»·µLªk¯u¥¿¨«¥X§ø¤l¡A¦p¦P­s¾Þ±aªºÅ]©GºòãT¦bªí¥S©f¨­¤Wªº´J·N¡C³o³¡¼v¤ùªºÄá¼v¬O¦x¤s­×¥qªº¦Ñ·fÀɹa¤ì¹F¤Ò¡A¥LªºÄá¼v¦â±mµºÄR¡Aºc¹Ï¥Rº¡Å]¤Û¸Þ²§ªº®ðª^¡A¥þ¤ù¥Rº¡µÛ©âÂ÷¦s¦b¡B«é¦p¹j¥@ªº³±´Ë¡C¼v¤ù¤¤¦h¬q¯«¯µ»ö¦¡ªººt¥X¡Aµ²¦X­ì©l³¡¸¨²½¯«ªº¶°ÅéÁn­µ¡A»P¤é¥»»R½ñ¡u­Ó¤H¨­Åé§Y·Òº»¡vªº¿W¯Sªíºt¡A¿E¼²¥XºÆ¨g¥¢§ÇªºÀ¸¼@±i¤O¡A¬O¦x¤s¼@³õ¬ü¾Çªº¨ãÅéºëªö§e²{¡C¦x¤s­×¥q¹q¼vùتº¡u¥¢¾Ð¡q·N¡r¡v¡A¥i¸ÑŪ¦¨¥Í©R¹Lµ{ªº²V¶Ã¾É­P¹ï¤£¦P¶¥¬q­Ó¤Hªº¦s¦b¥¢¥h°O¾Ð¡C¦x¤s±NªÅ¶¡©M®É¶¡¥|´²±YÂ÷ªº°T®§¡A²`´Ó©ó§ø¥Á¶°Åé·NÃѱj¨îªºÂ_µõùØ¡F¿ò§Ñ¦¨¬°¤@ºØ¥i¿ï¾Üªº¦s¦bª¬ºA¡C¦b³B²z¥ÍªÌ¹ï¦º¤`ªº®£Äß»P¦º«á¥@¬Éªº°g´b³¡¤À¡A¦x¤s±NªF¤è­õ¾Ç¹ï³±¶§¨â¥@¶¡ªº¬y°Ê¬ï¶V©ÊªºÆ[ÂI¡A¥H©Ç²§«o°g¤Hªº¬ü·P¾Q³¯¶}¨Ó¡C

¡@¤ù§À¡A¥H®ÉÄÁ¥¢¦Ó´_±o¶H¼x®É¶¡ªº¦^Âk¡AÅý§ø²ø¦³ªºÅ]¤Û¹Ú¹Ò·Ï®ø¶³´²¡A¹q¸Ü©MÄá¼v¾÷ªº¤Þ¶i¡AÁô³ë²{¥N¤Æªº¹Lµ{³vº¥¨ú¥N¤é¥»¥j¦Ñ¦~¥N¦³¤å¤Æªº¬ü¦n¨Æª«¡A¦x¤s¹ï®ø³u¥@¥Nªº½qÃh»P´d¼§²M´·¥i¨£¡C§@¬°¦x¤s¥¼§¹¦¨ªº¿ò§@¡A³o³¡Å]¤Û¼g¹ê¼v¤ùªº°g²§¦â±m¡A¦b¦x¤s³u¥@¤G¤Q¦~«áªº¤µ¤é¬Ý¨Ó¡A¨Ì¦p¶Ç»¡¤¤¤Æ¨­¤Ñ¥Pªºª°ºë¤@¼Ë¡AÅý§Ú­Ì³o¨Ç¨üÅÛ´bªº°g³~®È«È¯d³s¨ä¤¤¡A¤[¤[¤£§ÔÂ÷¥h¡C

¡@¦x¤s­×¥q¬O¶°¸Ö¤H¡B¤p»¡®a¡B¼@§@®a¡B¹q¼v¾Éºt¡B»R¥x¼@¾Éºt¡B¤Û·Q®a¡B«e½ÃÃÀ³N®aµ¥¦h­«ºÙ¸¹©ó¤@¨­ªº¤é¥»©Ç³Ç¡C1960¦~°_¡A¦x¤s­×¥q¥H¤@¨t¦C¥ú©Ç³°Â÷ªº¹êÅçµu¤ù¢w¡m¥á±¼®Ñ¥»¨ìµó¤W¡n¡B¡mµf­XÂæ¬Ó«Ò¡n¡B¡m¬Í½HÃÓ¡nµ¥¡A¾_Åå·í®É¼g¹ê¥D¸q¹q¼v²±¦æªº¤é¥»¼v¾Â¡C¥D­n¹q¼vªø¤ù§@«~¥]¬A¡m¥Ð¶é¦º¯«¡n¡B¡m¤W®ü²§¤H±@À]¡n¡B¡m¯ó°g®c¡nµ¥¡A«e½ÃÅå¤Hªºµøı­·®æ¡A³QÅA¬°¡u»È¹õ¸Ö¤H¡v¡A¹ï¤§«áªº¹êÅç¼v¹³³Ð§@ªÌ²`¨ã±Òµo©Ê¡C¥L©ó1967¦~³Ð¿ì¹êÅç¼@¹Î¡u¤Ñ¤«´Ì¼Å¡v¡A¥©§®¹B¥Î¦×Åé¡B¼v¹³¡B­µ¼Ö©M¸Öªº»y¨¥¡A³Ð·s¤p¼@³õªºªíºt¬ü¾Ç¡C47·³§Y¤£©¯¦­³u¡C¥L¯d¤Uªº§@«~¹ï§Ú­Ì²z¸ÑªF¤è¤å¤Æªº¦º¤`Æ[©M¦â¼¤Æ[¦³­«­n·N¸q¡A¬O¤é¥»¥|¤j±¡¦â¤j®v¤§¤@¡C

¡@This was the last film of Shuji Terayama, which he made while he was dying. Set once again in a village lost in time, the film is loosely based on Gabriel Garcia Marquez's "100 Years Of Solitude". Terayama presents a village ruled by traditions and superstitions even more confounding than the Aomori of his childhood. At the film's core is a story of a young man who wants nothing more than to have sex with his cousin. Though the other villagers warn him of the danger of having a child with her, his desire continues. Frustrating the situation is the cousin's iron chastity belt that yields to no amount of attack. After stabbing the head of the ruling clan, the cousins flee to begin life anew.

 

¤j»ó¤l±¡¸t
Cyrano de Bergerac

¹a¤ì©¾§Ó Tadashi Suzuki

Tadashi Suzuki ¡W Japan ¡W Color ¡W Japanese ¡W Video ¡W 75min

¡·¥x¥_ 8/12¡]¤»¡^14:30 ¡@8/16¡]¤T¡^18:20¡@ 8/18¡]¤­ ¡^22:30¡@¡@ 8/23¡]¤T¡^11:30

¡·®ç¶é 9/13¡]¤T¡^19:00 ¡@¡··s¦Ë 9/17¡]¤é¡^10:00 ¡@¡@¡·°ª¶¯ 9/5¡]¤G¡^19:00

¼@±¡Â²¤¶ ¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@¡@ ¦^¼v¤ù­¶­±

¡@¨ÉÅA°ê»Úªº¤é¥»«e°¶¤j¼@³õ¾Éºt¹a¤ì©¾§Ó¡A¾Õªø¥Î³Ð·s¤âªkºtö¸g¨å¼@§@¡A¥HÀu¶®¦Ó´I­µ¼Ö©Êªºªíºt­·®æµÛºÙ¡C¥L¬O¥@¬É­º­nªºÀ¸¼@¾Éºt¤§¤@¡A¤]¬O·¥¨ã¼vÅT¤Oªºªíºt²z½×®a¡C1966¦~³Ð¥ß¡u¦­½_¥Ð¤p¼@³õ¡v¼@¹Î¡A¥H¾Éºt¯îÂÕ¼@§@«~¹ñÅSÀY¨¤¡F¤§«á¡A»P¦³¡uºÆ¨g¤kÀu¡v¤§ºÙªº¥Õ¥Û¥[¥N¤l¦X§@¡A¥H«÷¶KªÏ¸Ñ¼@¥»ªº¤è¦¡³Ð§@§@«~¡A¼s¨üª`¥Ø¡C¥LÁÙÁ|¿ì¤F¤é¥»²Ä¤@­Ó°ê»ÚÀ¸¼@¸`¡G¡u§Q¶P¤s©ÐÀ¸¼@¸`¡v¡A¦¨¬°°ê»Ú«e½ÃÀ¸¼@ªº­«­nÀ¸¼@¸`¤§¤@¡C ²{¥ô¤é¥»ÀR©£¿¤»R¥xÃÀ³N¤¤¤ßÃÀ³NÁ`ºÊ¡C

¡@¹a¤ì©¾§Óªº»R¥x§@«~©M°V½m¤è¦¡¹ï²{¥N¤é¥»»P¥@¬É¼@³õ¦³¥¨¤j¼vÅT¡C¥L¥D±iºt­û§@¬°¦Û§Ú´¦ÅSªºÀ¸¼@¦æ¬°¡A¨Ã±j½Õºt­ûªº¤º¦b¯à¶q¥H¤Î¨­Åé©Ê§@¬°ªíºtªº¥DÅé¡A¤@«×³QºÙ¬°¡uªF¤èªº¸¯Ã¹¦«¤Ò´µ°ò¡v¡C1976¦~¡A¹a¤ì©¾§Ó±N¼@¹Î±qªF¨Ê¾E²¾¨ì°¾»·ªº¤s§ø¡A¦¨¥ß¼@³õ¡u§Q¶P¤s©Ð¡v¡A«Ø¥ß¤@®Mºt­û°V½m¤èªk¡G¡u¹a¤ì¤èªk¡v¡C¥L¿Ä¦X¤é¥»¶Ç²Î¯à¼@ªº¨­Åé©Ê¡A¥HÄY»Åªº¨­Åé¾Þ½m¿EµoªíºtªÌªº¯à¶q¡A¨Ïºt­ûªº¤º¦b±¡·P»P¥~¦b¨­Å馳¨}¦nªº³sµ²¡C¥LÃö¤ßºt­ûªíºtªº¨­Åé©Ê¦p¦ó¦¨¬°²§¤å¤Æ¥æ·|³õ°ìªº°ÝÃD¡A¥D±i¡u¨­Åé´N¬O¤å¤Æ¡v¡C¥L¥H¦h°êÄy¡B¦h»y¨¥¨Óºt¥X§Æþ´d¼@µ¥À¸¼@§@«~¡A¹ê½î¹ï¡u²§¤å¤ÆÆ[¹î¡vÀ¸¼@²z½×ªº¹ê½î¡C

¡@¡m¤j»ó¤l±¡¸t¡n³o­Ó¦]¬°´X¦~«eªº¹q¼vª©¥»¦Ó®a³ë¤á¾åªºªk°ê³ß¼@¡A¦b¹a¤ìªº¸àÄÀ¤U¦³¤F»P²³¤£¦Pªº­·¨ý»P´J·N¡C¹a¤ìªí¥Ü¥L¦b¾\Ū¼@¥»®É¡A¦pªG¼@§@®a¤ß²zª¬ºA¤Ä°_¥Lªº¿³½ì¡A¤~·|¿³°_±N¼@¥»·hºt¦¨¼@³õªº©ÀÀY¡C¥Lªº³Ð§@°Ê¤O¨Ã«D¥u¬O³Q°Ê¦a¨ü·P°Ê¡A¦Ó¬O¨Ó¦Û¹ïÀ¸¼@¤å¥»ªº´£°Ý»P§ä¥X¥i¯àªº³Ì¨Î¸Ñµª¡C¦b¡m¤j»ó¤l±¡¸t¡n³oÄÕÀ¸¤¤¡A¹a¤ì·Q§e²{¤é¥»¤H¹ï³oÄÕ¼@·Q¹³¥@¬Éªº³ß·R»P¼@§@®aEdmond Rostand¹ï¤H©Êªº±Ó¾UÆ[¹î¡A¦P®É¥[¤J¦Û¤vªº­ì³Ð¬G¨Æ¡A¾Éºt¥X³o³¡µ²¦Xªk°ê­ìµÛ¡B¸q¤j§Qºq¼@­µ¼Ö¡B«X¸ÇÀu²§¤k§DIrina Lindt¹¢¤k¥D¨¤¡A¥H¤Î¤é¥»À¸¼@ªíºt¤è¦¡ªº¸ó¤å¤Æ¼@³õ¡C¥»¼@¦³¹a¤ì³Ð§@¯S¦³ªºÀ¸¼@»y¨¥¡G§G´º¡B¿O¥ú©M­µÅTªº³]­p¡A³£¬O¬°¤F´£¤Éºt­ûªºªí²{¡A¨Ïºt­û¦¨¬°µJÂI¡A§e²{¯«¯µµê¤Ûªº®ðª^¡F³oºØ²³æ«o¦³§Qªº®ÄªG¡A¬O²{¥NÀ¸¼@¤¤¤Ö¨£ªº»R¥x¬ü¾Ç¡C¹a¤ì¹ï¤é¥»¦Û©úªvºû·s¤§«á·¥«×¦è¤Æªºª¬ºA¦³¦y¾Uªº§å§P¡A¥L§Æ±æ¯à¿Ä¤J¤é¥»µL»ùªº¶Ç²Î¤å¤Æ©ó²{¥NÀ¸¼@³Ð§@¤¤¡C¡m¤j»ó¤l±¡¸t¡n¬OÄ~¡m´d«sªº²M°s¡n¤§«á¡A¹a¤ì³Ð§@¡u¼@§@®a³ì¤T¨t¦C¡vªº²Ä¤G³¡§@«~¡A¤]¬O¥L¹ï¸ó¤å¤Æ²{¶H±´°Qªº¨ãÅéªí²{¡A´¿¨üÁܦܰê»Ú¦U¤jÀ¸¼@¸`ºt¥X¡A²`¨ü¦nµû¡C

¡@¹a¤ì©¾§Ó´¿©ó2005¦~¨ü¥_ÃÀ¤jÀ¸¼@¨tÁܽШӥxºtÁ¿¡A¤À¨É¥L¦h¦~¨Ó¦bÀ¸¼@²z½×¥H¤Î»R¥x§@«~ªº±´¯Á¤ß±o¡C¥L»P¼@¹Î©ú¦~±N¨ü¨âÆU°|ÁܽЭº«×¨Ó¥xºt¥X¸g¨å¼@¥Ø¡m°s¯«À¹¶ø¥§´µ¡n¡A¥»¦¸¼v®i¤OÁܪº¹a¤ì«e§@¡m¤j»ó¤l±¡¸t¡n¼@³õºt¥X¬ö¿ý¤ù¡Aµ´¹ï¬O¤[¥õ¤j®v§@«~ªºÀ¸°g¤£¥i¿ù¥¢ªº³Ì¨Î¾ÉŪ¥\½Ò¡C

¡@ Suzuki's production of "Cyrano de Bergerac" is created on the principle of 'meta theatre', when the action in its development inevitably takes the features of collage and departs from the original text. The performance acquires features of a painting that conforms to the lyrical Japanese soul. The purposefulness of the director is admirable, vesting the work in a concrete form, precisely determining all settings and attuning the actors.

¬ÛÃöºô¯¸¡G
http://www.spac.or.jp/01spac02.html

¡÷¦^¼v¤ù¤¶²Ð¥Ø¿ý