“然後我就開始創作了……”——董繼蘭談《霸王鞭》

”演出開始時,我躺在一塊紅布裡,就像一個剛出生的嬰兒,肚子上還連著紅色的臍帶。我聽見

“綿羊302”——哥本哈根最小的親暱劇場(四)

“我們仍然是一個演員劇場。演員在很多情況下就像士兵一樣,只能服從他人的命令,但我們(

Theatre Får302 — the Smallest Intimate Stage of Copenhagen (part 4)

“We are still an actors’ theatre. Very often actors are seen as soldiers in a way, who follow others’ decisions, but we

比姬特·赫塞拉 (Birgitte Hesselaa) 談丹麥現代戲劇的突破

這新生一代,都是“68’之子”,也就是說,撫養他們成人的,是著名的“68’一代 (Generation ’6

Birgitte Hesselaa Talks About the Breakthrough in Modern Danish Drama

The new generation were the children of the 68’s, which means that they had been brought up by the famous Generation ’68.

“將這部受眾人親睞的小說帶到華人外的世界,並使之獲得矚目。”——林壁珠談歌劇《紅樓夢》

“歌劇《紅樓夢》的世界首演若對您而言意味著“圓夢”,那在小說原著的誕生地北京上演,對

“To Bring Our Beloved Chinese Novel to the Attention of the Non-Chinese World. ” — Pearl Lam Bergad Talks About Dream of the Red Chamber

"If the world premiere of Dream of the Red Chamber means your 'dream come true', then what the premiere in Beijing, the birthp

“我提出的建议95%都得到采纳。”——国家大剧院歌剧顾问库恰先生的Q&A写真

他们提出的问题,超出了作品赏析的范畴,而库恰先生的回答,也折射出西方歌剧在中国(北京

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