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

Theatre Får302 — the Smallest Intimate Stage of Copenhagen (part 3)

Sympathy for the Devil was Pauli’s exclusive show. Lucas Svensson, author of the monologue, suggested him play the sole role

Theatre Får302 — the Smallest Intimate Stage of Copenhagen (part 2)

Being faithful to Stanislavski’s method, the ensemble of nine had pushed against the traditions in the realm of the absurd,

Theatre Får302 — the Smallest Intimate Stage of Copenhagen (part 1)

“It is a gift…” Charlotte Elizabeth Munksgaard recalls her memories of the year 2001. Her voice, a typical mezzo, is soo

丹麥皇家歌劇院雜記

金黃的小客船，駛抵渡口，甲板圍欄徐徐放下。幾位遊客，步回露臺。剛踏足過的歌劇院，又映

托馬斯·拉格曼德·倫徳默 (Tomas Lagermand Lundme)，丹麥當代劇作家之五

一位劇評人稱其風格是帶著詩意的殘酷，這確實恰如其分，也正如倫德默自己所言：“我堅持用

麗娜·克努佐 (Line Knutzon)，丹麥當代劇作家之四

其幽默感並非來自俏皮話的堆積，而是有著更深層的含義，這明顯受貝克特 (Samuel Beckett) 的影響

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.

克里斯蒂安·洛力克 (Christian Lollike)，丹麥當代劇作家之三

“只要是貼上了‘反人類’標籤的東西，我就有一種衝動，想去吸收它，了解它，進到它的裡面

阿斯特麗德·薩爾巴赫 (Astrid Saalbach)，丹麥當代劇作家之二

阿斯特麗德·薩爾巴赫曾獲得眾多獎項，其作品已在二十多個國家上演。她看待社會以及當今時

約崑·羅德 (Jokum Rohde) ，丹麥當代劇作家之一

羅德的作品中，總會有大段令人大快朵頤的部分，這也能為演員提供絕佳的展示機會。其作品情

“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

紅樓夢圓

2016年9月10日，林壁珠坐在舊金山戰爭紀念歌劇院……翌日，《舊金山紀事報》以“觀感之豐腴
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