用內容，成就觀眾的你、藝術的真、票房的喜
打從創意之初，《歌劇玩偶》就有意對歌劇傳統進行顛覆。如西爾葉所言：“如今，在如何保有
“There is a lot of energy being invested right now into preserving opera and keeping opera alive, which I think is misguided
“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（
《憐妖恤魔》這部獨角戲，是鮑利的“專場”。由他出演劇中唯一角色古斯塔夫·格林德根斯 (Gu
“演兩輪就夠了，但是演三輪——不……銷售一塊，考慮得很少，我們更關心的是，劇目在在藝
當同伴們展翅飛向更廣闊的天空時，夏伊選擇了留守：“我還是覺得，要留住這顆‘珍珠’。在
“We are still an actors’ theatre. Very often actors are seen as soldiers in a way, who follow others’ decisions, but we
Sympathy for the Devil was Pauli’s exclusive show. Lucas Svensson, author of the monologue, suggested him play the sole role
Being faithful to Stanislavski’s method, the ensemble of nine had pushed against the traditions in the realm of the absurd,
“It is a gift…” Charlotte Elizabeth Munksgaard recalls her memories of the year 2001. Her voice, a typical mezzo, is soo
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
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
The new generation were the children of the 68’s, which means that they had been brought up by the famous Generation ’68.
如果說，奧斯維辛集中營的物證，記錄著上百萬受難者如何被強行剝奪行李、大衣、頭髮、財物
本文前兩篇詳細分析了蓬蒿劇場作為“演出經紀”和“商業不動產”的屬性。不過，敢於賭上全