for ref, read the article in either 《刺客·乩童·按摩女郎》 or 《戏剧盒 1992-2002》. both are on sale during the performance.
Friday 9 June 2006
Man with Dino
this is the great man behind A Stranger at Home. the photo is taken from the programme booklet. cute, isn't he? especially with dino in his arms. he is the adopted-father of my two kids... hehe...
for ref, read the article in either 《刺客·乩童·按摩女郎》 or 《戏剧盒 1992-2002》. both are on sale during the performance.
for ref, read the article in either 《刺客·乩童·按摩女郎》 or 《戏剧盒 1992-2002》. both are on sale during the performance.
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4 comments:
haha...Guo laoshi really looks cute here!!
Watched the play yesterday, i think the effects was great too. I remember the gushing waves scenes, burning flames. It plays well with the theme. The emotions evoked was strong (anger and confrontational) but was brought along subtly by the multimedia and music. :)
我的童年只是隐藏在我记忆中的一隅，不曾被唤醒过，直到昨天。
The question about childhood and history kept me thinking. 柯老师，您书中的三山小学让我想起三山洋服店，那是我成长与游戏的地方。现在是繁忙的商业区了。
Feicui
feicui, glad that you like the play.
能够让观众重温自己的记忆，思考记忆对于自己的意义，这个戏也算是有点功德了。
老实说，我并不是很喜欢这出剧。因为我觉得很多地方过于矫情，情节和所探讨的课题都很老套。恕我直言，诸如南大“意识”、旧楼拆迁、国人归属感等课题，说教意味厚重，好像唱机跳针同样的音乐反复回荡于耳，叫人听了厌烦。它同时也凸显了庆亮（改）编、导戏的一种疲态--无法跳脱他惯用的缅怀过去，批判现实进程的手法。另外，他选择在剧中穿插不同剧作的片面，好像也显得刻意、过火了些。
我认为有时候，选择性的记忆封锁是有必要的。
月下影子, 你说的有道理. 不过我不回应你的看法, 以免死去的作者起死回生. 嘿嘿. 谢谢你来看戏. 昨晚我晚到了, 没有见到你, 希望有机会再谈.
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