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鲍伯·威尔逊
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Peter Pan

source: npac-nttorg
美國劇場先驅羅伯‧威爾森，與奇異風格的可可蘿絲獨立樂團聯手，打造超現實新版冒險童話，由柏林劇團演員活靈活現飆戲，及現場樂隊演奏創造與舞台上互動效果，徹底顛覆想像童話，帶來夢幻島的異想世界。

崛起於六○年代的前衛劇場大師，羅伯．威爾森，2013年與柏林劇團創作的《彼得潘》，維持他一貫幾何舞台設計、冷冽燈光、簡潔肢體線條及疏離敘事等風格，打造溫蒂和彼得潘的黑暗冒險音樂劇。劇中角色以白臉為基底勾勒出誇張五官線條的造型，頭頂龐克式髮型的少年，纖瘦叛逆如大衛．鮑依的彼得潘，身著芭蕾澎裙卻是魁梧身形的仙子叮鈴，一一現身於簡約後現代的舞臺。2013年首演後，獲得極大好評，無論是再度搬演或是受邀至國際藝術節，皆是一票難求。

有別於廣為人知的迪士尼電影版本，柏林劇團搬演的劇情，更貼近由德國當代兒童文學之父耶里希‧凱斯特納以德文翻譯原著詹姆斯．巴利的版本。威爾森說：「迪士尼改編的版本太陽光了，無法貼近原著。只有曾經身在地獄，才能了解天堂在哪裡。呈現彼得潘光明面和黑暗面，才能看到完整的人物個性」。 熱愛自由，卻顯得冷漠高傲彼得潘，是一個會飛卻拒絕長大的頑皮男孩，有天晚上出現在溫蒂的窗邊，彼得邀請溫蒂到夢幻島當這一群失落男孩的媽媽。到了夢幻島後危機重重，溫蒂被忌妒的仙子叮鈴陷害受傷，捲入了海盜的戰爭，遇見海盜首領虎克船長，而為了拯救虎蓮公主，彼得潘差點死亡，最後打敗了虎克船長，溫蒂帶著失落男孩回到了倫敦，溫蒂與彼得潘告別，並要彼得潘不要忘記她。 羅伯．威爾森在1976年以《沙灘上的愛因斯坦》奠定大師地位，從此在世界劇壇引領風騷至今，此次邀請同樣擅長融合不同元素的獨立樂團可可蘿絲，打造全劇魔幻般音樂及歌曲，在柏林劇團演員極富生命力的肢體及聲音表現中，帶領觀眾前往猶如居住於美麗異境的夢幻島世界。柏林劇團的《彼得潘》在臺中國家歌劇院演出後將暫停巡演，別錯過這全球最後一次機會。

柏林劇團 Berliner Ensemble
1949年在德國政府支持下，由布萊希特（Bertolt Brecht, 1898-1956）和夫人、演員魏格爾 (Helene Weigel, 1900–1971)創建，由魏格爾任劇團經理，布萊希特任藝術指導。1954年德國政府把船塢劇院分配給柏林劇團作為它固定的劇場。布萊希特為柏林劇團制定了藝術原則，要求劇團實踐和完善史詩戲劇（敘事戲劇）的演劇方法。法國作家羅蘭･巴特曾說:「1954年，柏林劇團第一次到法國演出。看過演出的人中有的當時就感受到一種新方法的出現，這種戲劇方法殘酷地使我們所有的戲劇都變得過時。」布萊希特倡議「史詩劇場」(epic theater)，影響了現代劇壇及解構主義的美學觀，他認為劇場不應寫實地處理題材，應創造疏離效果，主張舞台力求簡化，讓觀眾看戲時保持距離不應投入情感。

布萊希特和魏格爾之後，接棒的總監都是德國戲劇界赫赫有名的導演，包括賓奴．比桑、彼特．帕烈殊和艾納．舒利夫；1992到1995年間，海納．穆勒擔任劇院的導演兼編劇。1999年克勞斯．佩曼接任藝術總監後，一改傳統史詩劇場傳統美學，廣邀優秀的劇作家、導演及演員在柏林劇團創作口碑及品質俱優之作品，使柏林劇團重新躍上德國及國際知名劇團之列，同時也是柏林及德國境內搬演最多定目劇之劇場，亦是世界唯一持續搬演羅伯．威爾森定目劇之劇場。

藝術總監／克勞斯．佩曼 Claus Peymann, Artistic Director

克勞斯．佩曼本身是著名的戲劇導演，1966年他以執導彼得．漢德克《觸怒觀眾》引起德國劇場界的矚目，他擅長將劇本抽絲剝繭，深層挖掘劇作意涵，重新詮釋經典作品，並獨具慧眼發掘新的劇作家。佩曼以其戲劇才華被德語圈劇院聘任為總監，包含斯圖加州立劇院、奧地利城堡劇院等，在奧地利任職期間，他結識了許多奧地利劇作家並執導他們的第一齣戲劇作品，1999年起擔任柏林劇團的藝術總監，使劇團再度成為德國劇場界的指標，亦贏得國際讚譽，因此號召了不少傑出的演員和導演，例如羅伯．威爾森、彼得．史坦、彼得．查德等參與製作，再次奠定屹立不搖的基礎。
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source: inhalemag
Every other year, Robert Wilson comes to Berlin in order to create something extraordinary for the Berliner Ensemble, including Leonce & Lena (2003), Das Wintermärchen (2005), Die Dreigroschenoper (2007; which had an enormously successful guest run at the Brooklyn Academy of Music in 2011 and just celebrated its 200th performance at the BE), Shakespeare’s Sonnets (2009), and – most recently – Lulu (2011), which was not much liked by critics and audiences alike. In fact, German reviewers seem to have grown distant to Wilson’s work over the years, bemoaning the fact that he creates the same images in the same way time and again.

It is all the more fascinating that it is Wilson’s newest piece, Peter Pan, which has sparked the most enthusiastic and euphoric reviews in years throughout the German press, for this adaptation of James M. Barrie’s play in a translation by Erich Kästner does leave nothing of the Disney version’s carefree dreaminess and celebration of youth but unearths the dark and unsettling aspects of Barrie’s original work. By creating his signature world of evocative images, Wilson turns the notion of childhood predicated on safety, naïveté, and innocence upside down and makes Peter Pan his own.

The first chapter is set in the children’s room, decorated with a ghastly wallpaper of green ships on a neon-pink base, exhibiting Wilson’s odd version of the English bourgeois home life, a first indication of his counter-intuitive interpretation of the piece. The actors appear in stylized Victorian costumes by Jacques Reynaud, moving through the space in typical Wilsonesque fashion, and uttering their lines independently from each other as the small window to the world becomes bigger and bigger. The plot follows the original play quite closely although a number of events are translated directly into images and dialogue becomes sparse.

Nevertheless, I have to say that – for my taste – there was still too much dialogue, especially in the first part of the evening, which hindered the rhythm of the scenes and the development of an overarching energy throughout the first hour, as the connection between dialogue and the songs seemed to be at times forced and patched together rather than flowing and progressing. Wilson’s work is the strongest when he’s able to create an equilibrium between text, music, sound, light, and image – a flash of harmony (including all superficially disturbing noises) that gestures towards the diversity of voices in our world. And as the evening went on, the piece became stronger and stronger and was by the end almost hypnotic without being sweet or sentimental at all.

Once the children are in Neverland, the production picks up speed and becomes more inventive: the dialogue is disrupted by song, dance, and beaming faces, which expose the nightmarish quality of some exchanges, for example when Wendy is asked to become the mother of all the Lost Boys. The scenes with Hook and the pirates can be ruffian at times and in all the playfulness of the fights between the Lost Boys and the pirates, the actual violence of these imaginings is very apparent. It is most striking when Peter, trying to save Wendy from Hook, hides inside the Jolly Roger and kills the pirates one by one, only to emerge radiant and exclaiming: “I am Youth! I am Joy!” It is Wilson’s excellent and breathtaking direction, which enables this childlike and entertaining joy to coexist with an alarming and menacing atmosphere of impending brutality and death. This is also true for the quieter moments, the most unnerving and provocative being when Hook, alone with the sleeping Peter, dreams of “making him into a man”. And yet, this potential nightmare of childhood holds fast to the side of hope and light as well, when for example the fantastic Anna Graenzer as Wendy sings the Lost Boys to sleep with a heartbreaking lullaby celebrating love and family, while in the background Hook and his pirates kill the Indians.

Thus, Wilson pays tribute to the complicated nature of childhood and life: It is not the protected home of bourgeois life that is to be desired, nor is it the dangerous, anarchic world of Neverland. It is the commitment to both through the company of family and friends. But just when this may become too easy and too sentimental a solution, the audience is reminded at the end of the first and the second act respectively that death will come to us all eventually. And yet again, as Peter and the ensemble sing to us joyfully, “to die would be an awfully great adventure.”
The performances are magnificent to say the least. While the ensemble blithely takes on multiple roles as Lost Boys, pirates, Nana, the Indians, the Mermaids, and the Crocodile, one of the standout performances comes from Traute Hoess as Mrs. Darling, whose Despair song, after finding out her children have disappeared, develops into a primordial expression of pain. Stefan Kurt’s Hook is counter-intuitive yet spirited, quiet but very sharp, and in his surrender to the crocodile rather touching. Sabin Tambrea as Peter Pan is pure joy to behold: in his green skinny jeans and leather jacket, he looks like a cross between James Dean and Heroes-era David Bowie.

His Peter remains the foil for all projections of what one wants youth to be and thus he is utterly changeable in both voice and body. Tambrea’s Peter never stays in one character for too long as he does not want to be defined or found out. Maybe he does not even know who he actually is, which makes this mixture of sway and vulnerability so enticing and familiar. But the star of the evening is without a doubt Christopher Nell’s Tinkerbell, who crosses the stage in odd spasmodic movements and can only be heard through song. Her wand sends off electric shocks and she delights in torturing the children. But when, while being trapped in a light bulb, she bemoans the fact that Peter does not realize how much she loves him, the audience is treated to one of the finest songs about unrequited love ever written, voicing desire, despair, and anger in equal measure. Indeed, CocoRosie’s songs are a true discovery and the perfect fit for this production as their music succeeds in making available conflicting emotions within a few bars. Thankfully, some of the songs will apparently be made available on their next album, Tales Of A GrassWidow, which will be released later this month.

All in all, Robert Wilson’s Peter Pan is in itself a great adventure. Although it starts slowly and affectedly, it by and by offers the most stunning images and captivating performances, which are filled with plenty of mystery and possess emotional depth, letting us reflect upon our childhoods – all the varied ones each one of us had and has.
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source: robertwilson
Of Wilson’s artistic career, Susan Sontag has added “it has the signature of a major artistic creation. I can’t think of any body of work as large or as influential.” A native of Waco, Texas, Wilson was educated at the University of Texas and arrived in New York in 1963 to attend Brooklyn’s Pratt Institute. Soon thereafter, Wilson set to work with his Byrd Hoffman School of Byrds and, together with his company, developed his first signature works including King of Spain (1969), Deafman Glance (1970), The Life and Times of Joseph Stalin (1973), and A Letter for Queen Victoria (1974). Regarded as a leader of Manhattan’s then-burgeoning downtown art scene, Wilson turned his attention to large-scale opera and, with Philip Glass, created the monumental Einstein on the Beach (1976), which achieved worldwide acclaim and altered conventional notions of a moribund form.
Following Einstein, Wilson worked increasingly with major European theaters and opera houses. In collaboration with internationally renowned writers and performers, Wilson created landmark original works that were featured regularly at the Festival d’Automne in Paris, Der Berliner Ensemble, the Schaubühne in Berlin, the Thalia Theater in Hamburg, the Salzburg Festival, and the Brooklyn Academy of Music’s Next Wave Festival. At the Schaubühne he created Death, Destruction & Detroit (1979) and Death, Destruction & Detroit II (1987); and at the Thalia he presented the groundbreaking musical works The Black Rider (1991) and Alice (1992). He has also applied his striking formal language to the operatic repertoire, including Parsifal in Hamburg (1991), Houston (1992), and Los Angeles (2005); The Magic Flute (1991) and Madame Butterfly (1993); and Lohengrin at the Metropolitan Opera in New York (1998 & 2006). Wilson recently completed an entirely new production, based on an epic poem from Indonesia, entitled I La Galigo, which toured extensively and appeared at the Lincoln Center Festival in the summer of 2005. Wilson continues to direct revivals of his most celebrated productions, including The Black Rider in London, San Francisco, Sydney, Australia, and Los Angeles; The Temptation of St. Anthony in New York and Barcelona; Erwartung in Berlin; Madama Butterfly at the Bolshoi Opera in Moscow; and Wagner’s Der Ring des Nibelungen at Le Châtelet in Paris.
Wilson’s practice is firmly rooted in the fine arts and his drawings, furniture designs, and installations have been exhibited in museums and galleries internationally. Extensive retrospectives have been presented at the Centre Georges Pompidou in Paris and the Boston Museum of Fine Arts. He has mounted installations at the Stedelijk Museum in Amsterdam, London’s Clink Street Vaults, and the Guggenheim Museums in New York and Bilbao. His extraordinary tribute to Isamu Noguchi has been exhibited recently at the Seattle Art Museum, and his installations of the Guggenheim’s Giorgio Armani retrospective have traveled to London, Rome, and Tokyo.
Each summer Wilson decamps to the Watermill Center, a laboratory for the arts and humanities in eastern Long Island. The Watermill Center brings together students and experienced professionals in a multi-disciplinary environment dedicated to creative collaboration. A gala benefit and re-dedication of the reconstructed main building takes place every summer.
Wilson’s numerous awards and honors include an Obie award for direction, the Golden Lion for sculpture from the Venice Biennale, the 3rd Dorothy and Lillian Gish Prize for Lifetime Achievement, the Premio Europa award from Taormina Arte, two Guggenheim Fellowship awards, the Rockefeller Foundation Fellowship award, a nomination for the Pulitzer Prize in Drama, the Golden Lion for Sculpture from the Venice Biennale, election to the American Academy of Arts and Letters, and the National Design Award for Lifetime Achievement. He has been named a “Commandeur des arts et des letters” by the French Minister of Culture.
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source: lefigarofr
Les talents ligués du Berliner Ensemble et de CocoRosie donnent à l’histoire du garçon qui ne voulait pas grandir une puissance fascinante.
Il y a un bleu Wilson, comme il y a un bleu Klein. Un bleu nocturne et lumineux à la fois, le bleu des nuits de Wendy et de ses frères, le bleu des lagons lointains. Ce bleu insiste dans cette époustouflante version dePeter Pan. James Matthew Barrie (1860-1937) lui-même avait écrit une pièce de théâtre qui est toujours très jouée dans les pays anglo-saxons. Ces dernières années, on a vu la version foraine et charmeuse d’Irina Brook et, très récemment, la plongée sombre d’Angelica Liddell du côté de l’île des enfants perdus dans Todo el cielo sobre la tierra. Barrie avait sous-titré sa belle histoire «le garçon qui ne voulait pas grandir». Tout artiste n’est-il pas un enfant qui ne veut pas grandir? Ou, comme le dit si magistralement Peter Brook, «un enfant expérimenté»?
L’enfance, l’expérience et l’art magistral de Robert Wilson sont ici unis, en un geste radical et puissant, à l’une des plus grandes troupes du monde, celle du Berliner Ensemble, et à la brillante originalité de deux musiciennes américaines, deux sœurs merveilleuses, Sierra et Bianca Casady, connues sous les petits noms que leur donnait leur maman: CocoRosie. Soit Bianca et son aînée de deux ans, Sierra. Ensemble, elles ont composé une partition superbe et écrit des chansons, des «songs» à la Brecht. Sierra est une étourdissante Fée Clochette, jolie comme un papillon exotique, Bianca ne paraît qu’aux saluts pour être acclamée avec la troupe sensationnelle et l’armée des techniciens qui œuvre en coulisses à l’accomplissement de ce spectacle enthousiasmant.
Robert Wilson connaît les comédiens du Berliner Ensemble. Il a monté avec eux plusieurs spectacles inoubliables que l’on a vus, pour certains, à Paris grâce à Emmanuel Demarcy-Mota, à la fois directeur du Théâtre de la Ville et directeur du Festival d’automne. CitonsL’Opéra de quat’sous de Bertolt Brecht et Kurt Weill ou encoreLulu de Frank Wedekind. Tant d’autres…
Surprise et grâce

C’est en chef d’orchestre qu’il dirige l’«ensemble». Ici, la prodigieuse précision de la lumière (Wilson lui-même), de la musique (dans la fosse l’excellence des dix musiciens de The Dark Angels), la beauté des tableaux (décors Wilson), l’inventivité des costumes (Jacques Reynaud), tout participe d’un enchantement qui ne retombe jamais.
On s’envole. Le bleu s’irise de vert, le rêve s’irise de peurs anciennes. Robert Wilson est très fidèle à la version allemande de Peter Pan, telle que la mit au point, en 1951, Erich Kästner, qui, lui-même, avait tout conservé de l’histoire, en accentuant la noirceur, la cruauté, le désespoir. La mort insiste ici d’entrée et la chanson de Peter, reprise à la fin par tout le monde, est «la mort n’est-elle pas la plus passionnante des aventures?»…
Il y a du carnaval macabre dans les maquillages très expressionnistes et la manière dont sont traités les personnages. Que ce soit Nana, le chien nounou, multiplié par trois, les parents aimants mais impressionnants avec Martin Schneider, père de deuil vêtu et qui joue aussi le cocasse Crocodile en queue-de-pie et grandes dents… Que ce soit Wendy, yeux cernés et chemise de nuit blanche (piquante Anna Graenzer), le romanesque Capitaine Crochet (l’immense Stefan Kurt) ou la Clochette idéale de Sierra Casady (acide meneuse de jeu.) Tout ici n’est que surprise et grâce.
On rit beaucoup et on a le cœur serré. Chacun chante, bouge, joue. Chacun nous emporte. Le vert Peter est le long et gracile Sabin Tambrea, tout en nuances délicates, ombré de nostalgie, fasciné par la mort. Une petite fille ouvre et ferme le spectacle en chantant «Lalala, Lalala», comme une fraîche comptine et une marche funèbre.
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source: berlinde
Der Schotte James Matthew Barrie (1860-1937) schuf mit seiner Geschichte um den niemals erwachsen werdenden Jungen Peter Pan einen Weltklassiker. Der texanische Theatermacher Wilson übersetze die Handlung in eine suggestive Bilderwelt, kündigte das Berliner Ensemble an. Premiere ist am Mittwoch (17.4.).
Als Peter Pan wird Sabin Tambrea auf der Bühne stehen. Er war zuletzt unter anderem als «Ludwig II.» im Kino zu sehen. Für die Rolle des Bayern-Königs ist er auch für den Deutschen Filmpreis in der Kategorie Bester Schauspieler nominiert. Der 1984 in Rumänien geborene Tambrea ist seit 2009 Mitglied am Berliner Ensemble.
Peter Pan ist eine märchenhafte, alterslose Figur. Er kann fliegen und besteht mit seinen Freunden im Land Nirgendwo Abenteuer mit Piraten, Indianern und Meerjungfrauen.
In weiteren Rollen sind unter anderem Traute Hoess, Stefan Kurt, Christopher Nell, Jörg Thieme und Axel Werner zu sehen. Die während der Aufführung live von einem kleinen Orchester gespielte Musik zu Wilsons Inszenierung schrieb die US-amerikanische Band Cocorosie, bestehend aus den Schwestern Bianca und Sierra Casady.