The Swordfish, Then The Concubine 劍魚◉妾 (2016)

The Swordfish, Then The Concubine 劍魚◉妾 (2016)

這是一場關於王朝如何被收服的故事。
或許不。

在漫漫歷史長河中,家國興衰本是時間厚度的一個切片。
比一頁紙的故事還薄。

在這片土地真正擁有它的名字以前。 

大量的劍魚躍出海面,刺穿人們的心臟。
小男孩的靈機一動,拯救了整座王朝。
但愚笨的人總嫉妒聰明的人。

那小男孩最後怎樣了?

被殺死。

以跨領域合作及獨到美學為核心的「平台計劃」,最新舞台劇作《劍魚◉妾》將於2016年12月15至18日於吉隆坡表演藝術中心(KLPAC, PENTAS 2)隆重上演。今次的演出將與多位青年世代的劇場工作者攜手合作,其中也有影像設計師Fairuz Sulaiman及近期頻頻在國際上嶄露頭角的「人人人鼓劇場」為現場伴奏音樂,屆時勢必帶來一場光、影、劇、音復合交織的藝術饗宴。

《劍魚◉妾》原為大馬劇作家紀傳財以英文撰寫,並於2008及2011年在新加坡發表演出。從馬來亞16世紀古文獻《馬來紀年》當中截取吉光片羽,並結合劇作家對當今社會及國族的敏銳洞察;時而嬉鬧、時而血淚交織,成就一部極具戲劇張力的新時代警世寓言。為配合今次的製作,紀傳財重新編寫了最新版本,並交由「平台計劃」首度翻譯成中文,也是首度引薦給大馬的觀眾。

王朝在成為了繁榮鼎盛的王朝之後。

國王想要傾國傾城的妾姬成為他的妃子。
妾姬忍辱負重,以身獻國;
然而卻不敵人性的最深處。
皇后設下罪行,誣陷妾姬;

那妾姬最後怎樣了?

被處死。

曾獲馬來西亞金馬崙藝術大獎多項殊榮,同時也是“平台計劃”藝術總監的導演羅國文,以其強烈的劇場意向美學觸感,多年來致力於將不同領域元素及媒材融會貫通。該劇團近年來不懈推廣大馬本土劇作,打破語言藩籬、透過轉譯再帶往台上搬演,為促進異文化之間的劇場藝術交流不遺餘力。今次的《劍魚◉妾》找來活躍於表演藝術界、卻來自不同背景的潛力股演員:蔡德耀、鄧繡⾦、邱蕴能、詹莉寧、吳專選、周順興、廖世儀、廖慧鳴、何慧婷,更請來編舞家陳柯杏為演出融入舞蹈與肢體表演,一併豐富了演出素質上的層次感。此外也邀得資深設計師楊淑棻擔任該劇的服裝與造型設計。特為演出而作的原創音樂,不僅有現場配樂,也將嘗試融入說唱的方式,探索聲音在劇場中的更多可能性。

可是啊,如果人性有最深處;
那一定是在心臟的最裡面。
最裡面、埋藏最深, 深埋到我們都無法窺見。
然而,
從心臟最內裡流出來的血,
也都是溫的。

劍魚一定會懂的。
只是在嘗過最溫的血,總歸還是得與被刺的人同歸於盡啊。

故事简介:

原為典籍《馬來紀年》的寓言故事,透過劇作家生動又調侃的筆觸,發想擴展成為借古喻今的現代警世神話,對當今社會作出看似輕盈實則凝重的詰問。

故事從一場遠古的誓約開始說起。天神之子為納妾而降臨人間跟階下臣民進行交易:其世襲後裔不得欺壓臣民的子孫,而日後臣民的子孫也永遠不能背叛神的世族,否則必遭天谴。誓約被傳述的许多年以後,王朝之都遭受大量劍魚襲擊,满城風雨、兵將陣亡。聰明的小男孩献出妙計停止了禍害,却反倒淪為奸臣們爭權奪利的犧牲品。擁有花容月貌的傾國妾姬,因不忍誓約被違背而上奏朝廷,却意外得到國王的恩寵。不料此舉招来傲嬌皇后的妒忌,因而陷計指控妾姬犯下羞耻的倫理罪行,最後更慘遭處死……當誓約一再被瓦解丶詛咒便即使生效。面對敵軍的入侵,失去愛妃而无心戀戰的國王開始逃難;而盛世王朝的命運該何去何從?

一代朝廷的起源與覆滅,這些如真似幻的傳說情節,不再只是活在古文獻或電視劇裡。以全新視角縱觀全局,游戲般的追逐替換戰爭的殺戮,劇場的無限想像力取代一本正經的宮廷鬥爭故事!

以民間傳說神話抓捏歷史的形狀,
倘若宿命難逃,我們還要不要相信解扣的可能?

Singapura is attacked by swordfish! The Sultan asks his warriors to form a line to keep out the threat, but they end up being massacred. Then a boy comes up with a simple idea to defeat the swordfish. It works! What is the boy’s reward for saving Singapura?

When the Sultan dies, his son inherits the kingdom. But the new ruler turns out to be self-obsessed and neurotic. After his favourite concubine has been found guilty of committing unnatural sex, he does something that could result in the destruction of Singapura.

Culled from Sejarah Melayu, these remarkable myths find new life in The Swordfish, Then the Concubine by Kee Thuan Chye.

It is an epic play written to conjure the magic of theatre. It takes ancient myth and transforms it to address present-day concerns like human rights, gender bias, curbs on freedom and the abuse of power. It is full of spectacle, humour, mind and heart. It is really a play about Malaysia today.

The play was placed among the top 5 in the International Playwriting Festival 2006 organised by Warehouse Theatre in the U.K.

Then in 2008, it premiered in Singapore in a W!ld Rice production directed by leading Singapore director Ivan Heng. 

In 2011, it was re-staged in Singapore by Young ’n’ W!ld and directed by Jonathan Lim.

This Mandarin translation of the play, directed by Loh Kok Man, marks the first time the play is being staged in Malaysia. 

“I’m excited that The Swordfish, Then the Concubine is going to be seen in Malaysia finally, even though it will be in Mandarin translation instead of the original English,” says Kee. “It was, after all, written for Malaysians about Malaysians.”

Loh, artistic director of Pentas Project and an award-winning director, set designer and lighting designer, took an immediate liking to The Swordfish, Then the Concubine when he read it. 

“The play is based on Sejarah Melayu but it takes a unique approach in exploring our myths to reflect on our society today,” he says. “I hope to convey its meaning to the audience through a highly entertaining production incorporating movement, dance, live music and puppetry.”

Pentas Project and ‘The Swordfish, Then the Concubine’ 

The Swordfish, Then the Concubine is a play that perfectly fits Pentas Project’s mission of encouraging Malaysian artistic creation and promoting the talents of Malaysian artists. It also provides an opportunity to raise awareness of the need for a humane society and the nurturing of its development.

Pentas Project aims to enhance the role of the performing arts in bringing together the different streams of the Malaysian community. In this regard, it seeks to adapt into Chinese renowned plays written originally in Malay and English, and to stage them for a wider audience.

Pentas Project is also working on translating some of these plays into Chinese and compiling them into a book to be published in the coming year. It believes that the material from such a book will benefit young artists as well as students, and serve as a useful reference for future performances.

The unique approach taken by The Swordfish, Then the Concubine in adapting the myths from Sejarah Melayu to comment on present-day Malaysia goes well with Pentas Project’s way of doing theatre.