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。

以跨领域合作及独到美学为核心的“平台计划”,最新舞台剧作《劍魚◉妾》将于2016年12月15至18日于吉隆坡表演艺术中心(KLPAC, PENTAS 2)隆重上演。今次的演出将与多位青年世代的剧场工作者携手合作,其中也有影像设计师Fairuz Sulaiman及近期频频在国际上崭露头角的“人人人鼓剧场”为现场伴奏音乐,届时势必带来一场光、影、剧、音复合交织的艺术飨宴。

《劍魚◉妾》原为大马剧作家纪传财以英文撰写,并于2008及2011年在新加坡发表演出。从马来亚16世纪古文献《马来纪年》当中截取吉光片羽,并结合剧作家对当今社会及国族的敏锐洞察;时而嬉闹、时而血泪交织,成就一部极具戏剧张力的新时代警世寓言。为配合今次的制作,纪传财重新编写了最新版本,并交由“平台计划”首度翻译成中文,也是首度引荐给大马的观众。

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。

故事从一场远古的誓约开始说起。天神之子为纳妾而降临人间跟阶下臣民进行交易:其世袭后裔不得欺压臣民的子孙,而日後臣民的子孙也永远不能背叛神的世族,否则必遭天谴。誓约被传述的许多年以後,王朝之都遭受大量剑鱼袭击,满城风雨、兵将阵亡。聪明的小男孩献出妙计停止了祸害,却反倒沦为奸臣们争权夺利的牺牲品。拥有花容月貌的倾国妾姬,因不忍誓约被违背而上奏朝廷,却意外得到国王的恩宠。不料此举招来傲娇皇后的妒忌,因而陷计指控妾姬犯下羞耻的伦理罪行,最後更惨遭处死……当誓约一再被瓦解丶诅咒便即使生效。面对敌军的入侵,失去爱妃而无心恋战的国王开始逃难;而盛世王朝的命运该何去何从?

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.