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阿卡巴萊

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卜凱蒂

2014/09/09 19:30

點閱率:424

11110

I’ve known about DramAcappella and their shows for the last few years, but until last night I hadn’t had a chance to see them in person. I was excited – they are always a Fringe crowd favorite, and as a girl who loves fun showtunes and theatre, I had high hopes for the performance. Before the show, however, I ran into a theatre friend familiar with this year’s piece who warned me not to set my expectations too high. So when the singing began, I was a bit apprehensive.

The performers, to their credit, really took pleasure in putting on a show and getting the audience involved. Their energy seemed to represent a lot of what the (Taipei) Fringe spirit is about: youthful, fun, inviting, open. Throughout the show, the entire cast displayed a strong ability to roll with the punches – they seemed to be capable of comfortably improvising any time it was needed (when a mic went out, or when someone flubbed a line, for example), and improvisation is a scary thing for even highly experienced dramatic performers.

Their infectious energy often made it easy to overlook the flaws in their performance while the show was happening. Two major flaws stick out for me now, as I look back. One is that many of the performers had difficulty accurately pronouncing the English lyrics to their songs. We’re in Taiwan, yes, and perhaps others in the audience wouldn’t or didn’t notice. But perhaps I’m more sensitive to it, being someone who has a long background in both cross-language theatre as well as musical theatre. For me it just sometimes became a distraction and pulled me out of the fun I was having. Notable exceptions to the poor pronunciation were the twins’ fun rendition of “Supercalifragilisticexpialidocious” and the director’s high-energy performance of “Totally Fucked”.

The other weakness I saw was an inconsistency with characterization. Some performers, like the twins or the grandma, maintained strong and clear characters throughout the show, including both when they were speaking and when they were singing. Some other performers didn’t succeed as well at staying in character throughout, and one or two even seemed to not fit very well the character that they had created.

All in all, while DramAcappella has room for improvement, they succeeded in creating a fun and interesting night for the audience, as displayed through the huge applause that greeted them at the end of their closing song. I look forward to seeing more of their shows in the future!

其它意見:Two things:
1. If you're going to do a show heavy with English-language songs in the future, it might help to have a pronunciation coach come in to give some advice. It will help with both clarity and stronger characterization.
2. I would have loved to have a printed list of the song titles and even the lyrics (translated into Chinese would have been amazing!). The songs provide a lot of emotion, and it would be wonderful for audience members who are unfamiliar with the songs to be able to create stronger connections to the pieces.

演出場地:A House

吉米布蘭卡

2014/09/02 19:30

點閱率:318

11110

很開心看到A劇團願意嘗試不同的演出形式,繼去年的阿卡音樂劇《阿茲大地》後,今年將形式再複雜化,除了有A Cappella與戲劇成分外,還放進了Cabaret的概念,劇名 Acabaret,其實就是A Cappella + Cabaret。演出背景定義為這是一間家族經營的酒館,他們用阿卡貝拉的方式唱歌給大家聽,同時聊聊自己的故事。

一進場就可以感受到熱情的問候與招待,觀眾可以邊嗑桌上的花生米,邊和家族成員閒聊,氣氛十分輕鬆。從造型上大致可以分出年長與年輕組:管家與奶奶的頭髮上有灰白痕跡,二姊穿著粉紅澎澎裙,小弟則是副黑框眼鏡+吊帶馬褲,十足古靈精怪又讓人很想扁他的模樣。《阿卡巴萊》家族的角色塑造鮮明,形象清楚,偶爾放入的時事鄉民梗也恰到好處。在沒有自己的戲時,表演者也會在後面做起角色該做的小動作:媽媽用嘴型告訴要弟弟專心、弟弟作弄二姊的頭髮等,大家都非常的專注在自己的角色裡。

每個人會輪流上台說一段自己的故事,可能是未來的夢想、過去的經歷,有親情有愛情,也有守護的溫情,再藉由歌曲詮釋這些種不同的情感。不過,演出並不是單純的一個唱完換一個,而是有簡單的劇情連接:二姊跟著媽咪的兩隻襪子玩偶唱著想找尋真愛的夢想 (Enchanted - True Love's Kiss);很想讓人喵下去的小弟出來攪亂大姊的場 (Avenue Q - The Internet is For Porn);碎念了一堆之後,自命非凡的小屁孩弟弟驕傲地唱出自己的想望 (Funny Girl - Don't Rain on My Parade);管家帶著弟弟噴發小宇宙,說出內心真正想說的話 (Spring Awakening - Totally Fucked) 等。這些歌曲選擇得相當精準,歌詞內容都能和劇情緊密相扣。其中大姊對於弟妹嚮往長大的期待與興奮 (Matilda - When I grow up),回應慢板的茫然與懷疑,放進了音樂劇常見的reprise的手法,是整齣戲裡我覺得最精緻的設計!

然而,「用中文說故事,卻唱著英文歌」的模式,多少產生「出戲」的尷尬,畢竟不是所有觀眾都能立刻聽懂英文歌詞,戲與歌曲會在唱歌的那一瞬間亂開 (但明明就是因為劇情而唱這些歌曲)。另一個問題則是此次選擇的表演形式。雖說Cabaret本就結合了唱歌、戲劇、跳舞等,但在作這類演出時,表演者多以真實的自己面對觀眾 (或是帶著嘻鬧搞笑的方式呈現)。《阿卡巴萊》因為有「家族經營」與「台上都是一家人」的設定,當表演者們在自白或對話時,闡述的都是角色設定的故事,無形中和觀眾隔了道隱形的牆。所以,觀眾該用什麼角度看待台上的演出與表演者?這種進退維谷的尷尬情形在大姊失控爆發那段最為嚴重,想著為什麼大女兒都要燃光了,後面一家人還可以這麼鎮定;另一方面又會告訴自己:啊~ 他們是在演戲啦!

演出場地:A House

馬士比亞

2014/09/02 19:30

點閱率:580

11111

從進場的招待、點餐、桌面擺置,到表演者之間持續的互動和細節給予,再到真情流露的淚與笑鬧,加上合作無間、幾近完美的阿卡貝拉演出。很開心才藝穗第三天,就讓我看見五顆心的好作品。

已是藝穗常客的A劇團,這次一樣在熟悉的A House演出,只不過這次不再走現代童話路線,而是以阿卡巴萊酒館一家人的故事,細膩呈現家人之間的溫情與感動。

形式上以類似演唱會的安排,一家人輪流訴說自己的感受和想法,每個人都有一到兩首歌演繹心情。但與一般演唱會不同的是,演唱的順序與轉場銜接建立在家人之間的互動上,因而出現了二女兒拉小兒子一起唱歌、小兒子故意干擾大女兒表演還惡搞歌詞、把她氣跑,以及爸爸唱歌讓大女兒感動落淚,回到舞台上給爸爸一個大大的擁抱等等段落。每一段安排不但讓家人間的關係更緊密,也展現了阿卡貝拉的渲染力及多元的演唱技法。

不過,成也阿卡貝拉,敗也阿卡貝拉,因為堅持阿卡貝拉的完美呈現,卻讓這場演出終究達不到最完美的狀態。

劇場是建構幻覺的場域,表演者在台上的開懷與傷感其實都是角色本身使然,只是表演者能靠著細膩心思以及與對手的默契,讓劇場裡的幻覺「成真」,進而使觀眾能感同身受,共喜共悲。

就這場演出而言,最主要建構的幻覺在於家人彼此之間的真摯情感,以及觀眾身處酒館的真實感,換句話說,觀眾必須能感受到自己「真的」看到這一家人的存在,而且「真的」來到他們開的酒館。

編導在建構幻覺上的用心,體現在讓表演者實際接待觀眾並招待飲料點心,以及表演者在沒輪到自己表演時會持續互動等等雖不見得每個觀眾都會留意,卻有助於讓幻覺更「真」的細節掌握上。可惜的是,阿卡貝拉演出仰賴每一部人聲樂器共同合作,其拍點、音準、收放,都必須經過仔細思量、編排,才容易達到每一首完美的和聲。於是,即便演員的情感再真,即便流下的眼淚都是發自內心的溫熱,一旦進入歌唱段,觀眾隨即意識到其實這一切都只是編排好的演出;就算劇情給了多大的轉折,就算最後大女兒終於說出隱瞞已久的真相,但開口一唱,應該為真相訝異甚或傷痛的家人卻仍得收住情緒,穩穩照著原先寫好的歌譜演出。這些預先寫好的歌譜,雖然保住了阿卡貝拉的完整度,卻也無可避免地破壞了劇場幻覺,對觀眾造成疏離效果。

類似的情況,也發生在「觀眾」上台的段落。當阿卡巴萊家族的管家邀請台下觀眾上台演出,一位女觀眾被旁邊的朋友陷害舉手,隨即不太情願的上台。一開始的尷尬其實是很有真實感的,上台後會分享符合這場表演主題的故事,也頗為理所當然。卻在進入歌唱後,發現原來她唱的歌其實早就寫在表演者的譜上,一切也都是表演的一部份,幻覺再次被破壞。

但這些幻覺的破壞,實肇因於A劇團本身對阿卡貝拉的堅持,畢竟這是他們的起點,也是凝聚這群表演者的重心所在。他們也並非只顧著唱好而不把戲演好,該鋪陳的、該有所互動的、該好好表現細膩情感的,表演者們一個機會也沒放過,努力抓住自己的角色特質加以發揮,其努力程度絲毫無愧於五心評價。

我想,能再多往完美邁進一些的,或許也正是他們引以為傲的阿卡貝拉。若能再精進、再研究,讓阿卡貝拉能有辦法多容納一些即興成份,能在戲劇表演之外,用音樂的元素更大膽地跟觀眾互動,而不只是展現譜寫功力,劇場幻覺也能少一點碎裂,多一些驚喜,有更精彩絕倫的演出呈現。

演出場地:A House

翁婉玲

2014/09/01 19:30

點閱率:493

11111

阿卡巴萊(Cabaret)是一個小酒館的故事,屬於載歌載舞又有戲的音樂劇表演。戲劇進行方式,小酒館的家族成員的演唱會開始,演唱會由管家擔任串場主持人,從身為女強人的媽媽開始演唱,接著是性格軟弱的爸爸、以媽媽為偶像的大姐、異常活潑愛捉弄人的雙胞胎、自閉內向的二姐,最後是小酒館的大家長奶奶。
整個音樂劇的情節非常溫馨感人,所有家庭成員的個性、想法,以及容易被呼略的二姐感受,全都透過演唱會的方式演譯出來,演員們唱功了得,在肢體及戲劇表現上亦是相當成熟,全程除了開場、客人獻唱、大合唱及最後劇終的唱段外,其餘全是英文唱段,最重要的是全程都是「無伴奏人聲音樂」,表現相當的精彩。

演出場地:A House

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