by tilda_wien
常驻北京和伦敦的戏剧人以世界戏剧为载体，聊各种人生故事
Language
🇨🇳
Publishing Since
5/29/2022
Email Addresses
1 available
Phone Numbers
0 available
April 4, 2025
<p>这一期tilda和克莱尔给大家讲讲戏剧和影视作品里的恐怖元素以及观众为什么会觉得恐怖。在舞台上演恐怖剧为什么要比镜头里的恐怖逊色很多？导演如何制造恐惧？物理化恐惧：通过演员的身体表现惊悚与压迫音效与沉浸式体验：如Punchdrunk的作品还有新出的舞台剧版《九号秘事》。角色的存在性恐惧，如《玩偶之家》对身份瓦解的恐惧，是存在主义焦虑的一种体现。恐惧的心理学：观众为何会害怕？解析戏剧中的“不安感”（uncanny）和心理恐怖。“恐惧即愉悦”——为什么人们会喜欢恐怖戏剧？</p>
March 27, 2025
<p>这一期tilda和克莱尔从最近伦敦Hampstead Theatre新上演的East is South，一个有关AI的剧入手来聊聊人类对科技崛起的向往与恐惧。当人类创造机器人/人工智能时是一种什么心态，是仍然以人类为自然中心的来创造了一个自己的助手还是以平等的心态去看待一个新群体的崛起？机器和意识的界线在哪里，人类又为什么自古以来那么崇拜科技的永生性。早在1927年德国上映的电影《大都会》就体现出了人类长久以来对Transhumanism的向往，认为科技与人体相结合能够无所不能，那么人类到底是怎么在这个世界甚至这个宇宙中看待自己的位置的呢，为什么那么多戏剧影视作品都在探讨这种渴望</p>
March 22, 2025
<p>这一期tilda 克莱尔和超超讨论了剧目的创新、改编和表现形式等问题。首先，以Thomas Ostermeier在伦敦的《海鸥》为例，探讨了创新的表演形式如演员穿过芦苇丛入场等，但也指出过多的新颖感可能导致观众疲劳。其次，对于契诃夫作品的改编，认为我们在约克看的版本的改编未能展现契诃夫的文本，而伦敦版本则更佳。再次，讨论了乔治奥威尔《动物农场》的不同版本，包括道具、服装、语言表达等不同的表现形式。此外，还探讨了长桌在舞台上的运用，以及在不同戏剧中的表现。最后，对于剧中的导演和演员问题进行了评价，并讨论了剧本的荒诞风格及其在表演中的应用。</p>
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