有意參加者請恰:
Gilbert Weng
email: gil_caprices@hotmail.com
cell # 224-4366105
tickets available before April 30th, 2009
《暗戀桃花源》故事簡介
《暗戀桃花源》講述的是一部現代悲劇《暗戀》劇組和一部古代喜劇《桃花源》劇組共用 一個舞台排練而造成的令人或悲或笑的衝突。戲中戲與戲外戲相互交織，讓觀眾跟著演員一起跳進跳出。兩出看似全然無關的舞台劇，經過巧妙的安排及細膩的手法，造就了一齣悲、喜、古、今交錯對照的奇劇。《暗戀》的兩岸故事講明了人對桃花源的嚮往，《桃花源》則討論了現在政治、人情的境況，你可以說武陵是大陸，桃花源是台灣，也可以完全相反，這出舞台劇給了觀眾們極大的思考空間，借著《桃花源》對《暗戀》部分拓展的空間和兩者合而為一所具的深切寓意，使 《暗戀桃花源》成為一出膾炙人口，感人至深的舞台劇。
「暗 戀」、「桃花源」兩齣戲互相交錯切斷，它們的風格情調迥異：一邊是古裝的、喜鬧的、想像的；另一邊是寫實的、感傷的、追憶的。兩個劇團陰錯陽差地被放在同一個舞台上，似乎在暗示著它們有某個相同的地方。由於這一點的契合，能使兩者在彼此穿插干擾下各自演完，最後竟能表現出 一個完整的概念與精神。在歸納整齣戲的情節架構後，發現無論是「暗」劇或「桃」劇，甚至是戲外之戲中，人們都在「追尋」。
「暗 戀」的第一幕開始在一九四八年的上海，江濱柳和雲之凡逃過了戰爭的摧殘，在上海相識相戀。此刻江濱柳高唱著「追尋」，他所要追尋的是一個重新的開始，充滿夢想與希望的新生活。更有他和雲之凡可以預期 的未來。雲之凡也是同樣的相信著，她的離開只是美好來臨之前一個短暫的分別而已。
再 次出場時，江濱柳的人生已經走到了盡頭。很顯然他並沒有追尋到原本夢想的未來，躺在病床上，他所擁有的似乎只是泛黃相片、白光的低沈的歌聲、一疊疊寄不出 的信以及積鬱了一生的哀傷與回憶。現在他用生命最後的一點力量去追尋，在報上登了尋人啟事，想尋回的是一輩子裡唯一美好過的回憶。
從江太太口中我們知道，江濱柳在婚姻和 生活中是無奈的，他把自己封鎖在四十年前的記憶裡，他的生命「停格」在上海的外灘公園，而現實中的妻兒卻不能接近。直到劇末，雲之凡終於出現了，但是早已 不是他心中的「綁了兩條辮子」的雲之凡。在找到「回憶」的同時，江濱柳也失去了所有的回憶。
「追尋」在「桃花源」一劇中，不是對過去的追懷，而是因為不滿目前而產生對未來的嚮望。劇中的主角老陶因為妻子與情人袁老闆的譏諷摧促，負氣駕船往上游去，與其說是為了找大魚，還不如說他是想擺脫眼前難以忍受的生活，後來他到了桃花源—一個優美、安詳、平靜的地方，比起之前永不止境的爭吵，這 裡簡直如同仙境。
而 袁老闆和春花更是極力的想要改變，袁老闆要把春花帶離眼前的日子，去實現他「偉大的抱負」，他們覺得一定能找到屬於兩人「桃花源」。後來老陶消失後，兩人發生了什麼事情，劇中並沒有交代，只是在最後一場時，卻看到他們的生活比先前的更加的破敗了。原本令她陶醉的「美麗的田園」、「綿延不絕 的子孫」並沒有出現，原本他的期盼與追求的夢想，現在通通成了擺脫不了的重擔了。
穿插在兩個劇團中、逢人就問「你有沒有看到劉子驥？」的陌生女子也是不斷的在尋找。她反覆對人訴說著的都她的回憶，儘管多麼的歷歷在目，追憶還是追憶，在現實中是不可能找到的。而劉子驥又是何許人也呢？讀過「桃花源記」的人都知道：「南陽劉子驥，高節士也，聞之，欣然規往， 未果，尋病終，遂無人問焉」。捨棄現況而苦求仙境，他是渴望追尋「桃花源」的人們的代表。這兩個人，分別做了舞台上的兩齣戲的註腳--陌生女子是「暗 戀」，劉子驥則是「桃花源」。一個不斷追憶著往事，一個始終嚮往著未來。但這種對現實漠然不顧的追尋往往是徒然的，所有的春花、所有的袁老闆、所有的江 濱柳、陌生女子和劉子驥，始終都只能停留在對桃花源的「暗戀」裡，永遠也找不到他所暗戀的「桃花源」。
“Secret Love in Peach Blossom Land”
"Secret Love in Peach Blossom Land" is actually two plays that at first have seemingly little in common other than the artful, often hilarious conceit binding them together - a mistake that has led a theater to schedule simultaneous dress rehearsals for both shows......
The first play, "Secret Love" is a serious drama that opens in 1948 Shanghai as two young lovers, Jiang Binliu and Yun Zhifan, bid each other a temporary farewell in a misty moonlit park. Images of war still torment Jiang - his homeland in northeast China has been devastated by the Japanese invasion - but Yun tries to persuade him to forget the past, brightly telling him, "A new China is on the way!" Fast-forward four decades and Jiang Binliu is an old man lying terminally ill in a Taipei hospital room as his devoted, but unloved, Taiwanese wife looks on. He is still brooding over the past, desperate to see Yun Zhifan, from whom he was separated after fleeing the Communist takeover of China in 1949, before he dies.
The second play, "Peach Blossom Land," is a farcical interpretation of a well-known fourth-century story about a lost fisherman who stumbles into a utopian land filled with blossoming peach trees where all people live in harmony because they have no historical memory. In this version, however, the fisherman is a hapless, cuckolded husband, and the first people he meets in the mythical Peach Blossom Land look exactly like his wife and her lover. He gradually succumbs to their absurd utopian lifestyle - dressing in white, catching injured butterflies "to return to their mothers" and taking care to step lightly so as not to hurt the grass - but eventually leaves in the hope of persuading his estranged wife to return with him.
Forced to share the same stage, the directors and casts of "Secret Love" and "Peach Blossom Land" argue over who needs the rehearsal space more, critique each other's performances, remove each other's props, and ultimately divide the stage in half and perform at the same time. Through these shared scenes caused laughter. The two plays slowly, almost magically, merge as their performers complete each other's lines and common themes emerge. But, by play's end when Jiang Binliu finally finds Yun Zhifan, who has been living in Taipei all along, the laughter gives way to sobs and the audience is left to contemplate the burdens of memory, history, longing and love - and the power of theater itself.
